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UBC Publications

The Ubyssey Feb 13, 1976

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Array Vol. IVII, No. 52
VANCOUVER, B.C.,
FRIDAY,
FEBRUARY 13, 1976
228-2301
—matt king photo
PROTESTORS   GIGGLE   at   snappy   remark   by  NDP   hack  Hilda      absence of Pat McGeer, minister responsible for ICBC, who was to
Thomas at ICBC  protest rally Thursday. Rally went ahead despite      officiate at opening of new appendage to Angus building.
Despite JlicGeer absence
ICBC protest goes on
By HEATHER WALKER     *
The second protest rally at UBC
against high insurance rate increases was held Thursday despite
the absence of the main attraction,
education minister .Pat McGeer.
About 150 people attended the
demenstratioft,-h^d~a4-3-p.,Bw-Mi—
front of the Henry Angus building.
The demonstration was timed to
coincide with a scheduled visit of
McGeer, the minister responsible
for the Insurance Corporation of
B.C. McGeer cancelled his visit
Wednesday because of the protest.
More protests are scheduled for
today, including a rally in Victoria
sponsored by the El.C. Federation
of Labor.
Alma Mater Society council has
urged students to stay away from
classes today in order to attend the
rally.
AMS vice-president Dave  Van
leave the SUB parking lot for
Victoria at 11:30 a.m. Transportation will be provided for
people without cars who want to
attend the rally.
And another procession, this one
on foot, will leave the SUB parking
lot at the same time to. protest
outside the ICBC head office in the
Royal Centre at Burrard and
Georgia. The protest is sponsored
by B.C. high school students, Van
Blarcom said.
Speakers at the UBC rally emphasized that ICBC rates are only
one area where people should
protest the Social Credit government's programs.
"This is the first in a number of
moves that McGeer and the
Socreds will make," said Hilda
Thomas, an NDP candidate in the
Point Grey riding during the last
election. McGeer is one of two
Socred MLAs in "Point Grey.
"If you want to find out about
Sky's limit for res rent increases
ByMARCUSGEE
There is nothing to stop UBC
residence rents from going sky
high next year, according to the
manager of the B.C. Rent Review
Commission.
Jim Patterson said Thursday a
ruling by former attorney-general
Alex Macdonald that the 10.6 per
cent provincial rent increase
ceiling applies to UBC residences
has been ruled invalid.
"The previous attorney-general
suggested they (residence rents)
should not increase above 10.6 per
cent. In retrospect it seems there
are no legal grounds for this," he
said.
Patterson said UBC could have
Happy Valentine's Day, everybody.
Due   to   all   the   complaints   we've   been
receiving    lately,   the   Ubyssey   staff   has  decided,
as   a Valentine's   Day gift  to you  all. net to publish
next    Tuesday    and    on   Thursday.
Even     the   administration  has  gotten  into   the
spirit of things this time,  and has decided to
call our  absence   the   mid-term   break.   In
fact,   they've   gone   so   far   as   to cancel
classes   next   Monday   and   Tuesday.
But we'll be back   - on Friday.
Hearts,  flowers, candies and
sweet nothings only
last so long ....
Hu^k^r ,«ga-si» - wsofc^ev
legally raised residence rents as
much as it wanted this year, but
the university decided to abide by
Macdonald's judgment and limit
this year's increase to 10.6 per
cent.
But the road is now clear for rent
increases far in excess of the
ceiling, Patterson said. He said
lawyers for the -Rent Review
Commission have found Macdonald's interpretation of the
Landlord and Tenant Act was
wrong because residences are
licensed accommodations.
Rentalsman Barrie Clark has
defined licensed accommodation
as accommodation with definite
restrictions on the rental period.
The act only covers tenant accommodation.
Michael Davis, UBC acting
housing director, said Wednesday
residence rent increases next year
would almost certainly exceed the
10.6 per cent ceiling. He said he will
disclose the exact size of the increase next Thursday.
And Patterson said Davis will
not have to consult with the
provincial rentalsman at all about
the size of the rent increases.
The only way to stop rent increases above the 10.6 per cent
ceiling would be for students to
demand a new ruling from attorney-general Garde Gardom
about the applicability of the act to
UBC residences, Patterson said.
He said if Gardom ruled the act
does not apply to UBC residences,
upholding the judgment of the Rent
Review Commission, it would
require a legislated change in the
act to put any limits on the rent
increases UBC residence dwellers
will pay in 1976-1977.
But Patterson did say the act
applies to married peoples'
residences because they are self-
contained. The single students'
residences are not under the act
because their occupants share
facilities, making them licensed
accommodation, he said.
"The current stand is that
married quarters come under the
act but the most recent standing is
that if they wanted to increase
rents above 10.6 per cent in the
shared residence, they could."
Rentalsman Barrie Clark announced In October, 1974 that UBC
residences were covered by the
act. He said he would disregard a
section in the act which exempts
accommodation considered
licenced under common law.
Clark then said single residences
were definitely licensed accommodation because the length of
time students are allowed to stay
there is restricted. He said
married quarters are defined as
tenant accommodation because
occupants live there for an extended period.
The UBC board of governors
voted in early 1975 to apply for
exemption from the act. Student
board member Rick Murray voted
to ask for exemption, which would
have allowed the housing office to
raise rents an average of 18.6 per
cent this year.
But the angry protests of
residence students eventually led
Seepage IS:  CAT6H   -
McGeer, you should look through
the Hansard transcripts of debates
in the legislature and find out some
of the things," she said.
"For example, he said the
government should not spend
money on public transit, because
the private automobile was B.C.'s
form of public transit, and you'd
never be able to get people out of
their cars.
"Well, he seems to have found a
way," she said.
Thomas said McGeer had
complained of a B.C. Hydro deficit
during his campaign.
But, she said, the NDP had
claimed to be proud of the $19
million deficit because the
government had provided an
adequate bus service for Vancouver and Victoria.
"We doubled the bus service to
get it back to the level it was at in
1955," she said. "Now you'll.see all
that go back down the tube, and an
increase in bus rates."
Last month B.C. Hydro chairman Robert Bonner said he was
considering increasing bus fares in
order to remove B.C. Hydro's
deficit.
Political science professor Phil
Resnick said he was also concerned about increases in bus
fares.
"Bonner has said there won't be
any subsidy of public transport
while he's in charge of Hydro,"
said Resnick, a founding member
of the committee for a democratic
university.
"There'll be increases in transportation fares, not just for buses
but for ferries as well."
Both Resnick and Thomas, as
well as another CDU member,
Margaret Manwaring, arts 3, said
they were concerned about harmful interference by McGeer in
colleges and universities.
"The next thing we'll see will be
cuts in the education budget," said
Manwaring.
"And he's already fired some
people from the boards of governors of the community colleges
who didn't agree with his policies."
Last month McGeer fired five
members of the Northwest
Community College council
because they refused to obey an
order forbidding any college
councils to take any action binding
on the next council.
Later on, he fired three members
of the B.C. Institute of Technology
See page 6:  RESNICK Page 2
THE       UBYSSEY
Friday,  February  13,  1976
Culture
wanted
Page Friday will present its
annual creative arts issue early in
March and all students with prose,
poetry, pictures, paintings or
other paraphernalia of their own
creation are invited to submit
them.
All entries must be submitted
to the Ubyssey office by March 1
and will be returned if submitted
with a stamped, self-addressed
envelope.
Hot flashes
The entry judged by the staff
of Page Friday to be most
outstanding will win an
autographed copy of Robert
Bringhurst's Bergschrund.
Problems
Vancouver East Liberal MP Art
Lee will be the keynote speaker at
a conference Feb. 21 from 10:30
a.m. to 5:30 p.m. in International
House on the problems that divide
Chinese Canadians.
Break
It's mid-term break time again
and classes are cancelled Monday
and Tuesday.
If, however, you want to
study, libraries will maintain their
regular hours during the break but
all food services outlets will be"
closed except for residence
cafeterias and the SUB cafeteria.
The SUB cafeteria will be open
9 a.m. to 3:30 p.m. Saturday and
Monday, 10 a.m. to 4:30 p.m.
Sunday and 9 a.m. to 6:30 p.m.
Tuesday.
Tween classes
TODAY
ALLIANCE FRANCAISE
Rendezvous,    midi,    la    salon,    la
Maison Internationale.
EL CIRCULO SPANISH CLUB
General     meeting,     noon.     Brock
annex 351A.
FEMINIST KARATE ASSOCIATION
Practice, 6:30 p.m., SUB 207/209.
CHINESE STUDENTS ASSOCIATION
Homecoming,     with     films,
performances,     refreshments     and
disco,  7  p.m. to 12 midnight, SUB
party room.
THE CENTRE COFFEEHOUSE
Folk guitarist,   Fred  Booker,   8:30
p.m.  to   1   a.m.,  Lutheran  Campus
Centre.
BAHA'I CLUB
Talk   on   mythology,   noon,   Gage
182.
