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The Ubyssey Feb 27, 1981

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Array -eric eggertson photos
Women explore the erotic
By JULIE WHEELWRIGHT
One common experience which all people share is sexuality. But so often in our male dominated culture the
expression of human sexuality remains solely male-
defined.
This week the Alma Mater Society women's committee brought Herotica, a collection of work by women
artists which explores female eroticism in its various
forms, to campus. It is a female version of sexuality; the
result of more than a year's exploration of values by a
group of 16 artists who organized the show.
It began at a B.C. Federation of
Women meeting where a group of
artists got together for a workshop
and decided they wanted to show
the erotic work they'd done, according to Sharon Mackin, a poet
in the show.
"There was no place for them to
show (their erotic work) and they
felt a little uneasy about showing it,
being feminists. They weren't sure
it was quite kosher to show erotic
works," says Mackin.
But the artists' uneasiness sparked an idea that women's erotic art
could be shown, and more importantly they began to define the parameters of the erotic.
"We realized in the discussion
that we were going to have a long
haul just getting the theory so we
spent the next year in meetings
looking at several different aspects
of the erotic and at the same time
bringing our own work," says
Mackin.
She adds that after the year no
neat simple theory developed but
many of the women explored the
distinction  between  female eroti
cism and pornography. Women
against Violence Against Women, a
federally funded program that operated in Vancouver last year came
to the group with a slide show on
pornography.
"When WAV AW came with
their show, one of the things they
showed as an example was one of
the things that I'd talked about in a
poem that I wrote. It was a picture
of a woman in an ad, one of the
most sexist ads that are still
around."
It was a picture of a woman's
bottom with the words "Pepe
Lopez" embossed on it but Mackin
presented the ad as an example of
how women are erotically stimulated by other women.
"Not just lesbian women, but all
women are and it's a very natural
thing because our society is set up
for men in such a way that it teaches
everybody that women are erotic
subjects."
Men are not presented as erotic
objects and thus women feel "turned on by women because that is
what we see, in advertising, on tele-
THE EROTIC ... no simple neat theory
vision and that was my point," says
Mackin.
One conventional erotic element
missing in the Herotica show is violence. Says-Mackin: "1 think that is
a big division that many feminists
make right now. Anything that is
violent, whether it is directed
against men or women, or dogs or
anything is pornographic.
"I think most of the women
would agree with me that the place
where we disagreed was where you
draw the line on violence. Some of
the women felt what I would call
passion, where someone was pressing hard or something like that, indicated violence rather than passion."
The artists did not arrive at a consensus about the criterion they
would use when judging whether a
work of art was acceptable. But
they formed a 16-member committee and if 75 per cent of its members
agreed to show a work, it was accepted.
"We had a jury of all of our
work and we found that we didn't
have enough art to put the show together and we suspected that... so
we invited people to bring their art
into us and we juried it."
Mackin says she wanted a wide
variety of art forms and she scanned the city for a woman baker interested in creating some erotic
goodies. The show includes not only these realistic pastries but ceramic
figures, paintings, masks, recorded
poetry, jewelery, bedsheets, photos
of vegetables and belly dancing performances.
"The major conflict we had was
whether we should show what was
the ideal of what we felt. (Should
we say) 'this is the state of the art at
the moment or this is the state of
the art as it should be.' "
Robin Barnett, an artist whose
ceramic works are featured in the
show agreed there were tensions
and conflicts between groupi members.
"One conflict had to do with the
way the group was to work together. There was a small but vocal
minority which wanted to just have
a show and accept whatever women
thought was erotic.
"The majority of the women
wanted to go through a process of
talking about what erotic art was
and what violence against women
was; they were prepared to learn
how to work together," says Barnett.
There were tensions that polarized around women with differing
political opinions and women with
different ideas about violence.
"Certain concerns about violence
weren't shared by the group. Some
of the women in the group felt that
whatever turns you on, turns you
on."
Barnett says the distinction between pornography and eroticism is
BLACKBRIDGE'S
Masturbating Woman
still not completely clear to her but
the artists' group made her sharpen
her sensitivity to the issue.
"We really learned to analyze
things. Listening to people who
have seen the show I realize that
they don't look as closely as we
did."
Barnett says the favorite quote
from the comment book of many
women in the show was one which
Turn to page 4 PHOTO CONTEST
PHYSICAL
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SOCIAL
INTELLECTUAL
FAME & GLORY
Take a picture and win a prize! Yes, The Ubyssey is holding a photo
contest to bring out the hidden talent of students at UBC.
All you budding photographers out there, we want to see photos
centred around the campus. The three categories are meant to inspire
students to produce original material that shows imagination.
Lens and Shutter, Kerrisdale Cameras and Rushant Cameras have offered to donate prizes for the winners in each category. Check the
details below.
Send your best photos to The Ubyssey, SUB 241k on or before
March 13. The staff of the paper will be judging the photos for creativity, effectiveness, and technical quality. We'll be looking for the best of
what UBC students have to offer.
We will be printing what we believe to be the best photos in the
March 20 special photography issue. Keep checking The Ubyssey for
details of the prizes you can win.
This is your big chance for fame, glory, and prizes. Don't miss it.
Rules and Regulations
i.
2.
3.
4.
The setting for all photographs must be some aspect of UBC.
Each print must be entered into one of the three following
categories:
Physical: a composition using the physical environment of
UBC; including the endowment lands, Wreck Beach, campus architecture or landscape.
Intellectual: an expression of the intellectual and academic atmosphere of UBC.
Social: an expression of social interaction and recreation at
UBC.
Only black-and-white, unmounted prints will be accepted. The
dimensions of each print must be 5 x 7 inches or larger, to a maximum of 11 x 14 inches (proportions flexible).
Photographs must have been taken Sept. 1, 1960 or later.
Each contestant may not submit more than three prints per
category.
Previously published prints, and prints that have been entered in
previous contests, will not be accepted.
6. Negative(s) must be available on request.
7. A winner and two runners-up will be selected from each category
and awarded prizes.
8. The following information must appear on the back of each print:
Category
Brief description
Contestant's name
Student number
Current address
Phone number
Number of other prints entered in this category
9. Prints must be sealed in an envelope and dropped off at the office
of The Ubyssey, SUB 24lk on or before Friday, March 13, 1981.
10. Contest open to all current UBC students, with the exception of
The Ubyssey staff.
11. Prints will be judged according to creativity, effectiveness, and
technical quality.
Page 2
THE    UBYSSEY
Friday, February 27,1981 Women prisoners fight system
Brutality
on the
inside
By HEATHER CONN
You can never erase a prison experience.
No one can ever give back freedom to
replace the dehumanizing days, months,
years spent behind bars — the mindless daily
schedule, pent-up rage, total lack of privacy,
sneering provocations from leering guards
and petty punishments used to silence
"troublemakers."
Brutality and power-tripping mind games
are bitter points of prison life as remembered
by four women ex-cons in Vancouver. Now
enrolled in a pre-employment program at the
rehabilitative Elizabeth Fry Society, the
women recall vividly their cell-bound past.
"The whole system is designed to make
you feel like a piece of shit," says Bev, not
her real name, who served time after being
busted with 28 caps of heroin. "They (prison
authorities) expect you to be happy, to carry
on a normal routine as if you were on the
outside. People on the outside get grumpy
and tired and bitchy . . . but you can't in jail.
"They play mind games. They fuck with
your head. So they put you under more
pressure and maybe you'll mess up and they
can send you off to Oakalla or Kingston
(penitentiary) or whatever."
Male guards are supposed to knock before
entering a woman's cell says Bev; but at the
minimum security Lynda Williams community correctional institute in Vancouver they
always walk in unannounced, often when a
prisoner is standing naked, she said. "One
old guy walked in on me. I turned around, I
was bare-assed nude and I said: "Get a
camera and take a picture, it'll last longer."
Women in confinement face continual
harassment and abuse from male guards,
especially at Oakalla women's jail, says
Ruth, who has served sentences in maximum-
security units.
"The male guards at Oakalla, I just
couldn't believe it. The screws they had
working there were frisking you all the time.
They weren't frisking you, they just had
nothing better to do except feel up chicks.
"The guards are like that, walking around,
eyeing you all the time, leering. That's exactly the way they look at you."
In December 1979, then Oakalla inmate
Geri Ferguson charged that guard Don
Stevenson handcuffed, stripped and
assaulted her. Last October, he was acquitted
of an assault charge she laid, even though the
judge admitted Stevenson's behavior was
"unwarranted and unjustified — even barbaric."
In 1978, B.C. supreme court justice
Patricia Proudfoot condemned the Oakalla
women's prison as a poorly-run institution
whose male guards tood advantage of their
position to invade women's privacy. As a
result, she recommended that male staff be
barred from areas that affect "human decency and privacy."
But according to Vancouver activist group
Women Against Prisons: "If anything has
changed since then, it's been for the worse."
Sherry, a prisoner free on temporary
absence, says guards use "women's liberation" as an excuse for their brutality against
women. "They figure: 'We can slap women
around if we want because if they want to act
like men, let them get up and fight like
men.' "
Both she and Bev said they think prison
administrators turn a blind eye to the use of
excessive force, whether by their own guards
or police on the outside. The Vancouver
police department could crack down on
violence but in Bev's words: "They don't
want to because they want the brutality of it,
to keep us under control."
So women prisoners face threats and
potential violence whether they are behind
bars or not, says Sherry. It's an ugly cycle, as
she explains:
"They threaten you a lot in jail now. If
you don't do exactly as you're told you have
that hanging over your head — the threat of
being sent back to Oakalla. When you're in
Oakalla they threaten  you with  Kingston
(prison). They're constantly threatening you
with something."
Most women prisoners are too intimidated
to criticize or complain about guards because
they fear reprisals and removal of prison
privileges, she adds.
"There's a lot of bullshit and nobody
wants to do anything about it," she said.
"I've seen girls write up grievances for other
girls to sign, but then when it came time to
sign it the girls just backed right down.
They're afraid if they did sign that they're
signing away their life . . . that they will just
be known as troublemakers and the screws
will really put the screws to them."
Because they have so few right in prison,
confined women must often resort to strikes
and sit-ins to have their demands heard, said
Ruth.
"Girls who had slashed (themselves)
couldn't get psychiatric help in the prison
they were in. They obviously needed
psychiatric help," she said. "We had to do
things like have sit-down strikes to get some
of these girls proper medical attention,
psychiatrists and stuff. It was crazy."
Yet prison officials often try to blame
other prisoners for the self-mutilation or
death of a woman prisoner, charge Women
Against Prison members. For example,
Maureen Richards was found hanged in her
Oakalla cell last November after waiting two
weeks for a trial on remand; Women Against
Prison members claim that the Oakalla men's
unit padre said later: "The other prisoners
didn't do anything to prevent Maureen from
doing it."
The only way to survive in prison without
hassles is to be quiet, passive and obedient,
two women interviewed agreed.
In Pat's words: "If you ever go to jail, I'll
tell you this. Do exactly what they tell you to
do. Don't be one of the fuck-ups and think
that you're gonna make it because you're
gonna be a hard-nose and do what you
fuckin' want to do. Because it doesn't
work."
Sherry adds: "You're supposed to be like a
robot. They push the buttons and you do it.
In jail you're not even allowed to be honest.
You have to go along with their bullshit. You
want to tell them exactly how you feel but doing that could jeopardize your freedom."
Ruth said she does not have the right to
criticize her treatment in jail. "I can't complain if a guy's bitchy and he takes it out on
me. I mean, that's going to happen. I played
the game and I'm going to have to pay."
However, there are still many women confined who have chosen protest and
resistance, rather than passive acceptance of
their situation:
• in the fall of 1979, six women at
Oakalla barricaded themselves in a cell foir
two days protesting harsh and arbitrary
discipline;
• on New Year's Eve, a peaceful sit-in by
20 women to protest prison conditions ended
in a 14-hour riot. Women participants were
placed in the solitary confinement unit — an
abandoned cowbarn — which has been condemned and was ordered closed in 1975.
• the women occupied the cow barn for
10 days and refused to leave until they won
their demand to meet Oakalla's prison
warden.
Whether women in jail choose active or
silent resistance, prison still leaves its scars.,
says Jerry Phillipson of Vancouver's John
Howard Society, a rehabilitative organization for ex-cons. For most, prison is the end
of the road for society's problem cases, he
said.
"To deal with crime, first you have to deal
with all the things that contribute to crime in
society like battered wives, battered babies,
violence on television, unemployment,
poverty, etc.
"A lot of people get damaged in prison.
There's no question about that. The longer a
person has been in prison, the less likely it is
that a person will survive on the street."
As Bev said, you never forget prison. She
cried out her former prison number — 1473
— with these words: "Everything that you
write in jail has to have your number. You
don't wear it on your chest anymore. You
just wear it in here (your head)."
Ex-cons:
outsiders
on the
outside
By LORI THICKE
Bev takes a long drag on her cigarette.
"When they beat you down so far, after a
while you just don't want to get back up
anymore. So you go back, like me, you go
back to selling heroin — or taking it.
Bev (not her real name) is an ex-con. She
and three other women who are enrolled in
an Elizabeth Fry Society rehabilitation program talked about the difficulties they face
on release from prison.
