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The Ubyssey Mar 12, 1976

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Array $2 fee hike okayed .
.   .   . UBC votes next week
SFU  bucks up for NUS, BCSF
Simon Fraser University
students Thursday voted to pay $1
each per year to two student
organizations which will face the
same test at UBC next week.
At their annual general meeting,
about 1,200 SFU students almost
unanimously passed motions to
pay the $1 fee to the B.C. Student
Federationandthe National Union
of Students.
Both the BCSF and NUS call
themselves student organizing
groups representing student interests to federal and provincial
governments in such matters as
tuition fees, education budget
cutbacks, student loan policies,
student housing and employment.
UBC students will be asked in
referenda Wednesday, Thursday
and Friday next week whether
they feel the activities of these
organizations  are  worth  $1   per
student per year to them. The
Ubyssey, in its Tuesday edition,
will have a feature story reviewing
the different sides of the issue.
SFU became the sixth B.C.
university or college to approve the
BCSF fee levy. Others are Cariboo
College in Kamloops (where
students, though asked to pay only
50 cents each, voted to pay $1
anyway), Vancouver Community
College, Capilano College in North
Vancouver, Douglas College in
New Westminster and the College
of New Caledonia in Prince
George.
No B.C. college or university has
voted against the fee levy yet.
Seventeen of B.C.'s 18 post-
secondary education institutions
will have held referenda this year.
Only at the B.C. Institute of
Technology, where the student
council is opposed to BCSF, will
there be no referendum giving
students the opportunity to join the
student organization.
BCSF staffer Stew Savard said
after the SFU vote he is very
pleased with its result.
"Since it followed so closely on
the heels of the Douglas College we
are very pleased," he said.
Last week Douglas College
students voted by a four-to-one
majority to pay the BCSF fee, and
by a three-to-one edge to pay the
NUS fee.
"We were very pleased with the
overwhelming nature of the yes
vote (as SFU)," Savard said. "I
think it represents pretty
widespread support."
The BCSF hopes to raise $1 from
each of B.C.'s 70,000 post-
secondary education students,
giving them a budget next year of
$60,000.
BCSF chairwoman Lake Sagaris
said Thursday the money would be
used to hire three full-time staffers, a researcher, a "communications person" and a
fieldworker.
This year, BCSF is working on a
shoestring budget of $15,000, most
of it donated by various B.C.
student councils. UBC's student
council, representing about 35 per
cent of B.C. post-secondary
education students, saw fit to
contribute $2,100 of this total —
about 15 per cent.
That $15,000 has gone to pay one
full-time staffer at about $700 a
month, including fringe benefits,
and one more full-time staffer
since January at the same salary.
BCSF was organized in March
1975, rising out of the ashes of the
hopelessly inefficient and ineffective B.C. Association of Student
Unions. Current plans include a
highly-organized trip to Victoria
March 17 to confront as many
MLAs as possible and protest
education cutbacks.
The organization also gives itself
credit for saving the provincial
government summer jobs program
after, according to its own undisclosed sources, the Social Credit
government was planning to
completely axe the program.
And, says Sagaris, if it weren't
for the BCSF, there would not be
any students on the provincial
student loans appeals commission.
There are currently two student
representatives on the appeals
commission.
Students at UBC are currently
paying about 30 cents a year to
NUS.
THE UBYSSEY
Vol. LVII, No. 62
VANCOUVER, B.C., FRIDAY, MARCH 12, 1976     <*gS^>i8     228-2301
B.C. doctors,
UBC head clash
By MARCUS GEE
Association president Dr. William
SHAGGY PROFESSOR STRUTS along in Thursday sunshine enroute
to gym class in War Memorial after enjoying lunch in SUB. Still
wearing  tails  from  graduation,   prof denies being too  highly paid
—doug field photo
noting salary barely keeps him in budget burgers, sticky buns and
bowls of milk. He was runnerup for master teacher last year and keeps
class howling.
More  info wanted on student unions
By GREGG THOMPSON
Students showed an unabashed
ignorance of what the B.C. Student
Federation and National Union of
Students are and what they represent in a campus survey Thursday.
"I really don't know enough
about them to comment." "I don't
know anything about them" or "I
don't have enough time to follow
that sort of thing," were common
answers.
The two groups, which lobby for
student interests on a provincial
and national scale, will ask
students in referenda next week for
increased funding for their
organizations.
Total cost to students will be an
extra $2 — payable at the beginning of each academic year.
Mark Levy, science 5, said he
would support the groups if he
could see some tangible results of
their efforts.
"If they have an impact on
student affairs, I think it's a worthwhile thing. But I see no sense to
paying two bucks if students don't
benefit," he said.
Levy, along with several other
students, said he thought the
promotional campaign for the
referenda had been adequate but
lacked a clear definition of the
BCSF and NUS programs.
"I'd like to see an explanation of
what they're all about in The
Ubyssey," he said.
Greg Weir, psychology 4, said
the two groups were valuable only
for the persons directly involved,
but are lacking in their efforts at
communicating issues involved to
students.
"It seems these groups lobby
only for their own interests, to
prepare themselves for things they
want to do on the outside world,"
he said.
"It's probably worthwhile for
people working for their future
interests, but given the institutional structure of this
university, there's really not much
involvement on the part of the
student body," he said.
Some students said they supported the idea of student
organizations lobbying for student
concerns in Victoria and Ottawa. .
UBC's medicine dean Dr. David    Ibbott clashed Thursday over the
Bates     and      B.C.       Medical    provincial >government's decision
to build a $50 million hospital at
UBC.
Ibbott charged that building the
240-bed hospital is the wrong way"
to. increase the size of UBC's
medical class. Bates, meanwhile,
defended the government's
decision.
Ibbott said the BCMA opposes
construction of the hospital, announced Tuesday by education
minister Pat McGeer, because:
o the UBC site means the
hospital will be isolated from the
300 volunteer teachers who mostly
work in "downtown" hospitals;
e building the hospital will
consume funds that should go to
existing teaching facilities at
Vancouver General Hospital,
Shaughnessy Hospital and St.
Paul's Hospital; and
0 the doubling of the size of the
medical class in September, 1977,
planned to coincide with construction of the hospital, will
overburden volunteer teachers.
Ibbott said he agrees with the
government that the size of the
medical class should be doubled to
160 from 80, but that this expansion
should be phased over several
years.
"I am a medical professor and I
am very aware of medical manpower requirements and very
aware that B.C. has not lived up to
its responsibility to provide
training for its own doctors."
Bates said he agrees it would be
easier to carry out the expansion of
the medical class in phases but he
would not say if he favors the
sudden doubling proposed by the
provincial government.
He said the UBC location should
not be a problem for volunteer
teachers. Many medicine faculty
members already commute to
UBC from the city's outskirts,
Bates said.
None of the $50 million federal-
provincial health resources fund,
which McGeer has earmarked for
the UBC hospital, should go toward
improving downtown teaching,
facilities, Bates said.
"The provincial government
should expand teaching facilities
downtown with other funds, not the
health resources fund," Bates said.
"The provincial government
should be asked to provide more
money if the hospital consumes all
of the fund. More money should be
made   available   to   expand   off
See page 3: HOSPITAL
But few seemed willing to get out
on their own to investigate the
platforms of the two groups and
seemed even less interested in
making the effort to vote in the
referenda March 16 to 18.
Phil Smith, arts 1, said he
thought advance publicity for the
referenda had been sufficient but
termed the effort useless.
"Two bucks is nothing to me but
this place is so apathetic it doesn't
matter. The writing could be in the
sky, but it wouldn't make any
difference," he said.
Voting on the referenda will
begin Wednesday and extends until
Friday. A feature on the two
organizations will appear in
Tuesday's Ubyssey. Page 2
THE       UBYSSEY
Friday, March 12, 1976
Tween classes
TODAY
UBC WOMEN'S OFFICE
Women's   rally   for  action   buttons
available, all day, SUB 230.
SKYDIVING CLUB
General   meeting,   noon,   SUB  215.
ALLIANCE FRANCAISE
Conference sur I'art de Georges St.
Pierre      donnee     par     Jeannette
Baillaut,      midi,      la      maison
internationale, salle 402.
BAHA'I CLUB
Talk   on   Baha'i   faith,   noon.   Gage
182.
CLASSICS CLUB
Chuck  Edmonson  on  old  and  new
archaeological   discoveries,   8   p.m.,
Lasserre 102.
THE CENTRE COFFEE HOUSE
Evening   of   native   Indian   singing,
dancing   and   folklore,   8:30   p.m.,
Lutheran campus centre.
THUNDERBIRD HOCKEY
UBC vs. West German team, 9 p.m.,
Cable 10 television.
COMMITTEE FOR A
DEMOCRATIC UNIVERSITY
Open   steering   committee   meeting
on board of governors firings, noon,
AMS executive office.
SATURDAY
YOUTH  INTERNATIONAL
Getting   your   tods    (sic)    together
conference,   9  a.m.  to   5   p.m.,  St.
Mathias     church,     Tisdall     and
Forty-ninth.
CHINESE VARSITY CLUB
Spring    thaw    dance    with    Orient
Express,  9 p.m., SUB  party  room.
MONDAY
SIMS
Group meditation, noon, IRCG41.
GRADUATE FORUM
English prof. M. A. Manzalaoui, on
C. S. Lewis-, 8 p.m., 2120
Wesbrook.
TUESDAY
MEDIEVAL SOCIETY
General   meeting,   noon,   SUB  212.
KAYAK AND CANOE CLUB
Meeting  and  elections,  noon,  SUB
205.
HILLEL HOUSE
Israeli film festival, noon, SUB 215.
WEDNESDAY
SIMS
Introductory     lecture,    noon,    Bu.
321; 8 p.m., Bu. 325.
REJECT CLUB
World premiere of Mag Kidding, a
detective spoof, 50 cents, noon,
SUB 207.