PHYSICAL EDUCATION
UNDERGRADUATE SOCIETY
Executive   meeting.   All   welcome,
noon, War Memorial Gym 35.
SATURDAY
CHINESE STUDENTS' ASSOCIATION
Cross-country skiing party, $4 for
members, $6 for guests. Meet 9
a.m., Stanley Park bus terminal. To
register phone 224-1562.
CHINESE-CANADIAN
YOUTH WORKSHOP
Between us Chinese conference,
10:30 a.m., International House.
SUNDAY
THUNDERBIRD HOCKEY
, Thunderbirds play the University of*
Alberta Golden Bears, 9:30 p.m.,
cable 10.
MONDAY
FEMINIST KARATE ASSOCIATION
Practice, 6:30 p.m., SUB 200.
GRADUATE FORUM
William Soil on medium and
message in Heinrich Schutz and J.
S. Bach, 8 p.m., lounge, 2120
Wesbrook.
TUESDAY
UBC SKI CLUB
General meeting, noon, Angus 104.
CHARISMATIC CHRISTIAN
FELLOWSHIP
Prayer and sharing, noon, Lutheran
Campus Centre.
APPOINTMENT SERVICE
731-4191
3644 West 4th Avenue
At Alma
DECORATE WITH PRINTS;
grin bin
3209 W. Broadway
738-2311
|Opp. Liquor.Storeand Super Valu)
Art Reproductions
Art Nouveau
Largest Selection
of Posters in B.C.
Photo Blowups
from Negs & Prints
Jokes - Gifts, etc.
'DECORATE WITH POSTERS'
CUSO
Two      films     on     China,     noon,
. MacMillan 158.
ECKANKAR
Introductory lecture, noon, SUB
215.
WEDNESDAY
ECKANKAR
Introductory lecture and discussion
group, noon, SUB 212A.
HISTORY DEPARTMENT
Noel Garson, of University of
Witwatersrand, Johannesburg,
South Africa, on deterlte'or war In
South Africa, noon, Bu. i00.
CLASSICS DEPARTMENT
David Campbell on Alcaeis in
particular and in general, noon, Bu.
202.
VOC
Film on the first ascent of the
north ridge of Nevado Alpamayo, 8
p.m., IRC 2.
CLASSICS CLUB
David Campbell on musical
accompaniment of Greek poetry, 8
p.m., 4495 West Seventh.
FRIDAY
UBC CYCLING TEAM
Team   members   bring   money   for
jerseys,  noon, War Memorial Gym
211.
BYM BAM ENSEMBLE
Concert featuring original music
composition. Blue Suite for Patty,
9  p.m., graduate centre  ballroom.
BLACK & LEE
TUX SHOP
NOW AT
1110 Seymour St.
6882481
APPLICATION
FOR GRADUATION
REMINDER
All students who expect to graduate this Spring are requested
to submit "Application for Graduation" cards (two) to the
Registrar's Office (Mrs. Kent) immediately. This includes
students who are registered in a year not normally considered
to be a graduating year (e.g. Combined B.Sc/M.D. or
B.Com./LL.B.) but who are expecting to complete a degree
programme this Spring.
PLEASE NOTE: It is the responsibility of the student to make
application for his/her degree. The list of candidates for
graduation to be presented to the Faculty and to the Senate
for approval is compiled from these application cards.
NO APPLICATION - NO DEGREE
CAMERAS LTD.
224-5858 °« 224-9112
4538" W. 10th VANCOUVER
SERVING U.B.C. FOR OVER 26 YEARS
COLOR PRINTS 3R SIZE QfiC
FROM 35mm and 126 SLIDES    »00
ALSO
COLOR DUPLICATES 35 mm       OCJK
and 126 SIZES iA#
NOTE: NOT 110 SIZE NEG'S. OR SLIDES
Special Sate!
GOOD UNTIL 1st MARCH 1976
Also Fantastic Savings
on all
Minolta Cameras
Vancouver Resources Board   ...
HAVE YOU GOT ROOM FOR ONE MORE?
Foster Homes Are Needed in Vancouver for
Children Aged 0-19 Years
An Informational Foster Parent Meeting
for the West Side of Vancouver will be held:
7:30 p.m., Wednesday, February 18th at
No. 206, 3540 West 41st Avenue
For More Information, Call Vancouver Resources Board at
733-8111
GRAND RE OPENING
SPECIAL   10% off
\
"For People With More Taste Than Money"
Don MacKenzie    J££m ] 9 J 5 3657 W. BROADWAY
Parking   At Rear
y
THS CLASSIFIEDS
RATES:   Campus - 3 lines, 1 day $1.00; additional lines 25c
Commercial — 3 lines, 1 day $1.80; additional lines
40c. Additional days $1.50 & 35c
Classified ads are not accepted by telephone and are payable in
advance. Deadline is 11:30 a.m., the day before publication.
Publications Office, Room 241, S.U.B., UBC, Van. 8, B.C.
5 — Coming Event*
11 — For Sale — Private
140Z 71 white tape $54,000 miles, very
sharp, $2900. Camero 72 metallic
green, 37,000 niles, auto, well kept,
$3000. Own two cars, must sell one.
Best  offer  takes.  321-0656.
CHEMISTRY JOURNALS 13 years eacl
JACS and JOC plus misc. 150.0 o.b.o.
Phone 980-719S.
40A — Valentines (Continued)
15 — Found
20 — Housing
WANTED   —   couple   to   share   4-bed-
room house with same, $200. 228-1306.
ARNIE BANHAM sends Valentine
Greetings to Gary and all the other
wonderful    people    who    run    The
Ubyssey.
DEAR BUGGY, we can't wait for the
main event. Love and hugs on V-day
and all others. Rockin-Rose and
Scarlet  Satin Sheets.
25 — Instruction
35 - Lost
BLACK.RIM GLASSES, in Australian
law hopeful yellow Mustang, will
you return them to Architecture
School.
ONE SILVER hooped pierced earring
within vicinity of Main Library and
Grad Centre.  Call 733-1753.
40A — Valentine   Messages
COLLEEN   —   Luv   to   luv   you   baby.
Luv, Paul.
TO    MY    THREE    FAVORITE    GIRLS,
NADIA,    JUSTINE   and   ALANA,    A
wonderful    Valentine's   Day   to    you
all
DEAR BRUCE: You are a wonderful
husband and I love you very much.
Happy  Valentine's  Day,  Arlene.
KAREN SINCLAIR: I could not afford
roses, I will make it up in love —
Your Secret Lover.
TO    ALL     MY     SECRET    ADMIRERS:
Happy   Valentine   — Rita.
HAPPY VALENTINE'S DAY. Charles.
Love, Rita.
DEAREST CORRIE — I would have
been your Valentine but I didn't
have   the   heart.   OK.
HAPPY VALENTINE'S DAY, Sweetheart. Love from Chris, xox
50 — Rentals
ATTRACTIVE SEMINAR ROOMS to rent
—• blackboards and screens. Free use
of projectors. 228-5021.
CUTES, Maple Leafs and us forever.
Please be my Valentine. Love you
always,   Ken  (Noodles).
KIM HOLLAND — A happy Valentine's
Day thought has been directed your
way.  R.M.
TO MY DALE, my home, my wubbie,
my "muter-to-be" for now and always.
THE BLACK BOMBER extends to all
his heart-throbs a happy Valentine,
especially Carol.
60 - Rides
65 — Scandals
SUBFILMSOC "offers": "The Godfather
Part n ". Showtimes, Thur./Sun., 7:00;
Fri.-Sat, 6:00 & 9:30 in SUB Aud.
Please bring 75c, AMS card and two
bottles of tranquilizers, plus Italian
accent for your protection.
70 — Services
MAG   KIDDING
Navzon.
I love you — Phil
JODY: You're still my favorite SFU
Alumnus. Happy Valentine's Day,
Hugh.
PLEASE BE OUR VALENTINE,
KNOCKER   —   BLOCKER. LOVE,
ANDY, GEORGE, MATT,,
LORCAN, PAUL, AND
SEAMUS.
HAPPY VALENTINE'S DAY Dave M.
and Gerry P. The best Valentines
and biggest shnooks we know. P.& W..
MORE    THAN    YESTERDAY    —   Less
than tomorrow — Love,  Smokey.
HER    LIPS    ARE    LIKE    ROSES,    her
nose    like    a    cherry.    That's    one
reason   why   Mike   loves  Miss   Perry
EXPERIENCED MATH TUTOR will
coach 1st year. Calculus, etc. Evenings. Individual instruction on a
one-to-one basis. Phone: 733-3644. 10
a.m. to 3 p.m. daily.
CUSTOM CABINETRY & woodworking.
Renovations, additions, new conduction done anywhere. Guranteed work,
free   estimates.   689-3394.
80 — Tutoring
TUTORING 1st 2nd years' Engineering
subjects, also Chemistry, Maths,
Physics,   German.   263-7521,   5-6   p.m.
85 — Typing
FAST,    EFFICIENT    TYPING.    Essays,
thesis,   manuscripts.   266-5053.
