Southern Illinois University Carbondale OpenSIUC

April 1974

4-22-1974 The aiD ly Egyptian, April 22, 1974 Daily Egyptian Staff

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.. 113gyptian The eclectic world of Darwin Payne 'Magazine Southern Illinois University Quiet ' Renaissance man' at work In SID theater

By Julie TiloDe see is London , a place many find Staff Writer refreshingly " small-town." New York, despite Payne's a version to A university is often that proverbial it, still has Broadway to lure the young backyard where really important things stage designer. But Payne contends that are overlooked. Important things, and a newcomer's chances aren't very good important people. Tucked away into there, since the union is very exclusive each departmental nook of the campus and Broadway just doesn 't provide that are men and women whose outstanding much work .,. reputations aren't recognized by the The west coast. with its film and community outside, and sometimes television industries. offers more job inside, that department. opportunities for the designer. But Darwin Pa yne is a case in pOint. Payne is qwck to note the difference in Payne . an associate professor of the kind of work available in those theater. has an established national media. reputation as a top stage designer. At 43, " Most of those guys (in television and he has over 20 years of design ex­ movie design ) are not theatrical perience and about 270 actual set designers, they 're art directors. [ know designs behind him. He is also an . rtist , some of them who had never done a a writer. a director - and probably a play, though they did have to design a curiousity to some who might wonder set to get into the union ," he explained. what a guy like Payne is doing in Car­ " The Wlion" in this case is the United bondale, and not New York or some Scenic Artists. It is a tough organization other theatrical showplace. to get into, one of its requirements being For Payne, a neat, young-looking a $1.000 fee just to take the entrance man, the reason (or his location is exam . ([ncidentally, $800 of that is simple - he likes small communities. refunded to those who flunk . ) The He was raised and educated in Car­ financial rewards of stage design are bondale (with the exception of a short not , Payne pointed out, as fantastic as stay at Boston University ), and received some might think. Earnings average (Staff photo by Eliott Mend.lson ) his Master of Fine Arts degree from sru $20,000 to $30 ,000 a year. in 1955 before going into the army. After Those with a maximum of talent and a and sometimes one can catch glimpses set it aside and think about it. " leaving the service he worked for the minimum of concern for becoming of the man. Payne's experience with CBS ap­ first of three separate occasions for the millionaires don 't have to worry about While discussing the difference bet­ parently turned him off to the idea of repertoire company at the University of fIDding work once they decide to go into ween art directors and theatrical television work and, a1tbough he has had British Columbia, the field . designers, for instance. he leaves no offers to do so, he has never designed "['m probably the only guy that went " It's not an overcrowded proCession, " doubt where his interest lies. anything for film . to Canada after leaving the Army," he Payne said. " If anybody really wants to " [ couldn 't stand the idea of doing "I prefer the live stage .. 1 get more jokes. varietr shows. with aU that tinsel and out of a good play than a great film ." Parne's distaste for the big city ~e:e ~~if{:~o~e:.~:r;:: fi:fcf~n~:~ such.' Payne, who counts the Canadian The hulTY-up style of art directors and Dominion Drama Festival Award ~e OP7! ~~J~r!n~ ~~ ~~ a ~oaby~ has a knack Cor shifting the the often short-lived effects of their work among his accomplishments, can ob­ aty~en he says, in his normally quiet conversational focus away (rom himself hold no appeal for Payne, either. He is a viously help a play succeed. manner. that the city makes him ner· and onto "anybody. " He is ftrm believer in taking a long time - Hi s concern for quality theater has vous, it is easy to believe. The only refreshingly- but unduly- modest. He is sometimes up to six months on one fostered Payne's other stage profession metropolis he never misses a chance to quick to discuss his profession, though, design.