The women have served time in various
minimum and maximum security prisons
around the province (and in one woman's
case, outside of B.C.) for crimes ranging
from possession of heroin to conspiracy.
'Sherry' is the only one still in jail, though
some of the others are on probation: she is
attending the rehabilitation workshop on a
temporary leave of absence.
Chances are that three of the four women
will fail to make it on the outside and will end
up back in jail, says Jerry Phillipson, a
cousellor with the John Howard Society, an
organization that works with released convicts.
"In any prison population, whether maximum, medium or minimum security, 75 per
cent of the prisoners have been in trouble
with the law before. 75 per cent will get in
trouble again," he says.
Women getting out of prison often find it
easier to return to jail than to adjust to life on
the outside, inmates commonly leave prison
with low self esteem, low motivation, a lack
of confidence and few ideas about their
future. Often they are not sure if they want to
change habits that put them in prison in the
first place.
Turn to page 4
I  SEE  IT AS  FRtEDOfA OF   CHOKE.
EACH WOM&N  DECIDES   FOR H€l?StlF
HOW   SHE   WANTS  TO   BE
EXPLOITED.
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11
Friday, February 27,1981
THE    UBYSSEY
Page 3 Herotica:
a limited
first step
INTROSPECTION . . . woman
examines genitals with mirror.
From page 1
read 'these girls have a strange sense
of erotic'
"I think most people think (eroticism) is a clear-cut thing because of
pornography or their male-define
ideas about it. It seemed to challenge people's ideas." Some men
came in to see the show left immediately and others left soon afterwards, she says.
Just as language in our culture is
not neutral, neither is our art, and
Barnett says the vaginal shapes she
creates are a political statement. "I
myself decided that the art that I
did was a kind of political statement
that I felt necessary to make because there aren't many places
where you see art from a woman's
perspective."
According to an AMS women's
committee member bringing Herotica to campus during women's week
was to show students that there is
an alternative to the Playboy bunny
stereotype of sexuality.
redefining of human relationships,
says Gossen.
"For women involved in the (women's) centre it is an attempt to try
and evolve a view of sexuality that it
is not exploitive," she says.
The show was also an impetus for
the week, she adds. "As far as it being controversial, we felt one way to
attack the idea that we're prudish
was to take it in hand and say, we
do have a sense of humor."
'In a sense
it is a sincere
attempt to
define sexuality.'
BLACKBRIDGE'S
"I think we all realize that Herotica is not perfect, it isn't the definitive statement on sexuality that
doesn't include violence. But in a
. . . Introspection
sense it is a sincere attempt to define
sexuality," says Jesse Gossen.
The show is also an attack on the
idea that feminists are strait-laced
and have no sense of humor. It is a
Yesterday 235 people saw the
show in the SUB art gallery in just
over two hours. Not only was the
show an ingenious, refreshing look
at our sexuality, it obviously aroused interest and introspection for
many students.
And although both women's
committee members and Herotica
artists themselves will admit it is not
a perfect statement about women's
eroticism, it is in Robin Barnett's
words, "a limited first step" but a
courageous one.
"I think the women's art movement, feminist art, is still really new
in that sense. You see I don't think
we have something new to take the
place of what exists right now. I
think this show is only a limited first
step."
Women find alienation after jail sentence
From page 3
In addition, ex-cons must deal
with rejection by' friends and
families, a changed world and the
difficulties of supporting
themselves. Few employers will
consider hiring a person who has a
criminal record.
For many women it is easier to
return to jail than to fight the
system.
It is never quite the same when a
convict is released from prison and
goes back to friends and family.
"All of a sudden your friends are
changed and grown," says 'Ruth,'
"and you might have too. You're
just strangers, you don't know each
other anymore."
Rejection is a common reaction
of people who come in contact with
ex-cons, say Bev. "Some of them
are cold, some of them won't
associate with you."
Still others are suspicious and
mistrustful of the ex-offender, say
Sherry. "It's hard when you try to
make the best of it, of getting out,
and you know people don't trust
you."
A convict's record can follow her
for the rest of her life, prejudicing
people against her. Bev has seen it
happen. "Five years you can keep
your nose clean. But just once you
can be in the wrong situation at the
wrong time — maybe you're not
even involved — but baby your
butt's right in the slammer.
"You can have a job for 14 years
and never do a damn thing wrong,
but the minute something's missing
you're the first one in the office."
But prejudice is not the worst
thing an ex-con has to deal with.
Bev says: "When you get out of jail
you've got the cops to hassle you as
well as the people who are prejudiced in the first place. And the cops
are definitely prejudiced. They
know when you hit the streets. And
in your home territory you get
nothing but hassles."
'Gloria'   agrees,   adding:   "The
cops are always watching you."
The consensus among the women is
the police believe the ex-con is going
to do something wrong, and they
are always watching for it, expecting it, and so many end up committing a crime.
"You're supposed to be
rehabilitated. But the cops won't
give you a chance to be
rehabilitated," says Bev. "You got
society against you, and you got the
cops against you. They're the ones
that make you say 'fuck it, they
won't get off my case so I might as
well do it.' "
Both the threat of brutality and
finding a means of legal support are
usually major and immediate concerns for ex-cons says Phillipson. A
prison record is a "definite handicap" in finding a job he says.
"All employers are a little bit leery
of ex-inmates."
Also, on leaving prison ex-cons
are rarely equipped with the social
skills   or   vocational   training   to
guarantee   success   on   the   job
market.
Welfare is not a reasonable option for most ex-cons. "You can't
live on welfare," says Bev. "You
have to steal, or you have to sell
drugs on the side to live on
welfare."
The "put down" relationship
between prisoner and guard and the
lack of inmates' control over their
lives leaves them poorly suited for
reintegration into society.
When 'Jill' was first released
from prison she says she could not
face shopping. "I couldn't be with
a bunch of people. I couldn't take
the crowd. You have to get readjusted to people. I was always looking over my shoulder. It goes away,
but it takes a little while."
Phillipson says most ex-inmates
don't know what the real world is
like anymore. "The world is different. Streets change, bus fares in
crease." All of these changes can agree they never want to return to
increase disorientation for an ex- jail. But knowing the obstacles they
con. face   they   can't   guarantee   they
The  four  women  unanimously won't.
Koerner Foundation
SPECIAL LECTURE
Judge Nancy Morrison
will speak on
"THE IMPACT OF THE WOMEN'S
MOVEMENT ON CONTEMPORARY
CULTURE"
TUESDAY, MARCH 3, 1981
12:30-1:30 p.m. Buchanan Penthouse
Sponsored by the Womens Students' Office
With the support of
the Leon and Thea
Koerner Foundation
A Short Course
in English
Composition
can   help   you   improve   your
essay writing
for the UBC English Composition Test
March 2-19,1981 - $46.
Register this week at the
Centre for Continuing Education
228-2181 (245)
UBC Reading, Writing and Study Skills Centre
Page 4
THE   UBYSSEY
Friday, February 27,1981 Judy Chicago's Dinner Party
A feast for the senses
By JAMES YOUNG
Women's art. A local example is
the Herotica show currently on view
in the SUB gallery. But surely the
single most important example to
date, though more expressly concerned with feminist content, is The
Dinner Party by the American artist, Judy Chicago.
Since its opening in San Francisco in March 1979, The Dinner
Party has been the subject of political and esthetic controversy. Despite its overwhelming success as a
crowd-pleaser, museums in Rochester and Seattle have refused to
show it. And while some critics
praise Chicago for "integrating a
strong esthetic with political content,'others have objected that The
Dinner Party is "hokey art made in
the service of an excellent cause."
With an irony which is typical of
her, Chicago succinctly describes
this complex work as "a reinterpre-
tation of The Last Supper by those
who did the cooking." Expanding
her original concept of 13 women
sitting down together at a single
table, she arrived at three adjoining
tables in the form of an equilateral
triangle. This triangular arrangement, itself an ancient symbol of
the feminine, is shown in a darkened room in order to emphasize its
mythic and ritualistic qualities.
'She put vulvas on
plates and
served them up to
a staid museum
audience.'
On the tables are 39 place settings, honoring real and mythic women who have played an important
role in the development of western
society. The settings proceed chronologically, beginning with the Primordial Goddess, then including
such notables as Sappho, Elizabeth
I of England and Margaret Sanger,
before concluding with Virginia
Woolf and Georgia O'Keefe.
Each place setting consists of an
oversized chalice, eating utensils
and a highly individualized painted
ceramic plate, the design of which is
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FEMALE REJECTION DRAWING (1974)
a variation on Chicago's controversial butterfly-vagina imagery; all
these rest on their own elaborately
decorated tablecloth or runner, embroidered in a style appropriate to
the historical period concerned.
Supporting the entire installation is
the pearlescent Heritage Floor, on
which the names of 999 additional
women are written in gilt script.
The main purpose of Chicago's
Dinner Party is to make people
aware of the extent and magnitude
of women's contributions to society, to emphasize achievements
which the artist believes to have
been ignored or banished to a sort
of academic limbo by the historians
of a patriarchal society. Referring
to a theory developed by researcher
Ann Isolde, Chicago says, "Women's history has always been approached as if it were a box of bonbons . . . Christina of Sweden is put
right next to Aspasia of Greece,
next to Christine de Pisan of the Re
naissance; and you can pick up
these little bonbons and sample
them like caramels or nougats."
In addition to being strongly didactic, The Dinner Party is one of
the single most ambitious works of
art to be created since World War
Two, perhaps since the beginning of
the century. Chicago began work
on the piece in 1974, but soon discovered that she needed assistance.
While she insisted on maintaining
"final esthetic control," Chicago
eventually found herself cooperating with nearly 400 people, mainly
volunteers. Many of these men and
women worked in Chicago's studio
in Santa Monica, thus creating a
studio workshop system the likes of
which had not been seen since the
Renaissance.
Thus, by the spring of 1979,
when The Dinner Party was shown
at the Museum of Modern Art in
San Francisco, it had already gathered a large following.
Concerning the show itself, attendance was over 90,000 for the
three month period it was shown at
the San Francisco MOMA, breaking gallery records for an exhibit by
a living artist, including such names
as Robert Rauschenberg and Jasper
Johns. Patrons had to wait in line
for two hours before gaining admittance; sales of The Dinner Party
book (Anchor Press, Doubleday,
1979) exceeded 25,000 copies in the
first two months.
Chicago and her co-workers were
shocked, then, when the Memorial
Art Gallery in Rochester and the
Seattle art Museum broke their tentative agreements to show the piece.
Bruce Chambers, acting director of
the Memorial Gallery, cited rising
costs and confusion over who
would control funds raised by the
show as the main reasons for the
cancellation. He denied that the
move was political, stating, "no
one in any decision-making position
had problems with the content of
the show."
Reasons for Seattle's cancellation
were slightly different. According
to museum representative Annie
Searle, the gallery had expressed interest in The Dinner Party while it
was still in its early stages. The completed piece, measuring nearly 50
feet on each side, was too large for
the Pavilion at Seattle Center. "It
was a question of space — viewers
would not have been able to circulate freely around the installation,"
Searle states.
Prospective viewers were quick to
react; a group of Seattle women
picketed the main art museum in
Volunteer Park.
Beginning with these two cancellations, the owners of The Dinner
Party, namely Chicago and her
partners in the Through the Flower
corporation, have experienced continued difficulty in exhibiting the
project, repeatedly encountering
arguments based on the availability
of space and funding.
Chicago herself feels oppressed
by what she sees as the corrupt
male-dominated art elite. She
states, "the art establishment
spends hundreds of thousands getting second-rate exhibitions of Impressionist and Renaissance art.
This is a test of how deep a prejudice there is against women's art in
museums. People want to see it, the
museums can make money showing
it, but they won't respond to community demands."
Unfortunately for interested
Vancouver residents, there are currently no plans to show The Dinner
Party in the Pacific Northwest. In
this city, a group of six women,
calling themselves The Dinner Party
Project of B.C., have been lobbying
to have the show brought to the
Vancouver Art Gallery.
One of the group's members, former UBC instructor and art historian Avis Lang Rosenberg, argues
that The Dinner Party should come
to Vancouver on the grounds that
"it is a spectacularly sumptuous
piece. There's something for everyone in it, including craftspeople, artists and historians."
Rosenberg suggests a special kind
of show for The Dinner Party
should it come to Vancouver: since
Emily Carr is one of the names on
the Heritage floor, Rosenberg envisages a joint Emily Carr/Judy
Chicago show in the present space,
before the art gallery moves to its
new quarters in the courthouse.
VAG director Luke Rombout
thinks otherwise. He states that,
"given gallery booking commitments, there is no possibility that
The Dinner Party will come to Vancouver before 1984." He was "flab-
SACAJAWEA . . . part of The Dinner Party
CHICAGO . . . dining out
bergasted" when he learned that the
costs of bringing the piece to Vancouver would be around $75,000,
approximately half the gallery's annual exhibition budget. He points
out that even such celebrated names
as Robert Rauschenberg and Stella
Frank have been exhibited recently
for less than half the figure quoted
for The Dinner Party, and that the
cost of the average show is nearer
$20,000.
Much critical discussion has centred on the explicit vaginal imagery
of the plates and whether this is an
appropriate vehicle for the expression of feminist content, a point
which few viewers actually stop to
consider. To quote critic Diana Ket-
cham: "She (Chicago) put vulvas
on plates and served them up to a
staid museum audience. They
didn't even know what they were
eating."
