arts
At Bucknell, Ramones stay tough
By ALLEN LEE VAY
Collegian Arts Writer
Over the last few years punk rock
seems to have lost a lot of the momen
tum, style and loyal fans that it used
to have. Many bands have gone by the
wayside in their search for success
while others have just mellowed out
to suit the public, giving in to fads,
disco and hateful critics. While there
are those who have made concessions
to mass taste, The Ramones have
been grinding away their own hard
core style for 12 years and are still
going strong. The Ramones gave an
incredibly intense and loud perfor
mance this weekend as they per
formed Saturday night for about 700
loyal fans at Bucknell University.
The show began with an hour per
formance by a Connecticut band
known as The Reducers, who played
some unknown original tunes to an
unresponsive but polite crowd. Many
became impatient as they continued,
however, and soon the recognizable
chanting of “Hey-Ho, let’s go!” be
gan to rise up from the fans on the
floor as they anticipated the arrival
of the Ramones. With a brief inter
mission, the lights of Davis Gymnasi
um went down and a booming
recording of The Good, The Bad, and
the Ugly piped through the amplifiers
while smoke and purple lights enve
loped the stage.
The Ramones opened their act with
a slightly longer version of Teenage
Lobotomy, which they bellowed out at
about 114 decibels, much to the de
light of the mob in front of the stage,
members of which immediately be
gan to thrash about and slam dance.
Following Joey Ramone’s mumbled
greeting to Pennsylvania the band
flayed several of their better known
songs such as Blitzkrieg Bop, I Wan
na Be Sedated, and Rockaway Beach.
Many of the tunes that the band
played seemed, to be performed for
Two Ramones lead singer Joey (at left) and drummer Marky showed off
their elegant style in Bucknell’s Davis Gym on Saturday night.
'Big Joe' Turner dies at 74; wrote 'Shake, Rattle and Roll'
INGLEWOOD, Calif. (AP) - “Big
Joe” Turner, the blues singer who
popularized “Shake, Rattle and
Roll,” “Sweet Sixteen,” and other
songs now identified with early rock
’n’ roll, died Sunday. He was 74.
Turner died at Daniel Freeman
Memorial Hospital of kidney failure
as a complication of diabetes, said his
wife, Patricia.
Turner, “a blues shouter in the
noble Kansas City urban blues tradi
tion,” suffered from diabetes and
heart trouble, said music historian
Leonard Feather.
The Kansas City, Mo., native at
tracted a following after appearing in
Vignettes show opera's lighter side
By ELENA BATES
Collegian Arts Writer
For those who believe that a pair of opera
glasses and a thorough knowledge of Italian are
necessary to enjoy an opera, the University Opera
Workshop proved them wrong with a thoroughly
delightful performance last Tuesday night in the
Music Building Recital Hall. The group also gave a
repeat performance last Thursday night.
The program consisted of six scenes performed
by University students. Particularly helpful for
the novice opera goer were the program notes,
which explained each scene and the fact that the
pieces were sung in English.
The first half of the program consisted of scenes
from Humperdinck’s Hansel and Gretel, Donizet
ti’s The Elixir of Love, Monteverdi’s The Coro
nation of Poppaea, and Gilbert and Sullivan’s The
Gondoliers. Sharon Benner and Maedean Weaver,
the performers in Hansel and Gretel, presented a
cute portrayal of a brother and sister trying to get
out of their chores. The two actresses’ voices
complemented each other as they alternately
quarreled and played in their duet.
As Dulcamara in The Elixir of Love, Mark
Hensel got widespread laughter for his humorous
portrayal of the quack doctor. This duet displayed
his and Russell Wynn’s (Nemorino) well-rounded
purposes of nostalgia, as most selec
tions were from its older
albums Leave Home and Rocket to
Russia, with less emphasis on its
recent Too Tough To Die LP. Al
though the songs, for the most part,
were recognizable, many were
played too loud for the crowd to
differentiate the lyrics sung by Joey
Ramone from those by backup vocal
ist and bassist Dee Dee Ramone.
