Newspaper Page Text
6
September 21, 1995 AUGUSTA FOCUS
Art Peat
Eartha Kitt: back in business again
NEW YORK, NY
Eartha Kitt, America’s favor
ite “Catwoman,” is experiencing
a resurgence of popularity.
The singer/actress/personality
extraordinaire has just finished
an extended five-week run at
L.A'’s legendary Hollywood
Roosevelt Cinegrill, where she
brokeall attendancerecords, and
received rave reviews.
She also has a major appear
ance in the Miramax/Isaac
Mizrahi smash documentary
Unzipped.
In October, Kitt jets to London
for a special gala benefit for King
George’s Fund for Sailors, where
she’ll perform the aptly titled
British music hall favorite,
“There’s Something About a Sail
or” — sure to bring the house
down. HRH Princess Margaret
will be in attendance, along with
Ben Vereen, Rita Moreno, Hayley
Mills, Gloria de Haven, Van
Johnson, and many others.
“Back in Business,” on DRG, is
Kitt’s first American recording
in over twenty-five years. The
album features a mix of stan
dards by Cole Porter, Duke
Ellington, Rodgers and Hart,
Fats Waller, Hoagy Carmichael,
Johnny Mandel, Henry Mancini,
and Johnny Mercer, Kurt Weil,
and the Stephen Sondheim title
song.
And, Eartha Kitt is a brand
new grandmother again, as her
second grandchild was born in
July.
Kitt is one of the talented few
to be nominated for a Tony
Award, an Academy Award, a
Grammy Award, and an Emmy
Award. The entertainer current
ly resides in New York.
Charles & Eddie release sophomore album
Youcan’tblame Capitol record
ing artists Charles and Eddie for
experiencing a bit of trepidation
before starting to record their
second album, Chocolate Milk.
Afterall, the dynamic duo’s label
debut, Duophonic, sold some 1.2
million copies around the world,
spawning a Top 15 U.S. single in
“Would I Lie To You,” which
topped the charts in 16 coun
tries,including France, England,
Germany and South Africa. Af
ter a whirlwind, year-long pro
motional tour, the Philadelphia
raised Charles Pettigrew and his
Oakland-born partner, Eddie
Chacon, took some well-deserved
time off before launching into
the creation of their eagerly an
ticipated follow-up, once again
with producer Josh Deutsch.
“On the first album, we con
sciously stressed the sameness
between our races and styles.
Wedidn'’t want you to know when
one voice left off and the other
camein,” explains Charles, a clas
sically trained musician who
studied jazz singing at Berklee
School of Music in Boston, and
counts Marvin Gaye, Stevie Won
der and Michael Jackson as his
three seminal influences. “This
time, we tried to hold up our
differences, to say, “You’re not
like me, but that’s why I like
you.” We can get that much more
out of each other because we're
not alike.”
Chacon, who recorded a pair of
hip-hop albums for Luther
Campbell’slabel, but was always
a soul classicist at heart, encour
aged Pettigrew to write songs for
the album, and the result makes
for a deeper, more eclectic source
of material this timearound. “We
decided coming across as indi
vidualsis where the potential for
future maturity lies,” says Eddie.
“I always felt, the more Charles
contributed to the songwriting,
the more true we’d be as a duo.”
Chocolate Milk underlines that
growth on such songs as the first
single “24-7-365,” which com
bines Eddie’s love of stylized, raw
testifying (like his idol Al Green)
with Charles’ rounder; silkier
crooningin a evocative, yet total
ly modern soul neo-classicism,
replete with Gamble & Huff-style
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Charles & Eddie
“On the first album, we consciously stressed the
sameness between our races and styles. We didn't
want you to know when one voic: left off and the
other came in. This time, we tried to hold up our
differences, to say, “You're not like me, but that's
why | like you.” We can get that much more out of
: each other because we’'re not alike.”
—Charles Pettigrew.
strings and a hook right out of
“Dancing in the Streets.” The
song sounds, at once, brand-new
and yet instantly familiar. “The
original was almost like a coun
try song,” says Eddie. “But I
always heard it as a Charles &
Eddie tune.”
