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The Ubyssey Feb 24, 1978

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 r
Gays slam CBC at licence hearings
By KATHY FORD
Charging the CBC with
discrimination and censorship, a
Vancouver gay rights group
Thursday called upon the
Canadian Radio-television and
Telecommunications Commission to revoke the corporation's licence.
Speaking at a public hearing at
the Hyatt Regency, Gay Alliance
Toward Equality spokesman
Robert Cook said the CBC's
licence, currently up for renewal,
should not be renewed until the
CBC repudiates its national
policy of refusing to run public
service announcements for gay
groups.
The commission is in Vancouver this week to hear applications from B.C. television
and radio stations for license
renewals.
The alliance is the sixth gay
group in Canada to ask the
commission to revoke CBC
licences. The drive started in 1976
when the CBC radio station in
Halifax, CBH, refused to run a
public service announcement for
a Halifax gay group's counselling
telephone line.
Since then, the gays' cause has
received a great deal of support.
At the 39th annual conference of
the Canadian University Press in
December, 1976, delegates
passed a resolution to boycott
CBC advertising.
The resolution was reaffirmed
at the 1978 CUP conference and
The Ubyssey continues to boycott
CBC advertising in protest of the
corporation's discriminating
policies.
Cook said public service announcements should be available
to all groups. He said the fact the
CBC has made it national policy
to refuse gay announcements
shows it is not treating
homosexuals fairly.
In a written brief to the commission, GATE says this refusal
is "a powerful support to those
who seek to deny the existence of
gay people and their movement
for civil rights."
"Denial of PSAs (public service announcements) is a clear
act of censorship," the brief says.
"The CBC policy has the
necessary result that only those
who hold universally popular
ideas will be afforded rights of
public access. The policy is a
mockery of elementary human
rights."
Cook said the CBC is taking a
paternalistic attitude by determining what and what does not
offend its audience.
He said a Gallup poll conducted
last year showed 52 per cent of
the people polled thought gay
people should be allowed access
to the same public services as
anybody else.
"It has nothing to do with what
they think of homosexuality,"
Cook   said.    "The   public   has
THE UBYSSEY
Vol. LX, No. 54
VANCOUVER, B.C., FRIDAY, FEBRUARY 24, 1978
228-2301
spoken in that Gallup poll."
He said the Tightness or
wrongness of homosexuality has
nothing to do with human rights.
"The CBC has exceeded its
terms of reference as a national
public broadcasting service by
denying its listeners information
because a self-named policy
group (read 'policing group') has
decided what the public does not
want to hear, should not hear,
and most dangerous of all, can
not hear," the brief says.
Cook said public service announcements give the public
some input to the airways. He
said they are an information
service and it is as such gay
groups want to use them.
He said the groups do not want
to use the announcements to
make controversial statements
about homosexuality.
"We have nothing to hide," he
said. "Science, reason and
democratic principles are our
weapons."
Seepage 3: TAKE A
BoG to rethink
non-decision
on Noranda
By MIKE BOCKING
The UBC board of governors will seriously
consider a petition demanding that the
board reconsider its position on corporate
investment in Chile, administration
president Doug Kenny said Thursday.
UBC owns 8,000 shares in Noranda Mines,
a company with heavy investments in Chile.
Kenny said the board would take another
look at the issue when the committee for the
defence of human rights in Chile presents a
petition asking the board to state its opposition to investments in Chile by Noranda.
The petition is currently being circulated
on campus.
Last year UBC gave its proxy vote to the
Noranda management at the annual shareholders' meeting in April in spite of a
campaign by Project Chile, an inter-church
committee which urged protest of Noranda's investments in Chile.
Chile is ruled by a brutal military dictatorship which took power after the
democratically elected socialist president
Salvador Allende was assassinated.
See page 3: PETITION
Senate group
could call vote
A special committee appointed by senate
to investigate allegations of irregularities in
last month's elections of student board of
governors and senate elections could decide
early next week to order new elections, the
committee chairman said Thursday.
Associate arts dean John Stager said the
five-member committee will meet in a
closed session Monday to hear testimony
about alleged improprieties in the elections
held Jan. 18. And it hopes to make a speedy
decision on the matter.
The committee has appealed to anyone
with knowledge of voting irregularities in
the elections to appear in the board room of
the old administration building Monday at
3:30 p.m.
Alma Mater Society president John De-
Marco said at a special meeting of the
student representative assembly meeting,
Jan. 31, that he had conclusive evidence of
election rigging.
He said engineering students signed
voting sheets giving their votes away by
proxy to other students.
Stager said witnesses will be called one at
a time to give their information. The confidentiality of the witnesses will be maintained by the committee, he said.
At a meeting of senate on Feb. 15, student
law senator Eric Warren, who made an
informal investigation of the allegations of
voting fraud for the SRA, said that many
students did not want to discuss the
allegations, even on an anonymous basis.
As a result of the controversy surrounding
the January elections, student representatives on the board of governors have not
been allowed to vote on board business.
See page 3: INVESTIGATION
ABNORMAL BEHAVIOR IS demonstrated by unknown student
licking glossy pages of psychology textbook in public. Disgusting
sight forced  many  normal  students to flee Sedgewick  library,
—edmond o'brien photo
leaving book-licker alone to wallow in his depravity. Actually,
sleeping around mid-term time is very normal for UBC students.
'Canadian foreign aid self-serving'
Canadians represent the "security and apathy and complacency
of the industrialized world," in their dealings with Third World
countries, an international affairs expert said Thursday.
Canada gives the appearance of being responsive to Third World
demands but waits cautiously before committing itself to action,
Bernard Wood said.
Wood, executive director of the North-South Institute of Ottawa,
an independent, non-profit organization formed to carry out in-
depth policy analyses of international development issues, said
Canada helps Third World countries out only when it is sure the aid
will not create industrial competitors.
"We're very interested in providing aid as long as we don't
develop competitors for ourselves in the Third World," he said.
"In the end, Canadians have not used all the potential they have
and have been sitting tfn the fence," Wood told an audience in Math
100.
"We have not shown any willingness to untie our aid so other developed countries can help the Third World," he said. Canada tends
to view debts as assets, Wood said, and consequently the government is "turning the screws a little tighter" in its aid policies.
The institute hopes to "overcome inertia and the narrowness
which has characterized the policy of our country on our international agenda," said Wood.
The institute says the first step should be for industrialized
countries to wipe out the debt of the poorest and least developed
countries in the world, which paid 20 per cent of their total merchandise export earnings toward payment of interest on debts in
1976.
Last year Canada wrote off $254 million in aid-related debts from
the least developed countries. But even with this action, Canada's
aid spending dropped.
As a percentage of its gross national product, the spending fell
last year to .42 per cent, from .45 per cent in 1976 and .58 per cent in
1975.
The failings of Canada's performance are revealed in a recent
book, North-South Encounter, published by the institute. The study
gives the federal government a mock report card on its carrying
out of 1975 commitments to foreign aid. The results: four As, five
Bs, seven Cs and five Ds.
In the past, about 75 per cent of Canada's tariff preferences have
been to the benefit of semi-industrial countries, not the poorer ones,
Wood said. But the Canadian program, although limited, does
compare well to those of other developed countries, he added.
"Canadian people are somewhat more generous than they're
given credit for, and the level of aid (one dollar per person) is an
amount the Canadians aren't prepared to begrudge," he said.
A number of developed countries have opposed even discussing
writing off debts, Wood said, and Canada was the only country to do
so last year.
Wood says foreign aid policies could be a major issue in the next
federal election. And that Third World development is also an
important concern in the United Nations.
The position of developed countries will be brought to the
forefront in international politics, said Wood, and multilateral
trade negotiations, sea bed mining, disarmament, food and
agriculture will be crucial issues in the near future.
"The United Nations is now coming back into motion and it will
be a critical time to see if western countries are prepared to put the
effort and homework into the UN to produce results.
Otherwise, the United Nations will be an ugly and dangerous
forum for international interests, said Wood. Page 2
THE        UBYSSEY
Friday, February 24, 1978
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THE       UBYSSEY
Page 3
Androgyny label is oppressive'
By LLOYANNE HURD
Combining sex characteristics
may seem an ideal way of
eliminating sex-role stereotypes
but androgyny is just another oppressive label, psychotherapist
Dawn Farber said Thursday.
"We have to try and drop labels
altogether," Farber said. "In our
own time we will get there and the
only way is to be who we are right
now."
People are a combination of so-
called masculine and feminine
characteristics and the process of
liberation involves exploring both
sides of our personality and
choosing which qualities we want
to manifest in order to be closer to
our true selves, she said.
Farber will be holding
workshops, sponsored by the dean
of women's office, for couples and
individuals who want to be free of
sex role stereotyping. Registration
and information is available at the
dean of women's office until March
3.
Farber said each person is
unique and all theories of what is
normal fail to take account of our
uniqueness as individuals.
"Liberation in any society is an
individual journey," she said.
"Liberation involves we ourselves
acknowledging our masculine and
feminine potential."
"At some ideal and theoretical
level it may be true that we are all
fundamentally androgynous, but
we have to start with what feels
most comfortable or true for us to
be.
"If right now the sort of love one
needs to give and receive is homosexual then get what you need, but
don't fall into the trap of thinking
you then have to label yourself a
homosexual and tailor the rest of
your lifestyle into some consistent
caricature of who you are," Farber
said.
"Allow yourself the freedom to
have inconsistent needs and to
satisfy them."
The same principle applies if you
chose not to have sex with anyone.
"Allow yourself the freedom to
not relate regardless of social or
peer group pressure to be part of a
couple," she said.
Couples who establish a relationship during a time when they individually have been in the process
of liberation run into further difficulties, she said.
"Immediately the old scripts of
what it is to be a woman or a man
in a relationship, or to be a wife or
\
^^   raife  ' ■ ' s ;-"■■■ "V« ■ /■-"
yrfh^ri^*-
PRISONER OF TOWER sees beyond physical boundaries that obstruct vision of most mortals in surrealistic
photographic by Edmond O'Brien. Or perhaps visions are just castles in sky. Sight of towers and identity of
mesmerizing pair of eyes remain deep, dark mystery.
Petition hits UBC investment
From page 1
Charles Bourne, advisor to the
president, said Wednesday the
board could be open to criticism if
it made investment decisions for
non-business reasons. But Kenny
said the moral question in the
Noranda-Chile issue should be
closely examined. "They (the
board) should weigh it carefully."
Board chairman George Morfitt
said Thursday the government
should give corporations and their
shareholders guidance in this area
and suggested a business should be
able to invest anywhere it wants
provided it does not contravene
Canadian law.
If Noranda is legally permitted
to invest in Chile there is no reason
why it should not, he said.
But George Hermanson, UBC
Anglican and United Church
chaplain and former board
member, said Thursday that
because a government has not
made a decision on a particular
moral issue it does not absolve
individuals from making moral
decisions.
"If the government is not as
moral as I am, that doesn't let me
off the hook."
Hermanson said that
shareholders like UBC, because
they are the owners of a company,
have an obligation to ensure their
businesses are not engaged in
unethical operations.
The right to raise moral issues
does not prevent the university
from investing prudently and
maximizing profits, he said.
There are many other ethical
and profitable investments
available, he said.
Other Canadian universities
have taken a moral stand on the
issue. At the University of Winnipeg the board of governors
passed guidelines outlining appropriate and socially responsible
investments.
At Queen's University in
Kingston the senate asked the
board to apply toe principle of
socially   responsible   investment.
husband, emerge and both people
then have to deal with sexist
conditioning in a new area.
"Society has to create labels and
boxes for its members in order to
form a workable society, Farber
said.
Labels such as passive or
aggressive move from being a
description of potential to being a
prescription of what should be, she
said.
A system of opposites
prescribing appropriate emotions,
behavior and attitudes becomes
deep-rooted in the society, Farber
said.
"Most ideologies call feminine
passive and masculine aggressive.
"We are born with infinite
potential, we are channeled to
actualizing some of it and
repressing the rest," she said.
"When a person's suffering at
trying to conform becomes greater
than his or her fear of moving
out of socially sanctioned patterns,
that is when they choose to go into
therapy," Farber said.
Sexual liberation is a personal
process that has to take place on an
individual level before society can
be affected, she said.
"As an individual it is a tricky
game to sort out who you are," she
said. "We are pushed to choose
who we want to be."
People have to move away from
theories such as the ideal androgynous or the ideal masculine
and feminine person, she said.
"When we live theoretical ideas
in our heads we get rigid," she
said.
"Conditioning is not just in the
head. It is deep-rooted and unless
liberation filters all the way down
through a person's being it is not
reliable, real or dependable," she
said.
People are told from infanthood
who they should be. As teenagers
they act out the opposites of early
conditioning, Farber said.