The band continued through their
assault on the ears for about an hour
and a half, taking breaks only twice
during the performance; the remain
ing time was split apart only by the
trademark screaming of “1-2-3-4!”
between songs. Guitarist Johnny Ra
mone climbed repeatedly atop a
small amplifier, looking up to the
crowd only occasionally as he gri
maced and sneered through the set.
With his body curled in the shape of a
pale “S”, Johnny played thousands of
three cord downstrokes.
Obviously the band was tired as it
closed the show. Joey Ramone, who
had begun the show with small foot
shuffles and energetic yells, was now
listlessly playing with the micro
phone wire and staring at the floor.
His thin body towered over the stage,
and when the last song was over, he
dropped the mike stand and blankly
walked off stage, while Dee Dee Ra
mone shook a few hands before saun
tering off. In total the performance
was exceptional for the Ramones,
who have been on the road almost
every year for the last ten years. The
band played its best for the crowd,
giving them their trademark version
of rock ’n’ roll loud and clear. The
responsive audience showed its ap
preciation to a band who has re
mained a mainstay of the original
style of punk rock.
As far as the Ramones themselves
are concerned, they are the only real
rock ’n’ roll band still performing
today. In the dressing room before
the 1938 “From Spirituals to Swing”
concert at Carnegie Hall in New
York;
“He was one of the indirect proge
nitors of rock ’n’ roll” because he was
the first to perform and make popular
songs later taken up by Bill Haley and
His Comets and others,, Feather said.
Among those songs, all written by
others but performed by Turner,
were "Shake, Rattle and Roll,”
“Sweet Sixteen,” “Chains of Love,”
and “Corina, Corina.”
Turner had said he was not upset
that others enjoyed more success
than he did. with the songs.
“He did a pretty good job with it,”
voices. Corey Snyder, as Adina, had a very strong
voice that projected well.
The lighter side of falling in love was protrayed
by Thomas Heaney and Patricia Ryan, who played
the two servants in The Coronation of Poppaea.
This humorous and sweet scene was blemished by
Ryan’s lack of breath control.
The Gondoliers’ domestic scene of the two hus
bands and two wives trying to sort out their
problems was portrayed nicely. Unfortunately,
three performers’ voices (William Buchanan, Ke
vin Warner and Nancy Winkelblech) sounded as if
they were dampened to make up for Tessa (played
by Catherine Barnes), who could barely be heard.
Such efforts also seemed to lead to a downplay of
the usually spirited Gilbert and Sullivan gestures.
The second half of the program consisted of
scenes from Gluck’s Orpheus and Euridice and
Strauss’ Die Fledermaus. One aria from Orpheus
and Euridice was the only program piece sung in
Italian which was translated in the program
notes. It was also the only dramatic scene in the
program. While the performance was moving,
Patty Goodwin as Orpheus had trouble giving
strength to her voice until the end.
Die Fledermaus seemed to be the favorite with
the audience, receiving the most laughter and
viewer participation of the evening. Here, The
the concert, Joey Ramone smoked a
cigarette and ate peanuts while
looking for his leather jacket. “Back
in the middle 1970 s everybody was
forgetting how to play basic fun rock
and roll I think they were forget
ting'what it was all about. There were
too many trends in those days,” Joey
Ramone said before the show. “We
stuck to our guns, so to speak, and
toured our asses off, and as far as I
can tell we re-revolutionized the
American rock and roll band.”
The Ramones feel that their influ
ence also helped to create and aid the
revitalization of many other bands.
“Right after we started, everyone
started to copy our sound,” Dee Dee
Ramone said. “We were the pioneers
at that time because we were distinct
and we had something to say. People
really hooked on to that.”
The fundamental success of the
Ramones has been that refuse to be
put down, by the public or by the
critics, neither of which they seem to
be having many problems with. Joey
Ramone feels that their rise has only
just begun. “Right now we’re hotter
than we’ve ever been, and then we
should do even better after our new
album comes out, but I’m not sure
when that will be.” (The singer
guessed the album could be out by
this February.)
Since their humble beginnings with
second-hand guitars at the New York
Bowery night club CBGB’s, the Ra
mones set out to prove that they were
Turner said in 1983 of Haley’s version
of “Shake, Rattle and Roll.” “He
gave a lot of spark to it. But nobobdy
can sing it like me.”
