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■ BEST BET
§_• The Red and Black • Tuesday, October 30, 1990
A&E
Ghouls and goblins galore should head on down to the “Fright
For Sight” haunted house benefiting Recording for the Blind.
The house Is on Hwy. 441 towards Watklnsvllle and will be open
Tues. and Wed., 7 p.m. to midnight. Tickets are $5.
Athens bands seek
opportunity in N.Y.
By NOEL MURRAY
Entertainment Writer
Opportunity knocks, but
people answer the door in dif
ferent ways. This past week,
when three Athens bands got the
chance to appear in New York at
the College Music Journal Show
case, all said they were excited
but each treated the experience
uniquely.
Roaring popsters Five-Eight
played Wednesday night in
Greenwich Village, at the Pool
Bor, a place drummer Tigger Fer
guson charitably described as a
“dive, a real tiny hole/’
He assessed their performance
positively, but said tnat unfortu
nately the band couldn’t stay for
the whole seminar. They left New
York early, stopped on the way
home to play Atlanta on Friday
and headlined the 40 Watt Sat
urday night, all while the show
case was in full swing.
“We’ve played New York be
fore, but we’d never played The
Pool Bar,” Ferguson said. “We got
to talk to a few people, there was
some interest, but we didn’t stay
long."
High-energy, melodic rockers
September Faces stayed for the
breadth of the showcase, but said
they didn’t spend much time at
the seminars with the industry
people.
“I hadn’t been to New York
since I was a kid,” lead vocalist
Spencer Cobb said. “We went to
see the city. We hung out in the
Village.”
The Faces played a club called
Hot Rod’s on Friday night with
about four other bands. To their
benefit, there was a Cure lis
tening party going on around the
time of their show with a big au
dience.
'There was a pretty good
crowd - a tremendous response,”
Cobb said.
When they weren’t hanging
around New York, the members
of September Faces saw some
l>. <is.
We saw Five-Eight on
\ -dnesday. They played well,
but there was some trouble be
cause Tigger had to borrow
someone else’s drumkit and he
bashed it up pretty hard,” Cobb
admitted. “We also got to see 24-7
Spyz at the Ritz and this guy
from Metallica was there. It was
pretty cool.”
Overall, Cobb and drummer
Todd Gleaton said they were glad
to be home and that they don’t re
gret not spending more time hob
nobbing with industrv people.
Cobb explained, “It’s good to
have connections, but we look at
that stufT as our manager’s job,
and he did his job well. We got a
stack of business cards from pro
moters.”
It seems that the only band
that did spend a lot of time
soaking up the showcase is pop
punkers The Violets. Drummer
Jay Coyles said they stumped
around the convention floor
passing out tapes and press kits
to interested parties. They even
managed to get to John Lydon,
legendary leader of both Public
Image Ltd. and the Sex Pistols.
“We handed him our tape and
he said, The Violets, The Violets,
okay, okay 1 and he smiled.
YTtnow, we grew up with the Sex
Pistols, and was neat to be able to
talk to him,” Coyles said.
The Violets played in Green
wich Village at a club called The
Chase Manhattan with five other
bands that Coyles said were,
“very friendly. Everyone was
very friendly. I was surprised
that a lot of people had heard of
us.”
With a nametag identifying
them with the CMJ Showcase,
The Violets were free to move
around the Beminar. making con
tacts. Coyles said that they
talked to a few people in suits
and they managed to pick up
about $200 worth of tapes,
posters and CDs for free.
“We don’t expect to get calls
from labels tomorrow, but we did
get a lot of good exposure. People
were just generally pretty inter
ested in what we had. And it’s
those little things ... the little
things count."
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Dylan puts crowd in mass confusion
By Al Dixon
Staff Writer
"Something’« happening, and you don't know
what it it. Do you, Mr. Joneit“
Mr. Jonee, the subject of Bob Dylan'e classic
"Ballad of a Thin Man," would have felt right at
home in hie state of confUsion at the Dylan con
cert Sunday night.
In fact, tho Colieeum was filled with loyal
fane who were left wondering juet who was up
there playing.
The aeethetic value of the concert wae not in
queetion. Dylan can put together a rock and roll
band and play the heck out of a guitar.
But so can several dozen local bande we can
go Bee for a lot less than 12 bucke.