"Intellectual liberation takes
place in this rebellious stage but if
liberation stays at this intellectual
level we are not liberated.
"The mature stage of sexual
liberation is reached when people
reject intellectual and peer shoup
'Shoulds,' " she said.
"At this level, on our own as
individuals, people get scared,"
Farber said. "It's equally oppressive but we need our peer
groups."
"We are a combination of
masculine and feminine attributes
in different proportions individually.
"A deep-rooted fantasy in
women is that somewhere there is
a man who will look after them and
men 1 o o k for someone to nurture
and look after them," she said.
"Instead of needing the other
half to fill you out, a liberated
relationship should allow each
individual to express both the
masculine and the feminine sides
of themselves," she said.
Very few people attain individual
completeness because in relationships people complement each
other, Farber said.
Lethbridge stops
tuition increase
LETHBRIDGE (CUP) - Lethbridge students scored a victory in
the battle against tuition fee increases at a meeting Thursday of
the University of Lethbridge board
of governors.
After lengthy debate and
repeated interruptions from
frustrated students the board
decided to table a discussion on fee
Take away
CBC license,
CRTC told
From page 1
CBC vice-president of corporate
affairs Ron Fraser, speaking at the
hearing, was not swayed.
He claimed the CBC does not
discriminate against gay groups,
nor does it deny them human
rights.
Fraser cited the CBC's equal
opportunity policy statement to
back up his assertion. The policy
says no person shall be refused
employment at the CBC solely for
the reason of sexual orientation.
And, he said, gay groups are
treated the same way as other
groups requesting public service
announcement time. Fraser said
other groups, such as Right-To-
Life, Oxfam and Greenpeace have
also been denied access.
But he failed to mention the fact
that the CBC has not thought it
necessary to make a national
policy statement to that effect.
He said two criteria are used in
determining whether or not a
group can have PSA time: time
and acceptability.
"Our general programming
deals in controversy and opinion,"
Fraser said.
He said material dealing with the
homosexual community "will be
dealt with in our general
programming, not in PSAs."
increases until March 16 and
requested more information from
administration president Bill
Beckel.
Thirty-five students attended the
board meeting to hear board
members discuss tuition increases
and to voice their concerns.
But board chairman Blaine
Thacker insisted on two spokespersons being chosen.
Lake Sagaris, Federation of
Alberta Students fieldworker, and
Keith Wiley of The Meliorist, U of L
student newspaper, were chosen
by student president Howard Reid.
"Tuition increases are too important an issue to rush through a
meeting like this," Sagaris said.
"This is a decision that will affect
each person differently and each
should have the right to speak."
Beckel began discussion of fee
increases by saying the proposed
10 per cent increase is modest and
should be 20 per cent because there
was no tuition hike last year.
"Ten per cent is an arbitrary
figure that is reasonable rather
than appropriate," he said.
Investigation by
c'tee of senate
to open Monday
From page 1
But they are permitted to take part
in the discussions of the board.
Five student senators-at-large
elected at the same time are not
affected because their terms in
senate do not begin until April.
Stager said that although the
allegations involve the election for
board of governors representatives
more than the election for senate,
the senate election is also in doubt.
Senate has asked the committee to
consider the two elections as one,
he said.
"We will be looking for factual
and first-hand information on
Monday," Stager said. Page 4
THE       UBYSSEY
Friday, February 24, 1978
Who pays, who profits
We're getting fat off the
land. Trouble is, the land
isn't ours.
North American business,
and by implication, North
Americans in general, have
been exploiting the Third
World. We have been
obtaining goods, usually raw
materials from these
countries at ridiculously low
prices and then selling back
processed goods, often made
from their raw materials, at
ripoff prices. This is the basis
of our prosperity.
This system has worked
well in many forms for
centuries, but now it is
coming back to haunt us.
The precipitous rise in oil
prices initiated by the
Organization of Petroleum
Exporting Countries marked
the first successful use of the
Third World's economic
power.
This wasn't called for in
our economic system, and
the result has been inflation
and a recession. Businessmen
and the media are blaming
unemployment on a loss of
business confidence in the
economy. That's bullshit. A
look through any business
page includes reports of
"record profits" and the like.
When other Third World
producers band together and
ask a just price for their
products, there will be more
inflation. It will hurt most
Canadians, except of course,
those poor businessmen
crying in their three-piece
suits and martinis about their
lack of confidence.
Many of these
businessmen are part of
multinational corporations,
who    are    using   the   cheap
labor of people in the Third
World to process the raw
materials. These workers are
forced to live on subsistence
wages, and as the
International Nickel cutbacks
in Sudbury, Ont. and
Thompson, Man. prove, jobs
are being lost in Canada.
To make the world safe,
these multinationals are
backing fascist or at least
quiescent governments in
Third World countries (South
Africa and Chile, for
example) so they can go
about exploiting resources
and people without
interference. And when
groups   such   as  the  church
committee on corporate
responsibility cry foul, the
multinationals scream lack of
confidence.
Our aid doesn't help
much, either. Most of it is in
the form of loans, which
must be paid back. Right
now, the Third World is in a
severe deficit position
because of this alleged aid.
And the aid is set up so
that these countries must
buy certain goods produced
in certain places, not
necessarily the least
expensive or the highest
quality goods.
Aren't we generous? Isn't
capitalism wonderful?
THE UBYSSEY
FEBRUARY 24, 1978
Published Tuesdays, Thursdays and Fridays throughout tht
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
Bill Tieleman and Heather Conn were disgusted with the repulsive sight that
greeted their eyes. The two puking, belching, degenerate scum at the other
table drew the disapproving eye of Bruce Baugh, Dave Hancock and Will
Wheeler. Verne McDonald, Kathy Ford and Chris Gainor loudly complained
to the management. Marcus Gee and a mystery guest sat in a dark corner,
Ignoring the distasteful scene, but Mike MacLeod, Robert Jordan, Carol
Read and Greg Edwards were fascinated by the portrait of wasted life that
sprawled out before them. Gabrlella Botteselle and Steve Slmkln thought
that sort of thing only went on in Skid Row bars, not the Pit, but George
Huey and Nicholas Read assured them it happened any time the pair got
enough tokens together for a good retch. Marta Marton and Lloyanne Hurd
avoided the table in order not to be molested by the sots. Chris Bocking hid
his head In-shame when he realized from the mound of sunflower seed shells
surrounding the Impotent lushes that they were Mike Bocking and David
Morton. But everyone will be In the same shape at Sunday's 1 p.m. staff
meet at Gainor's.
RICHE RICH at UBC ®*5B® SSQSXB
[IF YOv'WJUAT GOING To
UVT ftftOUWD RLL SUMMER.
[wh^i T>0VT YOU 60 TO
, HRWnll  OR
■DwMANucK/uaYssey
Letters
Ad shows spiritual fascism
Despite looming mid-term exams and a rather
chronic apathy on my part, I simply cannot ignore
this blatant, sorely narrowminded and aggressive
approach to spiritual matters that has recently
bedeviled this campus. But then again, maybe this
was only Theologian's Week and I took it much too
serious.
It's this admittedly sublime piece of journalism
entitled The Search of an Atheist (Feb. 3) that really
annoys me. It is oh so subtle, with its no nonsense
small print (imparts a sense of sincerity) and it's
clear, all too naive development of ideas. But between the lines, I read partiality, elitism, aggression
and a trace of what I would call "spiritual fascism."
Yes, despite the all too narrow space between lines.
It is indeed amazing, how the Christians on campus
can so smugly dismiss other ancient spiritual
traditions with only so much as a story of personal
conversion. In our hurried world, how comforting it is
to imagine: faith and salvation in three easy steps.
There is indeed a spiritual renewal under way in
the western world but at its profoundest, it is a
rediscovering of long-lost, mostly suppressed and
often esoteric knowledge. And the eastern
philosophies have much to offer to this revival,
whether you like it or not.
Twentieth century man professes to strive for
liberation and self-expression. But the Christian
campus crusaders seem to be diametrically opposed
to this development simply by attaching the poor
human soul to a special in-group; and a rather imperialistic one at that, as history can prove to
anybody's satisfaction.
Starting with the sound premise that the Christian
Church is really only the shadow of the state, it is
easy to see why the fundamentalists feel so
threatened by the "New Religions," as certain
spiritually conceited Christians prefer to call them.
It's this creative spiritual anarchy, this "divine decentralization," the essence of Zen and other mystic
traditions that really frightens the bureaucrats,
whether ecclesiastical or secular. Once started, this
could spill over into the political arena.
Of course, all this is anathema to a culture that has
traditionally put prime importance on powerful,
centralized control from the top, be it the "bearded
old man in the sky" or Louis XIV. And things really
have not changed much since.
So let's liberate man spiritually first, where he can
most afford it. And to all of you Christian crusaders, I
say unto thee: "Refrain from wielding the shiny
sword of self-righteousness. Play no more that silly
and immoral game of spiritual oneupmanship. Love
thy brothers and sisters, be they Buddhists or
otherwise. Remember that persuasion and coercion,
whether subtle or by force, are intrinsically opposed
to matters of the spirit and are unconducive to the
higher aspirations of mankind."
But on second thought, I may be all wrong. All of
life now being subject to the larger logic of fashions
and trends, my idealism may long since be out of
fashion. I mean, the 1970s, being the way they are,
(we have all heard of the economic realities of this
decade, have we not?), I simply may not be able to
afford it any more. Or so I am told everywhere.
So, here we have it: it is back to "meat and
potatoes" in religion again. Please pass the collection
plate around, will you.
Juergen Posselt
arts 3
More respect needed
Often one finds a certain lack of knowledge in people outside your
own faculty, but to find it open displayed in your own faculty is rather
disturbing.
Pat Harrison went to great lengths to show that she was an
agriculture student, not an aggie, a precaution made to preserve her
integrity. Too bad. Harrison has obviously never participated in aggie
(agriculture) events nor even been to a council meeting, as if she had
she would have found out that the same responsible people who
organize Apple Day, the Farmers' Frolic, student-prof beer nights,
and assorted other functions — even the chariot race, are the same
people who enter into the fun events which Harrison raves against.
All in all I think that until Harrison can base her allegations accurately, she should exhibit more respect for her fellow aggie
students.
Knut Atkinson
v animal science 3 >
Pixie gets boot?
the ring. I feel I must add my name
to the long list of accomplished
news hacks who have held that
exalted spot. I have, as you know,
experience in journalism and can
find my way around UBC. I also
know Jim Banham.
Re your quest for someone to fill
the size 14 boots of Chris "Big Boy"
Gainor:
I hereby present my self-
nomination for that position. As
you probably know, I will have a
hard time filling his boots; I can
get all three of my feet into one of
them. And yes, it's true I'm about
one-third the size of Big Boy.
But, after all, size isn't
everything. And, hell, if Ralph
(Elf) Maurer can do it, so can I.
So here's my pixie hat to throw in
Curran McFangle
education reporter
Vancouver Fun
Nominators: Slim Bennett, Greg
Hairy, Pon Valmer, Gnat Mydear,
Bruce Smillie, Daddy Herman. Friday, February 24, 1978
THE        UBYSSEY
Page 5
Investment hurts Chileans
By NELSON RODRIGUEZ
As a former political prisoner
of t h e Chilean military dictatorship who had to emigrate to
Canada in April, 1974, faced with
the impossibility of finding work in
my own country after joining the
ranks of those in the infamous
black lists, I'd like to voice my
support for the committee for the
defence of human rights in Chile.
Thanks to the newspapers sent to
me by my family from Chile, I am
fairly well informed on the current
situation of that nation. I would like
to add and clarify some points
which would allow the student
body, professors and in general all
those carrying out their activities
within the university, to form for
themselves a clear vision of what is
happening in my country:
Right from the very moment of
the military coup in Sept., 1973,
when the elected president was
assassinated at the government
palace, all legal and personal
liberties were suppressed, and the
country was placed under a state of
siege, a situation still prevailing
today.
The repression against the
people was brutal and indiscriminate, as proved by the
United Nations' repeated condemnation of the Chilean government for its persistent and
continuous violations of human
rights. .ja,
-In my personal case, I was
detained without justification,
since I had never belonged to any
political party whatsoever. After
being divested of my job, I was
practically forced to leave the
country, since I could not find any
means of subsistence there.
This same situation affected, to a
lesser or greater degree, more
than 1 million Chileans (according
to figures given by the Catholic
Church in Chile), who today find
themselves dispersed throughout
the world.
The National Congress was
closed, doing away with the
legislative power. By declaring the
country   under   state   of   siege,
Nelson Rodriguez is a former
Chilean political prisoner and Dan
McDonald is a third-year biology
student. Perspectives is open to all
members of the UBC community.
councjjsuof war began to-operate,
displacing and annulling the
judiciary power.