As a teen-ager in Kansas City,
Turner once said, he would disguise
himself with his father’s hat and long
pants, draw on a mustache, and
sneak into jazz clubs.
He began making a name for him
self in New York clubs in the late
19305, with the help of John Ham
mond, organizer of the Carnegie Hall
concert, Feather said. Turner devel
oped a wide following among black
audiences during a renaissance of the
blues in the 1940 s and 19505.
Ramone
Dee Dee
for real With every new album, in
cluding their latest Too Tough To Die,
the Ramones are on tour non-stop,
more than eager to play any time,
anywhere. The fans are what they
enjoy, and that’s the reason that they
are as relentless as they are, drawing
appeal from every type of crowd with
every type of taste. “We play to the
liveliest and sickest crowds of any
body,” Johnny Ramone said smiling,
as if proud to be able to say that. For
the Ramones, the road is their home,
and they don’t seem to mind at all.
Success for the Ramones has been
hard in coming and they have worked
hard for it. Relating themselves to
other bands is something they don’t
often do, namely because they don’t
care. “Right now there are a lot of
bands out there that claim to be doing
something worthwhile, to be making
a statement, but I don’t know if that’s
all too true. I don’t like to rate other
bands against the Ramones because
that isn’t important,” Joey Ramone
emphasized. “People are always say
ing ‘what about the Clash, etc., ’ and I
really don’t give a shit.”
The band will continue to play
however they want to, despite trends
and opinion. Fans will continue to
love them as was apparent in the
group’s performance at Bucknell.
For Joey Ramone, they’re going to
continue to have a good time as long
as they can. “We’re just going to keep
having a blast, and struggle not to
ever have to compromise our music,
because that would suck.”
Among the hundreds of recordings
he made v during that period was a
series of six sessions in 1941 with
pianist Art Tatum.
Turner, who moved to Los Angeles
in the 19605, continued to perform at
clubs and at blues festivals until his
final hospitalization, and had a fol
lowing on college campuses, said
Mrs. Turner.
“He sang ‘Shake, Rattle and Roll’
for me from his hospital bed a little
more than a week ago,” slie said. “He
sang it word for word.”
Turner’s last recording was Patchit
Patchit, an album with singer Jimmy
Witherspoon released this year.
Gondoliers' Buchanan and Warner demonstrated
that they had great voices, as did Jane Brockman,
Anne Molloy and David Travis. This scene was one
of the most memorable of the night.
Each scene included piano music that comple
mented the performers’ voices. The accomplished
accompianists included: Andrew Hutchings, Ker
ry Ruff and Dorothy Stevens. Jane Brockman, the
only undergraduate director of a scene, set up The
Coronation of Poppaea.
Although there were a few weak spots, the show
as a whole was terrific; the fact that all the
performers were amateurs made the show all the
more enjoyable.
The program was the culmination of a semester
of opera workshops. The course, which i§ directed
by Dr. Hugh Givens, focuses on all facets of
performance, including stage movement, inter
pretation of character, character development,
directing and costume and set design. A public
performance is the class’ final examination. Give
ns works with the students and tries to find roles
that fit the individuals’ experiences. After the
roles are assigned, the students research their
characters.
This is the workshop’s first semester, and Give
ns will be offering another one next semester. Any
interested University student is invited to sign up.
Reverie gives novice
an appreciation of jazz
with danceable rhythms
By ANN SKOMRA
Collegian Arts Writer
Everyone in Happy Valley
knows what a gray, rainy day can
do to your mood, especially if it’s
only seven days until Thanksgiv
ing. Well I was having one of those
mindlessly depressing days when
my editor called, asking me to
review a jazz concert. Figuring
that reporters don’t always get
Pulitzer Prize-winning material, I
played the martyr and accepted
the assignment.
Born and raised in a small coal
mining town, I believed that jazz
only had three styles: the South’s
Dixieland, the late ‘6os jazz that
was played while sitting around a
bong, and the theme song from
Moonlighting. However, I figured
I did have enough of a musical
education on which to rely in deal
ing with the story. Besides, at this
point, how could I be biased to
wards my subject?