PANGO-PANGO (UNS) -
Pango-pango was plunged into
sorrow today at the announcement
that mutant puce-blorg Richard
Gladhand had been elected
president of the island kingdom's
national radio station, SILY Radio.
Amid jeers and catcalls from the
crowd the victorious president
rode an aardvark through the
streets singing a hit song by the
1910 fruit gum company. Gladhand
was cheered by the station's sole
listener, a deaf mute named Elton.
BLACK & LEE
TUX SHOP
NOW AT
1110 Seymour St.
^688-2481
THE ARTS UNDERGRADUATE SOCIETY AND
VALLEY PRODUCTIONS
Presents
TUES., MARCH 16th -
PIED PUMKIN STRING ENSEMBLE
WED., MARCH 17th-
EAGLE BEAVER with Ken McGoogan
THUR_S., MARCH 18th-
JOANI TAYLOR-Tons of Jazz
SUB AUDITORIUM
PERFORMANCES BEGIN 12:30 SHARP
Tickets — AMS Business Office and at Door
$1.50 Per Concert or $3.00 For Series
hair studio inc.
UNISEX HAIRSTYLES
FOR APPOINTMENT
224-1922
5784 University (Next to Bank of Commerce)
e\ -
THE CLASSIFIEDS
RATES:   Campus - 3 tines, 1 day $1.00; additional fines 25c.
Commercial — 3 lines, 1 day $1.80; additional tines
40c. Additional days $1.50 & 35c.
Classified aits are not accepted by telephone and are payable in
advance. Deadline is 11:30 a.m., the day before publication.
Publications Office, Room 241, S.U.B., UBC, Van. 8, B.C.
5 — Coming Events
VANCOUVER-WIDE "Growth Conference—"Gettting Your Tools Ready,"
Saturday, March 13th, 9 a.m. to 5
p.m., St. Matthias, 49th & Cambie
(1  block west).
10 —For Sale — Commercial
VISIT   RHODES
Western Canada's finest selection of
sound equipment. 3 sound areas for
undisturbed listening, knowledgeable
staff, highest quality—lowest prices.
Featuring — Marantz, Pioneer, Kenwood, Sony, Technics, Teac, Tannoy,
Dual, Thorens, Leak, Wharfedale,
Klipsch, Nakaimchi, etc.
2699 W.   Broadway 733-5914
"The   Finest  for  Less"
11 — For Sale — Private
YAMAKI 12 STRING 1% years old,
$150 or will trade, David Chapman,
732-6493 evenings.
20 — Housing
URGENT FEMALE GRADUATE student
and single parent to be need 2 bedroom suite house near U.B.C. April
1.   IJli,  224-5094.
ONE     PERSON    to share    flour-barm,
house   on   campus with   three   guys.
Non cig. smoker, $187.50. 224-1519.
Available   Apr.   1.
SPACES    IN    DOUBLE   ROOMS   for   the
rest of this term are available in
TOTEM PARK or PLACE VANIER.
Why not give living in residence a
try? Come in to the Housing Administration Building or phone 228-2811
for  more   information.
EAGLE BEAVER Mar 17th with Ken
McGoohan, Derek MacNeil, Anne
Marie Griffin, Glen Sherman. Tickets
AMS — Noontimes.
25 — Instruction
TAI CHI CHUAN for health and self-
defence forms and application call
Mr. Cho, 874-4932.
30 — Jobs
NOONTUNES   —    JOANI    TAYLOR   —
tons of jazz with Gerry Inman, Pat
Coleman, Blaine Wikjord and Rene
Worst.
UNIQUE AQUATICS
OPPORTUNITY
Staff are now being hired for cooperative staffing of two pools in
the Central Interior of the province. We are seeking well trained, highly dedicated and motivated
people. Applicants should possess
one or more specialties in aquatics
(skin diving, water polo, etc.) which
they would be responsible for offering in both communities. Positions
are for the period May 1 to Sept. 6.
Apply to: Bruce Curtis, c/o 5885
University Blvd., Vancouver, B.C.,
V6T IK7 or phone 224-1614 between
5 and 7 p.m., Monday to Friday.
Applications accepted to March 19,
Interviews beginning Sat., March 13.
35 — Lost
CALCULATOR LOST MONDAY. Hewlett Packard HP 25. Reward offered.  Ph.   325-7368.
RED     PLASTIC BINDER     containing
Pharmacy    110 and   210    Lab   notes.
Janet   Howell, phone   224-9623   evenings.
ATTRACTIVE HOSTESS wanted. Call
681-9816 from 11:00 a.m.-2:00 a.m.
546   Howe   Street.
40 — Messages
50 — Rentals
ATTRACTIVE SEMINAR ROOMS to rent
— blackboards and screens. Free use
of projectors. 228-5021.
60 - Rides
65 — Scandals
SPRING SKIING! Cabin at Whistler.
Cozy, very warm, $10 nite. Available
weekends, call Alan, 874-6771.
SUBFILMSOC presents (believe it or
not) a movie. It's called THE GREAT
GATSBY (with Robert Redford and
Mia Farrow) and it's great! Thur. &
Sun. 7:00. Fri. & Sat. 7:00 and 9:30
in SUB Aud. 75c & AMS card.
TUES. MAR. 16, 12:30 — Pied Pumpkin String Ensemble — Joe Mock,
Rick Scott, Shari Ulrick. Tickets
AMS  Noontunes.
70 — Services
EXPERIENCED MATH TUTOR will
coach 1st year. Calculus, etc. Evenings. Individual instruction on a
one-to-one basts. Phone: 733-3644. 10
a.m. to 3 p.m. dally.
CUSTOM CABINETRY & woodworking.
Renovations, additions, new contraction done anywhere. Guranteed work,
free   estimates.   689-3394.
80 — Tutoring
BOGGLED MINDS  &  WISDOM HEADS:
CaU the Tutorial Center, 228-4557
anytime or see Ian at Speak-Easy,
12:30-1:30 p.m. $1 to register (refundable).
85 — Typing
FAST,    EFFICIENT    TYPING.    Essays,
thesis,   manuscripts.   266-5053.
90 - Wanted
FURNISHED APT. or basement suite
to rent or sublet for the summer by
young married couple. Phone Deb,
224-0503.
99 — Miscellaneous criday, March 12, 1976
THE       UBYSSEY
Page 3
No extremism for senator Salkeld
By RALPH MAURER
Unlike most student politicians,
Bob Salkeld takes a firm stand on
his political views:
"You can best describe me as a
liberal, small-1. I'm middle-of-the-
road, moderate. I don't believe in
extremism."
Salkeld, science 2, represents
science students on the university
senate and so is also a member of
the Alma Mater Society student
representative assembly.
In a recent interview, Salkeld
said he recognizes that extremes,
either right or left, provide interesting insights into problems
facing society and we shouldn't
ignore them.
"However, society is structured
so that it can't be pushed too
quickly."
Is that good or bad?
"It's not good or bad per se," he
says. "We have to accept it.
"I believe in progressive change,
but we have to accept the fact that
change comes slowly."'
Salkeld's main concern as a
student senator is teaching
evaluation and how it can be improved.
Why is he worried about teaching
evaluation? Salkeld has been a
member of the science faculty's
teaching evaluation committee,
mandated to examine teaching
evaluation in sciences and make
recommendations.
His experience as a student on
that committee has made him
aware that teaching is not given
much priority in tenure and
promotion of professors.
Salkeld says Nathan Divinsky,
committee chairman and assistant
dean of sciences, told the committee members "there's figures
coming out saying at least 30 per
cent of tenured profs are poor
teachers. That really shocked
me."
He also recounted the time when
a prof on the committee told him
that "tenure is based on gossip,"
not on any well-defined standards.
He says groups making tenure
and promotion decisions have
nothing right now to base their
opinions of a given prof's teaching
ability on Subsequently, he says,
tenure decisions are usually made
on the basis of a prof's academic
record.
Salkeld says tenure should be
completely re-examined, and
suggests two ways of attacking the
problem of teaching being
downplayed in tenure decisions.
He worries that the present
tenure system, which gives a prof
life-long security at the end of a
five-year period if he or she
receives tenure, is abused by some
profs.
"Lots of times a professor gets
tenure, and then he (or she)
sloughs off."
He says he's heard of faculty
members who work extremely
hard in their first five years only
because they must be considered
for tenure. Once they have tenure,
many of these profs start taking it
a bit easy.
He hasn't studied the problem in
depth, but thinks having regular
reviews of a prof's career after
five- or 10-year periods would go
far toward solving the problem.
He suggests two possible ways of
ensuring that teaching is given
higher priority in tenure decisions.
One is the use of detailed
questionnaires, as is being done in
his own faculty — science — and
some others.
But the problem there is that
questionnaires are now voluntary.
Salkeld thinks the results are
meaningless unless all teachers
use them in their classes.
Another possibility he suggests is
the establishment of some sort of
student grievance procedure.
It would work along the same
lines as grievances in labor unions:
if a student has a grievance against
a teacher, he or she would present
the complaint to the undergraduate society, which would
represent the student to the faculty
of whatever department or faculty
the complained-about prof is in.
"The faculty, I don't think, could
ignore this."
But Salkeld says the initiative in
that case is up to the students.
"Dean Fulton (dean of women
Margaret Fulton) told me students
don't really know how much power
they have if they become unified,
they can have substantial effect in
tenure decisions."
He also hit out at the way the arts
faculty's teaching evaluation and
improvement committee is going
about its business.
"That bothered me. There is
nothing to hide. It is not a
discussion of individual profs at
that level. They are more or less
talking about ideas.
"I'm on an analogous committee
and there's nothing to hide."
SKELETON BUSH lurks nakedly near entrance to Sedgewick library
awaiting clothing of leaves for summer months. Irregular growth of
—doug field photo
tree compared to others makes it good candidate for shelter if any
students need (but can't find) accommodation when school year ends.
Rockin' Rick wins CITR presidency
By BILL TIELEMAN
Rock 'n' roll and right-wing
ranting and raving were
guaranteed for another year
Thursday when Richard Saxton
was re-elected president of campus
radio station CITR.