All political parties were
dissolved, information media
censored, unions rubbed out, the
right to strike suppressed. In
general, the aim was to crush all
ideas, and all m e a n s to express
them.
Every point listed previously has
full validity today, and to them one
would have to add the super-
exploitafeion of the worker, earning
six cents of a dollar, suffering an
annual inflation rate of 65 per cent,
or 5.24 per cent per month (official
figures), and having to pay the
-same prices for his food as we do in
Canada.
The reason then we see Chilean
shoes in department stores and
Chilean products in supermarkets
and liquor stores (grapes, peaches,
plums, onions and wine) is not
because in Chile they produce
more than what the people need,
but because the country exports
because the people cannot afford to
buy.
What is done with foreign investments arriving in Chile day
after day? The figures show that
the profits from these investments
are not destined to benefit the
worker but to benefit the investors
and the dictatorship who uses it to
perfect and make more powerful
its repressive machinery (the only
course allowing it to maintain itself
in power).
The investor finds good business
today in Chile.
Let's take as an example the
case of Noranda Mines, which
closes its mines at home causing
unemployment among Canadian
workers to move to Chile where it
pays its workers 100 times less
than what it should pay their
Canadian counterparts. It is clear
then Noranda's investment in
Chile, like that of any other
company, is not directed at
providing a source of work for the
Chilean worker, but at a very
different and not as humanitarian
end.
Finally, I would like to touch on
r
UBC should get off its ass
By dan Mcdonald
This university should adopt an official policy
concerning investment in corporations which
support deplorable political regimes. In the U.S.,
the Carter administration has taken a precedent-
setting initiative to reduce foreign aid to countries
that consistently violate the United Nations
Universal Declaration of Human Rights.
In Canada, Conservative MP David MacDonald
has proposed a similar bill to the House of Commons. If two major governments with many
complex economic and diplomatic ties can have, or
consider having, such a progressive attitude, UBC
as a shareholder in Noranda Mines- Ltd. has no
excuse for failing to take a moral stand against the
regime in Chile.
Now I realize the UBC board of governors
probably does not want to upset any of its personal
corporate   connections   by   supporting   such   a
"radical" political concept as human liberty, but I
think that it has a responsibility to explain its policy
to the students on this campus.
As a student I do not wish to give any economic
support to a regime in Chile which has murdered
over 40,000 innocent people, and has incarcerated
and tortured 120,000 more.
I am concerned that our student representatives
on the board did not make any effort to inform the
student body, for I believe it is the lack of information which has caused this moral vacuum at
UBC. The issue of human rights and corporate
responsibility is a very crucial problem in these
times, and the university cannot ignore it. The
board may prefer that students keep their heads in
the sand, but personally I am fed up with the absence of values on this campus, and I demand that
the board justify its position to the students.
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CLEAN-UP
WORLD'S AFLAME
A first-hand account of
conditions in Ethiopia
Somalia, Uganda & Kenya
GODFREY DAWKINS FROM NAIROBI
Tues., 12:30, SUB 205
DO YOU NEED A TUTOR?
A few hours with a tutor from the Speakeasy Tutorial Centre
could put you back on the right track.
Anyone who feels qualified in any subject may also register as
a tutor.
REGISTER NOW
SPEAKEASY IN SUB,
Any Time We're Open
COSTS YOU $1.00
ISRAEL WEEK—UBC
MONDAY
12:30 SUB 207-9
FALAFEL LUNCH AND
ISRAELI FOLK DANCING
TUESDAY
12:30 SUB 207-9
KIBBUTZ FALAFEL LUNCH
AND KIBBUTZ: AN
EXPERIMENT THAT
DID NOT FAIL
WEDNESDAY
12:30 SUB 207-9
PROF. WILLIAM BRINNER
Director Centre for
Near Eastern Studies
University of California, Berkeley.
Taught and directed
programs at
Egyptian and Israeli Universities
Mid-East commentator on
PBS program World Press
will speak on
DIFFERENT MEANINGS OF PEACE
THURSDAY
12:30 SUB
auditorium Film
ISRAEL: EYE ON THE PRESENT
a photo exhibit by Bedrich Grunzweig
MONDAY-FRIDAY AT SUB
What more
could an unhappily
married man want?
m
m
P
mm
the subject of the already well
known "national consultation" or
plebiscite which Augusto
Pinochet's dictatorship publicized
so well and which, as world opinion
has recognized, was a grotesque
farce where the whole electoral
act, from the campaign to the
recounting of the votes, was in the
hands of official organizations.
It is sufficient to mention as an
example the fact that the votes
were transparent, immediately
taking away all privacy in each
citizen's choice.
Confronted with this situation,
many did not dare oppose the
dictator, but in spite of it and according to official figures, 30 per
cent of the voters did not lend
themselves to the dictatorial game
which doesn't count the million
Chileans abroad, the political
prisoners, the disappeared, not
even the troops of the Armed
Forces (except for the officers).
NOTICE
Tuition Fee
Income Tax
Receipts
Available
Feb. 21, 1978
Dept. of Finance
General Service
Admin. Building
8:30 to 4:00 p.m.
Two Events with
JEAN HOUSTON
March 9 & 10
JEAN HOUSTON, one of the
most scintillating minds and
dynamic voices in the fields of
behavorial science and psychophysical learning today. She is
President-elect of the Association for Humanistic Psychology, co-director of the
Foundation for Mind Research
and co-author of THE
VARIETIES OF PSYCHEDELIC EXPERIENCE, MIND
GAMES and PSYCHOPHYSICAL RE-EDUCATION and is
completing a book on THE
MIND OF MARGARET
MEAD.
1. Lecture-Discussion
NEW    WAYS    OF    BEING
HUMAN:   Looking   for the
Possible Human
Thursday,  March 9, 8 p.m.
Lecture   Hall  2,  Woodward
Bldg., UBC
$4; students S3
Information 228-2181, local
261
2. One-day     Workshop     for
People in Education
EXPLORING   NEW  WAYS
OF BEING
Friday, March  10.  1 p.m.-c)
p.m.
International    House,    UBC
$34,     includes    Thursday's
lecture and light supper
Information 228-2181, local
220
Please   register  in advance  for
both of these events.
Centre for
Continuing Education
The University of
British Columbia Page 6
THE        UBYSSEY
Friday, February 24, 1978
Tween classes
TODAY
UBC DEBATING SOCIETY
Organizational meeting, noon, SUB
113.
HANG-GLIDING CLUB
General meeting, noon, SUB 215.
NDP CLUB
General meeting, noon, SUB 215.
LE CLUB FRANCAIS
La conversation Informale en francais, mldl, La Malson Internationale.
AUS and SRA
First meeting of the Creative Writing Students' Association, noon,
Brock Hall lounge.
WOMEN'S COMMITTEE
Women's committee meeting, noon,
SUB 130.
BAHAICLUB
Informal talk on the Bahal Faith,
noon, SUB 115.
ECONOMICS DEPARTMENT
Lecture by Andre Raynauld, "The
Economics of Confederation," 8
p.m., Buch. 102.
UBC SKYDIVING CLUB
General meeting, noon, SUB 212.
HILLEL HOUSE
Dr.   Galla   Gllbua   and
woman's  lunch,  noon,
CSA
Chinese painting class, 5:30 p.m.,
SUB 125.
SATURDAY
UBC DEBATING CLUB
Debate: Resolved that the United
Nations equip and maintain a standing army. All welcome, noon, Cecil
Greene Park.
HABITAT AV THEATRE
PBS — TV documentary; Key to the
Universe, 8 p.m., Room B-80.
CHINESE CULTURAL CENTRE
Help new Canadians fill out Income
tax forms, 2 p.m., 313 E. Pender,
CCC office.
SUNDAY
ROYAL PURITANICAL SOCIETY
"No-frlll" business meeting, 2 p.m.,
Trutch house.
MONDAY
SUS
Paper airplane throwing contest,
noon, Hebb theatre.
B'nal  Brlth's
Hillel house.
PROJECT CHILE
Chile    week    display    and    Chilean
music,  noon,  SUB  main concourse.
WOMEN'S COMMITTEE
Women's   drop-In,   noon,  SUB  130.
TUESDAY
REC. UNDERGRAD. SOC.
Film:    Experiments   In   leisure,   and
speaker  David Francis, noon, Buch.
204.
PSYCHOLOGY
STUDENTS' ASSOCIATION
Beer night, 5 to 10 p.m., SUB 212.
CHARISMATIC
CHRISTIAN FELLOWSHIP
Weekly    student   fellowship,   noon,
SUB 205.
Hot
flashes
Science week
starts Monday
The rejuvenated science
undergrad society has planned the
first science week in years for
Feb. 26 to March 4.
Among the events taking place
are a paper airplane throwing
contest in Hebb theatre at noon
Monday, an egg dropping contest
at the Hebb pendulum at noon
Thursday, boat races at the SUB
mall noon Friday and other goodies.
®cuso
Education Team Member From
CUSO's National Office
DEREK HAMILTON
Will Present
ISSUES IN DEVELOPMENT IN EDUCATION'
Examining the political and economic ramifications of education within a
Canadian and Third World context.
Thursday, March 2nd, 1978
12:30-1:30 p.m.
Scarfe 201
Everyone is Welcome
A WESTERN MBA?
Professor David A. Peach, MBA Program
Chairman of the University of Western Ontario
will be on campus to provide information about
Western's MBA program on
MONDAY, FEBRUARY 27, 1978
For   further   information,  contact  the  office  of
Student Services.
INSIGHT 78
DESIGN THE COVER
OF INSIGHT '78
PHOTOGRAPHY • GRAPHICS
B & W OR COLOR
THEME: CAMPUS LIFE
PRIZE $50
(Cover Credit)
CONTEST ENDS MARCH 23RD
For Further Details, etc.
Contact Publications Office
Room 241K, S.U.B.
PROJECT CHILE
Chile     week:      Noranda     —     BOG
response forum, noon, SUB 200.
WOMEN'S COMMITTEE
Women's committee meeting, noon,
SUB 130.
HOMOSOC
Gayle's     homecoming     tea,     noon,
SUB 113.
CSA
Guitar class, 4:30 p.m., SUB 215.
Field   trip   to   HMCS   Discovery,   5
p.m., SUB 125.
Choir practice, 8 p.m., International
house.
BLACK & LEE
TUX SHOP
NOW AT
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688-2481
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BUCHANAN 204
Sponsored by School of P.E. &
Rec. and Recreation Undergraduate Society.
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Publications Office, Room 241, S.U.B., UBC, Van,, B.C. V6T 1W5
5 — Coming Events
40 — Messages
FREE VANCOUVER INSTITUTE Lecture. Famed portrait photographer
Yousuf Karsh, of Ottawa, speaks on
"Observations and Photographs" at
8:15 p.m. Saturday (Feb. 25) in Lecture Hall No. 2 of the Woodward
Building. The lecture will be illustrated.
COME OUT OF HIBERNATION at the
ARTS BEAR GARDEN. Great music
as always! Cheapest Bears on campus.
Bubblies and munchies available too.
Buchanan Lounge, 4-10 p.m. tonight.
Don't miss it.
SQUARE DANCE — 8 p.m. Friday, Feh.
24 International House. FREE.
10 — For Sale — Commercial
WINTER SPECIALS. Bauer Black Panther skates, $53.50; Down ski jackets,
$36.95 up; Ladies figure skates,
$27.95. Adidas Roms, $19.95; Squash
racquets, $12.95 up; Racquet-ball racquets, $6.95 up. Community Sports,
3616 West 4th Ave., 733-1612.
ORGANICALLY GROWN Okanagan
fruit and vegetables. Wholesale prices
in bulk. Free delivery. 738-8828.
11 — For Sale — Private
•U VOLKS BEETLE for $450 or less.
City approved. Call Patrick, 682-1062.
AN EXTRA HAPPY Birthday wish for
Norm Yates on February 25th — Light
Weight  Crew.
A SPECIAL THANKS to Kenny Rea:
You oar the best! From Maggie and
Lona.
PIT TOKENS for all AUS poll workers
for last election ready and waiting at
AMS  Business Office.
65 — Scandals
HAVE A FIFTH on Duthies tenth! All
books are 20% off (or more) at Duth-
ie's 20th annual book sale. February
23rd to 25th.
FOR ONLY $1,001 SubfUms presents
Marx Bros. "A Day at the Races"
and  Chaplin's   "The   Great  Dictator".
HAPPY BIRTHDAY "Killer" Bonin from
CHITON LIBERATION ARMY. We'll
follow you to New Zealand.
70 — Services
20 — Housing
ROOMS — CHEAPI Room with a view;
room at the top; L-shaped room; room
of one's own. At Duthies 20th annual
book sale, our rooms of books are
20% off (or more). Feb. 23rd to 25th.
