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IIT 1 w ayio By Teresa Weaver Gamocock Stoff Writor A crowd of cowboys and friends turned out Sunday for a few hours of good country music, but the singing outlaw jusi couian t puu 11 off. WAYLON JENNINGS gave his fans at Carolina Coliseum less than an hour of lackluster music from every facet of his musical background, and the response from the crowd was just as lackluster. The Waylors took the stage as the opening act and presented a lengthy, uninspired set of songs that served only to warn of the boredom yet to come. A few shining spots in the Waylors' performance included a brief harmonica solo in the opening instrumental number and the soulful blues singing of the group's female lead on "Don't Go." Also, the upbeat "My, My 1 Love You Ajf fan nu ? In 1919 when Marcel Duchamp "improved" the "Mona Lisa" by the addition of a moustache and goatee, and retitled the work to suggest she was open for a good time, he was making a Dada gesture. When May Ray glues a row of tacks on the bottom of a household iron, the logic is Dada. So too whf?n Rohort Ransfhpnhnro takes a drawing by Willem de Kooning, erases it, titles it "Erased de Kooning," and claims it for himself. All of the above, in their own absurd (and paradoxical) way, are masterpieces of Dada sensibilities. And the second work, Man Ray's tacked iron, is currently on display, along with 46 other Man Ray 'i * O I 11 CP 1UV, So" almost captured the attention of a few devout country music fans. A HIGH point in the whole night came when the Crickets, Buddy Holly's original band, hopped on stage and bounded through a nonstop medley recalling the late great rock pioneer. "Oh Boy" brought some in the audience to their feet and the enthusiasm was maintained throughout the other Holly classics, "She Came In Through The Bathroom Window," "Every Day" and "Think It Over.' However, the energy generated by the memory of the group's former leader vanished quickly in a procession of their songs since his death. From their theme from the Mar> Tyler Moore television show to "1 Know A Heartache When I See One," the band's flat sound provec that there may not be life for then v-Dada photographs and objects, in a important exhibit at the Columbi Museum of Art. This is the fir exhibit of Man Ray's extensi\ photographic work since the a tist's death in 1976, and offei insight into both his personal i ventiveness and the domain Dada. Dada, as a movement, was sho lived, lasting barely ten years. aroso in Zurirh nuf of thr? tnrmi and dismay that followed the Fir World War, and later spread Paris and other parts of Europ Noted European Dadaists includ Kurt Sehwitters, Max Ernst ai Jean Arp, but it was in New Yor in 11)15, that the two most i fluential and persistent Dadah ? 'Cadeau' klustei after Buddy Holly. A light momi during the set came when a slij revision was made to the chorus "I ITnnohf (ho T aup an/1 thn I X & HIV JUUTT U * AVI VIIV XJ Won" to make it "I Fought I Shah and the Shah Won." i FINALLY, IT was the cowbo i turn then and he sauntered stage just long enough to dis; i point all but his most devo i followers. I Dressed in faded jeans and black cowboy hat, Waylon J i nings sang "It's So Easy" a ? from his first album that was m? famous by Holly. A self-taught musician, Jennii got his start playing bass a i singing backup occasionally ; Holly, but he has since evolv neatly through the folk era and Nashville sound to emerge as [ progressive outlaw of coun ; music. I i LONG A STANDARD in I charts of country music, in the 1 several years Jennings has gaii much success on the popu charts as well. When he star1 playing some of the more \v< known of his recent songs, l crowd showed a little appreciate Beginning with a song me famous by his friend Willie Ncls? "Mamas, Don't Let Your Bab Grow Up To Be Cowboys" a ; moving through the lesser-kno "I've Always Been Crazy But Kept Me From Going Insani many fans seemed to enjoy j knowing the words to some songi A POPULAR SONG with 1 audience was last year's mell Iuanaa "Amanda,'' performed w the singer's characteristic n chalance. A feeble attempt < of light n appeared, Duchamp and Man 1a Explaining the premise of I st can best be illustrated a 'e counter-reaction to the institu r- that created our first global rs flict. For the Dadaist, everyl n- was in question. Social, poli of and moral traditions had lead this, it was time for a ma jo rt evaluation. It In artistic terms, this requii )il staunch negation of the sancti st art. Was art so precious that il to untouchable? And could su >e. fixed notion be influencing, ed manipulating the way art nd made? In essence, was art, k. everything else, simply in forming to tradition? >ts Such questions underline groups' obsession with frei and choice, and their revc anything that modified manipulated. Yet Dada shoul be interpreted solely in terms, for the movement braced contradiction, and spi the gambit from nihilism reformation, from biting mentary to comical pun. As Dada merged into its literal and traditional succ< Surrealism, Duchamp and Kay continued to investigate direction Dada had started ' Although Duchamp is clearl more imnortant artist of thf Man Itay's work possess flexibility and liveliness that escapes Duchamp's intelh sterility. The collection of Man work currently on display ; Columbia Museum focuses n on his development i photographer. Included examples of his portraitur experimental camera-less in solarizations and multiple *1 _ I Weill W1I m ^ ^ 1 ?f :.: // > : ?'_. >>vi-;":6%;\A' ' :'y/: aw ' the [_.-- " " i i -j_". - _- ^:<'<. . . r" ; ->' ./ ' vs"? '""'^V'f"^rt? a"" i' ' y's on . . K|f pted a irlfflB" en" ^JliPPflP -ut HBI^BhBIi; ISP ^ tde . vW&r^ *gs # <m the lar |i ied IHHHran ll9 n wnff npn. ^fHH| the ?| ide aP|| on, : v ? ies wn It Way Ion's wail whimpers Sunda ust handclappmg was started during staj the usually rousing "Good Hearted wei Woman In Love With A Good- eve the Timing Man," and the crowd his ow favorite, "Luckenbach, Texas" sinj 'ith almost was able to evoke some waj on- genuine enthusiasm. hav at When Jennings reappeared on hat ' " v) es a posure prints. pi often Man Hay's reputation for por- Lt actual traiture was well established in W Paris (like Duchamp, Man Hay th Kay's left New York in the early 20s), si at the and his clientele included not only ti; lainly well-known artists and writers is a such as Yves Tanguy, Picasso, e\ are Joyce and Woolf, but also re e, his prominent political and social in lages, figures. Between the portraiture or } ex- and the later work in fashion V ' \ V ' V' V' npers y night at the Coliseum. *e for the lasl number he wasn't iring his trademark hat, but n that change didn't improve. tired performance. After ?ing "Honky Tonk Heroes," it 5 pretty obvious that he should e stayed backstage with his ~ - ' - ,- V ^ V"- - ? " ] Jm - I) . C% . Hi . >: BHp ' ait with Camera' lotography (note "Model in ilong Gown Seated in Surrealist heelbarrow"), Man Kay found e camera to be an economical ipport for his more serious ar>tic work. As with everything Man Kay did, /en the portraits have a (strained cleverness, a sense of vention that never sinks to cliche ' gimmick. In "Self Portrait with See 'Man Ray, 'page 17 - v.\* >?1