{ title: 'The Spectrum (Buffalo, N.Y.) 1955-current, July 06, 1979, Page 10, Image 10', download_links: [ { link: 'http://www.loc.gov/rss/ndnp/ndnp.xml', label: 'application/rss+xml', meta: 'News about NYS Historic Newspapers - RSS Feed', }, { link: '/lccn/np00130006/1979-07-06/ed-1/seq-10/png/', label: 'image/png', meta: '', }, { link: '/lccn/np00130006/1979-07-06/ed-1/seq-10.pdf', label: 'application/pdf', meta: '', }, { link: '/lccn/np00130006/1979-07-06/ed-1/seq-10/ocr.xml', label: 'application/xml', meta: '', }, { link: '/lccn/np00130006/1979-07-06/ed-1/seq-10/ocr.txt', label: 'text/plain', meta: '', }, ] }
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i J5 On )uly 28, Bad C6mi>’any will appear at Memorial Auditorium. Their •* hard-edged brand of rock has been consistently refined since their members left ■.= groups like King Crimson, Free and Mott the Hoopla to produce their monster 9 debut LP, Bad Company. Now the desolation angels arrive to perform for the first time ever within the city limits of Buffalo. E Tickets at Squire Hall Ticket Office. Tomorrow.night will be a festival for the ears of Buffalo's heavy metalites. fi. Canada’s premier hard rock outfit, Triumph, will headline a triple bill at c Memorial Auditorium with The Babys and Buffalo's own Talas. The show starts p at 8 p.m. Tickets at Squire Hall Ticket Office. 'Olesha Fruit' bridges chasm , The publication of poetry, it seems, is a curious act of faith. For the writer there is always the lack of direct feedback; the security of his friends’ approvals, the satisfied faces at his last reading, or the certitude of his editor’s approval. He cannot stand over every reader’s shoulder, ready to clarify their smallest misinterpretation. The reader, on the other hand, must trust his own sense of poetic judgement and skill at distinguishing his own confusion over the work from an author’s blurred vision. He can’t know just how significant “muddy strawberries” were to the poet’s painful adolescence; he can’t call him on the phone and ask: “What did you mean by...” Nor is the poet likely to drop by with an explanation. Both must be satisfied that the poems, as an interface, are the best they can be, that they speak for themselves, and that their vision avoids undue conceit. as in Sacrifice of a Virgin in the Mayan Bull Court. “He is returning to our world: to/its religions and ball courts, returning, and/to kill. Again!\ This dramatic flair, occuring at the poem’s end, seems forced and unjustified, as if Dubie were trying too hard to impress us with his message. It also jars rhythmic expectations and puts undue emphasis on often unimportant lines. m If you missed their last sold out performance at Klelnhans this past winter, o> you’ve already heard what a BIG mistake you made. > OK, here's your second chance. Crown of creation Barring this, Dubie’s crown of creation lies in his manipulation of time and location contexts, his ability to transmute still-life into motion and vice-versa. A description of burial rites by the Ganges suddenly turns into a handful of postcards being On |uly IS, at 8 p.m. in Shea’s Buffalo, Devo will present the truth about (O de-evolution as they perform their latest piece of post-nuclear pop. Duty Nqw > For The Future. Don’t make the same mistake twice. ;g Tickets at Squire Hall Ticket Office, u. CEPA and Halfwalls Galleries are throwing a party on Tuesday, July 10 at 8:30 p.m. in the Arstists Committee Gallery located at 30 Essex Street. Music will begin at 9 p.m. and will feature The Indians, Mae Furst, and a new band, The Atones with Y-Not There will be a $1.50 admission charge and beer will be served. All are welcome. Atilecatl Many of the poems in poet Norman Dubie’s most recent collection, The City of the Olesha Fruit, address themselves to this dilemma. Considered in their meta-poetic aspects (that is, poems about poets and about poets writing poetry), the author becomes the shaper of the reader’s vision. The reader is placed in the position of trusting the poet’s eyes to see the world clearly. — HEARD ISRAEL For gems from the Jewish Bible Phone 87S 4265 passed in a crowd of friends. His picture poems (“After Three Photo* of Brassa’i”) go beyond mere descriptive verse. The white borders disappear, the action is running and we watch an elaborate story-line unfold. Much like a Jungian dream elaboration, Dubie finishes the fabric of a half-related tableau. The subjects in a photo are living people and aware of the man with the camera. Dubie gives them the space to call out and tell us that their lives are more than a glossy print, that they deserve to make an impression on us and not just the dull film. Not a collection of perfect gemstones or a hall of mirrors where one gets lost in the author’s reflections, Nortnan Dubie’s \OlesFruit” utilises the irregularity of their medium to involve the reader in the writing. The limitations of poetry serve as their own salvation, becoming the means for transcending the distance between author and reader. Dubie reminds us: [mm ■ •&§ I Ding J tiling I One double order Approximate perfection The energy which led the poet to write is hopefully transmitted to the audience, taking black words and infusing them with imagination’s colorful context. Imagination is the continuum through which the poet touches and the reader responds. The poems in this collection do not always meet the ideal of this process. No work could ever hope to more than approximate such perfection anyway. Dubie’s devices are interesting where they work and often revealing where they fail. We, are disappointed when a poem is clumsy or poorly the experience makes us go ‘Aha!” when we Vecognise the same idea clearly transmitted els^wnefe. of Chicken Wings . FREE The subtlety of a piece such as Elegy to the Superior Oblique, a poetic exegesis of the role of imperfection in the creation of believable images, (“So I must tell you that the sisters in the cart are/Unhappy and not beautiful. That they have suffered scabs'and/Diarrhea.”), is heightened when we see the difficulty of avoiding the overly prosaic, \In the city of the Olesha fruit A citizen never dies, he just wakes One morning without his legs, and then he is with the purchase of a double. | WITH THIS COUPON Expires July 12th, '79 VALID ANYTIME Not Valid For Taka Out given A city of his own making.