30 — Jobs
CAREER/SALES
OPPORTUNITY
"Vancouver is a growing city and
Sun Life of Canada want to grow
with it. We are actively m search
of people with a success pattern.
People who enjoy working with people in a sales capacity with one of
Canada's leading insurance com.
panies. A company you can be
proud of — Sun Life of Canada.
Phone 521-3781, Darran Birch &
Pierre Dechaine to arrange on campus interviews, March 1st and 2nd "
WE PRINT RESUMES. Our Xerox 9200
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Low cost ... no wait! Typing servioe
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prices. Evening and weekend service
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Burnaby, B.C.
INCOME   TAX   RETURNS.   Let   me   do
it   while   you   enjoy   your   day.   Call
Mike,  736-6256.
85 — Typing
35 - Lost
$200 REWARD for the return of four
House plaques stolen from Place Vanier during Totem Week. Contact
PVRA.
FOREST-GREEN RUCKSACK on aluminum A-frame, papers inside. $10 reward. 2779 or 3039.
PROFESSIONAL TYPING on IBM Selectric. Thesis, essay, etc. Kits area.
Standard rates. Phone Lynda, 732-
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typing from legible work. Phone 738-
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TYPING — 75c per page. Fast and accurate by experienced typist. Gordon,
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CAMPUS DROP OFF point for typing
service. Standard rates. Call Liz, after
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FAST, accurate typist will do typing at
home. Standard rates. Please phone
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=Jr=Jr=Jr=Jr=ir=Jr=ir=if=Jp=Jn=J|
USE
UBYSSEY
CLASSIFIED
TO SELL - BUY
INFORM
=Jr^i=^r=ir=Jr=Jr=aJr=T=ir=ii=JF A slip back in time • New fiction
This week's Page Friday features a short story by UBC student
Nicholas Tyrras that deals with a strange connection between a man
living today and another of the same name who lived in the 18th century.
The story appears onPF 4 and PF 5.
The new art galleries in Vancouver are surveyed in a feature on PF 2
and PF 3. Also on PF 3 is a review of the Playhouse's production of
David Storey's The Contractor.
On the music scene, concerts by trombonist Bill Watrous and Vancouver rock group Trooper are reviewed on PF 6.
Trilogy, a set of three one-act plays at North Vancouver's Studio
Theatre, is reviewed on PF 8.
The book Doctor Rat is reviewed on PF 7. Vista closes the issue on PF
9.
Cover illustration by Gainsborough. art
New galleries in Vancouver each make
By GABRIELLA BOTTESELLE
As an art centre, Vancouver has improved
considerably from what it was even at the
end of the 1960s. A number of widely diverse
galleries have opened recently. Each
gallery has its special emphasis and makes
a unique contribution to the Vancouver art
scene. Among them are the PUMPS gallery,
the Helen Pitt Gallery, Gallery Move and
the North Shore Art Gallery. All of them are
marked by a distinctive sense of purpose.
PUMPS (People Under Many Power
Structures) is an artist-run gallery at 40
East Cordova Street. The emphasis is on
artists who would not be exhibited in ordinary, mainstream art galleries.
"The first priority is our own work", said
Sandra Janz, member of the group that runs
the gallery. "We were all people who needed
a place to work. The gallery was just an .
afterthought in a way. We had a few experimental shows. It's a good way of
responding to the public — an open door
policy. There's the problem of finding that
balance between doing public work and our
own work."
PUMPS is a member of Parallel galleries,
an association of non-profit art centres that
has developed in response to the need for
alternatives to the established art scene.
There are 26 member galleries in Canada
and the U.S.
"At the end of the 60s and in the early 70s
there was a reaction against showing in
public places", said Gordon Kidd, another
member of the collective which runs
PUMPS. "There was a kind of revolution
going on as to how the artist was getting
across to the public. We've done things they
(public art galleries) would never do." Kidd
pointed to the closing three weeks ago of the
Pender Street Gallery, out of which came
the Video Inn and the Western Front Lodge.
The other artists in the group that runs
PUMPS are Kim Thomczack, John Anderson, John Mitchell and Chris Reid.
They decide as a group who shows at the
gallery. "All someone has to do is to show
they're serious," said Janz. "We've had an
incredible variety. The first shows we had
were for people who lived here."
For just over two years it was only an
artists studio. PUMPS has had shows for
*'f*«W§tt«
<-*i*wtmf»t*m^tm
i
*
PUMPS GALLERY.
—hilmar Schneider photos
offers alternative to the many galleries which show mainstream or conventional art
artists were accepted out of 200 who applied.
We had to jury the Reject Show because
there were so many people who did the show
here.
"We're self-supporting. We've had one
Canada Council grant. The rest of the
building is our own space. We're also a nonprofit society now."
PUMPS shows local films, has poetry
readings and performances in the evenings,
and has a bookstore that includes many
local publications. "The bookstore seeks to
expose artists' books and magazines. Lots of
these magazines are coming out of the
Parallel galleries," said Janz.
The gallery is open Tuesday to Saturday
from 1 to 5 p.m. Memberships in the nonprofit Center for the Arts Society are
available at $5 a year.
each other. I'd like to see art all over the
place. It's a fairly fascist society. Yet
Canada has a lot of potential.
"There was an awareness in the 60s — not
just hippies and freaks — just everyman.
Today an artist does a job like a gar-
bageman at the back of a truck. Some
people think art is a hobby. For some of us,
it is our life. It is very frustrating not to have
the atmosphere necessary.
"The thing that impresses me the most
about a country is the level of its humanity.
We are in a primitive cultural and humane
state with a high technology. We've become
so cold."
When the gallery is open, its hours are 1 to
8 p.m. Monday to Saturday. Local literature
and art books sold.
The MacMillan and Perrin Gallery has
OPULENT LOOK ... of MacMillan and Perrin Gallery, which specializes in realist and pre-Raphaelite painters
one and a half years. At first, there were two
shows a month, but the number is now being
reduced.
"We deal with anyone who comes in," said
Janz. "Our gallery deals with local artists —
young artists. Lots of people have had their
first show here."
"We've had a good response from other
art centres and art students, not so much
from the general public. We're still underground," she said.
"We've had all sorts of shows. We don't
have any prejudice as to style. We had a
Rejects Show of all the people who were
rejected from an artists' gallery grant. Six
Gallery Move at 3198 Lonsdale in North
Vancouver is a beautiful little gallery. It
was formerly a grocery store, and a train
terminal before that.
The gallery has been run almost a year by
two artists, Robert Davidson and Joyn
Young. One of many promising galleries
that is struggling financially, they will reopen in the middle of March with an international graphics show including artists
like Rauschenberg and Motherwell.
They specialize in surrealist art. John
Young has definite ideas about the relation
of art and society: "Socially, we haven't
gone anywhere. People don't care about
been in its present location at 3003 Granville
Street only one month. The gallery
specializes in Pre-Raphaelite art. One of its
owners, Neil MacMillan said, "We have the
largest collection of Pre-Raphaelite art in
the world."
It actually started five years ago out of the
private collections of Neil MacMillan and
Dan Perrin, who became business partners
at that time. Both became so interested in
collecting that they had to sell part of their
collection in order to buy other pieces.
Later, George Clark, also a private
collector, came into the partnership. As they
had already advertised their name, they
didn't change it, although he is as active a
partner as the other two.
"We procrastinated a long time as to
whether we wanted to keep or sell," said
MacMillan. In previous locations, the
collection could be seen by appointment
only. They've made a decision to be more
active in selling, but they choose every piece
in the gallery because they like it, and are
genuinely sorry to see any piece go when it
is sold.
While MacMillan was at the University of
Toronto, he studied nineteenth century
Romantic literature and found that many of
the authors were artists, too. "I found I liked
their drawings more than their literature,"
he said. He started collecting in a small way
at that time. He had no idea he would go into
the art business then.
"Pre-Raphaelite works are no longer
available — they are almost all in museums
and galleries. So obviously, I can't go on
buying them forever. Ideally, what I would
like to do is write books about the Pre-
Raphaelites." he feels that many books give
wrong interpretation of them.
"I think the Pre-Raphaelites were the
single most important group of English
painters in the nineteenth century."
In 1848, the Pre-Raphaelite Brotherhood
was formed. "At that time, it was predicted
that art would die in England in 20 years.
The Royal Academy was producing dark
canvases, color was completely lost. The
Pre-Raphaelites didn't like Raphael — they
thought his paintings to be affected and stiff.
Their paintings looked like an aperture in
the wall with the sun shining in.
"They painted everything from nature.
There were stories about Milay (a member
of the Brotherhood) going to infinite pains to
get a rose in the middle of winter in London.
"They used to sign P.R.B. behind their
names. At first it was very secret and no one
knew what it meant. They were considered
to be over-zealous youngsters. The press
was down on them until John Ruskin, the
great English critic, supported them."
As well as Pre-Raphaelite art, the gallery
is also interested in the Modern British
Movement, which spans 1890-1935 and many
English illustrators who are narrative in
their art, like the Pre-Raphaelites. They
favour realistic art.
"Realism is coming back in worldwide
now. I think abstract art is dead — very
dead. Everything has been tried in art. Now
the question is, what is really good?"
The gallery is open 9:30 a.m. to 5:30 p.m.,
Monday to Saturday.
The Helen Pitt Gallery at 163 West Pender
has been run by the students of the Vancouver School of Art for three years.
Kerry Mulhern has been hired this year as
the gallery's first coordinator. He was
formerly involved with the Gallery Committee while still a student at the school.
The School's student council started the
gallery when looking for a place to hold their
annual graduation show. After the show was
over, they thought it would be good for the
students to have a permanent showplaces.
Page Friday, 2
THE       UBYSSEY
Friday, February 24, 1978 ^£&K..
i^^fa.-;y art
aique contribution to growing art scene
"Many galleries are closing up, like the
Pender Street Gallery and The House of
Ceramics," said Kerry Mulhern. "Other
places are really booked up, like the Vancouver Art Gallery. It's already booked for
the next two years. The students need a
place to display their work."
A volunteer committee from the School
chooses the art that is displayed. "Not much
is rejected, especially student work," he
said.
"The student fee has gone from $2 to $20.
Each student at the School pays for this.
We've been partly subsidized by LIP grants
up to now." However, funding is becoming
difficult to get. "We applied for a Canada
Works Grant and didn't get it. We have
enough to see us through until September,
but we're in a real bind. A gallery needs lots
of money to run properly."
The gallery has recently expanded the
display area to the upstairs, and plans to
expand to the back of the second floor as
well.
Their last show, Erotica, was conceived
by two students. "We didn't advertise much,
but lots of people brought in their work.
There were 73 people in all, 25 of whom were
artists outside the school."
The gallery is open Tuesday to Friday, 10
a.m. to 5 p.m.; Saturday, 11 a.m. to 4 p.m.
and closed Sunday and Monday.
The North Shore Art Gallery is part of the
Presentation House complex at 209 West
Fourth Street in North Vancouver. It includes a museum and the Studio Theatre as
well.
The gallery opened in September 1976, but
Presentation House was the pet project of
the North Vancouver Community Arts
Council for many years. They felt the North
Shore lacked a cultural center. The building
was originally built in 1902 as the North
Shore's Central School, and later served as
City Hall for North Vancouver.
Jerry Brooks, administrative assistant of
the gallery, said that its aim is to provide a
showplace for Lower Mainland artists,
especially those from the North Shore.
"There are so many artists approaching us
that we really don't have to go looking for
them. We're usually booked a year ahead."
The Canada Arts Council has funded
them, as have other groups such as the B.C.
Cultural Fund. Although they're a public
gallery, they're never sure of funding, and
have to apply for it every year. Brooks said
grants are becoming harder to get all the
time. "Like any cultural place, you have to
fight for funding. There's never enough
money."
INSIDE VIEW ... of North Vancouver's Presentation House Gallery, which provides a showplace for North Shore artists
and Tuesday. There is an arts and crafts
shop, as well as evening films and children's
art classes.
All decisions concerning Presentation
House are made by a management committee, which includes different people who
are politically active on the North Shore.
thought it would be interesting to find out
more  about  the  other  side  of  the   art
business."
Mary Fox has been the artistic director of
the gallery since November 1977. She
decides who will show there. "I used to be
the Vancouver Sun art critic, and I had my
own art consulting business for a year, but I
The shows that are presently running
were booked by Mary Fox's predecessor,
Peggy Martin.
The gallery is open from 10 a.m. to 4:30
p.m. Wednesday to Friday, 12 to 4:30 p.m.