Saxton and his opponent Mark
Forrest, CITR program director,
both claimed the election was only
an individual contest, but Bruce
Baugh, one of CITR's two assistant
music directors, said a "good
percentage of the station has not
supported Saxton and his policies"
and predicted some CITR members will not return to the station
next year.
Baugh charged Thursday that
Saxton has "been very single-
minded, almost dictatorial," in
running the station this year.
Baugh said he and other CITR
members had been blocked in a
move toward progressive music
programming.
In reply to Baugh's charges,
Saxton asked: "Why the hell didn't
he run for president?"
"Music is not the direction of the
station," Saxton said, adding that
he felt its direction was toward
campus-oriented     programming.
Saxton said statements by some
CITR members that he is not
democratic in running the station
are incorrect.
"I was more democratic than the
(CITR) constitution required," he
said.
Baugh said he thinks Saxton's
victory is a move to maintain the
status quo of the station and
criticized Saxton's leadership this
year.
He said Saxton's "CITR is
loaded" public relations campaign
brought the station bad publicity
and charged that the station was in
a poor financial situation.
Baugh predicted that if CITR
music director Greg Ioannou is
elected in next Thursday's vice-
presidential election "there will be
a lot of conflict" between Ioannou
and Saxton over the station's
musical programming.
Baugh said he doesn't look for
any significant change next year in
the station's format, but Saxton
said he expects CITR will change
next year due to enthusiasm over
CITR's  application
cable station.
An angry Saxton complained
that Baugh "thinks he carries so
much goddamned weight" at
CITR. Baugh is not an executive
for   an   FM    member of CITR, he added.
Forrest said Thursday the
possible reason he lost "was due to
lack of experience" on his part.
He predicted that Saxton "will be
a good help to the station."
Hospital
decision
political?
From page 1
campus teaching facilities," Bates
said.
McGeer said when announcing
the UBC hospital plan that some of
the $50 million would be used to
improve facilities in the three off-
campus teaching hospitals. Bates
called these facilities "the worst in
Canada."
Bates said the advantages of the
UBC hospital site are free land,
easy accessibility to students and
proximity to existing UBC
facilities.
Bates said the hospital will be
valuable to the community but
admitted its major purpose will be
for teaching, not community
service.
"The funds are to improve
teaching facilities, not to build a
teaching hospital," he said. "Our
responsibility is education."
Ibbott said McGeer's decision to
build the hospital at UBC may have
been "political."
"I am concerned that pressure
from the university could well have
arisen from his (McGeer's)
colleagues in science and he may
have put too much weight on their
advice."
Ibbott said he is angered that
neither the BCMA or Vancouver
hospitals were consulted about the
UBC hospital proposal before it
was announced.
"Our plan is to open this matter
up to debate," he said.
Fotheringham stays with Sun
Fotheringham is back.
A glance at the Vancouver Sun's masthead — that
little square on the editorial page that lists the names
of the newspaper's heavies — tells the story.
The changes that have happened in that inconspicuous square over the last month are evidence
of a big shakeup in the Sun brass, with star columnist
Allan Fotheringham as chief victim.
After an absence of more than two weeks,
Fotheringham is once again listed in the masthead;
this time as "contributing editor."
Many thought Fotheringham would leave the Sun,
his employer for over 20 years, after his name was
ripped from the masthead in mid-February.
Fotheringham, a senior editor at the time, was
removed from the masthead and offered a demotion
to associate editorship after he started mouthing off
in public about Sun editorial policy.
The columnist was in Ottawa at the time the axe fell
and insiders at the Sun speculated that
Fotheringham, his ample ego hurt, would quit and
take another job in the media.
But Foth is a self-confessed homebody. Born and
raised in Vancouver he moved straight from being
editor of The Ubyssey to a job with the Sun. He knows
his way around Vancouver and he likes it here.
So Fotheringham has made a compromise with Sun
publisher Stuart Keate. His new job as contributing
editor supposedly gives Fotheringham some power
over recruitment and, lucky man, he is allowed to
taik to Keate about story ideas.
But Fotheringham has been stripped of all control
over hiring and administration. For an ego as big as
Fotheringham's this is quite a compromise. Page 4
THE       UBYSSEY
Friday, March 12, 1976
Kenny creates invisible gov't
The year in review, part III - the
president's office.
The first year of the Doug
Kenny presidency at UBC is ending
with a concentration of control of
the university in his office and a
threat against faculties and
departments who don't produce
"quality" in his eyes.
It is a scary time. Kenny told a
recent meeting of the Canadian
Information Processing Society the
university will have "more
centralized decision-making
authority" in times of "economic
austerity. Kenny will make the
decisions about quality. Students
and profs who don't conform won't
receive any money.
Why?
What is happening to this
university? How is Doug Kenny
working to steal whatever progressive
trends had existed in this smug
institution before he took power last
summer?
The answer is partly in the way
he has redesigned the president's
office and in the personalities he has
deputied into positions of
responsibility.
His predecessor, Walter Gage,
left much of the university's
administration to two deputies and
an assortment of middle-level
officials. The administration of
academic problems was left to
William Armstrong who is now
Universities Council chairman.
He had a quiet personality but
basicly an open mind and an ability
to mediate tensions through
negotiation.
Gage handed non-academic
responsibilities to William White,
who remains with Kenny but with
many of his powers stripped. White,
like Armstrong avoided the public
spotlight, building trust by working
competently with the people he
needed to deal with.
But Kenny decided he needed a
larger, more heirarchical
administration organization. He
brought in two slick and arrogant
personalities who are difficult to deal
with.
These faces — Chuck
Connaghan and Michael Shaw —and
a third, more open vice-president
Erich Vogt, have less to do than the
deputies in the old office and more
time to watch and nitpick.
And they do.
Kenny also began attaching
greater importance to the secretive
committee of deans, which meets
regularly in the faculty club. No one
knows exactly what goes on behind
the doors, but it appears it is the
committee of deans — not the board
or senate — which decides which
departments get the money and
which don't.
In essence, Kenny has formed
an invisible government at UBC,
which acts independent of the senate
or board, organizations which have
at   least   some   public   input   and
responsibility.
Why? Kenny claims he needs
the new administration to justify
budget requests to the tight fisted
Universities Council and the
provincial government. He claims the
higher-ups aren't giving UBC enough
money despite the new and
expensive (at $54,800 a year, each)
lobbyists (veeps), so curtailments in
the name of academic "quality" are
necessary.
These decisions are made by
Kenny and his assistants, without
even indirect input from students
and junior faculty.
Altogether, the president this
year has moved the university in a
direction which is bound to leave a
legacy of invisible government
unresponsive to some segments of
the campus. And that will make the
tough economic times here even
tougher.
THE UBYSSEY
FRIDAY, MARCH 12, 1976
Published Tuesdays, Thursdays and Fridays throughout the
university year by the Alma Mater Society of the University of
B.C. Editorial opinions are those of the staff and not of the AMS
or the university administration. Member, Canadian University
Press. The Ubyssey publishes Page Friday, a weekly commentary
and review. The Ubyssey's editorial offices are located in room
241K of the Student Union Building. Editorial departments,
228-2301; Sports, 228-2305; Advertising, 228-3977.
Editor: Gary Coull
It was one of our better orgies. Mark Buckshon pulled at Sue
Vohanka's hair while Chris Gainor groaned at Gary Coull's punches. Doug
Rushton licked Anne Wallace's peppermint as Bill Tieleman ate Gregg
Thompson's wrist. Paisley Woodward yelled "get sucked" at Marcus Gee
who was sitting in Robert Diotte's muck. Ian Morton cleaned Bruce
Baugh's moustache and was promptly farted on. Merrilee Robson staggered
into the smell and mistook it for the musky smell of Eric Evan Berg's tfiird
toe. Doug Field filled the gap between Matt King's thigh and Mark
Lepetre's left nostril until he sneezed. Ted Collins marvelled at Dave
Wilkinson's arch. Ralph Maurer wore a freudian slip.
Reject
ravers
Hi!
Once more we have been
rejected. As an officially chartered
UBC club we were promised a
booth at Open House in SUB.
However, upon arriving at SUB
Friday afternoon with our beanies,
banner and inferiority complexes
we were dismayed but not surprised to find we had an invisible
booth.
Why couldn't the invisible club
have had the invisible booth?
Letters
In any case, we would like to
commend you, the staff of The
Ubyssey, for faithfully having
carried the announcements of our
club meetings in Tween Classes.
It is nice to know someone
supports us rejects. As a result,
membership in our local chapter
has increased 500 per cent. (As you
know we are an International Club,
with members in Sweden, New
Zealand, France, U.S. and Africa.)
In conclusion we would like to
thank Open House 76 for helping us
to maintain our Rejected position.
Members of the Reject Club of
UBC
Signed by 17 rejects
Question
Concerning your article on the
election of Sue Vohanka and Ralph
Maurer to the esteemed positions
of editors-in-chief, I have a
question about the picture of the
two of them that was included with
the article.
the   one   with   the
the  one  with   the
Is Maurer
sideburns or
moustache?
Ron Walls
medicine 1
J LACK  IMSPIRATIOM
look, Dave-.you'RE" THE" cartoonist:
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VS) Pag student student student student st
Student plight shown
By ERIC IVAN BERG
Most B.C. high school students
think school is a drag, too damned
disciplined, definitely boring,
killing off creativity, snuffing out
spontaneity, and completely
copping out on sex. So what else
seems to be new? Well according to
a     new    half-hour    videotape
the high school Principal's right of
veto, granted by the Schools Act.
Rock music montages punctuate
the tape at specific points while the
camera roams the halls,
schoolgrounds and gymnasiums of
the high schools catching the blank
stares and giggles of the textbook
toting students. Student speakers
N
lever
let
mv
schooling
\\
nth
iuteriere
mv education'
Mark
Twain
STUDENTS . .. process of learning
production, entitled "The Students
Voice," militant student unionism
seems to be on the rise in this left
coast province.
