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Intertainment
THE BATTALION Page 9
WEDNESDAY, SEPTEMBER 21, 1977
^fC ^{C 5|C
lenda Jackson
Who’s that?
(j n j(fct Press International
0LL ynVOOD—A two-time
,„. w inneT stepped before the
k'eras on n Los An « l '! ( ' s street to
'Vscene \vith W alter Matthau in
f w movie, but all eyes were on
pau.
woman. 0,u ‘ () * moit' than 1()()
ctatois, tu nu ‘d to her companion
asked, 'A\ ho’s the actress?”
Damned 'f * know." came the
he actreS* "n- s Glenda Jackson,
Enc;lish star who won Academy
nils for 'Women in Love" (1970)
"A Touch of Class” (1973).
lenda h‘ )S been nominated for
four Oscars, yet she remains one of
the least visable stars of the screen.
She’s accustomed to going unrec
ognized, fostering anonymity.
Glenda, 39, is not a striking
woman in appearance. She is strong
featured, a bit thick of calf and her
figure is not imposing. She is, how
ever, friendly, straightforward in
the English way and an accom
modating interview.
It’s quite simple for me to go un
recognized in crowds,’’ she said.
“And it would he just as easy for
other performers if they wanted it
that way.
"Being a celebrity can be tedious.
Thorn Birds' tops list
United Press International
F ietion
The Thorn Birds,—Colleen
McCullough
Dynasty—Robert S. Elegant
Illusions: The Adventures of a
Reluctant M essiah—Richard
Bach
The Crash of ’79—Paul E.
Erdman
Delta of Venus—Anais Nin
Coma—Robin Cook
The Investigation—Dorothy
Uhnak
The Sihnarillion—J.R.R. Tol
kien
Full Disclosure—William Sa
fi re
Condominium—John Mac
Donald
Nonfiction
All Things Wise and
Wonderful—James Herriot
Looking Out for No.
1—Robert Ringer
Book of Lists—David Wal-
lechinsky
The Dragons of Eden—Carl
Sagan
Your Erroneous Zones—Dr.
\V ; ayne W. Dyer
Vivien Leigh—Anne Edwards
The Camera Never Blinks—
Dan Rather
It Didn’t Start With
Watergate—Victor Lasky
The Path Between the'
Seas—David McCullough
The Managerial Woman—
Margaret Henning and Anna
Jardim
Aside from the odd rock star or
someone like Carol Burnett, it is
possible to escape public excite
ment.
Those who complain about lack
of privacy could rectify the situation
by taking off their sun glasses,
forgetting their wigs and makeup
and going about their business
without any sense of privilege or
being special.
I don’t think of myself as
privileged or separate from other
human beings. I shop at the super
market like everyone else.
"When people do recognize me I
think they’re disappointed because
they expect me to look more
glamorous than I am.
"Also, I never look like the
characters I play. I’m much sloppier
to start with. Clean, but sloppy.
Even in situations where people are
looking for me—around a film set
for example—I’m not recognized.
Glenda nodded in the direction of
her son, Daniel, 8, who accom
panied her to California. She is di
vorced and refuses to spend more
than two or three weeks apart from
young Dan.
The normalcy of his mother’s life
has shielded the youngster from
celebrity.
Glenda said, “Daniel came home
from school one day last year and
said. You are famous, aren’t you?’
“I told him I supposed I was, a
little bit. Then he said a hoy at
school told him I wasn’t famous. So I
said, ’Well, I am famous in a way.’
"Then Daniel asked. But what
are you famous for?’ So it’s of no
paramount importance in his life,
which is very good. I’d like to keep
it that way.”
This is Glenda’s first movie in
Hollywood. Her reason for avoiding
the film capital is simple. Until now
she has never been offered a picture
Yes has 'magic’ back:
Wakeman rejoins band
weet electronic Oxygene’
ausing European sensation
Jean-
posed
United Press International
rher e uni- it he something to that
saying. Like father, like son.
The son in this case is
ichelc Jam 1 , who has cot
excellent piece of electronic
isic, "Oxygene."
[jean-Michele s father is Maurice
re, who wrote the classic, haunt-
y melodious "Lara’s Theme” for
movie "Dr. Zhivago.
II public reaction to "Oxygene in
trope is a good indicator, Joan-
jichele will become a top-rated
Imposer in his own right.
I Oxygene has been riding high
French, Belgian and Dutch pop
fNj/J jusic charts for many months and it
mid find a lofty spot in American
|tings.