Saturday and Sunday and closed Monday
Other new galleries include the Nova
Gallery at 1972 West Fourth which
specializes in photo art; the Western Front
Lodge, 303 East Eighth; at Parallel gallery;
and the Italian Cultural Center's gallery at
7305 Slocan, with various exhibits.
Storey's Contractor gets its power from ambiguity
By CAROL READ
The Playhouse Theatre has a hit — David
Storey's The Contractor, a magical and
subtle play about relations between people.
The Contractor
By David Storey,
Directed by Roger Hodgman
The Playhouse Theatre, February 18.
Storey calls the play "poetic naturalism"
and does not hamper it with an artificial
plot. The setting is Southwest Yorkshire, in
the garden of tent-erecting contractor
Frank Ewbank. In the first two acts, workmen erect a wedding tent for Ewbank's
daughter; in the third act, they dismantle it.
Director Roger Hodgman uses this simple
plot to develop the characters of the workmen and Ewbank's family into believable
people. The audience and actors are merged
as closely s possible, and the play's continuity is never disrupted. During the first
intermission, the workmen take their tea-
break on stage.
Terence Kelly proves his acting ability as
Marshall, the workman who torments
anyone with an exposed weakness. Kelly
wins audience respect with his abilities to
make quick replies to his boss and to avoid
work. His friend, the Irish Fitzpatrick,
played by Andrew Gillies, is even more
obnoxious.
Kay, the foreman, played by Barney
O'Sullivan, and Glendenning (Glenn
MacDonald) are the exposed people. Kay
loses his employee's respect when his eoret
is discovered; Mr. Ewbank provides the
details of Kay's shame. Glendenning is a
stutterer who calls himself crazy and falls
for the others' practical jokes.
Mr. Ewbank (Robert Clothier) is the link
between his family and the workmen. He
worked hard for his success, yet he
surrounds himself with unemployable and
usually lazy workmen. As Fitzpatrick says
of him, he likes to feel superior to people.
Ewbank's family is disintegrating, but he
can still treat his employees in a patronizing
manner.
Ewbank's daughter (Laura Press) is
getting married; his son (Jim Mezon) is an
Oxford and Cambridge graduate who is
fascinated by work as a curiosity but prefers
travelling as an occupation. Old Ewbank (Al'
Kozlik) is a senile old man who is looked
after by his wife (played by Nicola
Cavendish, who is priceless).
Storey uses his experiences to draw the
characters in his plays and novels. He
comes from a working class home in
Yorkshire and has erected tents during his
summer vacations. As a result, he has a
strong empathy with the working class, yet
he does not draw obvous class lines or
caricatures.
"Work is the only activity left," Storey
writes. "Personal relations are constantly
breaking down." He symbolizes this unity
with old Mr. Ewbank's handmade rope. A
piece of it hangs from Marshall's belt, and it
is old Ewbank's remaining source of pride.
The audience can be tempted into interpreting too much in The Contractor.
While Storey's message on work is clear, the
rest of the play is ambiguous.
Mr. Ewbank's business of erecting tents
can be seen as symbolic of our nomadic
instincts or our need to change. The tent in
the play is being erected as the relationships
ibetween the actors evolve; it is being
dismantled as the relationships disintegrated    or    change    permanently.
The espensive wedding tent can also
symbolize those events (like plays) which
can never be exactly reproduced or
preserved. Wedding tents are becoming
increasingly rare and costly. As Mr.
Ewbank remarks continually throughout
trie play, "It will never happen again."
"The Contractor expresses a quality of
being as opposed to the thrust of becoming
which so often nags in life," Storey says.
"If on reading something through, I know-
completely what it is about, then it is dead,"
he says. "It is when I don't really know what
it is about, that it lives — it lives for me
almost in the ease that it escapes and
refuses definition."
The Contractor certainly escapes
definition. It can be viewed as realism,
symbolism, or social commentary. With its
emphasis on dying customs (wedding
tents), English traditions, and the oncoming
autumn and falling leaves, it is almost a
memory play.
RAISING THE WEDDING TENT . .. characters in Storey play
Friday, February 24, 1978
THE
UBYSSEY
Page Friday, 3 creative arts
From the genetic past of
Alexander Remmer
By NICHOLAS TYRRAS
This week's creative arts page features a story by
Nicholas Tyrras, of UBC's Slavonic Studies department.
Page Friday publishes works by students in fiction, drama,
poetry, graphic arts and photography. Submissions should
be brought to SUB room 241K and should include the
student's name, year and faculty.
I found myself in a painting by the now completely1
forgotten, but once very promising artist of the early
romantic period, Vladimir Vodicka. Poor Vodicka, an
undisciplined rogue, but an enormously talented painter,
disappeared in Bohemia in the 1770s with a wandering band
of Hungarian gypsies. Incredibly though, Vodicka's
painting of me has survived all of the turmoil of the past 200
years and can still be viewed in the municipal art gallery at
Graz.
Herr Professor Wilhelm Pilsenwald, the curator, was
positively dithering when I appeared in his office last May.
Straightaway he took me to the hall where several pieces of
miscellaneous art from the last years of the Holy Roman
Empire are exhibited. And indeed, there I hang, mounted in
a 190 x 210 cm. ornate golden frame, seated in perpetuity on
a park bench. My three-cornered hat and walking stick are
on the ground. Now this part is certainly strange because
anyone who knows me will agree that I am a neat person,
and today,. I assure you, such items I'd have placed
carefully on the bench beside me. But anyway there I am,
nonchalantly tossing an elegant hat in the dirt at my feet.
Otherwise I am, as they used to say, en grande toilette, and
that includes my high eel buckled shoes and silk stockings
with velvet ribbons.
But what I found strikingly similar to my present person
is the manner of the seated me in the Graz gallery. I have
thrown the right leg over the left, my left arm is resting
along the back of the bench while in my right hand Ihold a
lorgnette, and I am peering with such apparent intensity at
the approaching figure of a lady that the tail of my wig has
curled upwards. Vodicka, Professor Pilsenwald explained
with an apologetic voice, could never take anything
seriously, and the wig is his way of making light of my itch
for the lady in the painting. Though a party to the scandal,
Vodicka discreetly painted the lady with her back to us.
Unfortunately, the Herr Curator babbled on, it is not known
who the frau was for soon after Vodicka ran off with the
gypsies.
Now you will agree that I simply could not let this by,
even though the reason for my visit was simply to find a
color print of Karl Philipp Emanuel Bach, that is the son of
the Bach, the Johann Sebastian Bach. One of the readers of
my thesis was absolutely positive that the younger Bach is
represented in this print standing on a bridge over the river
Mur holding a scroll in his hands. All this I wanted to ask the
curator of the municipal gallery in Graz, but instead he
showed me my portrait from the 18th century, and then
suggested a scandal involving some frau.
"Was?" I asked. But Professor Pilsenwald took me
lightly by the elbow and triumphantly led me back to his
office.
"Oh, how utterly unpredictable fortune is," exclaimed
the Herr Curator when he closed the door. Then clasping his
hands as if in prayer, he purred on and on about the perfect
incredibility of it all, about me in Graz again. Suddenly his
expression changed. "You are Alexander Remmer?" he
asked bringing his hand to his mouth.
"As a matter of fact," I replied with a deliberate pause,
"I am Alexander Remmer, yes."
"Also, also Alexander Remmer. Ha! Ha! Ha!" laughed
Pilsenwald slapping his knees. I remember how his
laughter very soon infected me as well, and I too began to
smile and then to laugh and slap my knees and to repeat
after the old man, "Also Alexander Remmer." Of course,
now I cannot see the humor in it. Anyway, I stopped
laughing before Pilsenwald and assumed my serious expression.
"Ah, mein Herr," began Professor Pilsenwald, and
taking a Kleenex from his desk, he wiped his eyes. "For us,
you are literally God-sent."
"Well, actually," I started to point out, "I am only
passing through Graz on the way to visit my aunt in
Maribor, pardon I mean Mariburg. You see..."
But Pilsenwald raised his hand. "Mein lieb Herr," interrupted the old professor. "Life is a string of connected
episodes, each directly related to the one before and the one
after," he explained flicking his wrist to the right and then
to the left. "All links in a chain. Links in a chain." He
droned on like this for a rather long time so that I was really
half listening and only periodically muttering a polite "ja,
ja."
But then he got down to brass tacks. "That is why we in
The Graz Society for Lovers of Local History will be ever so
pleased to meet you in the flesh. Just three months ago, on
February fourth, I had the pleasure to present a lecture to
our Society on Vodicka's painting, the one that I have just
shown you. I am certain our members will be just as excited
to meet you as I am, for you see, while the painting's
romantic qualities are evident in the very composition,
what interests our members especially, is not so much the
technical aspects of this single piece of art. No, no. What we
really want to know is the story behind the painting. Ja, the
story behind the painting."
From the old man's talk about life's episodes and
their relations, connections and what not, my sentiments
tottered between a murky suspicion and a vague inkling
that somehow the old man believed that I was a sort of
missing link.
I shall not pretend, of course, that a little of what
Professor Pilsenwald had said flattered me, and certainly
my appearance has seldom pleased anyone so much as it
seemed to please the professor. A sense of duty prompted
me to add, however, that though I was perfectly prepared to
offer him and the Society my complete moral support, I was
afraid that I could be of no other assistance as I was just a
wretched graduate student from the University of British
Columbia. "And so that you may understand completely
how superfluous I am to your interests," I added, "I am a
student in Slavonic Studies. Russian literature, you understand."
"Wunderbar!" explained Pilsenwald. And leaping out of
his chair, he spread his arms and with much satisfaction in
Illustration by Gainsborough
his voice replied, "Vodicka's Remmer too was from Russia.
Already you see, a connection, ja?"
"But I am not from Russia," I said.
"Of course not. That'd be too improbable. We must be
realistic. But for academic interests, tell, where were you
born?"
Now those who know Remmy will agree that he cannot
speak a blatant untruth, although they will need to add, he
sometimes likes to dress bare facts a little bit. But how to do
this in response to Pilsenwald's direct question I did not
know, though the truth, I felt, would throw the old fellow
into another fit of dithers. And I was right too.
"I was born in Graz," I said.
Poor Pilsenwald lurched backwards and fell into his chair
as if he had received a swift jab. There followed what a
friend of mine would describe as a pregnant silence; well
anyway, it was noticeable and awkward.
"May I smoke?" I asked at last.
"Shnapps?" he replied.
I remember that in a short while I began to have the
distinct feeling that I had known Pilsenwald for eons, and of
course, we exchanged our life stories. But what is important here is what he said of the Graz Society for Lovers
of Local History. The patron and greatest supporter of the
Society, explained the professor, was a local aristocrat.
"An eccentric man, perhaps," hinted Pilsenwald, "but
without question an unfathomable source of history."
I learned too about some active members of the Society.
There was a Montenegrin duke described by Pilsenwald as
rather an "embittered brute;" a Polish princess whose
nature I did not quite understand for when speaking of her
Pilsenwald sighed somehow mysteriously. There were a
couple more, but also of undetermined character. But the
one who would be most anxious to meet me, suggested the
old professor, was a Dr. Weisswasser, a 1968 Ph.D. from
Berkeley. "A brilliant scholar. Brilliant," whispered
Pilsenwald. "He denounced even Timothy Leary at the
International GPP Conference in 1970."
"Gyp?" I asked.
"Ja, ja!" Exactly. Genetic Psychology and Para-
perception." I was impressed, I remember.
Presently Pilsenwald began telephoning members of the
Society to arrange our extraordinary meeting. In the
meantime I got up to browse around his office. There was
the usual paraphernalia that one expects to find in an office
of a man who has attained a measure of success: one
diploma, which, unhappily I could not fully decipher
because I cannot read Gothic script after Shnapps; a
Lufthansa calendar; and a photograph, slightly bigger than
the diploma, of a stern woman and a dog baring its teeth.
I stepped away from the photograph and bumped against
a low filing cabinet upsetting some folders that were lying
on top. But as I stooped to pick them up, my vision blurred
momentarily and as soon as my eyes could focus again, I
discovered that I was holding a thick file of papers titled,
incredibly, A. Remmer (1743-1837).
"Mein Gott," I exclaimed. "Was ist?" But before I could
open the folder, Pilsenwald snatched it out of my hands.
Wagging his finger, he admonished me for almost having
spoiled a unique opportunity for Dr. Weisswasser to
complete his data on my psychological para-perception
which, he postulated, is transmitted through genes and is as
much a part of me as the shape of my nose. Science
demands sacrifice and so I gave my word of honor not to
peek.
Soon we hurred down to the Hauptplatz, hopped on an
"E" tram and took it right to the edge of town. There we
took a taxi and drove into the mountains where houses were
more like villas. Pulling into the drive of an impressive
mansion we stopped beside a small, battered motorcycle
with a sidecar. A bicycle stood against the wall near the
doorway.