While Chicago is now working on
various other feminist art projects,
she is deeply concerned that future
generations should hear her
message, too. She says, "this piece
has to be permanently housed. Part
of the goal is to introduce this information so it can't just be erased
from history. I'd like to see it find a
permanent home either in California or Washington, D.C. I'd like to
design an environment for it. It
could be attached to an existing cultural centre or a new one,, with a library or other research facilities that
could carry on the work."
Friday, February 27,1981
THE    UBYSSEY
Page 5 Van Herk pounds the peg in the pigs
By GREG FJETLAND
It has been said female authors
have an advantage over males in
that they can write about women
who are in the process of finding
themselves. Nobody, it seems,
wants to read about men with identity crises. Allied with this notion is
the theme of women who struggle
against men who would suppress
them. It is this latter theme that
Alberta-born author Aritha van
Herk successfully exploits in her
new novel The Tent Peg.
The Tent Peg is a well-written
story with competent descriptions,
evil he'd dig up his grandfather's
house if he thought there was a
mine underneath. Naturally he
loathes J.L. and it's obvious
Jerome is going to get his before the
book is through.
Then we have the woman J.L.
who is deep, as deep and mysterious
as the ocean. The men are as
children compared to her. J.L. is so
mysterious and full of understanding and knowledge, one wonders if
her initials might not instead be
J.C.
It's unfortunate to satirize The
-&-*$> •*WV'*. *"     ■    '
*■*•-
Tent Peg because it does contain
some good writing but it becomes
increasingly difficult not to be
cynical as one reads through the
novel. The feminist stance van Herk
assumes early on is developed and
brought to such a pitch that the
author tosses aside the realism of
the novel to advance the feminist
theme.
In one scene J.L. wakes and
walks out into the moonlit night to
witness half of the mountain slide
away in a landslide that comes
within a hundred yards of destroying the camp. J.L. is unruffled by
VAN HERK . . . mixed success
an interesting selection of
characters, some very good scenes
and a fine style: the personal point
of view of each character is taken,
apparently at random. Van Herk
carries off this difficult device with
aplomb and it is to her credit as a
writer.
The Tent Peg
by Aritha van Herk
McClelland and Stewart
It is also apparent that van Herk
has spent time in the bush. When
characters such as the outfitter and
the helicopter pilot speak of their
careers they do so with knowledge
and experience. Van Herk captures
well the feeling of the wilds, the
magnificence of the country, the
isolation, the tensions that can
build in a group of people effectively cut off from the rest of the world.
She knows too of the odd and simple pleasures that the mountains
provide, such as rolling one boulder
after another crashing down the
mountainside, or the resounding
echoes that will bounce back and
forth between mountains.
The Tent Peg relates how J.L.,
the woman, finds herself in the
Yukon mountains working as a
cook in a camp with half-a-dozen
men. Tensions are immediately introduced according to van Herk
because this is an unusual situation;
bush camps always have male
cooks. Tensions are also introduced
due to the contrasting personalities
of the men and J.L. It seems all the
men are insufferable sexists. There
is McKenzie, the aging party chief
who, while he respects women,
doesn't really understand them.
He's kind and gentle but still suffers
the loss of his wife who left him
many years ago so "she could find
herself."
There's Milton, a Mennonite boy
who conceives of women only in the
narrowest, strictest roles. Franklin
is a poet who can't see the real J.L.,
or any woman, for the gauze and
vaseline on his glasses. Cap, the
outfitter, thinks women 'is good for
just cookin' and screwin'. Jerome
is the bad guy (geologist), a man so
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the near-catastrophe but incredibly,
the men are are not even wakened.
Later, in a demonstration that all
females, regardless of species, share
a common deep bond that passes
understanding, J.L. casually strikes
up a relationship with a passing
grizzly bear and cubs.
If van Herk was content to merely promote the female of our
species, then the novel would not be
nearly so exacerbating but she consistently stoops to slandering males.
"... They're coming to me one by
one, pouring out their pestilence into my ears, trying to rid themselves
of the poison. I can't blame, the
goddess knows they need to tell
somebody . . . Poor children, I
thought we women carried heavy
bundles. . . . Men, a paradox . . .
And yet they've got it all . . . they
worship themselves as we poor
females never have ..."
By the end of the novel there just
aren't any surprises left. The
geologist has found his gold mine,
the men have all recognized J.L. as
their mentor and Jerome has tried
to rape J.L. She takes his .44 pistol
away from him, turns the table, and
is on the point of shooting his balls
off when McKenzie intervenes. This
ending is disturbingly similar to the
end of van Herk's first novel which
ends with the main character
castrating pigs.
Van Herk confuses feminism
with misanthropy. The tent peg is a
symbol of the destruction of men.
"It is time we . . . put the tent pegs
to the sleeping temples (of men)."
In a recent radio interview on
CBC's Morning Side van Herk said
that while J.L. is a feminist, she
didn't apologize for it, and she, van
Herk, was not a feminist.
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Page 6
THE    UBYSSEY
Friday, February 27, 1981 The Georgia
Straight is not
a body of water
By GREG FJETLAND
It's time to set things Straight.
Even though the Georgia Straight died
several years ago, in many people's minds it
remains the classic undergound newspaper. It
was as good an example of a truly free press
as Vancouver has ever had.
Some people might not have heard of the
Straight; perhaps they're from Nelson or the
moon. These people are encouraged to go to
the sixth floor of Main Library and look up
the Underground Newspapers microfilms or
go to Special Collections and request it there.
The paper they'll find is a tabloid with good
layout, great cartoons and an eclectic
assemblage of features.
"It started as a literary, political journal by
students," says Dan McLeod, editor and
publisher of the Straight and its successor the
Vancouver Free Press.
"What was being published in the dailies
left little room for minority opinion and there
were some very strong editorial campaigns at
the time against drugs," he says. "And at the
, PH.P.
Em." i
COUEGE is SIMfty A MIDDLE-CLftSS ItltC Tt> HWHStf"**!
time this Leisure supplement had just started
in the Sun, purporting to be an example of
the cultural scene of Vancouver . .. and to us
it was just a sham."
What is impressive when one looks at an
issue of the Straight is the sheer diversity of
its features. Whatever was happening,
whatever was important seems to have been
covered. Says McLeod, "It was an open
paper, not in the sense that a majority decided (what was published) it was open in the
sense that almost anything was published,
any minority opinion, the more of a minority
opinion the better."
"During its heyday the Straight was an important newspaper," says Ken Lester, editor
of the paper from 1969 to 1972. "It reflected
what was going on, it was a positive force. It
helped to align social forces that are continuing today."
Of course the Straight represented a
threat to the existing papers and to the
"establishment." Here was a forum where
hippies,  gays,  freaks and straights could
voice their opinions to a rapidly expanding
audience. By the fourth issue, according to
McLeod, the circulation was 65,000.
Naturally there was an establishment
backlash: the Straight's business license was
revoked after only a few short weeks of
publication, police harassed vendors by seizing their copies, and the paper, during its
dozen-odd years of publication, was busted
on some 40 charges of obscenity, many stemming from the controversial 'underground'
cartoons the paper ran.
In fact the Straight had great cartoons.
Acidman, Harold Hedd, the Freak Brothers,
(Phineas Freak, Freewheelin' Franklin, and
Fat Freddy) and of course, Reid Fleming,
World's Toughest Milkman, were just some
of the Straight's great cartoons.
To be fair the Straight had its share of problems.
"There were a lot of good things about the
Straight," says McLeod, "but journalistically, I suppose, it was a failure, in the establishment sense. It didn't expose any great boondoggles, it was more opinion than research.
At the beginning we did pseudo-muck-
racking and sensationalism. The next stage of
the plan was to do more thorough research."
Bob Mercer, a former editor of the
Straight, has his own version of how things
were. "When I went there (in 1977) I thought
it was a puffy rag and I thought, 'Geez, it
shouldn't be hard to improve on this. It was
kind of the journalistic equivalent of '70s
rock and roll, kind of flabby, self-pleased
and hedonistic."
There were internal problems as well. In
1971 the Straight staff went on strike and
seized control of the paper. The staff continued to produce the paper but they called it
"The Georgia Grape."
COLLEGES MAKE \K>uVeel PARANOID P*ovrr
tust FucKIMG orr— BESIDES Do woo
"They were striking over control of the
content of the newspaper," says Mercer.
"Dan would just take stories and change
them, change headlines. The worst thing was
that Dan was convinced that sexism sold
newspapers. He would put in snickering
headlines on stories about women.
GETTING STRAIGHT . . . discovering the counterculture (back then)
"They (the staff) wanted to communalize
the paper which Dan was diametrically opposed to since it was his paper. Eventually
the staff just occupied the office and started
putting out the Grape."
The Straight was essentially a phenomenon
of the '60s. But the '60s passed, the Straight
closed its Gastown office and moved to Kitsilano. It was really an indication of what was
to come.
Says McLeod, "We had made so many
enemies on the establishment side that it was
difficult to continue. People associated us
with the '60s." The Georgia Straight ws
buried and its successor, The Vancouver Free
Press, took over.
The Free Press bears little resemblance to
the Straight. Gone are the personal sex ads;
they form the basis for another McLeod
publication, The Vancouver Star. Gone are
the features by people other than newspaper
staff. Gone are the issues the Straight dared
to tackle. Instead we are presented with a
rather bland music magazine, Vancouver's
own mini-Rolling Stone, if you will.
"We're in a more constructive phase
now," says McLeod, "We've decided to nar-
rouw our point of view. We're trying to help
bring the music scene together in
Vancouver."
But Ken Lester, who currently manages the
Vancouver punk band DOA, disagrees. "The
Free Press doesn't have a broad range of
music writers and so lacks credibility. It really doesn't have a philosophy or aim anymore.
I hardly ever read it myself. I think Dan
McLeod is scrambling to keep it afloat but he
doesn't have a clear idea of why he is."
So to bolster its sagging appeal the Free
Press now has record and concert reviews, a
TV guide, and commercial cartoons such as
Mutt and Jeff and Inside Woody Allen.
The Free Press is a castrated version of the
Straight. Agrees Mercer, "It's a pretty
pathetic little rag."
The Free Press if fact supports much of
what the Straight opposed. But the the intention of the Free Press is different. The raison
d'etre is to sell as many copies as possible, attract as many adverisers as possible and to
make as much money as possible.
COU-CGES ARErUIXOF INHUME, SQUST/
S.V6 SHrTLIKE OofthS.FftATS.SOltoeiTteS.HO'J'-S 1
I   WftCS,CAr£TE.glA5,51.0P, G(LA0E5arsjlT£ACKr.ts)j|
GEORGIA GRAPE . . . occupation of Straight's Gastown office (1971)
Most lamentable is the loss of creative
energy, the innocent, anarcho-liberalism the
Straight exemplified. There was a lot of
hubris demonstrated based on the assumption people were by nature good and kind.
The sex ad& in the back of the Straight were
open and seemed decent enough. Now these
ads form the basis for the seamy, sexist Vancouver Star. It is a perverted magazine with
articles as SexSuper Market and A Woman
and her Horse.
The Straight crapped on the commercial
papers; the Free Press is one. The Free Press
became so similar to the commercial dailies
they lost support from many writers and
advertisers. When Dan McLeod hired Doug
Collins, who many consider a reactionary,
writer Alan Twigg resigned along with several
other staffers. Gary Cristall of the Vancouver
Folk Festival wrote to McLeod advising him
that the Festival would no longer place advertising with the Free Press because of the Collins hiring.
Could there be another new Georgia
Straight? "I don't think so," says Bob
Mercer. "It was a product of the times. It
started out with no capital and fifty people
working very hard. Certainly there won't be
an effort by the people of my generation, not
any more." 	
Friday, February 27,1981
THE    UBYSSEY
Page 7 Polanski's childlike Tess
lacks maturity of classic tale
By SHAFFIN SHARIFF
"/ had always wanted to film a
great love story, but what also fascinated me about this novel (Tess of
the d'Urbervilles) was its preoccupation with the vicissitudes of fate.
The heroine has every attribute that
should make for happiness — personal beauty, an engaging personality and a spirited approach to life —
yet the social climate she inhabits
and the inexorable pressures it exerts upon her gradually entrap her
in a chain of circumstances that culminates in tragedy."
—Roman Polanski
When a director departs from his
visual style and thematic approach,
one hopes that his venture will be
successful. More often than not,
however, the completed film project is usually a disappointment, as
is the case with Roman Polanski's
Tess.
Tess
directed by Roman Polanski
Playing at the Dunbar
Roman  Polanski,  who's  some-
Tess has received favorable reviews, six academy award nominations, and is a hit at the box office.
Many moviegoers are walking in the
theatre to see Tess, and walking out
after three hours thinking they've
just seen the most magnificent
adaptation possible of Thomas
Hardy. Perhaps.
Certainly, Tess is lovely to look
at, and that's a big credit to its cine-
matographers, Ghislain Cloquet
and the late Geoffrey Unsworth.
