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The Ubyssey Mar 10, 1978

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Array Improve aid, says UCBC
By KATHY FORD
Supplementary grants to needy full-time
students and grants to part-time and
graduate students are among the improvements to the student aid program recommended by a Universities Council of B.C. ad
hoc committee.
"We believe that the loan-grant mix
should be adjusted to provide the most
economically disadvantaged students with
the greatest proportion of the grant
assistance available under the BCSAP (B.C.
Student Assistance Program)," the report
says.
The committee's report, released by the
UBC awards office, says a program should
be established to provide supplementary
grant assistance for "dependent students,
single parent students and married students
who are calculated to have a negative
family income, are taking at least 80 per
cent of a full course load and are enrolled in
one of their first three years of post-
secondary studies."
The report says low-income students are
in report to government
reluctant to borrow money for education
and students with different amounts of need
receive the same proportion of grant and
loan.
"Under this proposed approach, applicants in the strongest financial positions
could be required to borrow a greater
proportion of the funds they would require to
meet their educational costs. Our major
concern is that direct subsidies be used
where they would appear to be most effective in encouraging and facilitating the
decision to attempt a post-secondary
education."
The committee's report contains 26
recommendations, seven of which are
suggestions about representations that
should be made to the federal government.
The council set up the ad hoc committee
on student aid to study "more specifically
how the funds available through the B.C.
Student Assistance Program might be used
to eliminate financial barriers" to getting a
university education.
A report on accessibility released in
January, 1977 cited financial barriers
among the major problems in university
accessibility.
If the recommendations are implemented
by the Socred government, part-time and
graduate students will become eligible for
grants.
Currently, Canada student loans are
available to students carrying at least 60 per
cent of a full course load and the provincial
grant portion is only eligible to undergraduates carrying at least 60 per cent.
"In 1975-77 British Columbia was the only
province in Canada which did not allow
graduate students to qualify for the grant
portion of its student aid program," the
report says.
Under the report's recommendation,
students taking 80 per cent or more of a full
course load should be eligible for 100 per
cent of the maximum aid in grants and
loans; those taking 60 per cent would
receive 75 per cent; those taking 40 per cent
would receive 50 per cent and those taking 20
per cent of a full course load would receive
25 per cent of available provincial grant aid.
The report also recommends the
education ministry invite union and institutional representatives to participate in
"efforts to incorporate some permanent
form of work-study option into the BCSAP."
The report says the program is a "viable
option despite administrative difficulties
encountered.
And dependent students who must
relocate to attend university should receive
an additional grant to cover travel costs, the
report recommends.
Currently, these students receive student
aid to cover two round-trip fares each year
between their permanent residence and the
See page 7: GIVE
Policy hits at
foreign TAs
THE UBYSSEY
Vol. LX, No. 60
VANCOUVER, B.C., FRIDAY, MARCH 10, 1978
228-2301
UBC administration president
Doug Kenny criticized Thursday a
move by the federal department of
manpower and immigration to
implement a policy giving
Canadian students preference for
jobs as teaching assistants.
Although the government's
policy remains unclear, Kenny
speculated the move would result
in few substantive changes for
foreign students but would affect
how universities could adertise
open TA positions.
UBC seeks
fed funding
for cut
jobs
UBC and the provincial labor
ministry are attempting to obtain
federal funding; to make up for a
labor ministry decision that
slashed about 350 jobs from a
summer work program for UBC
students.
Administration president Doug
Kenny said UBC and the ministry
will ask the federal government to
provide funding to make up for a
provincial government decision to
halve UBC's part of the youth
employment program.
The cuts decrease the number of
youth employment program jobs
at UBC to 300 from 650 and lower
the cost of the UBC part of the
program to $700,000 from $1.5
million.
The jobs offer students the opportunity to work on research
projects related to their fields of
study.
Kenny said he is drawing up a
proposal asking the federal
government to fund a number of
the jobs lost at UBC this summer
and forwarding it to labor minister
Allan Williams next week for
submission to Ottawa as a joint
ministry-UBC proposal.
At Simon Fraser University,
where the program was also
halved, administration president
Pauline Jewett said she is
preparing a letter requesting labor
minister Allan Williams to increase the total allotment for the
job program.
The student representative
assembly has sent Williams an
open letter voicing its "strong
disapproval" of the ministry's
decision to cut back the job
program and asking the minister
to reconsider the decision.
"As I understand it we may have
to post TA positions within the
university or within Canada as a
whole," he said.
A policy to give preference to
Canadian students is a fundamentally negative attitude,
Kenny said.
"Speaking as a Canadian citizen,
Canada had been enriched by the
inflow of foreign students. They
(foreign students) gain, the
university gains and Canadian
students gain with a
cosmopolitan mix."
Kenny said that before the mid-
1950s a large number of Canadians
were educated abroad when only
the University of Toronto and
McGill University had postgraduate programs.
"At one time we were an underdeveloped country in terns of
graduate programs," he said. "By
giving foreign sutdents this break
it pays back some of our past
debts."
Kenny said that although the
preferential hiring idea is probably
correlated with Canada's high rate
of unemployment it is also due to
an increasingly strident Canadian
nationalism.
And Allison Watts, assistant to
the academic vice-president at
Simon Fraser University, said
Wednesday that although the
university have received nothing in
writing as to the exact intentions of
the ministry the administration
are opposed to the move.
She said the new policy reflected
a change of attitude toward international students and immigrants in general.
"With the unemployment
situation, you've got to expect it,"
she said.
— edmond o'brien photo
CURIOUS CANINE reads hockey game notice on campus billboard, demonstrating literacy to less educated
passers-by. Son of Lassie, animal science 3, later checked into Main Library to read James Joyce's Ulysses for
English essay and then visited Pit to quaff a few draft with friends and discuss existential elements of
veterinary medicine.
'Feds trying to scuttle pipeline fight'
The federal government is trying to prevent
Northern Indians from taking legal action
against construction of the Alaska pipeline, a
Yukon Indian spokesman charged Thursday.
Ken Kane, communications director of the
Council for Yukon Indians, said that present
legislation regarding the pipeline contains a
clause preventing anyone from taking action
against the pipeline through the courts.
"We knew theVclause was meant for us.
There was no mention of native Indian land
claims. It is unfair and unconstitutional," he
said. "It's like the War Measures Act."
"What we want is time to settle our land
claims. We were finally getting a grip on
things and then another thing was shoved at
us — this pipeline.
Kane said the government has ignored
Indians when making its decision to construct
the natural gas pipeline from Alaska to the
American Midwest.
"We were asked to participate at the onset.
However, since last August we have been
totally left out of the picture," Kane said.
He said the government must settle Indian
land claims before construction begins on the
pipeline.
"We are hoping to get just land claims, but
we are confronted with this pipeline ^nd it is
sidetracking our people from the main task of
settling our land claims.
"At the present time there are many issues
confronting our people — pipelines, mines,
dams. The main one is settlement of land
claims," he said.
Ever since the Klondike gold rush the
federal government has shown reluctance in
setting up Indian land treaty rights in the
Yukon, said Kane.
"We have never had a treaty. There never
was any war, yet we gave up our rights. We
are willing to share the land but this time we
want a fair share.
In 1976 the Yukon Indian council was
reorganized in an effort to unite and establish
a collective voice for the Indian people, Kane
said.
"We realized there was no structure within
the community. Information is power and we
therefore set up land registry offices, got
negotiators, and began researching," he said.
"This process was meant to give back
responsibility to our people. This is what we
were concentrating on — working with people
in the community and preparing them for
progress in the Yukon. Page 2
THE       U BYSSEY
Friday, March 10, 1978
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X Friday, March 10, 1978
THE       UBYSSEY
Page 3
'Joke' cabinet of
Social Credit gov't
roasted by Lauk
—<ieof wheelwright photo
BASKING IN spring-like sunshine, David Fraser, applied science 1, reads Dead Sea Scrolls in comfort of
mobile library. Fraser risked possible ticket from overzealous quasi-cops to escape chaos of Sedgewick,
stuffiness of Main and feverish atmosphere of Woodward libraries and breathe fresh air for a change.
NDP MLA Gary Lauk roasted
the Social Credit cabinet Thursday, calling them in turn biased,
arbitrary and laughable.
Lauk, MLA for Vancouver
Centre called economic development minister Don Phillips a
"joke," and read a newspaper
editorial that described him as
"that bluersuited used-car dealer
now running B.C.'s economy."
Lauk told 25 people in Buchanan
the Socreds have decreased support of small business since they
have been in power. During the
NDP's reign the B.C. Development
Corporation made 25 to 30 loans per
month to small businesses, Lauk
said.
But during Social Credit's first
year in office only 19 loans were
made, he said.
Lauk sarcastically referred to
speaker Ed Smith as "one of the
more virtuous" of the Socred
MLAs. Lauk said Smith hired his
mistress to work in the auditor-
general's office and then promoted
her to a position "10 points above
her capabilities."
'Food services could run cheaper bar'
By GREG EDWARDS
Food services can provide a coffee bar in
SUB for $3,000 instead of the $20,000 the
student representative assembly plans to
spend building one in the SUB conversation
pit, food services director Christine Samson
said Thursday.
Students are being asked in a referendum
next Tuesday, Wednesday and Thursday to
approve an expenditure of up to $20,000 for the
construction of a coffee bar.
"I don't intend to compete with the
students' coffee bar, but I could do it with
$3,000 whereas the students will have to spend
$20,000," she said.
"I'll only have to pay for the coffee
machine. The students will have to build
counters, buy refrigerators, provide for
plumbing and so on," she said.
"We could incorporate the coffee bar idea
into food services and people could take their
espresso and pastry into the conversation pit
without having to spend money building a new
facility," she said.
Samson said she was not averse to the
proposed coffee bar, but she doubted that
espresso coffee and fancy pastries would sell
very well.
"People wouldn't want espresso coffee and
pastry on a take-out basis. Danish pastry is
not a big seller anyway." And espresso would
not sell because it is very strong and does not
appeal to North Americans, she said.
Former Alma Mater Society president John
DeMarco said the coffee bar idea was
originally conceived as an alternative to the
Lethe and the Pit for under-age students and
those who would choose "a quieter nonalcoholic food place."
"It's going to offer menu items that aren't
available anywhere else on campus: espresso
coffee, exotic teas, fancy pastries. There will
also be regularly priced beverages and food
for those who don't want to splurge on fancier
foods," he said.
DeMarco said he hopes the coffee bar would
also serve as a social centre because it would
stay open after SUB cafeteria hours.
"The coffee house won't screw up the
conversation pit," he said. "It will be compatible with the conversation pit."
Customers will be able to buy food and take
advantage of the conversation area, DeMarco
said. The listening room will also remain the
way it is, he said.
Norm Grusnick, student administrative
council secretary, described the coffee bar
plan as "a pilot project to see if this thing is
feasible on a larger scale and on a longer
term."
"The costs are partially recoverable if it
doesn't work. We can always recover part of
the equipment costs if the coffee bar can't
pay for itself," he said.
"This offers what food services doesn't, like
Danish pastries at a much lower price than
what food services could sell them for," he
said. "This is a well-thought-out plan."
Lauk said the most disturbing
thing about the Smith scandal, in
which the speaker was accused of
hiring his companion Barbara
Pennock to a highly paid position
with the auditor-general, was that
the Socred cabinet denied there
was anything wrong with the action.
"One can admire a person who is
biased and clever enough to hide it
but Ed unfortunately isn't."
Lauk lashed out at tourism
minister Grace McCarthy for her
handling of the controversy over
the ministry's Captain Cook bicentennial program.
Critics have said that Cook's only
contribution to B.C. history was
giving venereal disease to West
Coast Indians. But McCarthy "can
personally vouch that Captain
Cook did not have venereal
disease," Lauk said. He wondered
out loud how she knew.
McCarthy's ministry had a 40
per cent budget overrun in 1977
because too much money was
spent on making Smile buttons and
posters of McCarthy, the opposition MLA said.
McCarthy claimed this overrun
created jobs by boosting tourism in
the province, with tourist business
increasing 2.6 per cent and hotel
occupancies going up in 1977.
But Lauk pointed out that
although tourism had increased
over 1976, it still wasn't at the level
it had been in 1975. He claimed that
hotel occupancies in 1977 were 8
per cent below 1975 levels.
In reference to McCarthy's
disregard for pre-1976 statistics,
Lauk said, "she (McCarthy) seems
to think that after the 1975 election,
genesis occurred."
Lauk criticized education
minister Pat McGeer for the arbitrary, personal nature of his
decisions.
"McGeer reluctantly joined the
Socreds," Lauk said, "when he
saw that his dream of a Pat
McGeer Memorial Teaching
Hospital would not be realized
while he was leader of the
Liberals."
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THE       UBYSSEY
Friday, March 10, 1978
Right
moves
The Universities Council
of B.C. committee report on
student financial aid makes
some recommendations of
long-needed reforms to bring
a sense of fairness and
reality to the system of loans
and grants we use to get
through university.
We ho p'e the
recommendations are acted
upon, for the principle at
stake is that of accessibility
to all students, without
regard for their choice of
studies or economic status.
While we believe more
far-reaching changes are
necessary, acceptance of the
report would be a big step in
the right direction.
MYSTERY CELL DONOR IDENTIFIED.
THE KING IS CLONED!
LATE, OVERWEIGHT, VEGAS
STAR XEROXED...
wmk,
Pipeline delay needed
Canada appears to be rushing into what
will be one of the major construction
projects of its history — the construction of
pipeline carrying Alaskan gas to the U.S.
mainland through the Yukon, B.C. and
Alberta along the so-called Alcan route.
The U.S., faced with energy shortages and
the resultant economic ramifications, is in a
hurry to get the gas moving south. The
Liberal government wanted a pipeline to
provide jobs and an economic stimulus for
Canada, not to mention having a ready line
for Canadian gas from the arctic.
Public opinion went against a pipeline
through the Mackenzie River delta after
Justice Thomas Berger issued his report last
year, and so the feds turned to the Alcan
route as the way to move the gas and avoid
damaging the ecology of the MacKenzie
valley.
A deal has been struck with the U.S.,
legislation has been introduced to parliament
and pipeline specifications have been
announced to be slightly different than what
the Americans want, to feed on nationalist
sentiment at home. But there are still parts
missing from the equation.
Berger recommended that the MacKenzie
pipeline should not proceed for 10 years to
allow settlement of Native peoples' land
claims and ecological questions. With the
Alcan route, there will be practically no time
to settle these questions. Especially in the
area of Native rights, there must be time in
which to settle outstanding questions. UBC
Law Dean Kenneth Lysyk recommended a
two-year moratorium on pipeline
construction along the Alcan route, but this
is being ignored.
Yukon Natives are unhappy, as
spokesman Ken Kane explained at UBC
Thursday,   because   they   are   being   swept
under the rug in the quest to stimulate the
economy.
Canada's Indians haven't got a fair deal
from the federal government since treaties
were signed 100 years ago. Many are living in
poverty, and social problems are rampant
because of the policy of benign neglect
which has given way only in the past 30
years to a policy of confusion.
But now the Natives have stopped meekly
tolerating federal policies and have organized
to regain lost ground, literally and
figuratively. The quick construction of the
pipeline and the nature of legislation
currently going through parliament does not
appear to give the Natives any time to settle
land questions.
When a pipeline is built, there is little
negotiation or the courts can do to negate
the loss of land. In other words, a physical
reality will subvert the process of justice.
While the land upon which the pipeline is
to be built is crown land, belonging to the
Natives as much as us, the Natives must be
able to have land on which they are totally
free to carry on a living. We are not
enamored with the concept of freehold land,
which can be regressive, but the Natives can
take no solace from the fact that public land
is and could again be dished out for private
use such as pipelines.
Not all Native land claims are totally
legitimate, but the Dene and Inuit of the
north have gotten less than their southern
counterparts. Justice demands that their
claims be settled before the pipeline goes
through.
A delay will benefit us as much as the
Native peoples. Ecological questions have
been underestimated thus far in hasty studies
and economic benefits have been
exaggerated in the rush for political credit.