99 — Miscellaneous Friday, February 13, 1976
THE      UBYSSEY
Page 3
B.C. Fed dumps on Connaghan
By GREGG THOMPSON
Len Guy, secretary-treasurer of
the B.C. Federation of Labor, has
accused ■ administration vice-
president Chuck Connaghan of
undermining the strength of UBC
unions.
Guy said in a press release that
Connaghan, who is responsible for
UBC labor relations, is attempting
to weaken campus unions and
advised the administration to "put
a leash on Connaghan."
The allegation came after six
physical plant employees,
members of the Office and
Technical Employees Union, local
15, were fired by the university
allegedly because there is no work
for them, and because of
budgetary restrictions.
i Guy said: "The recent firings of
six physical plant employees is the
; second indication since Con-
paghan's appointment that he is
attempting to weaken unions on the
campus. Having already forced
one group, of workers (The
Association of University and
College Employee, Local l) to take
strike action, Connaghan has now
turned his attack on Local 15<)f the
OTEU.    '",-  . ■'■-:;";:.   .<[   .;-'
■j "Thfealleged reasons of economy ■
are ridiculous in the face of the
ever-growing number of high-
salaried supervisory and administrative personnel employed
py the University.
"The real reason is that these
firings will leave only  12 union
Great dance-
but where is
Almost all the ingredients for a
great dance were there: a large
hall, a band, booze, everything but
people.
A Valentine's dance put on
Thursday night in the SUB
ballroom by the social and sports
committee of the Gage Residents'
Association had sold less than 50
tickets, compared to the more than
3^0 which organizers had expected
to sell.
A six-man band had been hired
at a cost of $450 and $400 worth of
liquor had been brought over on
consignment.
Organizer Tom McAvay said
Thursday the band must be paid
regardless of the turnout, but said
the liquor will be returned
unopened and the money for it
refunded.
The SUB ballroom is available to
students at no charge.
"The reason we had it Thursday
night is that no one else was having
a Valentine's dance," McAvay
said, as he surveyed the empty
ballroom.
The dance was given little
publicity because it was feared
that it would detract from a
German beer garden night held
last Friday, which drew more than
800 people, he said.
The mid-term break made it
impossible to schedule the
Valentine's dance for a later date,
he added.
By 8 p.m. Thursday, only a few
ticket holders had arrived.
McAvay said he would give free
tickets to Thunderbird hockey
players who had helped set up the
dance and to people attending the
Green Door function next door.
The tickets cost $3.50 per couple
and the dance was advertised as
semi-formal to keep out rowdies,
he said.
Advertising for the dance consisted of two advertisements in The
Ubyssey, small posters around
Gage and large banners in Gage,
Totem Park and SUB.
"This was the first flop for the
Gage Residents' Association,"
McAvay said.
members in this particular
division, with seven professional
and supervisory personnel —
obviously designed to ensure that
the division can ignore any threat
of strike action.
"It appears that it was a serious
mistake to place a man with
Connaghan's reputation as former
head of the Construction Labor
Relations' Association for warring
with unions in charge of labor-
management relations at our
largest university.
"The University would be wise to
put a leash on Connaghan before he
causes more serious disruptions
which will affect the education of
many people. The first positive
step would be immediate reinstatement of the six fired em-
' ployees," Guy said.
As head of the CLRA, Connaghan
represented the majority of con
struction contractors in
negotiations with labor unions. In
this role, he became unpopular
with organized labor.
The six men were informed in
early January that their services
would not be required as of the end
of February.
The group includes two draftsmen, two engineering assistants,
a rod man and a surveyor.
Administration spokesman said
the six were dismissed on the
grounds that they had been involved in new construction on
campus, but new construction
projects were coming to an end.
OTEU claimed that the six were
not involved with new construction, were in fact employed in
physical plant design division and
that the move was based on administration  anti-union   motives.
The OTEU met with Connaghan
and sent a letter of protest to the
university board of governors, but
was unable to alter the administration action.
Connaghan refused to comment
Thursday on the B.C. Fed accusation.
"I don't comment on inaccurate
comments by people," Connaghan
said. He would not explain what
those inaccuracies were.
In a prepared statement
Thursday, administration
president Doug Kenny said: "Mr.
Guy's charge is simply not true.
There has been no attempt by Mr.
Connaghan or anyone else in
authority at UBC to weaken any of
our employees' seven unions.
"Mr. Guy's reference to what he
calls Mr. Connaghan's 'reputation
as former head of Construction
Labor Relations Association for
warring with unions' is completely
unjustified.
"There is no evidence whatsoever to support this statement.
In fact Mr. Connaghan's reputation
in his many years of labor
negotiations has been one of firmness but fairness.
"This attack on Mr. Connaghan
is both unwarranted and unfair and
requires no further comment."
An administration spokesman
said the firings were not definitely
a closed case, but would not explain his statement because the
union and administration have
entered grievance procedures in
the dispute.
On Wednesday, physical plant
director Neville Smith said that
other university workers are liable
to lose their jobs in future months
as construction projects on campus
are completed.
TEMPTING   FATE,   huge   panes   of  glass   on   UBC's   Museum   of
Anthropology   stand   as  open  invitation to  rock throwers roaming
ryl mogg photo
eroding   cliffs   west   of   Marine   Drive.   Arthur   Erickson-designed
structure presents fitting analogy with the future of the human race.
Petition misplaced, vendors' future in doubt
By PAISLEY WOODWARD
What's happened to the
petitioning vendors?
Nobody seems to know, including
the vendors themselves.
The vendors are those craftspeople who were ousted from the
SUB mall in late November by a
motion of Alma Mater Society
council.
The reasons given then for the
eviction were that the vendors
blocked pedestrian traffic in SUB,
were fire hazards, took away
business from the AMS Co-op
Bookstore in the SUB basement
and weren't students, but outside
commercial merchants.
The vendors submitted a petition
to the AMS in mid December,
demanding the student body decide
their fate.
There were 500 signatures on the
petition, the number required to
call a referendum.
But where the petition has been
since then is unknown.
AMS science rep Dick Byl said
Thursday he thinks some of the
vendors still have the petition.
"I told those guys to give me a
call about it but they never did," he
said.
Craftsperson Wendy Ball, who
sells jewellery outside the north
entrance to SUB, said Thursday
she was told the vendors issue is
being discussed by the SUB
management committee.
"We were told we might have a
better chance with this committee
than if we took the issue to
referendum," she said.
"If we lost the referendum that
would be it," she said. "This way
we have a better chance."
McDonnell was not so optimistic.
SFU food prices don't faze students
The administration-run
cafeterias at Simon Fraser
University have raised prices 15
per cent and cut back services, but
students aredoing nothing about it.
SFU administration president
Pauline Jewett announced the
cafeteria price hikes Jan. 23. The
price increases came after an
earlier price hike erf 25 per cent in
June, for a total of 40 per cent.
At the time, a student boycott cut
into sales at the administration
cafeterias but the price increases
remained.
Jewett also said in a letter to the
SFU board of governors that staff
will be cut back in the future and
replaced with vending machines.
The price increases, which came
into effect Feb. 1, were not met
with a boycott, nor did SFU student
council consider taking action
against the price increases and
service cutbacks.
Sales at a student-run cafeteria
on the campus have risen by 25 per
cent since the price increases,
according to a student spokesman.
The service cutbacks include
cafeteria closures one and a half
hours earlier than current hours,
no service on Saturday and the
discontinuance of a coffee wagon
service.
Jewett said the SFU food services will lose $90,000 this year.
And administration vice-
president George Suart said in an
article in an SFU administration
publication that "students should
pay the same price for food as
everyone else. They should not be
subsidized."
Jewett said furth£rv wiev io*
creases are plarme^for Eater in 0$
year. ': '-      * ;•
But AMS co-ordinator Nadine
She said Thursday that the SUB
management committee has
prepared a statement urging that
"vendors be members of the AMS
or representatives of bona fide
student organizations."
The statement is to come before
council in late February for
discussion and approval, she said.
And McDonnell said she has
never seen the vendors' petition. "I
don't know anything about it," she
said.
But she said the vendors weren't
harmed by the eviction.
"Most of their wares are
seasonal," she said. "They make
their money for the year at
Christmas," McDonnell added.
At this time of the year, the
committee receives few requests
for permission to sell goods but
before Christmas it receives many,
she said.
After the vendors were evicted,
the AMS bookstore enjoyed its
most lucrative month ever in
December.
She said she believes the ideal
"solution" is to move the bookstore
upstairs.
McDonnell suggested the ven-
-dor s could join the Bookstore in the
mall. But they have to be well
controlled she said. Page 4
THE      UBYSSEY
Friday, February  13,  1976
Right to apathy
UBC is not exactly known as a radical campus. The
students aren't radical, the administration isn't radical and
most of the professors and programs aren't radical.
In fact, it would be fair to say that this is a pretty
apathetic campus.