The entire video programme was
shot, edited and produced out of a
mere seven hundred dollars worth
of pocket money by Essential Idea
Limited over the past few years.
Michall Goodman, co-producer
and spokesman for the Essential
Idea Videotape production group
which compiled this interesting
documentary was most enthusiastic in explaining the
project.
"We see it as a classroom aid in
highschools, colleges and hopefully
network television. It will
hopefully involve students in the
system and stimulate student
observation of the in-school
educational environment,"
Goodman hoped.
The black and white video was
screened for the Ubyssey in
Gastown's Video Inn one wet
winter day last January. The
sometimes shaky and jump cut
documentary details the
organizing of metro Vancouver
area high school students during
that protest prone era of 1967 to
1974.
The students' spokes-persons
caught in the glare of the portapak
helical scan VTR cameras speak
out in favour of student
organization, community control
of high schools and the implementation of a semester
system. The Student Parliament of
1969 is shown lamblasting the
mandatory teacher sponsors and
constantly complain about the lack
of teacher to student communication and about blatant
teacher censorship of student
initiated activities.
This censorship and general talk-
down-to-students attitude is
chronicled in the outstanding life
and death example of "The
Okanookyee Standard." The
Standard was the metro Vancouver area and environs student
newspaper which lived about two
and a half short years before being
twice banned, many times damned
and finally canned by the heavies
on the School Board. The paper's
premature death was apparently
due to its last issues birth control
theme and information guide.
Comic relief is provided by the
teacher's over-reaction to the
feeblest of student gestures
towards union organization and
independence. Evidence of this is
compounded in an interview of Mr.
Peter Westlake, a School Board
trustee of the time, reading his
Vandalism Report in holier-than-
thou overtones. Goodman's
camera immediately cuts away to
a masked student hambone
playing a greasy vandal with his
lino-cutting knife. This comically
aggorrant punk then double-dog-
dares Westlake's proposed rent-a-
goon squad and savage security
dogs to take him on.
Student protest demonstrations
are logged on the tape from anti-
Vietnam to the Amchitka protest.
Somewhat distorted by "snow"
student Peter Land is seen flogging
the 1972 Student Bill of Rights
proposed by the united high schools
councils. Even the angry formative meeting of the B.C. Union
of Students are shown.
Kath Cahi.ll, a student and
Essential Idea VTR production
group member, is quoted on
camera as scalding the high
schools for performing little more
than "a babysitting service till you
get out of grade 12!" Such are the
sentiments of many of the students
seen,on the screen.
"The Student's Voice" has indeed accomplished the task of
presenting a student's-eye-view of
the in-school radicalization and
organization from the late sixties
to early seventies. However, they
have not bothered to present the
School Board administration's
point of view, assuming (and
perhaps rightly so) that the.
•principals have always had a
chance to flack their viewpoints
first.
The print seen at the Video Inn
was a bit technically rough. It had
been edited at UBC's IRC complex
on the campus yet there were some
nagging ghost images, rolling
pictures, VTR dropout and some
uneven sound levels. Yet as a very
first voyage into the technological
jungle of videotape production
Essential Idea had accomplished
much on such a shoestring budget.
Student politics and protest
aside, Essential Idea's main
problem with their videotaped
bonus baby is to find distribution
for it. Goodman says that they
have approached the Vancouver
School Board and, not surprisingly,
were rejected for funding.
Provincial distribution seems to be
Goodman's goal and national
broadcasting his ultimate dream
for "Student Voice."
If anyone out there wants to see
the inner-prison environment of
the some B.C. high schools from
the student's point of view then
they could phone Goodman at 734-
1105. He's got one slightly used
VTR package on the hock.
e.
Free
Campus Delivery
i PHONE j
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ipri J-^i
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izza
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B.C, OPEN AMATEUR CHAMPIONSHIPS
MARCH 13th, 1976 - 7:00 - 12:30 p.m.
SUB BALLROOM I HI
TICKETS - $6.00/PERSON
Professional Demonstration
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INFO: Phone 263-1319
PRAY FOR THE DEVIL WITHIN HER
BEFORE IT PREYS ON YOU
"THE DEVIL WITHIN HER"
Joan Collins    •    Donald Pleasance
12:10, 1:55, 3:50,  5:50, 7:45, 9:40
(jBS3S2m^^        Some Brutal Violence—
„.,.....«,,= ...,».,.»,...  R. McDonald, B.C. Director
Vogue
91B GRANVILLE
685-5434
Odeon
SHOWS AT: 7:30, 9:30
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SHOWS AT: 7:30, 9:30
MATURE
Dunbar
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DUNBAR »t 30th
JACQUES BREL
is alive and well and enormously
funny in this hilarious, inventive
laugh filled farce."
—Donald J. Mayerson Cue Magazine
a pain
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MATURE
SHOW TIMES: 7:30, 9:30
Varsitu
224-3730«»
4375 W. 10th
Page Friday, 2
THE       UBYSSEY
Friday, March 12, 1976 dramadramadramadramadramadramadramadramadr
Play probes sex psyche
By ERIC IVAN BERG
The Freddie Wood Theatre's latest
production, Spring's Awakening, is a
frightening dramatic essay on some
timeless sociological and psychological
ideas. I say frightening because to a huge
"extent our new morality morass hasn't
helped to cushion the play's 85 year old blow.
That moral bodyblow is our still shockable
Spring Awakening
by Frank Wedekind
translated by Ed Bond
Directed by Klaus Strassman
with Colin Thomas, Barb Duncan,
Hilmi Mohammed, Nettie Wilde et al
UBC's Frederic Wood Theatre
sensitivities towards the natural awakening
surge of sexual interest in adolescents. The
taboo label slapped onto youthful
heterosexual and homosexual curiosity even
today, by our "parentfailure force" of
frightened   moms   and   dads,   is   ample
testimony of how little things have changed.
Edward Bond's version of Frank
Wedekind's still sensational and many times
banned late nineteenth century play is the
translation used in this production. Director
Klaus Strassman has workshopped his large
and almost all student cast on the show for
about four and one-half months.
Strassman has stressed ensemble acting
from his young troupe. Every major
speaking part (save a few) have been both
understudied and double cast to render, in
effect, two completely different casts. The
roles are switched alternately throughout
the run of the production to such a degree
that there are almost two different endings
to the show, and one of them is a roller derby
of softs.
The effect of this double casting experiment was unfortunately lost upon your
humble hack reviewer, as he only managed
to take in the opening night's performance.
But having workshopped and lived in the
various re les for so many months (specific
SPRING .. . mummsy. Barb McColl, and Wardla, Margaret Kyle.
casting took place only six weeks ago) the
students had time to fully understand the
many roles. With exuberance and energy
they tackled the productions tricky ex-
pressionistic acting style and sensational
scenes with startling effectiveness at times.
The characters and setting (rural Germany) may seem safely distanced in the
past but the dilemma of ideas evoked is
timeless. The basic plotline shows the fear,
loathing and lying the adult community
exhibits in a constant put-down of their all
too curious kiddies. At a tough regimental
Prussian grammar school for boys, local
dumbkopf Moritz chokes up on his good
possibility of failure. Not wanting to
disgrace his father with his academic
failure he dutifully blows his head off.
Meanwhile budding teeny bopper Wendla
has been bugging her terrified but loving
mother with how-to questions and explaining her doubts about the stork. She
blissfully finds out all about in the hayloft
with Melchior, the tragic Moritz's best
friend, the moody student philospher. Then
pregnant Wendla is taken to task by her
hysterical mother ("A baby — how could
you do this to me?") and to a back alley
quack abortionist who kills her.
More tragic melodrama than most soap
opera have seen this season heaps itself
upon the distraught Melchior. he is caned by
the masked ninny's (teachers with the pet
names Apelard, Gutgrinder, Tonguetwister,
etc.,) of his school and blamed for poor
Moritz's suicide. He's also deported by his
squabbling parents to reform school and
disowned by them for causing Wendla's
maternal condition.
The group acting emerges powerfully in
the reform school violence and the passions
portrayed there. A naked circle-jerk scene
and another of sensationally explicit
homosexual  tenderness  punctuate  the
reform school trauma of Melchior. So he
escapes from reform school to a grand
finale graveyard scene that defies
description here.
The show's chapbook sized programme
guide is itself a fascinating comment upon
the play. It contains: A suicide note from a
young man, quotes on the braindrying insanity of masturbation, Pope Paul VI's
enciclycal on the same, a newspaper clipping on sex education in B.C. schools and a
young child's poem about his parents all
comment critically on the basic themes
being exploited.
The programme notes do not identify the
individual actors by name, rank and serial
number and perhaps this is intentionally
done to reinforce the ensemble acting
qualities of the group cast. Nevertheless, I
did manage to identify Colin Thomas as the
troubled young Melchior and the hefty
exuberance of Hilmi Mohammed in the
tragicomic role of Moritz.
Barbara Duncan played the love child
Wendla, while Nettie Wilde portrayed both
her schoolmate Thea and married sister
Ina. The poor man's Yorick gravedigger of
intermission fame was none other than the
UBC Theatre department's own Norm
Young. However, as previously stated the
SeePF 5: SPRING
Winner
PF announces Tim Stephens as winner of
an autographed copy of Robert Bringhurst's
Bergschrund lor the outstanding contribution to the creative issue as judged by
the staff of Page Friday.
. PF would also like to acknowledge the
work of staffers Peter Cummings, Merrilee
Robson and Greg Strong who edited and put
the issue together.
Y. JI. Lui shows extravaganza!
By IAN MORTON
the 1000 block on Richards Street, at
first sight, seems a rather shady, dull offshoot of Vancouver. The traffic isn't heavy
but there are lots of parking lots, and you
wonder why they charge fifty cents for
parking in such a quiet district. It's not hard'
to find the David Y. H. Lui Theatre, with its
large white and blue neon sign, and when
you approach it, the large square structure
draws  you in  through  glass   doors   to
crowded lounge area.
