And that's Daily Nexus 2A Wednesday, June 24.1987 "... he was my neighbor. Everybody thought a lot of him because he was a good mixer. With everybody. ” Crows at S "... They were all afraid of those doggoned cameras up C ollege there. Miller broke the ice and finally got them to where deemed photojournalism into a very personalized series “J® they agreed to taking pictures. ” of family portraits. His blend of pride, humor and govei — Robert Summers Yellowtail resignation created an unprecedented view of a people Bear COUNTDOWN that were, of a history that remains. “Fi Photographer Fred E. Miller died in 1936, but not Miller succeeded in one of the most important and most On< without leaving posterity a recorded legacy of one tribe of difficult intricacies in this sort of documentation. He did excel Native Americans, his adopted family, the Crows. Miller not remove himself to become the proverbial fly on the succ« ----- 5 - 4 —3 —2 — I — entered the reservation at age thirty as an assistant clerk, wall, but instead integrated himself completely, catching hard Countdown Drink Prices subsequently became accepted as a unique and intregal braid part of their culture and spent the next fourteen years uncontrived expressions of truth and sincerity on those grave (Drinks and Drafts Start at 5 for 1 compiling a photographic diary of their day-to-day weathered faces. His presence was without pretense and name his second eye did not create a rose-colored window to the our { at 8:00 pm) and admission is traditions — lives in the balance of a turning point in the Crows’ existence. Crows’ lives, but a frame of humble heroisms in a nickr now $ 1.00 off During the Great Depression, the collection of Miller’s harrowing time. outgi glass negatives was auctioned off and lost. His daughter Each print is sepia-toned and physically reflects the been when you present your college I.D. managed to retrieve the bulk of these images, and she warmth that Miller felt, a intimacy that allowed his soun( kept them in a large box where they were soon discovered humor to show through. His was a subtle, reflective rid- same by Miller’s granddaughter, Nancy Fields O’Conner. die, possibly lost in the present, but still living in many of Thi Fred E. Miller: Photographer of the Crows is the the titles that accompany each photograph. The Crows’ Mille WEDNESDAYS exhibition of an impressive 200 images from this collec­ given names have that comic book air, and it’s a strange living tion, compiled and curated by O’Conner and on display at feeling, a nostalgic realization, knowing full well that launc at the Santa Barbara Museum of Art through June 28. these are no spoofs, these are real. And one has to admit — Tobs Fred Miller had one very distinctive peculiarity — one they make perfect sense. a Cr eye. His second was his camera. To Miller the camera It is impossible to suppress a chuckle when reading the crov was not an instrument, but a direct extension of his per­ captions, truly one of the most charming attributes of the but sona. And because of this, his approach to picture-taking show: reve “Smart Iron a.k.a. Has No Foretop (1872 — 1910) drop restaurant nightclub was quite unique. He transferred, not only faces, but emotions onto film, and turned what could have been grooming with tweezers.” look 935 Embarcadero del Norte • Isla Vista □□□□□□□□□□□□ □□□□□□□□□□□□□□□□□□□□£ 685-3112 Listen Closely to The British love sensationalism. Their tabloids are bathroom sexual escapades, Oldman has an element full of it, and there are as many English gossip of underlying trouble. He is not the tormented writer si papers as there are inquiring minds. A full blown — that’s his lover Kenneth — but they do live in the ai darkness of their illegal sexual lives. The balance of verifiable scandal is like the perfect coddled cream g< on a steamy cup of tea. Irresistible. the actors is particularly strong. There are no c< shadows, only the interplay of the characters’ lives. British playwright Joe Orton’s life became a y MOO SHI FACTORY headline. Prick Up Your Ears, Stephen Frears’ new Molina’s portrayal of Kenneth’s descent into mad­ $: film, is his story. In documenting a well known ness is utterly disturbing. Watching the film, you know what is happening to Kenneth because you have biography, so