After all, our student "leaders" have said so, and when
they were quoted in The Ubyssey a lot lof people took the
trouble to write letters to the editor defending their right to
be apathetic and dumping on the paper and those who were
quoted for saying otherwise.
Well, let's set the record straight. The Ubyssey recognizes
the right of students to be apathetic — to come out here, go
to classes, get their degrees and not worry too much about
massing together to change some things many of us would
agree are not right or just.
But about 150 people showed up Thursday to protest
Insurance Corporation of B.C. rate increases.
A miracle.
It is not a miracle that those 150 people decided to show
up per se — there are probably many, many more concerned
and upset students who weren't there.
And there are probably a lot of students who are
concerned with more than just how hard a particular
government's policies hit them in the pocketbook. There are
plenty of injustices in this world, and The Ubyssey doesn't
believe students are a bunch of slugs who don't give a damn
about anything.
No, it was a miracle because those protestors had to leap a
hell of a lot of hurdles to make it to the demonstration. First,
Pat McGeer, minister responsible for ICBC (and object of the
protestors' displeasure) decided not to put in an appearance.
So what did our "student leaders" do about this change
of events? They condemned McGeer. Gee, great stuff. Alma
Mater Society council.
These "leaders" told The Ubyssey the demonstration
would go ahead anyway, same time different place. But they
didn't bother to change the signs or make any great effort to
advertise the change in plans.
It was about as brilliant an organizing effort as that made
last week when council asked students to boycott classes and
oh, maybe picket some ICBC claim centres or, perhaps,
wander over to Victoria and join today's protest.
The AMS, as well, has exercised its right to be apathetic.
Letters
Last
straw
Enough is really enough! I have
been tempted to write your
esteemed publication before but
the editorial Thursday is the last
straw. It would be productive to
have someone who is familiar with
accounting principles to write your
editorials dealing with this matter.
The particular point I wish to
make is the magical way that the
editorial writer has of making $181
million disappear. His statement
is,
"ICBC is $181 million in the hole,
he says? Bullshit. A deficit is not a
debt."
Well, he is correct in stating that
a deficit may not be carried as debt
by the firm. This depends upon how
the firm finances its deficits.
However, the facts of the matter
are that ICBC has accumulated an
operating deficit of $181 million
after two years of operation. At
some point in its history this deficit
will have to be paid off or else the
firm will have to continue to
support this loss through
borrowings of other types.
This deficit does not represent
uncollected monies. It represents
monies that ICBC failed to charge
the users of its services. These
users were receiving services at
prices set below their costs. Part of
the legitimate costs of operating
the firm is its capital costs. These
costs represent the expenses of
used up capital goods in the
provision of its services. In some
future time these goods will have to
be replaced. If they have not been
paid for as they are used then the
firm will have no funds with which
to replace them and will therefore
have to cease operations. Judging
by its operating record to date, this
may be the more viable alternative
in the long run.
In short, ICBC is presently (sic)
living off its capital, not its income.
This is analogous to an individual
living off credit cards and not
having enough income to pay the
debts. Sooner or later both are
bankrupt.
In conclusion, I feel it is not too
much to ask your writers to get
their facts straight before they
rashly wave their magic wand and
make $181 million disappear.
Gary Moore
commerce 4
You say the $181 million deficit
does not represent uncollected
monies. Wrong. The NDP
government had planned to turn
over to the Insurance Corporation
of B.C. revenues collected from a
gas tax. It would have amounted to
about $125 million. The Social
Credit government is doing this,
but spreading it over three or four
years. Tbe object of the huge increases, of course, is to pay off this
amount and to stop subsidizing the
corporation.
The question is not whether
under 25 drivers should be "subsidized" through low insurance
rates because ICBC's own figures
prove only that under 25 drivers
bave a higher percentage of
penalty points; not accidents, not
high insurance claims — that is
only conjecture.
The question is whether ICBC
should be subsidized at all. The
NDP government believed it
should and implemented a gas tax
fer just that purpose. The Social
Credit government does - not
believe it should, but is collecting
the gas tax anyway.
Pooh 3
To Dana Vogel, Physical plant;
I am a male driver under 25,
getting hit harder than anyone else
and complaining fervently. I have
held my driver's license for two
years and have driven my
Volkswagen over 30,000 miles in
that time. Yet I have never been
stopped or ticketed by the police,
neiterRsapinvolved in an accident
and neve^tmade a claim on my .
is:>t.;..m'imsmmm: -v*
insurance. Nor do I drink alcohol.
Yet I face an increase in my
already high insurance of 170 per
cent. Why?
Why must I pay for the actions of
others? Why should other equally
guiltless drivers pay for the actions
of others? Surely the ones who
should pay the exorbitant rates
should be those causing the accidents and making the claims —
Hie individuals, not the age or sex
group.
In this enlightened age of
equality, it is an offense to
discriminate against a person
because of his or her sex. Nevertheless males continue te be
discriminated against! But women
drivers are not responsible for all
those nasty accidents, you say?
Nor am I, Dana, nor am I.
Stephen Hinde
science 4
Thanks, but
Thank you for the picture of the
Vancouver School of Theology in
the Friday (Feb. 6) issue of The
Ubyssey. There are, however,
some ambiguities expressed in the
caption below the picture, which
make it somewhat deceiving.
The school does not bask in the
sun as a mere ivory tower of peace
and serenity. Students and faculty
are deeply concerned and involved
with the issues that confront our
society today.
Besides the rigor of the
academics involved in the doing of
theology in classrooms, the
majority of the students are also
actively engaged in work ranging
from making Habitat a meaningful
event this summer, to volunteer
work at various hospitals to involvement in organizations
dedicated to world peace.
Faculty are involved in helping
to shape the direction of the church
and society by their involvement
ranging from ethical moral
decision-making (e.g., euthanasia)
to continuing education for the
pastorate and lay people.
We attempt to be part of the
gusts that do indeed try to blow
away the smog that clutters not
only the Lower Mainland but
society at large. And we are deeply
interested in the direction in which
the wind Wows away the smog.
The issue is not the question of
whether the church should be
actively involved in society;
rather, the question is how should
the church, which professes Jesus
Christ as Lord, be involved in the
shaping of society.
How can we as Christians be both
responsible to the word of God and
also remain responsive to the
needs of our society? These are but
a few perennial issues that face the
student of theology and involves
the church of Jesus Christ in the
world.
To coin a phrase, "theologs" are
approachable. We are not a self
propagating group. In part, the
direction of our society shapes our
ministry. This makes us interested
in your concerns, be they personal,
theological or pedestrian. Let me
extend an invitation to all people to
the Open House of our school
during the week of Feb. 29-March
6. Our horizon, you will discover,
does not stop at the north shore
mountains.
Rick Post
VST
Premiums
Rather man everyone (single,
married or otherwise) paying the
exorbitant ICBC insurance rates,
why doesn't the government make
those with bad driving records and
car accident records pay the high
premiums?
If someone (whether or not he is
under 25) wants to smash up
his/her car, then he/she should pay
the high premiums, not the good
drivers.
I'm sure that the government (or
the corporation) would not be at a
loss.
Art Luedey
rec 3
THE UBYSSEY
FRIDAY, FEBRUARY 13, 1976
Published Tuesdays, Thursdays and Fridays throughout the
university year by the Alma Mater Society of the University of
B.C. Editorial opinions are those of the staff and not of the AMS
or the university administration. Member, Canadian University
Press. The Ubyssey publishes Page Friday, a weekly commentary
and review. The Ubyssey's editorial offices are located in room
241K of the Student Union Building. Editorial departments,
228-2301; Sports, 228-2305; Advertising, 228-3977.
Editor: Gary Coull
Marcus Gee is a dipshit. Everybody else is great, especially Dave
Wilkinson, who holds the copyright on this masthead. Sue Vohanka, Ralph
Maurer, Doug Rushton, Chris Gainor, and even Gregg Thompson agree.
"There is no doubt in our minds," screamed Heather Walker, Matt King,
Paisley Woodward, Bob Diotte and Bob Rayfield, that Marcus is indeed a
dipshit." Anne Wallace, Susan Borys and Doug Field collaborated with the
notorious Mortons, Greg Strong and Bruce Baugh in passing an
anti-character assassination bill  . . . and peace ruled once again. Friday, February  13,  1976
THE      UBYSSEY
Page 5
But students don't get results
Teachers evaluated by questionnaire
In recent weeks The Ubyssey has
examined tenure at UBC and the way tenure
decisions are made. The stories strongly
indicate that a professor's teaching ability is
not given much priority in tenure decisions.
One UBC faculty, the faculty of science, is
moving to correct the situation and is introducing comprehensive teaching
evaluation in some courses this year. Below,
Ralph Maurer outlines the program and
some of the problem areas.
By RALPH MAURER
Everybody runs into a lousy teacher at
one time or another at university.
Usually students run into more than one.
Why? Doesn't the university care whether
profs are good teachers or not? Is academic
performance all that's important? Most
students must have felt this way at one time
or another.