As I walked in to the nearly
filled ground floor of Schwab Audi
torium, I wondered what I was
doing there, but I relaxed as I
heard a couple comment that they
were attending because it was
strongly “recommended” by their
music appreciation class. I fig
ured that my limited jazz educa
tion wouldn’t be noticed.
Taking my seat, I viewed the
small, darkened stage skeptically.
Drums, keyboard, tenor and alto
saxophone were all crowded into
the center of the stage. Off to the
left was KORG, a remote control
keyboard that looked like the de
scendent of a guitar and an
accordian. Where were the trum
pets and red lights, the fat sweaty
men playing their hearts out with
a mute clutched in their hands?
Amplifiers and electronic
ups were everywhere. But as the 7
members of the ensemble took
their places onstage during the
opening song, I had a sneaky sus
picion that the four man band,
Reverie, was going to astound the
unsuspecting audience, not to
mention destroy my naive beliefs
concerning jazz.
To say the Philadelphia-based
band was unpretentious is an un
derstatement. Ranging in looks
from a pudgy Mitch Miller clone to
a tall Jeffrey Osborne, the ensem
ble’s offbeat style wasn’t apparent
until the bass guitarist and only
spokesman for the group, Gerald
Veasley, began to talk. Pointing
out Mark Knox on keyboard, Jim
Miller on drums and E. J. Yeller on
saxophones, Veasley finished by
introducing himself as Steven Ray
Vaughn. This very affable and
humorous man soon had the audi
ence members under his control,
The Daily Collegian
Monday, Nov. 25, 1985
while the rest of the band had
them tapping their toes. Heasley’s
song “Hummingbird,” written in
tribute to his uncle’s gospel group,
was very light and carefree. Dur
ing its performance there wasn’t a
still arm or leg in the place.
The band’s new album is Reve
rie in Concert, and it was plugged
throughout the show. Feigning
sympathy towards the economic
situation of college students, Veas
ley encouraged the audience to
spend their money “on something
that will last, an album.”
Fortunately, the smooth style of
the band wasn’t just verbal. Each
member of the group was a profes
sional in his own right. Admittedly
my experience with tenor and alto
saxophones is limited to dating a
couple of guys in my high school
band, however, I was amazed by
the strength of each song and the
smoothness with which each tem
po was changed. In regard to the
fluidity of the music, one song,
“Sunday Morning Sweat,” stands
out in particular. Written in re
sponse to a Sunday morning visit
to a Baptist church, the song ini
tially sounded like the “good ol’
jazz” that I was originally expect
ing to hear slow and driving and
yet relaxing. However, never a
band to lull the audience into a
false sense of security, Reverie
soon had us energized by the beat
after abruptly changing tempos
with an inspirational drum and
keyboard duet. Switching to a re
sounding drum and saxophone
duet, the tempo built until the
audience answered with rounds of
applause, but once again Reverie
switched moods and finished the
song with a warm slow-moving
melody.
By this time I was totally beside
myself with enjoyment and worry.
The mood- brightening music
made me believe that I would not
only make it to the end of the
semester, but I would also pass
my.math course. But in the mean
time, how would I ever describe
the enjoyment that this small un
assuming group gave the audi
ence? Troubles were forgotten for
two hours, and the bonding of the
listeners, through their over
whelming appreciation of this
band’s talents, gave me a sense of
euphoria that I have yet to experi
ence at a large, screaming, pop
rock concert.
On my next mindlessly depres
sing day I think I will take Gerald
Veasley’s advice and scrape up
the money to buy Reverie in Con
cert. The hours of contentment
that the album will provide will far
outlast the “beverages” toward
which the money would have
otherwise gone. .
Second City shines in improvisational scenes
By DIANE D. DIPIERO
Collegian Arts Writer
In this atmosphere of mental burn
out, post-summer depression and pre
final anxiety, a sense of humor is
paramount for survival. If you’ve
made futile attempts at self-induced
laughter, you’ve often had to have
someone else make you chuckle.