Company
at the David Y. H. Lui Theatre
1036 Richards Street
starring Patrick Rose and Roma Hearn
until May, at 8:30
When you're inside, you don't think
to
check your coat in because there's too much
to see at the opening night of a new show, in
a new theatre. There are directors, actors,
owners, critics, photographers — all buzzing
the high pitch of opening night excitement —
and the elitist theatricality of it all enraptures you.
My God! There's the famous Max Wyman
and that "racist" Richard O.! And look at
those two fellows in their velvet lapels and
Job provokes uneasy feelings
By TED COLLINS
There is an old song of the thirties written
by Harold Rome and called Sing Me A Song
of Social Significance. Watching David
Fennario's On The Job at the Arts Club
Theatre, these words are brought to mind.
On the Job by David Fennario
At the Arts Club
Starring   Jerry    Wasserman   and    Bruce
Greenwood
Directed by Bill Millerd
There is a trend in Canadian theatre
toward tacky realism, dour sociological
studies of pointless people living dreary
lives. It is an uncomfortable kind of drama,
rendering this viewer, at least, restless in
his chair, and it is characterized by serious
intent and almost total lack of humor. David
Fennario, thankfully, has avoided many of
the pitfalls of this kind of play. Interspersed
with the more serious portions of his work
are episodes of pure human fun.
The action of the play takes place on
Christmas Eve in the shipping room of a
garment factory in Montreal. The set,
designed by Alison Green, is quite realistic,
bringing shivers of deja vu to anyone who
has ever worked in a similar situation.
The story of the play is that of four
workers in a shipping room and their
foreman. It is the busy season and they have
been putting in 60-hour weeks for some time.
They come on Christmas Eve with bottles of
whiskey and rum in their pockets expecting
to put in only half a day's work. But a big
order has come in from Eaton's, and they
have a new and unsympathetic manager,
and their traditional half-day holiday is
cancelled. This action brings about a
rebellion among the workers.
The rebellion is led by Gary, played by
Bruce Greenwood, who is the smart one
among the group, socially committed,
vocal, and a retired hippy. He is perhaps the
least realized among the characters. He is
too much the stereotype of the idealistic
angry young man, and does not have enough
idiosyncracies of his own to bring him to life.
Part of the problem is probably in the script,
which is not heavy with brilliantly original
characters, but one wishes that Mr.
Greenwood had invested the part with less
earnestness and more wit.
Doing particularly good jobs in this
production were Jerry Wasserman as Rene
and Robert Weber as Jacky, with Weber
outstanding. Jacky is a raunchy, unlettered,
undisciplined worker, quick with his temper, yet always ready to have a good time.
He is the most lively one of the group, and
Robert Weber plays him with gusto and
style.
Rene is the foreman who is being placed
under constant pressure from the new
manager. He is the means by which the
unpopular new regime is brought down upon
the workers, yet he is a victim also, and in
the end his loyalties lie more with them than
with the management. Jerry Wasserman
plays him with just the proper degree of
harassment showing in his slightly stopped
shoulders.
As I said before, the play is not rife with
original characters. The cold-blooded
manager, Shaw, played by David Berner, is
almost a clear stereotype, yet he is also
drawn with almost uncanny accuracy from
real life. Unless you are particularly fortunate, you have probably met and hated
him.
You have also probably met and liked old
Billy, played by Jonah Ford, who is the
veteran of the job and the moderator between the workers and the foreman. He
remembers the old days when the workers
weren't so uppity, yet he not so much supports the way things are as accepts them.
The status of the worker in the scheme of
things, is Fennario's theme. He is a
proletarian dramatist, committed to
change. The position of the workers is that of
men manipulated by forces they are
helpless to fight. If they buck management,
they lose their jobs. If they run to their
union, they find their representative on
better terms with their boss than with them.
They are caught in a dilemma and their only
course is open rebellion. But men fighting
alone can never win, and the clear message
is for social change.
Having said this, I will backtrack and say
that Fennario does not bludgeon you with his
message. This is not a Socialist melodrama
with nasty top-hatted bosses and workers
striking heroic stances on the barricades.
On the Job is primarily a human drama, not
a tract, and at its best has wit, high humor,
and human compassion.
It is the first play by a new Canadian
dramatist, and though it has its flaws, it is
worth watching. Those people who are interested ia supporting new artists and
Canadian artists and would not mind being
entertained in the process, should catch it. If
you so wish, you can leave with your politics
unsullied.
white scarves, and those two high society
ladies with dresses that are open to here!
Gee, this is so exciting, how can the show top
it?
The lounge is small, and the crowd is
growing. I am forced to escape
claustrophobia, and move into the theatre.
There is a semi-circular alleyway
surrounding the seating, and I am immediately struck by the feeling of the
smooth curvature it gives to the theatre. The
balcony looks comfortable, with brown
railings, and the seats which inhabit it, as
well as the lower gallery, are black leather
with shiny metallic frames.
The theatre has a nice intimacy. It is
narrow in width but high in depth, and
seems to capture something distinctly new
for Vancouver — it is stylishly quaint, but
not cramped. There is still the odour of fresh
paint and new upholstery, and it excites.
And no stucco walls. Vancouver's got a new
theatre.
My serenity is jolted to a sudden grinding
halt, as a young theatre go-getter in a white
"Company" T-shirt, pushes a program into
my face. I look at it and say, "What a cast!
This is too good to work!"
Then I look at the stage and am blinded by
the word "Company" painted on the walls.
They surround a large metal structure
made up of winding stairways leading to
crudely railed platforms. The Musician's
Box is tucked away at the back of the stage,
and it looks as cramped as the lounge, with
guitars, drums, piano and organ jammed
into a ten foot area.
By the time David Lui has given his
Opening Night welcome, and the lights fade,
I have absorbed all that the new theatre can
offer, and I am content to lean back in my
chair and watch things happen before me.
The atmosphere is set.
Company deprived me of discomfort with
its slick professionalism, and I feel deserves
a good look from all theatre-goers — not just
musical comedy diehards. The topic of
marriage, with which Company deals,
seems old and terribly unexciting. How
many times have audiences had to find
entertainment in marital squabbles, regrets
and bondages? Too many. But Company
covers all with a refreshing zip of colour,
dance and voice.
See pf4: COMPANY
Friday, March  12, 1976
THE       UBYSSEY
Page Friday. 3 musiemusicmusicmusiemusiemusicmusicmusicmusie
Vancouver jazz scene expands
WALCOTT . . . Indian tablas
-doug field photo
Company
from pf3
Bobby (Pat Rose) is 35 and
single. All his friends are married
and they can't see why he isn't.
Unfortunately he can't see why
they are, and so he searches for the
answers. Bobby visits the five
couples and they all teach him
something. But when it comes
down to the crunch, Bobby is left to
decide the rest without sacrificing
himself.
Writer Stephen Sondheim is fair
with his coverage of the insanity of
marriage — contrasting the love
with the hate — and makes some
very serious conclusions about it.
He seems to show that marriage,
when looked at as a whole force, is
frightening and almost haunting.
But happiness can be found in
marriage, under a heavy mask,
and this is what Bobby must find
for himself.
When  David  Lui   and   director
Richard Ouzounian cast Company
with 14 big-name performers (in
Vancouver and across Canada),
the results they have brought are
interesting. One can well imagine
how many advanced egos would be
at stake in such a show, and quite
conceivably, such a casting could
backfire. But this is not so with
Company. Instead they all work
with extraordinary rapport, and
end up making no role less exciting
or important than the next.
There is not one individual in this
show that deserves more credit
than the other, as they prove
equally essential outlets of this
show's high tempo.
Pat Rose, proves not to be just
"another pretty face" amongst his
fellow actors.  He is particularly
impressive in that he can express
his troubles in such a deceptively
soft manner.
Charlene Brandolini and Hank
Stinson, Brent Carver and Lally
(Misalliance) Cadeau, and the
three other couples — all attractively play their marriages to
the hilt.
Then there are Bobby's girl
friends, played by Ruth Nicol,
Valerie Easton and Wanda
Wilkinson, who together do one
last, bolt-loosening number early,
and provide excellent support for
the remainder of the show. Miss
Easton., obviously the best dancer
of Company, displays her great
talent in a stunning five-minute
dance solo of what might be called
"rock-ballet."
And if you liked Roma Hearn in
Hello Dolly, you will love her in
Company. It was Miss Hearn, of all
the performers, who, to me,
seemed to be most expressing
some deep part of herself. Her wet
eyes wereonly part of the evidence
which made me feel this.
And if you did not like Alex
MacLeod in Dolly, you will be
staggered to see what he can do in
Company.
Though Richard Ouzounian is the
target of much criticism these
days, he proves himself a first-rate
.director again, with as energetic
an output as can be gotten from 14
actors. Choreographer Jeff Hyslop
is in the same boat, and also
deserves applause.
The musicians, led by Bruce
Kellett (Jacques Brel), enjoy
themselves immensely through the
show. But they excel in retaining
the low-key pulse which Sondheim
emphasizes. It is an original,
moving  score,   competently   han-
By ROBERT DIOTTE
Oil Can's continues its parade of
fine, name jazz artists. Last week,
Oregon returned for three nights
and this week the Gary Burton
Quintet is upstairs in the comfortable and personable jazz room.
Oregon has got to be one of the
more original groups around.
Winners of the Downbeat critics'
poll a few years ago, their music is
heavily influenced by East Indian
music. The cyclic rhythms give the
compositions a repetitive quality
which is not unlike rock music's
emphasis on easily recognizable
rhythm. Atonal, sometimes
dissonant, there is a serene,
cerebral (very cerebral) beauty to
Oregon's music.
Oregon consists of Colin Walcott
on tablas, sitar, Ralph Towner,
guitar, piano, Glen Moore, acoustic
standup bass, piano and Paul
McCandless, bass clarinet and
oboe.
The set I caught a week ago
Wednesday left me with mixed
feelings. While one set is certainly
not enough to assess a group by, I
will   offer   some   observations
died by four men who unfortunately are forced to take a
backseat to the actors.