"Our friends are already here," said the professor. We
entered into a spacious foyer which led to a grand staircase,
but Pilsenwald hurried me through a door on the left, and
we stepped into a large room that was, I remember, a
library. Seated on a long leather couch were a woman of,
well, a friend of mine would have decided in a glance that
she was not, as they say, a poulet de printemps, and her
male companion, also aged between 40 and 60. Pacing in
front of a fireplace was another man who wore a turtleneck
sweater with a tweed jacket and a harried look. A fourth
person, with a rose in the lapel of his Pierre Cardin suit, was
seated comfortably in a chair.
"Princess, gentlemen. Look who I brought you," said
Pilsenwald pushing me into the centre of the room. From
the members of the Society there was, disappointingly no
reaction. "But Vodicka's picture," Pilsenwald moaned for
it must have hurt his feelings that his colleagues had so
quickly forgotten all about his lecture of February fourth.
"Is this Vodicka? " asked the companion on the couch.
"No!" cried Pilsenwald. "This is Remmer."
"Oh!" squealed the lady, and turning to her companion,
she squealed some more. "You know, this is fascinating,
really." Evidently he must have agreed because instantly
there appeared a pensive expression on his face.
Suddenly the well dressed man in the chair stood up.
"Sehr gut," said he. And walking across the room he added,
"I like the poetic atmosphere in the painting." At the door
he turned to us, clicked his heels, bowed and walked out.
Page Friday, 4
THE       UBYSSEY
Friday, February 24, 1978 st
-K\*
*V»V
i^ffe^l
creative arts
"Our host has a photographic memory," Pilsenwald said
to me, although the tone of his voice suggested that he was
addressing the duke on the couch. The duke furrowed his
brow and took on the appearance of a man struggling to
remember something for his eyes began to stray over the
ceiling, then he would slam the arm rest with his fist, and
from his larynx there would escape a sound something like
"aaghzzz." The harried looking man at the fireplace kept
staring at me.
"Well," said the woman to Pilsenwald as she got up from
her place, "perhaps you should introduce your friend to
us." Then, in her platform boots, she carefully strode
towards me all the while dangling her limp hand as if she
was going to do something to my necktie. Certain friends
would know, of course, that whenever Remmy is confronted
with an ambiguous situation, as he was with the deliberate
advance of this contemporary princess, he invariably relies
on his instincts. On this occasion, I nimbly caught her hand
and smacked it passionately. I cannot reproduce precisely
how she cooed, but I rather think that she was well pleased
with my bold, and as it turned out, my perfectly correct
response.
"Princess Konstancja," said Pilsenwald, "Alexander
Remmer."
I bowed my head and said, "Enchante."
The duke swaggered over next, his beads swishing
silently against his red velvet shirt. "Zdravo brother," was
his greeting.
"Bozidar," Pilsenwald explained, "a duke of Montenegro."
Now here, I confess freely, my instincts deserted me
completely. How was I to respond without offending this
Balkan duke? Perhaps, I reasoned speedily, it is the custom
in the mountains of his dukedom that a kiss ori the hand of
his chosen one establishes fraternal relations between us.
On the other hand, I knew intuitively that this sort of thing
was enormously undesirable. I stood nervously pondering
my dilemma for a moment or two and then it came to me.
"How do you do?" I said.
Then Pilsenwald guided me toward the fireplace. "And
this is Dr. Weisswasser."
I said, "Hello."
"I am so glad you kissed Kosta's hand," he began. "It fits
perfectly with your psychological profile. Ja, ja. An obvious
indication that you are from the 19th century at least. Very
likely from the 18th too."
I must have looked confused because Pilsenwald had to
whisper in my ear, "He means your genes. Remember, you
may be related to the Remmer in Vodicka's painting." At
this I only felt more confused and started to back away
when, to my relief, the door opened and in walked Fritz, the
butler.
He opened a well-stocked liquor cabinet, stood aside, and
addressed our company. "The Baron will join you
momentarily. Will you care to take some refreshment?"
And indeed; I had scarcely finished my Scotch and soda
when the door flew open and there stood our host. Except
that he was not exactly the same man who was sitting in the
chair when Pilsenwald and I first entered the library.
This man was dressed in a green brocade coat elegantly
trimmed with gold, breeches and white stockings. His top
end was covered with a magnificent wig while at the other
end he wore dashing slippers of patent leather. At his side
there dangled a sword with a richly decorated handle. Fritz
came to attention and thundered: "Baron Karl Friedrich
Hieronymus von Munchhausen." We all gathered round as
the baron came towards us with Fritz now a close but
respectful distance behind him.
"Her Highness the Princess Konstancja," Fritz boomed
out. As she descended into a gracious reverence, the baron
fixed his lips to her hand. I remember thinking as I gazed
upon this tableau vivant that it could have been more
romantic if only her gaucho pants and ugly platform boots
did not clash with his bon ton attire. Anyway when her
knees began to tremble rather violently, he released her
hand and stood erect. Then she rose, her visage beaming as
I imagine Lady Jane's must have beamed after her formal
introduction to John Thomas.
"His Grace, the Duke Bozidar," continued Fritz when the
Baron moved to face the sullen Montenegrin. Munchhausen
nodded to the duke who responded only by curling his lower
lip because his chin was already resting against a tuft of
greying hair that was protruding somewhat indelicately
through his open collar.
"The secretary of the Society, Dr. Adolf Weisswasser."
The two men shook hands.
"The treasurer of the Society, Professor Wilhelm
Pilsenwald." The baron shook hands with the old professor,
and added, "so nice to see you again my dear Willy."
"Thank you baron," replied Pilsenwald. "It is always a
pleasure to see you. May I present to you a gentleman
whom I am sure you remember." No need to tell of course, I
was aghast. With my hands held respectfully behind my
back, I hurriedly counted on my fingers the numbers of
persons occupying the room. Including Fritz and me, there
were seven. I quite realize how silly it was of me to look
over my shoulder, but that's just what I did. But of course
Pilsenwald was referring to yours truly, and touching me
on the arm, he began again. "Lieb baron, I present to you
Alexander Remmer."
"How nice to See you in Graz again, dear Remmer. Where
have you been keeping yourself?"
My friends may well say that it was a feeble effort on my
part if to give the situation a semblance of reality all I said
in response to the baron's greeting was, "I live in Vancouver." Well, of course, I must agree that it was a useless
thing to say because his reaction was to parrot the name of
the city.
"Ja, in Canada," I explained further.
The baron looked puzzled. "Ka-nada?" he asked.
Fritz, who was still standing a few. steps behind his
master, rose up and down on his toes a few times and
cleared his throat. Munchhausen turned to look at his man.
"Herr Remmer means to say, my Lord, British North
America."
The baron's face lit up. "Why Remmer! Off to the New
World, are you. Life among the savages! I say, what a
splendid adventure."
I sighed with resignation.
Dr. Weisswasser stepped forward and asked if we could
move on to Vodicka's painting. "Ja, really, you must tell us
who the lady is," the princess squealed. Everyone backed
away. The nobility, with trie princess in the middle, perched
on the sofa, Pilsenwald sat in the baron's chair, while
Weisswasser prepared to take notes at the desk. Fritz took
his position at the liquor cabinet. Me, I placed myself at the
fireplace, lit a cigarette, and witti my arm resting on the
mantle, began to recount that happy episode from my
genetic past.
"I met Baron Munchhausen for the first time at the
residence of my maternal uncle, the Russian ambassador
to Vienna, in the summer of 1775. I had just arrived from
Moscow, and we were discussing the supression of that
Pugachev thing. Is that not so, lieb baron?"
"I are say, Herr Remmer is perfectly correct," Munchhausen agreed. "As I recall it, we were strolling in the
garden with your uncle and I was asking you about the news
concerning the Grinev affair."
Certainly if nothing else, my years at the university have
provided me with a fabulous wealth in Russian lore. "Quite
right," I responded, happy to concur with my host. Then
addressing the other listeners, I resumed. "Though I was
not personally acquainted with Peter Grinev, the late
Alexander Pushkin convinced me that the officer was not a
supporter of that villain Pugachev. In fact, Pushkin informed me that Masha Girineva personally appealed to the
Tsarina whose romantic nature, of course, was so touched
that she pardoned the officer and the couple lived happily
ever after."
"Ah ja," sighed Munchhausen, "your Catherine the
Great certainly had a romantic disposition. Not at all like
our Maria Theresa with whom I only had a platonic affair."
I expressed my sympathy.
"Really, what about the lady in the painting?" demanded
the princess. I pulled out my handkerchief, wiped my
glasses, and carefully replaced them on my nose. Then I
cast a glance at Fritz and resumed my pose at the fireplace.
The baron's valet is a man beyond praise. Before I could
light another Rothman's, Fritz was before me holding a
small tray which supported a frosted, silver tumbler
containing a clear colorless liquid. "I trust the vodka is
chilled to your satisfaction, Herr Remmer?" asked Fritz.
It was quite a propos, I don't mind telling. As a warm
sensation spread to my extremities, I felt the old cerebral
hemispheres become gradually unstuck, and when
Vodicka's painting reappeared in my mind's eye, by Jove, I
understood who the lady must be!
"Very thoughtful of you Fritz. Thank you." A last drag on
the cigarette, a pensive gaze at my audience, a mysterious
sigh — only to better hold their attention — and I was off.
Literally, I might add, because, as some friends have
remarked, I have developed the habit of pacing to and fro
whenever I am placed in a narrative environment.
"It dawned on me one morning that I was head over heels
in love with my lady friend. We used to meet frequently in
the park, pretty well as Vodicka drew us, and though we
barely touched or even spoke of such things, our eyes
Illustration by Gainsborough
communicated unmistakable, but, alas, unlawful cravings.
Unlawful I say, because at the time of my arrival in Graz,
the lady was already engaged to be married."
The princess bounced gleefully on the sofa. "Der Skan-
dal!!!"
The high pitch issuing from her excited orifice demanded
that I calm her. "I'm afraid that you are very much
mistaken," I said stopping near a bookshelf marked
KULINARISCH. "Incredible as it may seem to you,
however, any impropriety was averted only thanks to
Goulash."
"Ha, ha," laughed the duke. "If you came from Moscow,
why not Borsch?"
Happily I was not required to make a response. "Idiot!"
hissed the princess and bounced in the direction of the
baron.
"Goulash?" asked the baron trying to free the tail of his
brocade coat which was securely pressed under the princess' massive Slavic rump. "I knew Goulash," Munchhausen puffed as he continued to yank at his coat. "An
excellent cook."
"Oh no," I objected. "My friend was an acrobat. I met
him through Vodicka. Anyway, it was Goulash who
proposed the audacious scheme which allowed me to save
my beloved from marrying the wrong person.
"The pews were quite filled in the church of the Immaculate Conception on October the 12th when my two
sympathizers and I arrived. Vodicka gat near the centre
aisle, I crouched in the same pew only at the left end, while
Goulash lurked somewhere along the right aisle.
"Bishop Ignatius, as the baron remembers," I said
pausing to nod to our host, "was one of those pastors who
believed in a solemn and literal conduct of the marriage
ceremony. And the beginning the service was indeed a
magnificent one; the angelic choir, the deacon's chant, the
fuming censer... I remember how I was praying for divine
assistance, and forgiveness too, for I understood perfectly
how what was about to happen could be regarded with
severe disapproval. 'But Lord,' I prayed, 'I have honorable
intentions and I am so in love with. . .' Suddenly I was
alerted to prepare for action. 'Dost anyone know why this
man and this woman may not be joined in holy
matrimony?'
"Nowadays, of course, this is a question asked purely for
rhetorical effect. But the bishop, as I say, did not feel this
was just some idle ritual. No, not at all. He looked intently
into the pews behind the groom, and then into the pews
behind my beloved." I stopped speaking and stared with
melancholy eyes into the fireplace. "The silence in the
church lingered," I said.
"After what seemed like an eternity, Vodicka stood up to
answer the bishop's challenge with a resounding 'I DO!' At
this the bishop's jaw dropped, the groom's parents leapt to
their feet, though in fairness I must say that the husband
rose in apparent courtesy to his wife, and everyone else
turned their heads to see who it was that knew why the
couple standing in front of the altar should not be joined in
matrimony.
When quiet returned, Vodicka looked down at his fine lace
cravat, brushed off an imaginary speck, and casually
announced, 'She takes cookies to bed and leaves crumbs all
over the sheets.' The groom's mother uttered a strange cry,
I remember, and when all eyes had turned to her, she
See PF 7: FROM THE GENETIC
Friday, February 24, 1978
THE        UBYSSEY
Page Friday, S entertainment
iSiSk^/;
Watrous trapped by virtuosity
By STEVE SIMKIN
There is something about Bill
Watrous that brings out the best in
the Bobby Hales Big Band.