much could go wrong. The story has y previous scandalous connotations, and thus, ex­ already seen the outcome of his trauma — the film is si STARVING pectations. Add bad boy notoriety, homosexuality, not made chronologically, and many already know the biography — and yet Kenneth remains as much a p and the conflicting freedom and proprieties of the p English ’60s, and you have the possibility for a match compelling question of despair as in the opening solo tc STUDENT with a tactless tabloid headline. Frears, however, shot of Kenneth’s distraught face. t< makes this film work. His directing is gripping, Similarly, the screenplay is made up of matching Si controlling and masterful. and the reversing of characters. In one time frame SPECIAL It’s rare to be sitting in a theater, feeling quite you have the ongoing relationship of Joe and Ken­ 4 enticed, waiting for something to be mishandled neth, and in another the subplot of the American ri (perhaps Ishtar ruined me for life), and to be con­ writer John Lahr (Wallace Shawn) tracing the steps E EVERY WEDNESDAY NIGHT tinually awed by the delicateness of good film of Orton’s life while writing his biography. While E movements. Frears treats Joe Orton’s (played by the Lahr is researching his book, we see Joe’s life up to JUST FOR UCSB cocky Gary Oldman) open homosexuality with an his meeting Kenneth at the Royal Academy of P equal frankness. His methods, unlike American film Dramatic Arts, bringing us back to where we started. s makers’, are up front and yet non-exploitative; he is Yet Frears handles these time shifts with an in­ c Includes: y candid, yet aloof. Sexuality is dealt much like in the teresting flair and an equal talent for the character r • Appetizers, Egg Roll & Won-Ton • French film Betty Blue — this is human, this is what changes. You see the reversal of roles, both sexual tl and professional, of Joe and Kenneth matched by the • One Quart of Fried Rice • we do, we don’t wrap the sheet around ourselves as s we get out of bed. roles of Lahr and his English wife — with the cool a ★ Paper Wrap Chicken • Vanessa Redgrave as Orton’s publicist remaining the Like in his film My Beautiful Laundrette, Frears F • Three Quarts of Chicken Chow Mein * gives homosexual love scenes a tender and exciting singular inside figure moving through the past and normality. Upon discovering the beauty of men and present of Joe’s life. It is an amazingly clever and STUDENTS ONLY • REG CARD REQUIRED his own sexuality, Joe and his lover Kenneth (Alfred subtle screenplay by Alan Bennett. With all of its subtleties and social documentations, NO Discount Cards Accepted with this Offer ü Molina) follow a young, encouraging man home into his apartment. The young man takes Kenneth’s face Prick Up Your Ears is ironically funny. Like the No Changes or Substitutions into both of his hands and kisses him. In a simple candid, offbeat humor and play of its title, the Offer good Wednesdays ONLY! gesture, Frears creates a potent and sexy moment. dialogue is quick, rather bawdy and satirical. Old­ Yet these people have never met, and Prick Up man and Molina have brilliant faces. The scenery is » I Your Ears makes no false illusions to the not filled with an expensive budget, yet it is not artly -FREE DELIVERY- unemotional real life character of Joe Orton. Oldman minimal. Frears has absolute tact and a talent With Minimum $81.V. Order from 5-9 PM plays Joe with a cheeky detached wit. He is shallow, today’s cinema craves. yet endearingly funny. Like his underground — Laurie L. McCullough

6530 Pardall Rd. d ★ 968-9766 ★ Editors: Contributors: Jeannie Sprecher [ ★ 968-9383 ★ Martin M. Kidwell Laurie L. McCullough Matt Welch