- tocomplete his work : " [ like to - directing. He contents it is frus trating to see a director not use a set as he. the designer. conceived it to be used. So the obvious answer is Cor him to direct as well as design. a solution Payne has practiced for 20 years. StH!. his interest In directing is " not just a desire to control." He wants to put more of himself into the finished J'roduCI. " I' m very inlereste in the in ­ terpretation of a play, " he said. Payne also has known the feeling of frustration that can be experienced bv a director. He has directly only one play at SIU, the musical Carnival. for which he did not design the set. "There were problems:" he said simply. Payne seems to look a t life , and the work he does, with a simple but well ­ thought'

Decaying geatWty iD New Ort..... - scal. ..odeI or p!:~. oet ror 'I'IeD-' aeuee WIlIIaau' ~nly Last Sum­ mer, (StafrpbotA>by Ricbard 7 .iDe) r I

development is especially an important part of the director 's task when working with students and one of the differences be tween universi ty theater a nd professional theater Stili, Payne said. working with students is not more dif· ficult than working wi th profeSSional actors. There IS simply a whole different set of problems In\'ol\-ed " Professional actors are easier to work with In the sense that the" don't have to be instructed But there are mor e personality problems with them " Whatever the problems In ­ volved 10 Instructing novice actors . Payne obnousJy has overcome them F or twu consecutive \'ears . 19i1 and 1972 . plays which he 'di recled al Sl L' \ Ha r old Pinter's The Ca retakt"r and David Sto rey's lI omp ) rompet£"d In Washington . 0 C In t ht· Am er l(:an Co ll e~ Theater t't-sllval Despite hiS ('uO(.' ern for and suc('ess In working WIth studf'nts. Payne does not l:ons lder hllnsell a lea('her Unt:" of hI S reasons fo r sLaymg al the t'nI\'t"rslty I~ that. In thE' absenct' of a bIg teaching load . he has time to pursue other Ill· terests beSides deSIgn In the " outSIde" professlon<:tl "'ar id . a dl'signer has to st ruggle more and deal wllh more time· consuming problems Anyway , Payne complains, a sort of mental fatigue has set in after so many years of designing . and he e n joys s pe nding more tim e wr iti ng and painting Payne 's fi rst :\t home, Pa~' n e surrounds himself \4'ith book , Design for the Stage. is scheduled his O\4'n artistic output. Here, Payn t> r E"­ for release in June bv the SIU P ress. IL lS la x ing in a wit:krr pt"acock chair , is a text book explaining th e think ing fraOlf'd b\" a modE"l of ant" of his own St'lS o process oC the theatrical designer faced I Starr photo b~ Eliott Mendelson I with problems Ihal lie beyond Ihe vau don't have to answer to anvone master y of mechanica l skills . or else ' . "stagecra ft ,. He is working on a second He IS Intensely personal and, 10 his book which wll! deal "'~th the techniques own words. " not a political person. " But of stage design ra ther than em phasize society. even a university society, can the conceptual Painting, In ""hl ch forgive that of a man With talent He IS Paynf. received hi S coll ege JOs truction. provides a kind of release for him :~a~r~~tS~\~Sd e~e2-~f~~~~r ~ ~S~ ~en. Modern art IS a sort of reactIOn against thus lasllca lly waves hiS artist's hands 10 ~lg~~~I~~~n th;r~Q~;~~~he~ Yre ",~~ :cfse explanation of a modeJ set he has " It's a recreational thing," he said. ~~!~g ~~ ' ~~~:fg:r:r"i~~~~!~e~S6!~~~\~ " In designing, you 've a lw ays got theater "never r eall y meant a g reat economics to worry about In painting. deal" to l)ar wlO Payne

T h,' 1 ni\t'r,il~ Tht>3 tt"r produ(·tiun or Sudd£'nl y Las! SUIII Il H' r . ch n'l' tf'"d b ~ Uar", in Pa ~ nf" . \0\ ill tw prf>st> nlrd ,I I ~ Iun. \I a~ .1. , a nd :1 . Ti, kt ' l ~ fur tht· T.' nnrSHt' \\ illia m ~ dra rn a st" t in ,.' ''' orlf' a n ~' J.!a rdt·n di~lrkl a r f' a\ailablt> a t lhr llll\,'r,jh Tht,;ttrr bu"\ urrit'I' and thl' Studt'nl Cpnlf'r (,Ol1l r al ·':id.:1'1 tlHin' . Tk k"h arf' 51 ;:l fur ... lUd"nl, :l lIti 5:: :::, fur null· ... turlf'lIt ...

