The Scarlet at Black. Feb. 2. low—rage 6

Leslie Rose

Of ThOrogood, Darby and spiders

George Thorogood has come and
gone. From a perch high on the
wooden bleachers of Darby one
could satisfactorily View Grinnell
in preparation for the event.
Critics cannot deny the dramatic
significance oi spectacle and
Saturday night brought with it just
such a display

DESCRIBED AS A blues-rock
band, the Destroyers promised a
dance spectacular to open the
semester and most of white‘
Grinnell came out in full torce.l
Just to be on the safe side, the‘
masses donned all the punk garb
available, gathered no doubt from‘
vacations at home. It was a truly
admirable turnout, many iaces
glowing with that freshly wounded
look. Slim ties, blue streaks, glitter
and gauze all twinkled beneath the
gym lights. No doubt we had
George himself wishing he were
punk,

The B&G man paced the floor
nervously, his son, perhaps, a iew
paces behind him, both eyeing the
crowd. 0n the gym floor—the signs
requesu‘ng no street shbes had
been discreetly tucked behind
garbage cans.

Darby took in the masses ad-
mirably, The very structure
seemed to swell with anticipation,

 

until at last, George made his
entrance.

“WHAT’RE YALL DOlN' way
back there?" cried our hero in
black, inviting we timid Grin-
nellians out onto the dance floor
because we were “gonna boogie! ”
And we did. So did George. Boogie
on the stage, boogie on the
speakers. boogie right out there on
the dance floor.

Hit With Chuck Berry licks and
struts, Thorogood's energy nearly
rivaled that which Bruce
Springsteen managed to muster in
his appearance here several years
back, There were the requisite
number oi_midwest jokes, inspired
no doubt, by the bizarre assort-
ment of visitors that lined the foot
of the state. There they were, at his
knees bearing chains and other
implements of bodily destruction,
looking as menacing as could be.
But our boy George handled the
scene well. l wouldn't have let that
crowd touch my guitar.

Not to be plagued by such
questions too long, my thoughts
took a definite turn to the bizarre,
A scisfic movie returned to haunt
me from my childhood. Perhaps
Larry Pinder can drag up the
name for us. A giant spider found
in a cave outside town was for-

Jazz pianist Kuhn jams
in SL tomorrow night

by Steve Brull

Although he has played with the
best in jazz {or over two decades,
Steve Kuhn is a relatively unknown
jazz pianist in this country , ’

Grinnellians, however, will have
an opportunity to “get to know”
Steve Kuhn as he brings hisquartet
and Vocalist Sheila Jordan to the
South Lounge this Saturday for two
sets at 8 and 10 p.m.

Kuhn's history reads like a
“Ticket to Paradise." In high'
school he played piano in the house
rhythm section oi Boston's
Storyville Nightclub, working with
the jazzmasters of the 50's. After
graduating from Harvard he at-
tended the famed Lenox School of
Jazz, with fellow students Ornette
Coleman, Don Cherry, and Freddie
Hubbard—all respected as imr
portant innovators on their in»
struments, Then he went to New
York.

After a few months in the Big
Apple he joined John Coltrane, who

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had just left Miles Davis to form
his own group. Kuhn lasted only six
months, being replaced by a young
pianist with a dense, percussive
style, McCoy Tyner.

, ,in 1967, Kuhn tell in love with a

Swedish woman and followed his
heart and moved to Europe. On die
continent he established himself as
one of the leading contemporary
pianists lor four»aridra-half years.
Later, the love affair ended and
Kuhn returned to New York to
iorm his own group, gig, and
record.

Kuhn’s music reflects his
disparate inﬂuences, from the
Stride Style of Art Tatum to Har-
val-d, to the avantsgarde rampages
of Cecil Taylor. Often he in
corporates various styles within
one solo, beginning a musical idea
in the bebop mold, developing it in
a bossa»nova style, and resolving it
in a thunderous rage. Although
inlluenccd by man, Kuhn’s style is
his own, a blend of introspection
and action.

maldehyded to death and placed in
the only building large enough to
house him: the school gym, Tens
sion mounts We know he is not
really dead. it took only the vibrant
strains of the local rock’n roll band
to rouse the spider from its
drugged stupor. The bobby-soxers
danced unaware oi the waking
giant spider, about to burst in on
their scene with all the annoyance
oi an alcoholic slapped m the iace.
Nervously l circled the gym,
checking for tentacles. In this
atmosphere nothing could be
impossible. Reassured alter
alerting 8&6 to this possible lly-in-
thesoup, iwhy did he smile that
way?), i returned to the dance
floor and let those good blues roll
over me like a wave This, l
thought, has got to be healthy,

KDIC opeClol programming
Energy issues examined

This week KDIC will present two
programs dealing with the energy
Situation, The first, “Nuclear Show
Job," examines how the utility
companies promote nuclear at the
consumers‘ expense. The second is
a talk given by Amory Lovins, a
leading proponent oi small,
decentralized energy systems.

