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behind bars. turbulent times. Still persistent in the fight against racial and humaniâ€" tarian injustice, Baez‘s latest stand is for a U.S. sanctuary movement which illegaily harbors El Salvador and Guatemalan refugees, an orgaâ€" nization that will likely serve time for its political activities. Termed a musical Joan of Arc, Baez aiso knows how to "serve time‘‘ for unpatrintic duty, when she performed a free concert at the base of the Washington Monument before 30,000 after being refused permisâ€" sion to play at Washington‘s Constiâ€" tutional Hall. Baez was also arrested and senâ€" tenced to 90 days in jail for demonâ€" strating on behalf of her husband a draftâ€"resister David Harris who later served three years himself PAGE 14 â€" WATERLOO CHRONICLE, WEDNESDAY, MARCH 6 Now Baez‘s kingdom of crusades spans from the far reaches of Tokyo and Hanoi to the utter despair and anguish of El Salvador and Guaâ€" temala. She‘s released countless albums both traditional and stanâ€" dard, vinyl comment on the atrociâ€" ties and struggle for world peace in Twentyâ€"one years later Baez subtâ€" ly grits her teeth at the tiniest mention of Dylan. Now at a stunâ€" ningly attractive 44, Baez has left the folk kingdom started by her and kindred spirit Dylan in the ‘60s. They were the reigning King and Queen of the folk world protesting and preaching until it all turned to ‘‘diamonds and rust.‘" Although Baez can mimic Dylan to an amusâ€" ing tee, to her he‘s just ‘a singer from the 60‘s:‘ He‘s the man Joan Baez inâ€" troduced at the 1963 Newport Folk Festival, a name she founded for all music posterity. Through the Beatles, The Rolling Stones, The Doors and a guy named ‘Zimmerman‘, Baez lived and abâ€" sorbed the 60‘s/‘70‘s osmosis. The children of the ‘80‘s don‘t care if Dylan‘s gone to Jesus! In her 26th year of singing, teaching and enlightening audiences the world over, the legendary Joan Baez has run the golden gamut. *‘She is the prophet of the ‘80‘s. Hasn‘t she grown? She‘s tender as a lotus and she‘s tougher than stone, and the age of her political innoâ€" cence is somewhere, somewhere, in the garden." Coral Andrews Chronicle Special Joan Baez The years don‘t dull Joan Baez Though she claims she‘s not exactly popular with American reâ€" cord companies last week‘s recent Washington concert drew 4,000. An intellectual leftist, Baez has serenaded beliefs for every opâ€" pressed contingent from blacks to draft resisters. Suddenly Baez asked me how old I was. I replied instantly, curious at her sudden inâ€" terest. ‘‘You‘re just a baby," she laughed as she crunched on another carrot. ‘Through Woodstock and the war, my listeners vary depending on background and socialâ€"political awareness." In the spotlight Baez has an ethereal quality, a spiritual madonâ€" na in the simplistic splendour of her agile sixâ€"string or piano accompaniâ€" ment. In the last quarter decade, Baez has met a multitude of memorable people and has travelled extensively around the globe. She‘s written one book Daybreak. Now she is in the midst of her second selection of memoirs. **Daybreak was sort of scattered, talking about the things I‘ve done with a sense of humor attached to it. But if I didn‘t remember a certain event, I just skipped it." Baez gently mused about the wear and tear of 25 years on the throat muscles. *‘*Well, for the longest time, I let my pride sing for me. But I reached a new and exciting pricrity. When a new and exciting pricrity. When you get to your mid ‘30‘s gravity was a time I thought my voice would sense. If you don‘t exercise you get into trouble. S6 I went. 1 took voice lessons and I‘m delighted 1 did," Her convictions are as strong as ever, and in her recent Centre in the Square concert, the message was as crystal clear as her glassâ€"shattering soprano. Baez performed a majoriâ€" ty of material from an 1983 live release entitled Children of the The title song, which paints a disturbing picture of youth laced with streetâ€"wise optimism, was taken from letters that children had written concerning their views on the ‘80‘s, and today‘s ratâ€"race. No Woman No Cry, Farewell Angelina, and Warriors of the Sun drew enthusiastic response from a disapâ€" pointingly small but highly appreâ€" ciative audience. Requests were numerous, and the unmistakable voice granted some in the guise of oldies Joe Hill, Gracias A La Vita, Forever Young and the haunting ballad written for Bob said Baez warmly. During a harried midâ€"afternoon snack of carrots and peanut butter, Baez easily admitted she never suffered much through those rebelâ€" lious events. Well, not really. **You know, the whole time