Two years ago, when the
trombonist was last in Vancouver,
Hales' group swang with unprecedented enthusiasm. That
level had not been matched until
Watrous' return at the Commodore
last Thursday night. Once again
the group came together, with solo
and ensemble playing that left
little to be desired. Unfortunately,
Watrous himself failed to merit a
similar recommendation.
Certainly, the man's playing
cannot be criticized on grounds of
musicianship. His technique,
range, and dynamic and tonal
control are awesome. He even
plays tastefully, never letting his
powers get away from him. And he
swings. Always.
Still, his performance was cold in
comparison with that of two years
ago (or at least recollections of it).
There was no feeling of excitement
■or risk-taking to his playing. He
has his thing, and he does it better
than anyone, but the energy that he
radiated on his last time through
town was absent.
On any given night, Watrous'
success depends on his
establishing a rapport with the
audience through means which are
more akin to those of a guest host
on the Tonight Show than through
more purely musical avenues. His
monologues between pieces were
done well, but became tiresome
after the first two or three. The
comedy would have been better
appreciated had it not seemed like
an attempt to divert attention from
the music.
The music of the first half of the
program, which featured Hales'
band sans Watrous, was anything
but drab. Even such chestnuts as
Funklickity took on freshness, with
Sharman King (bass trombone)
and Gary Guthman (lead trumpet)
punching out notes at opposite ends
of the brass range, and Donny
Clark playing his first solo of the
night with his usual impeccability.
One of Hales' best arranging
ideas was displayed when he had
saxophonist Al Wold solo with
Terry Frewer playing ukulele-
strum guitar in the background.
Wold's style is suggestive of
what Sonny Rollins might do with a
baritone sax. His lengthy cadenza
was by far the high point of the
evening, with melodic phrases,
technical flurries, hints of calypso
and folk tunes, and a good measure
of humor pouring out of his
seemingly bottomless well of
ideas.
Despite its general flatness,
Watrous' half of the night did have
its moments of beauty, particularly during the two ballads.
The first, J. J. Johnson's Lament,
Brooks spoofs Hitchcock
By MARTA MARTON
Mel Brooks is an example of an
artist who finds inspiration not in
life, but in art. His latest film, High
Anxiety, has been inspired by the
works of Alfred Hitchcock.
The hero, Dr. Richard Thorn-
dyke, is portrayed by Brooks.
Thorndyke has been asked to
replace the late director of the
Psycho-Neurotic Institute for the
Very, Very Nervous. We soon learn
that the employees of this institute
are as neurotic as the patients.
The head nurse, played by Cloris
Leachman, and the assistant
director, portrayed by Harvey
Korman, have a sado-masochistic
relationship. At night Leachman
ties up Korman and proceeds to
torture him with whips and chains.
Korman loves it.
High Anxiety has many elements
common to Hitchcock's films. As
Thorndyke sits on a park bench a
few pigeons settle near him. Soon
there are a mass of pigeons
surrounding him. The scene is
reminiscent of Hitchcock's film,
The Birds. But instead of being
attacked, Thorndyke is plagued by
numerous bird droppings.
The Golden Gate Bridge scene is
a tribute to Hitchcock's Vertigo.
The shower scene, in which Thorndyke is beaten by a bellboy who
attacks him with a newspaper,
echoes a scene from Psycho.
Brooks, who co-wrote, directed,
and stars in the film, distorts and
changes details of Hitchcock's
films to create a comic effect.
Brooks' previous parodies such as
Blazing Saddles, Young Frankenstein, and Silent Movie, follow a
similar format.
The plot revolves around Nurse
Diesel and the assistant director
who are trying to keep healthy
patients in the institute and exploit
them for their money.
A beautiful blonde, Madeline
Kahn, provides a romantic touch to
this comedy suspense. Kahn is
looking for her father who has been
in the institute for more than a
year.
The plot thickens as Thorndyke
is wanted on a murder charge. He
has been framed by a lookalike
murderer set up by Diesel and her
assistant.
The end of the film is a happy
one. Diesel falls off the edge of a
cliff riding on a broomstick,
Kathn's father is rescued, and
Kahn and Brooks fall in love and
marry.
Brooks proves to be a good
dramatic and comic actor.
Although he has acted in his own
films before, he always played
second fiddle to Gene Wilder. In
this film he follows the path of the
traditional hero.
Cloris Leachman, is perfect as
Nurse Diesel. Her transformation
into a wicked witch is wholly
believable. Her only flaw is that
she cannot fly. Kahn is also well
cast as the spinny blonde in
distress.
This film merges elements of
satire, drama, comedy and
slapstick. Although much of the
slapstick falls flat, Brooks has
made a worthy attempt at combining a psycho-suspense thriller
with comedy.
Trooper boogies with style
By GEORGE HUEY
"It was very nice. . ." I'm sure
that this was the sentiment shared
by the majority of the people in
attendance at the Trooper club
date last Saturday evening at the
Cave.
There's very little that's extraordinary about the Vancouver-
based band — but then again, their
lack of sophistication is compensated for by a total lack of
pretentiousness. Trooper does
indeed provide a pleasurable
repast for proletarian palates. No
one shouted "boogie" during the
show because they knew that
Trooper was more than obliged to
give them what they wanted.
Trooper
At the Cave
Feb. 14-18
Lead vocalist Ra McGuire exhibited all the behavioral trappings
of the proverbial rock singer, but
was able and articulate as
spokesman for the group.
The rhythm section, comprised
of Doni Underhill on base and
drummer Tommy Stewart was
reliable if unimaginative. Standouts included guitarist Brian
Smith who wields a well-honed axe,
securely anchored to terra firma
by Underhill and Smith, and Frank
Ludwig who provided keyboard
accompaniment via a battery of
electric keyboard instruments.
McGuire was sporting enough to
share the limelight with Ludwig
who provided lead vocals and
piano accompaniment on a number
of songs he wrote. Ludwig's voice,
despite having the necessary
power, cannot carry the melody as
adeptly as McGuire's.
Trooper is a top nightclub act,
whose expertise more than fulfills
the requisites of polish and
economy. Indulgences were
restricted to a fleeting drum solo
and Ludwig's brief and humorless
parody of Keith Emerson perpetrating unspeakable atrocities
on his grand piano.
The songs, all originals, are a
woeful testimony to the fact that
rock musicians-writers are not the
most literate people in the world.
But lyrics are an auxiliary concern
to the majority of rock and roll
bands. Vocals are prized for their
instrumental   value   and   their
COLD
vUOUWAIN
INSTITWE
"The Barge"
Granville Island
684-5355
free calendar
on request
ability to carry a tune rather than
their ability to impart a few choice
words of wisdom.
Selections were from all of
Trooper's earlier albums:
Trooper, Two for the Show and
Knock 'em Dead Kid, as well as
several songs from their as-yet-un-
released new album. Trooper's
forte has always been u-tempo,
danceable heavy metal, and
General Hand Grenade and Baby
Woncha Please Come Home are
prime specimens which the band
performed last Saturday night.
Particularly outstanding was Oh
Pretty Lady, Trooper's working-
class rejoinder to Procol Harum's
pompous A Whiter Shade of Pale.
Trooper terminated their set with
We're Here for a Good Time (Not a
Long Time), a trivial attempt at
hybridizing reggae and pop styles,
but nevertheless an appropriate
monument to their underlying
philosophy about music and life.
Special Lecture Tonight
On Campus
at Henry Angus 104
Warren Farrell speaking on
"Liberation for Men & Women"
featuring a Boy Beauty Contest
Friday, Feb. 24, $3 at door
revealed the trombonist's ability to
play as prettily as anyone.
It was the second, however, that
stood out from the rest of the set. A
Hales original, entitled Thursday's
Child, it earned Watrous' intention
of recording it on his next album.
The writing, particularly a
suspense-filled portion for trombone section, which was repeated
with harmon muted trumpets
above it, was everything that
ballad writing should be. Donny
Clark contributed a beautiful solo,
this time with a harmon mute on
his instrument.
An appropriately-titled John la
Barbara chart called Grease included more outstanding work by
Jack Stafford, who must have the
energy of a nuclear reactor at his
disposal.
The concert's closer, a Hank
Levy tune called Bread and
Watrous (honest) was climaxed by
one of Watrous' non-stop, multi-
phonic, million-notes-a-minute,
screaming, stomping, singing,
screeching, growling, humming,
toe-tapping, bring-the-audience-to-
its-feet cadenzas.
Perhaps the problem is with me,
and I've grown jaded since high
school. But I think not.
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Page Friday, 6
THE        UBYSSEY
Friday, February 24, 1978 ^&£«&l entertainment
Doctor Rat operates on humans
By VERNE McDONALD
The human race is a
pathologically insane aberration in
an otherwise law abiding kingdom
of animals.
Such a statement is not new and
has lost much of the impact that a
radical statement should have.
William Kotzwinkle in Doctor Rat
renews the discussion with a
vengeance.
Doctor Rat
By William Kotzwinkle
Bantam Paperback, 215 pages
$2.25
He throws everything he possibly
can into it. Fantasy, allegory,
violent satire and a fair amount of
healthy hate went into the writing
of this novel.
The fantasy is that all of the
animals in the world, in response to
man's senseless destruction of
their environment and themselves,
begin to band together, causing
panic and violence among humans.
The allegory takes place in a
university laboratory where disgruntled rats, mutilated and
crippled by ceaseless experimentation, take advantage of
the absence of the scientists during
the weekend to generate this super-
conconsciousness by sabotaging
and reworking machinery to
broadcast their own rebellion to all
of the animals of the world.
Opposing them is Doctor Rat
(sometimes called the Doctor
Rat), who has been driven insane
by the experiments he has undergone and supports mankind.
He, of course, represents mankind
as inhuman scientist.
Most of the novel is told from the
viewpoint of Doctor Rat and he is a
worthy protagonist. Clever, insane
and possessing great technical
skills, he wages a one-rat war
against the foolishness that would
make animals aware of how they
are being destroyed by man.
He is a satire of man's
technological excessiveness and a
vicious one at that. His gods are the
scientists, his scripture is the
'objective' scientific treatise, and
his hell is the dissecting table.
Which is, he points out, where
rebels belong.
Kotzwinkle handles the
character of Doctor Rat with great
skill, having him spout the most
grotesque and self-serving logic of
the kind the doctors at Belsen
might have used. And he creates
sympathy in the reader for Doctor
Rat in his seemingly hopeless
battle against all the.other rats.
Doctor Rat is a self proclaimed
idealist and his ideal is man and his
works — how can a human reader
be against him?
The story's one fault might be
that it never manages to make the
leap to believability in the sense
that it should. Kotzwinkle's main
weapons of satire and irony
overwhelm the story itself, trans
forming the conclusion into an
ideological statement rather than a
dramatic one.
All the same, Kotzwinkle is a
writer of immense talent, and
seems particularly suited to the
style of controlled rage, that he
presents in Doctor Rat. It is a book
well worth reading, especially for
science students who daily put the
scalpels and pressure machines to
use on living things each day.
From the genetic past of Alexander Remmer
From PF 5
collapsed with all the grace of an
accomplished swooner. But here is
where the true genius of Goulash
revealed itself. To draw the
congregation's attention away
from the front of the church, my
wiley friend hopped into the right
aisle, clapped his hands and yelled,
'Ullo, ullo, ullo! Look at this!' In an
instant he was tottering on his
hands, his dirty heels kicking high
in the air.
"Now with all eyes fixed upon
the flashing Goulash, who between
handstands also did cartwheels up
and down the aisle, the time had
come to proceed with the main task
of the mission. I slipped down the
left aisle feeling rather apprehensive because, I confess, I
didn't have the foggiest of what I
should do after I bob the groom on
the nose.
Happily, my prayers were not in
vain. The groom remained totally
occupied with sprinkling holy
water on his mother and softly
calling her back to consciousness.
The bride stood alone with her
father. 'Sir,' I said to him. 'Permit
me to introduce myself,' and I
handed the father my calling card.
'Alexander Nikolaevich Rem-
meber. Esquire?' read the father
in a questioning tone of voice.
'Alexander! It's you,' cried my
beloved her eyes full of tender
emotion. 'Ja, mein Sperling,' I
whispered, 'It's me, und ich Hebe
Sie.' Turning to the father I said, 'I
am very sorry that we are meeting
at the last minute, like this. But
you see . . . that is ... I mean that
. . . well, shortly said, I love your
daughter und I wish to marry her.'
The old man looked rather lost
and I am sure he was on the verge
of asking for an explanation when
my dearest put her hand on his
arm and with eyes lowered in
modesty, whispered, 'Remmyk,
you may use du.' Ah, I tell you my
wig's tail began to stir again. 'Mein
sperling,' I murmured, 'ich liebe
dich,' and I kissed her hand."
