We’ve Got Movies 3a We’ve Got •ÏAW Music 4a, 5a We’ve Got Justine 6a AND ENTERTAINMENT ALIVE AND LOCAL THE I.V. MUSIC SCENE Arts has come up with another brilliant idea that all of you loyal Arts readers are going to drool over. We're going to have weekly features called Up Close focusing on local artists, musicians, authors, movements or whatever else U P CLOSE strikes our fancy about local stuff. So, without further ado, we would like to by ramona present the first story in this series. Enjoy. Although some have tried to ignore its presence, the time has come for belching out the truth and forcing the majority of our student ghetto to accept that Isla Vista does indeed a ree^'n8 underbelly where bands that don’t play on Del Playa or at frat parties, bands ^whose names you would never say in front of Mom. and bands some of you would recoil or flinch upon hearing — DO EXIST. ISLA VISTA’S UNDERGROUND* ilS ALIVE AND THRIVING. It may be gutter-rock to some, but to others it’s a refreshing, J r iw fu f raw burst of creative energy — as much fun to support as be a part of — a reason to be alive. If you don't know what, referring to, it’s time to drag yourself out of the clrc<5+ anr be exposed. Therefore, to further i your education, the first in a never-ending ^ series: The Decline of Isla Vista (a glossary of alternative bands). a . l : Part One: SLUGGO AND MONO-SHOCK. Vocals. JAY — (ex-HEAVE, UMBILICAL CHORDS and occasional drum appearances for STEVE GARVEY’S HAIR - the all-DEVO cover band.) Guitar. MIKE — (ex-‘‘lots of bands" and BLOOD SPASM from Arizona who even have an EPout.) Bass. CHUCK — (ex-DEAD y» LETTER WORD, SHE-DEVILS, I /. and also presently involved in I / m j i È CLUTCH — whose pre-recorded gloom tunes are anxiously awaited to be experienced as background music for the member’s juggling tricks.) D rum s. ANDREW — (ex- THREATENED HOPE — for only two days, THOSE DAMN KIDS, STEEL TOAST / IRON BAGEL - later known as DADDY BIG PANTS — and also HEEDLESS YOUTH SPEEDING THROUGH LIFE WITH THE THROTTLE WIDE OPEN.) (See I.V. BANDS, p.4A) " ..- V" ^9^/9000^9^ ' work of D. H. Lawrence and Miller will speak about scriptwriting. When Miller sent in his script of The Fox for permission to produce it, Frieda Lawrence (the widow of D. H.) said she'd never seen an adaptation of her husband's work that captured the essence of his writing so accurately, and she gave the production a green light. If you are interested in theater, scriptwriting, D. H. Lawrence in general, The Fox in particular, or have any questions for Allan Miller or Bill Marks, attend their panel discussion on Wednesday, April 19 at 3:30 PM in the Multicultural Center (in building 434, formerly known to many as Café Interim). W h o ' s E lisa M o n t e? And how does she create the coolest conduct a free lecture-demonstration. dances around? And if the dancing is They will dance, discuss their work so cool, why do critics rave that it is so and answer your questions in hot? Campbell Hall at 4 PM next Monday, April 17, so be there! Temperatures aside, Elisa Monte has blazed new trails for herself and her dynamic company of seven dancers in a dance world crowded with copycats. A fter a dancing career with modern dance luminaries like Lar Lubovitch, Pilobolus and the Martha Graham Even though Los Angeles artist Chris dance companies, Monte struck out on Burden now works primarily with her own when she choreographed a sculpture, it is his performance art duet called Treading in 1979. pieces of the early 1970s for which he is most widely known. Now her dances, described by The New York Times as "among the most War, the role of technology in society unabashedly sensuous to be seen on and themes of power are the stuff of stage these days, with a physicality Burden's art and he has consistently both raw and deliberate, abandoned yet questioned and overturned tautly controlled," are used by long­ conventions. He shut himself in a standing dance leaders like Alvin Los Angeles' Back Alley Theatre comes storage locker for five days, had Ailey American Dance Theater. to UCSB on Saturday, April 22 at 8 PM himself crucified through the palms in Campbell Hall with their on top of a Volkswagen, and in his At the Elisa Monte Dance Company's production, The Fox. Further details most famous piece, "Shoot," had a UCSB performance (Tuesday, April 18 about the performance will follow friend shoot him in the upper arm at 8 PM in Campbell