There was no better time to get a dose
of laughter than last Thursday in
Eisenhower Auditorium.
“You’re the best audience we’ve
had . . .today,” a member of the Sec
ond City Comedy Company told the
audience in the Student Foundation
for the Performing Arts-sponsored
event. If all of the troupe’s audiences
have been as receptive and apprecia
tive as the one here, the members
must be walking around with inflated
egos. A standing ovation and cries for
encores filled the auditorium after
almost two hours of diverse comedy
entertainment.
■ Second City hit the funny bone with
nonsensical antics and thought-pro
voking skits all in one sitting. The
entertainers’ talents stretched be
yond comedy singing, dancing and
acting abilities were also displayed
during their show.
The comedy took many forms.
There was patriotism: the group
Dickens'
Cricket, in the form of a human narrator, to the cast of 15.
“Cricket is a symbolic character who embodies love,
acceptance, forgiveness, and conscience. To get these
Feel as if the the holidays are a time for traditional ideas into the play you have to make a character,” Lowell
entertainment? For something a little different, look into said, adding, “he’s invisible to the other characters,
the University Resident Theatre Company’s production of This production is “a work in progress,’ Helen said,
Cricket on the Hearth. because it is a workshop. In such a production, the
A novelette by Charles Dickens, Cricket on the Hearth company acts as the principal actors, set designers,
is a “story of acceptance, forgiveness, and love,” said costume designers, and technicians. This particular com-
Lowell Manfull, who adapted the text for the script. pany is a “wonderful blend of graduate students, under-
The play takes place in an English village in the 1840 s, graduates and new talent,” Helen said,
three days before Christmas. The story revolves around “In a workshop,” Lowell said, “characters block their
three subplots, each dealing with the concepts of love and own movement. In Dickens’ book, many of the characters
truth. One of the plots involves John Perrybingle, an are just a name. Here the actors provide their own
elderly man who believes his young wife, Dot, has been character traits. , IDT ™ t
unfaithful to him. Meanwhile, their friends, Caleb Plum- Cricket on the Hearth has been billed as the URIC s
mer and his blind daughter Bertha, whom Caleb has been Christmas gift to the community, for all performances
lying to about the world, are being bullied by Mr. Gruff- of the show are free. The play will be presented at 8 p.m
and-Tackleton, a character in the Scrooge mold, who has on Dec. 4,5 and 6, at 2:30 p.m. and 7:30 p.m. on Dec. 7, and
his own problems. at 7:30 p.m. on Dec. 8. All shows will be in the Pavilion
In this adaptation, Lowell has added the character of Theatre.
By DEBBIE GOLINI
Collegian Arts Writer
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dressed in red, white and blue and
sang its theme song for the “sweet
land of apathy”: “We’re Americans
who don’t give a shit about the world
of others.” There was public adver
tising: two ladies of the troupe spir
itedly sang their “Surrogate
Momma” tune, asking couples to
“leave your sperm and your name.”
There was computer intercourse: a
late-model, male computer received
new data from a more recent, female
computer each new piece of infor
mation took him higher into ecstacy,
until the formula E = MC squared
brought him to a climax.
Second City craftily tossed political
statements into their skits. Three
men in a bar talked about modern
day warfare and joked about the
“covert” war in Nicaragua that was
being shown on national TV. One guy
brought up Vietnam. The other two,
obviously veterans of the war there,
steadily grew angrier. “I don’t want
to talk about it,” the one kept declar
ing. Although no one forced the issue
on him, he went into his story, any
way. “1968. Saigon. I’m sitting in my
office typing real hard and real clean.
Then came the TET offensive. And
they kept coming form, after form,
after form WHITE OUT!” The
other man launched into his experi
ence in Grenada. “Do you know what
'Cricket' to be URTC's holiday gift
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Below Campus Caslno, Next to TiffANy Dsli
Scrooge, Bob Cratchit, and of course,
Tiny Tim. A cast of 36 actors
transforms this Christmas classic
into a theatrical treat, brimming with songs
Whirling beds, billowing smoke and a
16-foot tall ghost of Christmas
Future are just some of the
spectacular special effects that will delight
young and old alike.
