Playing with the three of h e arts...

Claes Oldenburg would be r * a proud... O A may ß — may

21st Century? story, page 4 A

•NASTY JACK and the Ska-casians will perform at Toes Tavern downtown

•CREATURE FEATURE, Rugburn, Decline of Paisley John Shaver and Debris Stream will perform at the Anaconda S a t u r d a y •A HOT NEW BLUEGRASS BAND, as yet -.unnamed, will debut at the Bluebird Cafe at 8 p.m. The band will include former Cache Valley Drifters Wally Barnick, Bill Griffin and David West and former Acousticat Mike Mullins.

•POETRY READING by the winners of the Second Annual Santa Barbara Poetry Festival contest at the Bluebird Cafe, 8:15 p.m.

•DAMAGE, the Louis Malle film about a Parliamentarian who has a torrid affair with his son's girlfriend; Campbell Hall, 8 p.m. tuesday •STEPHANIE HEYL, an artist teaching in the College of Creative Studies this quarter, will talk about her work; Building 494, Room 136, 4 p.m.

W e d n e s d a y •UCSB JAZZ ENSEMBLE will perform the music of Duke Ellington, Miles Davis and others; Music Bowl7— noon----- 2 A Thursday, May 6,1993 ARTSWEEK Daily Nexui

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Three hearts, two couples - not a good combination. The Threesome to See > It seemed as if only foreign filmmakers Connie had just dumped her first ho­ dealt with interesting, provocative sub­ mosexual relationship. (She’s bisexual.) ject matter, that is, until a money-hungry Gender preference is only important in Hollywood studio would capitalize on this film as Car as it creates suspense as to the original’s success with a remake, lack­ who will end up with who. But whether a ing the courage to produce daring films in woman sleeps with a woman or a man the first place. sleeps with a woman doesn’t really mat­ Dare I say that the enthralling L a ter. In T h ree o f H earts, sexuality is an ex- Femme Nikita and its sorry sister, P o in t iression of love between two people. If of No Return as well as The Return of Íove exists then there is nothing exploitive Martin Guerre and its Americanized about its expression — homosexual, equal S om m ersby would exemplify this heterosexual or whatever. phenomena. Refreshingly witty, funny The film mostly deals with how Ellen and a joy to watch, Three of Hearts freaks out after stewing on her feelings of breaks through the curtain of juvenile abandonment. She hires a male escort to prudity that surrounds most American win Connie’s heart and then dump her, tales to present the story of a lesbian rela­ thus sending Connie running back to the tionship’s breakup. security of her relationship with Ellen. William Baldwin, Kelly Lynch and In addition to the main performances, Sherilyn Fenn all deliver in this film. the colorful minor characters that move Baldwin is a male prostitute and a phone around in the film’s background are sex worker with the ability to seduce — worth the price of a ticket A great deal of “any woman, any time, anywhere.” He attention was obviously given to such de­ even tries to pick up women in a ho­ tails. (Listen to the background noises mosexual bar. “You ain’t king in this and dialogues as well. You will hear joint,” retorts a woman. Baldwin com­ phone sex operators, carnally inspired mands the screen as a ladies man who sort students and crazy Polish wedding of finds himself, or rather, decides to find guests, just to name a few.) himself. Three o f Hearts is an interesting film to Kelly Lynch (Ellen) and Sherilyn Fenn watch, not only because of the ingenuity (Connie) are perfectly coupled. Lynch is a of its subject matter, but also because of bit more masculine. Baldwin’s character its sense of richness. It is visually interest­ says a photo of her, “looks a little like Axl ing and Yurek Bogayevicz’s direction is Rose.” “Thanks," she replies. brilliant. The film’s overall ambience is re­ Lynch brings a great physical element miniscent of the classic Hollywood look to her role. Much of her expressive dia­ where the camera treated two subjects as Listen to 94 ROCK now through May 12 logue is in the form of body language. if they were the only two people in the Penn’s Connie, on the other hand, is an world. Bogayevicz also employs several and W IN ! English teaching assistant at New York interesting camera angles that are in the University who has the longing, eyelash style of Alfred Hitchcock. hatting, feminine Doris Day act down. But nothing like Three of Hearts has “ Rock’ll Weekend “Everybody, my girlfriend is dumping been done before. me because she needs more space,” with the Dead screams Ellen in the middle of a park. —Allison Dunn & Sting in Vegas’’ These Guys Could Do Better