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Gr...-...... 0.. e..". ~ b_. -&u::. Gwnmn. Al:::Nrd '--U ~ C Arre Pf-=oe Pa~' nf" s Sf't (or another Williams' play - ~ NiIM SIft· a.w.:. ~ . c.t c-..cu.-, - Slreelca r :'\a med Desire - f'"yokH • """" _.c.1_ 0.. _ . ... _ . mood "rr)' diUf'ff'DI than tbal CODyeyf'CI c;.y-.~- b~o his sd (or SuddenJy Last Summer. '-'Y ...... _~_...... ,,",",­' ~ ISlaffphotoby Eliot I Me.Ddelsoa.' .....Q.-.-.- --­ - . ~-...... T..,.. . ~T_. ==-~_...... __ ..... · CImio-­ __ ,..,.... Dan Pressle~' , director of the upcoming SIt.; Choralf' Concert. at work. I Staff photo by Richard:\. Le"int» , . , One can at least burn a little InCenSe

By D3v~ Stearns realIze the harmonic Implications of the rbythmically. And in using Il!is lext. I Mass is a major work. ( find new things StaHWriter chords and know where they are going. tned to incorpor ate the particular in it constanUy. " And when the singer hears thiS ," timbres and rhyming sounds of the "Performing the piece demands a Igor StraVInsky wrote Symphony or Pressley continued. " he can correct syllables., .. Oldfield said. ' Tm not fantastic amount of concentration, for the Ps... lms upon his publisher's routine hlmsel( Immediatelv if there IS trying to say something intensely suggestion that he write something something wrong " . religious in my Mass. I don ·t leel Il!at we ~t~~t i~J~·~~~ts=~a~~~ ' n~~~~ " popuJar" " 1 took the word . not in the In forging the chords , StraVins ky have to be solemn. austere and quiet to of it complexities- and that's good publisher 's meanmg of 'adapting to the reqUJre1i exactness. "Can one say the be religious. It can be lighthearted, writing. I've been so delighted in hal ping understanding of people.' but i n the same thing several ways') " the ('am · rhy thmic and In some cases , bom · sense of 'something universally ad ­ poser queried " I ('annot m any case, bastic. " to A~~~~etrhisordfief~ec:d~~~~nal~~e . ~'he mired.' " wrote Stravinsky. " And I even and to me the only poSSible way could Allhough OIdield prepared lor ibis concert is a synthesized orchestration chose Psalm 150 In part for its not be more clearly indicated among the for Bach's Cantata No . HB. "Oh Jesus popularity " chOiCes If they were all painted blue " ~=~~o;~m";~~.!{ti~~u~r~~e~~ Lord My Light and Life. Theres's been a That was the genesis of Stravinsky's Uesplte the esteemed place that Renaissance Palestrina Masses, he lot of synthesized classical music­ great choral work. which will be per­ S."mphony of tht> Psalms holds In choral incorporated influences of American Walter Carlos. specifically." Oldfield formed by the University Chorale. repertOIres, StraVinsky did receive flack music. And in some passages are quite said. '·The only dille rent thing will! this directed by Dan Pressley . 8 p m 10 hiS day for c hOICes he made In setting bouncy . cantata is that it's probably the first Tuesday In Shryock Aud,torium these sacred psalms to music. "1 really time and instrumental part has been ··Orchestrally or chorally. Symphony do tire of people pointing out that The University Chorale has been ~~~ired to be performed will! a live 01 tbe Psal m s is not excessively 'Oominum' is one word and that its singing Oldfield's Mass since last spring demanding ," Director Pressley said, meaning IS obscured the way I respirate when they premiered the work and took Another difference between Oldfield " But when it all comes together. it It Do such people know nothing about it 00 tour winter quarter. and carlos: the latter tends 10 interject certainly sounds dirricult. which is an What was the audience response on various noise sounds, wheras the former eJUllDpie of Its musicaJ worth. ~,~~~ ~ ~~~g~~o ~~~~~ltg~~~~I~ lour~ " Absolutely incredible." says has. stuck very close to Bach's score. "There's a terrific amount or support little art If one has an) . and If one hasn'!, which was written for three baroque and non-support