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The Ubyssey Oct 28, 1977

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Array —f. stop fitzgerald photo
APPROPRIATELY ATTIRED in plastic garbage bags, human trash haul chariot towards victory in race with
aggie team at Thunderbird Stadium Thursday. Gears and aggies provided entertainment at half-time of annual
charity Tea-cup football game, which ended in 6-6 tie between nursing and home economics.
THE UBYSSEY
Will defends
arts actions
Vol. LX, No. 20
VANCOUVER, B.C, FRIDAY, OCTOBER 28, 1977
228-2301
Universities safe from cuts
By BILL TIELEMAN
Post-secondary institutions will
not be affected by proposed
government budget cutbacks
announced by finance minister
Evan Wolfe, an education ministry
official said Thursday.
"As far as we can anticipate, we
will be asked to reduce our budget
but we will be able to do so internally in the education department budget, without affecting
provincial grants to post-
secondary institutions or school
districts," associate deputy
education minister Jack Fleming
said.
Wolfe said Wednesday the
finance ministry will be asking all
provincial departments to reduce
spending by a total of up to $50
million in order to meet the Socred
government's aim to balance the
budget this year.
Wolfe said education was one
department that was spending
more than its budget had allocated.
But Fleming said the amount
overspent is fairly  insignificant
Grad student assoc.
'has sold out' to AMS
The Graduate Student
Association has abandoned the
interests of graduate students and
played into the hands of the Alma
Mater Society by deciding to stay
in the AMS, the president of the
Association of Teaching Assistants
said Thursday.
Dave Smith said several GSA
executive members wanted to
leave the AMS in a dispute over the
AMS' allocation of only $440 to the
GSA. Ihe GSA originally asked the
AMS for $3,000 ($1 per student), he
said. But GSA president Jane
Baker has decided graduate
students should remain in the
AMS, he said.
"Baker has decided graduate
students should be good little
constituents and play by the AMS
rule book," Smith said.
"None of the GSA's monetary
problems have been solved, but
Baker thinks there are no more
difficulties. The only ones who
really lose are the overcharged
GSA members."
Graduate students pay $62 each
in student fees.
"The AMS budget allocation is
ridiculous," said Smith. "By the
time we are finished with haggling
with them, all of our energy will be
used up before we can even talk to
the administration. Jane Baker is
only making the situation more
difficult."
Baker said working with the
AMS is the only way to handle the
money problem, although, she
said, "the AMS does not really
work in the interests of the different social and economic
situation of the graduate student-
s."
"Working with the AMS is the
only realistic solution to the
problem," said Baker. "I suppose
the AMS is just (me bureaucracy
that we're going to have to live
with."
and that the education department
would be able to handle a induction
in expenditures without affecting
education programs.
NDP finance critic Dave Stupich
said Thursday the budgets for post-
secondary institutions and school
districts are firmly established and
the government will not be able to
cut them back this year.
"I can't foresee them cutting
back the universities' grants," he
said.
Wolfe said the government
finished the first half of this fiscal
year with a $100.7 million surplus
but he estimated the government
would have to cut expenditures in
order to balance the budget.
Wolfe blamed a $122 million
federal miscalculation of income
tax revenues and expected higher
spending in the second half of the
fiscal year for the need for expenditure reductions.
But Stupich charged that the
Socreds were deliberately ex-
chicfing some revenue sources in
their calculations. He said the
provincial government intends to
seH out its interests in a number of
crown corporations that the former
NDP government invested in.
See page 3: EDUCATION
Arts dean Robert Will defended
himself Thursday against charges
he does not care about student representation by blaming student
apathy.
"Although there are opportunities (to become student
representatives), they are not
taken advantage of," he said.
Will was reluctant to talk at
length en the subject.
"I do not talk to newspapers
concerning the business of this
faculty," he said.
Will was responding to
allegations made by student representatives to an arts faculty
meeting Oct. 21.
Will ejected a Ubyssey reporter,
five would-be representatives and
two student politicians from the
meeting, claiming they were not
authorized to attend.
One of the official representatives, Robert Staley, arts 1, said
Thursday that although Will
claimed at the meeting he encourages student participation he
in fact discouraged it by quashing
student motions on the grounds
they were out of order.
Staley moved at the meeting the
next faculty meeting be held on or
before Dec. 2 to prevent the faculty
members delaying the next
meeting until spring or summer.
Will is reported to have said be
would call the next meeting when
there was something to discuss and
as meeting chairman ruled
Staley's motion out of order. Staley
then challenged the chair, saying
he had not had a fair chance to
present his case.
"According to Roberts' Rules of
Order, used in parliamentary
procedure, he should have passed
the chair to someone else when
challenged," Staley said.
"Instead he called for a vote. All
of the students there voted not to
sustain the chair and all of the
faculty voted to sustain it."
But Will claimed Thursday that
95 per cent of the people at the
meeting voted to sustain the chair.
And he said he does not run the
meetings under Roberts' Rules.
"There are no rules here," Will
said.
He said Staley gave no good
reason for a meeting.
"You cannot call a meeting
without a reason," he said. He said
rules of order are not necessary to
make a judgment on whether a
motion is valid.
"Staley made the motion early in
the meeting," Will said.
"I'm sure he didn't know what
was coming up next. He was just
being mischievous. He had no
purpose for making the motion."
Staley said another representative, Brendan McGivern, who is
also a student representatives
assembly member, moved to
extend the nomination deadline for
arts representatives to Nov. 4 on
the grounds that Will did not effectively advertise the 27 positions
open to students.
"I don't know what they (McGivern and Staley) wanted," Will
said.
"Their statement was not clear.
They didn't put forth their motions
properly."
Working women need support
By MIKE BOCKING
One of the main obstacles facing women in
the workworld is that they do not have wives,
the Law Foundation of B.C. research director
said Wednesday.
Valerie Meredith said men can usually rely
on a "support system" who takes care of him
and their children, but a working woman is
expected to have a job and also play the
traditional domestic role.
"Just the fact that a woman wants to have
children puts a heavy burden on her
profession," she said. "Few husbands will
stay home to look after the children."
Meredith was speaking about women and
work on a panel with Vancouver alderwoman
May Brown and Charlotte Warren of Transport Canada.
"There are far too few women in the
political field at all levels — in parliament,
the legislature and city hall," Brown said.
But she said there is better female
representation on school boards.
She told the group of about 20 womep and
one male Ubyssey reporter that women seem
to lack the confidence to come forward and
run for office.
"Why don't women run for office?" she
asked.
"They do not run because they don't think
they will get elected."
The fact that four women were elected to
city hall in Vancouver last year will encourage women in other B.C. municipalities
to run for office, Brown said.
"The important thing is not to have a quota
system or nu, a token woman here and
there," shi said.
But, Brown said, there is still stereotyping
at city hall.
"At city hall if you talk about social services, the women will get up and make a
strong statement, whereas men are more
likely tobe involved in city finance," she said.
Meredith said there is no sex discrimination
at law school, but "in later stages of the
profession such as hiring and the selection of
legal partners such discrimination is more
evident."
"A woman has to be far better than men to
be taken seriously," she said.
"We're still at the stage where it takes a
special kind of woman to get to the top.
"There are still many women who don't
want to work for other women and men don't
want to work for a matriarch.
"Ithinkthat as the number of women in the
law profession increases their networks will
develop and there will be a greater acceptance of women."
Networks are the system of acquaintances
and contacts one uses in order to get a job and
move up in a profession, she said. Page 2
THE       U BYSSEY
Friday, October 28, 1977
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THE       UBYSSEY
Page 3
Women alienated by capitalism
Society should take the concepts
' sisterhood seriously in order to
berate itself from the alienating
spects of capitalism, said the
ead of the NDP women's com-
uttee Thursday.
In a lecture on Socialism and
eminism, Hilda Thomas said that
omen's distance from the "labor
nd product" process of capitalism
as enabled them to maintain the
umanistic values of compassion
nd respect for the individual.
"Men and women should fuse
leir femininity and masculinity in
rder to achieve a whole human
eing," she said.
"Men could learn to express
lemselves in terms of personal
esponses, while women could take
ie values of brotherhood more
sriously."
But under the present capitalist
ystem this relationship is im-
ossible, she said.
Thomas cited the Industrial
[evolution as an example of the
mdency of capitalism to alienate
Joe Blell
appealing
IH election
Joe Blell, one of two in-
jrnational students who earlier
lis month charged International
louse director Colin Smith with
eing an arrogant and insensitive
dministrator, is appealing the
lection that touched off the issue.
He said Thursday that although
e never intended to run for a
osition on the international
lidents' planning committee, and
ill not rin if the election is reheld,
e is appealing on principle,
ecause his name did not appear
i a list of those people eligible to
on, posted by Smith before the
lection.
Blell claims he is eligible. The
latter is currently in the hands of
ie IH board of directors.
Blell said the Oct. 7 election was
3t properly publicized, and all the
ablicity it has had since will result
i a more meaningful election if
ie IH directors agree with his
ppeal.
"A lot of people didn't run
jcause it wasn't well advertised,"
len said.
The election controversy led to
irther charges from students and
lembers of the Vancouver
immunity that Smith is not
inning IHf or the students but as a
loney-making operation.
Blell earlier accused Smith of
sing patronizing to foreign
udents, saying the director acts
ie "a colonial officer."
The other student who claimed
nith was interfering with the
ection, Saf Bokhari, accused him
suppressing student initiatives
■ set up new programs and of
ithholding information from
udents.
workers from  their jobs and
ultimately from themselves.
"The Industrial Revolution took
away the pride of craftsmen for
their work and made it a commodity," she said.
"The result of that is material
relationships between persons, and
social relationships between
things."
She blamed such social crimes
as vandalism and murder on this
alienating aspect of the individual
from its work. "People have to
have something to act out against,
and unfortunately it has turned
into criminal outlets."
But women have been largely
excluded from this side effect of
capitalism because they are
considered "private people" according to the rules.
They are exempt from two
realities of the present society
which Thomas called the
"economic mode of capitalism,"
and the "ideological mode of
patriarchy." (A patriarchy is a
male-oriented society.)
Quoting well-known economist,
John Kenneth Gaibraith, she
claimed capitalism is a convenient
environment for converging
women into a "crypto-serving
class."
"Today women are involved in
service industries such as bank
tellers, pub workers and other shit
jobs," she said.
But Thomas said that while this
may have been an injustice, it has
also been beneficial in a very
important way.
"Women have not been involved
with this alienating process of
"produce and consume," and as a
result they have remained at a
distance," she said.
"Thus there is more possibility
for self direction in women and
they have retained the human
qualities that are unnecessary for
the production line," she said.
Thomas then' referred to the
words "effeminate" and
"emasculate."
"To emasculate something is to
cut the balls off the thing and
virtually do away with it," Thomas
said. "And to be effeminate is to be
soft and weak and therefore
unimportant."
Thomas went on to say that over
centuries of patriarchies, and
leaving out the other side of human
nature, it was time society fused
the masculine and feminine
* aspects to create a more whole
society.
"The way men relate to women
is a way to see how human then-
responses are," Thomas said.
TAKING   LEAD  in  Thursday's  Great  Pumpkin   bicycle   race, two
cyclists jockey for position on SUB loop. Women cyclist with cap
-"matt king photo
heads for curb, hoping to escape rush of oncoming herd and get home
for lunch in one piece.
'Pub owners finance strikebreaker'
The Pub Owner's Association is
financing the owner of strikebound
Bimini's pub through its strike, a
Bimini waitress and member of the
Service, Office and Retail Workers
Union of Canada (SORWUC)
charged Wednesday.
" It a ppears that the Pub Owners'
Association, of which Peter Uram
is president, is financing him
through the strike," said Barbara
Owen.
"The association had a general
meeting in January and decided to
keep the unions out (of pubs) by
giving benefits such as medical
and dental plans to employees.
"Most pubs did give employees
these benefits, but not Peter
Uram."
Another SORWUC member,
Sherry Sprag, said the pub
association is trying to keep unions
out of pubs.
"They (the pub association) had
a meeting looking into dental and
medical plans. They wanted to
keep the employees happy so the
unions would stay out," Sprag said.
"We (SORWUC) know the
association is supporting Peter.
