arts Stars sing out against South Africa's system of apartheid By RICH DE ATLEY Associated Press Writer LOS ANGELES Bruce Springsteen will join his former E Street Band guitarist Steve Van Zandt and at least three dozen other artists in an anti-apartheid record titled “Sun City,” due for release in early October. J Apartheid is. South Africa’s official policy of racial segregation, which permits the white minority to rule the black majority. The record will be distributed by Manhattan Records, with profits turned over to the New York City based-Africa Fund, a non-profit, tax exempt organization founded in 1966 by the American Committee on Afri ca. “Just as many of us sang out on behalf of victims of Africa’s famine, we are singing out also for those hungry for freedom,” Van Zandt said in a recent statement. Van Zandt wrote “Sun City” after a month long tour of South Africa to collect materi al for an album. Africa Fund spokesman Paul Irish said Monday in a telephone interview that the organization “is a means for Americans to support the African struggle for freedom and indepen dence.” The performers, collectively titled Artists United Against Apartheid, are an eclectic gathering including Pat Benatar, Miles Davis, Lou Reed, Ed die Kendricks, David Ruffin, Jackson Browne, Kurtis Blow, Jimmy Cliff, Bonnie Raijt, Bobby Womack, Nona Hendryx, Peter Garrett, and Bono from U 2. Random Classic music of many By PAT GRANDJEAN Collegian Arts Writer Random Draw is not just an acous tic folk band. It's also not just a jazz, pop, rock or blues band. Because it is impossible to categorize, it holds po tential for greatness. Because it is impossible to categorize, there is also the potential for a lot of problems. ‘I like to make people scream. You can do that by hitting people hard with something musical and really exciting them, or you can be flashy, do the WfTV thing. That doesn’t have a lot of depth to it.’ —Scott McPherson, Random Draw spokesman Face it in these days when music is more a form of commerce than art, familiarity breeds sales rather than contempt, and when we have MTV and hits radio to tell us what sells, who wants to see a band that can't be pigeonholed? (Answer: Only those who like to shake up their brains as much as they do their bottoms.) Random Draw performs music that unifies not only different “genres” but instruments, voices and decades as well. In the course of an evening’s set, it’s not unusual to hear the band move from Motown classics like Mar vin Gaye’s “How Sweet It Is” and “I Heard it Through the Grapevine” to a Bonnie Raitt-styled version of “Run away” to the Talking Heads’ “Life During Wartime” and Bing Crosby’s Depression-era theme song, “Buddy, Can You Spare a Dime?” - Along the way, the musicians also manage to work in Joni Mitchell (“Big Yellow Taxi”), Bruce Cock burn (“If I Had a Rocket Launch er”), Ray Charles (“Hit the Road, Jack”), Little Feat (“Dixie Chick en”), the Grateful Dead (“Turn On Your Lovelight”), Bill Withers (“Ain’t No Sunshine”) and Bob Dylan Bruce Springsteen Unlike the USA for Africa record ing session, where the artists came together for one taping, “Sun City” is being recorded by participating art ists at various sessions in Los An geles, New York and London. Manhattan will put out a seven-inch single and a 12-inch extended play record, which will feature four ver sions of the song, including the star studded version, a rap version with Blow and Melle Mel, an instrumental version, and a spoken : word version interspersed with taped speeches from jailed anti-apartheid leader Nel son Mandela and Bishop Desmond Tutu. “It is important to stress that Art ists United Against Apartheid really see this as an consciousness-raising effort, even more than a fund-raising effort,” said Irish. Characteristics of the songdiave not been disclosed but one verse was reported to go like this: “We’re rockers and rappers united and strong. We’re here to talk about South Africa. And we don’t like what’s going on.” The Africa Fund is registered with the United Nations as a non-political organization. Irish said the funds will be divided into three parts, with one third to aid freeing political prisoners in South. Africa, one third for refugees of apartheid in Africa and one third for anti-apartheid education in the United States. “Sun City” is named after the con troversial, Las Vegas-like resort in Bophuthatswana, an integrated homeland, or segregated community, set aside for blacks. Draw: (“Like A Rolling Stone”). Originals crop up from time to time, as do other reworkings of standard blues (“Sum mertime”), folk (“If I Had a Ham mer”) and pop (‘‘Over the Rainbow”). The covers don’t sound