Normandy and Brittany photograph beautifully for Hardy's
Wessex (read Dorset), and much of
the natural composition in Tess is
brilliant. The opening scenes with
Tess (Natassia Kinski) and her village mates after work, Tess seeing
Angel Claire (Peter Firth) for the
first time, and Tess burying her
dead bastard child are wonderful to
look at and cherish. It's at these
points that Tess promises to capture
the spirit and resonance of Hardy:
those quiet moments that just happen without warning and seemingly
without preparation.
Fickle fate, powerfully present in
HARDY'S TESS . . . social victim
what of a celebrity these days, is director of the current adaptation of
Thomas Hardy's Tess of the d'Urbervilles. Tess marks an important
departure for Polanski, a filmmaker who is at his best when attacking perversely cynical and darkly humorous subjects.
Polanski's previous films, Rosemary's Baby and Chinatown, have
the potential of becoming film
classics. Tess does not. One could
have hardly thought Polanski an
unimaginative director, and it
comes as a considerable surprise,
then, that Tess is at once an elongated and uninspiring adaptation of
Thomas Hardy's novel.
Hardy's works, is also present here,
but only intermittently. There is
genuine surprise in some of the
scenes and circumstances, but very
little dramatic irony. Polanski
shows skill with his direction of
Kinski and the supporting cast, but
there is so much restraint in his
work, it's nearly suffocating.
Maybe it was too much to expect
that Hardy could be translated intact on the screen; after all, few
works of literature survive after
scriptwriters and ^directors get
through with them. Yet screen adaptation is not an impossible task.
One needs only to look at David
Lean's   adaptations   of   Charles
Dickens' works, Stanley Kubrick's
2001 and A Clockwork Orange,
and, more recently, Werner Herzog's adaptation of Georg Buchner's
Woyzeck and Francis Ford Coppola's excursion into the Heart of
Darkness, Apocalypse Now.
There was even an outside hope
with Tess that the element of fate in
the novel would be malleable for
Polanski's screen treatment. In The
Tenant, Polanski dealt with a man's
descent into madness and forces
which seemed to work against him.
Polanski is a master at portraying
the dark world of a chaotic universe.
It is a surprise, therefore, to see
how docile his Tess really is. There
is no fire in this film, only dying,
flickering flames too tepid to warm
the caring moviegoers' hearts and
illuminate his mind.
Considering the length of the
film, one would have thought that
Polanski could have encompassed
much more of Hardy than he does.
The major components and developments of Hardy are present in
Tess, but important details and connections between the three major
characters are not.
In the novel, for example, when
Angel tells Tess that his father, a
parson, preached to an unruly
young man, Tess recognizes him to
be Alec d'Urberville, the man who
raped her. Angel, of course, isn't
aware of her rape until after he and
Tess get married. This turn of
events produces an additional crisis
for Tess; Polanski version omits the
incident completely and turns Angel
and Tess' relationship into a simple
love story. In the novel, we see Tess
in anguish because of the decision
she must make about her relationship with Angel. The film has only
one scene which externalizes Tess'
inner conflicts.
And there is the matter of Tess'
rape. In Hardy, Tess' deflowering is
clearly an act of rape. In Polanski's
version, the violation comes off
more as a seduction than a rape.
Such omissions would not matter
as much as they do if Polanski had
anything substantial to add to Hardy's story after taking much out of
it. Unfortunately, Tess is only partly faithful to Hardy's spirit.
The settings and costumes in Polanski's Tess are faithfully recreated
to represent rural conditions in Victorian England, but the characters
fall short of being memorable.
One wonders what happened to
the strong, determined Tess with a
steel backbone. Kinski is striking as
a young, innocent Tess. She looks
provocative in the early scenes, and
there is an eloquent scene with a
teary-eyed Tess speaking to an unsympathetic parishioner about having an official church burial for her
child. It is precisely because scenes
in=the beginning of the film are of a
high quality that one feels let down
with the rest of the film. As an older
Tess, Kinski doesn't have the skill
or the features to indicate dignity
and maturity in her final hours. She
still looks like a child.
Of the two men in her life, Leigh
Lawson is much better as Tess'
lover than Peter Firth as her one-
night husband. Firth is blatantly
miscast as Angel Claire.
Tess is not, however, without its
rewards. Besides the excellent, subdued cinematography, there is also
a sumptuous musical score by Phillipe Sarde. During certain scenes
and moments, the music carries
more weight than the actors.
Polanski's Tess is a treat for
those who have not read Hardy's
novel. But those who have read
Tess of the d'Urbervilles are likely
to be disappointed. As fate would
have it, the latter are by far in the
minority.
SAX and violins on television
Punnish punis
By JAMES YQUNG
In addition to being the author of
five photographic books for
children, Bruce A. McMillan is the
leading pun-dit of "punography",
a witty combination of puns and
photography. His second book on
the subject, appropriately entitled
Punography, Too, features short
photographic series which illustrate
popular expressions or cliches.
Each of these sequences is comprised of four images, reading from
left to right. Some are hopelessly
farfetched, with little chance that
the reader will understand the pun
before reading the answer printed at
the end. For instance, how many
viewers who follow the progression
involving two children on a beach
being carried away by a man wearing a bathing suit would ever come
Punography, Too
by Bruce A. McMillan
Penguin Books
up with "Two go off on a tan
gent"? Other series are at fault for
being much too obvious: "Punching a time clock" shows a boxer
doing just that. Some joke.
Most of these puns, however,
reward the reader with a sense of intellectual satisfaction which results
from solving a visual puzzle. For example, a lonely hot dog, lying
forlorn on an unbuttered bun, is
joined by a pewter mug which is
decorated by a relief depicting two
happy   drinkers.   A   little   verbal
alchemy in the warped laborator
of your mind and "eureka"
"Frank 'N' Stein".
Or, an equally lonely television i
joined first by a saxophone, the:
one violin, then another. After pun
dering the problem for a while
most viewers will eventually agre
that this is a uniquely non-sexual
non-violent way to illustrate "sa
and violins on television."
As with purely verbal puns, th
OUTSTANDING in his field
Ait novel mixes Rembrai
By KERRY REGIER
Rembrandt's The Night Watch
was slashed in 1975 as it hung in
Amsterdam's Rijksmuseum by a
man the newspapers dismissed as
insane. John Miglis' Masterwork is
based on this event.
As described on the cover, this is
a novel of suspense. The figure of
the fictionalized slasher depicted as
an artist deranged with the grief of
his son's death broods throughout
the book, as a constant source of
energy.
Masterwork
By John Miglis
Lippincott & Crowell
From the opening scene in a railway car, in which the artist draws a
picture of a mother and child, his
developing madness is displayed.
The child depicted at his mother's
breast is not the model, but the artist's own dead child, which embarrasses and infuriates the mother.
"She and the child then pushed
through the doors into another
car. . . The drawing was folded in
half, lying on the floor. Bitch, he
thought, picking it up."
Miglis uses this mad energy eventually in a confrontation between
the artist and Rembrandt's painting, in which the artist psychotically
imagines the marching figures of
the guard to be real, to be killing his
son. When he wields a knife in fantastic self-defence, the artwork is
destroyed.
The remaining two-thirds of the
novel deals with the restoration of
the work, and a second attempt by
Page 8
THE    UBYSSEY
Friday, February 27,1981 iment
humor of this book is 100 per cent
cornball. Readers who submit
themselves to this absurd and
unusual pun-nishment can only
snort, sigh or groan in response. On
the other hand, the beauty of
Punography, Too is its accessibility: it is the perfect book to bring out
at a party, to give to someone you
don't know too well, to afford a
change of pace from more serious
required reading. Or, considering
the upcoming Ubyssey photo contest, Punography, Too might provide some inspiration to prospective
entrants.
A final feature of the book is that
it communicates the process behind
its creation. Many of the various
models in these series seem slightly
embarrassed or uncertain in the role
they are playing. As the book's
credits reveal, McMillan has coerced some of the everyday, down-
home folks living nearby him in
small-town Maine to participate in
his book. The Shapleigh women's
auxiliary, the Shapleigh volunteer
fire department, Burbank's landscaping service and Dexter shoe
store are all given a word of thanks.
Admittedly, this book is based on
a gimmick, but it hap-puns to be a
good one. One anticipates the
publication of Punography, Three
though perhaps with a change in a
pun-ctilio of layout: the answers to
these visual riddles could be printed
on the next page in order to keep
the reader in heightened sus-punse.
Jaiz quartet shines for few
By EVAN McINTYRE
The sign above the bar at 36 E.
Broadway reads, in black felt pen,
Hot Jazz Society Bar Tickets. Just
below, a wide red arrow points
down to the legend: AVOID LINE
UPS: BUY ENOUGH TICKETS
TO LAST THE WHOLE EVENING. Zooming back from the sign
past a cluster of empty tables and a
largely unoccupied floor space, the
irony of the message comes
through.
Such a dismal turnout, together
with the two front stage monitors
that did not so much make music as
noise, might've deflated the hardiest of performing musicians. Not
so with the Blaine Dunaway
Quartet on Monday night.
Blaine Dunaway himself looked a
bit under the weather when he
limped onto the stage after his three
sidemen ("an electric piano fell on
my foot earlier on," he explained).
After a brief tune-up, the four
unperturbed jazz men worked with
their instruments to create what
could've been an evening's jazz experience for some two hundred people but were content to fully satisfy
a handful instead.
The tune which started the first
set featured some slow-paced violin
from Dunaway and subtle brush
and cymbal work from drummer
Dennis Burke. Although the tune
was pleasant and consistently gained tempo, problems with miking
and mixing made for a fuzzy sound
that was unfortunately not ironed
out before Ted Borowiecki brought
the piece to a close with a
thoughtful scatter of drawn-out
piano notes.
Dunaway's assertive violin,
replete with some good high
reaches, and Paul Blaney's plucky
bass playing opened the second
piece.    The    quartet    was    un
mistakably warmed up by this
point. Dunaway bowed out for a
while to allow Borowiecki, Blaney
and Burke to fill in wit collaborations and solos. Borowiecki's piano
solo was a flurry of exhilirating
notes with a few chords thrown in
for added substance while Blaney
contributed a fast bass solo before
Dunaway returned on violin.
At first low-couched and later
loud and strident, Dunaway's
trumpet playing and Burke's crisp
drumming kept the third number
clear in all aspects..Dunaway's provocative trumpet notes lingered like
a fine mist in the air towards the
close of the piece.
Setting down his trumpet to
return   to   the   violin,   Dunaway
displayed his musical flexibility with
the onset of the fourth piece. His
technique was somewhat reminiscent of Stephan Grappelli and his
notes meshed with Burke's snappy
drum effects, Borowiecki's piano
and Blaney's well-phrased bass.
Again Borowiecki shone with a
dextrous stream of piano notes in
his solo which was dampened, but
far from extinguished, by the muddy miking of his upright piano and
the fact that the piano's austere
back faced the crowd almost completely obscuring the jazz fanatic
behind it.
An extended bass solo leading into frenzied group expression and
the evening's first drum solo came
out in the fourth number of the
second set. Burke combined rim-
shots, cymbal assaults and lost of
snare drum into the conclusion of
this piece.
The third set had the same consistent skill and feeling as did the
previous two. As before, every solo
was met with applause. Blaine
Dunaway and his sidemen are not in
the least hard pressed to prove their
love for jazz music — not to a large
audience or a small one. They are a
local band which deserves the continued admiration of more people
in Vancouver — a band which cannot help but go much further in jazz
music in the future.
DUNAWAY
fiddler diddles his bowstrings
Director brings
humor to UBC
By SHAFFIN SHARIFF
"A documentary crew b like a
small band of adventurers, thrown
together in desperate enterprise,
totally reliant on each other for survival, charged with the job of bringing something back alive and thus
hopefully illuminate some corner of
the human spirit. ^Donald Brittain
Donald Brittain, one of Canada's
most prolific filmmakers, will be
the theatre department's
film/television studies program's
artist-in-residence during the week
of March 9 to 13.
Brittain, director of such impressive efforts as Dreamland: A
History of Early Canadian Movies
1895-1939 and the academy award-
nominated Volcano: An Inquiry into the Life and Death of Malcolm
dt with Sherlock Holmes
the escaped madman to destroy it,
which fails at the last possible second, of course.
The Sherlock Holmes style of the
restorer's hunt of the shadowy figure of the slasher develops into a
satisfyingly absorbing story, though
it is marred by frequent digressions.
Miglis has a tendency to introduce
irrelevant material in a forceful
manner, such as lurid descriptions
of the restorer's sexual relations
with his beautiful female assistant.
Miglis had in this novel a fine
idea of almost Dostoyevskian
power, in the image of a plain man
slashing a revered painting. This
form of behavior is manifesting
itself with increasing frequency,
with the smashing of
Michelangelo's Pieta and many
other works.
Miglis has not the strength to
handle this complex problem, it appears, and merely dismisses these
events as individual madness.
Miglis even shrinks from thinking
about a solution, and instead mutters, in the voice of the restorer, the
same platitudes the newspapers and
television were feeding the world:
"It had happened here, he thought,
in the National Gallery, in the face
of The Night Watch, in the heart of
the museum, where violence and
destruction held a rightful place only in the imaginations of artists. It
was sacrilege of the highest
order. ..."
Masterwork, then, offers us no
explanations, comfort, or ideas.
