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February 6, 2003 The Blue Banner Page 3 y fun Really Hip Girl, Epi- iX^ith Sassy id Saturday tre througfi fusing, Df- confusing. Y by Mart :s ,the feel of on and the f the ’60s. ing and fu(i ly provides cher ' 'as fun and ng to dancc ctress Dana irtofMuffy lie play sold eBe theatre illing audi- n the floor, e audience le audience :raziness o( jerfoi^r . Iwoncfefftl usic, goo 1 Sulock, ventures of abs Broad- rl by night, four beaut) in the Miss Pageant, testants £ pageant, :he girls and Features Outlaw country brings mullets and songs Shelby Thompson Features Reporter mullets to the left of me and bikers to the right. I stand stuck in the middle, a little bit afraid. I arrived at the Orange Peel in dowtown Asheville on Feb. 29. An eclectic mix of patrons and fans filled up the room v^aiting to see David Alan Coe. The opening band, The Unholy Trio, had already left the stage, and had joined the crowd to throw back a few cold I snaked my way through the crowd past men with mtU- lets shouting "Howdy Darlin'" to me and made my way to the bar. The bartender handed me my cold beer, and I tipped my cowboy hat to him in thanks. As I ,turned to face the stage, I surveyed the crowd. The rednecks had come crawling out of the woodwork to see this aging outlaw and his band of ragtag “The bass player Sported a black David Allan Coe T- shirt with the sleeves cut off (of course), a very large salt andpeppergoatee and a matching mullet that reached the small of his back.” His cowboy boots shone like bea cons from his feet, reminding all that any man brave enough to tuck his pants into his outlandish black and white boots and stand up in front of people deserves the title of outlaw. Hey, I guess a man once on death row can wear about anything he wants. He also had a large goatee, but his stood out due to the seven or eight braids adorned with beads that hung from it tri umphantly. "I've never wanted anybody to like me because I had long hair or short hair, or that they liked the way I dressed or they liked the way I smile. . . I wasn't trying to be cool," Coe said in 1987, according to www.davidaljanooe.oom Too bad for him, because he radiated coolness. He played an X-shaped guitar decorated with the confeder ate flag. This left no doubts about his pride in being an American, by God. And, buddy, Coe c£ itupoi musicians. The Tennessee Hat the guitar. He had the crowd n Band. The band looked like they ste|f)ed right out of a Ted Nugent video from 1983. The bass player Review "It was the rowdiest show live ever been to," said Gordon Wilson who attended the show. Coe barely sang an en- s song. Instead he just ^ ■ "You F WWW.DAVlDALLANCOE.COM David Alan Coe entertained a rowdy crowd at the Orange Peel by singing country favorites. sported a black David Allan Coe T- shirt with the sleeves cut off (of sang snippets of such songs; course) a very large salt and pepper Never Even Called Me by My goatee, and a matching mullet that Name," and "Willie, Waylon, and reached the small of his back. Me. J Coe, the self-nominated "Myste- He broke into a fevv^ Hank Will- ious Rhinestone Cowboy" dressed iams, Jr. classics, like Family Tra- 1 all black, following the classic dition." When he sang the chorus, ttire of a Nashville outlaw. the crowd thrust their hats and beers join High Ti Sniggje y and the usic all the ants. Mavis nsof“Bouf- s crash and with escort ;ir mission: ; to survive, lisguised as lar “college L State Um'- rth. Go-Go ;sy sidekick gh Princess ill effect pf :ures of Go- ke sense tp o theatrical theme, but bers of this Clark. Oji ;ople might it than just ned tc son Adams played by Fun because before. The ighing dur- whole thing n rehearsal, :e how the the leading cipated in in the air toasting Coe and answer ing each question in the lines of the chorus, "Why do you drink? (To get drunk), ^^y do you roll smoke? (To get high) Why must you live out the songs that you wrote? (To get laid)." The most interesting song he sang occurred near the beginning of the show. A bizarre rendition of Bette Midler's "The Wind Beneath My Wings" snapped me out of my drunken state. Yeah, you read that right, one of the most notorious country music outlaws sang the theme song from "Beaches". When he first arrived on the Nash ville music scene, people told him that his songs were "too country" to be played on the radio. Eat your heart out Nashville deejays. Then, he started singing Kid Rock. Not only that, but the ma jority of the crowd knew the words to these songs too. During these covers I kept myself busy drinking too much and talk ing to select UNCA students and faculty that I recognized in the sea of embroidered jean jackets and Now, don't get me wrong, no the women looked cheap,and all the men looked like rednecks. In a crowd like his, however, those others became increasingly r difficult to spot. It felt liek the entire crowd had stepped back in time to 1978. Italian people, culture shown in student exhibit Rhiannon Richard Features Reporter A recent exhibit in Ramsy Library featured photos by Cassie Floan, a senior art major, taken while she .spent a semester abroad in Italy. "I got into photography when I got my father's camera," said Floan. "He passed away when I was a junior in high school, and I got his camera and just started messing around with it." Floan spent the spring 2002 se mester in Italy and took pictures using three unique cameras. She had one modern camera, which she Telt captured the sharpest of the images. She also had two older cam eras, one from the 1950s and the other manufactured in 1916. "As part of my studies I worked with a variety of camera bodies," wrote Floan in a