slavishly faithful to the original versions but are treated as though they are a part of the band’s own repertoire. Random Draw is a big band with great flexibil ity: it boasts no fewer than four very distinctive lead vocalists and a broad based instrumental array that incor porates lead electric and acoustic guitars, bass guitar, saxophone and woodwind instruments, drums and a whole other smorgasbord of percus sive tools (including the conga drums). One might fear that such a line-up might lead to cacophony, but the band members have a convincing grip on their interrelationships and how to keep their sound in balance. This is not to suggest that Random Draw ever sounds cautious. In fact, the great thing about them is the way they can expand and contract their sound at will, almost like a rubber band that gets stretched dangerously close to its limits without ever snap ping. Vocal performances may range from subdued to raucous (“Life After Wartime” buries all the competi tion). No song may ever sound exact ly the same twice, but the listener always knows that the band is in control. Band guitarist/lead vocalist Scott McPherson said the challenge in the spotlight Altman takes pride in his artistry Arts Editor’s Note: Though Spot light has often been used to show case the talents of local musicians, the Collegian is expanding this col umn to encompass area artistic endeavor in all fields. By JOAN MORYKIN Collegian Arts Writer At first glance, his wiry beard gives him a gruff appearance, but after a few moments, that impres sion is belied by a gentle smile accompanied by his bright and fo cused eyes. Harold Altman is a world reknowned artist and the hallmark of hik unique etchings and lithographs are various park scenes from around the world. Altman’s rise in the artistic world came in 1956. While teaching at the University of NortK Carolina, he submitted a few of his “doodles” to a competition sponsored by the Mu seum of Modern Art in New York. There were about 5,000 drawings submitted, and from those, the mu seum chose 100. One of Altman’s drawings was included. “When I went to New York and saw the exhibition, there was a red dot on it indicating that a sale had been made. When I went to inquire as to who had bought it, I discovered that the museum had purchased it for its permanent col lection,” Altman said. That stimulated Altman to bring a.group of drawings to New York and show them to a few art galleries the reactions were very good. He then had a show at the Martha Jackson Gallery, and received ex cellent reviews accompanied by good sales. The following year Alt man did another show in another gallery, and once again received great reviews this time in the form of a 120-line review in the New York Times. Altman said that he finally be came interested in printmaking during the summer of 1958 when he was at the University of Wisconsin. There was an empty print room, so he bought a “how-to” book and was soon creating prints which once again received favorable reactions. Harold Altman eventually started teaching art at the University in 1962, and took an early retirement in 1975. “One of the things that perhaps is unique about my work is that most artists do not remain in one subject area. I’ve deliberately limited my subject to parks,” Altman said. He added that he thinks it’s a'difficult styles is united in group's spirited performances future will be for the group to contin ue to explore its outer limits while remaining accessible to a local audi ence. “We’re real new at this,” he said. “We’re gonna keep experimenting and finding different ways to do cra zier things. There are a lot of good songs out there, and there’s no reason they shouldn’t be played just because new wave or disco is popular. It’s better to try to introduce the whole spectrum of pop music to public con sciousness.” Solos and “jams” are a big part of the group’s risk-taking. Songs often flow into each other by way of an instrumental bridge that seems to lead the listener down the yellow brick road without a tour guide. Dur ing these moments, one is keenly aware of just how each band instru mentalist tries to push the others. These jams are less exercises in self indulgence than they are a vehicle to keep the audience off-balance but not too far off-balance. Still, it’s hard to imagine any other band that could manage a non-stop transition from “Ain’t No Sunshine” to “Not Fade Away” to “Rocket Launcher” with the aplomb these folks exhibit. McPherson feels that, “Stringing songs is fun for musicians. We like finding ways of switching tempos and keys it keeps the energy flowing in a way that stopping-and-starting songs doesn’t. And its nice