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'Ian and BY BOB CRAFT "Tommy" i fell short. Really don't mind if you sit this one out However, My words but a whisper, your deafness a SHOUT. piece was p I may make you feel, but I can't make you think... ordinary roc Ian Anderson For the fii "Thick As A Brick" to represeni Those are the opening lines to the gargantuan song, but power u "Thick As A Brick" done by Jethro Tull. The guiding for a purpc genius behind Tull is Ian Anderson, a man who is music, powc addicted to swallow tailed coats and scratching his end unto its crotch on stage. This powe For all of you who don't know Jethro Tull was a will define gentleman farmer and agricultural innovator who derson's v< lived in England during the early eighteenth century. acoustic, fiI He invented the first practical seed drill on his farm ends with s at Crowmarsh in Berkshire between the years 1699 more clear and 1709. He is called by some the father of the strings in I agricultural revolution. failing run So away from Restoration plows and back to music. The who] When I first heard the album 'Thick As A Brick' presentatioi and thought about it, I came to the conclusion that a firm hanc Anderson had closed the gap between rock and The lyrics serious music. I had the reaction that this finished the packagi the work started by Lennon in "Sgt. Pepper" many was a tour-c moons ago. Stones unzil There had been some feeble attempts, Pink Floyd's So I was Atom Heart Mother Suite for example, and The Who's represented Polanski shows Eliz love of blood and ' BYis most evident in the violence of BY DAID SIPSONthe film. Bodies are decapitated, The presentation of children brutally murdered, blood hespresntdation th flows freely, and Macbeth's head is Shakespearean drama onuthe waved through the air on a pike. screen has always been a touchy TeEiaehnpro a subject. Most often, such films are voe aboya vi d not directed by aspiring directors or ones who feel they have reached just receive a flesh wound from a enough stature to attempt such a sword with a four inch blade. limit. This year, we have Macbeth, directed by the famed Polish [ _film review director, Roman Polanski, con sisting of the madness and violence Whether or not it is too violent, that so captivates him. Polanski however is up to the individual. dominates the film, initiating some Jon Finch, although not an out good points but also some bad. It is standing Shakespearean actor, a curious film and one worth seeing manages to convey the transitions if you are at all interested in from loyalty to murder and Shakespeare and-or Polanski. madness quite well. Whatever It is evident from the beginning shortcomings he expresses in the that Polanski went to great pains in beginning as the doubtful lord perfecting the locale, sets, and aspiring to become king, he props. It is a well produced film, overcomes as the ruthless ruler beautifully photographed amid the determined to keep his kingdom rolling hills and castles of the even though he must d iend it British Isles. Polanski undoubtably alone. He expresses great force in strives for realism in the film. This his character in the latter part of Monday N1aig Stuent Specod;avitmdi o Ustciv aClehoe Sfroma Whe herior nof otais tovlet JonFinh,alaug noan ut WadnesssqiAedwelllWhateve shotcoing hersA ses inVthe beginnig UMsAh SOU TH lor the Rabbi nd Jesus Christ, Superstar," to do it. All the consistancy and the way in which the resented convinced me that this was no k album, but a work of art. at time, I heard electric music presented power, not blind power like Mountain, ed as an artistic tool. Power that is used ;e, power that is used to enhance the r that is used as a means and not as an elf. r was alternated with acoustic, which I as the flute, acoustic guitar, and An ice. These two factions, power and ht with each other, until as it begins, it coustic dominance. This is made even with the entrance of the orchestrated he final moments, and the desparate, f power against the strings. e development of theme, method of and technical excellent assured me that was at the helm. were actually worth serious reading and ig of the album, in that bogus newspaper e-force that has not been done since the ped "Sticky Fingers." looking forward to seeing Tull. They music in a genre that has had a tendency abethan iolence the play. Lady Macbeth's charac terization, however, lacks the depth and smoothness found in Macbeth's. It seems that Polanski is not as concerned with this character as he is with Macbeth. Thus, Lady Macbeth does not appear as dominant as she should in convincing Macbeth to kill Duncan, the king. Her descent to madness seems all too sudden, and with no transition, as we see her unconsciously trying to rub imaginary blood from her hands. In "Macbeth", Polanski has introduced some new ideas. He has made the two main characters young, for aggression is far more prevalent in youth. He has also brought out the violence that the Elizabethans so loved to see in the theatre of that day. Although there are some major flaws, the film is good. It is handled with the care and precision that is so often lacking in the cinema today. it lal Reservations N Please 1 IVE POINTS ;AROLUNA 29205 t Suit' to slip into noise. The half hour to set up finally passed and Tull came on stage and started into "Thick As A Brick." About ten minutes into the piece I found that my ears were hurting from the volume of the amplifiers, it was breaking my concentration on the music. For the next day and half, in fact, my ears would ring and buzz from the homicidal onslaught of Tull's amps. Then I started to wonder, is the musical excellance of a band worth having your hearing faculties assaulted and perhaps damaged? For in the strictest sense, your ears are also musical instruments, and without them music is meaningless. And what sort of band would try to cripple their audience? Well, I tried making some adjustments, like putting my. hand over my stageside ear. I settled down and tried to listen to some music. Then the threatrics started. Actually, they had been there all along, but I was too worried about going deaf. It really got bad in the halfway point of the piece. There was Ian Anderson parading about the stage in a white rabbit suit. It was too much. Alice Cooper, I can understand because he has nothing musically to offer his audience, but Tull, why? Anderson has proven again and again his musical ability, why this? Why the low brow jokes? Why John Evan, the Keyboard man, in a Gorilla suit throwing banana peels into the audience? Why? As the concert goers fought each other for the banana peels, as they screamed "Pig! Pig!" at a policeman during one of the important passages of the piece, I understood. The average concert-goer is not there for music, he is there to be "turned on." Alice Cooper's problems started because they no longer faced hostile audiences but audiences who desired to be grossed out. The entire concert was geared around Anderson telling the audience to go to hell and the audience was '1 too stupid to notice it. Every time he scratched his crotch, every time he shot a gig, it was not the action of a comrade, but of someone who was insulting you but you weren't quite sure he was. The theatrics seems to say, "Sure we could play the music better, but why should we? "Jethro Tull made fools out of everyone in that auditorium and all the audience could say, was, "Wow what a good con cert." You allow banalities to play the music loud. You allow bullshit to cloud the music. You allow it and so it happens. The plebian sense of the average person who goes to rock concerts stays the same. "I went to Tull and I was so stoned, I don't remember a thing." And so, because he has to face puerile jerks, who don't know anything, the artist eventually is faced with corruption because there is no one to keep him on his toes. So you get ripped and go to Tull, and you still don't know what music is and to top it, you don't even know when you're being spit on. ri OpeninHy ~erde -bhrbor -eg ev Us ed ant~dt1busec7