I.—— . - ■ . ■.. ■ I——■
Listen
Continued from Page 13
talk about the man and his life.
Jones himself is interviewed,
but with little of the emphasis that
the others arc given. The movie
isn’t about what Quincy Jones thinks
of himself and his work, but of
those who have been affected most
directly by his work.
“Listen Up” relics on fast-mov
ing, sprawling footage that is put
together with the recording ses
sions from many of the artists that
Jones produces. The song “Back
On The Block,” from Jones’ latest
album of the same name, is fo
cused upon throughout the movie
as it is recorded by the several
different artisLs who worked on the
project.
Often the interviews arc cut over
one another, and even though two
people arc often speaking about
two different topics concerning
Jones at the same lime, it never
becomes confusing. It is pleasant
and flows well.
The beginning of “Listen Up”
shows footage of Jones visiting the
tenements of the neighborhood in
Chicago where he spent his youth.
It was a situation that threatened to
trap Jones in poverty and crime il it
were not for his father eventually
moving the family from Chicago
to Seattle.
Jones reminisces about the
people and the places that affected
his life and sent him searching for
an outlet from the hatred and de
spair that arose in him; that outlet
was in the form of music.
Jones says, “I used to just dream,
to escape it all.” His escape came
about as he began to learn to play
the French horn, which occupied
his time away from the crime of his
neighborhood.
Jones excelled in music and
landed a spot with Lionel Hamp
ton’s band at an early age. As a
teenager, Jones traveled through
Europe and began to build the
foundations of his musical knowl
edge that would eventually lead
him into composing and produc
ing.
Jones and his musical compatri
ots talk about “Birdland” in Chi
cago, a nightclub that has been
described as the mccca of modern
jazz. Miles Davis, Charles, Fit/
gcrald and Hampton iaik about this
club and about musician Charlie
Parker and how the two influenced
them as well as Jones. These in
stances show that “Listen Up” proves
its worth as more than a locus ol
one person: it details American
R&B, soul and jazz music.
The movie goes on to talk about
Jones’ projects: movie scores, al
bums, his work as a producer and
as a family man. Michael Jackson,
Frank Sinatra, Steven Spielberg,
Barbara Streisand and others are
used to set off the monotony of a
single focus.
Jones experienced many setbacks
in his career, including impover
ishment and health problems (two
brain aneurisms), yet prevailed in
the past lew years to produce a new
album and celebrate his 57th birth
day. But the movies’ purpose is not
to raise Jones onto a pedestal.
Whether you’re interested in the
life of an American musical gen
ius, or of the condition and the face
of American music and how it has
developed, this film will command
your attention.
“Listen Up: Ibe Lives of Quincy
Jones” is playing at Plaza 4 The
atres, 12th and P streets.
I _
Bevis
Continued from Page 13
guitar heavy, post-punkers. Exccp
for the fact, that The Bevis Frond i;
really good and docs possess somt
talent.
The first offering, “Ear Song,” start'
out and continues throughout wilf
loud, fuzzy guitars. Then Salomar
(Frond) busts out in a whinier-than
cvcr, Tom Petty voice. It actually
helps in creating the mood for this
lost love song.
The next song, “Oldc Worldc" starts
off with a long backward message
that says over and over, “My voice is
now registering your deep subcon
scious.” Once this subliminal night
mare has ended, Dead Kcnncdy-csquc
guitars ring in and out non-slop. Then
Saloman (Frond) returns again with
his less whiny Petty voice.
One of the first live songs is “I’ve
Got Eyes In The Back Of My Head,”
a short and sweet simple song.
The next live song, “Medieval
Sienese Acid Blues,” tries to be a
guitar heavy, punkish, acid blues song.
It succeeds in every musical facet —
an
The last song, “Radio Bloodbcast,”
is a previously unreleased track that
only is performed live. A long drawn
out guitar introduction with feedback
more familiar to a Jesus and Mary
Chain sound check starts to tune this
song in. Throughout, Saloman (Frond)
sings in a soft narrative singing voice
with faint guitars and drums in the
background.
From its music, it is easy to tell
that The Bevis Frond puts a lot of
emphasis on the guitars. It likes to go
off into solos and sometimes into the
wonderful world of tangents.
“Ear Song” is a great album for
someone not very educated about this
odd group. All of the songs on the
album were its most requested tunes,
so the album is sure not to leave
HERE’S WHY
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A University wide
canned goods drive will
take place on NOV. 12-16.
CAN-IT boxes for
donations will be
located at the front
desk of each Residence
Hall, Greek houses,
and at CORNERSTONE
(640 North 16).
Contributions will be
given to the Malone
Community Center
Thanksgiving Basket
Project. Sponsored by
UMHE-CORNERSTONE.
Please help us help
others
Shanghai
Continued from Page 13
When ticketholdcrs sii down local
their dinners before attending the
performance tonight, the company
w ill not be eaiing the same type's ol
food. The company generally w ill not
eat American food, Sham said. They
travel with their own chef, w ho con
cocts Chinese dishes in whatever space
he can find.
In a pinch, Sham said, the com
pany w ill eat Kentucky Fried Chicken,
because it is closest to Chinese chicken.
The teenagers in the company have a
passion for Hershey’s chocolate kisses
and “buy them by the bagfuls,” he
said.
There will be a pre-performance
talk tonight at 7:30 p.m. m the Lied
('enter's Steinhart Room. Lincoln
martial arts expert John Roseberry
and the Lied Center’s director of
education and outreach. Kit Voorhces,
will explain different points of the
pcrlormance. There will be a short
demonstration of martial arts skills at
the pre-performance talk.
Tickets still arc available for the
performance. Tickets are SI4, SI2,
and Sl(); tickets for UNL students and
youth under IK are half-price.
