The North Texas Daily (Denton, Tex.), Vol. 64, No. 18, Ed. 1 Wednesday, October 1, 1980 Page: 3 of 8
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Wednesday, October 1, 1980
THE NORTH TEXAS DAILY—PAGE 3
Photo by BARBARA BARKELY
BARMAIDS—Rene Wells, Fort Worth sophomore, and Debbie Stout,
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A Political Discussion
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JOHN DANCY - NBC White House Correspondent
GREGORYSCHNEIDERS - FormerCarterStaffMember
JOHN SEARS - Former Reagan Staft Member
MARY CRISP - Nat'l Chairwoman For Anderson
yGuilty' reveols Streisand's limitations
Singer sacrifices style, spontaneity for commercial sounds
By JAMES KAUFMANN
Staff Writer
As a belter she was the best. When the
lady sang the blues she was beyond com-
pare. Throughout her career she has
stretched her considerable talents to en-
compass a diverse range of musical
styles, from rock to reggae to rhythm
and blues.
But when she teamed with Barry Gibb
for the album "Guilty," Barbra Strei-
sand, finally realized her musical limita-
tions.
The album, produced by Gibb and
two associates, is on the whole a messy
melange of shallow "bubblegum" music.
"Guilty" is crammed full of disco beats,
mindless lyrics, synthesizers, electric
pianos, and convoluted falsetto wailings,
compliments of the brothers Gibb.
The tunes are stuffed with «o much
technical embellishment that ti'any times
Streisand is completely engulfed by the
mechanics resulting in a musical effect
void of harmony and full of a stridency
derivative of her battle for dominance.
"Guilty" is a radical departure from her
earlier albums ("Simply Streisand,"
"The W, j We Were") where the
orchestrations subtly complimented and
never dominated the Streisand style.
The album begins with the title tune, a
duet with Gibb, which starts simply
enough on an upbeat and slightly jazzy
note. The promise of fine music to come,
however, is shattered when Streisand is
inundated by the Bee-Gee chorus. The
pairing of Streisand and Gibb is an inef-
fective one as their styles are incompati-
ble and never gel. Throughout the
album, both remain polarized and seem
to be in competition with each other.
"Woman in Love," the popular top-
40 single, follows and although its lyrics
are no more involved or thought
provoking than these of a nursery
rhyme, it emerges as the best tune on the
album simply because it is the only cut
where Streisand is not overwhelmed by
the Bee-Gee superficiality.
The lasi tune on side one, "The Love
Inside," begins as a delicate rather sub-
dued Bee-Gee fiee tune but later
develops into a battle of the high notes
between Barry and Barbra. And after a
Director seeks artists
for psycho-drama cast
Union shows
student prints
A printmaking exhibition of NT stu-
dents' works is being held through
Thursday in the University Union Gal-
lery.
The prints are by graduate and ad-
vanced undergraduate students of Don
Scaggs and Judy Youngblood of the art
faculty.
"The exhibition covers all kinds of
printmaking techniques—lithography,
intaglio (etching processes), silk screen,
and woodcut," Scaggs said.
The exhibition includes a display of
books hand-made by students in the
bookmaking class last summer. "The
bookmaking class was offered for the
first time last summer, and had such suc-
cess it will be offered again this spring,"
Scaggs said.
"The exhibition gives students ex-
posure and helps the student know if he
has a viable, healthy product," Scaggs
said. "We have also used this as a type of
recruiting device, It gives visiting stu-
dents an idea of what quality of work
comes from here."
The presentation will go on display at
Western Texas College in Snyder, Texas
in January and February.
Information on purchasing prints may
be obtained by contacting Scaggs or Ms.
Youngblood. "Prices range generally
from $10 to $50, but it's up to the
student," Scaggs said.
"Printmaking is as valid an art form
as a painting, jewelry or a sculpture, but
the artist has the option of selling 10 or
20 works rather than one," said Dottie
Johanssen, University Gallery manager.