WIN Two tickets Splitting Heirs is the worst film ever of the film’s many failed gags) plots to kill made. the duke with the help of John Cleese’s to see the Dead & Sting - Seriously. It’s worse than Bill Cosby’s maniacal lawyer. Leonard Part VI. It’s worse than Shelly The greatest tragedy here is in the pre­ Both shows May 15, 16, Silver Bowl, Long’s H ello Again. It’s even worse than sence of Cleese, another former Python all of Melanie Griffith’s films rolled into member who has proven his talent in H Las Vegas one, long, whiny marathon. other post-Python efforts (A Fish Called This fact is even more disheartening W an da is the best example). But in S p lit­ when the supposed “talent” behind this ting Heirs, Cleese proves only his eating ^ ™ ^ O n e Night Accommodations film is considered. It stars and was proficiency, weighing in at a shocking scripted by Eric Idle, late of Monty laige 250-plus pounds and offering little Listen for songs from the Dead and Sting/Police Python greatness. If this film is any indi­ amusement played back to back on 94 ROCK, be the 10th caller cation, Idle might not have contributed to The movie wants to be another rollick­ on the 94 ROCK-LINE at 967-0945 and WIN! Python’s success as much as previously ing British farce, but saddles itself with thought This conclusion is drawn in the dead jokes, such as a sexual innuendo same way that the true genius of the Bea­ with an inflatable fish. Where was Idle tles — Lennon and McCarthy — was re­ during all those Python writing meetings? vealed when Harrison and Ringo started This stuff simply isn’t funny; not to making solo albums. Americans, not to Brits, not to anybody In any case, Idle plays a member of Bri­ whose level of humor is higher than Rick tain’s royal family who is accidentally Moranis skating around an office on switched at birth with American Rick roller blades. Moranis. Horribly miscast, Moranis If Splitting Heirs is in fact the worst walks through his role a fun-loving duke film ever made, the only good news for its with all the charisma and coordination of film makers will come if it becomes a box a thumbtack. To regain his rightful place office smash and spawns Splitting Heirs on the throne, Idle’s working-class stiff 11. Remember, sequels are never as good (now a 20-year-old raised by a strict Pa­ as the original. kistani family as one of their own — one —Brian Banks Daily Nexus ARTSWEEK Thursday, May 6,1993 3 A