"They (the association) want to
discourage other unions. They
want the unions to get bugged-out
by the anti-union thing."
hikes
Socreds considering
in daycare funding — official
The provincial government is
considering increasing subsidization of daycare, human resources
officials say.
In a letter to Vancouver human
resources centres, human
resources   minister  BUI   Vander
Education funds tight
not
From page 1
mentioning some
things that will happen,"
"It's deliberately
upich said.
The sale of crown corporation interests could easily amount to a $150
illion revenue for the provincial government, he said.
Wolfe said the education, attorney-general and highway ministries had
combined over-expenditure of $37.4 million.
But the only department that can actually cut back expenditures is
ghways, Stupich said.
"Education and the attorney-general's department are tight. You could
srtainly make change in the highways department," he said.
Finance department figures showed increases in most provincial
wenue sources.
Sales tax is up $55.1 million from last year and personal income tax is
3 $206.5 million from last year, reflecting an increase in federal tax
jyments to B.C. from a new federal-provincial agreement.
Liquor sales profits for the first half of the fiscal year were $86.3
illion, up $8.3 million from the same period last year.
But corporation income tax dropped $4.9 million to $127.3 million from
322 million, and a number of crown corporations also showed losses.
Zalm states the government might
increase its contributions to
parents to allow for increases in
the cost of living and in daycare
fees.
Human resources program* coordinator Alan Stubbs, who is
responsible for daycare, said
Wednesday that the increase is
being considered along with other
improvements in the subsidy
system.
"The sliding scale used to
determine eligibility for subsidy
hasn't been adjusted in four
years," he said.
' 'Wages have been increased and
so has the cost of living."
The sliding scale currently used
by the department takes into
consideration the number of people
in the family, net income and
expenses to calculate how much
the family will pay and how much
subsidy it is eligible to receive.
"We have not yet received
federal government approval,"
Stubbs said.
"If we raise the allowable income after deductions to $500 from
$420 and the federal government
doesn't approve the provincial
government is stuck with the
difference."
Daycare centres can charge any
amount they want but parents can
only claim assistance from the
government subsidy program of up
to $140 a month for group daycare,
$100 a month for home care, and
$220 a month for three-day care
and less.
The difference in the fee charged
by the daycare centre and the
subsidy the parent is eligible to
receive comes out of the parent's
pocket.
The subsidy rate has a
Significant effect on the
availability and quality of daycare
services. Daycare centres rely on
fees paid by parents to stay in
operation.
"Right now we are trying to
place the subsidy for homemakers
services for elderly people under
the long-term care program on a
parity with the daycare subsidy,"
Stubbs said.
Stubbs did not know when increases in subsidies would be
made.
Uram was out of town Thursday
and could not be reached for
comment.
The union is asking for more
employee participation in
scheduling, higher wages,
recognition of seniority, medical
and dental plans, sick leave and
leave of absence.
Management has offered experienced waitresses $3.75 per
hour instead of the $4.50 asked by
the union.
Bimini's has been picketed by
employees and SORWUC workers
since Oct. 19. A union spokeswoman said Wednesday there
appeared to be no immediate
chance of a settlement.
The Bimini workers received
certification last January and have
been negotiating for their first
contract since then.
Contract negotiations originally
broke down this summer, when
owner Uram suddenly became
unavailable. He has cited other
interests as his reason for not being
able to negotiate.
SORWUC has previously been
active in the certification of bank
employees. Bimini and Jerry's
Cove employees are the first pub
workers to have been certified in
B.C.
According to both Uram and the
union, business at the pub has
decreased greatly since the picket
lines were first established.
John Madson, a lawyer hired by
Uram to study whether Uram can
afford to pay medical and dental
plans, said Thursday he knows
nothing about strike support
money.
Madson said he is only concerned
with the strikers' demand for
medical and dental plans but said
Uram's ability to pay for the plans
is confidential and refuses to
comment further. Page 4
THE       U BYSSEY
Friday, October 28, 197
IF Z Sff6iil£>£HT
S7dfiJ£s ABOUT
AoaSer^tc€&. ».
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rpANltf
Will blocks
Letters
Student action   Osborne undermines gay issue
The scene at the arts faculty meeting a week ago
Thursday was very reminiscent of UBC's heyday of student
activism a few years back.
The only thing missing was Doug Kenny, who has
moved on to greener pastures since curbing student efforts to
boost representation in faculty decision-making as arts dean.
But Kenny has been ably replaced in that- role by Robert
Will.
"I do not talk to newspapers concerning the business of
this faculty," sniffed Will, a few days after ejecting arts
undergraduate society president Fran Watters, arts student
senator Paul Sandhu, one of our reporters and a host of
others from the faculty meeting.
Will points out that opportunities to become student
representatives on the faculty "are not taken advantage of,"
but he doesn't seem to be bending over backwards to get
students onto the faculty body.
True, the AUS made the positions known to students in
their end-of-summmer mailout, but ads for faculty rep
elections were gummed up.
It is silly to hold the.meetings in camera, except for
discussion of personnel matters. But Will tossed out Watters
and Sandhu, who have some claim to represent arts students.
Inside the meeting, Dr. Robert' ran down student
motions with the ease of a Turkish potentate holding court.
One gets the idea that Will shares this misconception of how
student representation should work, along with some
administrators, board of governors members, education
minister Pat McGeer and his deputy, Walter Hardwick.
That misconception holds that the reps should be
quietly elected if not acclaimed, hold their mouths shut
outside of the usually-secret meetings, and put them to little
use inside the locked doors.
The battle for proper student representation will not be
won until people such as Will accept effective student
representation and open up the decision-making process.
That fight is a long way from being won. If it is to be
won, more students must get involved on the faculty level .
If we don't, it will give people who-can't stand the
stench of democracy, such as McGeer and Hardwick, more
fuel in their fight against students being on university
governing bodies.
THE UBYSSEY
OCTOBER 28, 1977
Published Tuesdays, Thursdays and Fridays throughout the
university year by the Alma Mater Society of the University of
B.C. Editorial opinions are those of the staff and not of the AMS
or the university administration. Member, Canadian University
Press. The Ubyssey publishes Page Friday, a weekly commentary
and review. The Ubyssey's editorial office is in room 241K of the
Student Union Building. Editorial departments, 228-2301;
Advertising, 228-3977.
Editor: Chris Gainor
Verne McDonald removed his filmy blue shirt revealing a pulsating
fungoid growth. "That's disgusting," said Marcus Gee. "I vant your
blood," breathed Lloyane Hurd, throatlly as she moved towards him. The
earth moved, but It was only Chris Gainor. "Stupid Ralph Maurer Is
sleeping by himself tonight," said Kathy Ford, as she looked longingly at
Tom Hawthorn. Heather Conn and Mario Lowther all unbuttoned their
shirts to the waist but Bill Tieleman and Chris Bannister Ignored them.
Heather Walker displayed her willowy gams to Mike Bocking and David
Morton (the cheap sell-out.) Les Wiseman dressed like a raving bloody
vegetable and Matt King wondered how he would taste with a nice cheese
sauce. Will Wheeler, Marta Marton and Michael Trew had an adorable
menage a trois while Nicholas Read and Greg Strong ran off together (har
har) Larry Green and Gray Kyles sat In the back row at the movies. Diana
Schutz sat home alone and wrote poetry. Bruce Baugh went to class at
3:30. "I'm not good enough to be a perfectionist," sighed Merrllee
Robson. If she comes to the newswrltlng seminar at noon today she can get
better. But not much.
Perhaps UBC's Libertarians have yet to hear of
analytical thinking, but someone should at least let
them know about common sense.
To suggest that the real issues faced by the gay
liberation movement and its adversaries is the 'the
right to discriminate' is surely nonsense. If Cam
Osborne (Oct. 25) wants to equate the words choose
and discriminate, that's OK. I would hope that he
realizes the.word is generally understood to have a
much broader meaning.
Very few individuals, gay or not, would dispute the
right to make personal choices in every day life.
However, when preferences, in the form of
discrimination deprive individuals of equal treatment in society, it is not OK.
The real issues faced by gay people are inherent in
the social system itself. Gay people, as with racial
minorities and women, are shunted into rigid social
positions. As such they are often stigmatized as inferior or weird and subsequently exploited as cheap
labor rejected by society altogether. To escape their
circumstances they either hide from the system or
fight against it.
I don't question the right of individuals to make
preference choices which best conform to their
personal quality judgments. However, when personal
value systems add up to constitute an attack on the
rights of others, one must draw lines as to what is and
what isn't a correct form of discrimination.
The fact is — gay people are discriminated against
in the job market, in social position, and in most other
contacts with the heterosexual population. They
exercise their basic right of choice in sexual relations
and the social system as it stands impinges on that
right.
This constitutes oppression — by most standards.
It's wrong to suggest that newspapers like the
Vancouver Sun should have the freedom to di
criminate. Similarly, the hiring practices of en
pbyers shouldn't discriminate against an individu,
because of sexual orientation.
The role of newspapers and companies in society
that of producing certain goods and service
Propagation of 'acceptable' standards in behavu
falls into neither of those categories.
A person's ability to function as a productive facte
is the only justifiable criterion in choosing betwec
job applicants. When the Vancouver Sun refused 1
print an ad for the Gay Tide, it impinged on the righ
of the individuals who would benefit from the ad.
While it is true that preferences are discrimini
tory, institutionalized discrimination is obscene.
In terms of political or philosophical ui
derstanding, it is important to avoid argument
which revolve around semantics only. The differei
connotations of a word can lead to long and futil
discussions. It's just not worth the effort.
Nevertheless, it's quite often the case where ce
tain schools of thought fall completely into thi
vicious circle. To quibble over the wor
discrimination itself is a dead end.
It also cuts across the central factors which repp
sent the issue. Arguments over semantics ai
sometimes a simple but harmful tactic used to ui
dermine an issue.
Certain individuals purposely use vicious circles I
channel organized dissent into stagnation and sul
sequent non-existence. To Cam Osborne's questioi
'is there a right side and a wrong side,' yes there i
Seems to me Cam has already chosen a side. Thi
choice is blatant discrimination, in any sense of tf
word.
Lome Rogei
science
Student, faculty attitudes must change
Professor John Hulcoop in the
department of English has rightly
drawn my attention to the fact that
the article reporting my resignation contained an ambiguous
generalization.
I do not wish to blame the error
on Vicki Booth, the student
reporter, or The Ubyssey. The oral
interview was given hurriedly, and
Vicki was under some pressure to
shape rough notes into a coherent
article in order to meet press
deadlines. The offending sentences
were these:
Sexism is a major problem.
Relationships between wqmen
students and professors are very
unhealthy, Fulton said.
"They are based on playing the
sex game rather than being
genuinely objective, ethical and
professional," she said. (Oct. 18,
1977, p. 1.)
I did not mean by these
statements that relationships
between all male university professors and their women students
are unhealthy. However, since
serving as dean of women at UBC I
have been made aware of the
abuses which occur when faculty-
student relationships are based
essentially on sex.
Too often students are judged
subjectively rather than objectively. They are judged on the
basis of personal interaction with
the professor rather than by what
they know, or how well they have
mastered and demonstrated
achievement in a particular field of
knowledge.
Again,    to    imply,    as    my
generalized statement did, that all
faculty-student relationships at
UBC are unhealthy would be quite
wrong. Fortunately the majority of
UBC faculty and students have a
highly developed sense of. what
constitutes a proper, ethical
academic relationship.
Many universities concerned
with student-faculty relationships
are beginning to require some
teacher-training for faculty in
order to ensure not only proper
ethical relationships, but also the
best pedagogical techniques at the
university level. Students too have
to be made aware of their proper
ethical roles. The need to change
attitudes towards our idea of the
university, the professor and the
student is very great. It is no
longer good enough to maintain the
status quo. '
Human relationship problems <
UBC are compounded by the size t
the institution and by the in
balances that exist. The studei
body is now nearly 50 per cei
female students. Many of them ar
mature women returning t
university with very serious ii
tellectual aspirations.
The faculty is composed of a\
proximately 1,800 members <
whom only about 250 are womet
Until this imbalance is corra
ted, women and men, both facult
and students, are going to e>
perfence the kind of relationship
which may contribute to in;
maturity and which can kee
everyone at this institution fror
reaching the fullest potentia
possible.