But should not be spurned, for such
a vigorous story is not an easy thing
to achieve.
Lowry, will be visiting various film
classes during his visit.
"People tend to forget that
documentary film at its best is a
very emotional medium. It is not
didactic or journalistic in the coldblooded sense of the word; you 've
got to excite the emotions of the audience. It's tougher to do it in the
documentary form, and that is the
challenge — to invest the subject
with emotional content. I don't
believe that you teach people
anything through film, intellectually at least, but you can teach them
and move them emotionally and
reach them in the gut. "
Brittain has had a life as varied as
his camera's subjects. Before
becoming a filmmaker, he was a
police reporter at the Ottawa
Journal, a foreign correspondent in
Tangiers, and an interpreter in a
brothel on the Cote d'Azur. Brittain started working for the National Film Board of Canada in
1955, and has free-lanced since
1970.
What makes Brittain's work
fascinating is his wry sense of
humor and his unique interpretation of his subject matter. In
Dreamland, for example, he took a
seldom-investigated subject — the
early history of Canadian cinema —
and turned it into an interesting,
tongue-in-cheek look at the beginnings of Canada's film industry.
What could have been a dry, boring
documentary turned out to be
lively and intelligent, just a dash of
humor and off-beat observations.
Brittain's most recent film is
Running Man, with Charles
Shamata, which aired on CBC's
For the Record series last Sunday.
Running   Man   dealt   with   a  gay
.-   ..*». «*n.   '-«$$
°^-~**?S*SJ*VaS«*#»*»V.,„*3* ", .^
BRITTAIN
director bellows on film set.
middle-class high school teacher's
attempts to come out of the closet
without alienating his family.
But Brittain is perhaps best
known for his searing look into the
life and work of Malcolm Lowry.
Rarely have literature and film been
so successfully meshed, and those
who have read Lowry and seen Brittain's film can attest to his faithful
and frightening depiction of
Lowry's world.
Although Brittain will not be on
campus until March 9, several of his
films will be shown prior to his visit.
On Wednesday, March 4, Volcano:
An Inquiry into the Life and Death
of Malcolm Lowry and His Worship, Mr. Montreal will screen in
Buchanan 106, at 3:30 p.m. Next
day, on Thursday, March 5, the
theatre department has scheduled
Never a Backward Step, Memoran
dum and Van's Camp in the same
room, at 3:30 p.m. Ladies and
Gentlemen: Mr. Leonard Cohen
will be shown during Brittain'* visit
on Tuesday, March 10 in Buch.
106, at 3:30 p.m.
Brittain will be appearing in person and speaking to students on
Monday, March 9 in Buch. 106 at
11:30 a.m., and in Brock 151 at
1:30 p.m.; on Tuesday, March 10 in
Brock 208 at 1:30 p.m.; and on
Thursday, March 12 in the Frederic
Wood theatre at 9:30 a.m., and in
Brock 15' at 1:30 p.m.
Visitors are welcome at the
screenings as well as at the lectures
during Brittain's visit. Interested
film buffs should not miss this opportunity to see one of the best
documentary filmmakers in the
world.
Friday, February 27,1981
THE    UBYSSEY
Page 9 Avoid
Tribute,
and help
destroy
the film
industry
By ERIC EGGERTSON
Tribute is a sentimental look at a
Broadway press agent's efforts to
reconcile with his son. Scottie Templeton, played by one-time comic
actor Jack Lemmon, discovers that
he has cancer. The story isn't original, but Bernard Slade turns the
standard dying-man-who-realizes-
the-futility-of-his-life idea into a
powerful screenplay.
Scottie's situation has been dealt
with before in novels and films.
Bernard Slade isn't breaking new
ground with Tribute, but he does a
good job with what may already be
a cliched situation. At times the
emotional intensity of the film is so
perfectly choreographed one feels
totally manipulated.
Tribute
Playing at Capitol 6
Starring Jack Lemmon
If Tribute's strength lies in its intensity, the film fails to rise above
the Love Story tear-jerker category.
The audience is soaked for tears repeatedly while Scottie bravely faces
up to his incurable disease.
Thankfully the conflict between
Scottie and  his son  Jud  (Robbie
BLACK & LEE
TUX SHOP
1110 Seymour St.
688-2481
Benson) isn't drowned by maudlin
sentiment. Benson gives a surprisingly strong performance as the
clumsy, shy son.
Both father and son want to really get to know the other, but neither
is willing to commit himself to a reconciliation. The film centres around
their inability to show mutual affection, and becomes in its own way a
tribute to the two of them. Though
Scottie dominates much of the film,
in a quieter way Jud is always present in the background.
Technically Tribute is a Canadian-American co-production, but
all exterior shots are in New York
(that's where Broadway is, remember?) Like Bear Island, another
Pan-Canadian film, Tribute is designed to appeal to a varied audience. And like Bear Island Tribute
fails to succeed in artistic terms. It is
a commercial venture, set in New
York for American audiences who
seem willing to put up with some of
the crassest commercialism in the
history of film.
That Tribute isn't the crassest example of American films has nothing to do with the "Canadian content."
When compared to some of the
other films screened this year. Tribute looks pretty good. But that's no
compliment. Jack Lemmon gives a
touching performance that keeps
the audience on edge.
He works on Scottie's character
until you think you understand
him, then he changes stride and
shows another side of the character.
But Lemmon alone cannot save
what is basically a sentimental, cliched look at family relationships.
LEMMON AND BENSON
So do yourself and everyone else
a favor and don't see Tribute. If
enough commercial films fail,
maybe the North American film industry will collapse. Then you
won't have to see any more of them
and we won't have to review them.
basically sentimental
A Career In Orthoptics
Students are invited to train in a para-medical field of
Ophthalmology which deals with the diagnosis and
treatment of strabismus (visual problems associated
with eye muscle imbalance) in children and adults.
The course is 24 consecutive months at the Vancouver
General Hospital commencing in July with daily clinical
training and applied theory.
Prerequisites: 1 year university of equivalent, a fondness
for children, and an interest in clinical work.
For further information, please write to:
Orthoptic Clinic, OPD
Health Centre for Children
715 West 12th Avenue
Vancouver. B.C   V5A 1M9
Bill
Docksteader
Mr. Mileage Maker, Bill Docksteader, says you'll always find best-
in-town Honda deals at Docksteader's Kingsway Honda, 445
Kingsway! Call 879-7414 'til 9 p.m. Are you a UBC student?
Check out our UBC specials below!
78 Honda Civic hatchback! Gold 4-spd! 56,000 miles! Show
us your student card for UBC special - only price of $36951
"77 Honda Civic hatchback! Another golden deal! 67,000
kmage! But a UBC special, only $39961
79 Honda Civic wagonl Brown 4-spd! Only 33,000 km! Only
$49951
70 Volvo! It's a 142!  Blue 2-dr. four-speed! 97,000 miles.
Open to student offers on asking price of $1995!
Bring this ad with you to:
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So many more good used cars to choose from!
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Get to know the real taste
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Sip it before you add your favourite mixer.
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Add your own
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you can count on
enjoying it.
Page 10
THE    UBYSSEY
Friday, February 27,1981
i HOT NEWS THAT FITS
Grads 'Railroaded'
Fee Referendum
For SUB Fee
Student council graduate representatives have been accused of railroading a fee referendum by waiting until councillors who would oppose the motion left the chambers.
Council made a last-minute decision Wednesday night to hold a
March referendum offering students the chance to discontinue
paying a $15 annual SUB building
fee.
Although council had quorum
when the decision was reached, at
least two members of the new executive claim the councillors present
did not represent council's true feelings.
Peter Mitchell, Alma Mater Society vice-president, said the graduate
students, who introduced the motion,   deliberately   introduced   the
motion late in the evening to ensure
that it would pass.
AMS finance director Jane Loftus said if the motion had been introduced earlier, it would have failed.
The issue had arisen early in the
evening when board representative
Chris Niwinski told council it
should consider not collecting the
fee this year because a January referendum to renovate SUB failed.
Niwinski said he withdrew the
motion because a referendum with
new renovation plans should go before students in the fall.
But graduate representatives reintroduced the motion toward the
end of the meeting, after Niwinski
had left. Only four of 16 councillors
opposed it.
The SUB fee was started in 1964
to finance SUB's construction. This
year SUB has been paid off, and
council held a January referendum
to use the $15 fee for renovations. It
failed, but AMS president Marlea
Haugen said recently she planned to
continue collecting the fee for possible future projects.
Coundl Briefs
Israel Disrupts
Arab Feudalism
The Middle East problem is more
than simply an Arab-Jew conflict
according to Simcha Jacobovki, a
University of Toronto professor.
Speaking on the Jewish national
movement Thursday, Jacobovki
told 50 people in Buchanan 203 that
the establishment of the state of Israel disrupted the surrounding feu-
dalistic Arab countries.
"To preserve the feudal structure
these countries channel their internal problems against Israel . . .
but with the Egyptian peace treaty
these forces will have to channel
themselves differently," he said.
Jacobovki said the treaty will
cause internal conflict between the
many ethnic and religious groups in
the Arab countries, which will eventually result in destruction of the existing regimes.
"This will not be a progressive
coming apart but an oppressive
one," he said, "similar to what is
happening in Iran."
Students will be asked to pay a $5
fee levy to fund a Public Interest
Research Group at UBC on a
referendum from March 16 to 20.
Student council set the date af its
Wednesday night meeting after it
received a petition, signed by more
than 4,000 students, calling for the
referendum.
P'RG's are a concept developed
by consumer advocate Ralph Nader
and are designed to provide
students with facilities to investigate
consumer and environmental
issues.
The motion to hold the referendum March 16 to 20 was passed
without any no votes.
*   »   »
Council struck a committee to investigate the possibility of
renovating SUB to improve access
for students confined to
wheelchairs.
»    »    *
Council passed a motion to support Nishga native Indians in Alice
Arm who are asking the federal
government and provincial governments to hold public hearing on the
establishment of an Amax mine in
that area.
Council was told by Don
Johnston of the Lutheran Christian
Movement that natives are concerned about the effect mine tailings will
have on the environment.
Engineering representative Don
Erenholtz opposed the motion
because a guest professor had told
him that mining tailings in Alice
Arm caused no environmental
damage, but his was the only no
vote.
Council was told Amax plans to
dump 100 million tons of toxic mine
tailings directly into the ocean at
Alice Arm at the rate of 10,000 tons
per day for more than 25 years.
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Council established a nine
member board of directors for the
CITR radio society to ensure the
campus radio station will qualify
for a low power F.M. broadcasting
license.
Council passed the motion after
AMS president Marlea Haugen
gave assurances council could
"have almost total control" of the
society.
Students To Fight
Gov't Cutbacks
UBC students will be asked to
walk out of classes March 18 to protest government cutbacks in post-
secondary education, student council confirmed Wednesday night.
Universities across the province
have acknowledged March 18 as a
day of protest against government
cuts and increasing tuition fees.
The student committee on tuition
and student aid will organize the
NOTICE
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February 23rd
Dept. of Finance, General Service
Admin. Building
8:30 a.m. to 4 p.m.
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protest at UBC, which will primarily feature a rally starting at 11:30
a.m. outside SUB. Information on
the reasons for the protest and details of the rally will be distributed
today.
Student council agreed to support
the protest, and gave the student aid
committee the go-ahead to arrange
for sipeakers at the rally. The committee hopes to get university officials, students, and provincial government and opposition members
to speak.
Meanwhile, the committee is preparing a presentation for the board
of governors meeting Tuesday.
Committee member Brad Stock
says he will request more bursaries
for students next year because available funds are inadequate to cover
increased tuition fees and the high
cost of living in Vancouver.
Clark Denies
Knowing Of Deal
The man who supposedly made
an agreement with Tom Fawkes of
the B.C. Federation of Labor to remove pickets from the UBC' campus
cannot remember the event.
When asked about the deal which
had Telecominunications Workers
Union members remove their
pickets from SUB and the new administration building, UElC labor
relations manager Wes Clark said:
"What deal, who's Tom Fawkes?"
Fawkes said the agreement was
made with Wes Clark and he received a letter signed by a W. L.
Clark, UBC labor relations manager, on official UBC stationery
from the employee relations department.
The telephone number in the letter which told Fawkes to call
"about any B.C. Telephone Co.
supervisors being called to the
university," also belongs to Clark.
But when asked about the letter,
Clark said, "What letter? I write
plenty of letters."
Clark said he did not do anything
about the strike besides talk to the
unions while they were at UBC.
Asked if any agreement had been
reached between himself and the
B.C. Fed, Clark said, "you should
ask them about that."
Gears Fight
Pit Prices
Pit beer prices will be lowered if
the engineering undergraduate society has its way.
The engineers collected 600 student signatures on a petition requesting a referendum to lower beer
prices, Peter Mitchell, Alma Mater
Society vice-president, said Thursday.
Referendum fever seems to have
taken hold of the campus, with
two other ballots going to the students March 16 to 20. One question
will ask students to establish a $5
fee levy to fund a B.C. Public Interest Research Group at UBC, and
the other will decide whether to cancel the $15 SUB building fee.
A referendum to use the building
fee for renovations to SUB failed in
January, and it appears another ref
erendum on the issue will take place
next fall.