statement accom panying her photographs. "By us ing only three cameras, I was able to experiment with the subtle and dra matic differences of each and to discover which captured the atmo sphere of each shot with the most genuine character." The 1950s camera produces a square image, while the 1916 cam era produces a rectangular image with frequently blurred edges. In stead of holding the oldest camera up t PHOTOGRAPHS BY CASSIE FLOAN Floan spent spring semester 2002 taking photographs in Italy. "I really liked the fact all of her pictures don't look like they came straight from postcards. She really kind of went out on a limb and took some freaky shots. She was able to really convey her experience in Italy to me." Steven Rash, undeclared sophomore the whole time I was there," said the eye the photographer Floan. "Two of them I borrowed Review holds it away, usually near the chest. Floan's pictures cap tured both human in teraction and land scapes in Italy. Floan took care to make sure she which cameras had which qualities used the best camera for the pic- I was a little bit more conscious ture, though she did sometimes have about how I photographed." to use what she had readily avail- As students passed by on the ex- able. hibit in Ramsey Library many took "I didn't have all three cameras a minute to examine the photo- from my professor while I was over there. So that kind of dic tated what kind of Steven Rash, camera I used. But I got a feel for graphs, as well as the cameras that Floan used. "I really liked the fact that all of her pictures don't look like they ight from postcards," said undeclared sopho- "She really kind of went out on a limb and took some freaky shots. She was able to really convey her experience in Italy to me. The picture titled "Big Brother," featuring young twin brothers ges turing at each other, caught the eye of one student. "It has this really old fashioned appeal," said Caroline Spaulding, an undeclared sophomore. "Kind of like catching a single frame of complete innocence that is missing The use of different cameras in terested many students. All the pic tures, no matter what camera Floan used, had a classic feel. "I think it was really cool that she was able to use all those different kinds of cameras and still come out with all these impressive results," "All the pictures look like they came from really professional and modern cameras." Floan found her experience in Italy Aside from the photography, she took weekend trips to different cit ies and enjoyed the Italian lifestyle. Though she borrowed two of the cameras for the trip, she has acquired her own antique camera, the same as the 1916 model she used in Italy. Abstract art show open to interpretation Caroline Soesbee Features Reporter What would you get if you mixed artists Jackson Pollock, Wassily Kandinsky, H.R. Giger, and M.C. Escher together? You might have senior Michael Freeman, who is completing his B.F.A. in art with an emphasis in painting. An exhibit of Freman's paintings entitled "Golden Mean" appeared the Univerisiry Gallery through Feb. 4. Each painting represents some thing different, but they all have a common theme, darkness. "I did that because I wanted them ;o have a darker mood about them," said Freeman. ras trying to express my inter nal angst in these paintings and bring those feelings out when I :omposed." The paintings do have color, but the majority of them are cool and muted. "I didn't want extravagant color used in these. I wanted the paint ings to be almost monochromatic," said Freeman. I felt that with subtle color you look more at the composition and still have the viewer interested in When one views Freeman's works the artist's angst doesn't come through. Instead the textures, de signs, shadow and light catch the viewer's attention. Viewers can form their own opin ion about yvh^t the picture repre sents.Freeman never makes it clear what exactly he intends to show. In one of Freeman's more abstract works, "Leviathan," there appears to be a waterfall with dark water being illuminated by the light shin ing on it from the left hand side of the picture. But then again, that might not be what a different viewer sees at all. No matter what one sees in the paintings. Freeman, more than likely, didn't purposefully put it there. "A lot of people were coming up to me and saying 'I see this and this,' and it's not really there," said Freeman. "It's enjoyable to hear that be cause it means they are kind of participating in the paintings." Most ofthe paintings, even though abstract, have something in them that the viewer can recognize. Something in them seems famil- However, Freeman doesn't like pointing out the objects that are actually in the paintings. "It kind of takes away from the viewer looking at it and seeing what they're feeling that particular day," said Freeman. "I think it kind of brings you into the painting more when you say 'Hey, I recognize that shape,' and sometimes you see things I didn't add in there, but it adds to the conversation between the viewer and the painting." Freeman built up layers in his paintings, creating fascinating tex tures. Each painting has about 10 levels of paint. He uses both acrylic and oil paints. "I basically paint something on the canvas to begin with, then work with things I see in there and add a second layer and remove paint and add paint. “I just keep doing that until I come up with the finished product. I would usually work on them three at a time, then go through the se ries, then I would come back and work on them again. “So I've probably worked on each of these four or five times in a round about way."
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