E. Margaret Fulto
dean of womei
Dismal logic hurts story
I recently had the good fortune to pick up The Ubyssey and marvel i
one of your articles entitled Wife beating myths dispelled.
The article was apparently made available through Canadia
University Press. I quote here from only the first of several idiot:
passages.
"As with rape, the explanation has been presented that wife battery
perpetrated by sick men. The rebuttal of this myth is even more dramat:
in the case of wife battery than rape, because men of every class,"colo
religion and ethnic group beat their wives."
I am willing to believe that you are a busy group, but even your ow
writers can surely do better than this piece. The logic was so dismal thi
even a quick reading should have prevented such nonsense from a]
pearing in a university newspaper. I assume, of course, that you at leai
are still reading The Ubyssey.
Kim Ik
grad student — forestr riday, October 28, 1977
THE       UBYSSEY
Page 5
Replace belts with safe drivers
By GLEN SCHAEFER
Transport minister Jack Davis is
ill of hogwash. He has decided to
lake driving in this province safer
nd he thinks that mandatory seat
elt legislation will do it.
Mandatory seat belt legislation
just another example of patch-
ork measires that gloss over the
;al problem. The problem is not
tat people aren't wearing seat
elts and thus endangering their
ves; the problem is that people
ist don't know how to drive
)mpetently.
Granted, seat belts do save lives
tat might otherwise be lost in
lessy auto accidents, but has
lybody ever thought that it might
3 a good idea to eliminate these
icidents altogether?
kids off the road." He considers
himself a safe driver simply
because he always drives well
under the posted speed limit.
So, one day this man and his wife
are driving sedately down the road
in their three-ton living room on
(f reestyle)
Messy
Now the obvious question arises:
iw do we eliminate messy auto
:cidents? The answer is to make
ir drivers better and more aware
; the finer nuances of driving,
his does not, however, mean the
anket application of an 80 kph
»ed limit. In fact, it is my con-
ntion that the 80 kph speed limit
ay do more harm than good.
I have a mental picture of the
orst driver in B.C. He is
imewhere between 50 and 65
:ars old; he always wears a
dora type of the type that was
ipular about 15 years ago; he
■ives a late model Chrysler New
orker that weighs three tons; and
hen he drives around, his wife is
snerally with him.
Anyway, this old gentleman was
obably overjoyed at the in-
itution of the 80 kph speed limit,
his words, "it gets these crazy
Reporter Glen Schaefer suggests
<me strong medicine for our
affic safety problem. Freestyle is
column of opinion, analysis and
imor written by Ubyssey staf-
rs.
U vehicular traffic is to be made
as safe as possible, driver's
licenses should not be universally
available. They should only be
issued to those who absolutely need
to drive. Driving would no longer
be a right. Under this system,
therefore, UBC students would not
hold drivers' licenses, as they have
access to mass transit, and do not
actually need to drive.
Obviously, large government
expenditures would be necessary
to set up driver's training and
testing facilities, and to establish
an authority to determine applicants' actual need for driver's
licenses.
RCMP
HEAVY TRAFFIC ... should be consigned to history
wheels, listening to a quadrophonic
recording of the Latvian national
anthem and admiring the scenery.
Indeed, they are paying more
attention to the scenery than to the
road. Why shouldn't they? They're
obeying the speed limit, so what
can go wrong?
Little do they know, however,
that just up the road is a young
man by the name of Filbert O'T-
windleberry. He is making a left
turn in his '67 Austin Mini. But
before this manoeuvre is completed, the old fellow and his wife
unintentionally plow their three-
ton vehicle into the back of poor
Filbert's Mini. Sadly enough, this
accident and others like it could be
avoided.
A major realignment is
necessary in our attitudes toward
driving and road safety. Our
current policy consists of giving a
driver's license to any worm who
asks for one.
Ihe aforementioned worm and
others just like him are then
protected from themselves by a set
of inane and confusing traffic laws.
What I propose is a plan that
admittedly is a pipe dream of the
wildest order and is therefore a
rough and unpolished idea.
I think that before a person can
get a license, he/she should pass a
stringent course involving handling a vehicle in a high speed
panic situation, basic knowledge of
the mechanical workings of a car,
and about 50 hours of practical
driving training.
At this, you're probably thinking,
"that would be expensive, and not
everyone could afford it." A valid
point. To avoid making a driver's
license into a luxury enjoyed by the
wealthy few, I propose that this
program be government-
subsidized.
This, however, would still be
impractical, as the government
can't afford to put all the drivers
we now have through such a
course. Which brings me to my
most important point.
I can think of one possible source
of money for these operations. A
large portion of the RCMP is tied
up with the task of babysitting the
drivers in B.C. I once counted eight
police cars on a 20-mile stretch of
highway.
If the number of drivers was
reduced, and the remaining
drivers were made more competent, most of this government
babysitting could be dispensed
with, resulting in a large amount of
funds being left available for
alternate purposes.
What this new system would do,
therefore, is dispense with the idea
of personal mobility as an
inalienable right. Obviously not a
politically expedient concept.
No government would ever go
along with such a unpopular move,
but unless they do they can't fool
me into thinking that they're really
that worried about saving lives.
STUDENT SPECIALS
'77 YEAR-END SALE
MINES
AND MOTHER NATURE
The children shown above are playing on what used to be a tailing
pond near Salmo, B.C.
Tailing ponds are found near most mines in British Columbia.
They are where the sand-like tailing—the result of grinding rock
down to a size small enough to release the mineral—is deposited.
Ponds protect the environment by holding the sand in one small
area. They also collect water used in the concentration of minerals
so that it can be pumped back into the concentrator for re-use.
Since the rock was originally mined many feet below the surface-
it was once thought that nothing could grow naturally in tailing. But
the thick cover of grass shown in the photo resulted after Placer
applied selected seeds and booster applications of fertilizer.
Other mines in the Placer group have found that, with the proper
methods, grass can thrive on tailing, rock dumps, and other areas
previously used in mining operations.
Mines need land to produce the metals and minerals we all need-
but they also respect the environment.
tr
1977 GREMLIN
2-dr. Coupe, Green in color, 6 cyl Auto, PS
Defogger w/cover, w/w tires.
This car was $4870
Now Only $3930
1977 GREMLIN
2-dr. Coupe, Yellow in color, 6 cyl 3-speed
man., rear window Defogger.
This car was $4460
New Only $3585
1977 GREMLIN
2-dr. Coupe, Yellow in color, 4 cyl 4-speed
trans. Bucket Seats, Defogger.
This car was $4327
New Only $3599
1977 GREMLIN
Custom 2-dr., Red in color, 6 cyl auto
Trans., Radio PS PB, Rear Defogger, Rally
Wheels, Bucket Seats.
This car was $5295
New Only $4520
ft)
PIACER
DEVELOPMENT
LIMITED
MOUNTVIEW
MOTORS LTD.
n
AMERICAN MOTOR-
BUYER PROTECTION PLAN
1600 MARINE DR., N.V.
980-3431 D01196A
^ Page 6
THE       UBYSSEY
Friday, October 28, 1977
Hot flashes
Phyllis Chester
speaks Monday
Well-known psychiatrist and
author Phyllis Chesler will be
speaking Monday on the impact
of feminism on male and female
psychology.
The speech is part of women's
week at UBC and will take place
Monday at 8 p.m. in SUB ballroom.
Tickets are on sale at the AMS
office and are $1 for students and
$2 for everyone else.
Paper Clinic
The Sedgewick library will be
holding   a   Library   Term   Paper
Clinic to help you locate library
materials for your term papers.
Librarians will work with you
individually on your library research.
Sign-up time is from 10:30
a.m. to 3:30 p.m. at the Sedgewick Library information desk
any week day until Nov. 4.
'Tween classes
TODAY
BAHA'I CLUB
Informal discussion on the Baha'l,
noon, SUB 115.
LE CLUB FRANCAIS
Une conference avec la poete quebecois,  noon,   International   House.
YOUNG SOCIALISTS
Film on Russian Revolution, 8 p.m.,
1208 Granville.
PSYCHOLOGY STUDENTS'
ASSOCIATION
Speech by D. Papageorgls on attributions and depressions, noon, Angus 321.
WOMEN'S COMMITTEE
Abby Lloyd Schwartz speaks on
women and doctors, noon, Mildred
Brock lounge.
Nurses mini-workshop: breast self-
examination,    1    p.m.   to   4   p.m..
Sarah David begins three-day workshop  on  Women  Emerging,  7 p.m.
to  10 p.m., Mildred Brock lounge.
GAY PEOPLE
Gay dance, students $1.50, others
$2, 9 p.m. to 1 a.m., Graduate
Student Centre garden room.
SKYDIVING CLUB
General meeting,, noon, SUB 212.
LUTHERAN CAMPUS MINISTRY
Oktoberfest, $2, food and entertainment,    8   p.m.,   Lutheran   Campus
Centre.
SATURDAY
SKI CLUB
Hallowe'en   party,   8 p.m., Whistler
cabin.
WOMEN'S COMMITTEE
Bear garden   with Carol Street and
friends    entertaining,     8:30    p.m.,
Mildred Brock Lounge.
BCMRI
Seminar   on   retarded   In   society,
9:30 a.m., 2765 Osoyoos Crescent.
CSA
Sports night,   7:30  p.m.,  Thunderbird gym.
DOWN JACKETS
ga
Big or Small Jobs
ALSO GARAGES
BASEMENTS
& YARDS
732-9898
CLEAN-UP
HILLEL HOUSE
Round table discussion with
Dr. Shlomo
Aaronson
Prof, of Political Science,
Hesren University
Coffee Tea
12:30-1:30
MONDAY, OCT. 31st
Scientists! Philosophers
listen and discuss with
Dr. Dennis Chitty, Zoology
"IS SCIENCE A THREAT TO RELIGION?'
Tues. Nov. 1   12:30 Chem 250
Sponsored by the Science Undergraduate Society
Speakers Program
THE CLASSIFIEDS
RATES:   Campus - 3 lines, 1 day $1.50; additional lines 35c
Commercial - 3 lines, 1 day $2.50; additional lines
50c Additional days $2.25 and 45c
Classified ads are not accepted by telephone and are payable in
advance. Deadline is 11:30 a.m., the day before publication.
Publications Office, Room 241, S.U.B., UBC, Van., B.C. V6T UVS
5 — Coming Events
Have A Trim!
Hair cutting is one
of the things we do
best! We specialize
in all the new looks!
APPOINTMENT
SERVICE
731-4191
Representative
UNIVERSITY OF SOUTHERN CALIFORNIA
to be on campus
Monday, NOVEMBER 7
Graduate study information - all fields of
Letters, Arts & Sciences
Contact
Office of Student Services
FREE VANCOUVER INSTITUTE LEC
TuRE. fair Lterejt Barton, imperial
College, London, speaKs on "Tne
Classification ol crimes — Tne Worid
Today," in Woodward IRC at 8:15
p.m., Saturday. A Nobel Prize winner, Sir Derek will deal with the
world energy crisis, tne population
explosion, mass poverty and hunger,
pollution and world-wide ecological
problems.	
10 — For Sale — Commercial
35 —Lost
Women's Week (£•;*•
FRIDAY 28
12:30 Abby Lloyd Schwartz on Women and Doctors
Mildred Brock Lounge
1:00-4:00    Nurses Miniworkshops  45 minutes each,
starting at 1:00 —
Breast Self Examination
Mildred Brock Lounge
7:00-10:00 Sarah David begins her 3 day workshop-
• Women Emerging      fee and limited enrollment
applications available in SUB 130
Mildred Brock Lounge
SATURDAY 29
10 a.m.-6p.m. Sarah David
Women  Emerging
8:30-12:00p.m.   Bear Garden with Feminist Entertainment:
Carol Street and friends
Mildred Brock Lounge
SUNDAY 30
10a.m.-6p.m. Sarah David
MONDAY 31
8:00 p.m.      Phyllis Chesler
Women Emerging
The Effects of Feminism on Male and Female Roles
SUB Ballroom   $1.00/student  $2.00/other
For further information:
SUB 130 The Women's Centre
RACQUET SALE. Good selection of top
value name brand racquets in all
price ranges. Seasonable rates for
stringing. Phone 733-1612 or visit
Community Sports at 3616 West 4th
Avenue.	