Letters
Leadership ignored
THE UBYSSEY
MARCH 10, 1978
Published Tuesdays, Thursdays and Fridays throughout the university year by the Alma Mater
Society of the University of B.C. Editorial opinions are those of the staff and not of the AMS or the
university administration. Member, Canadian University Press. The Ubyssey publishes Page Friday, a
weekly commentary and review. The Ubyssey's editorial office is in room 241K of the Student Union
Building. Editorial departments, 228-2301; Advertising, 228-3977.
Editor: Chris Gainor
"Get up and boogie," shouted disco freaks George Huey and marta Marton to the besequlned Geof Wheelwright and
Kathy Ford. Steve Howard and Verne McDonald compared silver coke spoons draped around their hairy chests, while
Glen Schaefer and Edmond O'Brien undid their silk shirts to the belly button, feeling too conservative for the locale.
Heather Conn and Mike Bocking laced up their four-Inch platform shoes and started bumping to the seventies sounds of
Fleetwood Mac. Boogie children Robert Jordan and Steve Slmkln asked DJ BUI Tieleman If all of Gage was a disco den
while Chris Elenlak and Will Wheeler did the hustle. Theo Collins and Nlcholsas Head watched the action from the bar
while Chris Gaynor and Greg Edwards got Saturday Night Fever. Larry Green was dazzled by the light show and music
until suddenly a blinding flash startled everyone. The figure in a three-piece white disco suit turned the people on as he
boogied and jived with wild abandon, coke spoon flying and platforms pumping to the beat of the Bee Gees. Easily
outclassing the other cool young dudes the mystery guest glided across the pulsating floor as K.C. and the Sunshine Band
shook his booty. Finally coming to a stop, the partygoers were amazed to find the disco duck was none other then the
ex-Mr. Sixties, Bruce Baugh. "You should be dancin'," he screamed. "This Is the way the Eighties will be and I'm just
tStayin' Alive," he added as the fever took him once more. It will take you too at Tleleman's party Friday night.
I was dismayed by your very
gratuitous and arrogant analysis in
your editorial of March 9, in which
you dismissed last year's student
representative assembly as ineffectual. Unfortunately, The
Ubyssey has traditionally defined
"leadership" as that which can be
captured in banner headlines, and
which is more often a symptom of
divisiveness than concerned
student government.
Instead the past year has been
marked by impressive grass roots
organization, particularly in the
largest faculties, arts and science.
This organization shows terrific
potential for providing genuine
social and political leadership
which will touch many students
personally.
This has gone largely unnoticed
by The Ubyssey, and I suggest that
the past year has appeared do-
nothing to a Ubyssey staff which is
either too snobbish or too lazy to
get beyond SUB and the Alma
Mater Society offices in their quest
for news.
As the major architect of the
current AMS constitution, I suppose it is incumbent upon me to
react to your charge that the new
constitution is responsible for an
ineffectual AMS. On the facts, I
cannot agree that AMS is ineffectual, and in the past two years it
has been clearly more effective
than the long series of elitist or do-
nothing regimes which preceded
the new constitution.
Currently, the UBC anti-
cutbacks rally last year was the
most successful in Canada, bar
none.
I am particularly concerned that
your editorial cited the proposed
coffee house as an example of
student leadership. It is a sad day
indeed when the student rag puts a
higher priority on capital expansion than on analysis of social
and educational issues.
And I suggest that in the past
year the AMS has supported many
opportunities for students to
participate in and show their
concern for social and academic
matters: withdrawal of investments from the Bank of
Montreal, Women's Week, Native
People's Week, the unity debate
and the debate over Noranda investment in Chile.
One of the major aims of the new
constitution was to focus on
university concerns through the
senate and board elections;  yet
your coverage of the issues was
sparse and incompetent.
I would also point out that SRA
has been resolute in its support of
the Citizens' Lobby for Jobs and in
its criticism of the recent student
job cutbacks. Neither of these
stands have been given play by The
Ubyssey.
I suspect this is so because they
have been handled by student reps
speaking thoughtfully, rather than
in the four-word quips digestible by
The Ubyssey.
Dave Van Blarcom
law 2
It is disappointing to see that an
experienced politico like Dave Van
Blarcom could come up with such
an incorrect analysis of The
Ubyssey's coverage of student
issues.
First, the suggestion that we
would put a high priority on capital
expansion shows that Van Blarcom
missed the meaning of our
editorial reference to the coffee
bar. It was quite clear that approving a coffee bar referendum
shows leadership in only the most
trivial sense of the word, and that
was clearly implied in our
editorial.
It is true the science and arts
undergraduate societies have been
revitalized, and their efforts to
boost student representation in the
arts faculty and make student
evaluations available in science
have been well covered by The
Ubyssey.
The SRA has passed a number of
nice-sounding resolutions on investment in Chile and in South
Africa and on women and national
unity — usually after students'
groups and The Ubyssey have
raised the issues.
To say our coverage of senate
and board issues and elections is
"sparse and incompetent" is an
outright lie.
—Staff
The Ubyssey welcomes letters
from all readers.
Letters should be signed and
typed.
Pen names will be used when the
writer's real name is also included
for our information in the letter or
when valid reasons for anonymity
are given.
Although an effort is made to
publish all letters received, The
Ubyssey reserves the right to edit
letters for reasons of brevity,
legality, grammar or taste. Friday, March  10,  1978
THE       UBYSSEY
Page 5
Letters
Brutal Chile regime draws international condemnation
Craig McConnell, we have read your letter
to The Ubyssey of March 7 with great interest and with deep sadness. Our sadness
springs mainly from realizing how much
ignorance, misinformation, incoherence
and, most important, misunderstanding
exists amiong certain students in this
campus.
Your letter is not only a testimony of this
appalling reality but also a blatant attack on
both committees sponsoring Chile-Week
(committee for the defence of human rights
in Chile and inter-church working group on
Chile) and the endorsing organizations (Pan
African Union, Lutheran Student Movement
and Co-opejative Christian Campus
Ministry).   '
Unfortunately, Craig McConnell, we
cannot cure your ignorance through a letter.
At the most, and in the interest of clarity, we
can attempt to straighten up a few of the
issues that you mention.
The situation in Chile is one which few
people have attempted to defend. It is not a
pretty one. Even those who financially
benefit from that situation are reluctant to
defend it.
The military dictatorship has managed to
receive the opposition of 80 per cent of the
Chilean people (according to the Chilean
Cardinal Raul Silva Henriquez).
The atrocities which the wiling junta has
committed and continues to commit have
earned it the international repudiation of the
overwhelming majority of the countries of
the world.
For four consecutive years the United
Nations' general assembly has condemned
"the constant and flagrant violation of
human rights and fundamental freedoms
... in particular by methods of systematic
intimidation, including torture, disap-
Chile group
humanitarian
As a student interested in the
global protection of fundamental
human rights, I can say without
reservation that UBC's committee
for the defence of human rights in
Chile has heightened my understanding of the political situation in
that country.
It is not through irrational
sloganeering that the committee
has attracted my attention, but
through the thoughtful,
unassuming yet visible stance that
its members have taken over the
past two years.
The members of this committee
are horrified by Chile's military
dictatorship which has killed and
imprisoned great numbers of
people in the name of political
power. They have reacted to the
sad turn of events in Chile by attempting to better inform students
of the true state of events in Chile.
This is done in the hopes that
increasing international opposition
to the Chile regime may help
restore a life of decency and
dignity to the people of that
country.
Last week, the committee
sponsored a week-long series of
films, lectures, panel discussions
and visual displays to better inform students about Chile. Also, a
petition to the board of governors
protesting their indirect support of
the Chilean regime (through
supporting Noranda, a Canadian
company which invests in Chile)
was circulated during Chile Week.
In Tuesday's Ubyssey, Craig
McConnell accused the members
of this committee of being
"murderers or accomplices, unwitting or otherwise, to murder."
He also implied that the committee's money will be used "to
commit murder, arson, treason,
insurrection and other crimes
against society."
I notice with sincere regret that
someone has so entirely misconstrued the peaceful,
humanitarian protest of the
members of the committee for the
defence of human rights in Chile.
Larry Hill
arts 2
pearances of persons for political reasons,
arbitrary arrest, detentions, exile and
deprivation of Chilean nationality."
This month, March 1978, the UN Human
Rights Commission submitted a report that
states: "the Chilean authorities are called
upon to put an end to the inadmissible
practise of secret arrests and subsequent
disappearance of persons whose detention is
systematically denied or never
acknowledged."
The commission also undertook to study
"the consequences of the various forms of
aid extended to the Chilean authorities," as
well as encouraging" member states,
United Nations agencies and other international organizations to take steps which
they consider appropriate as a contribution
to the restoration and safeguarding of
human rights and fundamental freedoms in
Chile." Among those nations which supported the report in the 29-nation commission were Canada, Britain and the
United States. Only military-ruled Uruguay
voted in opposition.
We, members of the committee for the
defence of human rights in Chile-UBC
branch (a constituted club of the AMS),
have become aware of the Chilean reality
and, out of conviction (we do not receive
salaries for our work), have decided to
contribute in our small capacity to the
restoration of human rights and fundamental freedoms in Chile. It is not our
objective to tell the Chilean people to calmly
accept the injustices they suffer, nor is it our
role to tell them how to end the dictatorship
which rules over them.
It is our duty, however, to inform
Canadians about the situation in that
country and to do our part in preventing the
junta from strengthening, for we firmly
believe that under the military regime
human rights and fundamental freedoms
will never be safeguarded.
Chile Week, as most students of this
university have understood, was aimed at
informing the community about Chilean
reality and by doing so, helping them to take
a stand on the issue of the Noranda in-
GOQ TWS FWW IS
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BULLSHIT...
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IF ENOy«* PCOP1X OONfr BW THE.
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vestment and UBC involvement in  that
country.
Together with that, we circulated (and are
still circulating) a petition asking the board
of governors — as shareholders of that
corporation — to oppose the Noranda investment in Chile, given the fact that such
economic support will only serve the purpose of propping up one of the bloodiest
dictatorships of our times.
We ask you, Craig McConnell, to think
about the issue for a moment and to
"rationally" (using one of your favorite
words) decide who are the murderers and
their accomplices? Is it us or is it the
Chilean junta and their supporters? Who has
been responsible for thousands of deaths?
The organizers of Chile Week or those forces
that have supported (openly or through
apathy) the installation and institutionalization of the Chilean junta? Whose side are
you on?
Committee for the defence
of human rights in Chile
AMD I TUotXqUT THIS
NEWSPAPER WAS RXi.
OF U8ERAL 6UISWI]:..
AHAltnutt.
Letter shows reactionary attitudes
A recent letter to The Ubyssey by Craig McConnell
(March 7) illustrates the reactionary attitude toward
political and economic change shared by many North
Americans. Church groups and others calling for
corporate responsibility in dealing with developing
nations are accused of being radicals and communists.
The letter in question branded as murderers the
supporters of Chile Week. Such accusations are not
uncommon and are rooted in fear, prejudice and a
general lack of, or disregard for the truth.
The purpose of Chile Week was not, as Craig McConnell suggested, to raise money to promote
"murder, arson, treason, insurrection." It was intended that this event would inform people of the
situation in Chile and the repression of basic human
rights which now takes place under the Pinochet
regime. This oppressive government came into
power by overthrowing the elected Allende government.
This action, aided by the American government
and the CIA, took place in response to the Allende
government's policy of land reform and the
nationalization of industry. These policies would have
endangered the vast profits which corporations such
as ITT were making in Chile, and so Allende was
murdered.
The present Pinochet regime is committed to
protecting the North American investment it
desperately needs and does so by murder, imprisonment, torture and other acts of institutionalized
violence. These are facts which Craig McConnell
seems unaware of.
We are often told by businessmen that morality is
not relevant to investment and that the profit motive
is the only factor which should determine investment
policy. Such an attitude could have justified the sale
of steel to Nazi Germany by American corporations,
or the involvement of Canadian firms in the heroin
trade. Obviously, these acts would elicit great public
outcry and the intervention of the judicial system.
How then can we possibly justify investment in a
country which practises criminal acts as a matter of
course?
In our society today it is not possible to remain
apolitical. Silence with regard to Chile is as much a
political statement as a vote in favor of the Pinochet
regime. Effectively it says the same thing. If we are
to live morally and with respect for human dignity we
must speak out against oppression wherever it occurs. The inaction Craig McConnell seems to be
proposing has resulted in the deaths of thousands of
people.
Peter Johnson
Wilfred Zerbe
Lutheran student movement.
Thanks for the good job, SRA reps
It wasn't just any old rainy day
for everyone and it is important
enough for me, as one of the
unidentifiable students on campus
to raise my head slowly from the
texts to take a stand in gratitude
and recognition. Wednesday was
the last day of the term of our
elected representatives and so the
meaning of this, the meaning of an
end is affecting only a portion of
our population.
But of course, our place as
students and direction of even
further education is undoubtedly
involved in this end. It .is not my
intention to invoke nostalgia for the
hard work and achievements of a
few but rather to ask a question
publicly in hopes of sharing the
benefit of an issue brought t*> light.
It is also my intention to give the
incoming student representative
assembly encouragement by
identifying the link between the old
reps and the new reps as not the
same desk in the same office. The
link is us — the students, and as
much as we are aware of our
selves, our place and our direction;
that is the same depth to which the
new student reps must respond to
us.
Of course there are a number of
questions that could be asked if we
wanted to evaluate and reconstruct
a view of ourselves which is both
honest and accurate. The most
important one in the arena of
education is "where will we go
Good work
As a bilingual French Canadian
who lived in Quebec for 17 years, I
would like to thank you for the
March 3 Page Friday, which was
an example of mature, objective
journalism I've long despaired of
ever seeing in the Vancouver Sun.
That's exactly how it was, and is,
in Quebec and I am gratified that
the facts have been made available
to UBC students. Once again,
thank you. Keep up the good work.
Noelle Mayer
arts 3
from here?" This implies that
already successfully completed
tasks have been assessed and upon
whose experience a willingness to
challenge is based.
It implies as well that a close
definition can be given to our
current position. It means that if
an answer is proposed, that we be
energetic enough to give it
reasonable time in mutual consultation.
This is relevant to this letter only
because I sympathize with the
incoming SRA members. For it is
they whose positions are defined, it
is they who will evaluate the
success of the outgoing SRA and it
is they who will have structured
time of mutual consultation. Will
there be a firm solidarity among
its members? Can we, as the
group(s) they represent give indications to them that we have the
ability to see UBC as a unit moving
in a reputable direction?
Teresa Caragata
arts 4
Program
sensible
According to your front page
article (March 3) the reduction in
the Youth Employment Program
budget at UBC has been vilified by
members of the administration as
a  "blatantly   political"   decision.
As I see it, the object of YEP is to
provide summer employment for
students. If a dollar spent in
agriculture or business achieves
this end more effectively than a
dollar spent at UBC, then it is clear
where the money should go. One
could also argue that summer jobs
in the 'real world' are probably a
good preparation for our students.
Unless one is interested in empire
building at UBC rather than the
welfare of our students, I don't see
how this common sense can be
refuted.
A separate question is whether
research at UBC is inadequately
funded. It does not seem that obtaining funds through the back
door (i.e. through YEP) is an
appropriate way of resolving that
issue.
David Emanuel
visiting assistant professor
finance division, commerce
Ignored
I suppose nobody should be
surprised that the Alma Mater
Society is eager to shell out $10,000
for advice that quite conceivably
could be had from commerce
students for little or no cost at all.
There are always a number of
business students hanging around
Angus looking for a good policy
project and from experience, I
know that their chargeout rates
are the lowest in B.C. But as the old
saw goes: no one listens to free
advice.
Derek Belyea
MBA 2 Page 6
THE       UBYSSEY
Friday/March 10, 1978
Commies crap
on mounties
A forum on the RCMP's involvement in illegal activities in
Quebec will be held tonight at 8
p.m. at 1208 Granville.
Titled The Real Face of
Subversion in Quebec, the forum
will     emphasize    the     RCMP's
Hot flashes
reactionary roie in Quebec and
include a brief historical survey of
the RCMP's illegal activities
against Quebec nationalism.