And yes, Virginia, I did feel
Company had its faults. There is a
danger in transplanting a
Broadway play about New York
into a foreign city, and certainly a
lot of the New Yorkness that
could have been there is missing.
There are also some lovely
scenes (i.e. Miss Easton's ballet)
which I wonder how necessary
they were to the actual story
telling. After all, the show is two
and one-half hours long. It could be
cut down considerably.
And how is it that all these five
married couples know each other
so well? Sure they all revolve
around Bobby, but it is bothering to
fathom how all can be acquaintances of each other, when they are
all so opposite in their ways.
But in the end, what makes the
show so appealing to me, besides
its casting, action and sound, is the
broad scope of enjoyment it
generates for a musical comedy. I
have never seen a musical deal
with contemporary problems with
such dramatic punch, as Company
does. And with a successful drama-
musical comedy, the audience
appeal is large. In Company one
can find sociology mixed with good
clean entertainment, and derive
great personal pleasure from it.
And this is precisely the kind of
ambitious reputation David Y. H.
Lui is fighting for in Vancouver,
and he's winning.
And as we all crowded through
the lounge into a darker and
gloomier Richards Street, the
fellows and the high society ladies
sparkled their sculpted teeth with
sincerity.
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Place Your Order 14 Hr. Before Closing
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anyway. The experience of watching Oregon produce their sound
and the experience of hearing that
sound live were occasionally at
odds with each other. There are
times, extended times, when the
music is just too distant, too far
away to touch. If a danger is
inherent in Oregon's music it is the
potentiality in the music to move
too much into the cerebral, the
abstruse. It becomes inaccessible.
What fascinated me, aside from
the comfortable and relaxed excellence of the group, was Paul
McCandless leaning into his bass
clarinet. The rest of the group
forming a rhythmic stage, McCandless became a hypnotic force
with his solos. I think of Indian
snake charmers, a metaphor
which is a bit trite, but there it is.
A particularly sensitive improvisation featured Glen Moore
on piano and Colin Walcott playing
sitar. What emerged in cameo, a
stilted duration in the usually
percussive dominated movement,
the improvisation relaxed into a
slow studied harmony between
piano and sitar, phrase by phrase.
The Gary Burton Quintet occupies Oil Can's this week. Burton,
a vibrophonist with a great deal of
flair and mobility, is a faculty
member at the Berklee College of
Music in Boston, a noted jazz
centre. His four mallet style, I
have been told, has altered the
traditional approach to the vibes.
The sound of the group is much
more controlled than Oregon's,
perhaps reflecting the group's
proximity to jazz teaching. It is
also more readily accessible,
perhaps because Burton's roots
are better known to my jazz ear.
The music has a vibrancy which
may, at times, repeat itself.
Nevertheless, the melodies, never
left me stage struck.
Besides Burton, the quintet
consists of Pat Meheny, on guitar,
Bob Moses, drums, Steve Swallow,
electric acoustic guitar, and
Eberhard Weber, electric standup
bass.
What immediately impresses
about the quintet is the bass section. Swallow, also a faculty
member of the  Berklee college,
See PF 6: JAZZ
till Saturday March 13
in the Jazzroom
Gary Burton Quintet
in the Backroom
Willie Wild and the Wild Bunch
COMING EVENTS
March 15-20
Anthony Braxton Quartet
with Dave Holland
April 5, 6, 7
Charles Mingus
advance tickets now on sale
OIL CAN HARRY'S
752 THURLOW
RESERVATIONS 683-7306
Page Friday, 4
THE       UBYSSEY
Friday, March 12, 1976 notesquotesnotesquotesnotesquotesnotesquotesnotes
Women organize our society
By SUSAN BORYS
Sometime during your history lessons in
high school you may or may not have
noticed a definite lack of contributions
women have made toward the progress of
civilization. This has finally been remedied
by socialist Evelyn Reed in a 20-year-old
project entitled Woman's Evolution.
Although it contains feminist opinions, it
cannot be classified as sexist. In fact, Ms.
Reed's information is so extensive it is easy
to commit total belief without keeping an
objective opinion; or is it simply its appeal
to the sense of womanly pride?
What the book briefly says is that women
played the leading role in'the organization of
society,  but as  their society progressed
REED . . . breaking the myth
women were forced to evolve into "the
"second sex". Obviously, the only
requirement to read this book is an open
mind. But Evelyn Reed does more than
present you with a massive block of
astonishing facts. Her style allows for an
eventual revealing of what she wants you to
know.
And if there is any doubt of authenticity,
she is backed by a number of reliable
sources. Actually the book is so compiled
with quotes it becomes almost a
documentary, and you wonder why there
has been no predecessor on this subject.
Perhaps because no one has had the nerve to
dispute with such leading figures in the field
of man such as Freud, except for Ms. Reed.
There is no unloading of facts andfigures
that tend to turn off most readers. Almost
fictional in its presentation, the descriptions
capture a vivid imagery that donates a
plausibility to the controversial subject.
In British New Guinea . . .it is a common
occurrence to see the mother carry on her
back a basket of food, a large bundle of
firewood — both being supported by a'band
extending around the forehead — and on top
of all her little two-year-old baby. The
women are habituated from early life to
carrying enormous burdens.
Her information covers the earth's circumference, from the animal world where
females usually are the domineering sex, to
the legend of the pot as identified with the
"Great Mother", to the Nootka Sound Indians of British Columbia. She explores
every possibility of human achievement,
Pied Pumhin arrives
By ERIC IVAN BERG
- On campus concerts featuring
pumkinheads, tons of jazz and UBC student
folksingers — you'd better believe it! For
they all roll into the SUB auditorium for
three musically minded noon hours next
week. Don't miss 'em.
The first AUS and Valley (Hennel)
Productions co-sponsored concert sounds off
at 12:30 noon on Tuesday of next week with
the widely acclaimed Pied Pumkin String
Ensemble. The funky pumkins, playing up
their country image, are the quite talented
trio of Joe Mock on electrical acoustic
guitar, lovely Shari Ulrich with her magic
fiddle, flute and sax, and Rick Scott
clowning around the stage with his electric
dulcimer. They've already pressed a record
for their local friends and fans. Pumkin's a
highly recommended lyrical hoedown.
The very next noontune time on Wednesday, March 17 UBC's own student folk
group Eagle Beaver will sing their own
songs. Ken McGoogan will lead off the
Beaver's gig with a solo set of his own
humorously raunchy guitar and harpoon
numbers. Then UBC's own eager beaver trio
of Derek MacNeill on lead guitar, Ann Marie
Griffin on guitar, flute and piano and Glen
Sherman on guitar and ivories. They'll be
backed up by their new bassist Don Durazio
and Sherman's own'version of the Arkansas
Musicians Union.
If you've been fortunate enough to catch
this talented group at the creative writing
workshop, the UBC frat houses or the Centre
Coffeehouse then count yourself lucky.
They're young but they're jelling into quite a
troupe of folk rock balladeers. Just give 'em
an audience and watch out.
The husky but versatile vibes of Joani
Taylor are next to fill the SUB Aud with the
sounds of jazz, bluenotes, folk ballads and
rock. As you've already guessed Ms. Taylor
can sing almost anything, and sing it well.
Backed up by a strong contingent of talented
jazzbos Joani will be heard singing at lunch
time next Thursday, March 18.. Bring yer
baggies.
Tickets for this gala group songfest and
series are only $1.50 for individual concerts
and a mere $3.00 for the whole shebang.
Advance tickets are available from the AMS
business office, second-floor of SUB. Here's
yer last chance folks to'ease the headache of
your upcoming exams with an earful of
noontunes.
includingtaboos, tolead both herself>and the
reader to an inevitable conclusion.
But Ms. Reed's fresh insight borders on
the radical. There is too often the same
broad assertations that have shown up in
similar studies. There is a constant
reminder that the process of thinking in
primitive man is unknown today, as is
numerous sources of information. Because
of this Woman's Evolution tends to offer a
one-sided opinion that limits further
possibilities.
Some of the basis for her theory, whether
assumptive or of common knowledge, is a
bit surprising for beginners; primitive men
as cannibals for example: "In the epoch of
cannibalism, no doubt, it operated on the
principle that if I give you food and you give
me food, we bind ourselves to a pledge not to
regard each other as food." This is an advantage ; the book serves not only as a text
book for those concerned with anthropology,
but its elusive style makes for an interesting
time of reading.
The early role of women is cut and dry.
"Women were not simply the procreators of
new life, the biological mothers. They were
the prime producers of the necessities of
life: the social mothers." She later lost her
value as the social being, the instigator of
the matriarchal clan, as the men gradually
formed into their own fraternities. So we are
presented with the comparison of what
women began as; her later role as submissive wife and mother; and her struggle
today as . . . what?
Woman's Evolution raises important
questions indirectly. But it still leaves us
with important questions. Woman's role
today seems to be left undefined. It is
stressed that her past part is irreversible,
but there are no hints as to how we can use it
to further her role now. What it does accomplish is more subtle; it gives a basis for
woman to set her own self-worth upon,
perhaps to discover a completely new status
in a predominantly male orientated society.
"The mother of our songs, the mother of
all our seed, bore us in the beginning of
things and she is the mother of all types of
men, the mother of all nations."
Evelyn Reed has broken the myth of the
"one sex", and in turn creates a history
lesson not to be lightly taken.
VISTA
By ANNE WALLACE
The week of March 7 to March 13 has been
declared Native Land Settlement week, as a
time for Southern Canadians to show their
support for the Native people in the Northwest Territories.
In connection with this, the Centre Coffeehouse presents an evening of Native
Indian singing, dancing and folklore, on
Friday night at the Lutheran campus
centre. James Sewid will be telling more
legends and also talk about what the Native
Settlements mean to all Canadians, not just
the Indians. Coffeehouse runs from 8:30
p.m. to 1 a.m. and admission charge is $1.