11 — For Sale — Private
MAN'S WHITE LEATHER COAT, sheep
skin lining, size 38-40. Art books and
prints including 24 portfolios Met
Museum of Art Seminars. Religious
Books. 263-2109.
RARE. '73 TOYOTA COROLLA Deluxe.
1600 cc. automatic, plush custom int.,
stereo (opfl), 1 mit. mags, radials
(nr. new, 5), well maintained, 35,000
miles. 325-3542.
ORGANICALLY GROWN, un sprayed
Okanagan fruit in season. 25c per
pound by the case. Free delivery,
738-8828 or 733-1677 evenings.
A GREY BRIEF CASE containing matl
and economics notes needed badly
Phone Brock, 224-0541.
GOLD SORORITY PIN with small rei
stone. Letters AOTT superimrosed
Sentimental value. Phone Mari • 263
4308.
LOST, LADIES GOLD WATCH. Swis
made. Phone Alison, 324-5837. Rewari
offered.
LOST: Man's gold watch. Reward. Fh
Stephen, 299-6404.
40 — Messages
NJM You axe the Jack O'Lantern o
my life, so don't ghost away. You'v
got me bewitched. Happy Hallowe'en
RGH
HAPPY       HALLOWE'EN
Lounge. Love, Sheila.
BUCHANAI
PETER PETER PETER EATER (lobes
You sexy devil! Why not score wit
me, you big strapper. Love, Sandi.
DATSUN 2000 assembled block with
head intake man. carbs, $300. Call
Dennis,  266-8413 or 266-6366.
'72 DODGE COLT. 4-speed, 68,000 mi.,
economical, reliable, sporty & peppy.
$1350 or best offer. 874-8059.
'74 CAPRI. V6, standard, 24,500 miles,
radio, Decour Group, snows, etc. Excellent condition. 688-1734, 271-2415.
25 — Instruction
UBC SKYDIVERS
First
Jump  Course  Includes:
—Full
Year CSPA Membership
—Club
Membership
—Full
Year Equipment Use
—Two Jumps
Room 216G S.U.B. Phone 208-5543
»r Room 212 S.U.B.
Friday, 12:30.
SPANISH     CLASSES.    Beginners    and
advanced   Contact Bertha 738-3895.
ATTENTION ENGINEERS and othe
assorted faculties.. Happy Hallowee
Music  Lives.
VALENTINE, please be my pumpkil
Boo.
JOHN R. "Carve" your way into m
heart, you adorable pumpkin.
JULIE SMITH: Happy Hallowe'en. You
smile makes my day. Animal behavic
can be interesting.  D.
65 — Scandals
HITCHCOCK IS NOT DEAD! In honot
of this, suljfilms presents his late:
film, "Family Plot."
80 — Tutoring
85 — Typing
30 — Jobs
BUSINESS OPPORTUNITY for singles
and couples. Begin at home; set your
own hours. Free training. Call 874-
5658 for appointment.
CASH IN on fall and winter Xmas
selling. Distribute nationally known
products. Phone tor appt., 6-9 p.m.,
270-3999.
SUPERIOR TYPING for your essay
Pick up and delivery on campus. Ca
Penny,   437-7240  evenings.
ACCURATE TYPING on IBM Selectri
reasonable rates. Call 438-2972.
NEED ANY TYPING DONE? Phor
698-8008 after  6:00 p.m.
FOR   ACCURATE   TYPING   on  an. IB:
Selectric, call 986-2577. Rush .woi
accepted. Vancouver pick-up. Reaso
able.
EXCELLENT TYPING. Reasonab
rates. Call 731-1807, 12 noon to 9 p.r
99 — Miscellaneous
TV RENTALS: 20" color $18 monthl
16" color $17. Del. till 11 p.m. Cs
669-4332 anytime. PAGE FRIDAY
Talkies • Golden jubilee of sound film
The film industry is celebrating the fiftieth anniversary of sound this year. Page Friday takes a
look on PF 5. Also on the film scene, Nureyev is
Valentino and Looking for Mr. Goodbar are reviewed
(Mi PF 6.
Reviews of recent concerts by Hall and Oates and
Crosby, Stills and Nash appear on PF 2.
This week's creative arts page features the poetry
of philosophy student Diana Schutz, on PF 3.
The series of articles on alternative forms of
knowledge continues this week with a feature on the I
Ching, on PF 4.
Heritage Village, a reconstruction of Vancouver in
its early days, is the subject of a photo essay on PF 7.
Phyllis Chester's book, Women, Money and Power,
is reviewed on PF 7. Book reviews of A Cree Life: The
Art of Alan Sapp and of Retarded Giant appear on PF
8 and PF 9 respectively.
Vista closes the issue on PF 9.
"N music
Crosby, Stills and Nash out of steam
By BRUCE BAUGH
For a supposed supergroup,
Crosby, Stills and Nash did not put
on much of a performance at the
Coliseum, Wednesday, October 19.
The concert was erratic at best.
Sloppy guitar playing, bad timing
and a sound mix that turned the
instruments into a cacaphonous
wall of sound all detracted from
what should have been an exciting
evening.
Hie whole Crosby, Stills and
Nash experiment ran out of steam
long ago. They managed to attract
only a half capacity house this
time, compared with a packed
Coliseum for the same group
together with Neil Young in 1974.
Young was sorely missed this
time around. The music was less
energetic and lacked the
aggressiveness that Young would
have brought to it. Stills' guitar
playing was merely adequate and
he showed no signs of pushing
himself. In contrast, in 1974 Young
spurred him on to some breath-
takingly adventurous rock guitar
solos. Without Young, the group
was layed back to the point of being
listless.
On the positive side, the egos
were kept under control, and each
member was complimentary and
supportive of the others. Whatever
conflicts these three have been
through doesn't change the fact
that they are, to a degree, a mutual
admiration group. And with good
reason: despite their recent performance, Crosby, Stills and Nash
remain three of the most talented
songwriters and performers in
rock music.
In fact, the music has changed
little over the years. The format of
a slow minor key verse building to
an uptempo chorus is still basic,
lliis is delightful for the dedicated
fan; it is the sound with which the
group is identified.
On the other hand, this sort of
repetition can get boring. At one
point, Crosby mistakenly played
the    guitar    introduction    to
FORMER SUPERGROUP... a listless Stills, Nash and Crosby blunder their way through song
Guinevere, from their first album
in 1969, instead of their new song,
Just a Song Before I Go. With the
similarity of the music, it's no
wonder he slipped up.
The image hasn't changed much
either. Clad in cords and jeans, the
group gave an appearance of
casualness rarely seen on stage in
the 1970s. Their between song
joking around and dialogue with
the audience indicated that they
wanted the audience to feel as if
they were their friends and equals,
together for an informal evening of
music and reminiscences.
This continuity with their past
enabled the group to sing their
romantic (and sometimes naively
optimistic) songs of 1969 with
almost as much sincerity as they
handled their current material.
Highlights of the concert were
Crosby's Shadow Captain, which
had a driving, energetic chorus,
and Nash's lament of the whale
slaughter, Wind on the Water, both
of which are recent compositions.
(A sour note here: Greenpeace
approached the group and asked
for 50 percent of the gate, but the
group refused. This puts CS&N's
sincerity into question. If they are
really concerned about saving the
whales, they should put their
money where their songs are instead of merely exploiting public
sentiment for their own benefit.)
From their older material, Stills'
Turn Back the Pages and the
Beatles' Blackbird both received
fine treatment.
The voices were all in fine form,
particularily Nash's, which was
clear and strong. Harmonies were
usually right on. At the close of
Judy Blue eyes the effect was
magical, and the crowd responded
warmly.
The rest of the show, which was
divided into an electric set, an
acoustic set and a closing electric
set, had little to get excited about.
A slow pace and a heavy, disco
like beat ruined Love the One
You're With in the first electric set.
Tlielack of imagination on the part
of the back up band of Joe Vitale on
drums (once of Joe Walsh's
Barnstorm), George Perry on bass
and Mm Pollard on keyboards was
painfully evident on Crosby's by
now ridiculous political hymn,
Long Time Co min'. (The darkest
hour may be just before dawn, but
it's surprising just how dark it can
get.) And you'd think that Crosby
could have learned how to play
rhythm guitar by now.
During the acoustic set, Stills
muffed the guitar playing on "Judy
Blue Eyes (the notes in places
were simply wrong), and
Guinevere, a delicately beautiful
song, was capsized by Crosby and
Nash's off-key vocals and a
murderously slow tempo.
Stills picked up the wrong guitar
for Helplessly Hoping, but the
group managed to laugh off this
mistake, as they did with many of
Hall and Oates funky and sweet
By LES WISEMAN
After 12 years as session men for
various Motown and Philadelphia-
based bands Daryl Hall and John
Oates have finally emerged as
heavyweight contenders for super-
stardom.
Last Friday night, after cancellations for the past year, Hall
and Oates brought their crowd-
pleasing brand of music to the
Queen Elizabeth Theatre.
Superficially, their songs are
rhythm and blues inspired, yet
there was a good dose of metal
music and basic Chuck Berry
styled rock n' roll which kept the
crowd from getting bored with one
style.
Charisma is a terribly over-used
word, yet the charm of Hall and
Oates is indeed charismatic. As the
band opened with a soaring tenor
sax solo, John Oates ran out on
stage to supply the chunky guitar
lines of Don't Change, from the
new Beauty on a Back Street
album. Oates, the be-moustached,
swarthy, Latin-looking half of the
duo is overtly macho even down to
his wide-legged stance and phallic
thrust of his stratocaster.
In perfect counterpoint, Daryl
Hall, half a foot taller, pale, blonde
and with a face out of Vogue
magazine radiates an ethereal,
Bowie-esque persona. The major
musical contributor, Hall receives
the larger portion of the spotlight.
Just watching the stylized way the
man moves is fascinating.
Moving from centre stage, Hall
tookover his piano and plunked out
Rich Girl, the single which marked
the bands emergence into wider air
play and public interest.
In Rich Girl, as with all the
material which followed, the
perfectly blended harmony of Hall
and Oates was delightfully
displayed. Oates' mellow low tones
dovetail perfectly with Daryl
Hall's higher voice.
The work with big name rhythm
and blues bands shows up in the
extensive use of controlled falsetto.
In Do What You Want, Hall
demonstrated his falsetto
proficiency with unquavering
ultra-high note which were held
for so long that the audience broke
into spontaneous applause.
Drawing up a stool to centre
stage, John Oates took over the
spotlight for the ballad, The
Emptyness, which although
lyrically a bit melodramatic,
showed the bands' prowess in
handling all their varied musical
styles.
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Surrounding the main stage was
a horseshoe-shaped staircase from
the top of which Hall sang the
mythologically inspired Winged
Bull. Sung in an Oriental style,
Winged Bull is' as close to
psychedelia as Hall and Oates have
ever come.
The evening was spiced with
selections from the lesser known
albums such as Abandoned Luncheonette and War Babies, yet it
seemed to be the material from the
"silver" album which made the
audience most enthusiastic.
The obligatory encore applause
was a standing ovation which was
rewarded with a medley of some
old and new songs that hung
together by being kick-ass rockers.
Caleb Quaye, formerly guitarist
for Elton John displayed his
proficiency on songs such as You
Must Be Good For Something and
Gino.
During Sarah Smile, Daryl Hall
improvised the line, "Thank you
for making me happy." Well,
thank you Hall and Oates for
making the audience at the Queen
Elizabeth on Friday night happy.
r
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graduates for the Vancouver office who will be eligible for
student registration with the Institute of Chartered Accountants
of British Columbia.
Students who are unable to arrange for an interview on campus
through the placement officer should mail before November 14 a
copy of their U.C.P.A. form or personal resume to:
Personnel Manager,
Price Waterhouse & Co.,
1075 West Georgia Street,
Vancouver, B.C. V6E 3G1
Additional information is available at the Office of Student
Services.
Ihe others. Crosby joked about
"our usual polished act", but the
point is that such a lack of
professionalism would have been
deplored in any other group.