"Baron Munchhausen," whined
the princess, "I feel I shall cry.
Have you a clean handkerchief?"
"But though, the father's countenance remained stern," I
pressed on with my account, "I
detected a twinkle in his eye. The
bishop's eyes, on the other hand,
were protruding somewhat
dangerously  from   their   sockets
and wandering from the whirling
arms and legs along the western
wall of the church, to the heaving
decolletage of the frau who was
still reclining on the steps before
the altar." Pausing once more
before the shelves of books, I addressed the baron. "Do you know
what, lieb baron, I can't remember
the deacon's name. Do you recall
what it was?"
Munchhausen pulled, on his ear.
"Ja, I know what you mean, lieb
Remmer. It is one of those names
. . . ja . . . h'mimm. What was it?
... I got it! The deacon in the
church of the Immaculate Conception was Schurkemann!"
"Schurkemann!" I echoed the
name. "Thank you baron. Well that
rascal, God bless him, grasped the
situation and came to our aid by
stepping forward and furiously
waving the censer. Enveloped
safely in the cloud of incense, I was
introduced to my bride's mother
who, I must tell you truthfully,
seemed to be extremely embarrassed and barely containing a
flood of tears. She kept looking at
me and at her daughter with eyes
which expressed something between  panic  and  disbelief.   Of
course, these introductions had to
remain brief and nowhere near the
demands of etiquette. But, as one
of my friends so often explains,
"Tout comprendre, c'est tout
pardonner!"
"But what happened then?"
asked the princess dabbing her
eyes with a sil, monogrammed
handkerchief.
SeePF 9: REMMER
I AMS PROGRAMS COMMITTEE PRESENTSl
WORLD
A SERIES OF EVENTS DEALING WITH
the question "WHY SHOULD CANADIANS
HELP THE LESS DEVELOPED COUNTRIES?"
Mon. Feb. 27th, 12:30, SUB 212
Mr. Ron Allen from Food for the Hungry
& Mr. Aran Evans from UNICEF
Movies "Tears  of  Sand",   slides,   talk  and
question period.
Wed. March 1st, 12:30, SUB Auditorium
M. Michel Dupuy, the new president of The
Canadian International Development Agency
(CIDA).
Tues. Feb. 28th, 12:30, SUB 212
Panel:   G. Hainsworth (Econ. U.B.C.)
G. Johnson (Soci. U.B.C.)
J. Wood (Poli. U.B.C.)
Thur. March 2nd, SUB 212
12:30 - Ms. Judith Maxwell from Oxfam, field
representative-in Southern Africa.
1:30   -   Film   presented   by   IDERA,  "Bottle
Babies".
IDERA groups  more than   10 NGOs including
Oxfam, CUSO, UNA.
Fri. March 3rd, 12:30, SUB 205
Mr. UN Kortch from Youths with a Mission on
opportunities for young people to help LDCs.
Friday, February 24, 1978
THE        UBYSSEY
Page Friday, 7 theatre
Kfi."
^.'M%v%   &"/'
Trilogy's three plays work together
By STEVE SIMKIN
Trilogy is the collective title
given to three one-act plays at the
Studio Theatre. Loosely connected
by the theme of human relationships, the works balance each
other by virtue of their respective
casts.
Preparing
By Beverley Simons
Directed by Jane Schoettle
Fathers & Sons
By David Watmough
Directed by Jane Schoettle
Here We Are
By Dorothy Parker
Directed by Robert Birch
Studio Theatre, until March 4
Each of the first two is a
monologue for Alana Shields or
Matthew McGarry, while the last
brings them together.
Beverley Simons' Preparing
follows a woman's life from young
adulthood through marriage, child-
raising, divorce and old age.
Jeannie, the protagonist, is a
self-centred, self-hating bitch from
the beginning, although she is at
first aware of the vulnerability of
her position. She can declare
confidently, "I spring fully formed
from my own forehead," but must
immediately ask, "Then why am I
always preparing?"
In most of the scenes she is
literally preparing; for a dinner
engagement with her parents, for
her wedding, for a grandchild's
college graduation. But at the
same time she also acts very
concretely to amass a fortune over
the course of the play. In this sense
she has been prepared to confront
the world.
Still, she finishes her life alone,
unable to control her bladder, still
attempting to convince herself that
she believes in her credo, "Fuck
'em all."
Alan Shields' portrayal of
Jeannie is frequently moving, and
gains strength as the play
progresses. At first, she speaks
and moves stiffly, and changes
little from scene to scene. As
Jeannie ages, Alana settles more
into character, and the signs of
advancement become clearer.
Her single strongest scene occurs near the end, when she
becomes Jeannie as fat-cat-
pa troness-of-the-arts, frighten-
ingly flexing her claws. Shields'
variations of hair and makeup, as
well as her adjustments of the sash
on her dress, contribute effectively
to her character shifts.
The most moving of the three
plays, David Watmough's Fathers
& Sons, concerns an Irish-
Canadian boy's discovery, and
eventual acceptance, of continuity
of family.
This is achieved through the
now-grown young man's retelling
of the events surrounding his
grandmother's funeral procession
and burial. The theme is developed
slowly and carefully, until young
Davey proudly understands that
his grandmother was mother to his
father, and that his own father will
some day be grandfather to his
children.
Watmough's transcription of
Irish dialect, with its idioms and
confused pronoun usage, is
striking. McGarry brings it to life,
and succeeds in imparting an individual voice to each character in
his narrative. His abilities as a
storyteller alone maintain interest
in this piece.
In Here We Are, by Dorothy
Parker, two newlyweds are observed on a train on the way to
their honeymoon. The work is often
humorous, although it was obviously intended for an audience
less sophisticated than the 1978
Lower Mainland theatre-going
public.
This becomes especially evident
in the strobe light scenes which are
intended to reveal the characters'
Page Friday, 8
thoughts when they contrast with
their speech. For example, when
the subject of what will happen on
the wedding night is roundaboutly
introduced, the timid bride
becomes, under the strobe, a
flamboyant stripper.
Although these scenes are
smoothly handled, they still interrupt the flow unnecessarily.
Today's audiences are certainly
hip enough to understand that
when the funny people say that,
they are actually thinking this, at
least on the light level of this play.
The acting is convincing on both
parts. Shields and McGarry successfully communicate their near-
panic at feeling differently than
they think they are supposed to.
They snap at each other, kiss and
make up, allow their own feelings
to be wounded, and give the
general impression of being
trapped, while still managing to be
funny.
Despite its occasional lapses in
momentum, Studio Theatre's
Trilogy is more than worthwhile as
an evening's entertainment.
TRI-RESIDE1E BASH
AT
THE DOCK    FRI FEB 24th
2 BANDS - CONTINUOUS MUSIC
8:00 P.M. - 2:00 A.M.
Tickets Available at Door
only cheaper
way to see
Europe
is to enlist
2 months, unlimited Second Class train travel, 15 countries, $275.
Check it out. A Eurail Youthpass is a super deal; the best and cheapest way to see
a lot of the Continent. Trains are fast, comfortable, frequent. And they speed you to the heart of cities.
Stations are like small towns with everything a traveler needs. You meet fellow
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To get a Eurail Youthpass you have to be under 26. Both Eurail Youthpass and
Eurailpass are sold here through your Travel Agent. You can't buy them in Europe.
If you've less than or more than two months, get a Eurailpass. Same idea but you ride First Class.
Available in two or three-week Passes, or one, two, or three-month Passes.
If you're not about to enlist why not plan to see Europe with a Eurail Youthpass.
No, you won't have to pass a physical.
Eurail Youthpass, Box 2199
Toronto, Ontario, M5W1H1
Please send me free information on Europe's biggest travel bargain.
Eurail Youthpass and Eurailpass.
Name	
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Address.
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My Travel Agent is.
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Eurail Youthpass $275. (Cdn.)
Buy your Eurail Youthpass from Canadian Universities Travel Service for
only $275.00 (Canadian funds).
Besides the Youthpass, CUTS will send you free, either a copy of "Let's Go:
Europe"—the best available guidebook to budget travel in Europe (a $5.95
value) or a CUTS flight bag.
Fill out the application form and enclose a certified cheque or money order
for the full amount (no personal cheque accepted) payable to:
Canadian Universities Travel Service Ltd.
Mail to: CUTS CUTS
44 St. George St. - 173 Lisgar St.
Toronto, Ont. Ottawa, Ont.
M5S2E4 K2P0C3
Eurail Youthpass Application
Name   _
Address
Tel.
CUTS
Room 100P Sub
University of
British Columbia
Vancouver, B.C.
Passport # 	
Exact starting date of validity
Postal Code
Date of Birth
Nationality	
Please send me free: Let's Go 2    Flight Bag i
Allow approximately two weeks for delivery.
THE        UBYSSEY
Friday, February 24, 1978 vista 1
By NICHOLAS READ
The final concert in the UBC
alumni association's musical
series showcasing the talents of
some of the UBC Music Department's faculty members and
students, will take place on March
2 at 8 p.m.
Music by Brahms, Schumann,
Liszt, Rachmaninoff and Vancouver composer Elliot Weisgarber will be performed by
pianists David Swan, Marina
Ching and Cynthia Yea, violinist
Randy Balzer, tenor Rory Fader
and flautist Barbara Kalbaur.
Thursday's concert will take
place in the recital hall of the UBC
music building, and tickets are
available at the door or through the
UBC alumni association, 6251 Cecil
Green Park Road.
The Vancouver East Cultural
Centre will present another concert as part of its chamber music
series, Masterpiece Music, on Feb.
26. Music by Brahms, Mozart and
Britten will be performed by the
Purcell String Quartet and pianist
Linda Lee Thomas. Concert time is
8 p.m., and tickets are available at
the door. Reservations are
strongly recommended.
For those with different musical
tastes, the Hot Jazz Club, 36 East
Broadway, is featuring the
shounds of Fraser MacPherson
and his band on Feb. 24 and 25. The
group is one of the most popular on
the local jazz scene, and is staffed
by Don Clark on trumpet, Jack
Fulton on trombone, Al Wold on
piano, Wyatt Ruther on bass, Al
Johnson on drums and Fraser
MacPherson on reeds. The music
starts at 9 p.m. and runs until 1
a.m. Tickets are available at the
door.
As part of the ongoing celebrations commemorating the sailing
Remmer
From PF 7
At the fireplace I took another
cigarette, lit it, and exhaled a
column of smoke. "There is little
more to add," I replied. "I took my
sperling by the hand and together
we dashed out of the church,
hopped into the groom's carriage,
and galloped to the chapel at the
university where Father Johann
was waiting to perform the
marriage rite. And after that we
sped off to my apartments upstairs
because it was imperative to
consummate the marriage before
any legal action could be
initiated."
Dr. Weisswasser looked up from
his notes. "Upstairs? Where upstairs?" he asked.
"Why in this very house," I
answered. "Hasn't the baron ever
mentioned it before? When my
bride and I descended that
evening, the baron gave a marvellous reception in our honor.
Baron Munchhausen," I said
pointing to our host on the sofa, "is
the godfather of our little
Alexander."
Everyone was surprised to hear
this revelation. "Oohhh," said
Weisswasser. "Aahhh," said
Pilsenwald. "Mmmmmm," said
Princess Konstancja. "Jebem ti
dusu," said the Duke of Montenegro.
"Modesty, my dear Remmer,
modesty prevented me from
speaking of our relation before.
But what a pity Frau Remmer is
not here today. What a pleasure it
would have been to hear her at the
piano."
I smiled.
"Let me tell you how the good
Antonio Stradivari made violins to
my specifications," said the baron.
Then Munchhausen and I changed
places and he began the story of his
Stradivarius.
of Captain Cook 200 years ago,
Commander D. W. Waters, Deputy
Director of the National Maritime
Museum in Greenwich, England,
will present an illustrated lecture
entitled Captain Cook, Explorer of
the Pacific in the Centennial
Auditorium, 110 Chestnut Street,
on March 2. Waters will discuss the
Pacific as it was during the 18th
century, the ships sailed by Captain Cook and his paths of exploration. The lecture will begin at
8 p.m.
Subfilms doubles your fun and presents
THEY'RE OFF (THEIR NUTS!)
in the Grand
Championship
of Musical Fun
Handicaps!
! GfiEfit;
Dr. Dalia Gilboa
Co-ordinator of Student Affairs
for the Hebrew University
Discussing:
STUDY OPPORTUNITIES
IN ISRAEL
8 ACADEMY AWARD
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Best Supporting Actress — Melinda Dillon
Best Original Score — John Williams
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Friday, February 24, 1978
THE       UBYSSEY
Page Friday, 9 great A
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BASF
Page Friday, 10
THE        UBYSSEY
Friday, February 24, 1978

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