The Dally Tar Heel
Friday, March 23, 1974
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Arrogance in concert
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StaH photo by John
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Jallulah, A Memory, a one-woman show
by actress Eugenia Rawls, will be presented
at 8 p.m. Saturday, April 6, in Playmakers
Theatre.
Free tickets will be available starting
Monday in 102 Graham Memorial.
The nearly 20 costumes worn by Rawls in
the show about Fanny Kemblc and Tallulah
Bankhead will be displayed in the soon-to-be
constructed Paul Green Theatre.
Rawls and her husband, Donald Seawell,
are visiting Chapel Hill not only to present
the show, but to give theatre memorabilia to
the Southern Historical Collection of the
University to which they have given things in
the past.
Rawls made her Broadway debut in
Lillian Hellman's The Children's . Hour,
followed by roles in The Little Foxes, The
Great Sebastians with Lunt and Fontaine
and Noel Coward's Private Lives.
In 1969, the British Council presented
Rawls in England, and in 1972, she became
the first American actress to play in Ireland's
famed Abbey Theatre.
Tallulah, A Memory was presented at the
Embassy of the United States in Dublin
under the auspices of the Ambassador.
Rawls has just returned from London
under the auspices of the Ambassador.
Rawls has just returned from London
where she presented the one-woman show
for the Society for Theatre Research.
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Our Officer Selection Officers are looking for a few good college men
maybe 3 out of 100 who will make good Marine officers. If you're one of
them, we'll give you a chance to prove it during summer training at Quan
tico, Virginia.
pur program is Platoon Leaders Class, PLC. With ground, air and law
options. You might even qualify for up to $2,700 to help you through college.
But if money is all you're looking for, don't waste your time.
The challenge is leadership. If you want it, work for it. If you've got it,
show us. It's one hell of a challenge. But we're looking for one hell of a man.
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CP 2.74
Box 38901
Los Angeles, California 90038
Please send me information on
Marine Corps Platoon Leaders
Class. (Please Print)
Name.
.Age.
Address.
City
.State.
-Zip.
School.
Phone
.Class of.
.Social Security .
If you are a senior, check here for information cn Officer Candidates Class
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by Cetsy Ccmpbcll
Feature Writer.
Robert Kirkland, Don Dixon, Marty
Stout and Steve Herbert work as a team.
Friendly and receptive, none of them come
across as swaggering rock and rollers, but as
quietly serene people, content with their
roles.
Yet, these four personalities have built up
a local rock band. Arrogance, whose name,
if not music, is familiar to most UNC
students.
Arrogance was formed in 1969, when
Kirkland and Dixon met as freshmen at
UNC.
"We were a rock and roll band in those
days," Kirkland said.
Mike Greer and Jimmy Glasgow had
joined Kirkland and Dixon by 1970 when
they put out their first record, a single.
We just paid for it ourselves and sold it to
friends," he explained.
"Eventually, we got out of the heavy stuff
and started doing acoustic type sit-down
things in places like the New Establishment,"
Kirkland said.
The pay was a big step down from their
previous earnings as a rock and roll band.
By this time, Marty Stout and Ogie Shaw
had replaced Greer and Glasgow, Stout on
the piano and Shaw on the bongos and
congas. When Shaw left the group in the
summer of 1973, Steve Herbert moved in
with his drums. Since then, the members
have remained the same.
Arrogance recorded their first album,
Give Us a Break, out of Reflection Sound
Studios in Charlotte in March, 1973.
"We broke even on the first 500 copies,"
Kirkland said.
Kirkland came to UNC from Winston
Salem and dropped out in his fourth year.
"Political science was a pain in the ass
actually," he said, referring to his major.
His ambition is not to be a superstar, but
to acquire a certain degree of success.
"One day I'd like to have a modest house
in the country with a good studio set up, dogs
and horses and plenty of land."
He said he used to get caught up with the
idea of a rock band as rebellious. "But I
realize now we do have something to offer,
and it is very important to offer what you've
got."
Everyone in the group agreed that a
quieter crowd is preferable to a rowdy one.