from the orchestra to Pre~sley . " We received standing and cannot recognize It In others, then ovations after the Mass, and at the trumpets, three Baroque trombones and the chorus," he conlinu€' m · UniverSity of Notre Dame where we SIU laculty composer Alan Oldfield 00 sang in a cathedral. the applause after "The tim bre of my score wiU not be as pl ementary ... the other hand, has received no ad· thick as the sound the actual in· In rehearsing the work and finding the the Mass lasted nine minutes. And how monitions lor the style of the settings he do I know that ? Well. I timed it ! struments would make. " Oldfield ex. pitches for the exotically sumptuous a nd chose In wn~ his Mass, which is also plained. " But it will be more austere." occaSionally arid sonorities of the work . on the ChoraJe 5 upcoming program. ··There·s an abundant nwnber 01 lolk More 2llth Centw-y Bibhcal music will Pressley said the singers must not orny " Latin is ver y enjoyable to set Ma sses goi ng around , and you have fill out the program · Doniel Pinkham·s know their parts indiVidually, but must because you can do so much with it Dave Brubeck writing jazz oratorios­ Songs 01 Peacelul Depar)ure lor guitar Il!ese works are not appealing to me at and chorus with gUitarist Steve all. musical or in statw-e. The Oldfield Schenkel. Equestrian art hits

R~ ' Michael Uawle~ illstorlcall y . (he Llplzzanr-r can be Starr Writer traced to ),') 62 . when Emperor ~l axl milllan II brought a group of In ~very art there a re creators who Spanish horsl"S 10 Austria His brothpr product> endUring masterpieces which Afl'hduke Charles . began his own stud bt"'('ome IOdispensabte elements of !.he farm 10 1;)80 In LIPIZza . Austria. The study or that art. horses al the Llpizza breeding farm In the equestrian arts. that one In. thrived on Its limestone terrain. All dispensable element - whose statw-e L'PPlzaners alive today descended from gran' and cultural heritage places It them . man) s tndes ahead of Its associales - IS The Llplzz.an stallions art' a prodoct of embodied In the Llplzzan Slalllon of ('('ntunes of Spanish and ArabiC' ,\uslna Oriental bloodline crossbreeding For Known as ballet dancers among the greatest part of the breed's existence horses. the Llpiu.aners date ba(,k over lhey ha\'(, been the exclusive property of .. 4(N.1 years. Becaus(> their breedlOg was reigning monarchs. and ..... ere QC . always strictly ('o n trolled, only a f(" .... ' ('asionaJly gl\'t~ n to nobels woo s<:'rved in hundred of these beautiful and in. the army. teillgent equine artists have IJee.n alive The L"iplzzaners have always been at one time. The stallions are known for connected W"lth the still world·famous their great leaps and feats of balance Spanish Riding School In Vi<:'nna . named known a s " airs above Ihe ground ' In recognition of the principal blood Th(>s(' movements Originally were heritage 01 the breed The school is the performed as war tactics b.,. mounted oCCicial training ground for the stallions men to Inspire fear In foo"t soldiers. since the early 18th century. Just as Today the movements are performed for the stallions were ooc€.' instruments of Il!e sake 01 beaut\'. war, they also have been innocent More than 21) of these renowned horses \'Iclims of it. The Napoleonic Wars were will perform at tbe SIU Arena when Il!e the first to lorce the breed·s exodus Irom Lashinsky Bros. present Th' \\·..... rlu l upizza in 1781. : IC.~I of the horses ....· ere "",,r id or Horst's featuring Tbr- ,,"or ld marc~(or ",I days to Stuhlweissen­ •·..... _1 R o~·.1 Upiuaa SlaJli_ Sho,,· on burg a later returned when peace was Apr" 27th ~nd :!Ilth. The show is billed as signed . 1806 they were moved .. the wor ld's greatest equine ex" again to • Hunprian vilIaae. IUId were travaganza ,. and previously appeared at returne.he'Upozza in 1809. ooly to again SIU in the sprillll of 19;2. be lo~ 10 nee the approachillll annies On ThIs Day I Complete My Thlrty-Slxlh V_