The Circle Bar B thespians (pictured) will feed you, tool Ranch Styled Theater Thespians with tri-tips, as motifs go, is pany sort of loses its star tenor. I won’t go better than it sounds. Dinner theatre is into the plot because it’s so basic that I done brash out Goleta parts. The meat is might wreck the show. Suffice to say that well done. At the Circle Bar B Ranch Din­ emerging from a cocoon of tenor-denial ner Theatre, they look you in the eye into a public display of the talented fun­ when they fill you with red, delicious damentals of opera and fraud, the main meat. And they laugh at you when you tiy character nearly has a breakdown. to find parking amidst the horseshit, in The highlights of the play are its charm­ their cowboy sort of good-natured, “Bet ing characters. Led in a wonderful perfor­ ya saw the last Woody Allen flick, huh, ya mance by Mark Ostendorf, a local actor/ urbane jerk.” Their dogs are friendly, too. engineering consultant, die cast truly The theatre, and the ranch house they shines. Jonathan Winters was in the audi­ feed in, are quaint as all hell. Not because ence last weekend, and they had him roll­ they designed it that way, but because this ing 'til he looked like he was gonna cough is a working ranch. It’s run like an old- up a lung, or at least a big underchewed fashioned family affair, the kind where piece of tri-tip. OK, that’s exaggeration. folks don’t get divorces. When you buy But he liked it a lot, and he knows funny. your ticket, you’re part of the family. An He’s a personal friend of Robin Williams. older guy with great hair and the quiet, The Circle Bar B is th a t kind of place. tough-guy demeanor feeds you off his At the intermission, they sell candy grill, then Janet Caballero invites every­ bars and coffee for around 75 cents. No body down to the converted bam where rip-offs. Then Janet Caballero comes out she holds court every year with a season and goes, “Hey, if you’ll all get inside we of plays. can get started,” and the whole crowd of Ken Ludwig’s L en d M e a T en or is cur­ yuppies chuckles, foigetting that their rently running at the ranch. With exper­ new $250 cowboy boots are giving them uaiiira iu ienced actors from Santa Barbara blisters. You don’t know from funny. It's troupes, the homey feel of the playhouse good food and good times for all, but call takes nothing away from the professional and get tickets early, because they were all quality of the production. If you haven’t sold out last week up at the Circle Bar B. Heard of this classic musical comedy, it’s about what happens when an opera com­ —Dan Hilldale PEACE A multicutural sensitivity forum conducted by PHILLIP WALKER. WED., MAY 12 ¥. THEATRE^$* 7pm EXTRAVAGANZA 93 SATURDAY, MAY 22 HARDER STADIUM FISHBONE THE PHARCYDE T A U M B U HALF WAY HOME SUN 60 MOTHER TONGUE THE GRACEFUL PUNKS During EXTRAVAGANZA ’93 M ~ ~ * ~ organizations for $30. This ii $nexgplf to distribute info., etc. to ai& fie bi ATTN: ALL A.S. PROGRAM BOARD will EXTRAVAGANZA ’93. Contact FOR MORE INFO CALL 893-3536 4 A Thursday, May 6,1993 ARTSWEEK Daily Nex