The worst moment of the
acoustic set was Stills' solo rendition of Robert Johnson's blues
classic, Crossroads, segueed with
Chuck Berry's You Can't Catch
Me. The performance was not
nearly as good as on Stills' last live
album, and even that version was
mediocre. Street musicians have
done better. It was a painfully
embarassing Stills ego trip.
Nowhere was the lack of energy
in the group's performance felt
more than during the last electric
set. Deja Vu was sloppy from start
to finish, with voices coming in off
cue and ragged guitar playing.
Carry On, which in 1974 was extended into a long jam packed with
fiery lead guitar from Stills, had
little guitar work this time and
failed to go anywhere. The first
encore of Wooden Ships had a
lengthy and boring keyboard solo,
while Stills wandered about the
stage.
The one moment of the concert
which generated some real excitement was the second encore,
Teach Your Children. The crowd
sang along and gave the song the
strongest applause of the night.
It was a mediocre concert that
should have been good. These guys
are pros, but they came off as
amateurs. It looked as if they
weren't trying very hard. If they
had been a new group, their
aimless wandering between
numbers, slow pacing and sloppy
performance would have earned
them a loud chorus of boos. But the
dedicated fans were intent on
enjoying, and so they did.
As Just a Song Before I Go says,
it's easy to get burned.
LIVE
THE MAGICIAN
HALLOWEEN NIGHT
World Famous
Mandrake
OCT 31 - 9 PM
TOTEM PARK
BALLROOM
$2.50 ($1.50 TPRA)
HALLOWEEN  SPECIAL
Presented by the
TOTEM PARK
RESIDENCE
ASSOCIATION
Page Friday. 2
THE       UBYSSEY
Friday, October 28, 1977 creative arts
Poems
By DIANA SCHUTZ
This week's creative arts page features poetry by UBC
student Diana Schutz. Page Friday publishes works in the
areas of poetry, drama, fiction, drama, photography and
the graphic arts. Submissions should be delivered to room
241K of SUB.
goddamn you
French-Canadian lover
for your controlled grin
your hot-wired eyes
your words set at
double entendre
and goddamn you
(most of all)
for this poem
The logic of you
is a 1970s disaster film
in which I'm the victim
Look:
I didn't volunteer
to act in your movie
divorce me from this script
let's tear up the contract
we never made
Give me the part of
a computer analyst
& let me rewire
the lines of your fingerprint
I'll design the perfect program
for destruction
We can arrange the details later
Only this matters:
your ex-wives mean nothing to me now
All I want from you
is
your purple MG
and your newest stage set:
1950s Authentic Kitchen
TEACHER
At the slim borderline
of your canvas
you scrape sharp colors
They move abruptly
like stiff soldiers marching
across a wide, flat field
You spend years
locked into that dark room
staring out the curtained window at
Your painting
invades me like an army
over frozen ground
slashing my scarred eyes
What is it about blood
that you want me to understand
All I see are colors
You are never there
CRAFTSMAN
You carve paper dolls
at the thin edge of your knife,
white paper (tolls
with pointed legs
and slim arms
You tip the blade
into their many faces
These slits
are their eyes
You survey your craft
with your own exact eyes
It pleases you, this
precision
You always wanted to be a hero
Now you string your dolls
around the gallery
They hang from the walls,
their starched bodies trembling
at a draft
They form a regiment
of paper dolls,
poised stiffly on the air
like small white stars
One slips to the floor
(look carefully, this is me)
My chin is stained
with red blood
It collects in drops
at my severed limbs
This perplexes you
The gallery frowns on imperfection
You bend,
gather me into your well-fashioned palm,
fold me neatly
in half,
and press me firmly
between the pages
of your catalogue
At four o'clock in the morning
your impossibly irate landlady
arches her tight body
on the landing
as we cross
her coiled shadow
Her red-haired, Italian insults
pounce into your apartment
before we can padlock the door
They skulk near the bed
scraping the marrow of my dreams
You haven't forgotten
your mission of mercy
Thinking of new cities and new rents
you offer my wounds warm milk
Later, I slip out
quite unnoticed
You awake at an invasion of sun
It mirrors my broken skin
in the bloodied tatters of the sheets
your knock at the door comes carefully
the fine edges of your knife
gracing your knuckles
bloodied from another battle
with yourself
you enter, conqueror
and conquered
I don't realty care
who ordered your destruction
but I haven't tired of playing referee
meet me on rue St. Jacques
we'll have a beer and discuss politics
I am bored with politics
let's discuss the quality of drugs
in Montreal
I am bored with drugs
let's discuss your destruction
that's something I can still get my teeth into
can you make love
with the same passion you entertained
a year ago
or even yesterday
that's all that really interests me now
place your head between my legs
let the guillotine drop
the rust you leave on my sheets
has begun to scale my flesh
Friday, October 28, 1977
THE        UBYSSEY
Page Friday. 3 occult
Change constant in human condition
By MICHAEL TREW
As is true with most ancient
books of wisdom, the sources of the
I-Ching are obscure. It is believed
that the I-Ching originated about
one century before the time of
Confucius; however there have
definitely been additions to the
original text since then. Confucius
himself is thought to be responsible
for a fair part of what is called the
Ten Wings — expanded commentaries on the texts.
By far the best translation of this
Chinese manuscript is that of
Richard Wilhelm, a German who
studied for many years with the
Chinese scholar Lao Nai-hsuan.
Together they arranged the
material, which originally was in
no particular order, into an easily
understandable format. Carl F.
Baynes translated the German
manuscript into its present English
form.
The "Book of Changes," as the
name translates, is divided into
three sections. The first deals with
the 64 hexagrams, the second with
a more detailed explanation of the
symbolism in the Book and the
third with a more comprehensive
and varied interpretation of the 64
hexagrams.
A hexagram is composed of six
lines; a line may be either straight
or broken. However, these two
possibilities are expanded to include a straight line with a circle
covering the centre and a borken
line with an X in the middle,
making four possible lines. The
hexagrams deal only with the first
two possibilities; there is additional commentary for individual
lines of the latter types.
The I-Ching may be read from
cover to cover, and will provide
wonderful proverbs by which to
govern life, or it may be used for
divination if you have a specific
question to ask it.
There are two methods of
divination: the first involves a
complex and lengthy procedure
using yarrow stalks (which are
difficult to obtain in the West); in
the second three coins are used,
preferably Chinese pennies
(available in Chinatown for a
nominal sum).
The most common method is that
of the coins. Simply, heads are
valued at three, tails at two. The
coins are tossed and the numbers
tallied.
There are only four possible
totals — 6, 7, 8, or 9. Six is
represented by a broken line with
an X; seven by a solid line; eight
by a broken line; and nine a solid
line with a circle.
Sixes and nines have special
significance, as mentioned, and a
special section pertains to them.
They are called "changing lines,"
which means that they have two
interpretations.
Toss the coins six times, write
them starting at the bottom line,
and you have a hexagram. Next
turn to the index at the back of the
book and identify the specific
hexagram you have. Then in the
first section, read the Image and
Judgment rendered to you.
If you have changing lines, read
the appropriate ones under
"Lines," and then reverse these
lines. In other words, if you have a
six (abrokenXline), change it to a
solid line; if you have a nine (a
solid circle line), change it to a
broken line. Now a new hexagram
is formed and you must again
consult the index. For the second
hexagram read only the Image and
Judgment, not the section under
the Lines.
Interestingly, most people who
use the coin method for divination
have it wrong. In fact, in the
Blofeld translation (a rather inferior one), the instructions are
given incorrectly — heads as two,
tails as three.
Surprisingly enough, however, it
doesn't seem to make much difference. The wisdom imparted by
a reading is amazingly appropriate
no matter what method you use, so
long as you believe in what you're
doing.
Those who are dissatisfied with a
reading need only think a little
more deeply, as the Book does not
respond well to trivial questions.
I've often found that the question I
ask is translated into a higher
question, which generally is of
great use in getting to understand a
problem.
The I-Ching often makes
reference to the "superior man,"
giving rise to the idea that the book
is not intended for the weak-
minded. Indeed, many Chinese
leaders, even since the Communist
takeover, refer to the wisdom of
the Book. Such quotations as
"There is no need for false appearances before God" come to
mind as humbling advice which
anyone could well heed.
The principle of change is a
foreign one to the Western mind, as
Carl Jung explains in the
Foreword. Our science does not
allow much for uncertainty, and
probably relegates a book such as
this one to the category of superstitious nonsense.
But parapsychology is today
becoming increasingly popular
because people are becoming
disenchanted with a science that
produces only bigger and better
bombs, and technology that renders individuals mere puppets in a
great machine. The Eastern ideal
of inner peace is more and more
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CHANGES IN NATURE
our  materially-
attractive  to
oriented minds
As Jung states: "The 64
hexagrams of the I-Ching are the
instrument by which the meaning
of sixty-four different yet typical
situations can be determined.
These interpretations are
equivalent to causal explanations.
Causal connection is statistically
necessary and can therefore be
subjected to experiment.
Inasmuch as situations are unique
and cannot be repeated, experimenting with synchronicity
seems to be impossible under
ordinary conditions. In the I-Ching.
the only criterion of the validity of
synchronicity is the observer's
opinion   that   the   text   of   the
hexagrams linked with powers in nature by I Ching.
hexagram
rendering
dition . . .
amounts to a
of his psychic
it is 'spiritual
true
con-
agen
cies,' acting in a mysterious way,
that make the yarrow stalks (or
coins) give a meaningful answer."
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Page Fridays 4
THE       UBYSSEY
Friday, October 28, 1977 Movies celebrate 50 years of sound
By LARRY GREEN
Filly years ago, in October, 1927, a mostly
silent, vapid little film with a couple of songs
and a few lines of dialogue sandwiched in
silence was released.
Despite its effete theme, pining sentimentality and static staging, it was a
sensation that overwhelmed its audience
and turned the rest of the movie industry
upside-down.
It was the first time that sound had been
used with film to propel the story of' a
feature-length picture. The star had worked
for the last cash the producers had;
bankrupt, they had made the film on a
shoestring. The star was Al Jolson, and the
film was Warner Brothers' The Jazz Singer.
People generally believe the cliche that
The Jazz Singer was the first talking picture, but it was not. It was, however, the
first one of any importance.
Recorded sound had existed for many
years by 1927, first on record discs and then
on radio. It had been shown with moving
pictures in European exhibitions from the
turn of the century and dozens of people had
worked over the years to synchronize sound
with film.
The trick that had not yet been achieved
was to synchronize sound with a moving
picture on the same piece of film material.
The sound track-on-film was invented in
1919 in Germany /and an American, Dr. Lee
de Forest, invented a similar process
shortly after.
De Forest had invented and patented in
1906 the amplification process by means of
the audion tube, which projected sound
across a room. He made short films of
variety acts and performers in the early
1920s and travelled about lecturing about his
invention.
He was eclipsed by Bell Telephone
research, which began to market its own
sound-disc process, the Vitaphone, in 1925,
with the hope of selling it to the moviemakers.
Vitaphone
The Vitaphone became the movie industry's untouchable; every studio turned it
down, considering it a white elephant. It was
feared that Vitaphone would ruin their
lucrative silent film business, involve expensive, delicate, and unknown equipment,
and force drastic changes in snooting
methods.
However, the Warner Brothers (Harry,
Jack, Sam, and Albert) had nothing to lose.
Quickly going broke because they didn't own
enough theatres to exhibit their steadily
decreasing supply of pictures, they bought
it.
TTie movie business in general was
beginning to sag in 1927 — people preferred
to stay home and listen to their radios ( a
precursor to jhe television vs. film battle).
In August, 1926, Vitaphone was presented
for the first time in New York. The program
included a short lecture by Will Hays (soon
to be the Torquemada of the industry as its
national censor), about the future of sound
movies, some shorts featuring musical
performers, and a silent film with canned
music substituting for a live orchestra.
Warners carried on their program for
over a year. Tremendously in debt, under
great strain and laughed at by the big
producers, Sam Warner died of stress.
The equipment was too expensive for
theatre owners to buy in order to show a film
, with recorded background music attached
to it — they had live orchestras already.
At  the same  time William  Fox  was
producing shorts in Movietone, a process
pirated from de Forest where die sound is
. actually attached to the slide of the film and
run through a specially adapted projector.