Byronic legend built 'Tis time this-Mart 5hclu1d be unmcM!d. Since oII>In II hath ceased to moYe: Vel. Ihou!7> I cannot be bel

By C . Ann~ Prescott character wi th c r im e , pnde . e xotic My days are in the yellow leaf; StaHWrit.er experiences and melancholy. A good TIle flCMerS and fnJlts of I""" are gone; deal of Harold . of course. was Byron. TIle worm. the canker. and the grief This month marks the 150th an ­ who beca me "reall y the only topic of Are mine alone! niversarv of the death of a man almost ever v conver sation ," said the va r iousiy known as "a boozy lec her" Duchess or" Devonshi re " The m en TIle fire thaI on my bosom preys "ith " the allure of a fallen Lucifer ." "a Iwere l jealous of him , the women of Is lane as some volcanic Isle ; compulsive philanderer:' and " one of each olher .. Na lorch is kindled as Its blaze - th e greatest Romantic poets" - George Byron spun the my th with greater A funeral pi Ie. Gordon. Lord Byron. one of the pivots of virtuosi ty the next th ree years by th e great English Romantic movement. Writing more poems with fatal heroes TIle hope, the tear. the jealous care. The c harism a of Byron . the great and by scandalizing society with affairs TIle exalted portion of the pain lover who lived a s hor t but turbulent 36 wltl1 Lady Lamb a nd Lady Ox ford . And _ of I""". I cannol share. years, grov.'S " ith time. tn the book supplemented by "'hispers of incest with Bul v.ear lhe chain. publishing world. for exampl e . two hiS half'sisler. Augusta Leigh. volumes of Byr on's letters -- In :\1,)' HOl Indeed. By ron sometimes allowed Bul 'lis not 1Ilus- and ' lis not here-- Youth and Famous in :\1y Tim~ - were himself to believe that he was fa ted by Such thoughts should shake my soul. nor new. published last fall . while'a third - Alas: hiS heritage, a nd a look at hiS Immediate iMlere glory decKs the hero'S bier. The- Lon- of Women - is due in the ancestor s was not r eassuring His Or binds his brow. bookstores nex t sprang The titles. all gr andfather, an admiral. was known as quotations from Byron , are the work of "'(oul ,weather Jac k " because storms TIle sword. the banner. and the fIeld . publisher-collector John Murray. great· blew whereve r he sa il ed HI S great· Glory and Greece. around me see! great -gr andson of the John Murray who uncle. the ··W,cked Lord .-· had killed a TIle Spartan. borne upon his shield. first published such By ron bes t·sellerS friend 10 a drunken duel. HIS fa ther was Was not more free. as Childe lIarold. A total of six or seven a notorious Iibertme wh o married t"'ice vol umes IS planned to encompass the a nd squander ed the fo rtunes of both Awake! (not Greece-<;he is awake!) 3.(10(1 letterS known to be from Byron's Wives. He died when By ron was three. Awake. my spiri1! Think through wtlom pen. and the boy and his mother lived In Thy lile-btood tracks its parenl lake. Another example of the powe rful underpriVil eged circumstances untiL at And then strike home! attraction of the By ron charisma is the age W . he Inherited the family eslate. career of Leslie Marchand, Marchand Newstead Abbey. Tread those reviving passions dCM'n. retired from his EngJish professorship Ilis ea rl y childhood was fraught with Unworthy manhood! ---M1y live? But there was more to Byron than his a temper , he enrolled In Harrow, and by TIle land at honourable dealll amorous nature, the breath of scandal gradualion had suffered unrequited lo ve I s here: -ness With the rapture Byron ('cntnc he couldn 't endure the Sight of a fnends OUTIng thiS lime he composed prompted John Galt to deSCribe Byron thought a ppropriate For the next two wo man ('a ting . he stayed up a ll night . he some of hiS finest works - Manfred, yt.'cH S. un til 1811 , By ron to ured (he kept loaded piS lOls by hiS bed. he would Krppo, Don Juan a nd Cantos III and IV I ~S~ . ~~I~~~s~~~~,r~~~~~~ed ~~t~~S~ar~ t~ ('uun(nes deSCribed In the firSI two of Childe