Below is the OCR text representation for this newspapers page.

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.