Cover Story

S u rv iv al It’s everywhere. It’s on MTV and in the movies. It’s even in Santa Barbara, where (white) kids with baggy pants spray paint their tags on walls, the latest recruits to an Afrocentric subculture. But will this surge of mainstream popularity mean the death of hip-hop? by P.E.A.C.E.______The peckenvood never could play the victim. —House of Pain, 1992 ip-Hop, 1993 — Looking over the current state of hip-hop, several questions become clear for those who wish the culture to survive into the 21th century. First, what is hip-hop’s purpose asH a culture, and how have its aspects been maintained since its inception some 15 years ago? Second, how do rap music's past, present and future phases affect the ex­ istence of the hip-hop culture as a whole? And finally, what role does hip-hop play in modem African- American culture, and what affect has it had upon main­ stream (i.e. white) culture? In the essence of hip-hop lies the youthful expression of people of color (mainly African-American and Chi- cano) who dwell within the depths of America’s socioe­ conomic scale. The dance, method of speech, music, clothes and other features that make up tup-hop are all initiated as a response to mainstream culture, which takes every opportunity to disenfranchise the youth from it while simultaneously attempting to coerce those same individuals into assimilation. Hip-hop was founded as an outlet for disenfranchised youth of color to express Public Enemy’s Chuck D (above) may well be themselves on the issues they faced daily. the prophet of the Afrocentric movement, The three main aspects of file culture — graffiti art/ including hip-hop. So does that make House tagging, breakdancing and rap— are all presently enjoy­ ing quite a bit of popularity, but it is clear that rap is the o f Pain’s Everlast (right) the Anti-Christ? most dominant This is probably because it’s the most lu­ crative: Hie music industry takes in hundreds of millions he effect that hip-hop has had upon modem of dollars from rap. African-American culture is undeniable. It seems almost as though wherever the music goes, Heightened political awareness (Black nation­ the rest of hip-hop follows. Clearly, the future of hip-hop T alism and self-determination) as well as histori­ depends in a large part upon rap’s fiiture. And we can as­ cal and religious consciousness (Nation Of Islam) have sume that if hip-hop continues on its present path of been largely facilitated by hip-hop’s influence. The entire commercialism, overindulgence and fusion with the Afrocentric movement could very nearly be attributable mainstream music industry — in other words, watering to one man: Chuck D. But hip-hop’s enormous effects down— that the entire culture will do so, and as a result on African-American culture have inevitably spilled over will cease to exist in a distinctive form. into mainstream society, with interesting effects. ]ust as early R&B and rock 'n roll did in the ’50s, hip- hop has moved into the eyes and hearts of the main­ stream elements of pop culture. No longer is the music confined to the urbanized areas of this countiy. Now we’ve got platinum record sales, “Yo! MTV Raps,” media use of rap music as marketing strategy and a recent re­ surgence of the Black Cinema (Juice, Do the Right Thing, House Party, Who’s the Man, et al.). Even the issue of tagging in Santa Barbara is an example of how hip-hop has penetrated into the hallowed lanes of America’s sacred suburbs. What has popularized hip-hop so much? Most likely, it is white America’s interest. It’s no accident that main­ stream white interest in hip-hop music coincides with accomplish what Vanilla wanted to — which brings me multiplatinum record sales. This new-found fascination to a discussion of the recent House of Pain show at the has had some curious results. For one, if hip-hop re­ Anaconda. mained confined to the state it was in circa 1989, we To me, House of Pain is not hip-hop. They have the probably would never have seen the mass self­ gear, the attitude, even the music, but they don’t repre­ censorship that went on in response to Upper Gore’s sent my image of hip-hop, which lies in the basic founda­ PMRC campaign (it’s clear that Gore & Co. had no con­ tions of the culture itself. Why? The reasons are several. cern about rap until it hit the suburbs). Mainly though, it concerns their whole Irish gimmick. I Further, hip-hop music has ultimately been diluted by say gimmick because that’s exactly what it is; a ploy em­ mainstream influence. The demands of the mass popu­ phasized in their music and overemphasized by their re­ larity have led the music industry to manufacture “hip- cord company’s publicity outlets. If the band were truly hop” artists. Remember Vanilla Ice? Vanilla Ice was concerned with increasing Irish awareness, they would created as a response to the mainstream demand for an rhyme more about the real aspects of Irish culture in­ icon audiences could readily identify with (i.e. a white stead of four-leaf clovers, leprechauns and beer drinking one) in a popular music form dominated by relatively un­ (negative stereotypes). I also don’t think that hip-hop, a identifiable ones (Black, Chicano). Like Elvis, Vanilla mainly Afrocentric subculture, is the appropriate arena Ice was created to provide an acceptable role model for for increasing awareness about a culture that is a part of a this new hip-hop audience. European aesthetic. Hie two seem incompatible to me.

hey wanted you to believe that Vanilla Ice was Nonetheless, last summer we all blissfully “Jumped down 'cuz he came from the hard streets of Around” without really thinking about what the Miami (a lie) and that he was authentic hip-hop emergence of House of Pain meant. Most of us still don’t T 'cuz he could rhyme (a bigger He). More impor­ get it, but if you went to their show a few weeks back, you tantly, Ice caricatured “Blackness” in a manner which could probably figure it out. Their heavy metal remixes, told gullible white kids that if they shaved a few lines on lack of lyrical and turntable skill and the appearance of the sides of their head and bought some baggy clothes— racist skinheads in the crowd told me that this band and his record — that they could understand and be an could possibly mean the end of hip-hop music as we authentic component of hip-hop culture. Hiis of course know it, and ultimately the end of hip-hop as a whole. was incorrect and fortunately, groups like 3rd Bass put Hiphop culture on the walls of Storke Plaza. Vanilla Ice to rest after a short time. It wouldn’t be long “Who’s the Man?” I don’t know, but if you ask who’s before more groups and performers would be created to the fan, it ain’t me. lily Nexus ARTSWEEK Thursday, May 6 ,1993 5 A