The UBC Arts Undergraduate Society in
conjunction with Valley Productions, is
presenting Noontunes next week, a series of
three noon-hour concerts in SUB
auditorium. On Tuesday, Pied Pumkin
String Ensemble will play selections of
country funk and pumkin seeds. They are a
really different band and well worth
checking out. Wednesday it will be Eagle
Beaver, who had a very successful gig at the
Centre Coffeehouse last Friday night. Joani
Taylor and Tons of Jazz will be playing on
Thursday. Ms. Taylor is Vancouver's
foremost jazz lady and is excellent. Performances cost $1.50 each or $3 for the series
and advance tickets are available from the
SUB business office.
Eagle Beaver, the group featured on
Wednesday, will also be playing at a coffee
house on Sunday, March 14 at 2270 Wesbrook
Crescent. Drop by some time after 7:30 p.m.
and give them a listen. Admission is 50c.
Vancouver Art Gallery is showing a really
interesting show for the next few weeks.
Titled, Early British Columbian
Photographers, 1890-1940, this display is a
look at B.C. as the settlers saw it. Going
through the photos, you really get a feeling
of how Vancouver shaped up. Vancouver Art
Gallery is free to all.
Sunday will see the Warsaw Music
Workshop presenting an evening of colorful
avant garde music at VECC. This is a four-
man ensemble who will play over 40 folk
instruments made by Polish folk artists
especially for the group. Showtime is 8:30
p.m. and student tickets are available at $2.
The latest production of the UBC Theatre
Department, Spring's Awakening, opened
last week at the Freddy Wood, and is
something new for the campus in the line of
drama. The production has been developed
by a small group of student actors and
faculty and deals with the experience of
growing up. Because of its frankness concerning sex, the play has frequently been
censored. The play will continue on our
progressive campus until March 13. Student
price is $2 and curtain time is 8 p.m.
Pacific Cinemateques's presentation this
week is Bombshell, starring Jean Harlow,
Lee Tracy and Franchot Tone. It is an oldie
mouldie filmed in 1932. Show time is Monday
at 8 p.m. at the Vancouver East Cultural
Centre(VECC), 1895 Venables St. All tickets
are $1.25.
Spring awakening raw
PIED PUMKIN
. gala songfest
From PF 3
cast switches roles in alternating productions, though some retain singular roles:
Still the strong bonds of identification with
which the young cast throws itself into the
children's roles is quite impressive.
As a large scale acting experiment in
workshop production the play is a
wholesome success of high energy levels.
The audience reacted to the more sensational scenes with a polite smattering of
applause and concentration. I am quite
certain that the young student actors
learned more about acting during the long
run of the often taxing rehearsals for this
play than any other this season.
The pain and the purgatory that most
youngsters go through during their gangling
adolescence is plumbed in Spring
Awakening to a depth of understanding that
is exceptional in comparison to others on
this same still touchy theme. Perhaps it is
just that the school boards of the province
should be forced to see, if not for the moral
lessons involved, then to understand that
there are no easy solutions. Or as one actor
put it, "The problem is to find ourselves in
the dark. The solution is to have felt the
quality of the light."
Apology
In last week's creative arts issue, we
failed to identify the author of The
Chicagoans. This is a chapter from a work in
progress by A. Delaney Walker.
We apologize for any embarrassment our
oversight might have caused Ms. Walker.
Friday, March 12, 1976
THE       UBYSSEY
Page Friday, 5 dancedancedancedancedancedancedancedancedanced
By ANNE WALLACE
What does it mean to you when
someone says "UBC Dance Club?'
Pirouettes and all kinds of fancy
movements?
Those weird pictures with the
funny captions in last week's
Ubyssey?
Or are you like the majority of
students on campus who don't
really have any idea whatsoever?
Well, you should because to more
than 620 people on this campus, it is
a club to which they belong. In fact,
besides various religious groups, it
Last tango for mad dancers
is one of the largest clubs at UBC.
It is also one of the rare clubs that
boasts a fifty-fifty male-female
membership.
Primarily one joins this club to
learn to dance. But this motive
itself is understood. They do not
teach the common clutch-and-grab
forms of self-expression found in
the downtown discotheques. You
don't join to learn the latest
"moves."
This  club  teaches   ballroom
Shampoo sucks
By SUSAN BORYS
If there is any skepticism on the
part of Shampoo's high acclaim, it
is truly justified. The story opens in
a darkened bedroom full of heavy
breathing and the other expected
noises usually found in low core
porno flicks.
Shampoo
Starring    Warren    Beatty,    Julie
Christie
and Goldie Hawn
Directed by Hal Ashby
Written by Robert Towne
and Warren Beatty
At the Varsity
Involved in this action is our
hero, George, a hairdresser who
goes beyond the limp-wrist act into
the role of a super-stud. Warren
Beatty's acting, if it can be called
that, places him in a believable
category, but Clark Gable he's not.
George does not go past a one-
dimensional character, even in the
emotional scenes. He establishes
his role of the apathetic lover too
well and too fast to ever portray a
man of sympathy.
One of the best performances
comes from Goldie Hawn, one of
George's steady girls. Her fondness for such an insensitive man
comes through her naivete, but she
does not appear to be stupid. She is
the sweet, likeable, girl-next-door
who, you instinctively know, will
lose the hero only to find a stable,
less dramatic personality.
Both Julie Christie and Lee
Grant turn in suitable performances: Christie as a well-kept
mistress, once and soon to be again
entangled with George, and Grant
as the typical neurotic wife of the
well-to-do keeper of Christie, and
herself the object of the very same
George.
Obviously, all these entanglements are going to wind into
one mess. George spends so much
time catering to his ladies you
wonder why he never gets fired
from his job. And all the ladies are
so good looking and intelligent, you
wonder why they don't get smart
and find a more reliable hairdresser. But George is not unaware
of his faults. He confesses to attending beauty school because of
what working on women entails.
But while he admits to not being
capable of loving a woman
emotionally, he never feels himself
a louse. Many women would
disagree.
For all the "crude and
suggestive language" the B.C.
director warns about, the most
offensive thing about Shampoo is
its treatment of women. They are
picked up and dropped again like
the playthings George had when he
was a child. Whether this is
Beatty's opinion of women in
general, or merely a vehicle to
carry the plot, it is slightly
degrading. "All they (women) talk
about is getting fucked up by a guy.
They know we're out to pin them
and they don't like it; or maybe
they do."
Aside from a rather limited plot
(Beatty screwing a few dozen
chicks and trying to get away with
it) there is a loud, splashy
background of 20-room houses,
reminiscent of a true Beverly Hills
style (where the story takes place
incidentally), complete with "the
beautiful people." Not only is it
impressive, but it helps to relieve
the lack of a story.
Also throughout the movie we
see glimpses of the 1968
presidential elections and Nixon's
inspiring victory speeches.
Whether this has anything to do
with Shampoo, other than give us
the only sense of placement in the
movie, is never made clear. And if
you are expecting some pleasant
background music from Paul
Simon who is credited with the
original sound track, be prepared
to be blasted with Sgt. Pepper's
Lonely Hearts Club Band, which
isn't really disappointing.
Shampoo makes for light entertainment with the redeeming
quality of being a farce. But then
who needs any. more seriousness
after paying today's exorbitant
movie prices.
dancing. The old box step, you say?
No. Try the waltz or cha-cha, or
maybe the fox trot is more to your
liking. The people at the dance club
can teach you all of these and
many others.
Every Monday through Friday in
the SUB ballroom, people spend
their lunch hour tripping the light
fantastic or else just plain tripping
— over each others' feet. But they
have a good time doing it. Perhaps
this is why the club has such a
large membership.
As opposed to other groups which
are people united for a cause or a
belief, this is a club where its
members join just for the pleasure
of it. No matter what their
capabilities, good, bad, or in
between, everyone has fun and that
is what they are there for.
After a few sessions, beginners
develop more co-ordination and get
to be quite proficient at
manoeuvring around the floor in
time to the music. Many join with
this reason in mind, to gain a little
more confidence on the dance
floor. Others want to learn to do
formal dancing properly, with the
proper turns and steps. All the
members become able dancers
and in the process, make a lot of
friends.
The various social functions the
club holds throughout the year give
the members a good chance to get
to know one another. These include
Christmas and Valentine's parties,
a car rally, a club dinner and a Pin
Jazz
Party, where members get their
graduation pins. At these parties,
members get the chance to try out
their new skills in an evening of
fun.
Other members take their hobby
much more seriously. They choose
one partner and together they
spend ftours learning the more
complex and challenging steps and
getting them down pat. It takes
hours of practice to get a pattern
down just right — how they will
position their arms, in what
direction will they point their feet
— in short, learning everything
that will give their routine the most
flair. The better couples soon
resemble Ginger Rogers and Fred
Astaire.
This dancing is best described as
an art form, especially when done
by an expert, because it incorporates all the style and grace
of figure skating, without the ice.
And the UBC Dance Club does
produce experts,such as the ones
you can see competing here at the
B.C. Open Amateur Dance
Championships, on Saturday.
On March 13, 1976, at 7 p.m. in
the SUB ballroom, the UBC Dance
Club will hold their 14th annual
competition. This is open to all
dancers in B.C. and around 80
competitors are expected. The
competition is divided into the two
types of ballroom dance, Latin and
Modern. Latin includes jive, cha-
cha, rhumba and samba.-Some of
the dances in the Modern category
are the waltz, tango, quickstep and
the fox trot. Competitors are
judged on rhythm, music interpretation, and style to name a
few criteria.
This type of competition is really
exciting to watch. It is just as attention-keeping as watching Toller
Cranston or Karen Magnussen,
because the moves are just as
difficult and the precision is just as
amazing. There will also be entertainment half way through the
show by Ron and Carol Montez,
international dance competitors,
who put on a very spectacular and
colorful show.
The most common question a
non-dancer asks is: "Why get so
involved in dancing? " As one of the
dance members who will be participating in this weekend's
competition replied, "It's like
theatre. You're on the stage and
you're there to put on a show."