It all comee down to the queetion of exactly
what a concert ie supposed to do.
Dylan set out to provide entertainment
through the artietic “interpretatione” of hie
aongs. He’s been playing them for a lot longer
than I’ve been around and I can understand
where he le coming from.
But moat of the 4,000 plue people who waited
in line for ticket* went to hear Bob Dylan, the
musician who helped shape ths ideals of this
country for the last 30 years. And those of us
who don’t have the good fortune to know Bob
personally only have hie songs to go on.
I would venture to say that not too many
hearte leaped for joy at the heavy metal version
of “Blowin’ in the Wind."
When a performer charges an audience for a
•how, he ie agreeing to present the audience
with a performance they can participate in by
giving them something they can at leait recog
nize. Interpreting a song to give it a "live” feel is
one thing, but Taet night wae definitely too
much.
Dylan opened the show with "Silvio," from
the album “Down in the Groove." The song
sounded decent and included some excellent
guitar work, but the arrangement was so “in-
terpratad," I didn’t avan recognize it until about
halfway through.
He followed that lead throughout the con
cert. Basically, he presented very unfamiliar
tunes with very familiar lyric*. The effect wae
eomewhat unsettling.
The highlights were vereione of “Mr. Tam
bourine Man" (with an excellent harmonica
solo at the end) and “Like a Rolling Stone." Al
though, of course, they bore little resemblance
to the originals. I did find myself getting
wrapped up in the heavy guitar rhythm*. Still,
I couldn't bring myself to sing along.
But perhaps the songs I enjoyed the most
were the ones I didn’t recognize. They freed me
of the necessity to grit my teeth at the rough
treatment of some of my favorite song* and al
lowed me to concentrate on the music.
People might say that if you want to hear
Dylan sing the songs the way you’re used to,
stay home and listen to your albums. Well, this
reviewer regetfully recommends that next time
Dylan comes to town you do just that.
‘White Palace’ has warring, not winning plot
By NOEL MURRAY
Entertainment Writer
Welcome to “White Palace," the
movie at war with itaelf.
On one side, it’s an escapist, op-
posites-attract, romantic fairy tale.
On the other, it’s a realistic study
-if the raw motivation* behind emo
tions. What emerges from the
scuffle is a marginally entertaining
love story blessed with good acting.
Jamee Spader plays Max Baron,
a 27-year-old workaholic adver
tising executive. Max meets 43-
year-old fast-food waitress Nora
Baker, played by SuBan Sarandon.
They meet first at the White
Palace reBtaurant and later that
night Max wanders into a bar
where Nora happens to be drinking
alone.
The bar scene establishes what
is going to be the central problem
with “White Palace.” While Nora ie
harassing Max, trying to seduce
him, he reveals to her that his wife
has recently died. There’s an emba-
rassing silence, which Nora breaks
by laughing out loud. It's a fresh,
unexpected moment. Unfortu
nately, the moment is spoiled two
minutes later when Nora explains
that her son has died recently as
wsll.
It’s disappointing because it
looks like, for a little bit, that
“White Palace” is going to avoid the
obvious “two lives marred by tra
gedy” plot device. Max's tragedy is
acceptable, adding depth to hie
character, but Nora'* tragedy
seems to be a contrivance to give
the story symmetry.
There are a lot of contrivance* in
this movie. Max’s mother — an em-
barassingly stereotypical Jewish
mother — is a grating addition to
the cast. Max's upper-class friends
are basically clicnes. Even Nora’s
working-claBe attitudes ring
hollow.
There are points during the
movie where it ssems the script is
going to dive into the complexities
of the situation, but it does not do
so. If examined a little more subtly,
Max and Nora’s age and class dif
ferences could have been very in
sightful.
“White Palace" forgoes these
deeper moments in favor of a shal
lower love story. The problem is
that the script fails to establish a
Btrong love relationship between
Max and Nora. They have great
sex — the sex scenes are sooooo in-
ni.
White Palace: Stars James Spader and Susan Sarandon.
tense — but the only other devel- short of Max and Nora running in
opment of their relationship comes slow motion through grain,
in the form of a five minute mon- “White Palace" tries really hard,
tage sequence. Max and Nora and some of its efforts pay off, but
dancing. Max and Nora walking in on the whole, the movie defeats it-
the park. Thankftilly, they stop self.
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