Karl Wallinger Party All Night Toy Dolls World Party B an g Chrysalis

Punk Rock Cartoons At a world party, the music is going to be eclectic, of Toy Dolls to Jail,” karma’s-gonna-get-you “Keith’s a Thief’ and the course, but you wouldn’t expect to constantly be saying, Absurd Ditties cunning rebellion of “Lester Fiddled the Tax Man.” “Where did I hear this?” If you did, it would probably have been on the radio. I think this album has already Receiver Records Some of these characters are based on friends and local familiars in the Sunderland, England surroundings, scored a hit with its second song, “Is it like today?”, ☆ ☆ ☆ where the Oi! lineage is rich. which sounds psychedelic and is, leading you through the history of humanity’s search for truth and the Crea­ Oi! There’s a new album by cartoon punk band the •LYRICS: In his song writing, Olga employs a plethora tor: “It moved out ’cross the Mediterranean/Came to Toy Dolls! of nouns, verbs and adjectives----- more than you could western isles and the Greek young men./And with their If this excites you, it’s most likely because you heard possibly want This album’s offerings “I’m a Telly Ad­ silver beards they laughed/At the unknown of the their song “Nellie the Elephant,” about an elephant who dict” and “Don’t Go Up the Reeperbahn” should suggest universe/They could just sit and guess God’s name.” jumps out of the circus, on the radio some years ago. But to you the sort of jokey interactions they write about, Throughout the album, references layer themselves as this band has worlds of hopping fun beyond this single, complete with lots of nagging wives and bosses. Equally the World Party looks to the Stones, the Who and other and now they have a new album full of Absurd Ditties. zany titles like: “One Night in Moscow (arid We’ll Be British rock for the best songs on the album. They fall a These ditties depend on the same proven elements Russian Home)!,” “The Sphinx Stinks!,” “You Won’t Be little flatter when they bring in the funk while failing to that made The Dolls’ earlier six albums so successful. It Meny on a North Sea Ferryt,” “Yul Brynner was a Skin­ loosen up the tempo and the no-misses production. doesn’t exactly break new ground, but after all this is head!” have spiced up their prior albums. They blend This band has something that always keeps you col­ punk rock. punky energy and quaint English charm into a potent lege kids coming back for more, and that’s deep-rooted •FAST GUITARS: Marti, K’Cee and “Olga” Algar are mix. cynicism. “Hollywood” is all surface: “Said she’s just a spiritually related to heavy metal. They play really, really mirror/Said she leads the way/Babble on and dooming fast Olga playing live looks like a whopping whirlwind. •COVERS AND GIMMICKS: On Absurd Ditties they me.” With this song, World Party addresses that worn- cover the classical Toccata in E minor. In the past, But their voices are understandable — not some sort of out question: Does trash art reflect our trash culture or Motorhead induced Lemmy growl or something — and they've even covered such eclectic works as the Russian create it? They fail to answer that one, but with “positiv­ their blazing playing manages to create hummable, infec­ Sabre Dance, “No Particular Place to Go” by Chuck ity” it becomes clear that they’d rather be dead today, so Berry and even the fastest version in the world