Pago 10
Daily Nebraskan
Wednesday, February 29, 1S34
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By Peter Palermo
Learning to Crawl, the Pretenders' third
album, could well be the record to thrust this
group into stardom.
Two years ago, however, you would have
found it difficult to find anyone who would say
that riches lay ahead for Chrissie Hynde and
her boys. When James Honeyman-Scott, the
group's talented guitarist, and Pete Farndon,
bass player and sometime lover to Hynde, both
died within months of each other, the band's
future (to say the least) was in doubt.
Elecords
But when Hynde gave birth early last year to
a daughter, it marked a transition in the band,
or what was left of it. Hynde recruited two
members of Big Country and recorded a two
sided single. "Back on the Chain Gang," and the
flip side, "My City Was Gone," were both moder
ately successful
So now the band's fans have been anxiously
awaiting the Pretenders' latest effort, and true
to the band's own promotion gimmickry, it was
worth the wait.
Combine Hynde's embittered and angry lyrics
with her knack to come up with the most
wonderful hooks and you have an album that
is nothing less than scorching.
The opening cuts on either side are both
fiery pieces, albeit worlds apart. "Thumbelina,"
a Johnny Cash type rockabilly tune, is a poing
nant statement on what is and isn't important
in tis world. "Middle of the Road," with its Led
Zepplinish harmonica and wake-the-dead beat,
is a pop marvel The tune is so catchy, in fact,
that one might not even notice the powerful
lyrics.
"There's corrugated tin shacks filled up
with kids
But when you own a big chunk of the bloody
third world
the babies just come with scenery."
Continued, ca Pa "a 11
T
2CT.ii Century Fox
Nastassja Kins!d and Dudley Moore in Unfaithfully Yours.
Dudley Moore gets drunk again
By Christopher Burbsch
The purchase price of a ticket into the wonderful
world of cinema is roughly 1 times the cost of two
hours of television and a six pack of BEER. A good
movie, for this reviewer, provides VA times more
laughs, tears and or insight than does an evening of
All Night Live and 72 ounces of that evil plain label
brew.
Film'
:'. Review
Unfaithfully Yours is, by a slim margin, a good
movie, Dudley Moore's latest venture is considerably
more predictable than Alfred Hitchcock and registers
about the same reading on the celluloid laugh meter
as a Three Stooges short. However, a very sexy
Nastassja Klnski and a very funny straight man
(Albert Brooks) raise the movie above couch potato
fare.
The lusty Kinski plays a young actress who is
married to an older man (Moore). She's a little girl
sometimes perky, sometimes pouty, always pretty.
She appears very comfortable in her rather unde
manding role, moving from one blatant emotional
reaction to another.
Brooks plays Moore's personal manager, whicn
necessarily includes romance adviser. Conversations
between Brooks and Moore dealing with the former's
suspicion of infidelity by the latter's wife provides
the movie's only wit. Coincidentally, Brooks scenes
are also the film's closest brushes with sincerity.
As recent Dudley Moore productions have been
wont to do, Unfaithfully Yours teems with slapstick
drunken Dudley slapstick, that is.
In '20'Moore was horny and drunk. In Arthur, he
was self-pitying and drunk. In Unfaithfully Yours,
he is jealous and drunk.
Moore plays a conductor who plots violent death
for his wife andthe man he suspects to be her lover.
The film climaxes at the culmination of his bungling
attempts to carry out an extremely complex murder
schemes
That series of events is funny; Moore does "an
excellent inebriated man routine. The problem is
just that, however it's a routine. It worked in '20'
sud Arthur, and is humorous once more in Unfaith
fully Yours but Moore would be well advised not to
try it again.
In fact, this movie might have been better off if he
had tried it one less time. It has a good story line and
a talented cast, features which create enough poten
tial wit and sincerity that the film could have stood
without Moore's slapstick. It could have been an
excellent opportunity for Moore to break out of his
typecast loveable drunk role, if he is indeed capable
of doing so.
In spite of that failure, Unfaithfully Yours is an
entertaining, fun film. But it could have, should,
have, been a lot more.
V
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Chicago's radio market has always
been a good indication of what's happen
ing in this region of the country. So I
was a little surprised, and more dis
mayed, to find out that, according to a
Chicago Tribune article published last
November, women in Chicago radio
"barely make waves.";
Recent Federal Communications Com
mission figures show that 35 percent
of all jobs in radio belong to women.
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But most of those jobs are low-profile,
low-influence jobs as public relations
directors, research assistants, news
and traffic reporters and weekend and
off-hours "jocks," radio columnist Eric
Zorn wrote.
Lincoln has had women on the air as
disc jockeys for about 13 years. After
so many years, do Lincoln ears still
prefer the male voice emanating from'
their radios, or is it the managers who
can't bring themselves to make women
more predominant on their stations?
Or, perish the thought, is it the women
themselves who have given up the
quest for equality on the air?
Most Lincoln stations have at least
one woman on the air in an announc
ing capacity. Rarely is there more than
one. Two AM stations, KLMS and
KFOR, have a male and female team.
Judy Converse, who has been on the
air at KLMS for about 10 years, said
the Lincoln audience is probably more
accepting of women on the air than in
most markets.
"The Lincoln audience deserves a lot
of credit," she said. "They are intel
ligent." Converse and Cathy Blythe, who co-
hosts the morning show at KFOR, said
there has been a lack of women apply
ing for jobs at their stations in recent
years. . "
"There used to be a lot of women
applying for these jobs," Converse said,
"but lately they don't seem to be
around."
One age-old reason managers have
given for not putting women on the air
more often is that because they don't
sound like men, they lack credibility.
Blythe said there is more to the
credibility, issue than having a deep
voice.
"It's a definite quality, a sincerity in
the voice," Blythe said. "You have to
But at least one woman who has
been on the air in Lincoln, at KFRX
FM, and has done research on the
issue with Lincoln audiences, said stat
ions have to be careful about the type
of female they have on the air, more so
than males. Susan Lechtenberg, who
has researched for several Lincoln stat
ions, said image is more important for
women than for men, not just for
listeners but for advert isiers as well.
"Research has shown women can be
a distraction," Lectenbergsaid. "A
woman announcer has to be very good
to Izch the same level as a man. A
woman is easier to turn off than a
man."
. Lectenberg said it is more accept
able for a man to be controversial than
it is for a woman. Appearances are
important even off the air, she said.
People can find more ways to judge a
woman, she said.
"If I were a radio programmer," Lecten
berg said, "I would be very careful
about selecting a woman to put on the
air. ,
To be continued...