Before Movietone was eventually to
supplant Vitaphone's disc system, Warners
at last decided to raise the sound film from
gimmick status.
In the Warners Theatre in New York, they
openedThe Jazz Singer on October 5,1927; it
was a stupendous success. It killed silent
films overnight, leaving the movie moguls
aghast with millions of dollars of silent films
either in production or already completed.
Audiences would not go to a silent film if
they could help it; the new entertainment
threw musicians out of work, sent actors
scrambling for voice teachers, and caused
theatres to rush die installation of sound
equipment. The industry stood still as it
JAZZ SINGER ... Jolson movie made sound movies win public support
read the headlines; they they decided to
move forward.
As moviemakers rushed to produce
talkies, they encountered new problems.
First, what were they to do with their
backlog of silent films?
Some were provided with canned music,
sound effects, and even a little bit of
Technicolor.
they were disasters, and the newly-rich
Warner Bros, company dutifully reminded
the public in a publicity ad that "if it's not
Warner Bros. Vitaphone, it's NOT the real,
life-like talking pictures."
During 1927-29 the bulk of these problems
were confronted and resolved.
At first cameramen had to film from an
enclosed, immobile soundproof booth to
muffle the sound of the machine. Such
workers would often emerge dripping wet.
Eventually covers were invented for
cameras to act as mufflers.
Shot after shot would be unmoving and
still because the camera, and the sweating
man behind it, could not move except for a
slight left-right motion.
Silenced by padding, the camera could, by
1929, be moved around a scene, instead of
remaining a dull invigilator.
The microphone was a stationary enemy;
not only was King Mike to be the destroyer
of legends, it had to be fixed onto one place
on the set and required actors to yell
directly at a pot or a bush (as so brilliantly
spoofed in 1952's Singin' in the Rain).
The machines needed were costly, and
they picked up any noise not only in the
studio but outside as well: cars, airplanes,
anything.
Enclosed sound stages were built, and
studios flew blimps overhead to ward off
airplanes. This was solved by the boom
mike; suspended on booms over the set,
mikes could be moved and controlled out of
camera range.
More drastically, and most obviously, the
movies had to reckon with their main
audience attraction, the stars.
Seated before flickering shadows whose
actions were accented by dramatic
sweeping music, the audiences of the 1920s
had been asked to perceive a star as more
than simply a physical presence; with their
emoting and gestures, the actors were more
like spirits than people.  <
When sound arrived many of the
tremendously popular stars were found
delivering dialogue for their first talkie with
squeaky voices, inaudible diction, or incomprehensible heavy accents. Not very
romantic for legendary beings.
Pushed off their lofty heights, many of
them plunged into oblivion and sank, among
them Colleen Moore, Norma Talmadge, and
Pola Negri.
Handsome John Gilbert lingered for a
while but could not stem the tide, his
pleasant tenor voice recording a squeak at
the hands of unscrupulous technicians.
StiD other stars had too much money
saved up to care very much either way.
Among the stars who made it were the
redoutable Joan Crawford, Ruther Chat-
terton, Janet Gaynor (the first best actress
Academy Award winner), Ronald Colman,
Norma Shearer (by virtue of the stock interest she held in MGM, and of course,
Greta Garbo.
A top box-office draw throughout the
twenties, a status she was never to have in
the 1930s despite "her great roles, MGM
kept her in silent films until 1930, when in
Anna Christie she arrives after more than
half an hour into the film and asks for gin
vith viskey. "Garbo Talks!" ran the billing,
and sound seemed securely entrenched.
Charles Chaplin held out; having once
said, "A good talking picture is inferior to a
good stage play, while a good silent picture
DISNEY ... took sound beyond gimmickry in Steamboat Willie
is superior to a good stage play," he made
City Lights in 1931 and Modern Times in
1936, achieving his greatest success with
silent films well into the 1930s.
With the necessity of constructing huge
sound stages in which to shoot pictures, the
movies abandoned studios in New York
(where, for instance, the Marx Brothers
made their first films), and moved
everything but business offices to
Hollywood.
The movies seemed abandoned in another
way as well: aesthetically.
The movies had reached their technical
peak in the twenties in the areas of
photography, lighting, and set construction
and design.
The best stories given to the best directors
and photographers available could become
exhilarating and absorbing films; the actors, emoting like mad, projected lyrical,
haunting performances in their quest for
truth.
The sound rush was so frantic that any
pretensions to art disintegrated. If the
people wanted talkies, they would get
talkies in the form of non-stop dialogue and
musical numbers.
The Lights of New York (1928) didn't rest
for a minute. Broadway Melody (1929) was
so stuffed with rubbish, and made in a crude
color process besides, that it won the second
Academy Award for best picture, the first
musical to do so.
Broadway became key, the most obvious
tiling to imitate: its actors, its plays, its
jokes, its brashness and its crudities were
all shipped wholesale to Hollywood.
The directors who had to package what
they were given had to unlearn the method
of making film art with the image alone and
had to learn to balance a picture with
talking.
It wasn't the image anymore, it was the
noise that made a movie. For that reason
the new movies were visually still and
lifeless, using long sequences of a single shot
while actors tried to project their endless
stream of words into one earth-bound
microphone, or having the track punctuated
with exaggerated sound effects.
Disney's art
Eventually directors like Ernst Lubitsch
(Monte Carlo, 1930), King Vidor
(Hallelujah!, 1929), andRouben Mamoulian
(Applause, 1929) showed a great deal of
imagination, bringing in roaming cameras
and microphones, worthwhile material and
better editing.
Walt Disney played a large role in sound
creativity. In Steamboat Willie (1928),
sounds were generated from visual images,
such as a cow's teeth being used by Mickey
Mouse as a xylophone.
Sound was turning into a real force of its
own and ceasing to be an aggravating
handicap.
If there could be no more improvisation or
slapstick comedy, in a way its arrival was
retrieving the pictures from lush gimmicks
and sentimentality. With the help of new,
more naturalistic actors such as Frederic
March, Jean Harlow, and Clark Gable,
sound was enabling the movies to communicate characters and substance.
Even so, with the stunning impact aside,
talking pictures were not a revolutionary art
form, they were the revolution of one art
form.
For the crowds of the late 1920s, talkies
were the total experience, but they did not
change opinions about the art or lifestyles
the way television would. Accustomed to
sound recordings in their homes, the public
found that it had outgrown silent films and
was no longer interested in whatever they
had to offer.
Feeling that silents were artistically
superior and unimpressed with the dismal
quality of the first talkies, the experts had
other opinions. Thomas Edison said people
would tire of talkies; Eisenstein said that
the sound film would remain unchallenging
and deal with endless dialogue to please
crowds.
Others predicted a side-by-side
relationship. "It would have been more
logical," Mary Pickford has said, "if silent
pictures had grown out of the talkie instead
of the other way around."
We are now exactly fifty years from the
sound revolution, and whether you agree
with Pickford or not, the movies, all singing,
all talking, all dancing, came fifty years ago
to stay.
Pa$e Flukey^ £
Friday•f&s&stfasfwri
THE       UBYSSEY Nureyev outstanding as Valentino
ByMARTAMARTON
The films of Ken Russell connote extravagance and eccentricity and his latest work,
Nureyev is Valentino, is no exception.
The frenzied life of Rudolph
Valentino is a perfect vehicle for
Russell's artistic talents. It is
Rudolph Nureyev who saves the
film from becoming just another
sensationalist movie.
Russell has a string of
biographical films behind him;
Manler, Lisztomania, and Isadora
Duncan, to name a few. But never
have his films had a presence as
powerful as Nureyev's. He gives an
impressive portrayal of the
romantic screen lover.
Both Valentino and Nureyev,
with their brooding exotic and
romantic looks, exemplify sensuality, pride, and ambition.
Nureyev, in his first dramatic
screen role, transcends his own
personality and becomes Valentino. The film begins as
thousands of mourners crash the
gates which enclose Valentino's
coffin. The remainder of the picture is a series of flashbacks which
never cease to shock our senses
and imaginations.
Russell has selected a strong
cast. However, Michelle Phillips,
as Valentino's ambitious and
beautiful second wife, Natacha,
never seems to be comfortable in
her role. She does not extend
beyond her off screen personality
as a former singer for the Mommas and the Poppas.
Yet she provides a perfect
example of the ideal women of the
twenties with her cold beauty and
boyish figure.
Valentino's undying love for her
is believable because she is
probably the only women he has
met who never completely submits
to him.
Leslie Caron gives an excellent
portrayal of the bitchy and sly
Nazimova. Carol Kane, as Fatty's
Girl, is well cast as the giggly,
shallow starlet who is one of the
first to perceive Valentino's
potentials.
Goodbar flops
By GRAY KYLES
Diane Keaton is best known for
her work in a series of Woody Allen
comedies which culminated in her
virtuoso performance in Annie
Hall. She has proven herself as one
of the finest comic actresses of the
last decade.
Now she wants to be recognized
as a major dramatic talent, which
is why she took on the challenging
lead role in Richard Brook's new
picture Looking For Mr. Goodbar.
Keaton tries hard but she is
undermined at every turn. The
result is a disappointing role and a
disastrous picture.
Looking for Mr. Goodbar is a
maddening failure. It's maddening
because there is a great deal of
potential in the project, including
good actors and an interesting and
original story.
Looking For Mr. Goodbar
directed by Richard Brooks
Capitol 6
But director Brooks handles the
wholeaffair insuch a confused and
hamhanded manner that it is
doomed right from its stylized
opening credits.
Actually the credits and the last
scene are the best things in the
picture. Unfortunately there is the
little more than two hours in
between.
Keaton plays a young teacher at
a school for deaf children. Unable
to find any love or humanity in her
strict Catholic family she breaks
away to live on her own.
She is attracted to the night life
of the bars and discos in her seedy
neighborhood and becomes involved with drugs and a number of
odd characters. Her life becomes a
contradiction.
By day she is the respected
teacher, at night she haunts the
bars looking for a quick pickup.
Her life is depressing and slightly
frightening but it is also the life she
chooses.
She grew up with a lot of sexual
fantasies which plague her as she
tries to live up to them, in as wild
and exciting a fashion as she can.
The story, based on Judith
Rossner's best selling novel, is
good. It is an interesting
examination of some of the results
of the so-called sexual revolution of
the 1960s and looks critically at the
meat-market, quick pickup disco
and bar scene.
That it never reaches its
potential is the fault of one man,
writer-director Richard Brooks.
Best known for such films as The
Professionals, In Cold Blood and
Bite the Bullet, Brooks was way
out of his depth when he tackled
Mr. Goodbar.
Rossner's story requires a
director who can put his message
across subtly. Unfortunately that's
something Brooks has never been
able to do.
He is a graduate of the
sledgehammer school of symbolism. At times a five-year-old
child could tell you what he is
trying to put across.
In one scene Keaton, who comes
from a Catholic family remember,
is returning from an afternoon
liaison with her first love, her
married professor.
As she stands in the subway a
train pulls up and stops. The doors
open and there, perfectly framed
in the doorway, stands a nun.
As if that were not obvious
enough Brooks cuts back and forth
from the nun to Keaton's horrified
face. Eventually the train pulls
out, Keaton carries on, and we
have been graphically shown what
we already knew. She suffers from
guilt founded in her religious upbringing.
Throughout the movie Brooks
exhibits his complete lack of depth
or subtlety. He also continually,
telegraphs the ending to us; lots of
knives, beatings, threats and such.
Watching Looking For Mr.
Goodbar I was constantly impressed by the potential that was
there. I kept thinking what Robert
Altman or Martin Scorscese could
have done with this story.
To his credit Brooks did establish
the mood of the story quite well.
You come out thoroughly
depressed. But you are also bored
and annoyed at the waste of talent,
which by the way is in great
abundance.
Keaton shows promise as a
dramatic actress but does not
reach her potential due to the
direction. William Atherton (from
Day of the Locust) proves once
again that he is (me of America's
most interesting young actors in a
role that is unfulfilling and inconsistent.
Newcomer Richard Gere plays
the fascinating but frightening
young swinger she becomes involved with and gives a top-notch
performance.
Despite all of her high hopes,
Keaton is going to have to wait for
something other than Looking For
Mr. Goodbar to establish her as a
dramatic actress.
