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“STUNNING!”
-Vincent Candy, New York Times
“Richard Burton’s last performance is all silky
corruption, perfumed malice in every
beautifully measured phrase. John Hurt is
compelling:’
-Richard Schickel. Time Magazine
“Watching ‘1984’ is a powerful and
terrifying experience!’
-Molly Hasken Vogue Magazine
"AN EXTRAORDINARY VISION. GO AND SEE
‘1984’. YOU WILL NOT FORGET IT!"
-Pia Undstrom, WNBC-TV
JOHN HURT RICHARD BURTON
mMichoeiRadfotOs film ot George Orwell s WNFEEN EIGHTY KXJR
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Editor TOM PRIESTLEY Production Designer ALLAN CAMERON Music by EURYTHMCS & DOMINIC MULOOWNEY
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VALLEY RIVER
TWIN 686-8633
1077 VALLEY RIVER D«
. STARTS
0 TODAY!
The Treepeople is a Eugene band that
doesn't fit into any convenient category or
classification. The band members use guitar,
flute, recorder, percussion and vocals to pro
duce a unique and highly listenable musical
experience.
1 spoke with Treeperson Stephen Cohen
about the group and its new cassette-LP
"Human Voices."
ODE: Who are the Treepeople?
Cohen: It's myself on acoustic six-string
guitar and vocals, and there's Jeff Stier who
plays flute, recorder, orchestra bells and
various types of hand drums. That’s the base
of the group, the two of us. On the recording
we occasionally use other musicians that are
kind of side-Treepeople, but it’s mainly
myself and Jeff.
ODE: Where did the name ‘Treepeople"
come from?
Cohen: It’s one of those things when you
come up with a name, you wait for a name
that somehow just stays and doesn’t go away.
I had a dream, sitting under a tree, about these
little people in a tree and I wrote a little il
lustrated story. And I saved that, and then
years later when we wanted to have a name
for our musical contingent, that name came
up. it sounded like a good name, and we still
use those illustrations on publicity materials
and album covers and things like that.
ODE: What about the name “Human
Voices”?
Cohen: There is one song called "Human
Voices," but the recording is called that
because in all of the songs throughout the tape
there's people talking; real human voices say
ing things.
ODE: Your last album was released at the
end of 1979. Why so long between that one
and this new one?
Cohen: It just took us that long to get
around to it. Partly just putting it off, partly
waiting for the finances. We wanted to spend
more money on this tape — more studio
money. I went back to school for a few
years... it just worked out that way really. It’s
not going to be five years necessarily until our
next recording. It might be within a year or
two.
ODE: How long were the songs waiting
before you got around to them?
Cohen: Well, 1 like to age a composition
before I even perform it. We have things that
we perform that have been around a long
time, some compositions I wrote years ago
and we still haven’t recorded them. Some of
the numbers (on "Human Voices") have been
around for three or four years. 1 like to see if a
piece lasts. If it sounds good when you first
compose it, that's one thing, but it’s got to
sound good a year or two later, it still has to
mean something then.
ODE: Why did you decide to put out a
cassette instead of a record?
Cohen: When we were selling our first
album in this local area, people were always
asking us for cassettes. It’s financially better
to make tapes because you can make a small
amount at a time. With albums you have to
put a whole bunch of money down at once.
We wanted to put most of the money into
the recording of it, we wanted the best recor
ding we could get. We will turn it into an
album at some point, but for that to happen
we'll have to be selling outside of Eugene. It's
not a good financial move to make an album
unless we know we're going to sell a bunch of
them.
ODE: Do you have any closing comments?
Cohen: The bottom line is creating music
that has a personal and an emotional meaning
for people. In order to keep doing that we'd
like the recording to go someplace, and we
think it will. We think this will lead to having
a bigger audience hear this recording. We
play with the faith that if we keep playing
what we honestly feel to be real music, we’ll
get some reward from it. Play for a wider au
dience ... maybe get some checks in the mail.
The Treepeople will appear Sunday at The
Beanery, 790 East 14th Ave.. from 9:30 to
11:30 a.m. Their new cassette-LP is available
at Balladeer Music. Earth River Records.
Everybody’s Records and Fare The Music.
Interview by Kevin Frank
CINEMA
i
'The Gods' is silly
It’s hard to
understand
the huge suc
cess of the
South African
import “The
Gods Must Be
Crazy,” a slapstick comedy that
is about as tasteful as it is
burlesque. The humor in the
film is based on pratfalls and
scantily clad women
(underwear shots figure big
here — a real winner for
sophisticated comedy). This
type of comedy has never ap
pealed to me, and here it is
clumsily executed and over
worked to the point of boredom.
The basic idea of the story is a
look at civilized culture through
naive, primitive eyes. Three
plotlines are brought together to
back this idea.
First there is the journey of
tribesman Xi (pronounced Key),
who must throw the evil gift of
the gods (a Coke bottle) off the
edge of the earth. He runs into
white microbiologist Steyn, the
first city-bred human he has
ever met. Steyn is infatuated
with the new local
schoolteacher, Kate Simpson,
but is such a wreck that he
makes a fool of himself every
time he gets near her (taking
lessons from the Jerry Lewis
school of charm).
As if that isn’t enough, .film
maker Jamie Uys adds a third
element, a band of bumbling
communist revolutionaries.
This is where Uys and good
taste really part company-. In
their introductory scene, the
revolutionaries burst into a
cabinet meeting and gun down
a number of the nation’s leaders
before the capital guards
retaliate and hit a couple of
them. This brutal, violent scene
is, of ail things, played for
laughs, and I can think of few
things less funny than violent
death.
There are some nice moments
in “The Gods,” by and large
dealing with Xi and his tribe.
The opening is cute, but little
else. Uys has a British narrator
introduce the setting as if the
picture were a grade school
documentary, then use the same
gentle tones to discuss the city.
The idea is okay, but it’s been
done so much already it isn’t
worth seeing again.
On the whole, the film is trite
and unsatisfying, more silly
than funny. For a comedy there
is little substance to laugh at, as
a Saturday night crowd con
firmed with its lukewarm
response to the picture. Uys
employs far too many bug-eyed
reaction shots and speeded-up
sequences to have his film get
taken seriously.
To Uys, South Africa is a
paradise, populated by friendly
natives and helpful whites, all
living in a peaceful environ
ment. There is no hint of racial
strife in the cities, and the only
trouble comes from evil ter
rorists who hold kids hostage
and force .them on long mar
ches. Uys has taken his political
stance in an obvious way, and it
is fairly revolting.
' The question is: Is it. worth
crossing a picket line to see this
film? 1 would say not. The film
is unfunny, trite and woefully
unresponsive to the true
political nature of South Africa'.
Sean Axmaker
J
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