The forum is organized by the
Young Socialists and the
Revolutionary Workers' League
and is part of a regular series for
discussion and debate on the left.
Cost is 50 cents for students and
the unemployed, $1 for workers.
Ceramics show
A showing of art work from
students in the education faculty's
ceramics and design courses opens
this Monday for a five-day run in
the SUB art gallery.
The gallery, in the main
concourse of SUB, is open
Monday to Friday 9:30 a.m. to
5:30 p.m.
'Tween classes
TODAY
Informale     en
l_a      Malson
LE CLUB FRANCAIS
La     conversation
francais,      mldl,
Internationale.
CSA
Annual  general meeting, 5:30 p.m.,
SUB party room.
WOMEN'S COMMITTEE
Feminism:  a   class  analysis   by   Val
Embree, noon, SUB 213.
Equal    opportunity   for   women:   a
case    study     by     Darlene    Marzari,
noon. SUB 205.
Video     —     Dr.     Dorothy     Smith:
Ideological     structure     and     how
women   have been excluded, noon,
Scarfe lounge.
Medical    self-help    for    women    —
women's    health    collective,    noon,
SUB 130.
Rape In  B.C. — Nancy Goldsberry,
noon, SUB 207.
Briefing     for     national     action
committee for women's conference,
1:45 p.m., SUB 130.
HANG-GLIDING CLUB
Slide show and meeting, noon, SUB
215.
UBC SKYDIVING CLUB
General meeting, noon, SUB 212.
PSYCH STUDENTS' ASSOC.
Guest   speaker:   Dr.  M.  Chandler —
Egocentrlsm     and     eplstemologlcal
loneliness, noon, Angus 321.
BAHAICLUB
Informal   talk   on   the   Bahal  faith,
noon, SUB 115.
CHINESE VARSITY CLUB
General meeting, noon, SUB 207.
SATURDAY
UBC T'BIRDS
UBC T'Birds soccer against Dover
Olympics, 2 p.m., War Memorial
Gym field.
CSA   T
. 'S^p o r t s      night,      7:30      p.m.,
Thunderbird Gym B.
WOMEN'S COMMITTEE
Wendo — self-defense for women,
$15 per person, register In SUB 130,
9 a.m. to 4 p.m., SUB 200.
WOMEN'S COMMITTEE
Bear garden, men and women
welcome, 8:30 p.m., Garden room
Grad Student Centre.
SUNDAY
UBC SPORTS CAR CLUB
Auto slalom, B lot.
MONDAY
Women's drop-In,  noon,  SUB 130.
TUESDAY.
Women's committee meeting, noon,
SUB 130.
CHARISMATIC CHRISTIAN
FELLOWSHIP
Weekly    student   fellowship,   noon,
SUB 205.
WEDNESDAY
WOMEN'S COMMITTEE
Lesbian drop-In, noon, SUB 130.
HILLEL w HOUSE
presents
The "Ifs Not Too Late To
Have A Good Time" Party!
SATURDAY, MARCH 11 -
9 P.M.-l A.M.
CHATEAU GRANVILLE
1100 Granville Street
DISCO - FOOD - BAR- LIVE BAND
THE UNIVERSITY OF BRITISH COLUMBIA
1978 SPRING LECTURES
BY VISITING PROFESSORS
Har Gobind Khorana
Dr Khorana, who began his now famous work in organic chemistry while at B.C.
Research on the UBC campus, recently announced the total synthesis of a
functioning gene, a teat considered one of the most outstanding achievements in
modern biological sciences. Dr Khorana was awarded the Nobel prize in
medicine in 19b8 He is currently a professor at the Massachusetts Institute of
Technology
THE BIOLOGICAL REVOLUTION
Saturday, March 11
In Lecture Hall 2, Woodward Instructional Resources Centre, at 8:15 p.m.
(A Vancouver Institute lecture )
Martin Esslin
Martin Esslin has a mastery of the contemporary theatre from the vantage points
of critic, producer and administrator. He is thought to be the most distinguished
critic of theatre in England today. His former position as head of the drama
department for the BBC makes him a practical man of theatre. His book, The
Theatre of the Absurd, is now a standard work for any study of the contemporary
theatre
THE THEATRE OF TOMORROW
Tuesday, March 14
THEATRE AND THE MEDIA
Thursday, March 16
POLITICS AND THE THEATRE
Tuesday, March 21
All lectures in Room 106,
Buchanan Building, at 12:30 p.m.
THE THEATRE OF THE ABSURD
Saturday, March 18
In Lecture Hall 2, Woodward Instructional Resources Centre, at 8:15 p.m.
(A Vancouver Institute lecture )
ALL LECTURES ARE FREE
sponsored by
The Cecil H. and Ida Green Visiting Professorship Fund
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
COLD
yMOUWAIN
INSTITOTE
"The Barge"
Granville Island
684-5355
free calendar
on request
WENDY BARRETT
SPEAKING ON
"STANDING ON YOUR
OWN TWO FEET"
MONDAY, MARCH 13
$3 at Door
HILLEL HOUSE
IDENTITY CRISES
IN
MODERN JUDAISM
A discussion with Dr. Moshe Amon
Professor of Jewish Studies
FRIDAY 10 MARCH   12:30
THE CLASSIFIEDS
RATES:   Campus - 3 lines, 1 day $1.50; additional lines 35c.
Commercial — 3 lines, 1 day $2.50; additional lines
50c. Additional days $2.25 and 45c
Classified ads are not accepted by telephone and are payable in
advance. Deadline is 11:30 a.m., the day before publication.
Publications Off ice. Room 241, S.U.B., UBC, Van., B.C. V6T 1W5
5 — Coming Events
65 — Scandals (Continued)
FREE VANCOUVER INSTITUTE lecture. Dr. Har Gobind Khorana, Massachusetts Institute of Technology,
speaks on "The Biological Revolution" at 8:15 p.m. Saturday (March
11) in Lecture Hall No. 2 of the
Woodward I.R.C. A winner of the
Nobel Prize, Dr. Khorana began his
work on the biochemistry of life at
B.C. Research on the UBC campus In
the  1950s.
WHAT BETTER WAY to spend a Friday afternoon than sipping on the
cheapest bears at UBC and muching
on hot pizza at special ARTS prices.
Come to the ARTS Bear Garden in
Buchanan Lounge 4-8 p.m. tonight
for a growling good time. Bring the
gang  along!
10 — For Sale — Commercial
'76 HONDA. 8,000 miles $2,800. 669-3213.
9:00 a.m. - 6:00 p.m. Dealer No.
D00526A.
ORGANICALLY grown Okanagan fruit
and vegetables. Wholesale prices in
bulk. Free Delivery. 738-8828.
Arts cautiously reintroduces a venerable ancient tradition: the Pizza
Garden. Pay for what you eat and
no more for pizza by the slice.
Buchanan Lounge 4-8 p.m. tonight.
Bear with us.
30 — Jobs
HOW ABOUT Camp Fireom? We are
now accepting applications for summer staff positions. Call First United
Church  weekdays   at  681-8365.
35 - Lost
GOLD NECKCHAIN — Sentimental value. Feb. 25, between B-lot and Buchanan. Please call 734-3673. Reward.
GOLD WATCH — At SUS beer night.
Call 228-0819 eves, or bring to SUS
Office.   Reward.
SEX! ER . . . SAX! Yes Robert de Niro
plays the sax in Subfilms ''New York,
New   York."
70 — Services
PREGNANCY TESTS, counselling, emergency help, free, confidential. BIRTHRIGHT 687-7223,   584-7311.
85 — Typing
40 — Messages
LISTEN TO the cry of the aborted children. Their cry is a cry of terror.
Heed their cry.
TO AVOID A BROKEN nose! Time out
for   SUB  film?   "H.T.H.R."
TO A MALE CHAUVINIST pig, Frank
Ritchey.  Love and kisses. J.  and D.
65 — Scandals
BREAK A LEG or get released. Come
so the ski club's Spring dance for
members and guests. Advance tickets
only available in SUB 210 cr SUB
foyer.
PROFESSIONAL TYPING on IBM Selectric. Thesis, essay, etc. Standard
rates. Kits area. Phone Lynda, 732-
0647.
TYPING essays, thesis from legible
copy. Fast efficient service. English,
French, Spanish. 324-9414.
TYPING — 75c per page. Fast and accurate by experienced typist. Gordon,
669-8*79.
FAST, accurate typist will do typing at
home. Standard rates. Please phone
anytime, 263-0286.
FAST EFFICIENT TYPING near 41st
and   Marine.  266-5053.
NEED ANY TYPING DONE? Phone
689-8008.	
99 — Miscellaneous
SCIENCE RULES THE WAVES. Come
out and challenge them today at 12:30
in the boat races outside  SUB.
=Jr=ir^Jf=Jr=Jr=ir=Jr=Un=ir=Ji^r!
USE
UBYSSEY
CLASSIFIED
TO SELL - BUY
INFORM
Jr=Jr=Jp=Jr
JF=Jr=Jr Friday, March  10,  1978
THE       UBYSSEY
Page 7
Visa cfcecfcs feared
Immigration officials scare politicos
By KATHY FORD
Fear that the presence of immigration officials on campus
might intimidate foreign students
was behind an attempt at Wednesday's student council meeting to
rescind an agreement involving a
Canada employment centre at
UBC.
Graduate studies representatives Rob Marris and Don Meakins
put forward a motion at the student
representative assembly meeting
that a motion from a student administrative commission meeting
Feb. 21 be rescinded.
The SAC motion approved a
lease arrangement with UBC
which would establish a Canada
employment centre in the
basement of SUB in what is now
the pinball room.
Give greater grants
council c'tee cries
From page 1
university they attend. The first is
covered by loan and grant and the
second by loan only.
"It seems unfair that under this
arrangement these students must
assume a greater debt over the
course of their studies than those
students who are able to receive
locally the education they desire,"
the report says.
The report also recommend
students who demonstrate
financial need should be able to
negotiate interest-bearing loans
beyond the maximum assistance
available.
"Under the existing arrangements the maximum aid ($3,500)
has been insufficient to meet the
costs of certain students, the report
says.
"UBC dental students, for instance, face fixed costs in excess of
$5,000 in their second and third
years."
And students whose projected
net earnings are not enough to
meet the required student contribution should have a portion of
the required amount waived, the
report recommends.
"We believe that students should
be required to make a contribution
from their net pre-term income,
but are concerned that the
required contribution not act as a
financial barrier for students with
a legitimately low pre-term income," it says.
"We feel that a reassessment of
all awards subsequent to the
commencement of the academic
term is necessary to ensure that
aid is provided to supplement the
actual rather than the estimated
earnings of students."
The report also recommends the
provincial government make some
requests to the federal government.
Requests include considering
students independent if they "are
not, and have not been at any time
during the calendar year pre-
ceeding the application, and will
not be during the period covered by
the application either living with
their parents, claimed as an
exemption for income tax purposes
by their parents or the recipients of
monies equivalent to the cost of
tuition from their parents."
Currently, to be classified "independent" a student must either
be married, divorced, separated or
a single parent (common law is
recognized after 24 months), or
have worked two periods of 12
consecutive months, or have
completed three years of post-
secondary education and 12 consecutive months in the work force,
or have completed four years of
post-secondary education.
The report says these criteria do
not take into account actual circumstances, and thus recommends
adopting more realistic criteria.
Come out of
HIBEARNATI0N!
At the Arts
Bear Garden
Great Music
Pizza
by the slice at cost
Bubblies
and munchies
Buchanan Lounge
4-8 pm
BLENHEIM
IMPORTS
SERVICE
VOLKSWAGEN
SPECIALISTS
REASONABLE RATES
FACTORY TRAINED
MECHANICS
3299 W. 4th Ave
738-0910
Big or Small Jobs
ALSO GARAGES
BASEMENTS
& YARDS
732-9898
CLEAN-UP
POLL - CLERKS NEEDED
FOR
COFFEE HOUSE
REFERENDUM
MARCH 14th, 15th & 16th
Those   interested  please contact AMS Secretary
228-3971 or come to room 246 to sign up.
Marris said there are many
students at UBC with student visas
or landed immigrant status and
some of these students have
become involved in groups such as
the Young Socialists and the
Communist Party.
He said that if immigration officials started to work out of a
manpower centre in SUB they
might recognize foreign students
active in groups who advocate
overthrow of the Canadian government and turn them in to the immigration department.
Under Canadian law, non-
Canadian citizens who advocate
overthrow of the government can
be deported.
"We don't need to invite them
(immigration people) into this
building, right under our noses,"
Marris said.
He urged the assembly to at least
ensure a clause is put into the lease
agreement stating no immigration
people be allowed on to the campus.
And Thursday, other assembly
members agreed.
Senator-at-large Lome Rogers
repeated Marris' fears that foreign
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minims:
students might be under pressure
to stay away from radical groups if
immigration officials were on
campus.
"If immigration does come on
campus, Marris' statements are
quite valid," Rogers said.
"I wouldn't put anything past
immigration just as I wouldn't put
anything past the RCMP."
Newly elected AMS president
Bruce Armstrong said that
whether the centre is in SUB or at
the student services office makes
no difference because if immigration people wanted to check
up on students it would "not be
much of a handicap."
"Basically what we're objecting
to is that immigration would even
be close to the university," Armstrong said.
"Our emphasis should be when
signing such a lease that immigration (officials) should not be
a part of it (the centre) and should
be nowhere near the area.
"It only causes people to clam up
when they want to say something
they might have a legitimate right
to say. We should not instil fear
into people."
But student services director
Dave Jiles disagreed at the
meeting.
"Their (the centre's) primary
interest is in providing jobs," he
said.
®cuso
Film
INFORMATION
NIGHT
"CUSO IN PAPUA, NEW GUINEA"
THURSDAY, MARCH 16 - 7:30 pm
Upper Lounge - International House
Everyone is Welcome
FREE COKE
WITH
EVERY MEAL
AT McTACO'S
For ten days only,
when you buy a meal at McTaco's,
you'll get a free, regular size 12 ounce Coke.rM Re-
Try any great Mexican food item ... a taco,
an enchilada, a burrito, or even our
chili con carne, and you can pour yourself
a free Coke.
McTaco's and Coca Cola ... a great team
making great meals for you.
SO CUT OUT FOR McTACO'S TODAY
MCTACO'S
33% West Broadway lat Waterloo). Vancouver.
ONE FREE
COKE
I Regular size 12 ounce I
Offer good from March 9th to
March 18th. 1978. One offer per
person per day. Coupon must be
presented.
Both Coca Cola and Coke arc registered trademarks which identify onl\ the products
of Coca Cola Ltd.
Created In the Froc \ Chicken Page 8
THE       UBYSSEY
Priday; March 10, 1978
Twenty % tuition rise seen,
in wake of 2% grant hike
WINNIPEG (CUP) — The
Manitoba government has
suggested tuition fees be increased
by 20 per cent at Manitoba
universities and colleges, confounding even the direst predictions of universities and violating
traditional  university   autonomy.
In a letter to the universities the
Manitoba Universities Grants
Commission announced that
government grants for Manitoba
post-secondary institutions would
only increase an average of two
per cent next year.
The commission suggested that
tuition fees at all institutions be
increased by 20 per cent.
Both University of Winnipeg
student president Hart Schwartz
and University of Manitoba acting
student president Caroline Dabrus
were flabbergasted at the announcement.
VOC drops threat
over $30,000 'debt'
The varsity outdoor club has
dropped a threat to take the Alma
Mater Society officers to court
over the AMS refusal to pay the
club $30,000, former AMS president
John DeMarco said Thursday.
Last year the student court ruled
that the AMS owed the club $30,000
to cover the cost of materials invested by VOC in the cabin.
But DeMarco said the society
decided last summer that the court
did not have the authority to make
that kind of decision and withheld
the money.
Club president Graham Underhill informed DeMarco in a letter
Feb. 13 that VOC would take the
issue to court to discipline AMS
officers for refusing to abide by the
court's decision.
DeMarco said he met with club
members last week and that they
agreed to try to come to an
agreement out of court.
DeMarco said he will raise the
issue at the next student representative assembly meeting and
ask the assembly for guidance on
the problem.