And, he said, there is the element
of skill. "It's the feeling of striving
to be the best at it." That is what
dance club competitions are all
about.
But there is more to the UBC
dance club that just competitions.
Not everyone is out to compete.
The basic reason everyone dances
is the same. Dancing is a form of
self-expression and it takes some
practice to do it well. "Everyone,
when they hear a piece of beautiful
music, wants to be able to express
it." The UBC dance club is one way
to learn how.
From PF 4
plays his bass guitar up and down
the neck with an intent facility that
had me amazed. With Weber,
whose solos were equally impressive on the standup bass, the
quintet had an effective ground to
complement the alto and tenor
tones of vibes and acoustic guitar.
If the quintet has a problem its
got to be the limited dimensions of
its sound. My companion wondered
why there was no brass to offset
the predominance of the strings.
Certainly a horn would have added
to the music.
But, of course, the sound would
have been changed drastically. As
it was, the similarity in timbre of
Meheny's guitar and the vibes did
produce a good deal of satisfying
listening:
The Gary Burton Quintet will be
at Oil Can's a few more days and
are well worth the admission.
Oil Can's still has its jazz club.
For a $2 membership fee, a
member is entitled to 25 per cent
reduction at the door. Members
also receive advance notice of
upcoming artists and biographies
and pictures. The club is worth
considering when one looks at the
calendar.
Bassist Charles Mingus will be at
Oil Can's on April 5 for three days.
Tickets are now on sale. They are
$5 and $3.75 for members.
DIANA ROSS
MAHOGANY — Original Soundtrack
SMOKEY'S FAMILY ROBINSON
— Smokey Robinson
MOVIN' ON — Commodores
WHO I AM — David Ruffin
CITY OF ANGELS — The Miracles
A QUIET STORM — Smokey Robinson
TALKING BOOK — Stevie Wonder
INNERVISIONS — Stevie Wonder
FULFILLINGNESS' FIRST FINALE
— Stevie Wonder
Quality. Quality-Qualify-
LOVE TO LOVE YOU BABY
— Donna Summers
ANGEL
SWEET BLINDNESS
BUCKINGHAM NICKS
— Stevi Nicks & Lindsey Buckingham
SCOTCH ON THE ROCKS
— Band of the Black Watch
BEST OF GLADYS KNIGHT & THE PIPS
JIGSAW
OUR DAY WILL COME — Frankie Valli
2 RECORD SETS
THE FOUR SEASONS STORY
—Four Seasons     %A  Q(
ALIVE! - Kiss t.if.
sound
556 SeymOUr St., 682-61 44       Open Thursday & Friday Until 9 p.
Page Friday, 6
THE       UBYSSEY
Friday, March 12, 1976 Friday, March 12, 1976
THE       UBYSSEY
Page 11
SPOR TS
Volleyball
Canada vs Cuba
For all you students and
sometimes avid sports fans who
don't know what the game of
volleyball is all about you will have
a chance to see some of the world's
best players in action Monday
evening when the Canadian
national men's team take on the
Cuban national team.
The Canadian team will.have its
hands full as the Cubans are
ranked as one of the top three
teams in the world.
Canadian national team coach
Bill Neville will have his team
concentrating on the only two real
weaknesses the Cubans have; their
predictability and tempers.
The Cubans play by the book,
much the same way as the Soviets
play hockey by the book. They will
react to certain situations the same
way all the time. Neville calls them
machines.
The Canadians will try to take
advantage of this predictability
just as Philadelphia's Fred Shero
took advantage of the Soviets.
As to their tempers Neville said,
"We will try to get them mad. They
don't like to be talked to under the
net. They do not like to be smiled at
or pointed at. We will do all of these
things. We will pick on specific
players who are volatile."
The reason for all this is quite
simple. When they get angry the
Cubans try to punish their opponents. The Canadians hope to get
them to this point and then perhaps
the Cubans will make mistakes and
punish themselves.
Another major facet of the
Cuban game is their strength. They
are tremendous jumpers. Every
player on the team has at least a
36-inch jump, (from a standing
position).
Olympic hockey?
By MARK LEPITRE
Everyone who witnessed the
UBC-West Germany hockey game
at the winter sports centre Monday
evening should now be asking the
question: "Why is Canada not
involved in international hockey at
an amateur level?"
When the Canadian Amateur
Hockey Association pulled out of
international competition in 1970
their reason was that Canada could
not hope to stand up to the quasi-
amateurs of the eastern European
teams without the use of
professional players. Bunk!
The West German national team
took the bronze medal at Innsbruck. In their tour of Canada,
they ended up with a record of four
wins, one loss and three ties, all
against amateur teams.
The Germans were not slacking
off in these games. They put
everything they had into the game
on Monday and barely managed a
tie, scoring in the last minute of the
game.
The Thunderbirds, many of
whom are almost 10 years younger
than the Germans, proved that
they could play Olympic class
hockey. The University of Calgary
Dinosaurs did the same.
Most people believe the Canada
West university league to be the
best amateur hockey in Canada.
Why then is Canada not represented at the Olympics in our
national pastime?
Certainly the college teams
could not stand up to the Soviets,
but then no other amateur team
can either. The West German team
lost to the Russians 7-3 in the
Olympics.
Perhaps the CAHA would not be
satisfied with anything but a gold
medal team; after all Canadians
are supposed to be the best hockey
players in the world, right? This is
no longer true of course. The
Soviets have proved that their
system is just as good as ours, and
perhaps even better. Canadians
should not be disappointed with
second place, after all we are
talking about second out of three
and one-half billion people.
We have proved that we are
capable of winning at the Olympic
level, and could possibly have won
a silver medal (the Germans
barely lost out to Czechoslovakia,
4-3).
So, Canadian government and
the CAHA, tell us why is Canada
not represented? We do not need
professionals to win.
>
IRISH WHISKEY
^WSHltWS^
ORIGINAL gay      TO
GRANT ill    DISTIL
1608
BOTTLE D ON LY BY r>0
 LIMITED	
^ VV-;—   IRELAND     S JJ
' PRODUCT OF   IRELAND
CONTENTS
26 ft IMPERIAL   FLUID OUNCES
SHIPPED ONCr TO ACCREDITED DISTRIBUTORS OF
THE "OLD BUSHMILLS* DISTILLERY C»
<
\
U.B.C. GATE
BARBERS
III
Internationally Trained
Hairstylists
Open Tues. - Sat.
9 a.m. - 5:30 p.m.
4605 W. 10th AVE. 228-9345
TANDARUTRADING
3743 W. 10th
AT ALMA
Tues. - Sat.
Noon - 6 p.m.
imported clothing from India -
Nepal   -   Kashmir  -  Afganistan
- Central & South America.
SPRING SALE
10%-30% OFF
On the 17th.
thei-e should be
a little bit of Irish
in everybody.
What better day to
discover the emphatic flavour
of real Irish Whiskey? If there's
something about the Irishit
must be our Whiskey; After
all, we invented it along with
community singing.
Have fun on the 17th.
1V2 oz. of Old Bushmills on the'
rocks, sip slowly and sing along.
You may wonder why the Cubans
are so good. One reason is that the
team has been together since 1966
and have been specifically trained
since an early age. On the other
hand the Canadians have been
together only a year and one-half,
and probably began their
volleyball in high school. They are
also   the   youngest   international
team in the world.
Game time is 7 p.m. at War
Memorial gym. Tickets are
available at the athletic office for
$1.50 (students).
—bob tsai photo
OFF BALANCE Jim Lawrence scores after being tripped by Udo Keissling of West Germany's national team
in Monday's game. The goal, UBC's third tied the game during the third period. West German goalie, Erich
Weishaupt, played superbly and was barely beaten on the break-away play.
GENERAL
MEETING
For all women
on campus
Interested in
Women's Athletics
Held in the
WAR MEMORIAL GYM
ROOM 25
Friday, March 19
at 12:30 -
Deadline
For Nominations
For
WOMEN'S ATHLETICS
Has    been    extended    to
March 18 at 12:30.
To   be   handed   in  at the War
Memorial Gym.
UBC Sailing Club
SKATING PARTY
Friday,
March 12th
9:45-10:45
Winter Sports Centre
Members &
Guests Welcome
UBC Sailing Club
Executive
Elections
Wed., March 17,
12:30-1:30
in SUB 200
All members please
attend.
VANCOUVER
INSTITUTE
lectures
DR. DOUG LAST.
KENNY
President, UBC
THE UNIVERSITY
ONTHE FRONTIER
SATURDAY, MARCH 13
8:15p.m.
Lecture Hall 2,
Woodward Instructional
Resources Centre
Vancouver institute
lectures take place on
Saturdays at 8:15 p.m.
on the ubc campus
in lecture hall no. 2
instructional resources
centre
admission to the general
public is free
SCOOP1
SPEAKERS
SPECIAL VOLUME REBATE ALLOWS US TO
OFFER THIS NEW, IMPROVED VERSION OF THE
TOP-RATED EPI MODEL 100 AT A
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Quality Components, Maximum Discounts At:
SOUND ROOM  2803WB"fr*    h,™™
(at McDonald) 736-7771
SOUND  BOX       1034 Davie (near Burrard) 681-8188 Page  12
THE       UBYSSEY
Friday, March 12, 1976
All About Hi-Fi
■      ■      ■      ■       I       I \ Lh Lhb
Come to A&B Sound now and get the best information on Hi-Fi anywhere.
We're on hand to answer your questions in plain English .... For FREE!  More information,
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OUT-OF-TOWN CUSTOMERS are welcome to
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AMT IB REFERENCE
BOOKSHELF SYSTEM
When ESS introduced the
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reproduction it was immediately
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TEAC
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At       TEAC,       the
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technological resources established the cassette deck as
a  true  high  fidelity component. TEAC quality, that's
what  distinguishes  the  A-170.   Compare  it with any
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how     can     you     really     afford
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Open Thursday and Friday until 9 P.M.
CHARGEX
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