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Patre 4
THE PANTHER
December 18, 1979
Wonder’sMusic “Timeless”
BY STANLEY EGERSON
Panther Staff Writer
Music always reflects the
times, however the music of
Stevie Wonder has always had
a special way of, not only
reflecting, but transcending
time.
Florjence Robinson,
chairperson of Clark College’s
music department and
narrator of a nationally
syndicated radio show, The
Many Sides of Black Music,
feels that Wonder’s music is
timeless.
Dr. Robinson analyzed
several of Wonder’s com
positions on her show, which
ran for three years in 86 cities,
and she said, ‘There is good
and bad to all types of music..
.Stevie Wonder plays black
music that is as good as any
music in the world.”
“I have followed him since
he was “Little Stevie,” said
Robinson, and admits that she
has not thoroughly critiqued
the new Wonder album, but
says she expects another
exceptional achievement in
this recording.
Wonder has just released a
new album which contains one
particular cut that grows from
a near-perfect interpretation of
today’s society. “Race Bab
bling” from the new album,
Journey Through the
Secret Life of Plants (J13-
171C2), is one of 20 songs that
tell of the world as plants see it.
The ancient rhythms,
syncopation and call and res
ponse in the musical of our
African forefathers, are in
corporated, particularly, in
“Race Babbling.”
In personification, the plant
sees man entwined in the sin of
artificial conception, world
destruction and corruption of
life i$ general. Stevie sings,
“This world is moving much
too fast,” and says “The end’s
unravelling.”
The feelings of a humble
plant could be closer to truth
than the highest intellect of
man. Stevie suggests, “God’s
induction; Life’s construction;
these instructions will save
every living thing.”
Symbolically, the delicate,
peaceful nature of a flower is a
perfect contrast to the state of
society. This thought provok
ing contrastmakes these lyrics
phenomenally stimulating.
The instruments used have
evolved greatly since call and
response was used first in
Africa. But structurally the
music is the same.
Synthesizers, snare (electric
drum), trumpets, electric bass
and drums are used in this
recording. A simple call and
response between two
synthesized melodies and
voice is used. A phase shifter
and flanger (harmonic shif
ting devices) are used to
disguise and fluctuate
harmonic tones of instrument
pitches. A digital delay
(division of sound punctuation
on tones) is used on the voice to
induce an echo affect.
Dr. Robinson cited “Race
Babbling” as, “a song that
caught my ear “and it is the
most valuable on the album in
terms of social sway. The
music and lyrics correspond
perfectly and effectively. The
entire album has a dynamic
importance in our present
culture if it only makes one
single listener slow down and
think about his environment.
Walter Dallas Takes Lead in Black Theatre
BY ROZELL CLARK
Entertainment Editor
Walter Dallas is one of the
hottest theatre peisonalities to
be found in Atlanta these days.
In case a vivid picture of him
doesn’t immediately pop into
your mind, it is probably
because if you went to his
theatre, you wouldn’t see his
face, you would see his work.
Dallas is the founder/direc
tor of The Proposition Theatre
Company. His company has
attracted many enthusiastic
theatre-goers who have made
his most recent work, “Who’s
Afraid ofVirginia Woolf’ a
critical success. He has also
caused a sellout of his up
coming production “For
Colored Girls Who Have Com
mitted Suicide When the Rain
bow is Enough,” being
performed at the Academy
Theatre.
Dallas’ most recent success
came about because he dared
to be different. He took what
was generally understood to be
a “white” production, used an
all-black cast, and made it
acceptable to, (and better
understood) by a mixed
audience.
The Morehouse graduate
believes that black theatre has
changed its role in American
society. “During the 1960’s,
there was a lot of political and
social awareness,” he said. “In
the 1970’s the climate
changed, and as a result, the
arts reflect that change. The
arts are strongly affected by
society.”
Dallas continued that it is
hard for some people to adjust
to that change. They are used
to looking at the same old
thing, but Proposition wants
to give them something
different he said.
“Since it’s beginning, the
Proposition Theatre was
designed as a place where ac
tors and actresses both black
and white could develop their
ideas while at the same time
gain an increased awareness
of the power, danger, and pos
sibilities of the theatre,” said
Dallas as he relaxed on the
stagefloor that housed
“Virginia Woolf.”
He added that many
theatres tend to take the “safe
avenue,” in doing plays that
people come to see, walk away
and that’s it. “Everybody
remains on the same level,
there’s never any progress in
the theatre.”
Dallas, who has received two
Bronze Jubilee Awards (1978
for outstanding achievement
in drama and the 1979 Drama
Award) contends that The
Proposition has served as a
training laboratory that has
coincided with the level of
growth of the company. “Two
years ago, I would not have
done “Who’s Afraid of
Virginia Woolf,” he said.
‘‘We named it the
Proposition Theatre because it
suggests so much without say
ing too much. Each produc
tion,” he said, “is a proposition
to the audience.”
The theatre has always been
a part of Dallas’ life. “I was
into theatre in elementary
school over at Oglethorpe, we
used to put on plays there,” he
said. “I’ve always been around
art a lot, my family listened to
jazz and classical music. I
have always appreciated all
the elements: music, dance,
sound, theatre, etc.”
However, Dallas didn’t start
out to be a director, he ventured
into it almost by chance. He
directed his first play as a
senior project at Spelman
College. At that time, he had
plans to teach English at the
college level. “A representative
from Yale Drama School
happened to be on Spelman’s
campus and saw me preparing
my piece. I was asked to come
to Yale, and I did,” the native
Atlantan added.
In addition to gaining a
M.F.A. degree in directing
from Yale in 1971, Dallas also
studied at the Theatre in
Traditional African Societies
at the University of Ghana,
Africa.
He has also received
national and local emmy
nominations for his various
works.
On the eve of the 1980’s,
Dallas commented that he is
leaning toward theatre with
an international focus. He will
not only do black plays, but
any play that will present a
challenge to both the
performers and the audience.
“I want the performers from
Proposition Theatre to be able
to leave Atlanta and go to New
York or wherever and be able
to deal with any kind of
theatre, be it “Macbeth” or
“For Colored Girls,” he said.
“A dentist doesn’t just work
only on black mouths,” Dallas
added, “he looks beyond the
color. I just happen to be black
and naturally the theme of my
life makes black theatre more
accessible but not more
relevant to me.”
Currently, the Proposition is
taking a couple months break.
It will return early next year
with Bill Gunn’s “Black Pic
ture Show” about a writer go
ing insane because he is forced
to deal with a system he has
been writing against.
Dallas will begin rehearsal
soon for “Colored Girls Who
Considered Suicide When The
Rainbow is Enough” by
Shange. He is also currently
writing his fourth play,
“Edges of Beards” which he
says will explore myths versus
truths of the black male in this
country.