Uarold, which show the in­ Such dis parate deSCriptions point cantos of t.:hUde Uarold. f:: :~~ ,nt1 ~r~n~~~h~tsa~dd as:i:r ~~~ ~:~ fluence of Shelley whom he met in toward an incalculable figure for which dominatt"d his moods. And then there Switz.erl.nd. the sensibility of the age hungered C I!t~~ U~~s B:;;;ti;a~el~~~,\~~d f~~aii'; was hi S relationship with hi s haIr -sister, His heroic dea th in Greece at the early To a great degree th is character . plus brought about his fall. He sep· \4'lth which he enjoyed shock 109 hi S prim arated from hi S Wi fe and scandal age of 36 further heightened the aura of a VIVid tra\'el narrative. led to the poet's '-' I f(' Wh ether thiS n ' latlonshlp was mystery surrounding him Byron had overnight s uccess when the fi rst two ensued o\'er hiS relatiOns With hiS half· IOdl.>(''(j st' xua l was Irrele\'ant , society settJed In the marshy, fever-ridden town cantos of Childe Harold were publIs hed ~ Ister H, ron marned the "Irluous and had had enough When Byron stepped of ~' l lssolonghl to aid the Greeks In their by !\lurray In t812. " I awoke one mor· v.ea lth, '.-\nnabe ll a :,\1l1banke In 18t5. IO loa room , 3S hi S friend Thomas Moore revolut IOn agamst Turki sh rule, but he ning and found myself famous," he said thou~h no ant.' t." t'r flgun?'d why. Just as recalled. "" ':ountesses and ladles ol fashi on" lell " 10 crowds .. "ontracted fe ver a nd by April 18. 1824 . The poem concerned a self ·exlle. nn on(' In(' ludlng hiS friends a nd had become deliriOUS Regaining Harold, who ('arried hiS " marble heart" biographers could pinpoint the cause Hyron lelt England In 1816 and lived momentary conSCIOusness , he saw hi s through Portugal. Spain. Albani a and of the s ubseque nt separatlon Bu t. of the rest of hiS years on the Continent. friends gathered around weeping , and Greece . a ll the while etching hiS l'ourS(', there "'err JUll'Y hints primarily 11"1 Ita ly a lthough he conllnued he murmured. half-smiling, in Italian, "Uh. what a beautiful scene!" Though Byron is r egarded in the zenith In Lippazzaner tradition forefront of English romantic poelS. his greatest impact was on European and especially French Romanticism. This of France l 'ntll IHI:; th{'Y lI\"l~d In th E' of a Ll plZzan does not begin unlll It IS parts lra IOlO g on the ground and above Impact is due largely to the so-called lowla nds of th(' Tlsza HI\'er. a lnbulafV fo ur years old. a nd ~ s not com pl eted unt il the ground The purpose of the first IS to ··Byronlc hero'-· which dominated 19th · of the Da nube. where the (,",'Ironment It reaches ItS elghtfl year teach the ho~ e balance and dex terity century literature and philosophy. As was \"l'r\' sc\'ere Hut time has It S rewards Al though a In a dlspia) J.cr'lown as the " Pirouelle ~" Hyron scholar David PerkinS explains Once agalO , the horses were remo,'ed thor oughbr t'd r ace horse Olav be ear· the horst" re\"olves on Its hind quarters 10 the Byronic hero : " He is a man grealer in 191 5 because of World War I. When ning a fortune at the age of two -when the e venly spaced gallop Jumps In the than others In emolion. capability and the Aus tro-Hungarian Empire was Upizanners are still running carefree in " Plaffe," the horse performs the dif· suffering . Driven by a demon wilhin . d lssolv('d at the war's ('nd . Lipizza the meadov.'S, to 25 years a thoroughbred flcu lt act of trott ing 10 place he IS fatal to himself and others : for no bt'Came part of Italy and the LlplZzaner wi ll be long dead or retired to pasture Hut the mark (if a truh' great horse lies one can resist his hypnotic fascination stock was dl\'lded between tw o nations and the Liplzzaner may still be a star 10 ItS ability to perform- the " airs above and authority. He has committed a sin The horses used by the Spa msh Riding performer the ground .. Onl y a few very strong and that itself expresses his superiority .. " Sl'hool now a re bred a t a stud 10 Piber. Intelligent horses are chosen to learn Training of the Ll plzzaners IS di Vided Perkins adds thal the Byronic hero is Austria Some of the horses ~' hich \A.