The VOC has maintained the
AMS should compensate the club
for time and money it put into the
cabin because the club no longer
uses it. The ski club has operated
the cabin since 1974.
The dispute began when the AMS
blocked an attempt by the VOC to
sell the cabin to the ski club in 1974.
The AMS claimed then that it
owned the cabin, so no sale was
possible.
Since then the outdoors club has
attempted to get compensation for
its original work and negotiate
special privileges for cabin use.
Huge selection of Mens and Womens
Original FRYE boots and casuals
516 W.Hastings     770 Granville
The Dental
Un dergra d ua te
Society
will hold its
General Meeting
on Thursday,
March 16
at 12:30 p.m.
in IRC, room 5.
Come out of
HIBEARNATION!
At the Arts
Bear Garden
Great Music
Pizza
by the slice at cost
Bubblies
and munchies
Buchanan Lounge
4-8 pm
Schwartz said he was unable to
say anything intelligible for five
minutes after hearing of the
decision because he was totally
astonished.
Dabrus said the increase was,
"outrageous, just outrageous."
"It leaves me incredulous. In
Ontario even they at least got 4.6
per cent."
Schwartz said the U of W will still
face a $600,000 shortfall next year
even if it does increase fees 20 per
cent.
In January, U of M president
Ralph Campbell predicted the
university would have to cut 65
academic staff and 100 support
staff, increase tuition by 18 per
cent and reduce the funds for
teaching assistants by 26,6 per cent
if the grant only increased 2 per
cent.
He set 18 per cent as the limit for
any tuition increase next year,
saying that anything higher would
"have serious social costs in
discouraging enrolment of
students, especially those from
less wealthy families."
PROST!
Join me and the
rest of the  AUS hacks
in Buchanan Lounge 4-8 p.m.
Tonight.
Sid Carsar will be my
Special Guest, along with
Annette Funicello, Chevy Chase
and Robert William F. Buckley.
But seriousley, all the big name Arts people
will be there - Don't miss it, if only for the pizza.
7 - APRIL 1
st
##
IHE DALE JACOBS
##
rt HIKERS
21 WATER SI.
GAST0WI1
WITH SPECIBl GUESIS
JANE MORTIFEE  March 7th 11th
ROSALIND KEENE  March 14th 18th
JOANI TAYLOR   March 21st   25th
DENISE McANN  March 28th to April 1st
2 SHOWS HIGHTIV
(HTERIIRTinG WITH DISCO
JX.
THE.
END
HEAR]
BUCK & LEE
TUX SHOP
NOW AT
1110 SEYMOUR ST.
688-2481
A LETTER TO THE MINISTER OF LABOUR
Mr. Allan Williams
Minister of Labour
Parliament Buildings,
Victoria, B.C.  V8V 1X4
Dear Mr. Williams,
THE   UNIVEftSITY  OF   IRITISH   COLUMIIA
VANCOUVER. B.C.
March 9,  1978
The Student Representative Assembly of the U.B.C. Alma Mater
Society has unanimously voted to express its strong disapproval
of the recently announced cutback in the summer employment
program at the three universities.
We feel that, with the level of youth unemployment as high as it
is, any decrease in the funding of this program cannot be
justified.
The University phase of the Youth Employment Program has
been particularly beneficial in that it directly creates career-oriented summer jobs for students while providing useful services to
the University at a low cost. We therefore question whether, iri
fact, better value is obtained by transferring funds to other areas.
We urge the Minister to reconsider the announced reductions in
the employment program. Further, we request that the Minister
meet with student representatives at the earliest possible date to
discuss the program more thoroughly.
Yours sincerely,
-J?
L-
Bruce Armstrong,
President, Alma Mater Society
ALMA MATER SOCIETY
TO BE OR NOT TO BE
AWARE
HANDICAPPED AWARENESS WEEK
STUDENT UNION BUILDING
MARCH 13 - 17, 1978
A program designed to provide an opportunity for students,
faculty and staff to become more aware of the handicapped
individual's needs, to develop a better understanding of disabilities through factual information and to encourage people to take
preventative action to avoid health handicaps.
The program involves the active participation of twenty-six
community organizations concerned with different forms of
disabilities. Representatives from these groups will have displays
in the Student Union Building. Many of them will also be
presenting individual programs.
DAILY Room  119,  11:30 - 2:30 Rehabilitation Medicine
display emphasizing rehabilitative areas.
MONDAY Room 113, 12:30 p.m. B.C. Lions Society
"Transportation" slide show and lecture on
services provided by this agency.
Room 111, 12:30 p.m. Western Institute for the
Deaf "Prevention of Deafness" and "Why An
Interpreter" presentation.
Room   117,   12:30 p.m. Canadian National  Institute for the Blind showing film on "What Do You
Say to a Blind Person".
TUESDAY       Room 111, 12:30 p.m. Epilepsy Society showing a
film on "Epilepsy and its Consequences".
Room   117,   12:30  p.m.  Workers' Compensation
Board showing a film on "The Bread Winners".
WEDNESDAY Room 111, 12:30 p.m. Multiple Sclerosis Society
showing a film on "Fraser Kelly Report".
Room    117,    12:30    p.m.    Infant   Development
showing   film   and   lecturing   on   pre-natal   care
against birth defects.
- Lasserre—Room 104,  12 noon - 2 p.m. National  Research
Council of Canada Building Design & Use Section.
Byron Johnson will present a program on "Designing Barrier Free Environments".
THURSDAY   Room 111,  12:30 - 2:30 p.m. Special Education
lecture on Special Education programs at UBC.
Rooms   207-209,   12:30 -  2:30 p.m.   B.C.   Heart
Foundation lecture and demonstration on emergency care (CPR) with UBC's Fire Department.
Lecture    on    preventative    care    by    Dr.    Nancy
Schwartz,   Division  of  Human   Nutrition and Dr.
Bill Buchan, Department of Family Practice.
FRIDAY Room  111,  12:30 p.m. Insurance Corporation of
B.C.   slide   presentation   on   "Rehabilitation   and
ICBC".
President's Committee on the Concerns of the Handicapped
c/o Office of Student Services PAGE FRIDAY
Academy Awards • 50 years of nonsense
The Academy Awards celebrate their golden anniversary this year,
and to mark the occasion this week's Page Friday tears them apart on
PF 2 and PF 3.
On the music scene, recent concerts by the VSO, the Dave Robbins
Big Band and guitarist Herb Ellis and Barney Kessel are reviewed on
PF 4. Santa Esmerelda is reviewed on PF 7 and Jane Mortifee is
reviewed on PF 10.
Exhibitions at UBC's Fine Arts Gallery and the Vancouver Art
Gallery are reviewed on PF 5 and PF 9 respectively.
Purple Dust takes a critical beating on PF 6 while on the same page
Blithe Spirit receives a kinder fate. Also in theatre, the Dream Play is
commended on PF 7 as is Listen to the Wind.
Winners of our worst joke in the world contest are announced on PF 5.
Vista appears on PF 11. Oscars continue to honor unwort
By LARRY GREEN
Everyone knows the story of the Academy
of Motion Picture Arts and Sciences, the silk
rags to TV riches story that will be told for
the fiftieth time this April 3. Presented at
first before a few hundred movie bigwigs in
1929 before the statuettes were called
Oscars, the awards ordeal has swelled, with
their audience and their importance,
through radio and film newsreel and finally
through television, to its present gargantuan
status.
Except for a few hold-outs, everyone
watches the Oscars show as part of our
mass-culture diet, even though we know
we're going to see some musical tribute that
is worse than anything ever done before, a
star who looks drunk, at least one
outrageous bone-headed winning choice in
some category, a preposterous acceptance
speech, and, heaven help us, Bob Hope will
be there again.
Despite the mock solemnity of it, it's not
hard to laugh when a celebrity comes onto
the stage every year to tell us that this
Academy above all recognizes excellence,
or how it fills an integral function. The
Academy, in fact, serves no such purpose.
The Academy is politics, it is money, it is the
loony bin of American events.
Even though every movie lover in the
world knows its true worth, and however
little we respect their choices and ludicrous
get-up, we still revel in it year after year.
The winners stay in our minds and are
talked about and get better chances to make
more movies. Why is it so? Because
traditionally, the Academy Awards are sui
generis. And fundamentally because it is the
forerunner of ail pompous awards
ceremonies.
former, Hepburn (11), to a supporting
performer, Thelma Ritter (6). Sisters
nominated in the same year: Joan Fontaine
and Olivia de Havilland (1941), Lynn and
Vanessa Redgrave (1966). The only Oscared
father-son: Walter and John Huston (1948).
The only Oscared married stars: Laurence
Olivier and Vivien Leigh. Most Oscared
costume designer: Edith Head (8). Only
director to win twice while neither of the two
films was voted Best Picture: George
Stevens. Biggest Oscar-winning film not to
lose in a single category: Gigi (9). Most
Oscars to go to a non-Best Picture winner:
Cabaret (8). Most multi-nominated star
never to win: Deborah Kerr (6). The only
Oscar-winning monarch: Princess Grace.
And on and on.
These facts, like the Awards themselves,
really contribute little of importance to the
way we think about anything. Far more
significant is, say, to hear Arthur Penn tell
how he directed the massacre that ends
Bonnie and Clyde, to find out how The
Wizard of Oz was made, to examine Marlon
Brando's impact on audiences and the art,
or to notice the development of Ingmar
Berman's style. That takes time, though,
and interest. It even involves reading books,
though not books about the Oscars, for they
are most patronizing.
What impresses the public more is the
immediate sensation of watching who is
winning, whose turn it is, whose favorite is
matching the Academy's choice. All the
films you haven't seen yet are paraded by in
neat packages. And after the winners are
chosen, the publicity of the event directs you
to know which ones you want to see.
The Academy, like most award-giving
organizations, has a psychology all its own.
8fr
. . accepting one large oscar and seven small ones from Shirley Temple
WALT DISNEY
for Snow White.
The preoccupation with the biggest, the
newest, and the best is an American one that
has filtered down to many levels and places.
In the 1920s someone in Hollywood decided
that movies ought to be classified as such,
and the Academy was born.
Over the years, it was the one event where
all the stars showed up, where the fantasies
of the screen became an even better reality
as audiences saw and heard big stars in offbeat moments.
For a while, with the break-up of the
studios and the growing distances between
film sets, a lot of winners did not go to the
ceremonies (in 1967 only Walter Matthau of
the four winning actors was there).
In the 1970s they are starting to return, as
they realize that the Academy is now what it
always was — a free exposure, a chance to
be somebody: the winner of an award arbitrarily bestowed by an institution which,
like the medievel concept of God, may be
anywhere from wrathful to kind to jealous to
mean to wise to cruel to just.
The Oscar lends itself to all kinds of nifty
records and statistics that, while innocuous,
don't really do very much for cinema
history. Most awarded: to a film, Ben-Hur
(1959) with 11; to actors, Katharine Hepburn, Walter Brennan, Ingrid Bergman,
three each. Most nominations: for a film, All
About Eve (1950), 14; to a leading per-
Just as the New York Film Critics Circle
votes for foreign or intellectual
achievements, and the Hollywood Foreign
Press Golden Globes are given to anything
big and popular, the Academy moves
towards things popularized by a number of
factors.
The studios do a lot of advertising to show
how much integrity they have. (Doubtless
Twentieth Century Fox, with its 32
nominations, is doing this right now. Box
offices give out a perceptible ring in
Hollywood.
Whatever it is that influences them, the
fact is that something big is always left out.
The importance of a film or a performance
does not guarantee a place on the Oscar list
unless something has specifically motivated
the members to put it there.
It is admirable that the Academy honors
technical achievements, and nominates in
categories those which are ostensibly the
five best achievements of the year. This
makes them unique.
Yet a number of things go haywire. Even
though a lot of Hollywood people are said to
respect the nominations more than the
winners (because only people in their own
field nominate their peers whereas the
whole Academy votes for winners), there
remains a hokey parallel between the dumb
winning choices and the many annual dumb
nominees. This year, for instance, Close
Encounters of the Third Kind was not
nominated for best picture, and fully three
of the five best supporting actor performances are inadequate duds.
Presumably a bunch of industry workers
should know what is going on in their own
field. The members of the various branches
seem to have nevertheless a numbing in-
sensitivity that kills the thing long before the
awards are presented. Every year there are
complaints, because the system seems not
only to invite them but also to provoke them.
For instance, 1973 was a year of excellent
cinematography: The Long Goodbye, Paper
Moon, Jesus Christ Superstar, O Lucky
Man!, Cinderella Liberty. Not one was
nominated for photography, while two real
losers, The Sting and The Way We Were,
were. No one can doubt the merit of the
winner, Sven Nykvist for Cries and
Whispers, but why can't a group of
cinematographers get it together when they
are asked to make a list?
In that boobish category of sound (after
all, aren't there two ways for a technician to
record — right and wrong? This category is
still here because they haven't gotten over
The Jazz Singer yet), no film by Robert
Altman has ever been nominated, although
he is the only director today to use sound
with creativity.
The actors branch is the worst, for a
number of reasons. They grab for straws in
such a bizarre manner that performances
that have already won awards are left out.
For 1972 they had their choice of two Cannes
Festival prize performances by Susannah
York (Images) and Joanne Woodward
(Gamma Rays). Instead they nominated
Maggie Smith for the rancid Travels With
My Aunt.
This year Sissy Spacek won the Best
Actress award at Cannes for Three Women;
she wasn't nominated either. For a supporting player to win the New York critics'
prize is to win Oscar's kiss of death.
The Academy's 20 nominees are usually at
least a third insane. They do not seem to
look at good performances through the year
and then remember them when they cast
nominations in January. They look at the big
movies and nominate whoever is handy in
them.
Talia Shire has recently been nominated
once in both the leading and supporting
categories; Talia Shire is an extremely
lucky young woman. Her role in the 1974
victor The Godfather Part II was hardly
there, and she was nominated for best actress in Rocky (1976) for what was really a
supporting performance.
Other non-existent nominated performances include Jane Alexander in All
The President's Men (1976), Thelma Ritter
in All About Eve (1950), Kay Medford in
Funny Girl (1968), Robert Duvall in The
Godfather (1972). Why on earth do they
nominate for a single scene, as though it's
the same thing as developing a character
over a period of time?
There were a dozen excellent female
performances in I Never Promised You a
Rose Garden and Nasty Habits and Three
Women last year, and they were all left out
because the films weren't big enough. Worse
than these don't-blink nominations is the
fact that they often win. The list of abuses
goes on and on, too much to contemplate,
and it goes to show how greatly these people
pervert their function.
The most repellent aspect about the
system of nominating is that it makes people
into competitors, eventually only to classify
them as winners or losers. George C. Scott
(Patton, 1970) refused to have anything to do
with it precisely because of the competition
factor. Dustin Hoffman has also denounced
it, calling it "obscene."
Even though a list of nominees does not
actually make an actor's work any better or
worse than a fellow nominee's, nominated
actors go on television with Rona Barrett
every spring and muse on how good their
chances are, as though it means something.
The Oscar has generated an hysterical
neurosis — that winning the damn thing is
all that counts. Don't they feel happy to be
nominated, that their film and role will get a
grander recognition than mere box office
take can provide?
Sourness produces sourness; the morning
after losers call press conferences to
denounce the Academy (Diana Ross, star of
1972's Lady Sings the Blues one year, The
Exorcist's author William Peter Blatty the
next), solely because they have been
branded losers.
The factor of timing is also important
here. The Academy has a short memory;
year after year films released at Christmas
take the awards and nominations and leave
earlier releases fighting for deserved
recognition. (1972, with Cabaret and The
Godfather released in early spring, was a
fabulous exception.)
1973 was actually an interesting year for
movies, but you'd never know it by the main
winners, The Sting and The Exorcist, both
Christmas shows. (By a different token,
indicative of their outlook, 1959, with The
Nun's Story, Anatomy of a Murder, and
Room At the Top, was a lot more interesting
than the 11 Oscars for the integrity show of
the year, Ben-Hur, would indicate.)