of “HaHa- tious tunes. that they could have lived in a better time of their own •PEOPLE: The Dolls’ specialty is singing songs contain­ HaHa...Wipeout” These versions are all very fast and choosing in the past Why? Because, as they put it in ing stories about some particular character. On this al­ very funny. They also cashed in on the Teenage Mutant their hilariously cynical swan song “And God Said:” bum alone we get “Dez the Demon Decorator,” who Ninja Turtles with their highly unauthorized song “And God said, ‘Look after the planef/But man said, joins other absurd rogues from past albums such as “Turtle Crazy!” And the first track of another album be­ ‘Fuck you.’” moody “Frankie’s Got the Blues,” nongregarious “Ne­ gins with a few seconds of Madonna’s “Material Girl.” Those are tire only lyrics in the song, and they will ville is a Nerd,” the solemnly cloistered “Geordie’s Gone There’s nothing on Absurd Ditties that isn't on Id le surely appeal to all the environmentalist, anti- Gossip, Bare Faced Cheek or Fat Bob's Feet, all of vivisectionist, idealistic Don Henley commiserators out which get three or four stars as well — that’s partly why there. At least the ones who like good music. this review mentions the past albums with the present Maybe God will strike down our trash culture for Nice, Tight Pop Sound one. But if you want a funny, high speed band with an at­ crossing his verdant path, like he did to the original titude, this album is well worth your checking out. “Babbleon.” Odds —Kevin Carhart —Dan Hilldale B ed b u g s Zoo Entertainment ☆ ☆ ☆ H ey! Zoo already released this band! What is this? I’ve already g o t Matthew Sweet’s last album. Which is not to say B ed b u g s isn’t a fine piece of work, or that the guitarists don’t know exactly now to notch their pop knives with reverb and distortion, or that the lyrics and vocals don’t amusingly feign rock and roll seri­ ousness, or that they haven’t got their sound down tighter than a dead cat hammered into a pine tabletop with threepenny nails. It’s just that after G irlfrien d came out last year, I listened to these songs, with only minor alterations, for about 10 months straight At least they’re better than Toad the Wet Sprocket, for God’s sake. They (and probably Matthew Sweet) fell into the same acoustic guitar here, tense not-quite- screaming vocals there, lots of harmonies everywhere category — if you stretch it fer enough. Maybe it’s just that self-conscious pop is coming into its own, parading onto mainstream radio on the coattails of Girlfriend. Maybe that’s why Zoo is releasing another album filled with songs about love gone wrong. (“Sweet­ ness & Love” is almost a remake of Sweet’s “Divine Intervention.”) Repetitive or not, they’re fenny. The bassist keeps the songs from running into the ground with some really in­ ventive lines. The drummer is solid and doesn’t feck ar­ ound too much. I swear it works. And why shouldn’t it? It was just fine last time. Nana K b P W Odds is performing with the Gin Blossom s and Ariel Oooooh Cheesecake! on Saturday, May 8, at the Anaconda Theater in Isla On Friday, Rogue Cheddar w ill play their last show in these parts before they move to San Francisco. V ista. They’ll be playing at Buster's, so stop in and say ‘bye’ to Darryl (pictured, screaming), John and Tom. —Charles Hombeiger 6 A Thursday, May 6,1993 ARTSWEEK Daily Nexus

