Word: misteres
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...FIRST GLANCE. Laune Anderson's second album, Mister Heartbreak, seems like a copout. After all, what does an sustere musician like Anderson, who relies on the simple, minimalistic beauty of her melodies, need with such dense trendy musicians like Adrian Belew (who has worked with the Talking Heads ) and Nile Rodgers (who has worked with David Bowie)? And way is an overblown, self-conscious "artist" like Peter Gabriel collaborating and singing backup vocals on some of the songs...
...Mister Heartbreak is much more commercially accessible than Anderson's previous album. Big Science. Her collaboration with Peter Gabriel. "Excellent Birds" will probably and unfortunately become a hit single. And much of the album utilizes the African polyrhythm and synthesizer effects that made Talking Heads' Remain in Light such an influential album. Nevertheless, this album is not a sellout; nor is it a rehash of the African-funk sound which Brian Eno and David Byrne pioneered in the early...
...glorification of the Negro now an accepted policy of your magazine? I had hoped that after the protest of one Southerner you might show some consideration for the sensibilities of our people by the discontinuance of your practice of referring to the colored man as "mister." I was deeply grieved, therefore, to find two new instances in your Sept. 7 issue...
...City Blues (NBC's major-league series about a minor-league baseball team, from the producers of Hill Street Blues), the new shows find their role models not in TV trailblazers but in the Lowest Common Dreck. I Dream of Jeannie inspired Just Our Luck (ABC); Mister Ed begat Mr. Smith (NBC); Bewitched gave birth to Jennifer Slept Here (NBC). Webster (ABC) is Diff'rent Strokes with a foster mother. The Rousters (NBC) is more dudes of Hazzard. Lottery$ (ABC) is The Millionaire after inflation. Two shows, Cutter to Houston (CBS) and Trauma Center (ABC), could be called...
...Clifford Odets' Waiting for Lefty. It is colored with the lyric causticity of the Brecht-Weill collaborations. Yet it is always a mistake to deride the potency of stereotypes in the theater or the power of good-vs.-evil allegories, however simpleminded. Here the premise is that Mr. Mister (David Schramm), the boss of Steeltown, U.S.A., is a cigar-chomping tyrant, and his gutsy prole of a foe, Larry Foreman (Randle Mell), is a knight in blue-collar armor. We meet Mister's toadies: mousy Reverend Salvation, sycophantic College President Prexy and craven Editor Daily. As a whore...