to surprise people.” He also believes that an overemphasis on soloing and jam ming can lead to trouble. “It’s fun to stretch out, but you don’t want to lose your audience. They might not toler ate a band that’s too loose.” The right combination of control and experi mentation “gives you a chance to catch people’s ears more. We’d like people to have as good a time with us as they do with other bands, but we’d also like them to listen more closely.” He’s well aware what the individual Harold Altman kneels beside one of his recent works. This Lemont resident recently received the prestigious silver medal of the Villa de Paris from the mayor of Paris. The former University professor’s works are now on display at the Douglas Albert Gallery. thing to do because when one works in an area for 25-28 years, there is a tendency for repetition. He feels that each year his work has been totally different. Altman resides and works in Lemont. His studio is an airy, high ceilinged, 19th century Methodist church which he acquired in 1968. It is perhaps this quiet country atmo sphere which eventually inspired Altman to work with park scenes. ‘But Central Park is almost nature itself, individuals react to —Harold Altman, artist “(Park scenes) fully began to intrigue me in 1962, perhaps being in a country environment, and yet not wanting to do landscapes, I began to place a figure in nature,” Altman explained. His etchings and lithographs are abundant with trees: trees existing in parks, journeying through the (Left to right) Ned Gerhart, Ed Nardl, Bill Stetz, Rene Campbell, Jeff Bennett and Scott McPherson compose Random Draw, looking mean during a' performance at the Brewery. The band features elements of Jazz, folk and blues in its musical mixture. In the course of an evening’s set, it’s not unusual to hear the band move from Motown classics like Marvin Gaye’s “How Sweet it Is” and “I Heard It Through the Grapevine” to a Bonnie Raitt-styled version of “Runaway” to the Talking Heads’ “Life During Wartime” and Bing Crosby’s Depression-era theme song, “Buddy, Can You Spare a Dime?” band members contribute to the over all sound. He praised acoustic guita rist/vocalist Rene Campbell, a rookie to the instrument and the bar grind, for the speed with which she’s devel oped her skills. Percussionist and vocalist Jeff Bennett is the most audience-conscious of the group, while drummer Ed Nardi (a percus sion major at the University and the band’s expert on polyrhythmic strat egies) and bassist Bill Stetz help create ever more progressive music. Ned Gerhart, who is a welcome talent on the saxophone, helps bring some elements of modern jazz into Random Draw. Future plans include the incor- various seasons of the year and spiced with human figures. The majority of Altman’s works for 1985 are of Central Park in New York City, which Altman says has a special quality, quite different from the formal European. parks. He explained that European parks do not co-act with nature, the paths are not meant to be strayed from and people don’t picnic in the parks and play games. “But Central Park is almost na ture itself, individuals react to it.. . it’s like the city’s personal garden, it’s a strange garden,” Alt man added. With Altman’s works, each image is placed to create subtle forces. Trees are angled and flattened to direct forces. Walkways, paths and plots of grass are also specifically positioned to create a harmony of forces moving in various directions, yet balancing each other. George Mauner, the art historian, has said of Altman,“The park is the only bit of nature readily available to the city dweller. It offers neither the rich awesomeness of the wilder ness nor the perpetual ease of the suburbs, but only a temporary, poration of bass clarinet, flute, trum- Monday nights and the Brewery on pet and possibly even sitar and Fridays. marimba; which would allow for the McPherson and his cohorts seem expansion of their repertoire. unlikely to rim out of steam anytime The members of Random Draw soon, and its the emotional reaction would also like to expand their perfor- that they try to elicit from their mance circuit. They are hoping to audiences that will keep them going, play at West Virginia University and “I like to make people scream,” he North Carolina State in November, insisted. “You can do that by hitting and McPherson is working on adding people hard with something musical stops at Pittsburgh and Philadelphia and really exciting them, or you can to the trip. “This is a college oriented be flashy, do the MTV thing. That band,” he noted. “People at the cam- doesn’t have a lot of depth to it. But puses are into more innovative mu- it’s