American Graffiti (1973) and Nashville
">
-" V" ■■■ 5&?":*£  ft    , i
(1975) were huge summer artistic successes, yet they received a paltry five
nominations each, Nashville losing to One
Flew Over the Cuckoo's Nest, a December
release, with nine. If Cuckoo's Nest had
been released in August and Nashville in
December, the situation probably would
have been reversed.
Paper Moon (1973) and Shampoo (1975)
form a mirror image; each the first major
release of its year, they each made a fortune
and retired long before the influential fall
season arrived. Stunningly, they received
only four nominations each and later the
award for Best Supporting Actress.
Some films gain "momentum," as opposed to those that can't get the ball rolling.
That these latter films should be punished
by the Academy for public caprice seems
immaterial. Singin' in the Rain (1952) got
nowhere because the year before An
American in Paris was showered with
Oscars; they were telling Gene Kelly that he
had already shot his wad. Ironically, Singin'
is thought of as a great film, while American
is not. Fine supporting performances by
Martin Balsam in Summer Wishes, Winter
Dreams (1973) and Alan Arkin in The Seven
Page Friday, 2
THE       UBYSSEY
Friday,' March 10, 1978 :&^i i** v
•^
/
iy and pass over true film talents
Per Cent Solution (1976) become casualties
and go unnominated because the films
faltered. Now we have Maximillian Schell,
nominated for no good reason, for Julia.
Two unforgiveable films of 1970, Love
Story and Airport, won 10 nominations each
by virtue of being Christmas hits, while
Frenzy (1972, early summer) couldn't build
enough, despite its hit status. I Never
Promised. You a Rose Garden and Nasty
Habits and Slap Shot, as we have seen, were
ignored this year because they were overshadowed!. Over the years, the Oscar list of
top films omits many classics probably
because they were released too early.
Politics and the Academy's rejection
mingle curiously. Presumably Garbo never
won because she didn't play by the rules.
>\
For Anna Karenina (1935), for which she
won her first New York Film Critics award
(she was the first actress to have two), she
was not even nominated. For her unforgettable Carnille (1937) she did not even
win. Bette Davis presumably won for
Dangerous (1935) because she was not
nominated for Of Human Bondage (1934)
either.
Can you have faith in a body that
nominates Cary Grant only twice, Judy
Garland as a lead only once, leaves out
Dreyfuss as Duddy Kravitz and has the gall
to give it to Art Carney (1974)? If they're
going to nominate Deborah Kerr and
Thelma Ritter six times, can't they win
once? Kerr was not even nominated for her
best, The Innocents (1961). Marilyn Monroe
was never nominated, despite her
skyrocketing to stardom in 1952 and Bus
Stop (1956). Katharine Hepburn has three
Oscars, but not one is for any of her three
greatest performances.
Network's acting honors last year are
good examples of their brainwaves. Faye
Dunaway won because she was a big star
and it was her turn, even though hers was
not the best performance in the film, of 1976,
or even of her own career. Peter Finch won
best lead actor for a supporting role; he was
dead, so it was his last turn. Beatrice
Straight won for a single scene. She had
been around for years, so when would she
get another turn?
They also like to forgive people: Jane
Fonda (1971) for her politics, Ingrid
Bergman (twice) for her behavior with
Roberto Rossellini in the 1950s, (Shampoo,
1975) and writer Ring Lardner (M*A*S*H,
1970) for being blacklisted in the 1950s,
George C. Scott for telling them to stuff it.
Sometimes they hang on to their principles in order to punish anti-social types
such as Greta Garbo, Dustin Hoffman and
Vanessa Redgrave. Elizabeth Taylor was
punished, too, for the Debbie-Eddie-Liz
disaster, until her near death won her an
Oscar for 1960. Their hypocrisy is boundless ; what has this got to do with merit?
Since it's so easy, let's cite some more
abuses. The Academy stays away from
controversy as much as it can. Thus, in the
1960s a record four musicals were chosen as
best picture, while the musical was dying
and social comment was thriving. 1966 was
too "way out," what with Who's Afraid of
Virginia Woolf?, Morgan!, Blow-Up, and
Georgy Girl. While they all won some major
nominations, and for Woolf, five Oscars, the
Academy went safely for A Man For All
Seasons.
The same happened in 1967, for In The
Heat of the Night over The Graduate and
Bonnie and Clyde, which did not even win
the award for editing. Doubtless the same
feeling has precipitated 11 nominations for
the organized, chilly Julia.
Bum steers for acting: Joan Crawford
(1945), Jennifer Jones (1943), Ginger Rogers
(1940), Lee Marvin (1965), Glenda Jackson
(1973). For Best Picture choices: How
Green Was My Valley over Citizen Kane
(1941), The Sound of Music (1965), The Sting
(1973), The Great Ziegfeld (1936), Gone With
The Wind over something truly creative in
1939, The French Connection over any of the
marvels of 1971, An American in Paris over
a 1951 renafssance in the TV-battered industry of the time.
More zeros: The music in The Way We
Were (1973, Shirley Jones in Elmer Gantry
(1960). Greer Garson (seven nominations)
in anything. Richard Burton, Peter O'Toole,
Greta Garbo, Vanessa Redgrave, Irene
Dunne ever winning. Olivier and Nicholson
winning only once. Robert Preston not
nominated for The Music Man (1962).
Jason Robards winning for All the
President's Men, and up again for Julia.
Why was he never nominated in the 1960s for
Long Day's Journey Into Night, A Thousand
Clowns, or Isadora? Why was the 1975
winner Louise Fletcher (Cuckoo's Nest)
nominated at all?
The Third Man, the gem of 1949, not being
showered with honors. England's lovely
"kitchen sink" era ignored. The condescending practice of bestowing punk-sized
statuettes on child performers (Judy
Garland at age 18!), abandoned after 1961. It
was nice of them to nominate Joanne
Woodward and Rachel, Rachel (1968), but
did they have to leave out Paul Newman's
New York Film Critics prize directorial
debut? The Newmans went in 1969, as they
always do when one of them is nominated,
but how frustrated they must have felt
sitting in that audience.
Good or bad, the Oscars have more influence than any other award in any other
medium. The American recording industry's Grammies are merely a trophy and
recognition. Whoever loses, by the nature of
the industry, will probably have a chance to
win in the future. Records do not depend on
critics or prizes to be successful; producers
need only to make their product known, and
any flop will be defrayed by a hit.
On Broadway, plays don't need Tonies to
make them hits. They need the support of
critics or the public's goodwill towards the
stars or the concept involved. Emmies
change viewers' television habits not a whit.
These bodies, although commercial and
holders of a vested interest in their
respective medium's cash-flow, do little to
alter the basics or success of each industry.
As long as there are audiences, these media
KATHERIIME HEPBURN ... in 1930s and 1960s. Hollywood's most awarded actress.
do not need a publicity stunt to honor
themselves, and the awards are seen as a
pleasant addition to individual careers.
Movies work differently. They were once
as immediate as television is now, and
although now there are social restrictions
against them (theatres being far away, high
ticket prices, liberal material), they still
account for huge revenue in the entertainment business. They thrive not on the
opinions of critics, or even on advertising,
but on mystique. Something in the air has to
tell audiences that they must see a certain
film, unlike 40 years ago, when everybody
saw it anyway.
The Oscars, being the oldest and the
biggest of industry awards, have
propagated this vital mystique and made
themselves part of it in the process.
Audiences, who are presented with so many
films throughout the year, are expected to
latch on to the Academy's favorites and
support (i.e., pay to see) them. This happens
as long as audiences believe in the
Academy, and, for 49 years, God love 'em,
they've kept on believing.
Enough is enough. Movies seem to be
popular enough without this kind of
manipulation; yet the bigness of the
Academy Awards is part of a cycle that
keeps turning up trumps. People listen for
the Oscars, the Oscars go on. Due to the
contemporary thirst for glamor, this cycle is
hard to break, and even intellectual snobs
keep track of the Academy's magic numbers.
Basically, the most damaging things
about the Academy Awards are:
1) That the Awards, supposedly bestowed
for quality, are not a natural climax to a
film's or artist's importance, being instead
chosen by infighting and politics, and
2) that as the years go by they select films
and achievements that do not deserve to be
remembered as part of the art's history.
The criteria for winning an Oscar are
therefore quite far removed from excellence
or reality. The adage almost never goes,
"It's a great achievement and it won the
Academy Award." Instead, it goes, "It won
the Oscar, you know," as though that
justifies its place in the archives.
Other awards and culture watchers have
blown it, too, but they don't toot their history
as though their past is the lie you have to
believe. The answer is, that these awards
are not the opinions of critics (seen as highbrow assholes) or audiences (indiscriminate fools), but of The Industry.
What curries favor in The Industry?
Money. Money is the power that allows ail
things to be accomplished in Hollywood, and
the box office is the only altar in the company church. It's not for nothing that all of
the top dozen money-makers of all time
were best picture nominees. So are most of
the top budget ones as well, like Cleopatra
(1963) Doctor Doolittle (1967), etc.
They also like something with integrity, a
work that is so professional that it doesn't let
the viewer think too much, if it makes
money. Beyond the occasional pleasant
surprises that keep the Academy from
collapsing, a box office loser is generally an
Oscar loser. And a box office lose/ released
anywhere from January to August is
dispatched to celluloid limbo.
The 50th Annual Academy Awards will go
on, and, due to the surprisingly low ratings it
received last year, will probably be purged
of all the elements that made the 49th the
most tasteful Oscar show in years.
The choice of Bob Hope to host it for the
umpteenth time is not a tribute to movies or
the last 50 years or to anything historical;
it's merely a salute to the Academy's own
concept of itself, as a bona fide institution,
as it flickers muddily across millions of
picture tubes.
Couldn't they have asked Bette Davis or
Liza Minnelli or Cary Grant or even John
Wayne — someone who represents and
recalls the meaning of movies for all of us,
the hungry, faithful public?
Friday, March  10, 1978
THE        UBYSSEY
Page Friday, 3 music
De Larrocha shines in VSO's best
By ROBERT JORDAN
The Vancouver Symphony Orchestra's penultimate Main Series
concert for this season was a
decided but qualified success.
Kazuyoshi Akiyama conducted and
Alicia de Larrocha was the guest
pianist in a concert which featured
one of the most enjoyable repertoires in many years.
Debussy's La Mer received a
rendition of variable quality. The
clarity of detail in Debussy's subtly
and artfully orchestrated score
was rarely clouded in the delicate
passages.
But in sections of greater
vehemence, aspects of certain
other Akiyaman enthusiasms
made themselves apparent,
namely Respighi, Berlioz et al. The
bray of the horns and the thunder
of the heavy, overblown brass were
unimpressionistic and un-
Debussylike.
Free of overt technical blemish,
however, the performance was not
unenjoyable. Perhaps a more
complete entry into Debussy's
world is foreseeable the next time
the work rides through on the
VSO's Cycle of Limited Repertoire.
Alicia de Larrocha performed
the piano part in Manuel de Falla's
Nights in the Gardens of Spain.
Though the piano's role is not that
of virtuoso soloist status, it is
important in its capacity as a
prominent orchestral instrument.
The piece itself is utterly
beautiful. It is every bit as
evocative as its title. De Larrocha
handled her part just as convincingly as did the other orchestral players when they had an
important solo to play. They, according to de Falla's implicit instructions, are to remain unnamed, however.
Over-all, the performance
lacked polish but did exude appropriate atmosphere which was
tenuously but consistently
sustained.
After the intermission, de
Larrocha returned with Ravel's
Piano Concerto in G Major. This is
far from being the ultimate concerto in technical demands upon
the soloist. But unlike the de Falla,
it is a real concerto with substantially more display.
One of the loveliest movements
in all piano concerto literature is
flanked by two vivacious, witty and
sometimes blues-inflected outer
movements. This elegaic central
movement was sheer magic at the
hands of de Larrocha and the VSO.
Expression and technique fused to
produce the musical magical
movement of the 1977-78 season.
The outer movements were
dashed off with appropriate elan,
bringing de Larrocha bountiful,
well-deserved applause. No encore, unfortunately.
The fairly lengthy concert came
to its brash conclusion with Paul
Hindemith's Symphonic
Metamorphosis of Themes by Carl
Maria von Weber.
The piece itself is not necessarily
overtly brash but when six hereto-
fore-at-this-concert underworked
percussionists begin to let off
steam, the results are bound to be
aurally cataclysmic.
In this piece of Hindemith's,
perhaps his most popular symphonic one, the quieter moments
were indeed well played. And in
outright decibels, almost able to be
measured in terms of horsepower,
the audience received its money's
worth for the concert with change
for parking besides.
Robbins' big band swings
By STEVE SIMKIN
"The newest band in town," the
Dave Robbins Big Band, began its
new series of bi-weekly concerts at
the Sandman Inn last Tuesday
night. Putting in its usual
creditable performance, it proved
it was worthy of support, which
increased as the concert
progressed.
The group's strength lies
primarily in its soloists. Robbins
has ensured that at least two men
in each section can hold their own
in a feature or solo situation.
Consistently impressive are such
players as Al Wold, Ted Quinlan,
Dick Smith, Brian Ogilvie, Wayne
Kozak, Rod Borrie, Gary Guth-
man, Alan Matheson and Robbins
himself.
Another area in which Robbins'
touch is evident is the enthusiasm
and energy put into almost every
note that is played. This band
kicks. Of course, the other side of
enthusiasm, particularly in a
Robbins organization, is the
sometimes uncomfortable (occasionally painful) level of the
volume. As the concrete room in
which the band plays has the knack
of turning brass to mud before your
very eyes, this is a particularly
serious problem.
Still, the totality of the evening
was positive. It began with Robbins' usual opening flagwaver,
Wind Machine, which included a
sparkling Al Wold introduction and
a smoking solo from Dick Smith,
the most frequent soloist of the
night (and rightly so). Smith
deserves more gigs than he is
getting. He is as good a
saxophonist as exists in this city,
as anyone who has heard him with
Al Wold at the Classical Joint can
attest.
A Marti Paige arrangement of
My Old Flame followed. The chart
itself is a strange, often jarring,
mixture of styles, and is symptomatic of another disturbing
idiosyncracy of Robbins — his
choice of repertoire. He has a
penchant for works that shift gears
frequently, rarely smoothly.
As the concert progressed, this
tendency could be seen in such
numbers as Tribute To The Duke
(a Sammy Nestico medley of
Ellington standards does little
service for Duke's reputation, but
has found its way into every
Robbins program this reviewer
has observed — or played in —
becoming more disagreeable with
each hearing) and Mandrake (a
tune which is best described as
schizophrenic, although it is
partially justified by Gary Guth-
man's unison work with the
saxophones).
Variuos musicians were given
ballads with which to display their
talents, and all rose to the
challenge.
First up was Gary Guthman,
whose rendition of Evergreen,
starting on flugel horn, later
switching to trumpet, proved that
high notes can indeed work at the
end of a ballad.
Never lacking control, Guth-
man's playing has become a major
asset of both Robbins' and Bobby
Hales' big bands. His tonal concept
on flugelhorn, however, varies
little from his trumpet sound,
reducing the effectiveness of the
instrumental switch during this
chart (which was a birthday
present to him from Los Angeles
brassman Bobby Shew, with whom
Guthman worked in Louis Belson's
band). The lead trumpet work of
Fred Stride, during this and other
numbers, was praise
worthy. Altoist Dave Branter
performed a well-executed version
of Soft As Velvet. Possessing a
classically-oriented sound and
approach, Branter provides a very
solid lead for the saxophone section, and the same care was
evidenced in his phrasing on this
arret ngement.
The second set opened with a
ballad medley, including Stardust
and Polka Dots And Moonbeams,
starring Robbins (on trombone)
and Dick Smith, respectively.
Robbins' big-toned, creamy,
dreamy, slurpy ballad style
revealed his deep romantic inclinations, and Stardust was a
perfect vehicle for him. With the
aid of his equally pretty song,
Smith mainatined the medley's
tender momentum.
Most of the remainder of the
second set was aimed at the-
rugcutters in the audience. This
Guy's In Love With You, Never On
Sunday (which was saved by some
humorously out of dey Robbins),
Tea For Two, Love Story and Fly
Me To The Moon all passed before
ALICIA DE LARROCHA . . .featured pianist at VSO concert
our ears. The folks must be kept
happy, I suppose, but there have
got to be better schlock charts
around.