Council has to decide if and when
the Pit beer price referendum will
take place at its next meeting.
|(M£nME)   susg.
DROAdwAV
ShovttlmM: 7: IB 9:15.
|70 7   W   BROADWAY       AM.hT.A I.ANSBIJRV
8 741927 KDWARI) K)K • ROCK HUDSON ■ KIM NOVAK■ t.l.lZABKTH TAYLOR
.The
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Friday, February 27, 1981
THE    UBYSSEY
Page 11 Letters
Whitewash won't restore lost human dignity
I feel I should respond to the letter 'Gay
undignified' for two reasons; because I am a
firm believer in the power of the truth and
because I have a point to make regarding
human relations.
I would like to emphasize that my comments are not intended to be a parting shot at
my friend. That would be counter-productive
and beneath my dignity. Let's go back to the
situation.
I was sitting at the GayUBC booth in SUB.
A man of approximately my height and at
least 100 pounds heavier came up to me,
gleefully selected two of my buttons and
started walking away. I told him that the buttons cost money but he kept on walking.
I went up to the man and asked him quite
calmly to return them, at least four times. All
I got was abuse in return. He kept saying,
"Come on faggot. Take them from me.
What's the matter, homo? What're you going to do, faggot? Slap me?"
I turned to his friends and asked them if
they were going to put up with this
behaviour. They stared at the floor. So I did
what the man asked me to do. I grabbed one
button and while struggling for the other he
dropped it into the garbage.
As I rummaged through the garbage can,
I'll grant you that some did end up on the
"het". If any damage was done him I
apologize. Oh yes, I did get the second button back but not before my friend took it
upon himself to "touch" me with a Coke can
which he then "dropped into the garbage
can".
(Interestingly enough, the police told me
that the letter-writer had earlier said that the
"het" had done nothing of the kind but had
thrown it at me. Since I only have one story,
perhaps it is the more credible one. What I,
know is that he hit me hard enough to make
me momentarily dizzy and to raise a welt the
size of a 50 cent piece about a quarter-inch
off my scalp. After feeling the welt the doctor insisted on examining me for concussion.)
At that point, I realized that there were
some 30 or 40 people sitting in the area who
had neither lifted a finger nor said a word in
my defence. So, yes, I got angry and gave
them a blast.
What I said was, "Your people aren't
worth the human dignity you're supposed to
be made of." (From the rest of this episode
and Physed 4's letter it seems quite
understandable that this would be "undiscer-
nable verbiage" to him. Just so that he
knows, it means "respect brings respect".)
And, yes, I called them "scum of the
earth". At that moment, in my eyes, they
were.
If this has seriously wounded them then let
me offer some advice. If "hets" want to improve their image during "het" week, which
seems to be every week of the year in this
world of ours, perhaps they should, "go for
reps that can take a bit of harassment; it's inevitable that they'll encounter some along the
way."
No. No one should expect to take abuse.
But then again, no one should expect to dish
it out either, especially without response.
The arrogant and mistaken attitude that
this thief and his friends have is illustrated by
the fact that they simply stayed where they
were when I walked away. You see, they
think that they can calmly steal from people
they don't like, abuse and taunt them, hit
them and then those so bullied are supposed
to keep it to themselves.
If I were really undignified I would have
vented my anger and frustration by giving my
friend a fire-extinguisher bath or perhaps
something far more painful and permanent
than the lump that he gave me.
Instead, I did as everyone should do. I
turned my anger away from violence. I
removed myself from the situation and phoned the RCMP. The response from them was
quick and I thank them for it.
Since the arresting officer was female and
much shorter than my friend, he felt it
necessary to bully her as well. He yelled abuse
at her (the expression "fucking cunt" comes
to mind) pushed her around, grabbed her,
and generally made her job extremely difficult.
No wonder she took her time telling him
the charges. She needed three of four minutes
to subdue this dignified and reserved
gentleman by cuffing his hands behind his
back. As he left he felt it important to yell
"homo! homo! homo!" at me. 1 don't know
why. I'm fully aware that I'm gay. These
hateful people should learn that they dull
their swords with excessive use.
When CITR reported the incident our
wounded friend marched into their studios
and was "extremely aggressive and loud".
Incidentally, all our posters along his route
were obliterated and those on our office door
were set alight and pushed flaming under the
door. Then abusive filth was scrawled on the
door itself.
I will not comment on whether or not it is
more dignified to burn the posters or to
scrawl on the door. But I will comment on
more important matters.
It is embarrassing for me to see what seems
to me to be a relatively reasonable and intelligent individual forced to twist logic and
facts into such deplorably self-contradictory
and silly stuff as is 'Gay undignified'. This
white-wash would have been unnecessary had
he given his friend the advice his friend needed before things got out of hand. He should
have told his friend to smarten up and hand
back the buttons. That would have been true
caring.
Probably, however, he felt his friend's
behaviour totally justified. Just as one obviously expected no response to theft, abuse,
and assault, the other probably expected no
response to his less than truthful letter. Surprise again. Certainly now Mr. Anonymous
you're not trying to excuse your friend's
behaviour by saying that after it was over I
was undignified.
I wonder how dignified our friend would
have been if someone had stolen his wallet,
called him names, and then hit him on the
head for it. His opponent would either be
dead or very bloody.
Let me tell you something about dignity.
Dignity  means  self-respect.  It  is  not  the
smugness that comes from having a physical
advantage over someone else. We have
relatively little control over the way we
develop physically.
Nor does it come from sending less than
truthful, anonymous letters into The
Ubyssey. Anyone can type.
What respect does come from is behaviour
based on principle as opposed to emotion. It
is not the manner in which one does things
but why they are done.
All the obsequious gentility, "three-piece"
syntax, and whereases in the world are not
going to make theft, abuse, and assault into
anything else. Theft, abuse, and assault can
never be worthy of respect. I found my dignity ages ago and you simply cannot steal it
from me, abuse me for it, or beat it our of
me.
Mark MacDonald
vice-president, Gay People of UBC
Discrimination same when against gays
Judging from the letters in recent issues of
The Ubyssey on the topic of homosexuality,
it seems there is some value in discussing the
question in a larger sense, without regress to
specific circumstances and personalities.
The controversy, here and elsewhere, indicates that there is still a considerable reluctance to accept gays and affirm their rights to
live openly, to occupy professsional, and
other, positions of responsibility, and to take
their place as valuable associates and
members of our communities.
If we refuse to extend this recognition to
native Canadians because of what they are,
we are guilty of racism. Most research indicates that gays cannot reverse their orientation.
Evidence seems to suggest that sexual
orientation is a "given"; while the majority
of us are "given" a heterosexual orientation,
some people are "given" a homosexual
orientation.
The reasons for wholesale condemnation
of homosexual activity derive principly from
two arguments: biological and biblical. The
biological argument is that since homosexual
activity cannot result in progeny it is a crime
against the natural order.
In the light of widespread attitudes
recognizing the desirability of sexual relationships for reasons other than procreation, and
accepting and approving such relationships,
this "biological" argument against homosexuality is simply not substantial.
The biblical argument cites Old and New
Testament sources, and a discussion detailing
these,   and   considering   such   things   as
historical context and social conditioning, is
not appropriate here. My presupposition is
that if we are to be truly biblical today we
cannot simply repeat the conclusions stated
in these writings.
Rather we must rethink the issue creatively
in the light of the great themes of faith and of
available empirical knowledge, as the biblical
authors did in regard to other issues of their
day, and theologians have been continually
doing ever since.
In our condemnation and ridicule of the
homosexual, the dominant society does terrible, often irrepairable harm, not only to the
five to 10 per cent of our population which is
homosexual, but also to their families and
friends. In placing the families in difficult
and lonely positions — and compounding the
misery of the gay person — we are affecting
the majority of our society.
This is the key question: Why should
homosexuality as such render one unfit to
perform any function in any community if
one is in other respects as qualified to do so
as a heterosexual person?
Suppose we do believe that homosexuality
is less than optimal in principle, that it is not
genetically caused, and that it could be overcome. The question would remain: Is this
issue of such importance that homosexuals
should be told that, if they want to be fully
acceptable as human beings they must do
whatever is necessary to become heterosexual?
The therapist with whom I have talked
most about this issue does think that
homosexuality is "arrested development",
and she also says that in most cases the attempt to change would take many years of
agonizing work. How many people can afford this kind of therapy, in simple financial
terms?
And this kind of effort would be so all-
consuming in terms of time and energy that
other areas of life would be drained of the
possibility of creativity. Would we prefer that
a Michelangelo or an Oscar Wilde had
postponed the creative use of his energies in
the arts until he had become optimal in his
sexual life?
Furthermore, many of the experts who
think the causes of homosexuality to be totally environmental also say that some people
could never change their orientation, no matter how much time and energy were put into
the effort. Without any real knowledge in
these matters, should we continue those attitudes which can be justified solely by the
fact that they maintain pressure on people to
change something which, apart from the
pressure, most of them would probably not
want to change?
I do understand the strong negative feelings that many people still have about
homosexuality; I had them once myself. But
I appeal to you not to let these feelings
perpetuate attitudes that will only contribute
to further human misery without protecting
any essential principle, and that will therefore
perpetuate our collective guilt in this matter.
George Hermanson
Margaret Copping
Co-operative Christian Campus Ministry
Thoughts on women's week
The two very interesting letters above
this editorial are an aftermath from gay
week 1981. From the sound of it, it
could have been 1881, just before the
time when Oscar Wilde found out how
intelligent his society really was.
Now it's women's week, but of
course nothing of the above sort will
happen. No one will bop a woman on
the head for saying "I am equal to you,"
and campus chaplains will not feel
shocked and compelled to come to the
defence of women who say such things
and get bopped. After all, we don't real
ly treat women that badly. Do we?
Yes, we damn well do. And considering women are slightly more than half
the species, it is the most odious and destructive kind of oppression. It's almost
universal on this planet and goes back
before recorded history.
It is not enough to cluck condescendingly and say, yes, women should have
equal pay for work of equal value and all
that. We are talking about daily acts of
violence to women. And you can't explain it away blaming the natural order,
evolution, capitalism, unfortunate acci-
THE UBYSSEY
February 27, 1981
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's editorial office is in room 241k of the Student Union Building. Editorial departments, 228-2301; Advertising, 228-3977.
Editor: Verne McDonald
We'll divide the day into sections and blame people for each one. James Young and Evan Mclntyre had a nasty fight at the staff conference. Craig Brooks threw telephone books at people. Arnold Hedstrom and Lori Thicks accepted phone caUs from adside about
screw-ups. Shaffin Shariff, Nigel Findley and Greg Fjetland elegantly sipped champagne, toasting Media Services and surveys. Julie
Wheelwright messed up the transportation, so Stave McClure, Glen Sanford, Nina Miller and Eric Eggertson had to take the bus to
the printers. Verne McDonald got all the residual blame.
dent,  Marxism  or primordial  weather
patterns.
In a society which claims to be concerned with the inability of some to recognize racial plurality and equality and
which has removed criminal penalties
for gays, you can still draw a blank stare
or apprehensive glance by mentioning
the oppression of women.
The cause isn't in the past, it's in the
present; it's the fear among men they
will lose something by allowing women
the intellectual roles they have been denied in the past. And it's a bullshit fear.
As with the liberation of any other
identifiable group within the society, the
formerly dominant will only lose fetters
of the embarrassing and counterproductive roles they've had to play.
What we have to gain is half the
human race.
It is said by scientists we evolved from
the animal kingdom and became
human. The mistake is in the past tense.
Women's week is a reminder the evolution is still painfully in progress.
Page 12
THE    UBYSSEY
Friday, February 27,1961 aaManM>MBvnnvaaaaiMBvsBs>saBSBa>a>MsiMaBsaa>BaMs>a>inB>sissB
Letters
'Why am I being forced to live like a rat?'
I do not know why I am writing
to The Ubyssey to say this; but here
goes shit, okay?
Last November an unfortunate
turn of events led to cutting off
from my sponsor (to put it in Financial Aid jargon) any monies he/she
had decided to supply me. I realized
that ends were not going to meet
and applied for financial aid.
The woman (I had to wait a week
to get an appointment) was so nice.
She dried my eyes, gave me a reassuring pat on the head and without
much delay sent me on my way with
an application for an appeal and an
emergency loan.
Oh, yes. "The appeal decision
will be here by Feb. 1," she said.
Not to be lulled into a false sense
of security I worked over Christmas
(including Christmas  and  Boxing
Day). I made enough for Christmas
presents, a little stash of $200 and,
yes, I splurged and went skiing
three times. (Am I forgiven?)
I received the rest of my disbursement upon returning to school . . .
blah, blah, blah.
I am tired of explaining my position to Finance (late tuition), registration, financial aid, FUCK. I fail
to understand why I'm being forced
to live like a rat.
As young little toilet trainees
through to high school we have it
drilled into our heads: "Go to
school, don't drop out!" Why? I
ask. Had I dropped out I wouldn't
be living like some Gregorian
monk.
It seems to me the government
makes it bloody hard to remain in
school. Then, with degrees clutched
in our tight little fists we go out in
the real live world to reap our just
rewards.
If you are lucky you get a job in
your field of study that pays less
than some monkey gets who took
the easy route, got a job at the post
office and gets paid to fuck up the
mail system.