Hall), they'll next week, but there's with a .22-caliber bullet. perform Treading and three newer works to Monte's avant-garde music ANOTHER FREE ACTIVITY! On Wednesday, April 19 at 8 PM in selections. The show is practically sold Lotte Lehmann Concert Hall, Chris out so rush to see if you can grab the coming up. Back Alley Theatre's Burden will discuss what he terms last remaining tickets. producing director Allan Miller, who "the loaded subject of art." adapted The Fox from a novella by FREE AFTERNOON PERFORMANCE D. H. Lawrence, and UCSB English professor Bill Marks will discuss Tickets for all Arts & Lectures events and film series may be purchased at the A&L Ticket Office Even if you can't get tickets for the adapting literary works for stage. Tueday night show,, the company will M -F, 9-5. Single film tickets must be purchased at Marks will provide expertise on the the door beginning at 7 PM. M o n d a y Tuesday W e dn e sd ay Thursday Friday Saturday Sunday UCSB 13 14 15 16 Reign of Terror Bird 8 PM/Campbell Hall 8 PM/Campbell Hall 17 18 19 20 Chris Burden 21 22 23 8 PM/Lotte Lehmann Concert Hall Ana Castillo 4 PM/Girvetz 1004 m Elisa Monte Dance Co. Elisa Monte Dance Co. Northern Lights Back Alley Theatre Bagdad Cafe Lecture- Demonstration 8 PM/Campbell Hall ARTS & LECTURES 4 PM/Campbcll HaU 8 PM/Isla Vista Theater Orphans of the Storm 8 PM/Campbell HaU 8 PM/Campbell HaU Panel: The Fox 8 PM/Campbell Hall 3:30 PM/Multicultural Center Charge tickets by phone: 961-3535. 04»13»89 3Â CALM CHILLER TRAIN BLOWN AWAY Aussie Thriller “D ead C alm ” A8cVs “Bird” Plays this Sunday byjesseengdahl but they’re the simpler variety, carefully placed throughout a Bird’s life to the screen Dead Calm is extremely un­ drawn, deliberately paced story. are well-meant. It is an nerving. A totally windless, What’s so good about this movie is achievement in itself that motionless, endless sea. When that there is so much tension, this film was made, but tranquility becomes death. because instead of seeing and unlike the fine Buddy Holly Many movies find that to be fearing that anything could happen Story, Bird assumes too staightforward; they are necessarily at any time, we are drawn into pure much in what should narrow. The best thing about the moments, undiluted situations when have been a simple tale of new Australian thriller Dead Calm we wait for one tiling to happen, or a talented man who was (and much of Aussie cinema) is that it not happen. These are strung out so tourtured in his private knows how to be simple without painfully that we actually have time life. being simplistic. Dead Calm is not, as to realize how deep we are, thus Charlie Parker was a many have said, an “intelligent” how deep the characters. The real byadam liebowitz What carries Bird is the man who had a talent thriller, as it doesn't explore the suspense, as Hitchcock always music; a mix of originals equal in screwing up his deeper implications of its character's knew, is in the waiting. In recent years Charlie and redubs. The quality personal life to his actions. Just call it smart — because I don’t want to say “intelligent" Parker has become a K- of the re-creation of some musical talent: a heroin by this it manages to stay completely because this isn’t a big, twisted tale tel/Muzak jazz king; all of Parker's classics is so addict, a drunk and an within itself, the most vital (and of battling intellects creating fan­ the kids have one of his good that not even the adulterer. However, Bird elusive) element in creating absolute tastically horrific scenarios. It's also albums in their collection, stuffy Academy of Motion makes no pretense of fear. not huge (or tiny) man-killing suitable for making out or Picture Arts (dig, Oscars) what view it has of monsters best fought Rambo-style by having deep con­ could overlook Parker's personal I’m not going to explain the plot; a group of young, stupid-yet- versations. This is not to (overlisten) the film’s tragedies, going so far as it's so minimal that anything given resourceful people of whom only two belittle the musical genius achievement, awarding it to point out in the film’s would detract from the suspense. I or one will survive (allowing only one of the Bird, but most just best sound editing. closing how former was glad I didn’t know anything survivor was actually a major step get in their lives the The tunes are great, friends of Parker are still about it.