Other departures include the
band’s percolating funk version
of Wet Willie’s’74 Top Tenreggae
hit, “Keep on Smilin” and the
dubwise dance-hall of “Jealou
sy,” featuring toaster Spragga
Benz. “Josh and Eddie thought
*Keep on Smilin’ would make a
great cover tune, gave me a tape
of it and I thought they were
joking,”laughs Charles. “I threw
it in the garbage! But I fell in
love with it after we started to
record it. I think we really put
our stamp on it.” Of “Jealousy,”
Eddie says: “That’s what really
made this record exciting. If
you’re not going to explore new
terrain, it’s neither challenging
nor fun. As soon as you settle
into a formula, then it’s over for
me.”
But for those who cherished
Duophonic’s brand of vintage soul
worked to perfection, there are
chestnuts aplenty on Chocolate
Milk,including the echoes of leg
endslike Percy Sledge and Curtis
Mayfield over a plaintive gospel
organ in the wide-screen ballad,
“Wounded Bird,” which Chacon
acknowledges as his favorite song
and lyricon the album. “Peach of
Mind” sounds like it could have
come out ofthe Temptations dur
ing their Norma Whitfield psy
chedelic shack-era, with some
Isaac Hayes-like wah-wah Shaft
art - music - literature - theatre
guitars percolating underneath.
Eddie looks through the eyes of
childhood innocence —one of his
favorite themes — in “Sunshine
and Happiness,” a celebration of
racial differences as well as har
mony, and the playfully sensual
“She’s So Shy.” “Dear God” and
“Little Peach of Heaven” are a
pair of aching confessionals in
spired by Eddie watching his fa
ther-in-law succumb to a long
bout with cancer and the disso
lution of his marriage, echoing
his view of triumph over life’s
hardships.
And then it’s Charles’ turn to
step out on “Smile My Way” and
“I Can’t Find the Words,” two
elemental, romantic ballads
which pay tribute to his love of
the great male groups like the
Stylistics, the Chi-Lites and the
O’Jays. “It’s the kind of music
my mom and dad used tolisten to
at their house parties,” smiles
Pettigrew. “I just remember ev
eryone slow-dancing tothat type
of music. It’s a part of me.”
“It felt like being home again,”
said Eddie. “There’sareal chem
istry between the two of us. And
it’s so rewarding when you actu
ally get in there and are remind
ed of why it works so well. But it
was also good to get away from
each other and grow asindividu
als. There were a lot of changes
that occurred between the
records and it was interesting to
see how they affected the cre
ative process. We each brought
in new elements to what was
already a good working situa
tion.”
“Being half of a partnership is
liketaking a marriage vow,” adds
Charles. “You have to stick to it
through the tough times. Be
cause when we write or sing to
gether, it’sbeautiful. Atthe same
time, we both know that we can
do it on our own, and that’s a
great feeling. There’s a real re
spect for one another.”
Concludes Eddie: “I'm really
thankful to be able to do what I
love doing. This is a classy soul
record I'd like to think is in the
tradition of the great soul concept
albums of the past. I'd love it if
people would just sit back and
listen to it from start to finish.”
Lyceum series presents a cultural
treasure at Augusta College
The love of teaching inspired
by Aristotle in a school outside of
Athens, Greece, lives on through
the annual Lyceum Series at Au
gusta College. During the course
of a Lyceum series, thought-pro
voking lectures are held and in
spiring concerts are performed.
On Tuesday, September 26,
Harvard psychologist Lynne
Layton lectures on the interplay
between gender and popular cul
ture. Her topics explore how
identity crises function on both
theindividual and societal levels
and how these crises find expres
sion in popular fiction, film, and
music. Dr. Layton speaks at 8:00
p.m. in the Grover C. Maxwell
Performing Arts Theatre on the
Augusta College campus. Ad
mission is free.
Chanticleer, the only full-time
classical a cappella ensemble in
the United States, performs Oc
tober 11, interpreting vocal liter
ature from Renaissance to vocal
jazz, and from gospel to new mu
sic. Chanticleer performsat 8:30
p-m. in the Maxwell Theatre.
Tickets for evening shows are $8
for general admission, and $6 for
special admission. Matinee tick
ets are $6 for general admission
and $4 for special admission.
The National Players is a re
markable acting company that
will perform two exciting plays,
Much Ado About Nothing and
Frankenstein. Much Ado About
Nothing is a popular
Shakespearean comedy set in
traditional Renaissance splendor
and Frankenstein is a classic
thriller that blends shuddering
horror with moments of senti
ment and insight detailing the
ill-fated experiments of young
Dr. Frankenstein. The National
Players performs Frankenstein
January 25 at 2:00 and 8:00 p.m.