Most faculty members do think teaching
is as important as academic performance.
If that's the case, why, then, are there so
many out and out bad teachers — people
who put students to sleep without imparting
any of their knowledge?
One reason is that teaching ability is
difficult to quantify. How does the university
know if a teacher is good or bad? In most
cases, all the university administration has
to base decisions about teaching on is
hearsay.
Lousy teachers get tenure all the time;
but incompetent academics rarely or never
get tenure.
That'sbecause academic prowess is much
easier to measure than teaching, and a
prof's peers are the best judges of that.
A prof must have a thorough knowledge of
"his or her field, must do a certain amount of
research into that field, and must impart
ideas or discoveries to other scholars in the
same field.
A good measure of his or success is to find
out how much research work a prof has done
and how often a prof has published articles
in academic journals.
But how is teaching ability to be judged?
There are no easy, quantitative guidelines to
be applied.
Clearly, students are the best judges of a
prof's teaching ability. But as has been
pointed out in The Ubyssey in recent weeks,
student influence in tenure decisions is
severely limited.
In most faculties, this student input
consists of a few questions in a course
evaluation which students are asked to fill
out towards the end of each course.
But these evaluations have their
problems. First, a lot of students —
especially students in courses with lousy
professors — don't go to their classes any
more by the end of the year.
Second, students often don't care enough
either way about their course to spend a
great deal of time or energy filling out the
forms.
Third, most forms ask students to rate
their profs in various areas on a scale of one
to five, this has drawbacks when something
as subjective as teaching ability is being
examined.
Consequently, tenure advisory committees and the people who make tenure
decisions often ignore or downplay the
results of course evaluations. Those people
claim that evaluations tend to be inaccurate
reflections of a prof's teaching ability.
But at least people aren't giving up on a
solution to the problem.
The science faculty at UBC, for example,
is introducing teaching evaluation forms to
be distributed at the discretion of profs or
departments for science students to complete.
The science teaching evaluation system is
in its embryonic stage. It's a positive step
because the science administration has
recognized that a problem does exist, but
there are major problems in the solution.
But first, here's how it works.
In 1974, under pressure from both profs
and students, science dean George Volkoff
established a committee to examine
teaching evaluation.
The teaching evaluation committee was to
establish a method of evaluating teaching
ability and make recommendations to the
science faculty committee, which consists of
all science faculty and about 25 per cent
student representation.
The committee was not given any power
— it was to be, and is, purely an advisory
committee and its recommendations are not
binding.
This year, the committee consists of nine
science faculty members — one prof from
each  department —  five  students,   and
chairman Nathan Divinsky.
And after two years of experimenting, the
committee has come up with a uniform
teaching evaluation form available to all
science departments.
The questionnaire is unique because it
asks questions not only about teachers but
also about the students.
The reasoning behind that, according to
zoology prof and committee member Jim
Berger, is that a student's opinion of the
teacher depends largely on what the student
expected from the course, why he or she is
taking the course (whether it is an elective
or a degree requirement), and how well the
student does in the course and in university.
The needs, wants and abilities of students
are tabulated with student opinion of
teachers in this questionnaire.
Committee members are satisfied with
the questionnaire, which they finalized after
several drafts.
The questionnaire will now be sent to all
departments in the science faculty. But
individual profs will decide whether or not
they wish to use the questionnaire..That's
one of the prdblems.
"This is my beef," said Bob Salkeld, new
science undergraduate society president
and a member of the teaching evaluation
committee. "Only the good profs will use it
and the poor ones won't".
Salkeld has been a committee member for
two years and the voluntary aspect of the '
questionnaires is his major complaint. In all
See page 15:, MANDATORY
Letters
Yo-yo
Last Wednesday night we had a
most enlightening experience that
we feel we should share with our
fellow Alma Mater Society fee-
paying students. In our capacities
as student senators we approached
the AMS council to attempt to
regain their collective approval for
something they supported in October, opposed in December and
reconsidered in January, nearly
deadlocking 50-50 in the process. In
fact, the abstentions in the last vote,
.taken were enough to have swung
the balance either way.
So, understandably confused as
to exactly which stand they might
wish to take for the next senate
meeting, we went in to council
chambers Wednesday night.
After elaborate rhetoric, points
of order, personal insults (which
one arts rep pointed out were quite
"derogatory," whatever that
means!) and self righteous indignation, we discovered that the
AMS yo-yo is still functioning as
well as ever.
In closing, with the utmost
respect for our AMS council
colleagues, we would like to
congratulate the student body for
the excellent insight they showed
recently in passing a new constitution that effectively cuts the
string off this AMS yo-yo once and
for "all. Now maybe we can get
something done next year.
Ron Walls
Gordon Funt
student senators
student privileges. With the
current 4 p.m. booking deadline,
these privileges are effectively
revoked.
Although I realize that there is a
great demand for recreational
facilities on our campus, every
student of the university should
have equal opportunity to register
his/her application for a booking of
these facilities.
The booking ruling as it
currently stands may be alright in
principle, but the fact remains that
it discriminates against those who
are unable to register during the
allotted time. It should be noted
that each and every student
currently attending UBC could be
faced with this same problem in
their near future.
Since it may be too much to
expect a change in policy between
now and April, it would be nice to
know that there are others who, in
sharing my concern, will take
appropriate steps to eliminate this
discriminating policy by September, 1976.
D. G. Hunter
Logic
Rec
This letter is to advise you (the
recreational steering committee)
of my concern over the availability
of recreational facilities at UBC.
As you are aware, the bookings for
these facilities must be registered,
in person, prior to 4 p.m., Monday
to Friday. For myself, and other
students in my position, this is
impossible to do.
I am a graduate of the university
and am working from 8 a.m. to 4
p.m. I am continuing to study and
have attended night courses
throught this and the last fiscal
year. Irregardless of the time
which the course is presented, or
whether I am a graduate or not, I
. am still a student of the university
and as such should be entitled to
This letter is written in response
to the convuluted logic presented in
your editorial comment of last
week entitled Picket ICBC for
Justice" (Feb. 5). The article (sic)
contains one sentence that is above
criticism: "In their actions
governments should promote
justice for all."
I fail to see the connection between this statement and the ICBC
car insurance rates. You seem to
feel that it is a divine right of
western man to drive a car; that
this right along with freedom of
religion and speech simply cannot
be violated.
It is interesting to observe this
indignation of many students
caused by the proposed ICBC
rates. It indicates where people's
values really are. For the majority
of people on this campus who
drive, the car is merely a convenience. There are very few
students that can't survive without
a car. The bus service in Vancouver is fairly good and available
to all those willing to "lower"
themselves and sacrifice a little of
the convenience and privacy that a
car offers. Driving is not a right or
a necessity, but a luxury, which
none of us may be able to afford in
20 years' time.
To suggest, as Dennis Cocke and
many students have, that car insurance should be subsidized is
truly absurd The argument given
is: If medical services are subsidized, why: not insurance? This:
makes about as much sense as
subsidizing tobacco companies so
that everyone can afford to smoke.
Another flaw in your logic is that
you are naive enough to suggest
that if the rates are set too high, a
sufficient number of people will
quit driving to cause ICBC
financial difficulty. This is nonsense. To the average citizen in
modern western societies (with the
exception of those from Los
Angeles) the car is second only to
the wife and people will drive no
matter what the cost.
Your statement about the
Socreds not showing any concern
for lower income groups is
misleading. If a person belongs to a
lower income group then he or she
will probably not buy a 1976 model
car.
The insurance rates for driving
an earlier model car are by no
means outrageous. They are about
the same as those the majority of
Canadians have been paying for
years. The drivers that are hit the
hardest are those under 25 driving
late model cars and this seems
reasonable, considering these
drivers have the highest accident
rate and are from an upper income
bracket.
Paul Vanderham
science 2
Misfortune
•'. it tias* be^fe^gftWiortofte to
have missed seeing fe engineers
in action before.
It was my bad fortune to be in the
Pit on Monday evening (Feb. 2)
when a collection of 30 or so of
these infantile creatures were
making their presence felt by
showering paper darts everywhere
and screaming inane choruses in
which the word "shit" was
prominent.
The Pit manager was
mysteriously absent on this occasion. I would like to know why
these hooligan antics are tolerated
by "the authorities." It was obvious that mine was not the only
enjoyment being ruined by these
children. Is everyone" 'at UBC
completely gutless in the face of
the red hordes?
Francis Esmond
arts 4
Gears
Certain engineering week '76
activities have been labelled
sexist. We have other terms to
describe these events — such as
entertaining, typical and, above
all, "humorous."
We must admit that the front
picture of the Red Rag was
definitely in bad taste. But it seems
to us that the written content was
small enough that it would never
have been noticed unless
deliberately picked up and read.
The condemners of this publication
obviously read enough in order to
make such a judgment.
Could it possibly be that they
enjoyed it but, as "liberated"
women, felt obligated to condemn
it?