The evening ended with the
appropriately-timed Fast Forward, during which most of the
band was given a chance to get its
last solo digs in. For some reason,
it wasn't until then that Wayne
Kozak was heard from, although at
least he was given extensive time
on this number.
Some mention must be made of a
few   outstanding   players   who
See PF 6: BIG BAND
Ellis and Kessel's dual guitars acheive unity
By STEVE SIMKIN
The ballroom at the Sandman
Inn got dressed up in honor of its
guests, Herb Ellis and Barney
Kessel, last week. The place actually managed to look like a club,
and this atmosphere contributed to
the over-all success of the performances.
Ellis and Kessel are, quite
simply, two of the best mainstream
jazz guitarists in the world. With
the aid of local musicians Wyatt
Ruther and Don Knispel, they
combined to put on a program that
was both inspired and inspiring.
Their carefully considered sets
included quartet, trio, duo and solo
numbers, as well as a choice of
repertoire that kept interest up on
the parts of musicians and
audience alike.
To say that the styles of these
two men balance and complement
each other may be obvious and
trite, but it is true. There are miles
between the approaches of the two
guitarists.
Ellis is a master of the single
line, laid back, always light. He
swings along, and occasionally,
apparently without any additional
difficulty, bursts into a stream of
lightning-quick notes that fits so
well and so smoothly that it often
isn't until later that the listener
realizes, "Wow, that was fast."
Kessel's concept is more varied.
He uses block chords, octaves and
strange plucking patterns that can
sound like all perdition breaking
loose. Much busier and more intense than Ellis, Kessel, too,
swings unerringly.
The differences, as well as the
empathy, between the two players
were obvious from the first
number, Duke's Satin Doll. They
really came to the fore, however,
in a Kessel original, a blues entitled Monsieur Armand. This
down-home tune had a mysterioso
introductory section that was incorporated into the beginning of
each solo.
Green Dolphin Street started with
a rubato statement of the theme by
Kessel, with Ellis providing a lush
chordal background. The piece
moved into tempo in the second
chorus, as the players switched
roles. After a pair of smoking
solos, the pair joined for orchestrated chordal sections
surrounding Don Knispel's fours
and eights.
With the rhythm section off the
stand,   the   guitarists   applied
themselves as a duo to Makin'
Whoopee. Both were effective at
providing bass lines and chords
behind the other's solos. The
opening stride section could have
been James P. Johnson translated
onto guitars. Like Chick Corea's
and Herbie Hancock's performance of a few weeks ago, a
mystique surrounded the interplay
between the two instruments.
Any doubts of Ellis' abilities with
techniques other than single
melodic lines were quickly
dispelled by his solo feature, The
More I see You. His intent seemed
to have been to accompany himself
by alternating sustained chords,
bass lines or other background-
type figures with statements of
theme and improvisation, as opposed to Kessel's more integrated
solo approach. Never sacrificing
momentum, direction or structure,
the result was a synopsis of the
potential of solo jazz guitar.
Seemingly able to continue for
hours, Ellis was never at a loss for
ideas.
Kessel brought Ruther and
Knispel back to the stand for his
feature, Wave, by Jobim. As he
had throughout the night, Ruther
supplied   firm   support   which
allowed the soloist freedom. On
this number he was particularly
responsive to Kessel's verbal instructions for vamps and
modulations. Knispel's playing, on
the other hand, was too heavy and
intruded on Kessel's occasionally
delicate work.
The harmonized line of Ellis'
composition, Two More For The
Blues, was reminiscent of the
Basie chart which served as its
namesake. Again, both players
revealed their comfort in this
medium. This was particularly
evidenced by Kessel's extensive
and humorous quotations, which
included tastes of Four Brothers,
and You Brought A New Kind of
Love to Me.
The set closed with a ridiculously
up-tempo rendition of the Flint-
stones theme, which had all four
musicians pushed nearly to the
brink. Nobody fell off, however.
Final note: As with the other
musicians who have come through
town recently, these two felt the
need to be entertainers. Surprisingly, Kessel turned out to be
as good a comedian as many who
bill themselves as humorists. His
digs at Stan Kenton liner notes and
Mel Bay guitar books were
especially appreciated.
Page Friday, 4
THE       UBYSSEY
Friday, March 10, 1978 «- ,Xk«fcb^M\"> -i ar*
■■»«?■ -
Sexist artist fails to justify work
By GEOF WHEELWRIGHT
Dennis Burton's paintings bring to mind
many things; passion, violence, eroticism
and strangeness, but not uniformity.
His paintings from 1960-1965 have been
criticized for being sexist and pornographic.
A lot of these paintings depict semi-nude
women in various 'erotic' poses. Indications
of this theme can be seen in his earlier
paintings.
Burton says his erotic works have been
grossly misunderstood by the general
public. He says most people fail to put his
work in perspective.
He says sexism was not an issue when he
did his paintings. "The woman is a subject,
BURTON . .. defends sexist art.
not an object," he said. Burton said he has
the same interests at heart as the classical
painters did.
Burton very well may have had the same
interests at heart as the artistic masters,
but the artistic masters were mostly sexists.
His defence that sexism was not an issue
when he painted his work is no real defense
at all. Slavery may not have been an issue
when it first began but it was still slavery.
Burton's paintings depict women in a very
sexual light. Some of them show spread-
eagled female legs in an abstract setting,
while others are thinly disguisecl detailed
views of female genitals.
Burton says he wanted to modernize the
nude, act as a sort of up-to-date Reubens,
whose painting The Three Graces, Burton
modernized in a copy of the work. Burton's
version however differs from the original by
having the formerly nude women wearing
bras, stockings and other feminine undergarments.
Burton says his erotic paintings were
intended to give prurience some respectability and lift the modern nude "out of the
gutter."
One of Burton's group of erotic paintings
concerns Niagara Falls. He says, "This
particular town has more people screwing in
it than anywhere else." The idea of hundreds of young couples migrating to one spot
to have their honeymoon intrigued Burton.
He saw it as almost a ritual. In reference to
the sound of the falls, he says, "I wondered
if the sound had anything to do with getting
ABSTRACT.
people horny." The result was a four-
painting statement on the subject.
This set of paintings would have been far
more interesting if Burton had really tried
to explore what makes Niagara Falls a
romantic place for men and women, instead
of painting bikini brief clad models against
the background of the pounding falls.
Besides his controversial erotic pictures,
Burton has painted a number of abstracts
during his artistic career. Commenting on
his variety of style, Burton said, "I don't
believe in so-called talent as a God-given
gift because I don't believe God is a
capitalist."
While Burton has moved away from these
'erotic' paintings to the safer ground of
abstraction in his present work he cannot
dismiss the sexism in his earlier works.
Burton himself says that abstracts don't
need a defence while his other life-like
paintings do.
This may be why Burton is sticking to
abstracts. Although he argues that his erotic
paintings are an appreciation of the female
form, one begins to wonder why that form
doesn't include a mind and fullness as a
person. Burton's people tend to be shallow
and depressing. All his women are unclad
and static, tending to exude a bargain
basement, skin magazine quality. Indeed a
. . recent piece by Burton shows his capabilities
number of the women in his paintings were   opinion hindered him from developing his
copied from photographs. aptitude for abstraction.
Burton's best work is really in the earlier
part of his career. His paintings in the late
1950s have a kind of warmth and form to
them, quite unlike his later barren exploration of underwear and women's
genitals.
This early work not only differs from his
erotic portraits in the 1960s in content but
also in the use of color. Burton uses very
jarring and offensive colors that add to the
shock and repulsion value of his sexist
material, in contrast to the smoothness and
vitality of his early abstracts. Burton says
he chose the subject material and his
method of portraying to achieve a middle
class value culture shock. He instead
achieves a kind of general repulsion.
Burton says that when he wants to get
something off his back he paints a picture
about it. Female lingerie imagery was on
Burton's back for about five years and in my
Burton said most artists are concerned
with styles and finding a style that fits them,
while he isn't. He said the prevalent attitude
is to find a style that will make money for
you and stick with it. Burton said he finds
this difficult because after painting in a
certain style for a time he gets^ored with it.
Burton said he went to some American
galleries in 1967 to get them to show some of
his erotic paintings and was refused. He
added that shortly after his visit the
American galleries started showing erotic
art. He said part of the problem was that he
was a Canadian and the other part was that
he couldn't find many heterosexual gallery
proprietors. "Most of them are fairies," he
says.
What can you say about a person like
that?
Burton's show closes on March 23.
Contest winners
Page Friday has selected the winners of
the That's Not Funny, That's Sick! joke
SLEWFOOT .. . country rock group featured in National Lampoon show That's Not Funny, That's Sick!
contest. Congratulations to Marc MacEwing
and Leslie Pickerill for the best sick-funny
jokes. Both win a pair of tickets each to the
National Lampoon's comedy revue, That's
Not Funny, That's Sick, which will be
presented this Sunday at 8 p.m. at the Queen
Elizabeth Theatre.
Unfortunately, MacEwing's joke about
necrophilia is not printable as it may be
offensive to some people.
Pickerill's winner is: What is red and
green and goes 200 miles per hour?
Answer: A frog in a blender.
Indeed, that's not funny, that's sick.
Other winners are Ray Lindroos and
Frank Zimmerman. They each win the
National Lampoon album That's Not Funny,
That's Sick! for their sick jokes.
Lindroos' joke is unprintable, but Zimmerman sent in several. One of them goes:
"Grandmother! Use the bottle opener —
you'll ruin your gums!"
Page Friday would like to thank all those
who participated in the contest by submitting their sick jokes. Our thanks also go
to the National Lampoon and Perryscope
Productions for making the prizes
available.
Friday, March 10, 1978
THE        UBYSSEY
Page Friday, 5 theatre
Purple Dust yet another disaster
By THEO COLLINS
I have heard through the
channels that last Monday night at
the Freddy Wood was a bad night
for the actors in Sean O'Casey's
Purple Dust.
I have also heard that Klaus
Strassmann, the play's director,
was not reticent in pointing this out
to the actors. Nonetheless, a
reviewer must report on what he
sees, not on what he might have
seen. Therefore, this review will
not be a glad one.
Sean O'Casey's Purple Dust is
not a deep play. He wrote it, as I
have heard, during a time when he
was tired of writing serious
material. He wrote it as a relief
from heavy drama.
Purple Dust
By Sean O'Casey
Directed by Klaus Strassmann
At the Freddy Wood until March 11
Unfortunately, although the play
is light in incident and plot,
O'Casey was not able to dispense
completely with his serious intentions. The play is top heavy with
a burden of meaning inappropriate
to its stature.
Purple Dust is a light satire on
British chauvinism and the
characteristic Irish pretension to
poetic spirit. The Irish fare better
than the British in this production.
The plot concerns a pair of
Englishmen who move into a
dilapidated Irish castle with their
mistresses. The Englishmen are
loud m their praise of their new
residence, although the place is
obviously on the verge of collapse.
One wall is held up only by an
auxiliary support, a wooden beam
that is itself ready to break.
In the course of the story, the
Englishmen manage to show
themselves as hollow, and their
mistresses, at the end, leave them
to go with some Irish workmen.
The Irishmen aren't much more
than bluster and blarney, but they
show, at least, more spirit and
more basic honesty in what they
do.
The play on Monday night was
very slow. A thin plot, of necessity,
requires an exuberant production
to bring it off. This was lacking.
You didn't get a sense of fun, only
saw the shadow of it, enough to
suggest to you that you should be
having fun and to depress you
slightly because you weren't. The
production needed life.
There is a sequence in the course
of the play that involves a cow. The
cow is mistaken for a bull by the
Englishmen and their servants,
and there is much capering about
as they try to escape what they
imagine as their doom. This could
have been a funny scene.
The cow had a tongue that moved
in and out, eyelids that opened and
closed, it mooed endearingly and
walked in a very uncowlike
manner. Unfortunately, the effect
is lost because the audience has not
been put in enough of an. hilarious
mood to fully accept the cow. One
thinks: Oh yes. A cow. Cute.
Such a response is rewarding to
no one.
There are some rewarding
moments in the play. Ian Edwards
as Barney, the Englishmen's manservant, gives a witty display of
comic exasperation in the second
act as he tries to light a fire in the
fireplace. He doesn't think much of
the primitive facilities of the
castle, nor of his employers' choice
of residence.
Also, an air of rich lunacy is
added to the play by the introduction of a mysterious tramplike character who makes his
appearances via trapdoor in the
Studio 58 play lifts spirits
By MARTA MARTON
The Studio 58 version of Blithe
Spirit is exactly what the title
suggests — a joyful comedy that is
light entertainment at its best.
Noel Coward wrote the play in
1941 when audiences were looking
for pure entertainment rather than
serious drama.
Blithe Spirit
By Noel Coward
Directed by Kathryn Shaw
Studio 58, Langara
The play depicts the spirit of this
era in the upper middle-class
British tradition. Two of the main
characters, Ruth and Charles
Condomine, appear to be the
epitome of taste and charm. As the
play unfolds, we see that they are
petty, narrow-minded and
hypocritical.
Condomine, a novelist, and Ruth,
his second wife, have invited a
medium to their home. Condomine
hopes to attain material for his
latest book which involves
spiritualism.
The medium, Madame Arcati, is
eccentric and incompetent. She
invokes the spirit or ghost of
Condomine's first wife, Elvira.
Hilarious complications arise
through Elvira's untimely arrival.
Lindsay Leese is perfect as the
scatterbrained medium. She
speaks in a high grating voice and
leaps around the room sniffing for
traces of ectoplasm. Her performance is energetic and entertaining.
Deborah Tennant as Ruth
captures the mannerisms of the
English middle class. She can be
charming, petulant or bitchy. She
moves languidly about the drawing
room in an arrogant manner as she
attempts to manipulate her
husband.
The only weak character in this
student production is Beverly
Cooper as Mrs. Bradman. She
never seems comfortable in her
role. Her speech is stilted and self-
conscious.
The play ridicules mediums and
spiritualism. It also makes fun of
the British upper middle class
which is preoccupied with appearances and social conventions.
The set is tastefully arranged
with its juxtaposition of Art Deco
and Art Nouveau styles. The
women's costumes fit appropriately to their characters.
Kathryn Shaw, the director, has
created a subtle and stylish
production.
At the end of the play we learn
that Edith, the servant, portrayed
by Ginger Titchner, is responsible
for Elvira's appearance. We never
learn the motives behind Edith's
mischief. Coward may have intended Edith's actions to serve as a
catalyst to make Ruth, Elvira and
Charles reveal their true feelings
for each other.
We learn that Charles and
Elvira's seemingly idyllic
marriage was marred by deceit
and    insincerity.    Charles    is
dominated by Ruth and Elvira. At
the end of the play he seems
relieved to be rid of both women.
Coward gives us some
significant insights into human
nature and relationships. He also
makes clear that if spiritualists
have any validity and could bring
back the dead, disastrous results
could ensue.
Although this comedy of manners has a few serious implications
it can be regarded as pure entertainment. The Langara acting
group have captured the Coward
spirit which is full of fun and
fantasy.
Tonight you ore cordially invited ro a
spedal preview of a major morion picture
which will be one of the mosr terrifying
and fasdnating experiences you will eve-
see in a movie theater.
If is a one-night-only preview
And a once-in-a-tifefime motion picture.
castle's floor. The audience is
never informed why he is there,
and he never interacts with any of
the other characters, but his
presence has a kind of manic
irrelevancy, which, in the midst of
so much bluster and bother, has
the effect of deflating the self-
important lives of those people that
the play deals with.
These were two bright moments.
Unfortunately, the play has very
little else to offer. I say unfortunately because this production has possibly the best set design
that I have ever seen. Douglas
Higgins, the set designer, is to be
commended.
The first view of the set is impressive. There are stone walls
slanting up toward an indeterminately high ceiling. There
is a sense of space on the grand
scale, a sense of age and
deterioration and mustiness. The
effect is definitely one of faded
grandeur. The set becomes
progressively more impressive as
the play goes on, and different
aspects of it, not at first apparent,
are revealed. I'll give a listing.
