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The Red and Mack, Thursday feb. 24, 1972
Ike, Tina rate approval—period
WET WILLIE CETS MEDIOCRE APPROVAL
Audience responds like 'dead fish' while waiting for Ike, Tina
By JIM PETTIGREW
The Atlanta Auditorium
lobby was curiously deserted
at 7:15 last Saturday evening.
Usually at this time on a
concert night the lobby is the
scene of mass chaos, jammed
with people and “security”
police yelling “if yuh have
tickets - git inside if ya don’t -
gitout!”
The bill this night was to
be the Ike A. Tina Turner
show with Wet Willie as the
second act and the drawing-
ability of the IATT Revue was
proving to be sadly below
Alex Cooley’s expectations —
very few people were filling
the auditorium.
The backstage area was
likewise deserted. Sergeant
Graham, the congenial black
policeman who’s in charge of
the stage entrance, was
relaxed and joking around,
hr TOM hill happy not to be hassled with
the usual horde of
star-seekers.
The Wet Willie
bandmembers and their
friends sat in the dressing
room waiting to go on as
Ricky Hirsh and Wick Larson,
the group’s two lead guitarists,
quietly ran through short riffs
on their guitars, getting tight.
After a short round of
greetings we went out and sat
in the three-fourths empty
hall as Wet Willie took over
the stage. The crowd seemed
like they were ready for a
lecture rather than the
pumping jam we knew was
coming shortly. There wasn’t
even much smoke rising
through the spotlight shafts.
LEAD SINGER Jimmy Hall
stalked around the stage a bit,
took up the mike and said,
“Looks like y’all are asleep, . .
. this is an’ old rock an’ roll
thing," and the baud burst
into Jimmy Reed’s “Coin’
Down.” They began humping
immediately with Wick and
Ricky pyramiding off stinging
blues and some slide riffs,
John Anthony lolling forward
over the keyboards smiling
absently, and Lewis Ross
bending his head down,
blurring the sticks, laying
down the explosive pace.
Jimmy's brother Jack stood
out of the spotlights, almost
motionless, adding relentless
bass lines.
The audience responded
like a dead fish.
DESPITE the listless
reaction, the Wet Willie people
kept on churning, working
hard, hammering out blues
and rock n’ roll like “Shotgun
Man,” “It Hurts Me Too” and
“Spinnin' Round.” Jimmy
Hall pranced and slithered,
yelled “Woo-p” during an
instrumental break, scowled
and belted out those
uncommonly hard and feehng
blues vocals. As he crouched
over, clutching his harmonica
to the microphone and the
band seethed on this dark and
sinful, slimy finger-in-yer-ear
music, a nearby audience
member said “Unhh, - this is
making me H-O-R-N-Y!” The
majority of the crowd did not
sec it this way, however, and
after a 45-minute set, Wet
Willie left the stage to
perfunctory applause, no
encore. Th: miniscule crowd
was ready to see Ike and Tina,
period.
Backstrge, Jimmy Hall took
a sort of stoic attitude to
their shameful reception and
said that about three-fourths
of the material is ready for
Wet Willie’s second album,
which they’ll begin in
mid-March. Jimmy said that
he plans to play more
harmonica and sax on the new
album.
UGA cadet survives
tough Army course
DOVER KLAM
by Phil Sanderlin
By LIZ LESLIE
“It’s the worst way to
spend a t summer!” says
University of Georgia senior
Steve Berryman of the twelve
weeks he spent this past
summer climbing mountains,
navigating jungle swamps,
parachuting from airplanes
and learning to eat
rattlesnake.
Berryman, commander of
the University’s Army ROTC
Counter-Guerilla Company,
was the only UGA student
among 247 cadets across the
country to participate in two
of the Army’s most difficult
and prestigious training
courses. Last year was the
first time the Army permitted
ROTC cadets to volunteer for
specialized Ranger and
Airborne schools prior to
entering active duty.
Of the participants in the
two programs Berryman, a
former high school wrestler,
observed that physical
problems washed out most of
the candidates who failed to
complete the courses, but
mental attitudes figured
greatly.
Smith College collection at UGA museum
By PHOEBE SNOW
So you know absolutely
nothing about art?
Then go to the Georgia
Museum of Art before Mar.
26, and you may possibly
receive a slight twinge, not a
true understanding, but a
slight twinge of feeling for
19th century European and
American painters.
The exhibition is from the
collection of the Smith
College Museum of Art and is
entitled 19th and 20th
Century Paintings. But this
smattenng of 20th century art
will not give you even a slight
idea of what art has gone
through in the past 70 years
- unfortunate, but certainly
understandable.
The 20th century section
coven about 55 yean and
includes Picasso, Kline,
Tanguy, Kirchner, Sheeler and
Gris. Yves Tanguy is the only
surrealist represented, and his
*'Les Mouvements et les
Actes” is extremely
reminiscent of Salvador Dali
spatially and in content and
color.
The most striking example
of realism is American Charles
Sheeler’s “Rolling Power”
painted in 1939. His subject is
the obvious rolling power of
that era, the wheels of a train.
The overall feeling conveyed is
one of power, despite the fact
that the dominant colors are
soft browns, grey and ivory.