Who are the smart ones?
Why, why, why, why, why? . . .
I am human, angry
I see by a recent article (Matthew
makes Mike mad, Feb. 10, 1981)
that my response to the latest letter
from Kurt Priensperger was
misinterpreted and misunderstood.
I felt that although Kurt's initial
thought was acceptable (it would be
fine for more women to ask men
out if they want to), the justification wasn't. In the letter I wrote, I
was angry and used some harsh
words, however, they were only to
get a point across.
The Ubyssey welcomes letters
from all readers.
Although an effort is made to
publish all letters received, The
Ubyssey reserves the right to edit
letters for reasons of brevity, legality and taste.
Neatness counts.
The point I made was simply,
that I felt Kurt gave the impression
that women had no feelings, morals
or need for love, true and pure. I
hoped to make it clear that such
things should not even be implied.
As for the letter Michael Willard
wrote, I have little to say, because,"
on re-reading my article, I find
parts of his incomprehendable.
However, to clear my good name
(and it is), I must remark that his
last paragraph was totally unjustified.
I am not wrapped up in my own
ego, movements and cliques, and
am very capable of understanding
others. I am human and I get angry
when someone's words "rub me the
wrong way." However, on my
original feelings I do stand firm.
Liz Matthew
sciences
"M&ife^
*
"Best supporting actress"
nominee — Diana Scarwid.
•••"...worth
cheering about."
—NEW YORK DAILY NEWS,
Kathleen Carroll
%r A GOODMARK Production
A RICHARD DONNER Film
"INSIDE MOVES"
Starring JOHN SAVAGE
DAVID MORSE • DIANA SCARWID ■ AMY WRIGHT
Music Composed by JOHN BARRY  Film Edited by FRANK MORRISS
Production Designer CHARLES ROSEN
Director of Photography LASZLO KOVACS, A SC
Based on a novel by TODD WALTON
Screenplay by VALERIE CURTIN & BARRY LEVINSON
Produced by MARK M. TANZ & R.W. GOODWIN
Directed by RICHARD DONNER
"Inside Moves is a
pleasure, filled with
funny moments and
splendid performances. It will make
you smile and laugh
and feel touched."
— NBC-TV, GeneShalit
"You shouldn't miss
Inside Moves...
an exhilarating
experience."
Judith Crist
~{>;-<*
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(ttfiQSS)
WARNING:
M«y not be suitable for children. Some violent scenee snd coarse
language. B.C. Director.
Showtime.: 1*0 3:00 6:60 7:80 S:60.
• 31   GRANVILLE
665  682»
Because. That's why.
Meanwhile, back at the ranch,
Michael and friends run around,
getting smart, pumping out real
progress and starving. It seems universities contribute almost every advancement to society and we get shit
on during and after our studies.
I realize I'm ranting and foaming
at the mouth at thius time but I
can't stop. . .
Therefore, I have decided, at 1:30
p.m. on Saturday, Feb. 28 I am going to symbolically protest my contempt of society by mooning the
telephone book open at the government listings.
Not much, I realize, but it's better than mooning Victoria; I would
only lose what little I have.
Mike Poulter
chem-biochemistry 3
Poofta defends late Page Friday
I would like to take exception to
the way you reported the article on
the council media survey in Thursday's edition of The Ubyssey.
If your newspaper myst bore its
readers with self-congratulatory accounts, you could at least quote
your sources correctly and completely.
My remarks were printed in such
a way as to imply that the late Page
Friday was not considered valuable
by the staff and that arts and review
articles were deliberately cut back.
Neither implication is in the least
correct. It was the strength of the
Page Friday staff and the quality of
their writers which was the cause of
our changing the format to a
feature issue on Fridays. The majority of contributors since have
been our reviewers and former Page
Friday feature writers.
And though it is true the actual
space given over to arts and entertainment has decreased slightly, this
is because of the increased emphasis
on feature writing not because we
think any less of reviews.
As for the implication that the
survey was in any way connected
with the change, that's balderdash.
The Ubyssey as soon as the survey
began disavowed any faith in it,
either in its structure and questions
or its results.
The decisions that led to the coincidental relative reduction in arts
and entertainment coverage began
before the survey was even in the
planning stage. I had merely wanted
to point out the coincidence, that
we had moved more to coverage of
student concerns, which the survey
showed students favored, and did
less work on entertainment, which
students   thought   less   essential.
There was no cause and effect relationship.
Though fewer students said they
read the arts and review section
than we thought, a very substantial
number still do, something your
story failed to mention. As a former
poofta myself, 1 object.
I will now take myself outside
and fall on my em ruler. It was my
fault. Sorry.
Verne McDonald
cartoonist (ret.)
Drop by next week in SUB
Amnesty UBC, a group of
Amnesty International, is launchng
a week long campaign on behalf of
Danylo Shumuk, the longest held
political prisoner in the USSR, and
the prisoners of conscience in the
German Democratic Republic
(GDR).
This means that every day from
Mar. 2 to Mar. 6 everybody will
have an opportunity to perform a
concrete action to help people
whose most fundamental human
rights are being violated. All we ask
of you is to drop by our booth in
the SUB foyer at noon to sign a
form letter or write a letter of your
own on behalf of any or all of the
prisoners. This might not seem like
much, but it is the quantity that
counts.
Amnesty International is a
worldwide movement, independent
of any government, political grouping, ideology, economic interest or
religious creed. AI seeks the release
of men and women detained
anywhere for their beliefs, colour,
sex, ethnic origin, language or
religion, provided they have neither
used nor advocated violence.
Hondo de la Cueva
president, Amnesty UBC
Howza 'bouta Sauza?
Numero uno
in Mexico and
in Canada.
I<•'..    i V      >»»»'m-teamkW I J
40% olc./vol.
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DE     AGAVE
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HECHO EN MEXICO
THE BOTTLED ROMANCE OF MEXICO
Friday, February 27,1961
THE   UBYSSEY
Page 13 'Tween classes
TODAY
STUDENT LIBERALS AND
PROGRESSIVE CONSERVATIVES
Suds and satire, skit suggestions (no act too
silly), mutual bed-warm ing, leave name and contact no. at SUB 237a; event occurs at 6:30 p.m.,
SUB party room.
WUSC
Two films on the current refugee situation,
noon, SUB 111.
LE CLUB FRANCAIS
General meeting, noon. International House
lounge.
BCPIRG ORGANIZING CLUB
Steering committee meeting, noon, SUB 113.
INTRAMURALS
Deadline for registration into men's track and
field meet, War Memorial Gym 203. Event takes
place March 9 to 13.
Men's and women's tower beach suicide run {10
km!-, no registration required, just show up ready
to run, noon, Maclnnes field.
Registration deadline for women's broomball
night, WMG 203. Event takes place Thursday.
Registration deadline for women's Nitobe basketball, WMG 203. Event occurs March 9 to 13.
GAY PEOPLE OF UBC
Planning meeting, noon, SUB 115.
ISMAILI STUDENTS' ASSOCIATION
Question/answer period with Dr. Hassham,
noon, SUB 119.
DEBATING SOCIETY
Thundermouth meeting, noon, SUB 215.
CHINESE STUDENTS' ASSOCIATION
Chinese pa;nting class, 3 to 5 p.m., SUB 213.
SATURDAY
CVC
Dinner at 6:30 p.m., square dance at 8:30 p.m.,
SUB ballroom.
MONDAY
H.E., P.E. and F.S.
Nutrition information displays and fitness testing, 11 a.m. to 2 p.m., SUB concourse.
Action B.C. computer nutrition assessment, 5 to
8 p.m., Place Vanier residence.
Cat if, and
eat if raw
Can one survive on beer and peanuts alone?
How many calories are there in a
piece of looseleaf paper?
What happens if you eat University cafeteria food for an entire year
with no other source of
sustenance?
The answers to these and any
other questions on the subject of
nutrition can be found Monday in
SUB from 11 a.m. to 2 p.m. at the
nutrition information displays and
fitness testing sponsored by the
home ec, phys ed and fooa science
departments.
That evening from 5 to 8 p.m. in
Place Vanier residence there will be
an Action B.C. computer nutrition
assessment.
Beware square
Are you a square? If so, then be
sure to attend the Chinese varsity
club square dance Saturday night.
Dinner will be at 6:30 p.m. with a
MADRID-SPAIN
Only $17.95 p.p./day*
immaculate accommodation
incl. 3 meals with wine. Over
140 sgl. and dbl. rms.
available. For more info call
273-0628 CGroup price), or
see UBC Travel Service
S.U.B.
GRADUATING?
A good resume
is a MUST!
only $24.95
llNTEBVIEW-PREPARED-
TYPED
"All By Telephone"
Call 271-5711
9:30 a.m. to 7:00 p.m.
Mon. to Sat.
ATTENTION ALL
INTRAMURAL REFEREES!!
— Play-off schedules have now been
posted
— Please sign-up as soon as possible in
WMG Rm. 203.
FIRST COME! FIRST SERVE!
£fg&k
PAULA ROSS
DANCE COMPANY
THE BRIDGE'
Starts Monday, March 2-14
at 8:30 p.m.
PAULA ROSS STUDIO
3488 West Broadway
Tickets: $5.00 Monday-Thursday
$7.00 Friday and Saturday
RESERVATIONS: 732-9513
WUSC
Film: Revolution or Death, part of WUSC film
series on third world issues, Buch. 205.
CREATIVE WRITING DEPT.
Poetry reading by Elizabeth Brewster sponsored
by the League of Canadian Poets, 8 p.m., Buch.
penthouse.
INTRAMURALS
Storm-the-wall heats begin Monday and conclude with finals at noon, in front of the bookstore.
TUESDAY
S.F. SOCIETY
Extremely important organizational meeting for
all  members,   attendance  critical,   noon,   SUB
111.
H.E., P.E. and F.S.
Nutrition information displays and fitness testing, 11 a.m. to 2 p.m., SUB concourse.
Action B.C. computer nutrition assessment, 5 to
8 p.m.. Totem Park residence.
HUMAN SETTLEMENTS VIEWING CENTRE
Shock of the New, a PBS-TV documentary exploring pop art, noon, Library Processing 306.
WSO
Koerner Foundation special lecture — The Impact of the Women's Movement on Contemporary Culture, with Judge Nancy Morrison,
noon, Buch   penthouse.
WEDNESDAY
INTRAMURALS
Registration deadline for sailing Regatta, War
Memorial Gym 203. Evnt occurs March 7 at Jericho Yacht Club, instruction included.
THURSDAY
IVCF
The world will end at 7 p.m. tonight, 7:30 in
Newfoundland, with speaker George Mallone,
noon, Chem. 250.
ROCKET LAUNCHERS CLUB
Panel discussion on how many Soviet missiles
could land in the Empire pool at once, midnight,
aquatic centre upper lounge.
Hot flashes
dance to follow at 8:30. All of this is
taking place in the SUB ballroom.
So get out and dance around in a
giant circle doing a square dance.
This obviously leads to the next
question — if you dance in a cricle,
why is it called a square dance?
Now really, you've got to admit
that's dumb.
But don't take The Ubyssey's
word for it, go and see it for yourself tomorrow night in the SUB
ballroom.
Watch speed
Relatively speaking. . .
Are you into relativity, mind control drugs, etc.? Good. Then you
will be interested in the fact that as
one of the highlights of science
week, the science undergrad society is showing an Ascent of Man
film on the life of Einstein.
Those into such things will meet
at the junction of matter and antimatter in Hennings 201 at noon today. The film was to have been
shown yesterday, but quantum mechanics, whoever that is, took over
and broke the projector.
Those arriving at light speed are
asked to slow down before entering
the room.
Young ond rich
Some student hacks are attempting to shatter the myth that politicians take themselves too seriously. Hey, we think you're pretty funny.
Anyways, the student Liberals
and PCs are pooling their resources
so they can be silly with each other.
Today at 6:30 p.m. in the SUB party room, these student politicos are
hosting a Suds and Satire night.
Suggestions for skits and outrageous acts you might like to see party
members do can be dropped off in
room 237a SUB with your name
and phone number.
Remember, the parties who party
together, stay rich together.
Starve or food
Remember all those UBC
students on that starvathon you
read about in Thursday's paper?
Well, these people are still on a
50 hour starvathon to raise money
to bring a refugee student to UBC.
In SUB 111 they will also be
showing two films on the present
refugee situation.
GRADS
Phone now for your appointment for
your complimentary sitting
Amograplr
®
LTD.
"UBC's Official Graduation Portrait
Photographers since 1969"
(We are pleased that we have again been endorsed the Grad Class
Photographers by the 1981 Grad Class Council).
3343 WEST BROADWAY
VANCOUVER, B.C. V6R 2B1
Phone: (604) 732-7446
Student Discounts
HOSEIN
HAIRSTYLING
Complete Hair Service
For Men Et Women
3144 W. Broadway
Vancouver, B.C.
733-9811
SUBFILMS presents
\&d>*0Ot,
Thurs, Sun 7:00
Fri, Sat 7:00 & 9:30
$1.00    SUB Aud
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5 — Coming Events
30 — Jobs
70 — Services
The Vancouver Institute
FREE PUBLIC LECTURE
DR. RICHARD J.