Artists make a certain number of
prints and then destroy the plates so the
value of a limited number of prints will
increase, Ms. Johanssen said.
Audition interviews for the University
Fine Arts Series production of German
director Max Lerner's psycho-drama
will be held this week and will continue
until Oct.8, Bruce Balentine, coor-
dinator of the program, said.
The cast o! the yet untitled psycho-
drama ideally would consist of in-
dividuals who have background in fine
arts and have distinct personalities,
Balentine said.
To audition for the production, stu-
dents must bring a resume and a photo
to Balentine by Oct. 8 and arrange for an
interview. After the initial interview,
Balentine will submit the resumes to a
casting committee that will select a
rough cast of 20-25 people. The students
then may be asked to prepare an audi-
tion. The final cast will consist of 15 per-
formers.
Balentine worked with Lerner in
Graz, Austria two years ago. He
described the methods of directing
employed by Lerner as innovative and
unique.
"It is an inventive type of theater and
demands that the performer come up
with ideas on the music and staging of
the show. Lerner won't tell a performer
how to do something, it all comes from
the performer. Lerner only triggers the
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couple of wince-inducing flat notes it is
clear that Streisand does not emerge the
victor of the match.
Like the rest of the album, "The Love
Inside," is presented in a technically
competent but emotionally uninspired
manner that seems to underscore the
fact that Streisand's voice isn't as power-
ful or emotion-filled as it used to be.
"Guilty" allows for a few flaws the
former perfectionist, Streisand, would
not previously have allowed to remain
on an album.
Album
Review
ideas. It is an unusual approach to
theater, very improvisational and at
times very frustrating."
Balentine said the text of the show will
be written primarily by the performers
based on the literature of Henry David
Thoreau and the music of composer Eric
Satie.
Lerner's work at NT in January will
mark his American debut as a director.
He will direct the psycho-drama and
conduct performance workshops.
Balentine said work on the production
will begin later this month with a series
of exercises taken from "The John Cage
Songbook," which deals with techniques
in improvisational theater. The
songbook is designed to sharpen the
creative skills of a performer and allow
certain aspects of the performer's per-
sonality to surface.
"We are looking for a group of
motivated and industrious people who
are anxious to learn more about new
methods of stage expression," Balentine
said.
Although the psycho-drama is a
theatrical presentation, the cast will not
necessarily be composed of only drama
students, but students with
backgrounds in music, dance, and art as
well, Balentine said.
"What Kind of Fool," the first song
on the second sidj, is another duet with
Gibb. Again the Streisand voice only
seems incidental to the mechanics of the
arrangement.
A dippy little ditty titled "Never Give
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Up" features Streisand's aborted Grace
Slick imitation and such lyrics as "I'm
begging you to stay in my heart/A
room with a view/There's only a fool
there/I will never give up."
"Make It Like a Memory," the last of
the nine songs of the album, has the
makings of an interesting tune, but it is
presented with such a disjointed pastiche
of Streisand, rock and Bee-Gee disco,
the tune has no consistency. Like the rest
of the album, the song begins at one
level and remains on the same level,
never allowing for the traditional Strei-
sand emotional build, climax and
denouement.
Streisand's consistent attempts to
broaden her musical range have in the
past been successful. But whereas she
adapted the songs of Joni Mitchell,
Gordon Lightfoot, Carole King, Kenny
Loggins, Leon Russell et. al to her style
and made them uniquely her own, in
"Guilty" she has allowed the Bee-Gee
style to overwhelm and manipulate her,
making the record much less a Streisand
album hosting the Bee-Gees, but moreso
a Bee-Gee album hosting Streisand.
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Whitehead, Mike. The North Texas Daily (Denton, Tex.), Vol. 64, No. 18, Ed. 1 Wednesday, October 1, 1980, newspaper, October 1, 1980; Denton, TX. (https://texashistory.unt.edu/ark:/67531/metapth332513/m1/3/: accessed July 17, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu.; crediting UNT Libraries Special Collections.