We thought that the idea behind
women's lib was to let each woman
decide for herself what she wanted
to do and be allowed to do it. Lady
Godiva was not forced to ride upon
the horse. In fact, she appeared to
us spectators to be enjoying every
minute of the ride. Isn't it strange
that about half the people watching
were women?
This women's office (sic) is
voicing the reactions of the other
women on campus who are
prepared tatake the humor of both
Lady Godiva's ride and the Red
Rag in "the spirt in which it is
offered."
Carol Goulet
Sue Hoyles
Marilyn Hynes
Diane Morris
BevPettersen
Janet Ryan
the alternate
women's office collective
tell someone
you love that roots
is having a sale
Special Valentine's Day
Sale 10% off all styles Page 6
T HE      UBYSSEY
Friday, February  13, 1976
Resnick slams firings
From page 1
board of governors for a similar
reason.
Thomas said the three members
of BCIT s board were fired because
they said "staff, students and the
community should have some say
regarding the programs offered at
the institution."
"The three board members who
were fired at BCIT were in favor of
democratization of that institution," said Resnick.
"It's one thing for the education
minister to appoint people to these
boards, but it's quite different to
revoke the mandate of people who
have two- or three-year appointments."
Heather McNeil, speaking for
the Association of University and
College Employees, said the union
wanted to fight with the students
against the increases.
Premier   Bill   Bennett   said
Thursday that under-25 drivers
who had less than five penalty
points on their drivers' licdhses
and who had not made any claims
for accidents would be eligible for
a 25 per cent refund on their ICBC
rates. v
But Thomas said the rates would
still be excessively high.
"If you're paying $1,000 insurance, it doesn't make much
difference if it goes down to $800,"
she said. "That's still not possible
if you have a student's or a working
person's income."
Thomas also said she wondered
how ICBC planned to implement
the refunds.
"They've sent out the notices (of
the new rates) already. Are they
going to redo the rate structure?"
But ICBC spokesman Bev
Penhall said Thursday he did not
anticipate any problems with
implementing the refunds.
"We keep a record of all the
CITR wants Sept. FM,
faces money problems
Campus radio CITR hopes for an
FM cable license by September,
but may be forced to canvass the
off-campus community for
operating funds, CITR president
Richard Saxton said Thursday.
CITR's application to broadcast
over Premier Cablevision will be
heard shortly after the Canadian
Radio-Television Commission
resumes hearings here March 1.
Saxton said permits will likely be
issued within six months of the
hearings.
If the CRTC grants CITR its
licence, the station "could be set up
to broadcast via FM cable in six
months," Saxton said.
The only problem is money.
Piping the station's signal from
the UBC studios to Canadian
Wirevision, the Vancouver
distribution point, will be the
major cost, but Saxton said he still
doesn't know just how major it will
be.
"It'll be a lot," he said. "If we
PANGO PANGO (UNS) —
Thousands of blorgs mailed out
their Mr. Grelber's Day cards in
preparation for the tiny island
kingdom's national day of hatred,
Feb. 14.
VANCOUVER
INSTITUTE
lectures
|DR. VIRGINIA TRIMBLE
University of Maryland
Sigma Xi lecturer at UBC
COSMOLOGY - MAN'S
PLACE IN
THE UNIVERSE
Or. Trimble, who divides her time
between the University of
Maryland and the University of
California, will discuss the latest
thinking on the origin and
structure of the universe.
SAT., FEB. 14,8:15 P.M.
Vancouver institute
lectures take place on
Saturdays at 8:15 p.m.
on the ubc campus
in lecture hall no. 2
instructional resources
centre
admission to the general
public is free
can't get enough from the Alma
Mater Society we'll have to go to
the community."
Adding to CITR's financial
burden is the regulation banning
advertising on student FM
stations, which is one of the conditions of obtaining a licence.
Total costs for the FM conversion will be included in CITR's
budget, to be presented to the AMS
probably before the CRTC
hearings, said Saxton.
The AMS has so far been the
source of 80 per cent of CITR's
funds.
points already, so it shouldn't be
too difficult to send out refunds,"
he said.
McGeer was originally
scheduled to open the McPhee
Convention Centre adjoining the
Angus building at 3 p.m. Thursday.
But he cancelled his appearance
late Wednesday afternoon after the
dedication ceremony was delayed
until five o'clock Thursday to allow
guests to attend H. R. MacMillan's
funeral.
McGeer, who sent deputy
education minister Walter Hardwick to open the convention centre
in his place, claimed he could not
attend the ceremony because of the
time change.
In a telegram Thursday to the
AMS and The Ubyssey, McGeer
said he was attending "urgent
budget meetings in Victoria affecting education" instead of
coming to UBC.
He also said he was willing to
meet with student groups, but "so
far I have received no requests for
such a meeting."
Van Blarcom said the AMS and
the B.C. Students Federation want
to arrange a meeting with McGeer.
AMS co-ordinator Nadine McDonnell said she had spoken to
McGeer's executive assistant Jim
Bennett about a meeting.
"We can meet him next week to
discuss ICBC, or in the week of the
twenty-third to discuss general
student affairs," she said.
McDonnell said she thought the
proposal was an either or choice,
and McGeer would not discuss
ICBC with students after next
week.
"We haven't decided which
choice we'll make yet," she said.
McDonnell said the AMS does not
know yet how many students will
meet with McGeer.
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Bergschrund and man's quest
By ROBERT DIOTTE
This is a difficult book for the
western mind to understand.
Bringhurst has ingested the logic
and the science of western man
and transformed them into a tough
universe predicated on substance,
light, dark and motion, the motion
which produces music, time and
laws. The motion which dazzles
and confuses the western mind
because it is intrigued with stop,
with quantification and comprehension. With an ethics based
on the right way and the wrong
way or, at least, the best way
possible. With a philosophical
prejudice toward utility and the
pragmatic.
Robert Bringhurst,  Bergschrund,
Sono Nis Press, paper, $4.
Taking up where Ezra Pound left
off, Bringhurst pushes us out
beyond taxonomy and equivalence
relations. He guides us to the
bergschrund, the point where rock
and ice meet in thin air. It is cold
there and barren and the polarities
are reduced to what is in motion
and what is not. To substances, in
short, but substance that is underscored by the techniques of the
mind. The mind's logic and the
mind's perception, the mind's
capacity for metaphor, this teeters
on the edge of its content, confronted with an absolute.
. An absolute what? Absolute
motion, energy, the detail of mind
alive and probing edges, an
historical and existential absolute
because this is the reality we have
always known. A Cartesian certainty: I think, therefore, I am.
In the Identity Moving,
Bringhurst writes through the
character Roe Bard of Burring
Hoarse, "I am moving/You who
aren't leaving,/you are the ones
who have destinations." The accent focuses on the moving, not the
staying. To the western mind
settlement and destination are the
definition of identity:   I  live  in
Vancouver. I am a student.
What Bringhurst gives us here is
something else, something new in
the sense which things are new,
this sense of moving as identity. It
is something which has become a
concern to the generation of the
BRINGHURST...
transforming logic and science
'60's and the early '70's. And it
finds startling expression in
Bergschrund. Existential, it lacks
ethics. But what it is rich in is in
intelligence and interest, in appreciation and awareness. Rich in
a sense of what is basic, fundamental.
Myth, the totemic, the magical,
Bringhurst draws on these and
fashions out of them a concept of
nothingness that harkens back to
the symb61ists' notion of burning
with a cold hard flame. It is much
more than that but it has its roots
there. This nothingness includes
the existential awareness of
negation and it includes the
mathematical property of the null
set.
In ' the poem Hachadura, the
culmination, in many ways, of
Bringhurst's art and perception,
nothingness returns continually as
the dominant motif.
Part V catalogues the west and
its intelligence:
In the high West there is
everything
it is that the high West consists
of,
mountains,
named animals and unnamed
birds,
mountain water, mountain trees
and mosses, and the marrow of
air
inside its luminous blue bone.
From there the poem moves to a
series of imperatives.
Measure from the surface,
measure from the light's edge
to the surface of the darkness,
measure
from  the  light's  edge  to  the
sound.
Measurement being the west's
basis of rationality, the poem calls
on us to measure the un-
measurable. It calls us to an
awareness of the unmeasurable
extant in the universe of the
measure, the legal, the known. In
short, it calls mind to an awareness
of its own potentiality; the
capacity of mind to bridge the
physical with the metaphysical
rand contain a unity of its own.
Part III articulates the reaches
of this potential.
Nothing: that is that the edge
should come
to nothing as continuously
and cleanly and completely as it
can.     '
And the instruction
is given, therefore,
to the archer, sharpening
the blood and 'straightening
the vein: the same instruction
that is given to the harper:
Tap.
Strum the muscle.
Breathe.
And come to nothing.
Embodying both the labor of the
Live say's beginnings
By SUSAN BORYS
There were seven houses, each
one larger than the last. Like the
first box in a Chinese game, you
could not be sure how it was going
to fit in with the others. Only at the
end would you see the symmetry of
the whole.