She took a big chance, became
involved in a daring and important
project and was foiled by a second-
rate director. All we can do is wish
her, and us, better luck next time.
The boxing scene between
Valentino and a reporter an ex-
heavy weight champion) is the
most dramatic moment of the f ilm.
The reporter has insulted
Valentino's honor and manhood
and Valentino feels compelled to
prove himself. One can't help but
become absorbed in this scene.
Valentino appears to be in a
losing battle. His face becomes
bruised and swollen and he spits
blood between bouts.
Yet after winning the boxing
match he is still not satisfied with
his success. He continues in his
struggle to uphold his honor with a
drinking competition in which he
appears to have attained godlike
powers as he outdrinks his opponent.
Inspite of his abilities to con
women he remains  a dignified
character.  Although  he  often
displays poor taste in choosing film "
roles he never loses his magnitude.
Valentino was constantly controlled by aggressive domineering
women. He used women to aid him
in his career just as women exploited him.
Nureyev's dancing is always
worth watching. Although he is
thirty nine years old, he moves
with grace and control. It is only in
the love scenes that he is awkward
as he throws himself upon his
mates with boyish exuberance.
It is ironic that a man hailed as
the greatest malesex symbol of his
time was tormented and ridiculed
by suggestions that he was a
homosexual. Perhaps his marriage
to the strong willed Natacha and
her friendship with Nazimova, who
was a lesbian, confirmed that
opinion in the minds of those who
were suspicious of his masculinity.
In this film, as with most Russell
films, the director indulges in
shocking our senses to the point of
nausea. The scene in which
Valentino is in jail because of a
bigamy charge, is particularly
repulsive. There he is plagued by
lecherous, V.D.-ridden prostitutes
and perverted men.
Russell has altered some of the
details of Valentino's life apparently to enhance the film's
dramatic effect.
The most obvious change is at
the end of the film when Valentino
seems to die suddenly.
According to biographers, his
fatal infection of peritonitis was
prolonged over several agonizing
days in a hospital.
At the end of the movie we are
heralded with a song There's a
New Star in Heaven Tonight. Like
all great sex symbols, the star's
success is both tragic and
grotesque because he could not
possibly live up to the myth that
surrounded him.
Although Russell enjoys
presenting the lurid scenes of
Valentino's life; the film is worth
watching if only to see Nureyev's
portrayal of the star.
Nureyev captures the nuances of
his personality. He shows his sense
of humor, arrogance, vulnerability, sensuality, charm and pride,
and pride.
He draws a human and
believable character with subtlety
and insight that has rarely been
achieved by any actor.
NUREYEV .. .captures Valentino's haunting presence
Imported Drum Dutch
Blend Cigarette Tobacco,
blended in Holland.
For people who take the time to roll their own
Page Friday. 6
THE       UBYSSEY
Friday, October 28, 1977 history
History lives on at Heritage Village
By GREGORY STRONG
Heritage Village is an outdoor pioneer
museum near Deer Lake in Burnaby. The
buildings have been taken from locations in
the B.C. Interior and repaired and
reassembled to create the atmosphere of a
pioneer town in the early years of the
twentieth century.
Every building and display is operated
and maintained by the Heritage Society
volunteers who are retired men and women
working as the proprietors in the stores.
Many of these volunteers were blacksmiths,
or druggists, or mechanics during their
working lives and demonstrate the use of the
old tools and answer questions about the
displays.
Heritage Village is a complete town with
real estate offices, a Royal Bank, a dress
shop and a Chinese herbalist shop. The
village church is actually available for
marriages and baptisms.
Ihe village is artificial, but we can still
make associations with our past; the hardworking pioneer and his strong sense of
materialism. It is a beautiful walk through
Heritage Village, down the gravel paths and
over the green lawns, between the church
and the homes and the Main Street.
—colin fenby photo
HERITAGE VILLAGE; MAIN STREET The old towns had these same wide gravel
streets. When it was wet, they were muddy. The age was in the wood and worn on the
floor. Decay and chipped paint are missing here, everything is fixed and has new paint.
—colon fenby photo
THE VILLAGE CHURCH: The old church in the shadow of sunset. Village churches
were the heart of a district; baptisms, marriages and funerals.
—mary janeway photo
THE APOTHECARY: Rows of yellow and brown bottles. It smells old. Behind the glass
counter and corded bottles is a sea captain's surgical kit with a steel bone saw and double
edged knives. They are bound in velvet in a beautiful rosewood case.
—colin fenby photo
THE OLD MOTORISTS' SHOP: Fred Maunsel was a grease monkey for forty years.
Chester documents oppression of women
By MERRILEE ROBSON
In every existing society in the West and,
in fact, most of the world, female destiny
has been subjugated by male power, and
therefore male desire. And throughout
history, male use of power has been
disastrous for much of humanity, especially
for women.
Phyllis Chesler and Emily Jane Goodman
make this statement in their book, Women,
Money and Power. The authors divide
power into its 12 major forms. These are
physical, technological, scientific, military,
and consumer power; the power of
organized religion and secular institutions,
of social position and influence, and of
beauty, sexuality and motherhood.
Women, Money and Power
by Phyllis Chesler and
Emily Jane Goodman
Bantam, 288 pages $2.50 paperback
The book points out that few of these types
of power are available to women. And it
shows that the types of power women are
generally assumed to have — beauty,
sexuality and motherhood — are not considered very valuable. In fact, these powers
often work against a woman rather than for
her.
The old 'hand that rocks the cradle rules
the world' myth is dealt with, proving how
ludicrous that point of view is. While
mothers have a definite influence on their
children, the mothers of powerful men are
very rarely called upon to attend board
meetings or plan military strategy.
Motherhood is generally considered a
desirable job for women. It provides society
with its citizens. Yet women are never paid
for the care of their own children. The
authors say that, in our culture, money is
associated with worth.
The implication is that the jobs
traditionally held by women are worthless.
There have been some recent efforts to
improve the wages and conditions in those
jobs, as well as moves by some women into
traditionally male-dominated fields. But, in
general, the status quo has been maintained
and many employers use women's sup-
posedfy desirable ability to reproduce
against her.
Most working mothers do so out of
necessity, even, as is often not the case, if
there is a male wage earner in the family.
Yet many employers still believe that
women are working to provide luxuries for
themselves or to relieve their boredom (by
working eight hours a day as a cashier!).
The children are always considered to be
the wife's responsibility and this is often an
obstacle in a woman's career. Employers
say they are reluctant to hire a woman for
an important position (or even an unimportant one) because she will stay home if
the children are ill. A woman who is not a
mother may quit if she becomes pregnant.
No one ever asks a man how he manages
marriage and a career; his marriage and
children are not supposed to be paramount
in importance.
The book also deals with the popular belief
that a beautiful woman can marry above
her class or sleep her way to the top. It
states that the instances of beautiful, poor
women marrying wealthy men are rare and
that romantic relationships more often
result in the woman's dismissal from her job
than in her meteoric rise to the top.of the
business world.
Even when a woman does attain some
power in the business world, she is never at
the top of the power structure. The authors
state that a woman executive is expected to
behave in a nurturing, maternal manner or
behave flirtatiously. Both types of behavior
will ensure that her male colleagues will not
feel tlreatened.
The authors do question the validity of
woman's struggle to attain power in an
essentially inequitable society. But they
point out that, within their class, women are
poorer than men and that equalizing the
classes will still leave women in a weaker
position.
They say that housework is still considered the woman's responsibility in both
capitalist and communist countries. If
women are to be able to make any changes
in society they must first become powerful,
which in our society generally means rich.
Women, Money and Power does not deal
strictly with the philosophical aspects of this
issue. There is also a practical discussion of
legal rights concerning division of property
after a divorce, alimony and child support
payments, equal opportunity employment
and credit ratings. Unfortunately, this deals
solely with American situations and the
Canadian reader may not find these sections
particularly interesting.
However, the problem, if not the laws, is
the same in Canada. Women, Money and
Power makes some interesting and
sometimes startling observations on the
economic situation of women.
Phyllis Chesler, one of the authors, will be
speaking Monday on the effects of feminism
on male and female roles, in the SUB
ballroom.
CHESLER ... women left powerless in male dominated society
Friday, October 28, 1977
THE       U BYSSEY
Page Friday, 7 art
Cree art shows unique view of country
By DAVID MORTON
Until very recently, native Indian art has been known largely
for its stylized ink designs
depicting religious or mystical
aspects of the native way of life.
Colors are used sparingly,
depending on whatever natural
dyes the artist has available.
A Cree Life: The Art of
Allen Sapp
by John Anson Warner and
Thecla Bradshaw
J. J. Douglas, 127 pages, $24.95
But a new school of native art
has been emerging out of the
prairie regions of Canada, which is
arduously, there is an air of fond
reminiscence in them.
The people seem. happy and
contented with their industry. The
winter landscape while harsh in
actuality, is homely in the paintings. And the leisurely hours are
warm and serene.
Sapp's sensitivity toward this
lifestyle comes not just from being
part of it, but also from his being
an outcast on his Cree reservation.
For much of his early life he was
afflicted with tuberculosis and was
unable to take part in much of the
schooling for the Cree children.
Instead, he would spend his idle
hours at home with his grand-
TAKING WATER HOME . .. nostalgic look at Cree life
a departure from the more
traditional style. Led by Cree artist
Allen Sapp, this school is making
use of acrylic colors on canvas, and
falls into the recognizable style of
modern expressionism.
The paintings of Allen Sapp are
thesubject of a new book published
by J. J. Douglas, and some of his
more recent work is on display at
the deVooght Galleries.
Sapp's paintings depict the lifestyle of the Cree Indians of the
Saskatchewan prairies. They
portray the people as they struggle
against the harsh winter, and in the
springtime as they cultivate their
land, and raise their cattle.
But on a deeper level, the
paintings are a personal
recollection by Sapp on the older
simpler ways of life he knew as a
child. While many of the subjects
are of the native people working
mother sketching the life around
Mm.
His activity of sketching was not
favorably looked upon by the
members of the reservation. The
Cree society was heavily
machismo oriented and Sapp's
sensitivity did not belong. Because
of this he was the object of much
fun by children of his own age.
There are other motifs which
occur throughout Sapp's paintings
as well as the grandmother. The
horses, dogs, men chopping wood,
women carrying water, and the
tribe at leisure all paint one large
picture of life on the Cree reservation.
Sapp's method of painting is
quite unorthodox. Rather than
working directly from nature as do
most modern artists, Sapp works
from memory. This accounts for
the nostalgic tone of the paintings.
"I got pictures in my mind,"
says Sapp. "I see wood lying in a
field. I make pictures like I
remember. That wood was old
sleigh runner. I go along in that
sleigh, horses pulling . .. pulling
. . . just like that. Just like I
remember, long time before
government houses come. That's
the way I paint."
Thus, from his memory he paints
accurate pictures of the life around
him, giving each painting a
descriptive title. The titles in
themselves are colorful: Bringing
in Some Wood, Albert Soonias'
Cows, and Charlie Bear's Place.
The book published by J. J.
Douglas, A Cree Life: The Art of
Allen Sapp, consists of 90 plates of
Sapp's paintings, some in color,
and others in black and white. It
seems a shame to put out a book of
paintings most of which lack the
color, but Sapp's work particularly
lends itself to color reproduction.
John Anson Warner, one of the
book's authors, said it was important the book came out at the
right time. It had been in the works
for five years, but Sapp's patrons
and agents wanted the book out for
this Christmas. No other company
could make room for the book in its
publishing schedule.
But the book's strength lies in the
manner in which the paintings
themselves are presented. Most of
them are accompanied by
descriptions by Sapp himself.
By an English professor's
standards, Sapp does not have a
good command of the English
language. But the descriptions of
the paintings are simple and direct
and add to the paintings more of
the mood that is originally attempted. He adds things in a
casual way that make the paintings even more interesting to look
at.
One painting of a woman pausing
over her husband, who is busy at
work, is accompanied by the
following quotation.
"Going to make something out of
it — axe handle. Lady got water
from well and just stopped for a
moment to ask him what he wants
to eat."