JUAN GRIS is represented
most memorably with his
cubist “Fruit Dish and
Bottle.” And Franz Kline’s
“Rose, Purple and Black”
should appeal to those who
wish to concentrate only on
color and shape. It seems
particularly strange that Kline
should choose that order of
colors in his title when the
predominance of colors is not
in that ordei, but rather
black, rose and purple.
A trip back to the crazy,
happy, intellectual days of
Gertrude Stein is part of F.mst
Kirchner’s 190S portrait
“Dodo and Her Brother.” The
brother has a livid green face.
and both characters stare
blankly out of their frame in
a way that suggests that the
realist’s world is the one of
irrationality and incoherence.
“Les Miserables,” a 1903
Picasso, is very much like
“The Tragedy,” with the same
characters, setting, mood, and
colors. There is, however, a
very noticeable change of
style in the lack of sharpness
and detail in “Les Miserables.”
The section of 19th century
paintings is represented by
works by Renoie, Cezanne,
Gauguin, Bonnard, Nonet,
Whistler, Corot, Degas, Millet,
Ingres and Rousseau.
MANY portraits are
included. Two of the strongest
are William Hunt’s “Portrait
of William Sidney Thayer”
(IflfiO) and “Portrait of a
Youth” (c. ISIS) which is
anonymous. Hunt’s portrait is
done in rich chocolate browns
and golds. It depicts a pensive
subject, while the second
portrait is lively and more
finely executed,
around the eyes.
parti culary
One very large painting by
Anton Romako entitled “Girl
on a Swing” (1882) is
especially noticeable in this
collection. Its colon are bright
and clear, though not loud.
Here the artist has put more
detail into the things that one
notices when first glancing at
something visual. The roses
and gum balls seem to be
particularly real, but close
examination proves that they
are not painted realistically.
Another strange piece is
“Mourning Picture” by Edwin
Elmer. It looks extremely flat,
the house seemingly made of
brown paper and the animals
looking like stick-on decals.
Perhaps the artist forgot
himself when he painted the
figure’s shadows, as the
shadows of the girl and the
kitten go one way and those
of the man and the tree go
another.
Only about half of the
cadets who began training
successfully completed the
rugged courses to receive a
Ranger insignia as a mark of
skill and stamina. Those
failing to graduate either quit,
were injured, or obtained
unsatisfactory scores.
“1 had some friends to go
all the way through and didn’t
get their tab,” Berryman said.
THE RANGER training
program was divided into
three phases. The first part
held at Fort Benning, Ga., was
called “City Phase.” Here the
cadets were conditioned,
receiving plenty of food and
sleep, along with training.
Then began the rough
training at Camp Darby, on
the Fort Benning reservation.
They had to pitch tents,
shower at an outdoor spigei,
and drill, drill, drill ....
Sleep became a luxury,
Berryman recalled.
In Dahlonega, Ga., the
cadets learned about
conventional warfare over a
three week period. They were
instructed in rock climbing,
rappelling and patroling in
‘enemy’ territory in wooded,
mountain terrain.
During the last three weeks
of Ranger training, the cadets
were taught the art of guerilla
warfare. The last part of this
phase was a 12-day,
twenty-four-a-day patrol with
plenty of river action. The
ROTC students underwent
instruction in waterborne
maneuvers, jungle patrols and
STEVE BERRYMAN
survival techniques.
Airborne was Steve’s
favorite training period. The
management mgjor, now on a
flight program scholarship,
plans to enter the branch
training program at Fort
Knox, upon graduation from
the University. Along with a
private pilot’s license, Steve
plans to get a multi-engine
and commercial license and
eventually become a
commercial pilot.
Thinking back over his
summer, Berryman, a
Distinguished Military
Student, advised, “I wouldn’t
recommend it for everyone.
The training programs prepare
you to be a leader, especially
in the combat role. You are
taught to think and take care
of your men. You are
prepared for just about
everything that will confront
you as a soldier.”
Political parties eye slates
By JIMMY JOHNSON
Two campus political
parties will meet tonight in
Memorial Hall in preparation
for the spnng SGA elections.
Coalition *72 and
Evolution, both recently
organized to offer opposition
to the one-year-old Action
Union which now holds a
majonts of the power in the
SGA.
Coalition ’72 which
supports David Alonso and
Linda Chafin for the
presidential and
vice-presidential positions will
meet at 7 30 p m.
According to party
chairman Bill Condon (Arts
and Sciences) the Coalition
group, which presently has
about 4S dues-paying
members, will meet to
organize ideas for the party
platform.
The party expects to hold
its caucus to formally endorse
Alonso and Chafin and to
choose a candidate for student
body secretary next Tuesday.
The Evolution organization
will meet at 8:15 p.m. for a
nomination caucus
According to Royce Hayes,
Evolution party co-chairman,
nominations for the executive
offices will be completely
open. The organization will
nnounce its platform for the
executive offices after the
^nominations
Evolution candidates for
the senate will not necessarily
be a part of this platform.
“Evolution is a party through
which individuals can run for
the student senate without
being tied to a particular
candidate or platform,” Hayea
said.
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