Jarre, 29, inherited his father's
fling for music and began study-
K die classics at age 16. He did not
kc too kindly to this form of music
Jd began searching for his own
[und.
Audience response to his first
('(Tronic composition was more
mi gratifying. The' younger Jarre
I worked ( m movie and television
llu sit\ ballet music and even radio
id TV commercials. And then he
igiirrs
slinp-
I more
ic sold
yeitrs |
t datii.
if lease
in diy
T, f
n;
began work on "Oxygene.
[arre was at the console during
the' recording which is in six parts.
Iggy Pop’s second album under
the influence of David Bowfe, "Lust
for Life is not quite so noisy as his
first venture but you still can t hear
a pin drop.
Iggy wrote all the lyrics and most
of the music was composed by
Bowie, who doubles on piano.
Best numbers alie "Just for'Life,
"Fall in Love 1 With Mc/ 'and "SiSc-
ccss. ’
Saint Tropez, a group formed by
Suzanne Mireille, has come forth
witli an exotic album, “Je T Aime.
The album title is taken from a
sexy number recorded by Jane Bir-
kin in 1969, which stirred a brief
controversy. The song was not per
mitted to he played on radio and
probably is still too hot even in
these permissive times. The Saint
Tropez version is not so sizzly hut is
still torrid enough to arch some
eyebrows. "Je T Aime is the open
ing number and the tliree songs that
follow are pale in some respects.
The music is good, the sound is
close to reality, and all that is
needed is soft lights, some cham
pagne and a little imagination.
United Press International
Just about one year ago, in a rec
ording studio in Montreux, Switzer
land, a lost hand found itself again.
The hand was Yes — likely the
world’s most popular group of "seri
ous rockers, serious in the sense
that they see their music as art.
At that Swiss studio, after more
than two years of pursuing diver
gent solo careers, the five musicians
who once brought the hand to a
pinnacle of success discovered
abruptly that the old magic was
hack.
There was only one formal change
in the Yes lineup to he made at that
point. Keyboard whiz Rick Wake-
man returned to the fold, replacing
the less flamboyant Patrick Moraz.
Technically Yes never ceased to
exist. The hand kept on touring,
even during the lengthy hiatus from
recording together. Yes existed on
stage, as well-recorded a live album,
consisting of previously released
material.
But for true fans, the group
fragmented shortly after the popular
Wakeman departed and other
members of the hand concentrated
on solo recording efforts. Each of
those solo records, however,
seemed to prove less successful in
the marketplace than its predeces
sor. For a time it was strongly ru
mored that Yes was near a formal
dissolution.
Vocalist [on Anderson says it
never came to that point at all.
"Over the past couple of years we
just decided to do our solo work and
see what areas would open up lor
Yes, he says. “And when we came
together to do the album, we had
quite a lot of experience at finding
out what each guy in the hand can
achieve on his own.
Yes new studio LP, "Going For
The One, is by contrast with the
last couple of Yes collections, a far
more basic kind of record, short on
concept and long on some relatively
straight-ahead rock. A lot of critics
have seen “Going For The One as a
strong step away from Yes experi
mental history and toward the
mainstream of pop music.
that appealed to her. She accepted
"House Calls” for an equally un
complicated motive.
“I wanted very much to work with
Walter Matthau,” she said. “He is a
marvelous comedic actor, a very
rare performer. I liked the script,
but he was the clincher.
“I’ve found people here are much
more aware of celebrities than in
London. Hollywood is a one-
industry town, and I’m not sure I
could ever live here.
"In London it’s easy for me to
work in the theater and films. In
America you must uproot yourself
totally to work on stage in New York
if you live in Hollywood. In England
I do both and continue to live in the
same house.
"There are other reasons I
wouldn’t care to make my home in
Hollywood. I don’t like the unre
lieved sunshine. I miss the rain,
gray skies and gales of England.
“But I’ve been treated very well
indeed. People here make it more
comfortable to work than in En
gland and they take their tasks more
seriously.
“As for lifestyle, I find so much
wealth. Too much perhaps. Every
thing seems to he thought out in ad
vance for a greater sense of well
being among the inhabitants.
“On the way to the studio 1 listen
to the radio. They give you beach
reports with the air and water tem
perature, the wind velocity and
even the height of the waves. After
hearing all that I wonder if it’s
necessary to go to the beach at all.
Nonetheless, Glenda may find
herself returning to Hollywood
again and again.
“There’s little film work in En
gland, she concluded. “So I may
come here to make pictures, hut not
to make a home.
*
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