·1I1 The Lipl.t..i;:;,e i s a re the only known Into two schools: the low school and the metaphysical and nihilislic. "He defies sta r 10 th(' K O~' a l Lipiuan Stallion Sho,", hlj:h school or " haute ecole '-· The breed of horse a ble to master these \I.'('re born t ht're feats . which are so difficult that no the Power that made and doomed him. primar y purpose of the low school is tCl Or rather he must submil. bul will not The fact that these beautiful creatures leach the animal to wa lk . a reat which Single horse has ever learned them all, are alive toda\ IS the dll"eC t result of takes two yea r s Certainly the horse In the "Courbette," an above·the­ ~~es~ :J'li:n~teV~!~~rl... H:u:h~ efforts by the t' S. 2nd Cah'a ry during already knows ho,",,' to "walk" when it g round training exercise. the horse World War II Cnder the orderS of enters the school. but what it learns in makes severa l rorward jUr.1pS on its also embodies a form of nihilism : he can lieneral Geor ge S. Patton. the horses those two years IS how to wa lk with hindquarters without tOUChing the find no ground of action or value outside wer e ratne\'ed from Russian and stately magnific{'nce. ground With its forefeel. In a jump his own wiU . . . from the sin he bas (;('rman arm ies and returned to their The animal's high knee action, the known as the ··Croupa-de '-· the animal com milled he derives freedom." home In Aus tria iThis exci ting a nd vertical carriage of the head, the slight quickly jumps up oCf the ground and Pemaps one explan,lim 01 his con­ to\'oh'ed ston: was recounted 10 a Walt do..-nward thrust of the haunches. and draws its hind legs under the belly. The temporary J>OI!UIarity 15 thal aspects of Disnev £ilm Thf' :\1iracle of Lhf' White the exact. delicate placing of the feet most difficult above-lhe-ground jump a the ByroniC bero are prominent in Slallioos. I combine to deliver an impression of Li piuaner ever learns to perlonn is the today's youth. while other generations For 1tt vears afte,r the close of World restrained vigor. The nuid movements ··Capriole.-· in which the staIIim leaps enjoy vicarious experience,. Ex· War II. ihe Liplzzaners roamed the of the horSe should be so entrancing that into the air with aU four legs drawn higb. planations a.ide, bow ever, one is ..i lds, not to reappear in the striking the rider Virtually disappears . and then Iuci;.. out with the hind legs reminded 01 the ~thrown m the' riding hall In \'ienna until t9:>5 . In 1_. Arter learning to \A.'alk in straight when its body is po5itioned horizontally heart 01 a~s-r-old wbeII the news tv.'o s tallions and (our mares \A.'ere lines. a fjve·year-old stallion is taught to in the air, reaclJed nd that ynJII bad died. purchas ed Crom the Austrian govern· walk In turns and rounds, At this time If for some reason the line art 01 the " BynJII is cS," ..... Alfred ~, ment bv a farm in America, Their off­ the Lipiuaner also learns to vary his Lipiz:zans disappear tomorrow, it would ... OIl a roeS in the woods _ ... spring became the first to be bred in this step .and pace. and begins gymnastic mean much more than having a few home. On that da~later aald, ''tile e,xerclses"lAo'hICh Will prepare him for unemployed ilorses and riders. Gone wboIe world ~ to be darIreDed rw ~~ining of a Lipiuan staUion is an " high school'- ' from the world forever would be one 01 me. " Not .. Ioday. and biI poetry antique and specialiled art. The training High school training consists of two its great cull.... al heritages. live. EYeD after 150 . DIlly £gptiIn.