A Joyous Gift for the Entire Family.
Everyone from children to
grandparents is sure to enjoy this
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Sunday,
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The other man then told his sad
story of how he was wrongly con
victed of rape, then was raped three
times himself while imprisoned.
“Bummer,” the Nicaraguan vet said.
“You’ve seen some shit, man,” the
Clinger finds high prestige and competition in comedy troupe
Bv DIANE D. DIPIERO must display good acting ability as well as sponta- Belushi, Martin Short and David Steinberg. Cling-
Collegian Arts Writer neity in creating humorous situations. Clinger said er said that occasionally alums will return and
one of the skits during his audition was “five perform improvs with the group.
through a door”: he had to walk through an Second City is actually a conglomeration of
imaginary door five times, each time as a differ- several comedy groups. Besides two touring com
ent character. Competition is high at Second City, panies, one group performs at the main stage in
even after you’ve become a member, Clinger said. Chicago, and a more recently established group,
He grimaced as he thought back to his first E.T.C., performs in a place behind the main club,
onstage performance with Second City. “I was Colleges are the best atmosphere for Second
pretty terrified.” He said there are times when, City comedy, Clinger said, because the students
after an improvisational or other supposedly fun- are usually very receptive to the skits. So what’s
ny skit, the audience is dead silent. But that’s the the worst atmosphere to try to get a laugh in?
great thing about Second City, he said: “You have “Private parties. Banquet dinners.”
the right to fail. Then you’re fearless.” While working with Second City, many of the
One year and three months later, Clinger says members look into other possible lines of work,
that the awe of being with the comedy troupe has Clinger, for example, tried out for the new cast of
waned a bit. “After a long van ride with eight other Saturday Night Live. Although he wasn’t chosen,
people,” he said, “it begins to wear off.” he looks on the experience positively. He says that
But there is a certain amount of prestige that after about three years, it’s time for a Second City
goes along with being a member of Second City, member to move on to other endeavors. In the
After all, the comedy company s.has graduated meantime, he is happy working with Second
such fine folks as Joan Rivers, Alan Alda, Jim City.
Outsiders often look upon Second City as the
epitome of comedic excellence. An actor has
“made it,” certainly, if he is in this company. But
at least one member sees it as a “stepping stone”
for future employment. Will Clinger, son of U.S.
Rep. William F. Clinger, R-Pa., would eventually
like to do some kind of television sit-com, such as
Cheers, because it requires “good character act
ing.” And that is how he classifies the profession of
being a Second City entertainer: an experience in
overall acting, not just comedy.
Clinger graduated from St. Lawrence College in
upstate New York six years ago with a degree in
English. He spent some time as a copywriter in
Washington, D.C., but when he visited friends in
Chicago, he became entranced with that city’s
theatrical atmosphere. After his fourth audition,
he became a full-fledged member of Second City.
In a Second City audition, prospective members
Decemßer
Eisenhower Auditorium
our tickets!
Vietnam vet said. “You’re all right.”
The best parts of the evening,
though, were the improvisational
scenes. The group asked the audience
for examples of emotions that it could
act out. A ludicrous suggestion from a
man in the front row provoked one of There were a few scenes that
the'members to say: “I believe ejacu- weren’t as well received as others,
lation is not an emotion In your Those who saw last years’ Second
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case, it’s a state of mind.” Two of the
members went on to act out different
feelings as they worked in a McDon
ald’s restaurant, (ecstasy: ‘‘Look!
it’s a BISCUIT!” fear: “Oh,
no .. .the fries!!”)
Penn Stale Sets Simps
MecfetbciSl Monday
$1 off on IS" Meatball Hoagie
Offer expires Nov. 25th
I the Office of T
The Daily Collegian Monday, Nov. 25, 1985—17
one coupon per pizza
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offer good
wi* this ad mEttMl]:!
elecommunications at 5-1940.
City performance might have re
called the computer skit being done
then, too. It wasn’t quite as funny the
second time around. The best parts of
Second City’s performances are the
short improvisational pieces. Come
dy is more enjoyable when it is light
and nonsensical, and that is where
Second City shines.
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