The Emerald’s weekly arts and entertainment supplement
Thursday, May 5, 1977
Hoo-Haw unveils line-up
The poets, musicians, comedians, fireaters and performers of all sorts, shapes and
sizes have been auditioning for weeks. The planners and prime-movers have been at it
even longer. But now, the day draws near and the efforts of the several may well cascade
into the joy of the many. Yes friends, the 2nd Perennial Poetic Hoohaw will open itseV
Saturday around mid-day and last at least until mid-nite. Listed below is a schedule of aH
the at-press-time folk who will appear and a respectable idea of when.
(Continued on Page 2)
Afternoon Program
Ceremonous send-oll one hour More noon: the CANNON,
■red by Ken Bette
The Star-Spangled Berner' played on the saw try NANCY
SPENCER
1100-1130
THE KJM- musoans. ’Sikrerksh crawtng"
TERRY YAFFE, "I sal m my roses"
DAVID CHAZMAR. Starpuss
PERCY HILO. -Bang the Gang'
BARBARA PWSON, "PrejpiantT
JEFF WESTON. Guar dans of Truth and Light’
11:3012*10
FAX GOOOUFE. "A tribute to Germaine
CELESTE. Tribute to Gary Gimore ’
BILL OBRIEN, The mecharscs o» LA"
GREG WEED. "My Audence"
AMAZING FEATS, sacks and swords
JERRY MARR. "Furmhed Room"
MAGIC MICHAEL. "Critters"
ROSIA ANDERSON. spitter
1200-1230
USO-muafctena
DAVID CHAZMAR. “Rate’
JOf« ACKERSON. "Rate"
ELMORE NETTLE, musician-"Rate
DAVK) RYAN NELSON. "And tie Rate Fans
JANICE HANSON. Tower ol London"
ERIC BELLMAN.’Shrirerteg Alaska
BARBARA MOSSBERG. "Beater ol Porcupines
1230-100
ADRIANE HACKER
JACK GLOVER
MARY McCOY
STEPHEN COHEN, musician "Stranger came"
KEVIN ROGERS. “Spaced-Out. my lady"
AMADEE SMITH. "Ttekerbei te Hat
LEWIS ARTHUR, music
DOUG SCHROEDER
BOBDISKEN
100-130
FRANK ROSSINI, "Jack DMtonger s“
JIM GUTHRIE, poet-anger
SALLY COLE, dancer
DEI ZUMWALT, “Swept my lleeh"
JACK & SUSANNE SHAKICHI. musicians
JAI ELLIOT
JAM) and MAY. "Sisters’
WAYNE WAYMORE
RICHARED COLUNS
JAN CURRIE. "A perfumed rose"
130-200
LORENZO, music
JM DWYER, "Smal Town Sundae
ASHA, Mackerels
PHI TURCHIN
ROOGER "Chicken KMter MOODY
DAVID NELSON, “I am a man. ma“
CHARLIE SILVERMAN. "Poem for Mao”
PETER WALLACE, ’Sudden Death"
200-230
MARY BARTON. “Poiahed Again
ROSEMARY BTTZEL. “Gribbtes"
CLAUDIA GIZELLA, “Oh, Oregon
KAREN MCPHERSON
GARRICK BECK, storyteller
RORY FUNKE
TOM QJutARlO
"ANOHOCLES AND THE LION" periormed by EUGENE
THEATRE COMPANY
230-300
DON RUSSELL, S*oned Again
TOM CASSADY
R A LARSON. "of wind a hawk"
JANE
RON BROWN, comedian. "Sniffles"
THE NORTHERN BROADCASTERS. musicians-"The
yetow roae of Texas'
GIMLI. ‘'The necessity oi sufficient thunder"
3 00-330
THE NEWUIME CIRCUS
TOMAS FUENTEZ
ALAN BAIR, "Gmgo Child"
SARGEANT MARK. "Ptomaine Palace"
PLUNKETT, sioryteter
330-4:00
MARTY CHRISTENSEN
JEANIE from Portland. "A dead chcfcet"
CARLOS REYES. "There is no such thing as aimless'
LV4DA BROWN
GEHR
DONNA WEATHERLY
4:00-4:30
REV CHUMLEIGH. retgonrst
MICHAEL HEFFLEY, Baptized Gemrr"
RICHARD WEINRAUB. English Flash Daydream'
LISA DUNCAN. Signing of tie Language"
DALE BRABB
4:30-530
RUSY REINDEER, musicun- "Raga ft Jazz"
George's Garage Folies
THE CHECKERED PLAYERS
JM OWNES, "Lost Poem Written"
JACK RAMEY
CAMEO
FLOYD SALAS
JIMMY LYONS
WALT CURTIS
REZA BAHARENI
MARJORIE
5:30-630
BROS KARAMATZOH. Jugglers
BEST COSTUME AWARD Winner gets a gift corticate to
tie freebox in front of the Healti Food & Pool Store
6:00
Evening Raga-ALLEN GINSBERG ctianto;
PARTHAVA does Danish Dancing
TERRY PAINE cats the musicians to tie stagefronl will
"The William Tet Overture in C.D and F' on harmonica and
we all join in on "This Land Is Your Land
Evening Program
830
RAHSAAN ROLAND KIRK And The Vibration Society
ALLEN GINSBERG
JACK MICHELINE
PETER ORLOVSKY
GREGORY CORSO
KEN KESEY
ED EDMO
PAUL KRASSNER
FLYING KARAMATZOH BROTHERS
JAY SUPERELLA (45 seconds of loud fast N Y poeky)
IRA SHAPIRO
JOHN FREEMAN
PETER ROSCOE
Tom Waits brings his
distinctive style to the
Ballroom Wednesday
By BOB WEBB
Of the Emerald
Tom Waits, one of the more original
singer/songwriters to come along in quite
some time, will give a performance here at
Ihe University on Wednesday at 8 p.m. in
the EMU Balroom. Opening the evening is
another singer/songwriter, John Hiatt.