that was going on, I was singing all the way to the jail. I never really suffered in the true sense of the word. My suffering equates mildly in comparison. The word suffer means different things to different people. It‘s all relative. People in America suffer because of selfâ€"inâ€" duced neuroses. But people in Ethâ€" iopia, they are victims of circumâ€" stance. I‘ll get into trouble for this, but I don‘t necessarily think some areas are poorly as one thinks." Dylan Diamonds and Rust. It‘s the same in a In the case of The Frantics, the whole isn‘t necessarily greater than the sum of the parts since each member contributes in a different way to the overalil madness. Paul Chato is the resident contortionist/mimic and the obvious focal point. With his oblique facial expressions and limbs that seem to start just short of his ears he reminds one of a young Dick Van Dyke. Picture good old Rob Petry * Ross MacDonald Chronicle Special Saturday night, the Torontoâ€"based comedy troupe The Frantics brought their zany assemâ€" blage of improvisation, slapstick and mime to UW Humanities Theatre. And judging by the response from the capacity crowd, Dan Rediâ€" can, Paul Chato, Rick Green and Peter Wildman gave indication as to why they are four of the hottest items at the CBC. Like most comedy revues, The Frantics maintain a relentliess attack, delivering a barrage of verbal salvos at a staggering pace. Saturday‘s show constantly challenged the audience‘s ability to catch its breath. The evening had a definite Canadian flavor to it as a number of our native dignitaries and institutions from Marc Garneau to our vaunted military system received the royal roasting. The recurring depiction of the average Northern Ontarion as a kind of smallâ€"talking, middleâ€"aged hoser did become rather tedious but only served to remind us that we have to laugh at ourâ€" selves. stumbling over the ottoman and you have a Currently riding the success of their Saturday morning radio show, The Frantics appear to have garnered a cult following amongst the local university and professional crowd. It is a reputation built on a style that pays homage to the absurdity of satirical vignettes pioneered by Monty Python and in recent years streamlined by Second City. Danceworks ‘85 at Humanities The Frantics delight their loyal following Funny, funny, funny THE FRANTICS Choreography by both students and faculty will be presented, and included as guests are the Carousel Dance Centre, with works by Gisa Cole, Gabby Miceli and others. _ Each year, Danceworks provides a varied and exciting show, with everything from jazz to modern and folk dance. Tickets are $6 for adults and $4 for children under 12 and are available at the Humanities The facuity and students of the Dance Department at University of Waterloo present Danceworks ‘8§ at UW Humanities Theatre Saturday at 2 pm. _ Although the second half of the show had a tendency to become somewhat selfâ€"indulgent, they at least demonstrated a willingness to take chances, a refreshing departure from a medium that has become far too complacent. Witty. Bizarre. Brilliant. Decadent. The Franâ€" tics are all of these. Enough to make you wonder how the Bob Hopes and David Brenners still find The group collaborations were equally ludiâ€" crous. ‘"‘Watering the Lawn"" was a perfect example of how less is sometimes better. Your average suburban Joe is watering his lawn and is joined at varying intervals by three of his next door neighbors. The ensuing conversation, or I should say, lack of it, generated a comic wallop in spite of the simplicity and droliness of the situâ€" ation. Dan Redican and Peter Wildman add an extra dimension through their experience as musiâ€" cians and puppeteers and arrange most of the musical numbers. His portrayal of Nancy Reagan in a futile attempt to polish her false teeth was a perfect example of his prowess as a mime while a bizarre skit about ‘"every Star Trek episode ever written‘" virtually brought the house down. ‘*Dutch Cowboys®" is actually a spoof of a spoof (remember Monty Python‘s "Lumberjack" song), a wacky little ditty about settlers from the Netherlands who "build a dyke across the Rio Grande." Several of his characterizations were nothing short of brilliant. "Tommy Hunter‘s Memorial Mausoleum" was a hilarious look at the idiosyncrasies of the Punk Rock genre, an idiom which is fast becoming a parody of itself. As ‘‘Billy Joel Vomit Dog," with his flanged, Mohawk hair style and wild, spontaneous gyrations affectionately known as the Pogo, Chato spills forth in his patented, satirical manner, the verbal bile which was once the Punk anthem. pretty good idea of Chato‘s on stage antics.