There are trap doors in the floor.
There is a breakaway hole in a
walkway that goes across on an
upper level through which a workman's head occasionally pokes.
There is a wall that in the course of
the play gets thoroughly and
convincingly demolished. There
are other props that crumble
equally convincingly.
The end of the play requires that
the castle be inundated by a flood.
There are water spouts secreted in
various places in the set which
come on for this finale and give the
effect of leaks springing up
everywhere.
At the end of the play, the castle
is submerged. This effect is very
prettily depicted by means of
placing a green gauze screen in
front of the set, and suspending
some fish from the ceiling.
The over-all effect of this set is
awesome. The applause of the
audience at the end of the play was
mostly in response to the set. There
is something a little sad in this fact.
Let me say something. I have
nothing against the fact that the
theatre department is rich and can
afford such spectacular investments in set design. I simply
wish that they would give an
equivalent amount of attention to
their actors and to the plays they
are producing.
This has been the worst season at
the Freddy Wood that I have ever
seen. The department has only
succeeded in drawing attention to
their mediocrity by expending all
their energies on producing
masterworks of scenery. I know
that they can do better.
Here's hoping for a better season
next year. I may even buy season
tickets again. But I'm an optimist.
Big band
From PF 4
contribute to the group's total
effect. Al Wold, who the previous
week had been the standout of
Bobby Hales' set at the Commodore (on his more recently
taken-up axe, the baritone
saxophone), added beautiful solos
and fills on piano throughout the
night. The jumping tenor sax of
Brian Ogilvie was often heard from
to good effect. Bass trombonist
Sharman King was largely
responsible for the brass section's
punch (as he is with Hales as well).
The presence of (probably)
Vancouver's most promising
young jazz player, Alan Matheson,
added depth to the trumpet section.
Finally, and unfortunately, must
be mentioned the frequently
inappropriate drumming of Don
Kispel. There must be a drummer
in this city who can push, rather
than be carried by, a big band of
this caliber, but he has yet to be
revealed.
The Dave Robbins Big Band will
next perform at the Sandman Inn
on March 7. It is a local group that
is well worth hearing.
Tonight before anyone else in the world, you can feel 'nr'jLJ' Tg*
A FRANK YABLANS PRESENTATION
A BRIAN DePALMA FILM
THE FURY
KIRK DOUGLAS JOHN CASSAVETES CARRIE SNODGRESS CHARLES DURNING AMY IRVING ANDREW STEVENS
Produced by FRANK YABLANS Directed by BRIAN DePALMA Executive Producer RON PREISSMAN
Screenplay by JOHN FARRIS  Based upon his novel   Music JOHN WILLIAMS jj.
— ' Soundtrack Album on ARISTA RECORDS 6 TAPES farm,
ADULT
1669 6000
1820 granville mall
CAPITOL 6        7:30
922-9174
west Vancouver
FAMOUS
PLAYERS
theatres
PARK  ROYAL  7:00
Page Friday, 6
THE        UBYSSEY
Friday, March 10, 1978 entertainment
/
Dream play is stunningly lyrical
By WILL WHEELER
The first thing that should be
said about the current production
of the Dream Play is that it is
unusual.
It is unusual because it is a play
rarely seen due to the enormous
technical skill which it requires. As
well, it is being staged with puppets, a rare undertaking for
mainstream theatre.
The Dream Play
By August Strindberg
March 3 to 25
At the Vancouver East
Cultural Centre
The Dream Play is not a play for
children, even though the title and
the puppets might suggest a light,
airy fantasy.
To the contrary, to say that it
shows a melancholy vision of
human existence would be an
understatement. It shows a peace
and tranquility that are possible,
but not in the context of temporal
experience.
The plot is simple enough. Indra,
lord of the universe, sends his
daughter Agnes to earth in human
form in order that he might learn
why men are unhappy. Agnes
travels the earth, finding that
human sorrow is the norm and
happiness, if it occurs at all, is
PUPPET . .. figure in drama worked by god-like human
shortlived and gives way only to
greater sorrow.
Despite the air of metaphysical
gloom which hangs over the play, it
is stunningly lyrical. A great work
of art should be like a dream, and
Reaney succeeds
By GEORGE HUEY
Listen to the Wind has been
touted as a modern classic in
contemporary theatre. The play
was written in 1965 by James
Reaney, a well-known Canadian
playwright who has won the
coveted Governor General's Prize
three times.
Listen to the Wind
At the David Y. H. Lui Theatre
Feb. 23-March 4
Although the focus is on simplicity, Listen to the Wind is in
actuality a complex production
comprised of diverse theatrical
elements which demand clockwork
co-ordination for it to have any
semblance of unity.
Listen to the Wind is without
question an ambitious project for
any theatre troupe, let alone a
motely crew of amateur actors and
actresses. Yet the Vancouver
Little Theatre Association has
indeed ventured to take upon itself
this awesome task. Under the
experienced aegis of director Ian
Fenwick, a former graduate of the
U.B.C. drama department, the
cast has found more than sufficient guidance.
What immediatedly
distinguishes Listen to the Wind
from other dramatic works i s the
fact that it is a 'play within a play'.
It is an intricate mosaic woven
from the fabric of two stories
which are totally different, but
which complement one another.
The first is the story of Owen, a
young boy who lives on a farm in
Ontario, a locale reflective of
playwright Reany's nationalistic
affectations Owen bears the
burden of a grave illness and the
prospect of the separation of his
parents.
During his bout with this illness,
he stages a play with his peers, an
adaptation of a Victorian novel,
The Saga of Caresfoot Court. This
second play is a Victorian
melodrama with pronounced
Hitchcockian overtones.
It traces les travailles of Piers
Caresfoot, whose singular and
consummate desire is to procure
his deceased father's estate which
has somehow fallen into the hands
of his cousin Douglas. Unfettered
bestial passions, betrayal of blood
relatives, and murder all figure
into the intrigue.
Somewhere within this labyrinth
of complications lies the immaculate Angela, Caresfoot's
daughter, who is buffeted by dark
brooding forces on all sides.
Although only amateurs, the
members of the cast exuded a
confidence found in more seasoned
performers. At times this was too
evident as the acting was
exaggerated and could have used
some restraint. The versatility of
the performers was impressive,
running the gamut from baying
hounds and whinnying horse to
viscous Prussian accent and
refined English noblemen and
noblewomen. Particularly interesting was the innovative use of
human bodies to construct a
locomotive.
Doug Greenall was expressive as
both the tempermental young
Caresfoot and the doddering old
Caresfoot, made brittle by his
advancing years. As the
manipulative and vituperative
Lady Eldred, Mary Westley was
superb but definitely overplayed
her role.
Unintentional comic relief was
provided by Douglas Ford as the
imbecilic son of Douglas Caresfoot.
Ford endowed this character with
a naivete that rivaled that of Alex
McDonnell's portrayal of Angela.
Both characters are innocent
young pawns manipulated by their
unscrupulous parents.
The roles of Rory Mandryk (as
both Owen and Angela's suitor,
Arthur Brenzaida), Greenall and
Westley were buttressed by a
chorus that played musical instruments, sing and recited lyrical
poetry. They also simulated many
of the props used in the set through
innovative mime.
The most important function of
the chorus was to manifest the
symbolism of the wind as a
medium for receptivity to the
powers of the imagination,
inherent in children before they
become socialized into the world of
adulthood. To listen is to be attentive and to bring to play the
forces of the Spirit. In the end, this
is the theme which playwright
Reaney attempts to convey to the
audience.
such are the characteristics of the
Dream Play.
Along with the unconventional
dramatic techniques used, the
puppets add an element of haunting simplicity. They are not toys
for children but partners in a ballet
(an art form which has great
complexity in spite of its simplicity) which is participated in by
the manipulator and his puppet in
conjunction with the other
manipulators and puppets on
stage.
Watching this stage-craft at
work, it is possible if only for a
moment to believe that the men on
stage are gods; they stand behind
the puppets, facing triumphs and
tragedies with an air of extra-
human compassion and dignity.
As well, the parts spoken by the
puppets are read o u t by god-like
DREAM   EFFECT  .
gestures.
personages who stand above and
behind the stage.
Thus there is always a
suggestion of something perpetually concealed from men by
the god: somewhere beyond the
realm of human suffering is a
world of calm, order and beauty.
Although this atmosphere is
invoked in Strindberg's text, the
created  by dignified simplicity of puppet's
staging of the play has subtly
added to the effect. I would say
subtly, because any play which
hinges on devices rather than
acting and dramatic effect runs
grave risks.
Yet the play succeeds because it
has a complete theatricality which,
like the puppets' gestures, is muted
and dignified in its simplicity.
Santa Esmerelda makes it live
By GEORGE HUEY
Yes, this I'll have to concede — I
did have prefabricated conceptions
that could conceivably have
tainted my assessment of the Santa
Esmeralda concert last Friday
evening. Initially, I had enjoyed
their interpretation of Don't Let
Me Be Misunderstood, originally
performed by Eric Burdon and the
Animals, but the excessive amount
of airplay it has received on both
AM and FM contributed immeasurably to my waning interest
in the band.
Santa Esmeralda
At the Cave
Feb. 22, 23 & 24
And then Santa Esmeralda
surpassed even themselves in
blatant plagiarism by christening
their new album after another
Animals classic, The House of the
Rising Sun.
What even perturbed me more
was the assertion on the first
album that Santa Esmeralda was
Leroy Gomez, period (.). The
announcement that Gomez had left
the band further added to my
confusion, to say the least.
Hence my crusade to Cave last
Friday night was motivated in part
by a desire to unearth the rather
nebulous identity of Santa
Esmeralda. I harbored suspicions
that the band was no more than an
assemblage of studio musicians
whose unified purpose was to
exploit the expanding market for
disco music. I envisioned an informal jam session in the guise of a
slick, choreographed disco act.
When I finally did get to see
Santa Esmeralda, some of my
deeper suspicions were laid to rest.
If the performance was indeed a
ruse machinated to extort a few
dollars from a disco-crazed public,
it was pulled off remarkably well.
As an ensemble, the band was
decidedly impressive. They were a
cohesive unit and with a little more
familiarization with one another's
capabilities will undoubtedly
smooth out the ruffled edges. Their
brand of music is a skilfully concocted blend of disco and Spanish
genres. The overall effect was
incendiary.
But despite the collective impact
of the ensemble, there was a
definite disparity among the individual musicians as to the
amount of talent each had at his
disposal.
Lead vocalist Jimmy Goings was
an inadequate replacement for his
enigmatic predecessor, Gomez. If
music is indeed the universal
language, Goings suffers from a
severe speech impediment. His
guttural rantings were further
hampered by a limited vocal
range, and his treatment of a
romantic ballad was particularly
inept, incapable of imparting any
kind of sentiment.
The rhythm section provided a
bottom end that was more a basic
rock beat than disco. Percussion
and bass guitar formed the simplistic bedrock for Mick Valentino's florid flamenco guitar
statements. Valentino himself
infused a passion and spontaneity
into his work on the electrical
acoustic guitar characteristic of
only the  elite  among  flamenco
guitarists.
Assuming a low profile
throughout the initial stages of the
set, Santa Esmeralda's
keyboardist at first made ensemble contributions that were
extraneous to the overall impact of
the group effort. Synthesizer,
mellotron, and acoustic piano were
superfluous, adding little that was
of interest.
The keyboardist's saving grace
came during the performance of
the extended Animals composition
Don't Let Me Be Misunderstood
and the Santa Esmeralda Suite,
Santa Esmeralda's sole claim to
mass acceptance. Synthesizer riffs
dovetailed beautifully with double-
barrelled lead guitar in an interplay not characteristically
found among session musicians.
Applause from an enthused
audience brought » Santa
Esmeralda back for two encores,
both original compositions by the
band. The first was a straight blues
shuffle, rather unexpected considering the Latin disco-rock
course the band had maintained up
to this point. A reversion to this
formula, the second encore, See
You As You Are, was anti-
climactic. It lacked the torrid
enthusiasm with which the
previous pieces had been played.
Santa Esmeralda played a set
that was all too brief. Considering
the exorbitant admission price for
what was purported to be a "Cheap
Thrills" concert, it seemed even
more of a crime. What the band did
have to offer, however, was more
than enough to assuage any kind of
protest.
Friday, March  10, 1978
THE        UBYSSEY
Page Friday, 7 Julius Schmid
would like to give you some straight talk
about condoms, rubbers, sheaths, safes,
French letters, storkstoppers.
All of the above are other names for
prophylactics. One of the oldest and most
effective means of birth control known
and the most popular form used by males.
Apart from birth control, use of the
prophylactic is the only method
officially recognized
and accepted as an aid
in the prevention
of transmission of
venereal disease.
Skin
Prophylactics.
Skin prophylactics
made from the membranes of lambs were
introduced in England as early
as the eighteenth century. Colloquially known
as "armour"; used by Cassanova, and mentioned in classic literature by Richard Boswell
in his "London Journal" (where we read of his
misfortune from not using one), they continue to
be used and increase in popularity
to this very day.
Because they
are made from natural
membranes, "skins"
are just about the best
conductors of body
warmth money can
buy and therefore
their effect on sensation and feeling is almost
insignificant.
Rubber Prophylactics
The development of
the latex rubber
process in the twentieth
century made it possible to produce strong
rubber prophylactics
of exquisite thinness,
with an elastic ring at
pUg^ the open end to keep
the prophylactic
from slipping off
the erect penis. Now these
latex rubber prophylactics
are available in a variety
of shapes and
colours, either plain-ended, or
tipped with a "teat" or "reservoir
end" to receive and hold
ejaculated semen.
Lubrication
And thanks to modern
chemistry, several new non-    i
reactive lubricants have been b
developed so that prophylactics are available
in either non-lubricated or lubricated forms.
The lubricated form is generally regarded as
providing improved sensitivity, as is, incidentally, the NuForm® Sensi-Shape. For your
added convenience, all prophylactics are
pre-rolled and ready-to-use.
Some Helpful Hints
The effectiveness of a prophylactic,
whether for birth control or to help prevent
venereal disease, is dependent in large
measure upon the way in
which it is used and disposed
of. Here are a few simple
suggestions that you may
find helpful.
Packaging
First of all,
there's the matter
of packaging.
Skin prophylactics are now packaged premoistened in sealed
aluminum foil pouches to keep them
fresh, dependable and ready for
use. Latex rubber prophylactics are
usually packaged in sealed
plasticized paper pouches or
aluminum foil.
All of these prophylactics, at
least those marketed by reputable
firms, are tested electronically
and by other methods to make
sure they are free of defects.
Prophylactics are handled very
carefully during the packaging
operation to make sure they are
not damaged in any way.
Prophylactic Shapes
mihiuiiiiiiiiiiiiiiiiiiiiiimiiiiiiiiiiins
')
Plain end
4L^_
V
■'""""""""""""'"'TBy
Sensi-Shape
U^^g
Reservoir end
HTnrnTnTTTT"^
Sensi-Shape Ribbed
Storage and Handling
It is equally important that you store and
handle them carefully after you buy them,
if you expect best results and dependability.
For example, don't carry them around in
your wallet in your back pocket and sit on them
from time to time. This can damage them
and make them worthless. Next is the matter
of opening the package. It's best to tear the
paper or foil along one edge so that the simple
act of tearing doesn't cause a pinhole. And
of course, one should be particularly careful of
sharp fingernails whenever handling the
prophylactic.
Putting Them On
The condom, or prophylactic, should be put
on before there is any contact between the
penis and the vaginal area. This is important,
as it is possible for small amounts of semen
to escape from the penis even before orgasm.
Unroll the prophylactic gently onto the
erect penis, leaving about a half of an inch projecting beyond the tip of the penis to receive
the male fluid (semen). This is more easily
judged with those prophylactics that have a
reservoir end. The space left at the end or
the reservoir, should be squeezed while unrolling, so that air is not trapped in the closed end.
As mentioned earlier, you may wish to
apply a suitable lubricant either to the vaginal
entrance or to the outside surface of the
prophylactic, or both, to make entry easier and
to lessen any risk of the prophylactic tearing.