great if the whole band can get so sic, rather than the same old shit.” In hot it makes people scream. If you’re State College, the band makes regu- exciting yourself and you’re happy, it lar appearances at the Scorpion on makes others happy.” The Daily Collegian Friday, Sept. 13, 1985 Collegian Photo / Scott Wllkeraon pleasant release from the tensions of the immediate surroundings. Harold Altman, the urban artist, has found in the city park the ideal setting for the discreet, internal dramas that constitute his art. His figures move along the paths of their Eden in short-lived respites from their other, more demanding lives.” As an artist, Altman’s life has been rewarded with much recogni tion for his work. His work can be found in many museum collections throughout the world, and he has received many grants, fellowships, and awards. This year in France, the mayor of Paris presented Alt man with the prestigious silver medal of the Ville de Paris. He spends the winter months at his studio in Paris. However, one of Altman’s great est rewards is his 23-month-old daughter, Jessie Beers/Altman, who appears to have inherited some of his artistic talents and whom he has included in several of his works. Altman recalled that he and his father used to draw together when he was a child, and he seems to be upholding the tradition. Furst's art is impressive while Bushman's work suffers from a basic lack of intrigue By ELIZABETH A. FRANK Collegian Arts Writer Outside In, the current show at Chambers Gallery, features prints and drawings of interiors by Donald Furst and portrait lithographs by D. F. Bushman. Furst’s work, which investigates space and form, is Furst is skillful at taking subjects that often turn into more appealing than the caricature portraits of wild, c ii c hes or “S and H Green Stamp Living Room Art” and punk and rock women that dominate Bushman's draw- depicting them sensitively. His subject matter and man ings and prints. ner of articulation attract the viewer. He expresses subtle “My paintings and prints are an attempt to express the emotions in his work that give it depth. The viewer walks mystery present in the mundane. I’m fascinated by light away with a feeling, a memory, that keeps a piece in mind and shadow, interior and exterior, calm dignity and sly j on g a ft er having seen it. humor, the known and the unknown,” Furst said in an _ . . , . . , . . _ nr*ici’« ctntempnt Bushman’s prints consist of overlapping, unclean His color landscape intaglios, Landscape V, Landscape str ° kes thatare appropriate to his subject matter, but the VI, and Numen II are particularly lovely Delicate wisps quality of his portrait canca ures have no lasting of trees in brownish grey cover a field in Landscape V, ** viewar - Bushman’s titles te it all. and violet brown trees on a hillside are featured in , Lucr f ? 7 S ,l X ’ Drugs “C*? 0 ? 'LTSa Landscape VI. Both landscapes suggest a barren and ° f f rock ’n’roll woman who looks st e reot y p,cally strung haunted, yet emotionally moving, sense of winter. Qui- oat ° n sex - dru S s and and r Oll has beads and etude is a winterscape in black and white that exudes a ather t ornaments around her neck, wild frizzy hair and a sense of peace. A dark background of trees on snowy heart drawn on her face ground surrounds a house set in the woods. Numen II is a The titles are over-descriptive: Angie Vagrant in the study of trees on a slope in spring green and white. - East Lane, Debbie— Enigma of Decadence, Rita Di. The tree motif used for all of these prints allows the Sultry Exhibitionism and Felice Absence of Morality witness to experience several viewpoints on the same leave nothing to the imagination. The tough mama, subject. By grouping the prints together the viewer gets “bad” woman stereotype predominates, different perspectives on similar landscapes. Although His other prints feature displays of gourmet or fancy each print is complete in itself the four prints complement foods and elegant place settings. Pike Pate Dubonnet and each other and enrich the experience of the viewer. Dom Perignon, Caviar are two examples. Plates, silver- Exploring bedroom interiors through mirrors on old- ware, wine glasses and wine bottles and pike, pate or fashioned bureaus is the subject of two prints. Looking caviar are more aesthetic subjects. But that is not carefully at the mirror in “Confluence” reveals a nude enough. While more interesting than the portraits of the man by the side of a bed. A pair of hands belonging to a women, they are not particularly intriguing. The viewer body under the covers is clutching the sheets. does not feel compelled to take a second look. The shallow “Pendant” shows the inside of a room reflected in the quality of subject matter in Bushman’s work leaves the semi-circle of a mirror on a rectangular bureau. The the viewer feeling empty. Children are selective in TV By LAURA WILKINSON Associated Press Writer AMHERST, Mass. A psycholo gist who has watched 2,000 people view television says that contrary to popular wisdom, it is adults,' not children, who sit motionless for hours in front of the tube. “We simply almost never saw a child mesmerized by the television as the popular literature claims,” said Daniel R. Anderson, a consultant for Sesame Street, a long-running public television children’s program. Parents, accustomed to seeing ac tive children with short attention spans, can recall only the moments they see their youngsters transfixed before the television, he said. “Parents always grossly overesti mate the amount of time children AUDITION WORKSHOP SPONSORED BY THE PENN STATE THESPIANS EVERYONE WELCOME! Sunday, September 15 2:00 pm 118 Theatre Arts Bldg. In conjunction with auditions for the Thespians’ Fall production PIPPIN (Auditions: Sept. 22/23 Watch Campus for details.) * • * THE CAMERA SHOP Reprint Special 6 Reprints for 3 Copy Prints for 3 Prints from slides for 311 W. Beaver Ave. 237-5326 4- * ★★★★★★★★★★★★★★★★★★★★★★**★★★*****★***** different shapes of a couch, window and door create interesting geometrical lines. Looking closely through a “keyhole” in the miniature print, “Night Vision,” the viewer the observes a couple on the bed, embracing. The viewer gets a sense of love and affection between the people in the scene. spend watching TV ... ” said Ander son, a University of Massachusetts professor who uses videotapes to stu dy television-watching. Children will look away from a TV set an average of 150 times an hour, compared with 120 times an hour for adults, his studies have shown. While children sit in front of the TV, they constantly turn away to play with toys, quarrel with siblings, talk to parents and leave the room for more interesting play, he said. Anderson, 40, who has devoted 15 years to studying the development of children’s attention spans and learn ing abilities, said a student’s question years ago made him doubt his own assumptions about the viewing habits of children. “I said that as children get older, they get less distractable," Anderson said. “A student asked the question, ‘lf young children are more distracta ble than older children, why do they just sit and stare at TV, not being very distracted?”’ Anderson couldn’t find any studies that would answer the question. “The paradox in all of the psycho logical literature on development during the pre-school years is that children are quite intellectually ac tive and are eager to learn and are in control of their learning experi ences,” Anderson said. After discovering that children are selective in what they watch, Ander son found that children are most apt to turn their backs on nonsensical speech, big words and scenes they can’t easily follow. Anderson was hired by Children’s Television Workshop in New York to 994 994 994 Top hits listed The following are Billboard’s hot record hits as they appear in next week’s issue of Billboard magazine. Copyright 1985, Billboard Publica tions, Inc. Reprinted with permis sion. HOT SINGLES I.“ Money For Nothing” Dire Straits (Warner Bros.) 2. Kool & The Gang (De- Lite) 3. “St. Elmo’s Fire” John Parr (At lantic) 4. Don’t Need Another Hero” Tina Turner (Capitol) 5. Lose My Number” Phil Collins (Atlantic) 6. Wham! (Columbia) 7. Life” Prince & The Revolu tion (Paisley Park) 8. Power of Love” Huey Lewis & The News (Chrysalis) 9. Sheila” Ready for the World (MCA) 10. You Up” Madonna (Sire) 11. “Dare Me” The Pointer Sisters (RCA) 12. “Invincible” Pat Benatar (Chrysalis) 13.“ Take On Me” A-lla (Warner Bros.) 14. All My Love For You” Whitney Houston (Arista) 15. 01’ Night” John Cougar Mellencamp (Riva) 16. of Love” Aretha Franklin (Arista) 17.“ Dancing in the Street” Mick Jagger & David Bowie (EMI-Ameri ca) viewing help improve shows, such as Sesame Street. Edward L. Palmer, vice president and senior-research fellow at Chil dren’s Television Workshop, said An derson produced a video documentary showing children watching segments from the pro gram and trying to recreate the scenes with toys. The tape taught the workshop’s researchers lessons about which de vices attracted and which distracted three- to five-year-old viewers, Palm er said. "Part of what rivets children’s attention is the intelligibility of what they are watching," Palmer said. “Children are attracted by what they can understand. 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