Grandma Gerties Celebrates SUMMERII • new menu including great hamburgers and fries BOWLING • 8 great sandwiches Including OREM 24 HRS the breakfast special Relax, Unwind - Have Fun! Let Loose - Go Bowling! • happy hour 2-8 all week long B illia rd s and Videos OPEN LANES Famous Homemade 996 pitchers and up S A N D W IC H E S & C O O K IE S ORCHID BOWL summer hours: 8-8 GOLETA 9 6 6 - B E m b . d e l M a r 5925 Calle Real 9 6 8 - 6 8 8 8 near Fairview • 9 6 7 *0 1 2 8 Daily Nexus Wednesday, June 24,1967 3A Warner Brothers. An inundation of John Wayne mentality and media madness makes one initially question the at SBMA historical validity of these photographs, but the reality is indisputable; it is written all over their faces. “IF WOODY ALLEN “John Wesley (1862 — 1902) Carlisle graduate, first Faces are indeed the true looking glass. A substantial MADE ‘GONE WITH government policeman at agency, with wife Jane Has portion of this exhibition is a collection of Crow portraits, THE WIND’ IT Bear For A Door Wesley (1867 —1935).” an odd, almost clinical record of people that stand, still “First Crow, all women horse race, no saddles (1904).” tall thanks to Miller. The immensity of this show is most MIGHT RESEMBLE One photograph, which on first glance appears to be an apparent when viewing these portraits, face after face SHERMAN’S excerpt from My School yearbook, pictures a formal after face of features — all strangely identical. Men, succession of young girls — a group of fourteen, staring women and children wear the same tanned hides of flesh, MARCH.’ ” hard at the camera, donning white smocks and black the same symmetrical twist of braids, and all stare from —PEOPLE MAG. braids. The caption dates it — “Crow girls decorating penetrating, black pools of wisdom. The revelation, then, graves at Custer Battlefield (1901)” — but the list of did not appear in the diversities from chief to child, but in " O N E O F T H E B E S T names draws a strange, undeniable link to the present — the sheer sameness, an ancient mold preserved in black- our present. They are reminiscent of our grade-school and-white. FILMS O F'86," nicknames that are never forgotten and never quite Fred E. Miller’s photographs are a testimonial to the CANBY.N.Y.TIMES outgrown. Maybe “Clara Spotted Horse” wouldn’t have quality and adaptability of the Crow life. The turn of the been so bad, but I knew a “Susan Many Enemies,” and it century was a crossroad for this tribe; they came face-to- sounds as if “Ida Wrinkled Face” may have been in the face with the “whites,” and watched the slow aban­ same canoe as Susan. donment of their sacred value system. Almost a full Through his everyday involvement with the Crows, century later the Crow tribe, still in existence, has Miller managed to capture the full spectrum of their tribal adapted like their ancestors and has evolved to survive. living. His photographs range from the interiors of the Even more important than the impact Miller’s laundry room to the exteriors of gardens for the sacred photographs have on the art world is the complete family Tobacco Ceremony. He rejoices with them in the action of album that remains, a documented history left behind a Crow Hot Dance, and stands stalwart and still beside a from one kin to the rest. Miller’s camera did not conceal, Crow child’s burial scaffold. At times, Miller leaves all and his window of cracked glass negatives offers us this but an etched expression in soft focus; conversely, he unique opportunity to momentarily abandon the pounding reveals every blade of grass in the “Indian-set” back­ pavements to the future and walk down the dirt trails of drops. The tepees, the covered wagons, even the horses yesteryear. A Fin by toss McEhnee look as if they were ordered straight from the back lots of — Jeannie Sprecher V brilliant. Also like The Un­ touchables, it has rich material to □□□□□□□□□□ Matt's movie blitz°°°° draw from (in this case, John SHERMAN, Updike’s novel). And just like the The summer movie blitz is in full The big-name cast does a pretty other movie, The Witches of swing and theaters everywhere good job, generally. Kevin Costner Eastwick falls short of what it are drooling at the prospect of continues his consistently good easily could have been. gobbling Big Bucks from hapless work with another fine per­ It starts off very promising, with AN IMPROBABLE SEARCH FOR LOVE consumers. Like everyone else, formance as Ness, despite the Cher, Susan Sarandon and you can expect to blow at least $25- sometimes sappy material. Robert Michelle Pfeiffer buddying up and $30 this summer. DeNiro as A1 Capone is sometimes talking about men. And then Jack S T A R T S F R ID A Y - JU N E 26 -1 W K In order to save you money that brilliant, while other times it looks Nicholson comes on the scene as Frl & S a t @ 7 & 9:45; S u n @ 2:30, 5:15 & 8; you could spend more con­ like