Also, Much Ado About Nothing
will be performed January 26 at
2:00 and 8:00 p.m¢ as well as
January 27 at 8:00 p.m. Both
shows will be held in the Max
well Theatre.
Charles S. Finch 111 has con
ducted independent studies in
African antiquities, comparative
religion, anthropology, and an
cient science since 1971. A col
Author Stuart Woods to appear
at the Magnolia Bookshop
Internationally known author
Stuart Woods will autograph cop
ies of his new novel, Choke, on
Friday, September 29, from 1:00
- 2:00 p.m. at the Magnolia
Bookshop.
Woods, born in Manchester,
Georgia, has written over a doz
en best-selling novels 0. mystery
and suspense that have earned
him a loyal following of readers
around the world. His first nov
el, Chiefs, won the Edgar Allen
Poe Award in 1981. Subsequent
books include Under the Lake,
Grass Roots, Palindrome, New
York Dead, and Imperfect Strang
ers, published last year and due
outin paperback to coincide with
the release of Choke.
Set mainly in and around Key
West, Florida, Choke is the story
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each of the following artists?
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lection of Dr. Finch’s essays, en
titled The African Background.
to Medical Science,was published
in 1990 and is the subject of the
lecture he will be giving. Dr.
Finchspeaks February 14 at 8:00;
p.m. in the Maxwell Theatre.
Admission is free. i
Dance Through Timeis a dance
troupe that performs dances from:
every decade. Dancers in this
troupe are entertainers and his
torians, preserving and present
ing years of dance heritage. The:
company of eight dancers recre-:
ates authentic dances, using pe-;
riod costumes, music and atti
tudes to set the stage. Dance
Through Time performs Febru
ary 12 at 8:00 p.m.. in the Max-|
well Theatre. General admis-;
sionis $lO and special admission:
is SB. :
Robert Ressler, criminologist:
and expert on violent crime, com-:
bines observational and deduc-:
tive skills with modern tech
niques of forensics and psycholo-:
gyinalecturethat analyzescrim-:
inal personalities. As founder;
and past director of the FBIs:
Violent Criminal Apprehension:
Program, Ressler is an expert in;
criminal personality profiling,!
crime scene analysis, homicide, :
sexual assaults, and workplace!
violence, and brings insight into:
the patterns and motives of vio-:
lent offenders. Robert Ressler:
speaks April 23, at 8:00 p.m. in
the Maxwell Theatre. Admis
sion is free.
General public admission tick-:
ets are available in advance at the :
Office of Student Activities and '
may be purchased at the box office !
the night of the program. Stu-!
dent, faculty, and staff with a val
id Augusta College ID may re
ceive (in advance at the Office of
Student Activities) a free ticket
and a free guest ticket. Students
must accompany guests for ad
mission to the program. Students
with physical or learning disabil
ities may receive assistance by
contacting the Office for Disabili
ty Services at (706) 737-1472.
The first Lyceum Series at Au
gusta College took place in 1967,
making the 95 - ’96 the 28th
season.
of Chuck Chandler, a tennis pro
whose life becomes terribly com
plicated and dangerous when he
begins an affair with the wife of
a rich, mysterious man named
Harry Carras. Carras’ sudden
death and the police investiga
tion that follows put Chandler at
the center of a suspenseful race
to catch the Kkiller.
Stuart Woods’ autographing at
Magnolia is the second in a se
ries of literary eventsbeing spon
sored by the bookshop this fall.
Readings and signings by Harry
Crews, Dori Sanders,Mary Hood,
Patricia Sprinkle and others will
be announced later.
For more information or to re
serve a signed copy of Stuart
Woods’new book, please call 738-
5184.
1. Butch Miles
2. Victor Goines
3. Harry “Sweets” Edison
4. Ted Dunbar
5. Alvin Battise
6. Bud Powell
7. Don Byas
8. Jimmy Cleveland
9. Billy Cobham
10. Art Tatum
11. Kenny Dorham
12. Tommy Flanagan
13. Freddie Green
14. Stephane Grappelli
15. Gigi Gryce
16. Jimmy Hamilton
17. Coleman Hawkins
18. Erskine Hawkins
19. Herbie Mann
20. Oscar Pettiford
answers on page 17