• •~ .tt 2'2. tW...... 6 '- ~ " ~ Badfinger's. beast of--burden,· ~- By D.ve Stearus sharp.focused artistry are quile ap­ Variety is achieved by simple addition ~ Staff Writer pealing - an inleresting paradox that and subtraction of instruments, smooth can be paralleled with what's inside the shifting r hythms a nd tame key Ass cover: a new disc by Badfmger. changes. ~ - by Badfinger . B adfin~er · s new lyrics are so Badfinger has given us some ex­ ~ sophomorIC and their musical devices cellent songs. such as " Day After Apple Records. 1m. so . backneyed thaI you'd think Ibey Day." " Wilboul You" and "Midnight wuuld totally repulse the ears. just as Caller:' which made us wonder if ~ you would think that the carrot and ass ' perhaps they would succeed the ~. Ass. How blatant. ass on the cover would disturb the eyes, BeaUes, ..,.'ho discovered and trained But these well-worn rock-and-roll them. We have seen Ali ce Cooper's Muscle rifts are used so exuberantly in the con· However , there are no songs on Ass text of Badfinger 's taslY arrangements lhat come close to Badfinger 's pas: ~ . of Love album and Frank Zappa's , Weasels Rip My Flesh. But Ass just and immaculate production, lhat this work, which peaked on their excellent stares out of the record rack a t \'ou, album of glorified bubblegum-rock has No Dice a lbum , This suggests they have showing a Dali-style painung of a crawled onto my turnta ble more often taken to plugging 10 their mU SIcal fo r ­ donkey's posterior n anked by a phallic than I like 10 admit. mulas and adding stupid lyrics, carrot , But aSIde from the con· Badfinger rocks hard. but not too Sut it 's a good fo rmula , especially when heard througn the clear rt'ver­ , n013lively gross im~es . the color and hard. And they do it with relatively soft ­ limbred instruments. Their electriC berated producl1on. - like looking a t a guitars are amplified down to a deep landscape through a con vex lens, Bad­ (CZZ, and it seems that there IS a lush finger makes few demands on your ears Traff ie-they're hitting 12-s tring g uitar strumming 10 the ur your brain. You know exaclly what '. echoed background. Wilh the Beatie..,.., Ihey 'r C" dOing and you can hstt'n to them \'oices and harmOnies, one can almost If \'OU want or munch on a ca rrot or o\'t.> rlook the terrible Ivrics, read vour old Issues uf Chicago Seed, that old road again Like , Badfinger uses So ~' h at If they nl! \'t'r get as good as slmplt! means - usually nfts we've lhe Seatles, or n{'n'r l~ve n evoln' Ihelr By Eric Schuster organ playing of Ste\,e Wtnwood , who heard other groups. pl ay a hundred own mUSIca l stylE") Badfingl~ r IS bub· StudeDI Writer ties everything together. " Low Spark" ti mes before , They work them around , b l ('-~ um I11USI(' for pt:'Oplt' who buy the l."Ombimng them with other nfts, and It National Enquirer ",'hen Ihelr subSCrip­ On the Road IS a good song b ut Il becomes a ll filS together like a jigsaw puu le. tion to Pla y bo~' runs out. by Traffic repetitious lisleOlng to 15 minutes of the same two chords, Island Records, 1973 The SIde finishes with a fast·tempo If you like Traffic but have missed "$hootout at the Fa nt asv Facton ' ,. Ronstadt breathes life their last two albums, or if you like This track features WmwOOd 's dlsloried jazz-rock combinations. then you might guit ar and the reggae rhythms the . like this latest album from one of g roup added while r ecordIng England 's premier grou'ps. But if you " ShOOlOut " in Ja maica. Wood slavs In Into woman's m usieal role the background wllh hI S nUle, while don '( fit either of lhose categorIes. then 1:1\ L>i ant' ~lil.ialko Htlll :-- I,Ic1t s t ~ It- IWI" IOfusion of ('ounl · this disc wi ll be as disappointing as Roger Ha""kms adds hiS talents as t h~ , Starr\\rih'r J.!roup ·s thIrd percussloOl St. I r ~ ~nd nx:k IS th'-lt stw m anag<.'s to their earlier live album . Uve at the LJ III('r(,1l1 Drum bll'nd bo th \\ I thoU! l ' ;.J\' lIlg I II to th(' "(Sonwllmes I r e-e l So ) Umnsplred " Canteen. LI nda Honstadt ... 1~lisl1l· ~ ul ('lIher Thus , In hl'r \'(' rSlOn Recorded live on lour In Germany. IS a fine showcase for Wlnwood 's this a lbum is a collection of four Stevt' rt'cognl2.t."