he’s doing his best Danny the horny devil. Jack looks like M o n -T h u rs @ 8 only DeVito imitation. Sean Connery’s he’s been perfecting this role for structively, the Daily Nexus has V ictoria Street Theater • 33W. V ictoria • 965-1886 prepared a quick list of (mostly) terrible Irish accent (he’s Irish) is the last 10 years, at least. popular movies that you want to go so bad it’s funny, but he pulls And then, before you know it, the to, but aren’t sure if they are going through OK as the seasoned pro. movie has degenerated into a to be good enough to satisfy your You are never really sure, even series of penis jokes, pointless MOVIE HOTLINE: 963-9503 sophisticated palate. after the movie is finished, special effects and a bunch of whether it was supposed to be a unanswered questions. Like, when METROPOLITAN THEATRES The Untouchables: Given the parody, a serious portrayal of did the women realize they had rich subject material here (the Chicago brutality, or an Eliot Ness special powers? And what the hell CORPORATION Eliot Ness-Al Capone story) this character development piece. It happened at the end? There are at STARTING FRIDAY, June 26 See p9.5forTonlte*» &Thur». Movie» would have been more interesting least two scenes missing from this DePalma film falls far short of its 1317 State S t. S.tl® potential. if DePalma would have con­ thing, and the ending is so baffling, ARLINGTON CENTER 9669382 As usual, DePalma gives us centrated on just one of those so ridiculous, that you can’t some great camerawork and some areas. But instead, we get en­ believe that the rest of the movie WITCHES OF EASTWICK (R) classic scenes, such as the gut­ tertaining pieces of each, and the ever happened. 12:46.3.6:20.0.10:16 THURSDAY PIA ZADORA overall end result suffers and falls ripping stairway shootout honoring The movie’s graces are saved, 1216 State SL .S.»., the classic stairs scene in Eisen- short of what could have been. however, by the good acting and GRANADA THEATRE 963-1671 stein’s Battleship Potemkin. And, two terrific gender-bashing scenes as usual, DePalma carries off the The Witches of Eastwick: Like by Nicholson and Cher. 1. BEVERLY HILLS COP II (R) i n u u n plot in an inconsistent way. The Untouchables, it is sometimes — Matt Welch 2. THE UNTOUCHABLES (R) 12.2 20.4:46.7:26.10 00 3. THE UNTOUCHABLES (R) 12.2.20.4:46.7:26.10:00

916 State $ t. S.S. Students of UCSB FIESTA 4 963-078Ï 1. HARRY & THE HENDERSONS (PGk *« ..*. 7*« 2. AMAZING GRACE & CHUCK 1:15,3:30 Separate admission required Thank You! THE BELIEVERS 5:46,8.10:15 Separate admission required 3. PREDATOR (R) 1:30.3:46.0.S:16.10:16 4. DRAGNET (PG13) 1.3:16.6:30.7:46.10:00

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College Night: THE UNTOUCHABLES (R) 5:16,7:46,10:16; SatfrSun 12:30,2:66.5:16,7:46.10:16 Dance until 2 am 6 0 5 0 Hollisler Ave.. Goleta THURS. CINEMA TWIN 967-9447 Alcohol served. 18 or older admitted. 1. BEVERLY HILLS COP II (R) u « . « » woo 2. ROXANNE (PG) 1:16.3:16.6:16.7:30.0:46

Santa Barbara's 2 5 1 N. Fabvtew FAIR VIEW TWIN 967-0741 FRI. BEST HAPPY HO UR After hours until 1. BENJI THE HUNTED (G) 130.3 30. o ». 730.9 30 3:30 am for and 2. PREDATOR (R) 2.4.«. t. woo 6 1 8 State St., $.8 18 years or older MISSION THEATRE 962-8611 LA RIGA DE CARO 6.10: S a b e O o m 2:16.6.10:00 Countdow n 5 NACOS ASALTAN LAS VEGAS 7:86; Sab&Dom 3:66,7:66 follow ed b y after 9 07 S. Kellogg Ave.. Colete j SAT. SANTA6AREARA7WIHDRIVE4N 964-9400 ! h o urs until 3:30 am 1 . I S H T A R 0:60 SECRET OF M Y SU CCESS (PG13) 10 » for an yon e 18 years 2. S P A C E B A L L S 0:46.10:20 old or older. PO LTERG EIST II (R) 12:00 SWAP IMEH • EVERY SIM M Y« 7 AM» tG4PJM. *964-9^0 4A Wednesday, June 24,1967 D a ily N e x u s THE CONCERT PAGE KINKS Lola, La-la-la-la Lola. some real music. As the Meat Puppets took to the Ray Davies is an Ape Man. It’s Puppet Artistry stage, the crowd surged foward to watch, listen and true. He has flailing arms, knee- learn from the desert masters. The Puppets opened jerking bops and bottomless Lake “tumblin’ tumbleweeds” from some desert their set with several songs from their new album twists. He was all over the place. netherworld, the Meat Puppets blew into town last Mirage. (“Beauty,” “Get On Down” and “Liquified” We were all over the place. Thursday