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Anaconda

CR&TVRF FEATURE RUGBURN, D1BRIS STREAM These installations are ju st part of the five fun MFA exhibits in the University Art Museum. Photos by David Ruddy. DECLINE OFPAISLEY JOHN SHAVER 5/8 Sat. GIN BLOSSOMS THE ODDS, Installation Art Makes a Comeback ARIEL 5/14 Fri. r.R 1NDCOREAM.NITEW/ by David Rittenhouse______crafted by a forgone generation of painters. asco becoming acquainted with foe various POWER ASSAULT, Wall art it is, painting too, maybe, but its six meanings carried by foe spoken and written MUTALAGE, CRAWL laes Oldenburg would be infatuated laige panels offer none of foe traditional word o f a second language. The knots allude (featuring Christian Fletcher) 5/15 Sat. with the Masters of Fine Arts Exhibi­ Catholic Annunciations or Stations of foe to foe association of new English words and NERVOUS SHEEP tion showing in the University Art Cross associated with foe ratables of foe past. definitions with previously understood ob­ 5/19 UJed. C Museum through May 16. It almost Instead, Derbes has injected scenes of natural jects from a Spanish context. A complete war­ FLOTSAM makes up for the several decades of academic phenomena which profess a sort of environ­ drobe of transparent cutout clothing bearing disinterest in the man whose gigantic Swiss- mental doctrine, where saints are replaced by various snippets of information from creden­ JETCAM Army knives and monumental inflated ice trees and virgins are deposed by waterfalls. tials, like reg cards and Social Security cards, D A M N THE M ACH INE bags made the phrase “installation art” a The monstrance is an easel framed panel dis­ further her contemplation of foe inseparable 5/21 Fri. household term. It seems that five out of the playing some very Magritte inspired clouds connection between word and concept. five MFA candidates have chosen this medium over a saturated azure sky, completing foe ar­ Gretel Huglin’s “Person to Person to Per­ THE FLUID, for their senior theses, displaying a bit qf revi­ tist’s construction of an organically based Poster Children, son” is foe last installation, and it carries ele­ valism in old Claes’ brain child. Here is how Scripture. Overwhelming Colorfast ments of both performance art and progress one can navigate this penta-perplexing exhibit John Lofaso’s “Untitled” installation pro­ art In her work, two old rotary dial telephones 5/23 Sun. without getting lost vides foe passerby with a roomful of biogra­ are placed at either end of a long banquet table Artist Neva Lindbuig’s “Salt Flat Finches” phically inspired diatribing against the idea separated by a large steel vase of flowers. Ar­ is the first work you will enter on the tournde- that hunting is a noble and manly pursuit His ound foe room, high upon a running shelf, lie installations. Upon entering, the viewer is im­ pine needle constructed “trophies” of five small red-ribboned gift boxes containing gifts mediately impressed with the floor which is near-life-size foxes surround what appears to of a reusable nature. The jist of foe work is to completely covered by rock salt, a drastic 5/25 Tues. be an unarmed hunter — he turns foe tide, call foe artist from one end of foe table, and to change from the museum’s usual parquet. The positioning foe hunter in foe tracks of the receive varying amounts of fulfillment based ROBERT room is full of wooden perches, suspended on hunted. Furthermore, varying photo-angles of on foe amount of time spent chatting. Five mi­ different length wires, on which rest varying foe figures are hung on foe walls around foe nutes will grant you an epiphany, 10 will get FRIPP numbers of tiny finches that appear to be piece, providing a countless amount of you a revelation and a half-hour will earn you 6/5 sat. sculpted out of salt. Live birds in a concealed viewpoints. enlightenment, along with one of foe gift cage provide convincing sound effects which “Speaking Knots ... A Dream Journal” is boxes. All Gretel asks in return for foe gina FIREHOSE, heighten the remote feeling one gets from this Maria Velasco’s artistic observations on foe written reply detailing how foe contents were Blackbird artists’ micro-environmental mimicking of the lingual connections associated with changing reused, hence foe “Progress Art” label. 6/7 Mon. vast salt flats which lie somewhere behind us locations. She is a Spanish student who came in the arid Southwest. to foe United States two years ago through foe This year’s Spring MFA Exhibition has a FLIPPER Brian Derbes’ work, “Everything and No­ UC Education Abroad Program. In this piece, character all of its own, and one really must thing,” offers a slightly different interpretation large knots are scattered about a room, which pass through foe works to grasp their full po­ ED HALL of foe monumental Catholic altar pieces echoes a prerecorded audio testimony of Vel­ tentials. 