The Daily Tar HeelMonday, February 25, 19855
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Kitty Moses and
Today's
not arrive from the Carolina
Student Fund. The DTH regrets
its absence.
Factory Representatives from Nakamichi
will be in our GuopQi Mil 9Sira f yosdsiv
ffiromm 42 im!ra-?:3 conducting a
tape deck clinic. Any brand of cassette
deck will be checked for the following
free of charge.
1 . Frequency Response 2. 3rd Harmonic Distortion
3. Speed 4. Signal to noise ratio
Soundhaus will offer a $5. challenge
to anyone owning a cassette tape deck
that jyrilporfeFiFffis Mrg3MEiii In caDO . toiasr of
the above categories.
The $50.00 challenge does not apply to
Nakamichi tape decks.
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BX-100
BX-1 50
Robert Bittle in the X-Teens last performance
Campus Calendar
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Nakamichi
CLINIC SPECIALS
Reg. $299.00
Reg. 349.00
Reg. 500.00 Nsiv
Specials Good thru Feb. 28. 1985
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DTH Larry Childress
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With confetti, aloha balloons,
plastic mini-guitars and a lava lamp
on stage, the X-Teens played their
farewell show to a near-capacity
crowd at Cat's Cradle Saturday
night. After five years, two full
length albums and an EP, the band
performed with all they had and gave
those at the Cradle a night to
remember.
With the first set of songs taken
largely from their latest album, Love
and Politics, it looked like a tradi
tional X-Teens night. Their opening
song, "Hostage of My Heart," is in
fact the first song on the album, and
was followed by "D.I.F.Y.," "Say It
Isn't So," "You Belong With Me,"
and "Rain Rain Go Away," all of
which came, from Love and Politics
and sounded true to their studio
versions. ,
It was not until a memorable
rendition of "Don't Listen To Him,"
when Todd Jones relinquished his
post at keyboards halfway through
the song to take Kitty Moses' bass,
that the entire front section of the
Cradle was dancing. The song had
probably one of the best guitar solos
of the night, lengthened and slightly
improvised by guitarist Robert
Bittle. Jones then went back to his
keyboards, Bittle went to bass, and
the sound, void of guitar, became
an entirely different one. This
Impressive
Subtraction of superfluous mate
rial would have made the Royal
Ballet of Flanders' Saturday perfor
mance in Memorial Hall perfect.
Improvement of the company's
classical technique was not neces
sary, but removal of several non
purist distractions was badly needed.
In an appearance sponsored by the
Carolina Union and the Triangle
Dance Guild, the Royal Ballet
performed an adaptation of Chek
ov's play "The Three Sisters." The
basic story of a rural Russian family's
involvement with a garrison of
soldiers is supposed to be superim
posed on a current of discontent.
However, in this ballet version, the
sisters' longing for their native
Moscow was not emphasized
strongly enough. Just why they
wanted to return to the city was not
evident; the three seemed to be
having a ball at home with the
soldiers.
Not only did the ballet's beginning
strike a discordant tone, but it also
introduced unnecessary elements. A
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You don't worry about the hassles of
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Applications now available for fall
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Alexandra JMann
Review
segment was highlighted by Ned
Robie's drums.
The momentum built .up by this
time was maintained by the last song
of the set, "Change Gotta Come,"
a favorite of X-Teens fans and a song
for which there is a video on MTV.
This song proved to be one of the
best ways to end a set. Boasting one
of the most distinctive beats of any
X-Teens song, it served the band well
by keeping their audience into the
music and not letting them lose
interest. The same momentum was
maintained through the second set,
but it was in a different way. It was
in the second set that the traditional
X-Teens night gave way to some
thing else.
"This is the official silly set,"
Moses announced. "The one where
we sing all the songs you guys have
never heard in your lives." So while
the lava lamp really got going, the
band launched into a set the likes
of which few fans have probably ever
heard from them. They took requests
and dug up old even really old
songs, including "Bondage," the
ballet but too
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Elizabeth Ellen
Review
second-rate soprano with a hideous
makeup job appeared out of
nowhere and paraded across the
stage wailing a wordless aria. The
reason for this meaningless spectacle
was not at all clear.
Dialogue was another intrusion.
In classical ballet, the story should
be conveyed only by movement and
music. The dancers did not lack
pantomime skills, and they had no
trouble expressing emotions and
events. Subsequently, the insertion
of speech following beautiful dance
sequences seemed ridiculous and
damaged the moments.
Despite these weaknesses, the
ballet was enjoyable and well done.
The choreography was satisfying:
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first song they ever played, and
definitively silly numbers like "You
Make My Love Muscles Ache," "The
Happiest Guy in the Continental
U.S.A.," and a song in which Moses
did Dale Bozzio-type squeaks every
now and then.
Due to the old songs, the entire
second set had a hard-core sound
very unlike the sound of the last
album. The dancing mass in front
of the stage was obviously pleased
with the resurrection of these clas
sics. The band was called back for
two encores. Knowing it was the last
time these four people would be on
stage together as the X-Teens, fans
seemed reluctant to let them go.
The band is splitting up, not
breaking up. There is a difference.
"Mitosis," Jones said in an interview
before the show. He has recently put
together a pop band with Robie and
others. "It will probably sound like
my half of the X-Teens," he said,
"but with a little more funk." He
hopes to start playing in the area in
three months.
Moses and Bittle will also have
their own band. "We (The X-Teens)
have been polarizing," Moses said.
"And after five years, unless you're
insanely devoted, there's no way a
band can stay together that long."
Or, as the song goes, "Change
gotta come."
many extiras
Innovations were generally kept
within the parameters of classical
-Style. Sets and costumes were
extremely appropriate, as was the
Rachmaninoff piano
accompaniment.
A series of three pas de deux in
the first act was especially effective.
Each mood came across beautifully.
The first dance was silly and flirta
tious, the second passionate, and the
third frenzied and frustrated.
The technique of the principals
was impeccable. As the youngest
sister, Irena, Laura-Elisabeth Green
had incredible feet which she showed
off in flutters, beats, and unusual
turns with a flexed foot.
Overall, the performance was
successful. Artistic director Valery
Panov's aim to make the storyline
crystal clear was accomplished
with flying colors. A little subtlety
would have been a better match for
the ballet's classicism. However, the
dancers' graceful beauty made the
ballet-fantasy magical.
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