\ —Michael Lazar i ROOTIES | Pump Room 315 Stahl Road Emmylou,Patti take wrong turn Music needs new direction at Millersport Hwy. • I ■-—688-0100— Harris should use the gold she has. It’s freshly mined by Harold Goldberg DeifieD Emmylou Harris’ and Patti Smith’s new records disappoint me because Since I’ve always thought of Smith and Harris as innovators — Smith for her Since I’ve always though of Smith and Harris as innovators - Smith for her sexual and thematic poetry, Harris for her sad, punchy country stories *- their slip actually pains me, though both records are not bad records. Patti Smith’s WWe is not fresh though it can be exciting in a carefully produced pop sort of way. Patti does her little poems to God as myths on “Hymn” and \Frederick something she’s done since she’s begun recording. While her allusions to some well-regarded poets are both artsy and pseudo-intellectual, her complete recycling of the free-form poen-sOng is openly\ destructive to her respectability among those who have lapped up the elitism that once educated her listener. Wave is completely listenable but never stimulating. Nevertheless, she maintains a passion which, if not driving, is struggling to be heard. That feeling has always driven me into what may be called sweet depression, a mind-wandering feeling based on thoughts that are aleatory and improvised. But considering the fact that Patti Smith has sung songs like “Dancing Barefoot,” “Revenge” and “Wave” before, any feeling of enthusiasm is watered down by repetition. I believe Todd Rundgren’s slick production is a travesty for the passionate ambivalence of Wave. His lead is not sensitive to separate emotions but synthesizes a particular sound which combines the spectrum of emotions so that they become inseparable. The overwhelming wall of sound on “Frederick” is in direct opposition to praise of Smith’s ode to her boyfriend as God (and maybe God as her boyfriend). And if Smith wants to sound as pure as a child on.“Wave” and sound like a bitch on “Revenge,\ then less overdubbing, less typicality, less triumphant heralding of lyrics than have been heard before would all be good suggestions. My feeling is that Harris and Smith have tried what they think is something different and may have been uneasy with that change. So they relied on some sort of hard thinking or vestigal instinct to get them by. But they are more innovative with the music recorded prior to these records. They’re not old hat yet by any means and these are no indications of a decline in creative ability, just misdirection and mistake. a family kitchao V // . * You don’t nood to go to Japan .... ENJOY Truly Japanese Cuisine Large selection of 0 appetizers 0 soups 0 entrees entrees on her Blue Kentucky (Warner Bros.) recycles some old country tunes circa the creative prime of Acuff-Rose Productions, throwing in some old Willie Nelson and buddy Gram Parsons. She sings about breaking hearts, suns setting, sweet sorrow in a way that is not only kitsch, because she tries to capture the original feeling of the songs, but that is also maudlin because Harris’ Voice has always been rather plaintive. The Hot Band, which includes zippy guitarist Albert Lee and superb songwriter Rodney Crowell, are best at recording country rock songs — story songs Which Harris does better than any other • teriyaki • mori iwm • desserts • mount fuji (fried ice cream) beverages • plum win* • tappero (been • facilities for parties e 2985 Bailey Ave. Open Tue*. Thru (new Kenaanffton) Cloted Mondays 836-3177 type. And they even bring the delicate spirit of pure country music to old songs by performing their country rock ditties which were written only a few years ago. An example of this is the spellbinding folk ' tale by Townes Van Zant called \Ranch and Lefty” on Harris’ Luxury Liner album. The song on Blue Kentucky which feels closest to it is Crowell’s ode to Tom Robbins’ great piece of pop absurdity, \Even CowGirls Get the Blues.” Here Lee shows off a parodic lead electric guitar well-suited to Robbins’ clever efforts. With harmondy by Parton and Ronstadt, Harris sings of a world turned upside down, of character Sissy Hankshaw’s escapes by hitchhiking, of an alternate way of thinking. Whether Blue Kentucky Girl is a thematic tip of the hat to old standards and old schlock doesn't matter. What is important,is that you can listen to the original songs and feel more simplistic energy, mWe distinctive bathos. Crowell is a gold mine of perfect lyrics and music that combines mundane occurrences with unusual twists based on passion. Don't Be Irrational Have a Field Day Come to a MAJH CARNIVAL FRIDAY, JULY 6th 2 pm — 6 pm Room 17 BALDY HALL Amherst Campus Magic Show Paradox Box Card & Magic Tricks Continuous Bun of Math Films Refreshments First 500 participants FREE For further Information contact Prof. Stephen Brown, 636-2451, Department of Instruction. wage. FOR HAIR 609 Elmwood Ave. (Near Utica) Offers you the chance to be a MODEL advanced haircutters (trained, experienced haircutters, studying advanced techniques) a $20 value for $3.00 Offer good - July 9th, 16th, and 23rd only. Call 881-5212 for an appointment