4th of July Blowout w/ Jawbreaker, RHYTHM COLLISION, GOLETA FARMERS MARKET DRUNK IN PUBLIC FLUE MUCH MORE Featuring: at the Calle Real Shopping Center T h e A naconda Is also available t o r between Wherehouse Records and China City Rest. private rental», call <85-5901 50C O THANK YOL FOR YOt'R SUPPORT STRAWBERRY ■ TKXKTMASTKM, Cymbe- I OPEN: I Um , A the EOCKPILE located Mdd* The Anaconda I BASKETS I 935 Emb. 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UCSB Interdisciplinary Humanities Center presents Encountering the Quincentenary ______—I RICK BBSSBYM Iy N m The fifth in a faculty lecture series 1992/93 \ Honors artist Barbara Byron and two other sketches. The one on the right, ‘Sean,’ is her favorite. The Chicano Reinvention A Treasury of Studio Art of America Barbara Byron’s Detailed Drawings and the Tender Words of Francisco A. One of Her Close Friends Make This Exhibit a Personable One Lomeli, Professor by Nancy Bernhard!______Among her mentors are Elisabeth Weber, assistant professor in the Germanic Studies Dept, and art studio Department of Spanish 1 think of desire, lean into the swath of light, honors advisor James Smith, whom she praises for facili­ across the vault, to reach for the translucence tating organization of the exhibit and ensuring that the & Portuguese found only in a silk aflam e to the wind and students had a voice in its production. and billow ed in the winds, never stilled before the “James Smith is always concerned with making sure Department of Chicano that we are aware of what the other is doing and working vast break of sky. Studies — Selected Writings From a Friend, April 1993. together getting the exhibition ready. He’s concerned that we come to the meetings and have our own input Thursday, May 6 This passage introduces “Pencils,” a triad of sketches into what is happening. He is a great help,” she said. by Barbara Byron, whose works are among those in an Smith describes Byron’s works as “delightful, eleg­ 4 p.m., 8th floor Library exhibition of works by College of Creative Studies Art antly drawn, and skillfully manipulated.” Studio honors students. Along with Byron’s work there The other students involved in the hoftors program are paintings, sketches and sculptures by John Bauer, are “amazing,” Byron says. Although the students work Mitsuru Brandon, Minh Ho, Ali Khalil and Valerie individually on their respective exhibits, the small num­ Temple. ber of students enrolled in the program makes for a Byron’s “Pencils” is a series of illustrations depicting a close-knit atmosphere. dove’s flight, each introduced by a stirring passage serv­ Byron says she enjoys the rigorous challenges of the HEY UCSI ing to both guide and provoke the imagination of the ob­ honors program because she appreciates the indepen­ server. These eloquent soliloquies, which introduce dence granted to the students by the faculty that lets their each stage of the dove’s ascension, were written by a creativity flow, unhindered by a tightly structured friend of hers to accompany the exhibit. environment. “The drawings were put together using images from Smith acknowledges that the exhibit is unique, be­ black and white photos, taken in Prague and Paris, and cause it is “strong in content and substance, not ‘two-bit the rest from my imagination. The making of the draw­ trash in a shoe box.’” Smith said he tries to emphasize ings was affected mostly by a German literature class I foundation in teaching art, because “traditional art is not took last quarter,” she said. dead.” Also featured in her exhibit are two vividly colored oil For Byron, who has been sketching ever since she can paintings, “Sean” and “Nachtshucke,” a self-portrait, remember, the exhibit is a culmination of a year’s labor of both crafted with impeccable attention to detail and love. Perhaps the concluding thoughts of “Pencils” haunting in their realistic depictions. speak for themselves. In addition to taking on the rigors of the honors prog­ “A world lived in the blink of an eye, passed in subtle ram, Byron is pursuing a double major in art studio and frames, pulled across the smooth sheen of life, lived in, ROCK N 'Sttin. philosophy, which provides a unique perspective to in­ taken aback and pressed on to the visionary’s torch, held THURSDAY NIGHTS corporate into her art. She says that her drawings are a in the gospel of liberation’s form.” “direct result of reading and learning from the The exhibit will be on display until May 7, in the 9:30 pm - Midnight literature.” College o f Creative Studies gallery, open from 8 a.m. to "The few literature classes I have taken have affected 5 p.m. daily. my art work more profoundly than all of the art, art his­ tory and philosophy classes that I’ve taken,” she added. —Nancy Bernhard! iEMMIMMMEJEMPMMMIEMJEME C h a n c e llo r Ì Y J B S 1 m T M W Ì U e h lln g fs

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