Such is the case in Beginnings, A
Winnipeg Childhood. In a collection
of 15 short stories, Canadian poet
Dorothy Livesay combines her
vivid imagery with childhood ■
experiences, presenting an oddly
familiar world through the eyes of
Elizabeth, the young heroine.
Elizabeth herself is an embodiment of generalities, and lacks
the magnetic qualities that could
emboss her from the pages onto
our memory. Too delicate to attend
a regular qlass, round-shouldered,
still dressed in clothes she is
growing into, there is nothing
particularly charming or abnormal about her. The attraction is
a growing feeling of identification
with the trials of growing up. The
obvious separation of adult
authority and child obedience, the
role of younger sisters and
brothers, the indifferent friendships, all tug away on the reader's
memory. Unfortunately, the pull is
not strong enough.
Elizabeth's (or Livesay's) early
memoriesare disappointing. While
they contain enough pictorial
color, there is not the same
gratification of reality that appears later on in the book. In fact,
you begin to wonder if Livesay has
actually searched her past
recollections for these memories,
or simply represented what she
would like to have been. Imaginary
or not, she shows a familiarity with
her setting: "A bright Hudson's
Bay blanket, and the smell of
tobacco, Pear's soup and stiffly
laundered shirts" that belonged to
"Father's room."
There is a comfortable simplicity to Beginnings that asserts
itself in the fluid translations of a
child's life. Almost provocative in
her style, Livesay relates
Elizabeth's transitory world to her
reader without explanation:
Elizabeth felt as if she were a
ball being tossed between her
father and mother. She didn't know
who she was. But anyway, there
were no more gym classes; and so
more time to read books.
Even the tragic moments do not
seem cruel, but appear as mere
stages in the child's life. The death
of a baby brother is taken with a
resolute calm and seems less
disturbing than having to spend the
first night away from home. Yet-
the author does not see this as
much as heartless as it is apathy
for a world that surrounds
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archer and the harpist (I haven't
made up my mind about the
quality of this rhyme yet), this
nothing contains the diamond
clarity of the mind recognizing the
essential unity of all experience
inside the border of an end and a
movement toward that end. But
Bringhurst doesn't ask us to formulate a rationality of the end. He
asks us to appreciate it. To see the
energy that has gone into it. To be
aware of its detail and its content.
He toys with perception and the
forms of logic from his elevation in
this nothing. He plays with them
because they are the substance of
the nothing. Chapters II and III of
the book are devoted to his study of
the Greeks and the Old Testament.
Dramatic monologues and
narrative poems, epigrams and
morality plays, these sections
display the depth of the poet's
learning.
In the poem Pythagoras,
Bringhurst restates the man's
philosophy, the way his mind
worked. He gives us the
dichotomies which Phythagoras
held and contains them in the light-
dark polarity. Then, he counters
the man's thought with a glimpse
of a possibility outside Pythagoras.
Octaves of silence
do not exist and do not echo.
Intervals
of darkness disassemble
endlessly. Do not drink
the darkness, said Pythagoras,
the soul cannot become pure
darkness.
Possibly. Possibly.
The suggestion is the soul, may,
in fact, be able to approach and
become the darkness. Dark, in
Bringhurst's conceptual
framework, is the root of negation,
the opposite of light, of course,
which gives us form, sound, perception and logic.
In Essay on Adam, Bringhurst
teases with another look at the fall
of man from pristine innocence. He
gives us five intellectual
possibilities for interpreting the
fall. Adam fell. Adam was pushed.
Adam jumped. Adam looked over
the edge and got sick to the
stomach and the equilibrium.
Nothing happened: the Adam tale
existing in myth.
All the alternatives bear an
element of plausibility. Bringhurst
dismisses three of them, however,
out of hand. A clumsy; Adam
tripping from innocence the poet
finds "too simple." If Adam looked
and became unsteadied, he was
afraid. The poet says this alternative "has been tried and proved
useless." Not wrong but useless.
The last the poet dismisses as
being too dull.
That leaves the leap and the
push. The poet keeps the issue
open, posing the dilemma in terms
of "whether the demons/work
from the inside out or from the
outside in: the one theological
question.
What fascinates me about this
poem is the complexity made
simple. That and the utter detachment the poet achieves. The whole
derives its strength from being a
"theological question," leaving the
question of whether or not the issue
is of any importance. It is the
knowledge and the reasoning
process which is the theme of this
poem.
Bringhurst is a scholar in the
sense that Pound was a scholar.
Both share a similar interest in
arcane languages and learning.
Undoubtedly Bringhurst's work in
the cultures of Islam has influenced him greatly. I cannot say.
Certainly his eye for detail and
metaphor, the variety of rhythmic
scales and his concept of the
nothing which does not derive
totally from western thought
suggest that he has drunk deeply
from the east.
Bergschrund is a difficult and a
beautiful book. It leaves me with a
sense of awe, a sense of the
heights, mind heights and physical
heights. I'm inclined to believe
Bergsschrund will turn out to be a
very important book. There is a
unity embodied here which, it
seems to me, sews the science, the
history and the experience of the
west into a single tapestry.
We shall see.
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Page Friday, 2
THE      UBYSSEY
Friday,  February  13,  1976 V ^*kT #S% mp% W^ ^
IN T Jc#K fr^
Tilts week, Robert Diotte interviews writer Audrey
Callahan Thomas. Currently teaching In the Creative
Writing department, Thomas is beginning to receive both
popular and critical acknowledgement for her work in
Canada and the US. Her latest book is Blown Figures.
By ROBERT DIOTTE
Audrey Callahan Thomas, the author of
five books, is a product of the '40's and '50's.
That period is remembered as a bleak time
in the history of the women's movement.
The movement had completely disappeared
after the '30's, until its revival in the '60's.
By her own definition an "outsider," an
individual finding her personality on the
periphery of the main stream, Thomas,
nevertheless, underwent the socialization of
a female growing up during that period.
"I discussed intellectual things with
women from the time I was 17 years old,"
she told me in a recent interview. "I was
encouraged to do this. This was part of my
early background. But that meant putting
you down, saying shut up, let's watch the
ball game. You know, you were supposed to
be pretty and not have a mind."
Born in Binghamton, New York, she took
a job in an insane asylum when she was 17.
That experience went into the second half of
the novel Songs My Mother Taught Me. Her
education included several prestigious
women's colleges in the States, one of these
being Smith. She spent a year enrolled in
Andrew's University in Scotland. She taught
school in England where she married. She
came to Canada with her husband who had
taken a job teaching fine arts in British
Columbia.
No longer married, Thomas has three
school age daughters. They call British
Columbia their home.
Thomas' most memorable creation to
date is the character Isobel. Through three
books, Mrs. Blood, Songs My Mother Taught
Me, and Blown Figures, she has drawn a
character who carries with her all the
substance of her upbringing but finds it
inadequate to deal with the experiences she
encounters.
The books span three continents, Africa,
Europe and North America. Isobel travels
to Africa with her husband who has taken a
job there. She has a miscarriage there. The
circumstances of that personal tragedy and
their repercussions are the stuff of Mrs.
Blood and Blown Figures.
I visited Thomas recently at her Kitsilano
home to talk with her. What follows is the
highlights of that talk interspersed with
excerpts from the Isobel books, Mrs. Blood,
Songs My Mother Taught Me and Blown
Figures. All three are available locally
through Talon books.
Oberon books is scheduled to re-release
her first collection of short stories, Ten
Green Bottles, as well as a new collection of
her stories.
Page Friday: Writing is by nature a very
lonely occupation. Why does Audrey
Thomas write?
Thomas: When I'm not lonely. Well I was
lonely. I spent a lot of my life lonely. I
always felt very funny as a child. I had a
very strange childhood and I always felt
somewhat as an outsider. I write now
because, well, why does anybody smoke?
It's probably just as bad for you. Or maybe
just as bad for the people around you, I
should say.
I'm obsessed with it now. I can't imagine
doing anything else. I don't know how to do
anything else to begin with. But I can't
imagine doing anything else. My life would
be easier if I didn't write. I have a very
happy family life and in the summer I don't
write at all.
But I support myself with my writing. It's
a job, it's a vocation. It's my avocation and
my vocation. But it is lonely because you
have to isolate yourself. I'm a professional
now. As well as an amateur in the strict
sense of the word. Writing is my craft and
it's something that I have to keep trying to
get better at. And that involves several
hours a day.
I'm very much an autobiographical
writer. I just heighten and change. But a lot
of it is me working out who lam.
*    *    »
From Mrs. Blood:
We will call this "doing our exercises."
And all the others could swim so much
better than I and wore green caps if they
THOMAS . .. writes of women
were intermediate or red if they were advanced, and some of those were also
working toward their Lifesaver's. So you
must understand that I was the only one
with a blue cap in that group and my buddy
was a real drip from the East Side whose
mother made her wear noseplugs and was
always getting out of the water for some
reason or other, and of course I couldn't go
back in until I found another buddy.
PF: Africa dominates both Mrs. Blood
and Blown Figures. How did you come to be
involved with Africa?