As a songwriter, Hiatt’s career spans 6
years and wel over 125 songs. Three Dog
Night, Tracy Nelson and Rusty Weir are
among those who have recorded John
Hiatt tunes. Three Dog Night’s version of
Hiatt’s “Sure As I’m Sittin’ Here” became a
national hit single. AH of the songs on
Hiatt’s a bums are also originals.
As a recording artist, Hiatt's career
began in his late teens with a group called
White Duck. After one MCA ahum with the
group, he was signed by Epic Records as
a solo artist. Before he was 21, Hiatt had
recorded several singles and Ns first solo
abum. Hang in' Around the Observatory.
Other singles and a second solo abum,
Overcoats, followed. Negotiations are pre
sently underway for a third solo abum re
lease.
Hiatt s live performance scneouie was
rather limited until this past year. Now his
credits include sharing the bil with: Leo
Kottke, David Bromberg, John Prine,
Sonny Terry & Brownie McGhee, Steve
Goodman, Tracy Nelson, Roy Buchanan,
Dr. John, Charlie Daniels, Mose Allison,
the Allman Brothers and many more.
For instance, on Wednesday he wiil
share the bil with Tom Waits.
Waits is a lyricist who blends blues and
jazz in a unique mixture that emphasizes
the seedy side of life. He’s the poet
laureate of the luncheonette — a strip
show afficionado. He glories in the sleazey
and seamy world of after hours bars, all
night cafe’s, bus terminals, and tatoo par
lors. His music reflects this life style.
He describes himself as a “pedestrian
piano player with poor technique but a
good sense of melody’’ who drives a “’65
T-bird that needs a valve job, and uses
four quarts of Penzoil a week.” He likes
smog, traffic, kinky people, noisy neigh
bors and crowded bars. He resides in the
Silver Lake area of Los Angeles, is a dedi
cated Angeleno and has “absolutely no in
tention of moving to a cabin in Colorado.”
Tom Waits is the product of a middle
class Southern California home. He drop
ped out of the hippie culture of the '60 s. "I
wasn't into sand candles and I didn’t have
any Jimi Hendrix posters on the wall. I
didn’t even have a black light.”
At age 19 he came into the possession
of a broken down piano that only played
the black keys. As a consequence, he
taught himself to play everything in F
sharp. In '72, he refined and polished his
skills and took his blusey, boozy act to a
local Los Angeles night club. He soon
gathered an impressive following including
Elton John, Joni Mitchell end Bette Midler.
When Bonnie Raitt went out on tour in
1975, she took Waits and Ns act along —
but he went out of his way to spend his
nights in seedy flophouses. “Tom’s a real
original,” says Raitt. “He’s a window on a
scene we never got close to. He’s able to
make all the double knits both tragic and
romantic at the same time.”
Waits’ first album, Closing Time, came
out in 1973. The a bum’s opening cut was
“OI’55,” a song “dedicated to a steel
Pegasus, wellworn but sturdy, and its
highway adventures.” The song was later
recorded by Ian Matthews and the Eagles.
Closing Time didn’t sell very well but it
showed an artist with promise, one who,
according to Downbeat Magazine, “dared
fuse coherent lyrics with inventive
melody.”
As good as Closing Time was, however,
it took a back seat to Waits’ second LP,
The Heart of Saturday Night. Each of the
11 cuts on this abum is a gem. The abum
expresses Waits' vision of the underside of
America circa 1970, from the light-hearted
camaraderie of “New Coat of Paint” and
“Depot, Depot” to the compassionate
“Semi-Suite” and “Please Call Me, Baby.”
His third abum, Nighthawks at the Din
ner, is a two-disc set recorded live before a
studio audience. Downbeat says of this
abum, “Waits broke new artistic ground on
the outing, eliminating the restrictions
heretofore imposed on him by studio re
cording. The entire set pulsates with urban
verve, Waits skillfully stitching songs like
“Better Off Without A Wife,” “Eggs and
Sausage,” and “Big Joe and Phantom
309” together with convoluted and many
faceted monologues that are themselves
small works of art.”
Small Change, released last October,
continues to show us various characters in
Waits’ world. On the abum we meet the
strippers and their onlookers in “Pasties
and a G-String,” the waitress at an all-night
diner who offers us a “Invitation to the
Blues," and “Small Change," a non
descript hood who gets “rained on with his
own .38” among other people we’ve
known or imagined.
Wha. Waits does so well is bring this
whole world of derelicts and the down
and-out human beings of society to life in a
romanticized way which allows his audi
ence to enter into Ns vicarious (to us, real
to him) melancholy and at the same time
laugh at his tough-guy wit. He is as original
today as beat writer Jack Kerouac was in
the ’50’s.
Jon Landau, in Rolling Stone, says of
Waits, “He is the best contemporary ex
pression of the loner I’ve yet encountered.
But beyond his extraordinary ability as wri
ter, monologis* and performer, he exNbits
the single ingredient most missing from the
music of today’s new stars — personality.
He’s so original, consistent and animated,
he reminds us that, while there are a lot of
first-rate craftsmen coming up through the
ranks, most of them lack the distinctive
point of view necessary for the creation of
art.
‘Tom Waits is different."
Observe that difference, along with John
Hiatt, Wednesday night.
Tickets ate $3.75 for University students
and $4.75 for non-students. They are av
ailable at the EMU Main Desk and
Everybody’s Records.