to play their rousing brand of un­ stand out in my mind as especially memorable.) It Hit after hit after blazer after pretentious, idiosyncratic music for a receptive, if wasn’t long before the Meat Puppets were pulling the tacky, striped blazer, the Kinks somewhat yuppified, crowd at Oscar’s. Ambiance strings of all those present. are an institution. They have notwithstanding, the show was another reason why Bassist Cris Kirkwood clowned with the audience written so many classic rock the Meat Puppets deserve the honor, bestowed upon as the ever-intense drummer Bostrom maintained songs, and yet upon hearing them, the Clash in the late seventies, of being called “the his impeccable time-keeping throughout the show. it’s not always their name that is only band that matters.” But the focal point of the band, and connected with the song. Talk With seven years’ experience the focus of the audience’s at­ about going down in history. behind them and a slew of critical tention, was singer/guitarist Curt An amazing moment. “Living acclaim (the L.A. Times has called Kirkwood. A truly commanding On A Thin Line.” The week of the them “a band on the edge of x k presence, Kirkwood kept the British prime minister elections. greatness”), brothers Curt and H H H 8HHI crowd mesmerized with his Davies pauses to introduce the Cris Kirkwood and their buddy superlative guitar work and ec­ song with the seriousness of Derrick Bostrom show no signs of centric mannerisms. I know of few Thatcher’s threatening reign. It willingness to compromise their guitarists in rock, with the possible was one of those live instances creative integrity for fame and exception of David Byrne, who where everything clicks. Living on fortune. Following their own inner possess such an uncanny sense of a thin line — on the dole queue is directive, this Phoenix-based trio rhythm. the reality and the despairing has explored a wide range of styles Emerging from backstage for hopelessness captured in the lyrics which defy the typical set of their encore, The Meat Puppets and the between-the-lines hyphenated cliches (post-punk, were in high gear. Being a long­ message. cow-punk, prairie-punk, neo-psychedelic) used to time fan of this slightly touched trio, I was glad to — “tell me now, what are we describe their music. There is only one word to hear them play some of their older material supposed to do....” describe the Meat Puppets: inimitable. (“Plateau,” “Lake of Fire”) before the night was The rest of the concert, although Which is more than I can say for Other Bright through. The Puppets closed out their show with one not nearly as serious, continued Colors, the band that opened for the Meat Puppets. of their staple cover tunes, a raunchy, extended with the same perverse flare that Another R.E.M. clone, Other Bright Colors played an version of Foghat’s “I Just Want to Make Love to only the Kinks can ignite. Ray uninspiring set of insipid tunes complete with You.” I think it’s safe to say that everyone, from the teases like no other can. King Michael Stipe-type vocals. It seems it’s not enough to veteran Puppet-head to the neophyte, enjoyed the tease. In his usual style, he began tip your hat to an influence these days; you’ve got to show. And although it was perhaps not quite as each song, got the audience ex­ cop a whole style. I’d like to think their hearts were in electric as their unbelievable performance last year cited, then stopped short. He’d the right place (at least they’re not Boston clones!), at La Casa de la Raza (the most amazing concert I’ve make a wonderfully inane jacket but Other Bright Colors is still a band in search of its ever seen), the Meat Puppets’ Oscar’s show was change, then strike up the chords own sound. nevertheless another fine example of Puppet Ar­ in full force, sending his fans back After Other Bright Colors, everyone was ready for tistry. into the mindless rip-roaring — Martin M. Kidwell frenzy of the Wild Kinkdom. In the not-to-miss section of Isaak will open. See you there. This is the first and last concert Entertainment this week is the anyone should ever see, hear, fabulous pop snap of the English Those raucous, truly rowdy experience and live. The Kinks, the DON'T twins Thompson. Perfect for that rockers from north of nowhere The stars and thou — the gripping careless summer attitude, the Replacements will play — or Kinky best. Thompson Twins will return to something close to that — at La By the way, “My Sharona” still MISS Santa Barbara this Saturday to Casa De La Raza tomorrow night. sounded as great as it did in play their eclectic brand of dance Wear a helmet, it could be eleventh grade. And that’s a tough moves and hits. They tore up the ultimately dangerous, and will be act to follow. Arlington; we’re gonna rip down ear shatteringly insane. Don’t be — Nobody In Particular THIS... the County Bowl. Crooning Chris too careful. UCSB Arts & Lectures