B LANDAU
University of Washington
Visiting Sigma XI Lecturer
THE THREAT OF
OVERPOPULATION
Dr.  Blandau is a distinguished medical
scientist and winner of a 1976 award for
outstanding achievements in anatomy.
Sat., Feb. 28 at 8:15 p.m.
Lecture Hall 2, Woodward Building
10 — For Sale — Commercial
FRUIT LEATHER. Delicious Dried Fruit
Treat from Okanagan Valley. Write now for
mail order catalogue and free sample. Edible dried goods. Box 843, Penticton, B.C.
11 — For Sale — Private
1979 YAMAHA 50cc As New 150 Total Miles
100 mpg, ideal transport. $486.00. Harel
321-1675.
FOR SALE 1976 Gray Mazda SOB. New Tires,
Radio, Thirty-Six Thousand Miles. Phone
7319332.
15 *— Found
20 — Housing
ARE YOU TIRED of commuting to U.B.C.
every morning? If so, the Student Housing
Office may be able to help. We now have
vacancies for women in Totem Park
Residence. There are only seven double
rooms left — so act quickly. Come to the
Student Housing Office during regular office hours (8:30 a.m. to 4:00 p.m.) and let
us help you solve your housing problem.
For info 228-2811.
MATURE, reliable, strong worker wanted.
Afternoons. Collectors' Books and comics.
3626 West 16th. 22-V6212, 879-8771.
NANNY 121-26) req'd. for 13 yr. old girl in
town near Venice, Italy for 3-4 mos. Must
be fluent in English. Transportation to Italy
your responsibility. To begin work immediately. Phone 681-1994 after 6:00 p.m.
EARN TOP MONEY eves and Sat. selling
Globe and Mail newspaper subscriptions.
Must be well groomed and enthusiastic.
Car an asset. Call Mr. Patrick 9 a.m.-12
noon Mon. to Sat. 986-3714
FULL AND PART TIME shippers wanted
by local stereo store. Opportunity to learn
to mount cartridges and deal with
customers. Drivers licence an asset. Reply
in writing to Box 100, The Ubyssey, Room
241, SUB.
36 - Lost
LOST, blacr briefcase, Feb. 13 near SUB.
Reward $40.00. For return 738-1640 or
Asian Studies.
A KODAK POCKET CAMERA on Feb. 7 in
The Pit. If found please phone 224-9062 and
ask for Dave 1314).
GOLD CHAIN with 1 gram gold pendant.
Gold bracelet engraved "Kathryn" at
Aquatic Center or Wesbrook Parking Lot
Feb. 11th. Phone 261-2489. Reward.
50 — Rentals
FURNISHED APARTMENT 3 bedrooms,
bathrooms, living and dining room, kitchen
conventient location to sublet from May-
Sept. Faculty or reliable students preferred.
Rent negotiable. Write Apt. 5, 4643 Sherbrooke St., West, Montreal, H3Z 1G2 or
phone 514-933-5120.
65 — Scandals
ELIZABETH WATT. Happy (Belated) Valentines Day. Meet us in a cheap motel on
Kingway. Love Raoul and Alejandro.
NEED A  RESUME? Speedy service,  call
Mark 224-1582 or 228-9169.
80 — Tutoring
TUTORING in English offered by fully
qualified and experienced British teacher.
Tel. 224-1103.
ENGLISH   COMPOSITION  TEST.   If  you
need intensive individual coaching for this
exam, call Robert, a professional tutor with
an M.A., at 736-3157. Very reasonable
rates.
HAVE MANY QUESTIONS about business
statistics. Surely someone wants to help by
teaching me. Its ubiquitous nowadays.
85 — Typing
TYPING - IBM Selectric Carbon ribbon 90c
per page. Tonnae 732-6653 anytime morning/night.
EXPERT TYPING, essays, term papers,
factums, letters, manuscripts, resumes, thesis
reasonable rates. 731-9857.
YEAR-ROUND EXPERT typing theses and
essays. 738-6829 from 10:00 a.m. to 9:00
p.m.
TYPING 75c/PAGE. French available. Call
Peggy 438-4984.
TERM PAPERS, resumes, reports, essays,
composed, edited, typed. Published author.
Have Pen Will Write: 665-9535.
TYPING SERVICES for theses, correspondence, etc. Any field. French also available.
I.B.M. selectric. Call 736-4042.
TYPING IBM SELECTRIC $1.00 per page.
Fast, accurate, experienced typist. Phone:
873-8032 (10:00 a.m.-10:00 p.m.).
Page 14
THE    UBYSSEY
Friday, February 27, 1981 vista
Robert Lemieux, classical guitarist, will be performing March 4 at
the Vancouver Academy of Music,
1270 Chestnut St., at 8 p.m. For
reservations phone 874-9105 or
876-8686.
The UBC creative writing students are in the midst of final rehearsals for their fifth annual production of Sideshow. Plays this
year are: I'm Not Frowning, Masquerade, Casbah, The Pond, Somebody Call an Ambulance, Bus
Phobia, Eggsact Reality, Sitting on
Guard,  and Transit Zone.
Looks like they're going to show
B.C.  Hydro how it's  done.  The
sideshow begins Wednesday, March
4 at 12:30 p.m. and 8 p.m., March 5
and 6 at 8 p.m. and March 7 at 5
p.m. All performances in Hut M-24
at the corner of University Avenue-
and West Mall. Admission is free.
Fredricks Toots Hibbert, prophet
of love, will be performing Monday, March 9 with Toots and the
Maytals at the Commodore
Waiting For the Parade will be
performed by Westcoast Actors.
Written by John Murrel; it is about
five women in Calgary during
World War II. Show starts 8:30
p.m. Thursday, March 5 at The
Waterfront Theatre.
Western Front is hosting the
premiere showing of Randy & Berenice's Videage. It is a 50-minute
color videotape in five acts. "It's a
million years in the future and we're
all pretty well bombed out of our
heads. . ." See the rest at 303 E. 8th
Ave., 9 p.m.
Lighter Than Air, jazz-folk-rock
featuring Ian McConkey, Shari
Dunnet and Chris Blades at Catch a
Rising Star March 6, 7, 13 and 14,
10:30 and 12:30, 1055 Seymour St.
The Headpins will be playing at
Gary Taylor's Rock Room from
March 2 to 7. Stick it to them.
' Decorate With Prints '■
THE Poster and Print PLACE in B.C.
13209 W. Broadway, Van. 738-2311
; Decorate With Posters :
WHITE TOWER PIZZA &
SPAGHETTI HOUSE LTD.
KITS - DUNBAR - PT. GREY
A variety of great dishes including   Moussaka,    Kalamaria^
Souvlakia, and Greek
salads.
Mon- Thurs 4 pm-2:30 am
Fri & Sat 4 pm-3:30 am{
Sunday    4    pm-12   pmt
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1359 Robson
688-5491
Dining Lounge- F"" Facilities -
Take Out or Home Delivery
Late delivery call V? hour before closing.
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7 Days a Week: 5 p.m.-1 a.m.
Fri. and Sat.: 5 p.m. to 2 a.m.
FREE fast deiiveryf
228-9513
4S10 West 10th Ave.
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Informal and Relaxed Surroundings
7 p.m. - 11 p.m.
1783 WEST MALL
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r
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Open: 11:30- Midnight
Monday thru Saturday
ENJOY ENGLISH PUB-STYLE
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Make "The Cheese" Your Local
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OPEN TUES.-SUN.
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11 am - 1 am
Monday to Saturday
4-11 Sunday
mt *i«s» imp ';'
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Luncheon Smorgasbord
Authentic Chinese Cuisine
228-9114
10% Discount on all
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Mon.-Fri. 11:30-9-00 p.m.
CLOSED SATURDAYS
Sundays and Holidays
4:00 p.m.-9:00 p.m.
_,     2142 Western Parkway
P     U.E.L. Vancouver. B.C.   {
(Opposlts Chevron Station)
ARGO
RESTAURANT
SEAFOOD & STEAKS
Lunch 11:30 to 2:00
Tues. to Friday
Dinner 5:00 to 10:00
Tuesday to Sunday
Reasonable Prices for Student Budgets
2340 W. 4th Avenue -:- 731-1736
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Salad Bar * Caesar Salad
Charbroiled Steaks * Seafood
Licensed Lounge
PIZZA
Free Delivery
Open Daily from 11 a.m.
SUNDAY from 4 p.m^
4450 W   10th Ave. '
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J
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Steak & Pizza — Lasagna
Spare Ribs — Ravioli
Chicken — Greek Salads
Souvlaki
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224-4218 - 224-0529
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When it's time to
eat or time to
have some fun
it's time to read —
"Vancouver
After
Classes"
NOW, A NEW
BURGER THAT'S
MORE BURGER
THAN
BUN
Introducing the new hamburger from the DAIRY QUEEN
BRAZIER store. In a new "six to a pound" size that really
gives you some meat for your money. Instead of a banquet of
bun.
You see, while other burger chains
get as many as ten hamburgers from a
pound of beef, we get only six. And
that gives you "more burger than
bun." A burger that's tender,
deliciously-cooked. Every time. The
new burger from DAIRY QUEEN
BRAZIER.
2601 W. Broadway
Dairy
Queen
brazier
Friday, February 27,1981
THE    UBYSSEY
Page 15 AIWA TPR901
The first in the AIWA stereo
portables! Full 6 watts of
power for better sound. Full
range 12 cm. speakers give
clean crisp reproduction.
Cue & Review allows for
exact placement of the
music you want. An AIWA
Sound Buy!
AIWA
3-HOUR PRICE
$Y19M
maxell
Perfect for use on your deck's high
bias and EQ settings, and meets the
toughest musical demands.
With the purchase of 3 AXLI or XLII
C 90 cassette tapes you will receive a
Cassett-O-Matic storage unit at no
extra charge.
6-HOUR PRICE
$14"
HD400 STEREO HEADPHONE
Top rated featherweight.
Weighing less than 3 oz. for
great comfort. Soft earpads
and open design assure
long listening ease.
5-HOUR PRICE
$399S
TEAC    BX-300
Amplifier
The TEAC BX-300 integrated D.C. amp puts out
30 + 30 watts rms at only
0.006% T.H.D. Other
features include a moving
coil head amp, loudness
control and switching for 2
sets of speakers.
4-HOUR PRICE
$1499S
FRI. 5 PM - 9 PM
FRI. 6 PM  -  9 PM
<> »F
TEAC TX-300 Stereo
Tuner
The TEAC TX-300 AM/FM
Stereo Tuner has a built in
Rel Cal oscillator so you can
tape off FM broadcasts.
Other features include hi-
blend for maximum tuning
accuracy and quietest
reception in limited quantities.
TEAC
4-HOUR PRICE
$1499S
SAT. 9 AM -  NOON
MARANTZ SD-3000
Take the regular cassette tape speed
and double it and you have higher-fi
tape recording. The MARANTZ
TWO-SPEED, front load SD-3000
also ofers CompuSkip Program
Selection that allows you to skip un-
wanted program material, Dolby
noise reduction removes tape hiss,
3-step tape selector for precise tape
formulation matching.
3-HOUR PRICE
$299
.95
D4 Record Care System
Hi-Technology Record
Care: The Discwasher D4
System offers unmatched
value and performance.
3-HOUR PRICE
Stereophones. World's
most asked for
stereophone
The Koss' PRO/4 Triple
A . . . featuring extra-large driver
elements. Pneumslits earcushions
for a more perfect seal, and a unique,
lighter, humsn-engineered design
that makes the Triple A amazingly
comfortable.
S3KDSS*
3-HOUR PRICE
$69"
SAT.  11  AM -  4 PM   || SAT. NOON -  5:30 PM 11   SAT. NOON -  3 PM
SAT. NOON  -  4 PM
It,
.£. ££jf&cct£
SHERWOOD 7150CP
Best-buy rated with
ultralow distortion and consistently greater than 20
watts CH. FM performance
rivals records.
s*e    :;:dd
5-HOUR PRICE
$199 »s
. ■ ■ ■ I
Ut-s.Lt
ONKYO TA630DM
A top-rated full-feature, stereo
cassette deck with Accubias.
Onkyo's unique Accubias system
give you recording tape compatibility. Among it's other fine features are
a sendust recording/piayaback head.
Dolby FM & Dolby NR, full auto
stop, memory rewind, twin VO
meters, & 2 peak indicators. All this,
plus impressive specs, make this
deck an asset to any component
stereo system:
ONKYO
BONUS
12 Maxell Metal
C-46 Tapes
5% HOUR PRICE
$499"
A780
Yamaha's newest amplifier features
the Carver Designed X Power
amplifier for better transient
response, lower distortion and cooler
operation. With 70-70 watts RMS
and no more than 0.01 % T.H.D. you
can be assured of quiet, distortion
free amplification. Five year parts
and labour warranty.
FIVE YEAR PARTS AND
LABOUR WARRANTY
YAMAHA
3-HOUR PRICE
$499
95
KOSS KC/180
The KOSS KC/180 mixes
the music in your head, not
on the walls of your living
room. Koss the originator
of the personal experience.
For comfort specially
designed ear cushions stay
soft & supple for hours of
musical enjoyment.
irass
4-HOUR PRICE
$19»5
Page 16
THE    UBYSSEY
Friday, February 27, 1981

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