Sheldon
Art Gallery
1 2th & 'R' St.
entertainment
I . J' X
'Miles of Aisles'-music milestone
1974 was a fine year for Joni Mitchell
enthusiasts.
In the spring, came her heartstopping Court
and Spark, a bold though evolutionary fusing of
her tight, colorful poetry with lush jazz-rock
arrangements. Close on the heels of the album
was an exhaustive concert tour that covered both
the United States and Canada and attracted
sellout crowds.
From this series has come Miles of Aisles,
dovid wore
Mitchell's first live album (with the exception of
an excellent bootleg disc), and a milestone of the
recording science. In the last three or four years,
it has become standard for bands suffering from
a dearth of fresh material to release a live album,
featuring at least one extended instrumental
interlude that degenerates into a feedback-ridden
bore.
In contrast, Miles of Aisles is blessed with a
triumphant clean sound that almost glows. The
instruments maintain their individuality, and
Mitchell's soaring vocals are pristinely preserved.
Seldom has a live album sounded better.
The same can be said for Miss Mitchell. She is
in firm control of the proceedings, and her voice
is in fine shape.
Her phrasing is a bit looser than on her studio
albums, but it should be, considering the relaxed
lilt of the band. Her piano and acoustic guitar
work are, as usual, spotless, if not ascetic. I take
exception only to her dulcimer work, which
seems a bit hurried.
This quibble is minor in comparison with the
disconcerting treatment she affords some of her
most moving numbers. She seemingly tries to
dismiss some of her older successes with either a
joke or an unsettling arrangement. Her jarring
joke in the middle of "The Last Time I Saw
Richard" has been mentioned by more literate
(and higher-paid) men than I as being the low
point of the album, and I cannot but agree.
However, any album ought to be judged by its
overall effectiveness, and on this score, Miles of
Aisles rates high.
To all of you who worked so long without
complaint to make Winter Walpurgisnacht a
smashing success, I must extend a big, fat,
thank-you. Damn good show, folks.
Faculty
Gershwin
Soprano Emily McKnight's faculty recital Tuesday at 8 p.m. at
Kimball Hall will include musical territory from Mozart to
Gershwin.
McKnight, a UNL associate professor of voice, will sing two
Handel arias, an aria from Mozart's opera, The Magic Flute, and
two songs from Gershwin's Porgy and Bess.
She will also perform Richard Strauss' song cycle,
Kramerspiegel, Opus 66. English translations of the 12 satirical
songs first will be read by Raymond Haggh, a UNL music theory
professor.
McKnight was a soloist in city theaters in Germany and
Switzerland and has performed widely in America.
Sheldon film tells black's story
By Greg Lukow
A film from independent producer Lionel
Rogosin will be presented this week as part of
the Sheldon Film Theater's Documentary Film
Series. The film is Black Fantasy, directed by
Rogosin in 1972.
Rogosin was in Lincoln last spring as part of a
Sheldon Film-maker's Showcase presentation.
Three of his most famous documentaries, On the
Bowers (1955), Come Back Africa (1959) and
Good Times, Wonderful Times (1965), were
shown then.
Black Fantasy is similar in design to his other
films because it is actually a story-documentary.
Rogosin films true-life situations, yet uses what
are essentially fictionalized plotlines to purvey
the emotional message in these documentaries.
He uses nonprofessional actors, but because he is
shooting the actual day-to-day environment they
live in, he is able to elicit some extremely
effective performances.
A good example is the young South African
black in Come Back Africa. Rogosin found his
actor on a South African street and placed him in
the role of a poverty-stricken miner caught in a
wretched, inescapable life in that
white-dominated country. The film was shot in
secret and although Rogosin was creating his own
fictionalized story, the young black's "acting"
caught so much of his own real-life frustrations
and angers that the film hits deeply.
In Black Fantasy, Rogosin has again captured
a black experience on film. The protagonist here
is Jim Collier, a young American black musician
who tells what it is like being married to a white
woman in a society that seems outwardly
tolerant but is morally scrutinizing under the
surface. Collier and Rogosin's camera portray his
experiences and fantasies on one hand, and the
fears and resentments in the attitudes both of
blacks and whites on the other.
Also being shown is a short feature, produced
by CBS and entitled Harlem Renaissance: The
Black Poets. It examines the literary awakening
of black writers who came out of the historically
significant urban black experience of the 1920s
and '30s.
The films will be shown in the Sheldon
Gallery Auditorium Tuesday, Wednesday and
Thursday at 3, 7 and 9 p.m. for $1.25.
-NOW SHOWING! -
DOUBLE FEATURE
RATED X
"BROTHER & SISTER"
Plus
"AOVENTOBES OF
AGENT OSS"
Also Rated X
HURRY! ENDS THUR.
No One Under 18
EMBASSY 1730 O St
i
M
Every Tuesday is
en's Nite
at
Information sheets
for
f.IQRTASl BOARD
due Feb. 5
Available from Union
Program Office, ASUN,
Panhellenic Office,
Women's Resource Center,
and Student Affairs.
iff
I Si if 14 -1
BUCK PITCHERS
25c DRftWS
For all Guys
al
The fun place to go ... at 11th & "0
( c
I "Li c f .
' I Jk v . i
BLACK FANTASY
Produced & Directed by Lionel Rogosin
USA 1972 78
Universally, people who are emotionally involved with a person
of a different race are morally scrutinized through the vision of the
dominant society. Here, protagonist Jim Collier, a young black
American musician, reveals but one man's response to this
oppression. BLACK FANTASY combines factual reality and poetic
fantasy to express intimately what it's like to be black in
contemporary white society, in this case, to be black and married to
a white woman.
In recalling his painful childhood and youth. Collier tells how he
always wanted a white woman because she seemed to have "all the
things the Marlboro man gets."
Now that he has a white wife he reveals that illusions fostered by
his early lust and envy have been replaced by a bitter struggle to
maintain a love relationship capable of withstanding the anger, fear
and resentment of friends and foes, both black and white.
plus
HARLEM RENAISSANCE: THE BLACK POETS
20 minutes 1970 USA
Produced by CBS
This filn captures the urban black experience of the 1920's and
30" t, from childhood to old age. This era has an important historical
as well as literary significance: it marks the emergence of black
poets, essayists and novelists onto a previously white-dominated
literary stage. We find here that writers were thinking "Black is
beautiful" 40 years ago, as dramatized in the moving viginettes of
poetry by Countee Cullen and Waring Cuney. We find works from
Georgia Douglas Johnson, Fenton Johnson and W.E.B. DuBois are
also produced, with selections from Langs ton Hughes' "Dream
Variations" and "The Weary Blues."
Tuesday, Wednesday, & Thursday February 4, 5 & 6
Screenings at 3, 7 & 8 p.m.
Admission $1.25
Follow the fTlall to
Your Favorite
Beer Hall.
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The Best.
Lunches and Dinners
best hamburgers and
french fries in town
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Brass Rail
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daily nebraskan
page 9
monday, february 3, 1975