technical terms but complex in perfor­ feature film, a sweet, Chaplinesque Preservation Hall mance. Because improvisation is at the story of a naive young woman who Calendar of heart of the music, each concert is an leaves her village for the city, only to Jazz Band original that will never be reconstructed see her hopes crushed. in exactly the same way. The series continues with In the Events With countless performances be­ All events in Campbell Hall at hind them, the Preservation Hall Jazz Wild Mountains (July 16), a gentle com­ edy from the People’s Republic of 8 PM. For tickets and Band returns to UCSB to share their information, stop by the A&L famous music: New Orleans jazz. This China; Come and See (July 19) a Soviet International film by director Elem Klimov; Sorekara Ticket Office (Bldg. 402) or summer’s concert, on Thursday, June call 961-3535. 25 at 8 PM in Campbell Hall, again (July 23), a tender love story from features the good-time music of this Cinema Japan; Tasio (July 26) a Basque film; Preservation Hall Jazz Band Thursday, June 25 ^ ¡ ¡ { l l travelling band from New Orleans, This summer A&L presents Inter­ and Wend Kuuni (July 30 , an African known throughout the world as home national Cinema, a series of 10 contem­ film about trauma, tragedy and re­ of the living legends of jazz. porary films from five continents, at newal. Now in their sixties, seventies and Campbell Hall on Sunday and Thurs­ eighties, these musicians still have the day evenings. Series tickets, offering a spirit and joy that is symbolic of New 50 percent discount, are on sale now. Orleans jazz. Willie and Percy Hum­ The series opens with Down By phrey, trumpet and clarinet, are two of Law (June 28), what director Jim Jar­ the oldest, most active and most widely musch calls a “neo-Beat noir comedy” respected practitioners of New Orleans that is filled with the same witty style jazz. Three other band members minimalism of his earlier success, Down By Law Sunday, June 28 who also come from musical families Stranger Than Paradise. From France in New Orleans are James Edward comes Thérèse (July 2), a beautiful film Thérèse “Sing” Miller, piano; Narvin Henry based on the life of St. Thérèse de Thursday, July 2 Kimball, banjo and bass; and James C. Lisieux who, at age 15, was so filled Caravaggio Prevost, bass. Although each has with devotion that she sought special Sunday, July 5 • played with different big bands, they permission from the pope to join a DOWN BY LAW Twist and Shout all chose to preserve the tradition of Carmelite convent. Thérèse earned a Thursday, July 9 New Orleans jazz with the Preservation jury prize at the Cannes Film Festival. The Hour o f the Star Hall Jazz Band. Frank Parker, drums, British filmmaker Derek Jarman Sunday, July 12 and Frank Demond, trombone and spins a contemporary fantasy set in the In the Wild Mountains banjo, round out the band. Renaissance in Caravaggio (July 5), a Thursday, July 16 These are the musicians who not story of the master painter that reflects Come and See only made musical history with New his style in its dramatic, disturbing Sunday, July 19 Orleans jazz, but are perpetuating it as moods. Twist and Shout (July 9), about Sorekara well. The music is alive and bouncing two teenagers obsessed with the Thursday, July 23 at the old Preservation Hall in the Beatles, is an award-winning Danish Tasio French Quarter of New Orleans, where film. Sunday, July 26 the band holds forth when it is not on The Hour of the Star (July 12) is Wend Kuuni tour. The band’s music is simple in Brazilian director Suzana Amaral’s first Thursday, July 30

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