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Modern rock m - innovative so By Mike Miller Many people believe the electric guitar opened the door to acceptance and popularity for rock and roll music. This may not be entirely true, but there is no denying that ever since Bill Haley's 4 Rock Around the Clock" and Chuck Berry's duckwalk, the electric guitar has been the front man's instrument in rock bands. Guitar heros are placed on pedestals in every rock generation. Jimi Hendrix during the '60s; Duane Allman, Jeff Beck and Jimmy Page during the '70s; and now a changing of the guard for the '80s with Andy Summers, Tom Verlaine and Mark Knopfler all vying for the crown. But a skinny, quizzical looking fellow from Cincinnati, who has been described as a rock guitarist from the future, has boldly asserted himself. ADRIAN BELEW was in Nashville, playing in a lounge band called Sweetheart in 1 Ol Q urUon PronV 7 or\no %i/o 1 Vr ?r% 1 %Yr ?% A 17/u rr uvu a iuiiiv iuappn rramvu in, 11 rvvu what he heard and offered Belew a job in his band. Since the stint with Zappa, Belew has appeared on albums by David Bowie, Garland Jeffries and Talking Heads. He is an integral member of King Crimson and has just released his second solo album, "Twang Bar King." He evokes squawks, car wrecks, ricocheting bullets and all his favorite animal sounds ? rhinos, seagulls, and jungle insects ? from his beloved 1957. Fender Stratocaster by employing his "magic fingers" and a batch of high-tech gadgets. TRYING TO explain how Belew uses Mangers, compressors and graphic equalizers to create these remarkable pounds is pointless. It's pure talent and a personal relationship he shares with his guitar that makes Belew the most innovative guitarist on the scene. "Twang Bar King" is a musical grab bag of diverse styles and aspirations, with something different being plucked from the bag with each listening. The high-pitched, sustained note hovering constantly over the final measures in "Another Time," the complex pattern of the rhythm guitar in "I Wonder," or the joyous obsession with the tremolo bar on the title track are but a few of the delights on this record. 1 256-0301 ?j Where E 11 j"" one" iLmm " guitarist str unds. divers . * tr?tfl) High tech guitarist Adrian Belew plays on several popular albuir Bowie, Garland Jeffries and Talking Heads am ed his second solo, "Twang Bar King." The wild and woolly version of the Beatles tune, "I'm Down," is an electrifying update of the Mersey sound. A 37-second computerized conversation with a "Sexy Rhino" gives way to Belew's self-appointed role of "Twang Bar King": "rip bash smash burn up a fret/I can keep it in tune and nearly beat it to death/That's why they call me the twang bar king." "She Is Not Dead" is an arresting, esoteric number inspired by the enduring beauty of women. A type of transcendental Indian chant, it uses tabla-sounding percussion and sitar like guitars to create a feeling of reverence and devotion. "THE RAIL Song" is an anthemic eulogy to the disappearing romance of the railroads, and "Ballet for a Blue Whale" features Belew as solo instrumental artist on roland guitar synthesizer and acoustic guitar. 'rmi xtra Cheese Is Star 4"T7l EM~pi >4.99 with ffar Avn?rA? 0.11.113 I IVI <?* W 1 ? WW OZ. COKES 2! urns out e style vox* " ,s deluding David J now has releas '"-I---?:~u utitw 5 ny a tti ICCXI , ixuiiu^itiiidii vocals are perfectly matched with the hyperkinetic rampage of music, and the band ? all old chums from Cincy ? are equal to the warp-speed task. Christy Bley plays piano and contributes good-time vocals to "Fish Head," a humorous Zappa-influenced tune. William Janssen's saxophone playing switches from fusion honks and hisses in the instrumental, "Paint the Road," to a soulful styling in the close of "Fish Head." Larrie Londin'i drumming and J. Clifton Mayhugh'i bass playing never lag behind and ar< never overexerted. This album should be a major stej in the career of Belew, earning hin more critical and commercial recogni tion. It is an improvement over las year's "The Lone Rhino," which se the standard for avant-grade guita piaying ai inc nine. 2^-03011 idard I zza" i I I TAX | P aiMiMIIIIM?M III'MliI'lM^lgjrfW Medical book ^ Lewis Thomas is the j^watch In the late 1930s Thomas was ? ispptHospitai, making extra it blood transfusions. He knew he and the advent of antibiotics, the neurology and pathology, the d and sera. As author, Thomas thanks n father to the physicians and nut ambitions and interests. He met biage, which is not for any re manages to come across with thi in his earlier works "The Liv< Medusa and the Snail." He ma compilation of essays that tell o, He tells the story of medk "youngest science/* despite the Galen and Harvey. He is quick t profession, but sounds disencha has received. Dunlap. Continued from THE first story in the film, will be announced when tl all rights have been cleared, c said Dunlap. "The Half-pint Flask" is the second story and was r written by Dubose Heyward B in the '30s. The third story , tc "Neighbors," was written by a young black author from e Charlotte, N.C., Diane f Oliver, in 1966, he said. c The documentary portion of the film will be c narrated by USC's poet-in- ( residence, James Dickey, ^ Dunlap said. When the National Endowment for the Humanities , was having an open competi; tion for television projects, . with the winners receiving funding for production, Dunlap wrote a hurried proposal and a script for a two- 1 hour film in just under twoand-a-half weeks, he said. ^ Fellowship oi Ch GETTING ACQUA MONDAY. SEP1 I ' - _ (Athletes & Coa< Brief Tes MEETING PLACE: Fellow Evangelical Church. This behind 1727 Pendleton S USC Parking Lot behind t A ALL ATHLETES, EX-ATH I LOVERS ARE WELCOMf " MONDAY NIGHT GAT COME ^ ^ | NEED EXTR A I y rlasp I 1620 I 7:30 a.m. Call for an appointm I Phone: 254-2 I First-time donors please < i before 4 o'clock - ^ IMIJIH ^ 1. I P Mil II .1 I .I I a at medicaT book! "The edictae Watcher." i sleepless intern at Boston toney selling poems and was in the midst of an era tkthroughs: sulfanilamide birth of new fields such as liscovcry of new vaccines learly everyone, from his ses who helped foster his snders into scientific verier seeking re>ose, butf 5 same enthusiasm he had js of a Cell** and "The intains the same style?a ; tie story. :ine, which he calls the ] centuries of Hippocrates^ o note the nobility of the I tnted with the criticism it ;ff| i page 10 Dunlap later found out lat his was one of two hosen out of 191 aspirants. Dunlan hired :tired film director Laslo enedek,( 'The Wild One,") ) be production advisor. He is proficient in virtually very facet of filmmaking rom editing to directing to inematography," he said. S.C. ETV personnel hanlle every aspect of the proiuction from scouting sights 1 AAA#! am n V-* *-v rt In 1 Ion tUI lULdllUU dllUUlllI^, Llicil Emerson, to period woodcutting, Joe Byrne, to direction, Dunlap said. Dunlap is full of praise for the filming crew. Without dedicated people like Terry Pound, the production manager and Peter Anderson, executive producer, this film would not be possible, he said. .A. d | ristian Athletes V INTED MEETING k f. 12 ? 8 p.m. | ches To Share a timonies I ship room of Columbia * is in the brick building A t. - which is next to the I he B.A. Bldg. V LETES, AND SPUH I b ft E AT THESE WEEKLY, I HERINGS. ? Y'ALL " a money? I ia'center i i Gervais St. 1 lon.-Fri. a 5:30 p.m. 1 HH