Hot I
Baltimore,
a lesson
in slapstick
comedy
"Hot I Baltimore," playing al
Oswego Community Theatre, is a s|
adult comedy about the tenants ini
condemned hotel in Baltimore.
This hilarious group is so inconl
that even the simplest actions are«
The characters include three "hook!
old man, obnoxious in all ways; a
teenage girl; her meek intimidated I
and an overworked, frustrated desl
who is trying to manage a hotel I
falling apart. This all leads to an ¡J
Photo by Larry Jackson formula for an excellent comedy.
The play will run Thursday throil
In this scene of "Hot I Baltimore" a hooker (Lorraine Stenzel) complains to the recep­
tionist (Michael Dangle) of hotel inconveniences. Her latest boyfriend (Mark Forbis) and a urday until Nov, 16. Reservations I
local hip girl (Ann Mangan), who's getting the snub treatment, look on.
obtained by calling 635-3901.
j
I
11,111 . ...............................Ill.ll!. . ................... f
—In review—
---------------------- --------------------------
Frank Zappa . . .
I
The film depicts the intracacie.’1
espionage and how innocent pel
end up as confused and scared I
tims.
“
In this particular case, Dustin Hl
man, a graduate student in historl
Columbia University and a long!
tance runner (hence the title)!
caught in a vicious crossfire bet!
U.S. governmental and foreign in
ests.
There does exist an abundancl
"blood and gore", but without it!
film would cease to have any vesl
of realism.
To those who say that some bll
is O.K. but more is "bad taste'1
reply that the movie is not control
the action but is just a mechanisnl
let the audience experience and'
terpret the plot without being 1
ject to fade-outs and censorship.
I also must admit that some seel
cannot be shown. For example, Dul
Hoffman has his front tooth dril
to the nerve to try to make him tl
The movie wisely did not show!
scene but still the sound of w
happened was left intact.
I
The idea of using physical quanl
of the movie as just a window onl
action lets the audience think I
speculate as each event falls I
place. The audience never knows ni
than any particular character does!
other words, the movie gives no on
potent knowledge to the viewer. 3
I urge anyone who enjoys tel
drama and likes to think through
realistic portrayal of a complice!
plot to go see "Marathon Man" atl
Hollywood Theatre.
!l
But if you are a littl^ queasy abl
blood or violence or rough langul
go see "Marathon Man" anyway I
only to see how a good movie hani
blood, violence, and rough langul
with fast pace and excellent tai
to achieve this effect. Zappa borrowed
ideas from Igor Stravinsky and Edgar
Varese and the lyrics used are of the
works of Lenny Bruce.
"Freak Out" was the first rock
album to show that rock and roll
could be more than a showcase for
guitars and drums. Zappa employs a
wide variety of musical instruments
and proves that even the xylophone
has a place in rock.
If you decide to get a copy of this
album beware of side four. There is
only one cut on this side and it is
entitled "The Return of the Son of
Monster Magnet": This is a collection
of tracks recorded at various speeds
and requires three separate listenings
for those who want to catch every­
thing. It can be played at 16, 33, and
45 revolutions-per-minute.
"Freak Out" was released in 1966
and many of the innovations attri­
buted to the Beatles for "Sergeant
Pepper's Lonely Hearts Club Band"
can not only be found on this album
but they are used far more efficiently
and effectively in "Freak Out".
stand up and
be counted
By Jim Rogers
Cougar Print Editor
Whenever people get into "heavy"
discussions on the subject of "rock
and roll" references are usually made
to the Beatles, the Rolling Stones and
other well known bands that are gen­
erally recognized as being pioneering
influences on the contemporary mu­
sic scene.
The point of this series of articles
is to inform the public of the exis­
tence of lesser known but equally im­
portant influences in this particular
idium. This week we are devoting
space to Frank Zappa and the album,
"Freak Out".
Mentioning Frank Zappa's name
usually brings visions of a disgusting
act he supposedly performed during a
concert to prove that he was as gross
as his reputation suggested up to that
time.
But how many people have ever
heard any of his music? How many
people are even aware that Zappa's
first album was not only a two-record
set but also the first "rock and roll"
two-record set? The answer to both
of these questions is not many.
"Freak Out" should be considered
a classic because it was the first rock
album to show that "long hair ideas"
(in the sense of orchestral music)
could be used effectively in the new
medium.
"Freak Out" was intended to sim­
ulate a trip on LSD. Zappa relied
heavily on the use of sound alteration
'Marathon Man’
handles violence
in good taste
By Steve Williams
Staff Writer
"Marathon Man", a motion picture
starring Dustin Hoffman and Sir Lau­
rence Olivier, is an example of the
conflicts of the big-crime world with
government,
shown with complete
realism.
k—___________
j
HI
■I..—— i n
Page 6
Thursday, October 28
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39.12
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