Taking Them Off
When sexual relations are
completed, withdraw the penis while
the erection is still present, holding the rim of the prophylactic until
withdrawal is complete, so as to
stop any escape pf semen from the
prophylactic as well as to stop it
from slipping off. Remove the prophylactic and, as an added precaution, use
soap and water to wash the hands, penis and
surrounding area and also the vaginal area
to help destroy any traces of sperm or germs.
And now for a commercial.
As you've read this far you're probably
asking yourself who makes the most popular
brands of prophylactics in Canada?
The answer to that is Julius Schmid. And
we'd like to take this opportunity to introduce
you to six of the best brands of prophylactics
that money can buy. They're all made by
Julius Schmid. They're all electronically tested
to assure dependability and quality. And you
can only buy them in drug stores.
KAlVOLj Regular (Non-Lubricated)
& Sensitol (Lubricated). A tissue thin rubber
sheath of amazing strength. Smooth as silk, light as
gossamer, almost imperceptible in use. Rolled,
ready-to-use.
FOUREX
"Non-Slip " S&tras-distinctly
different from rubber, these natural membranes from
the lamb are specially processed to retain their
fme natural texture, softness and durability. Lubricated and rolled for added convenience.
•DI   I LI l\ Sensi-Shape (Lubricated)
& Regular (Non-Lubricated). The popular priced,
high quality reservoir end rubber prophylactic.
Rolled, ready-to-use.
I^lwiwllll Sensi-Shape (Lubricated)
& Sensi-Shape (Non-Lubricated). The "better
for both" new, scientifically developed shape that
provides greater sensitivity and more feeling for
both partners. Comes in "passionate pink." Rolled,
ready-to-use.
C^akl III Gently ribbed and sensi-shaped
to provide "extra pleasure for both partners."
Sensitol Lubricated for added sensitivity. Also in
"passionate pink." Rolled, ready-to-use.
Fiesta
Reservoir end prophylactics in an
assortment of colours. Sensitol lubricated for
added sensitivity. Rolled, ready-to-use.
We wrote the book on prophylactics.
If you would like to read it and get some
free samples of what we've been
talking about, fill in the coupon below and
we'll send you everything in "a genuine
plain brown envelope."
Name.
Address.
City.
Prov..
PC.
JULIUS SCHMID
OFCANADA LIMITED
32 Bermondsey Road
Tbronto, Ontario M4B1Z6
_l
Page Friday, 8
THE       UBYSSEY
Friday, March 10, 1978 -*.v
OAS- :'^
i^sUfe*^ ^j>^^v:;^^;^^:^^;'I art
Vittorio's works show versatility
By MARCUS GEE
Vittorio Foirucci is heralded as
"one of Canada's most outstanding
graphic artists." Yet somehow
Vittorio's work seems to derive
more from his European roots than
his current Montreal milieu.
Vittoris's Vittorios
Vancouver Art Gallery,j 1^45 West
Geogia
Uhtil March 26
Sometimes primitive, often
sexual, Vittorio's work is always
powerful. Yet the forceful graphic
images that adorn most of his
works recall the starkness of
modern Czechoslovakian and
Eastern European art more than
the graphic art of contemporary
North America.
Although the images on his silk-
screen posters occasionally echo
those of the American pop art
movement, they often reject the
sophistocated slackness inherent in
that style.
Sponsored by the Canada
council, Vittorio's Vittorios is a
thorough cross-section of the artist's work that demonstrates how
eclectic and international he is.
In other artists, deliberate
derivativeness might be seen as a
weakness. But Vittorio succeeds in
drawing on the best of European
and American graphic artist
without sacrificing his own
distinctive style.
The stubby humanoids that are
the centre of many of Vittorio's
works are reminiscent of the ancient sculptures discovered on
Easter Island. The figures are
simple — square heads mounted on
stocky legs.
The humanoids are often also
equipped with phailuses of varying
size, shape and color depending on
their function in the work. In one
amusing poster illustrating the
signs of the zodiac, 12 humanoids
are each furnished with penises
denoting their particular sign. For
example Cancer has a crab's claw
phallus, Pisces has a fish-head
phallus and Taurus has, appropriately, a horn.
In another montage two
humanoids carry on a silent
conversation while their penises —
one a human head, one a serpent —
quarrel with each other.
Vittorios phallic fetish extends
beyond the humanoids though. In
one vicious poster entitled
Women's Liberation a wild-eyed
she-wolf dashes along with a penis
clamped between her teeth; a not
too subtle slap at feminists.
But then, subtlety is not Vittorio's forte and he makes every
attempt to shock and astound the
viewer.
The political comment and satire
in Vittorio's art can be scathing; he
pulls no punches; when dealing with
the political and economic
situation in Quebec.
In one poster advertising a
Quebec film, a woman with her
hair tied in the shape of a fleur du
lis is lying inside a sardine can
painted with the stars and stripes
of the American flag.
In another, a headless
clergyman stands beside the motto
Visitez le Nouveau Quebec, an
allusion to the quiet revolution
that saw the clergy lose its iron
grip on Quebec education and
culture.
PANGO PANGO (UNS) — This
tiny island kingdom was rocked
today with libel that the palace's
extramarital affairs officer Wait
Damn-You had taken up with the
notorious press magnate Mucus
Three.
Three, contacted at his bedroom
in Bedlam Bungalos, a suburban
area for this small nation's semi-
elite, said the rumors were totally
false and blamed the country's
counter culture media, the Used-
to-be, for spreading malicious lies.
But Vittorio does not limit
himself to comment on the
situation in Quebec; his outlook is
not so parochial.
One surreal poster shows an
abstract white mushroom cloud on
a brown background beside the
words Keep the Atom Bomb White.
This trait toward surrealism is
evident throughout Vittorio's work.
But it is especially obvious in his
humanoids, whose faces reflect a
kind of existential wonder and
bewilderment.
Faced with the complexities of
the modern industrial world,
Vittorio's humanoids express only
innocence and puzzlement. In one
series of cartoon frames a lone
humanoid is confronted with
various monsters.
Naked and alone, he must face
an enormous television monster
and a giant bird who breathes ice.
Although the cartoons are comical,
the effect is to reveal the isolation
and helplessness of humans in the
cold, complexity of the modern
world.
In another cartoon series, Vittorio satirizes the puritanical
aspect of modern society that
makes people feel guilty about
their sexual feelings. A curious
humanoid is seen admiring an
explicit painting of a woman and
viewing a sex film.
But when he does, a huge red
finger points at him from above
and orders him away from the
scene. In the final frame the
humanoid licks the finger,
sheepishly kow-towing to his op-
presor.
Vittorio,- 46, immigrated to
Canada at age 19 and settled in
Montreal, where he became a
freelance television graphics
designer and a cartoonist in
literary and political periodicals.
Since then he has won numerous
awards for graphic design and
during the past eight years Vittorio
has designed seven covers for the
now-defunct Time Canada.
Although Vittorio concentrates
mainly on painted graphics and
silk screen posters, he is also an
accomplished photographer.
Vittorio's favorite subject seems to
be the nude female figure, and he
uses a variety of photographic
techniques to explore the subject.
Most notably, Vittorio uses high
contrast photographic paper to
achieve a stark black-and-white
effect that highlights body shapes
and contours.
Some of Vittorio's more conventional photos are also
displayed, including a highly effective portrait of Genevieve
Bujold.
dream play
by augu/t /trindberg
rVrW
Vancouver ea/t v
cultural centre
march 3 lo 25
re/ervalion/ and ticket/
254 0578
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Music On Campus
Wednesday Noon-Hour Concert
March 15
Pacific Wind Quintet
Recital Hall of the
Department of Music
FREE FREE
Sponsored by The Koerner Foundation
and the Dean of Women's Office „
PREMIUM BEER
B.C. STYLE
A UNIQUE
EXPERIENCE
Friday, March  10, 1978
THE        UBYSSEY
Page Friday, 9 music \
-i,. jy
Sister Jane does all right herself
By NICHOLAS READ
During the intermission of Jane
Mortifee's one-woman show at the
Vancouver East Cultural Centre,
the man seated in front of me
turned around to ask if I was finding the concert a bit too loud.
When I heard this I turned my gaze
away from the woman across the
aisle who had stuffed cotton in her
ears and, trying my best to conceal
any fear that the still reverberating rafters of the old church
would soon come crashing around
me, replied that I was.
This, apparently, vas the correct
answer as he then was kind enough
to put the evening into clear perspective for me by comparing it to
good food that had been overcooked.
For those of you who are not
acquainted with the VECC, let me
say that it is not a big place; in
fact, it could even be described as
kind of cozy. In any event, it is
certainly not equipped to withstand
the decibel level that was reached
Sunday night when Mortifee's
powerful vocal chords, backed by a
five-piece band and a ridiculously
large amplification system, were
unleashed on an unsuspecting
audience.
Fortunately however, the
volume was never quite intense
enough to preclude all enjoyment
of Jane's considerable, if
somewhat over-presented, talents.
Jane is the younger sister of Ann
Mortifee, the woman who, after
years of local stardom, was
destined to put Vancouver on the
musical map with her London
recording of the album Baptism.
But Baptism never really got off
the ground and Ann's dreams of
becoming the local Streisand
evaporated.
Well, Jane made two things
perfectly clear on Sunday night:
first, that she is a singer of enormous potential; and second, that
she has no intention of succumbing
to the fate of sister Ann. The only
thing is, that she hasn't quite made
up her mind how to go about
avoiding it.
She opened the show, dressed in
a pink and black China doll outfit
with her hair fashionably frizzed,
with a lively, if forgettable pop-
rock number called There's More
Where That Came From. It was
upbeat, relaxed and competently
handled, and I looked forward to
good things to come.
But soon after, what could only
be described as professional insecurities or even growing pains,
began to show through. Sure, she
showed remarkable versatility
with numbers that included a camp
and trashy piece entitled The Stuff
is Here, and a heart-tugging blues
rendition of Love Me Like A Man;
and she certainly showed what
vocal marvels her voice is capable
of in a selection called Mercy on
Those. But still, throughout the
evening's first set, I couldn't help
feeling that I was part of some
great experiment whose purpose
was to show her where her
professional niche really lies.
Granted, much of what was
wrong can be attributed to nerves.
(At times she resembled a lost soul
at a party desperately trying to
find something to do with her
hands.) And when she finally did
relax in the much-improved second
half, much of this uneasiness
disappeared. But still there was a
sense of her asking the audience to
tell her what to do next.
But despite this failing (which
will undoubtedly be corrected with
experience), Jane proved herself
to be much more than just Ann's
little sister waiting in the wings for
her big break. In fact, she shows
every sign of developing into a far
more pleasing entertainer than
Ann ever was.
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STARTING MONDAY
Dustin Hoffman—Susan George
Restricted
"STRAW DOGS"92o
Jack Lemmon—Walter Mathau
"THE FRONT PAGE"    30
ENDING SATURDAY
"THE EAGLE HAS LANDED"9:25
"SEX WITH A SMILE" 7:30
.ADULTS & STUDENTS-$2.00     .
Page Friday. 10
THE        UBYSSEY
Friday,1 March 10, 1978 wmm.
By NICHOLAS READ
You are invited to celebrate
Maslinitsa (Butter Week) at the
Russian Community Centre, 2114
West 4th, tonight at 8 p.m. The
band Flying Mountain will be the
featured artiste for this evening's
dance and celebration. Tickets are
available at the door.
Days and Months and Years to
Come, the Vancouver East
Cultural Centre's resident music
ensemble, will present the fourth in
their series of concerts featuring
new works by leading Canadian
composers at the Centre, 1895
Venables, on March 12. Percussionist Paul Grant will be the
featured guest artist, and he will
help the group to present works by
Yuji Takahashi, Victor Fenigstein,
K. Moszumanska, and Canadian
Alex Pauk. Concert time is 9 p.m.,
and tickets are available at the
door.
Liza Minelli plays a big band
singer who falls in love with saxophonist Robert DeNiro in the 1977
production of Martin Scorsese's
musical, New York, New York, to
be shown at the SUB Theatre
tonight, tomorrow and Sunday.
On March 16 at 8 p.m.,
Perryscope Productions is
presenting the legendary Lou Reed
in the PNE Gardens. Often
referred to as "the godfather of
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punk," Reed was the prime
creative force behind the infamous
Velvet Underground.
As previous* Lou Reed performances have proven, his music
is not appreciated by all, however,
his is a show which is always worth
experiencing Readers may
remember last year's Page Friday
interview with Lou Reed and may
be advised that steps are being
taken to find out what his views are
on this "Year of the Punk."
Appearing with Lou Reed will be
the latest English "new wave"
star, Ian Dury and his band the
Blockheads. This will be Dury's
North American premiere and
promises to be as interesting a
show as the headliner. Dury's yet
to be domestically released album,
New Boots and Panties, is selling
vista
well in England as is his chart- lyrics on topics from the sublime to
topping single, Sex and Drugs and the sordid with a diverse range of
Rock and Roll. music from Cockney music hall to
Dury's   style   combines   witty raucous punk.
collision at sea. 41 men trapped in a
Nuclear Submarine on an ocean ledge
1,450 feet beneath
the sea. The most
exciting rescue
adventure ever        ;J0" .#' r
filmed. m       * -*,
<;ii*YV\i)i/>owiV
CHARLTON HESTON
DAVID CARRADINE STACY KEACH
"GRAY LADY DOWN"
*WM WSI-'l-'TOO'Ji.lliN
KEO BEATTY RONNY COX   STEPHEN McHATTIE  ROSEMARY FORSYTH
Sneeapifl bv JAMS AWTIAitiRM HOWARD SAlMIS-S.lip'iV ;., (Mt* ? HUbtNBERli- M,-:i c. jth'P> f
Directed bv DAVID DREENl ■ P;&nf tr, MDtR «iV> ■ A ilNr.i S:,A: Fi. \iti ■ V uMi 0n'«" FANATIC
©1978 UNIVERSAL ClTY STUDIOS. INC
ai i mr.HTs nF^FRvFn
STARTS FRIDAY
SHOWS AT 12, 1:55, 3:55, 5:55, 7:55, 10
SUNDAY:
1:55, 3:55, 5:55
7:55, 10
CORONET 1
851   GRANVILLE
685-6828
BROADWAY CLASSICS
MARCH 10-11
OLE OLSON, CHIC JOHNSON, MARTHA  RAYE
"HELLZAPOPPIN" at 7:30 - 10:10
W.  C.  FIELDS, JACK OAKIE, ANDY CLYDE
"MILLION DOLLAR  LEGS" at 9:05
MARCH   12
Fred Astaire, Oscar Levante, Nanette Fabray
"THE BAND WAGON" at 7:30-9:30
MARCH 13-14    Winner of 7 Academy Awards
GREER GARSON . WALTER PIDGEON
"MRS. MINIVER" at 7:10 - 9:30
MARCH  15-16
Ronald Coleman . Basil Rathbone . Edna May Oliver
"A TALE OF TWO CITIES" shows at 7:is-9:30
ADULTS   $2.50
GOLDEN AGE   $1.00
bROAOWAV 2
70 7 W. BROADWAY
874-1927
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SUNDAY   2:10,  4:05,  6:05,  8,   10 682-7468
NOMINATED^OR 10 ACADEMY AWARDS
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Rock 'n Roll is on tne run!
Beyond Ihe thrill ol high adventure.
This search leads them to an exploration in flight
An experience you'll never forget.
•7 A
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STARTS FRIDAY
SHOWS at 7:15 - 9:15
DROAdwAV 1
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Kurosawa's Academy
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GRAND PRIZE WINNER MOSCOW FILM FESTIVAL
AFilm byAkira Kurosawa "Dersu Uzala ..The Hunter"
Roger Corman Presents
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English Sub-Titles
SHOWS   AT   7:30 - 9:30
224-3730
4375   W. 10th
NOMINATED FOR 11
ACADEMY AWARDS
SHIRLEY McLAINE
ANNE BANCROFT
SHOWS AT:
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SHOWS AT 7:30 - 9:30 224-7252
Friday, March 10, 1978
THE       U BYSSEY
Page Friday, 11 Page 20
THE        UBYSSEY
Friday; March 10, 1978
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