"The ideal crowd is with people sitting
down. And when a song is over, they can
jump up and down and scream if they want,
if they'll just sit back down and be quiet for
the next song," Kirkland explained.
Arrogance plays fairly regularly at the
Cat's Cradle and Town Hall. "In the past,"
Kirkland said, "the Cradle has been more
susceptible to listening."
Bass guitarist and songwriter Don Dixon
also commented on audiences.
"Audiences have a lot to do with how you
respond. Their energy is real important
without them helping us out, it's easy to get
drained," he said.
The only married member of the group,
Dixon also serves as business manager,
handling money, contracts and agents.
Drummer Steve Herbert said, "We've
been playing long enough around here so the
crowd knows what to expect from us."
Plajing with Arrogance is what Herbert
has always wanted to do. "It's a definite ego
boost. You have to be egotistical to do this.
It's a good feeling to go away happy and the
crowd goe away happy too," he said.
Marty Stout gets, equal satisfaction
playing the piano for Arrogance.
"I'm not an outgoing person, so it serves a
social function for me, too," he said.
A native of Winston-Salem, Stout
dropped out of UNC after three semesters.
At 20, he's found a satisfaction with the
group he didn't find in school.
"When the album came out, it made me
feel I'd actually done something. It's
different from making an "A" in school. I
used to worry about grades because that's
the only way you could achieve recognition.
But now ..." The look of satisfaction in his
eyes ended the sentence for him.
White middle class blues
by Alan BIsbort
Feature Writer
"Aqua show" Elliott Murphy (Polydor)
Five years ago, Elliott Murphy would
have been dismissed as just another outraged
"youngs person" with long hair. Mad
Magazine might have used his likeness in one
of their "Either Side of the Generation Gap"
cartoons, making sure to include Mom and
Dad discussing the boy's future while he and
his friends are down in the "rec" room
playing that crazy rock music. But, that was
all thensville and 1974 is nowsville.
It's funny how Mom and Dad believed
that it would all work out in time, and young
Elliott would settle down and get serious.
The thing they most wanted to protect their
son from was the "street" domain of a Lou
Reed, but, with this album, Elliott shows the
folks that the "rec" room-aluminum lawn
furniture environment was no better. Urban
vs. suburban.
The song White Middle Class Blues is a
summing up of the attitude which runs
through this excellent album. Murphy's
father ran the world's famous Aquashow on
Long Island until his death. Long Island is
possibly the safely-suburban Mecca of the
East coast. And his parents probably were
constantly reminding Elliott that he could
have anything he ever wanted. Just ask, El.
Like early Dylan, his music is an
uncluttered mixture of the simple with the
complex, and the most refreshing thing
about his message is the outrage (almost
naivete) in which it is based. Unlike Dylan,
he doesn't try to. hide the fact that he was
brought up Strictly Middle Class (complete
with table manners and dance classes).
In fact, he sings about it, as only an
"aware" well-educated middle class kid
can talking about things that most people
think about but never want to say for fear of
sounding a bit presumptuous to their
"intellectual" friends. You might say that he
succeeds where others fear to tread. His
friends can sit around and be bored, but he's
going to tell them why they're bored.
He has taken on the entire suburban
middle class, and that might be his main
problem. At times on the record, he tries too
hard to say something. "I saw your mother
downtown yesterday, she didn't see me, her
hair was grey ..." is an example of lumping
everyone into identifiable groups to make his
point. But, he recovers and comes out with a
line like: "There's so much food on the table,
you can eat till you're unable," and redeems
himself amply.
The album is impressive as a whole. It has
such a refreshingly simple feel about it that it
stands up to continual listening. Last of the
Rock Stars and Like A Great Gatsby are
superior to anything being peddled these
days as "hit material."
If middle class upbringing is an albatross
around your neck (ring around the collar),
then you might not appreciate Murphy
telling you about it. Stick to other albums
and live vicariously.
Elliott Murphy is about as REAL as they
come.
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Saturday, March 30
8:00 p.m., Memorial Hall
Tickets $1 .50 at Union Desk
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