Friday. Feb. 2, 7 p.nr.—The
Friday Night Report with
Jeremiah Whitten.

Friday, Feb. 2. 7:30 prmriﬁﬁC
Science Magarinc.

Saturday, Feb. :l. lnidnightril
“An Anonymous
on.“ The Saturday Night

Feb. 4. 7

Sunday, 0 p.ln.7

Yacifica: “Nuclear Snow Job ”

Monday. Feb. 5, 7:20 p.m.7
NFCE: "Amory Lovins: Soft. Paths
to Energy."

Monday, Feb. 5, nridnight‘i-Tlie
Midnight Theatre with Tim Finn."
This week: Sherlock Holmes in the
“BrucesPartington Plans" and “A
Scandal in Bohemia."

Tuesday, Feb. 5, 7:20 p.m.4=olk
Festival U.S.A.: “The Bread &
Roses Benefit Part 1" with Mim|
Farina.

Wednesday, Feb. 7, 7:30-8:30
pun—Progressions with Professor
Lee Cloud,

Thursday, Feb. 3. TIM-8:3“
[imam with Professor John
Jensen.

Stellar directors shine this weekend

by Robin Radespiel

Brilliant directing rather than
acting highlights this week‘s irlms,
with work by Stanley Kubrick
l“Dr. Strangelove.” “2001: A
Space Odyssey”) Federico Fellini
t“La Dolce Vita." “La Strada"l
and Alfred Hitchcock i“Psycho,”
”Spellbound") on hand All three
men are known for their innovative
technique and emotional power.
Although the films to be shown are
not their best, they are still fine
representative works

“Paths of Glory" (1958),
Kubrick's contribution to the film
iare, is a strong attack on the
iutility ot war adapted from a
novel based upon an actual event.
The film, highly acclaimed for its
brilliant dialogue and effective
action sequences. is considered one
oi the best American iilms of the
1950‘s, Kirk Douglas stars, sup
ported by Adolphe Menjou, Ralph
Meeker, and George Macready.

The setting is the western front
during World War I. General
Mireau (Macready) orders Colonel
Dax (Douglas) to lead an attack
upon a virtually impregnable
German stronghold. When the men
iail, Mireau decides an example
must be set and discipline re
established. He selects three men
to be court-martialed, among mem
Corporal Paris (Meeker). The
remainder of the film deals with
the tragic, inescapable tate of
these men, victims of the war,

Douglas does a fine job con»
veying the frustration and anguish
of a man Caught in the absurdities
oi war. His performance here is a
pleasant change from his usual
portrayals oi Roman warriors and
military heroes

 

 

 

 

 

 

 

 

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Unfortunately, in Fellini's “The
Clowns,” (will, the director's
statement is not so clear, This
semi - autobiographical documen~
tary, made for Italian television,
explores Fellini’s feelings towards
and encounters with clowns and-
circus life. Done in cinema verite
style, Fellini, his secretary,
camerman, and soundman are
present before the camera at
various times, taking part in the
action. The film is at times great
fun to watch, but is clearly not an
example oi the director’s best
work.

The work is divided into three
sections. The first deals with
Fellini's childhood experiences
with the circus and his bad feelings
towards the clowns. This is

followed by interlﬁéws Mth‘clovtns’

whom the director terms “sur-
vivors of the age of the circus ”
The final third of the film is a true
tinalHa clown’s funeral ending in
chaos,

“The Clowns" is full of laughter,
love, but, untortunately, an
abundance of sentimentality.
Although Fellini does explore the

 

interrelationship between theatre,
and iantasy, his pretentious ap
proach detracts from the film's
impact.

Rounding out the film calendar is
“The Thirtyste Steps” (1955), an
Alfred Hitchcock suspense thriller.
It is the first in a series of Hit-
chcockiilmsio be shown this
semester. It stars Robert Donat as
the‘typical‘ Hitchc
who must clear,” i
false accusation, in
murder charge,

In doing so, Donat breaks up a
spy ring, ialls in love, and comes to
terms with his own identity, all in
splended Hitchcock iashion. If you
didn't catch the film Thursday
night, make sure you do tonight.

In addition to the regular film
program“ and in conjunction with
Slavic Weekend, the Committee on
Russian and Eastern European
Studies is sponsoring the showing
of “The White Steamship,” a
highly praised Soviet film based on
the naval by Chinghiz Altmatov.
The film will be Shown Wednesday
evening.

 

 

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