At the same time, it is hard to
say whether these descriptions
realty add to the paintings. The
viewer may tend to interpret the
works through what Sapp says
about it, rather than letting the
paintings speak for itself. The
quotations are very descriptive in
themselves, and may ultimately
take too much away from the
paintings.
But the book is worthwhile for
the paintings and Sapp's
descriptions. His work is also on
display at the deVooght Galleries
at 2215 Granville Street, until Oct.
29.
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Page Friday. 8
THE       U BYSSEY
Friday, October 28, 1977 books
Yank sees Canada as humorless
By TOM HAWTHORN
Canada has seemingly always
been in a desperate search for
some form of identity. Our monstrous neighbor to the south has
greatly affected generations of
potentially proud Canadians,
which has resulted in a wariness,
or even embarrassment, of
anything Canadian.
Despite our 110-year-old history,
we are still searching for the
definitive Canadian novel, the
definitive Canadian joke, and even
the definitive Canadian identity.
The Retarded Giant
by Bill Mann. Drawings by Aislin
Tundra Books, 96 pages] $2.95
The Retarded Giant is another in
an apparently endless series of
"all-Canadian" books. Giant
stands out from the others as being
one of the most refreshing and
interesting reflections on Canadian
lifestyles to appear in a long time.
The Retarded Giant is a
collection of one-liners, quick jabs,
and other related humorous paraphernalia, all of which poke fun at
the Canadian outlook on life. Bill
Mann has competely mixed these
jokes in order to give a fast-moving
and humorous view of all the
particular and peculiar traits we
Canadians tend to exhibit.
Bill Mann, of course, is an
American.
WHAT IS THE QUEOJ5 MAJOR KQtf. IN CANAtt?
□ a fiGurctead?
D a LOGorhead?
a steals lots of stands.
QUEEN LIZ... object of Canuck humour
A Canadian woman who had just
moved to Chicago asked her
American boy friend, "Where do
you find a good gynecologist in this
town?"
Her boy friend chuckled, "I'll
look into it for you."
"Please do," she answered,
walking away. "And call me when
you've got a name."
•    •    •
Assorted Canada Council
Grants, 1977-78:
$45,000 — to La Ligue des
Patriotes de Rosement, Quebec,
for their four-act play, "Mange
dla merde, les maudits anglais
d'Ottawa!"
$40,000 — for a performance of
the Montreal Symphony at the
Mackay Centre for the Deaf.
$5.57 — to Ottawa cabbie Max
Hulk, for his vocal presentation,
"My Meter is Still Running, Jerk."
$21,000 — to D'Arcy McGee H.S.
chorale, Vancouver, for their trip
to Bucharest to perform selections
from "Frampton Comes Alive."
* -  •    *
Perhaps   the   most   enjoyable
parts of Giant are the 22 Aislin
drawings. Aislin (Terry Mosher) is
unquestionably Canada's premier
cartoonist. His sketches are very
often enough to portray our particular Canadian identity.
While The Retarded Giant occasionally lapses into fits of
warmed-over Newfy and Polack
jokes, most of the material is quite
reflective of Canadian personality
traits. Reading Giant is not unlike
watching old reruns of Wayne and
Schuster — you laugh not because
it is particularly funny, you laugh
because it is Canadian!
Giant is Mann's attempt to give
Canada a gift of laughter,
something which he believes we
sorely need. Weare berated for our
puritanical regard of sex, our
paranoid view of American
supremacy and for our total
inability to fully comprehend
anything the least bit humorous.
Some examples of the ultimate in
Canadian humor include:
Q. What are the three gradings
of Quebec meat?
A. Win, place and show.
Q. What does the average
Canadian think of LSD?
A. That he was an OK president.
Q. Give an example of Canadian
money being accepted at par value
in the U.S.
A. To buy hotels on Boardwalk
and Park Place.
r
By NICHOLAS READ
For all aspiring writers, the
Surrey Art Gallery will be holding
their Westcoast Writers' Weekend
on Oct. 29 and 30 at the Surrey Arts
Centre, 13750-88th Ave., Surrey.
Approximately 34 writers will be
participating in the many
literature-related activities which
include everything from book
binding to poetry readings. The
centre is open from 12 to 8 p.m. on
Saturday and from 12 to 6 p.m. on
Sunday, and all activities are free
and open to the public.
Angel Productions is proud to
announce the opening of Lothar, a
fantasy with music, at the Iron
Horse Theatre Restaurant tonight
at 9 p.m. Peter G. W. Watkins,
founder of Angel Productions, has
collaborated with Vancouver
writers Les Wiseman and Allan
Hart to create this sword and
sorcery epic which is said to
combine elements of Star Wars,
Camelot and Greek mythology.
Lothar runs until Nov. 5 and tickets
for the show are available at the
Iron Horse and at the Black Swan
record store.
The Commodore Ballroom invites you to spend the evening of
Oct. 31 at their Halloween
Hpedown. Four bands will be
featured in this hallowed evening's
entertainment and cash prizes will
be awarded for the best Hallowe'en
costumes. Doors open at 8:30 p.m.
and advanced tickets are on sale at
all Woodward's Concert Box Offices and at Ernie's Hot Wax
record shop.
Also for your Hallowe'en entertainment, the Vancouver East
Cultural Centre, 1895 Venables, is
presenting two special Halloween
concerts featuring Joe Mock and
Rick Scott, who make up Tlie Pied
Pear. The duo bring their own
special blend of songs and tunes to
the centre on Oct. 30 and 31 at 8:30
p.m.
The Vancouver Society for Early
Music is presenting soprano Ingrid
Suderman in an evening of lute
songs and music from three centuries. Works by Rossiter and
Dowland, Purcell and Handel will
be included in this musical
program which begins at 8:30 p.m.
on Oct. 30 at the Community Music
School, 1270 Chesnut Street.
Artie Gold, a surrealist poet and
author of three books of contemporary Canadian verse, is the
featured speaker at'this week's
edition of the Steveston Library's
series, Seven Canadian Poets
Reading. He will begin his reading
this evening at 8 p.m.
The Burnaby Art Gallery is
presenting the Halcyon Players, a
group of local musicians who will
be performing selections by Brahms and Debussy on Sunday afternoon at 2:30 p.m. The group
features clarinetist Gene Rams-
bottom, cellist Ian Hampton and
pianist Melinda Coffey. Admission
for the performance is free.
Finally, Vancouver's Pacific
Cinematheque will be presenting
Tom Joslin's 1977 American
production of Blackstar: Autobiography of a Close Friend on Oct.
28, That'll Be the Day from Britain
on Oct. 29, and the Japanese film,
Younger   Brother,   on   Oct.   30.
Showtimes are 7 and 9 p.m. at 1155
West Georgia.
Beginning this Sunday, Oct. 30,
the week-long Chinese Festival '77
will be the centre of a variety of
activities for all who care to attend. Sponsored by the Chinese
Students' Association of UBC,
events will range from lectures
and demonstrations to art exhibits
and live theatre performances.
The week will terminate on Nov. 4.
For more information, phone Allan
Li at 433-2981.
Available in sizes 6V4-14 A-EEE
Black & Burgundy
516 W.Hastings    770 Granville
SUB films  rJorth-by-Northwesterly   presents
From the devious
mind of
Alfred Hitchcock,
a diabolically
entertaining
motion picture.
There's no body
in the family plot
ALFRED HITCHCOCK'S
SEE3
^.
I*
KAREN BLACK • BRUCE DERN • BARBARA HARRIS
WILLIAM DEVANE • m^john williams-s^^ernest lehman
tate^'THE RAINBIRD PATTERNS VICTOR CANNING
niiawivAlfREDHrrcHCOCK'AUNMi^pnijisiawiaiu^
SUB Aud. Thurs. & Sun. 7:00, Fri. & Sat. 7:00 & 9:30 75c.
Those  who  have seen  this film already are warned not to
reveal the ending.
"The movie that everyone is talking
about is "Storwars" — Les Wedman,
Sun
Starring Mark Hamlll, Harrison Ford,
Carrie Fisher, Peter Cushlng and Alec
Guinness.
voqut
, .  - SHOWTIMES: 	
GENERAL 12:15, 2:35, 4:55, 7:15, 9:35.   »'» GRANVILLE
Sunday 2:35. 4:55. 7:15. 9:35.      6S5-S43*
Who is
SHOWTIMES:
ODEON - 12:40, 2:55, 5:10
7:25, 9:40, Sun.from 2:55
BROADWAY - 7:25, 9:40
odEON        DROAdwAV 1
«81 GRANVILLE
6«2-7468
70 7  W. IROADWAYj
 874-1927
^^f^KB^^^^l^^^^Original, alive and funny.1
, , i If1. .   .\   A ,^-H . Charles Champlinl
S1a,„ng CRAIG RUSSELL a HOLLIS McLAREN    LosAngetes Times!
CORONET 1
Warning:      occasional      suggestive |
scenes & dialogue. B.C. Dir.
SHOWTIMES -  12:00.  2:05,  3:50,
5:55,    7:45.    9:55;   Sunday   from 2:05
85) GRANVILLE
685-6828
MARTY FELDMAN
THINK
DIRTY
SHOWTIMES: 12:00,2:00,
3:35,5:10,7:20,9:30
Sunday from 2:00
CORONET 2
WARNING: Some ^^^_^^^_
nude & suggestive   TT^JTEJT^T
scenes.     B.C. Dir.        '..« *.V!UI
 08J-OS2S
FRANK CAPRA
CLASSICS
'IT HAPPENED ONE NIGHT'j
1934
OCT. 28-30 SHOWS 7:30 - 9:30
BEST PICTURE-BEST DIRECTOR-BEST WRITING
BEST ACTOR - CLARK GABLE
BEST ACTRESS - CLAUDETTE COLBERT
"MR DEEDS GOES TO TOWN" 1936
OCT. 31 - NOV. 2 SHOWS 7:20 - 9:30
BEST DIRECTOR
THE ORIGINAL"L0ST HORIZON" 1937
NOV. 3 - 5 SHOWS 7:20 - 9:30
INTERIOR DECORATION-FILM EDITING
"MR. SMITH GOES TO WASHINGTON" 1939
NOV. 6 - 8 SHOWS 7:15 - 9:30
BEST WRITING
>«.
philippe de brow's
Lb
Uci >nif U|iie
SHOWS
_ 7:30
WARNING: A satire on     9:30
sex & violence.    B.C.Dir.    .
JOANNE GREENBERG'S
'I NEVER PROMISED YOU A
ROSE GARDEN"
KATHLEEN QUINLAN
BIBI ANDERSON
KOlEf
(LE GASPARDS)
ENG. SUB-TITLES
a real underground comedy Starring
PHILIPPE NOIRET SHOWS
and 7:30 - 9:30
Friday, October 28, 1977
THE       UBYSSEY
Page Friday. 9 Page 16
THE       UBYSSEY
Friday, October 28, 1977
MORE POWER MORE FEATURES  MOT PERFORMANCE
221 SB The best-selling receivers now
me low price. _  ^_^    ^_
199
at an all-time low price.
15 watts RMS per channel
with super low distortion
MODEL 2220B A full 20 watts RMS per
channel. Three tone controls
and more features than
you'd expect for this low price.
249
MODEL 2230B Enough power for most speakers
and a price low enough for ^^ ^^ ^^
most budgets. 30 watts RMS        ^^) ^ACl'
per channel. MWM^0 ^0
MODEL 2240B Over 40 watts RMS per channel
with virtually no distortion. This Marantz receiver gives
you performance, prestige and
reliability.
349
MODEL 22S0B An amazing price for a full 50
watts RMS per channel. So full of features you'll
have control you never thought
possible.
399
MODEL 2275 More than enough power for the
most challenging applications.
75 watts RMS per channel and
the sweetest FM you've ever
heard.
499
95
«*«»:»'«»**«*'•!'*
/   ...A,.        /'■
■^^SWy&^WWM^^^'-
#   #   #   #
®   #   %   H
«»a«4*j« v*a« «m» m *r
^ * vS v Jo*r
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#'#'#■   I?   #
t I I i i
Three Year Performance Guarantee!
Limited Quantities!
OPEN UNTIL 9
556 SEYMOUR ST.   DOWNTOWN       THURSDAY & FRIDAY      682-6144   t

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