T.: My husband got offered a job. I was a
dutiful wife who went everywhere with her
husband which was fortunate for me
because I got to have all these nice experiences.
From Blown Figures:
"Africa," she said. "There it is." People
clustered around the rails. Africa! Those
whose first sight it was felt a shiver of —
what? excitement? fear? — at this heat
smudged vision. Those to whom Africa was
merely,another word, or so they thought,
still could not take their eyes away. For
them, perhaps, it was the universal cry of
Land! rather than the specific thrill of
Africa! but something drew them to the
rails. Something made even the hungriest,
the most ordered and regulated, ignore for a
minute the mellow announcement of the
luncheon chimes, which the young cadet
beat up and down the corridors and decks.
*    *    *
PF: Isobel is a world traveller. What
makes her different from other world
travellers in literature?
T.: Your world traveller, it seems to me,
in European literature has been a man. It
seems to me that the myth of Odysseus, if
you like, is a male myth. Penelope stays at
home and waits for him to come back. But
I've been thinking of trying to write some
kind of spoof of this where Penelope is the
traveller. What does it do to our myth if the
women gets up and goes?
Isobel is trapped in both worlds. She's the
wanderer and she's also the wife-mother,
whatever. Isobel leaves her children behind
though. She rejects the kind of domestic life,
just as Odysseus did, to go on her quest.
Perhaps it's possible to take the children
with her. I don't know. Maybe Alice (Alice in
Wonderland) as a Christ-type figure always
has to be alone. She hasn't had a faithful
squire, or that kind of companion figure with
her. I wouldn't mind a kind of female Sancho
Panza figure. In a funny way, when Isobel
meets, up with Delilah, you have the two
female figures travelling together. But
Delilah's hardly faithful to anybody.   ,
PF: What makes the world traveller?
T.: Maybe a kind of restlessness. I like
travelling and I like travelling because you
are really up against it. You've been
plucked out of your stereo-thoughts and into
a new landscape which is a bit like a dream.
Where you sit down on a chair in a dream
and the chair turns into an elephant.
This is the strange thing that happens in
dreams. You're talking to one person and
that person turns out to have another person's face. There's a kind of insecurity like -
in a dream where you're put into this landscape which is familiar but not really.
I mean everybody's got two arms and two
legs. Well, that's not true of course. Lepers
and amputees. But people are people are
people are people. Suddenly they're talking
French or they're black. Or it's hotter than
it's ever been.
You have to think again about how you
define yourself. Who are you? I mean, I can
sit here and say I am Audrey Thomas and I
have three kids and I have friends who know
where to find me if they want me. And if I
don't show up after several days they41
come knocking at the door seeing if I'm all
right. You put yourself in a totally strange
environment and none of those things hold
true.
From Blown Figures:
Before us, Miss Miller, we have four
objects:
A painted woman reading a real
newspaper
A real woman reading a painted
newspaper
A painted woman reading a painted
newspaper
A real woman reading — ah, you guessed
it!
The point is not which is which but does it
really matter?
■ *    *    *
T.: Travelling is a way of writing yourself
into another novel other than the one you're
stuck with. You can change your name when
you travel. I've done that. I've told people
I've had a different name. What difference
—robert diotte photo
WOR KS ... of Audrey Thomas
does it make? Who's going to know? I'm
much braver when I travel than when I am
in real life.
PF: Isobel is a very conventional
character in her thinking patterns and her
behavior.
T.: Extremely conventional. I think most
women of my generation, which means you
grew up in the '40's and the '50.'s, right, are
and were. She's supposed to really want
security but she's also fighting against it.
She wants to be loved, all of us do, but she
wants to be loved as Jason's wife and the
children's mother as well as Isobel.
This is part of her problem, she feels that
she doesn't do any of these roles very well.
And that is a dilemma, I think, of modern
woman. She has a good mind but she has
conventional reactions to emotional
situations. And a basic mistrust as well.
She's interesting in that she honestly
believes she can exorcise her demons as she
says. She has an awful lot of guilt that she
carries around with her. She almost likes it.
It makes her life interesting.
From Songs My Mother Taught Me:
There were no preliminaries. No endearments or kissing or caresses. I just
opened my legs and he thrust himself into
me.
"Oh, Isobel," was all he said. "Oh, Isobel.
Jesus." And I thought, triumphant on my
mountaintop of pain and dope, looking down
at the tiny figures tumbling in the grass, "So
this is what it's all about" and began to
laugh again for the sheer delight of at last
doing something that I had wanted to do for
so long and which was, after all, pace
mother, such a slippery, strange and utterly
delightful experience.
"You have a dandelion," he said, "stuck
up your ass."
I peeled it off and gave it to him,
shameless, utterly wanton, dressed only in a
butterfly bandage and a handkerchief full of
ice.
* *    *
T.: Isobel has travelled a lot. And she's
also known a lot of men. And she's very
cynical. Men seem to like her. They seem to
be attracted to her because of her seeming
helplessness. Men are always trying to be
the black knight who rescues her or the
white knight who rescues her. But she
always rejects her rescuer. And that's to
rescue herself. She knows that that's the
only way that one can ever be truly rescued.
If you climb out of the hole yourself rather
than being pulled out.
She's really the Alice figure. George
Bowering in an article he wrote says
something to the effect that he sees all my
women figures in my fiction as Alice and
that it's Alice's good sense and education
that keep her sane in Wonderland. I think he
also says her lack of a sense of humor.
PF: But for Isobel it's her good sense and
education that keeps her insane.
T.: Oh, yes, she can never really let go.
She fantasizes about this Dutch boy, for
instance (in Blown Figures). She creates
these beautiful fantasies. But they remain
pretty much fantasies. She fantasizes about
just about everything. But it seems to me
that that's exactly what the Isobels do.
She's had an advantage, she's not the
ordinary housewife and that's a sad thing to
say. If she were the ordinary housewife
she'd accept her lot.
Somebody once called me a Scorpio
housewife and said that that's a contradiction in terms. I am a Scorpio and
Scorpios are supposed to be volatile,
creative people. That s a lot of bullshit but,
anyway, a Scorpio housewife does sound a
little strange.
* *    *
From Mrs. Blood:
We learned to make love noiselessly and
almost without motion, like mutes or ships
moving carefully through mine-filled
waters.
But sometimes the bed would creak and
the voice of Jason's mother v.ould call to us
from the other room, "Is that you dear? Is
everything all right, dear?"
See PF4: Thomas
Friday, February 13,  1976
THE      UBYSSEY
Page Friday, 3 intervie
Thomas
From PF3
"Halt. Who goes there?"
And then of course it was no
good.
PF: Isobel details a woman's
consciousness deeply involved with
her family and herself. Yet the
awareness is not feminist.
T.: No. Not at all. In some sense
women like Isobel can never be
feminists because they carry the
burden of the '40's and the '50's
with them. And they're not sure
enough of themselves. They want
to be told. They want some sort of
telling figure. Her awareness is a
way of exiting from the realities of
her own inability to deal with her
past. She simply can't deal with the
past. She can't let go.
* *     *
From Blown Figures:
When Isobel returned to the
hospital, to have her body scraped
clean of the last clinging scraps of
child. (Her child was dead and she_
was mortified. Her little goat
escaped. All that was left was a few
shreds, an embryonic finger
perhaps, a little lost eye. "Dead
Dead Dead and never called me
mother!"), she fell apart like
daybreak, her cries stained the
white sheets of morning. Later,
high on atropine, she waited on a
trolley in the corridor.
* *     *
PF: You can't be labelled as a
feminist writer. Do you think much
about feminism?
T.: Yes, yes I do] I met a woman
a couple of months ago who had a
button that said Wages for
Housework. I asked her where I
could get one.
I think about it a lot. I still feel
funny if I sit down to write and the
bed is not made. I'm not saying
that I don't sit down to write when
the beds aren't made. I do, but I
feel funny about it.
There's a lot of really stupid
conditioning. I feel funny when I
get aggressive and say I want
because mothers aren't supposed
to say I want. I get the feeling that
mothers aren't supposed to have
first names. They're supposed to
be mother.
And sometimes I suspect that
what men want is a mother to
screw. That's , the way their
mothers have brought them up.
And I do think it's only the women
who can break these patterns. The
mothers.
PF: The Mexican poet Octavio
Paz wrote that one of the most
important revolutions of the
twentieth century has been the
emancipation of women. Has
woman been liberated?
T.: No, I don't think so. Certainly
any woman below the middle class
is not free. The middle class
woman is beginning to stand up
and say look, don't tell me in your
$25,000-a-year job I never see you
because you have to support me
and the children. I don't care
whether you do or not. And the poor
man doesn't know what to do next.
But I've heard recently, for
instance, that they're cutting down
the subsidies to daycare. The
reason they are doing this is
because that will force women out
of work, back on welfare and more
men will be on the work force.
Therefore the Bennett government will be able to say that there
are more men employed now than
there were a year ago. And the
women will be sitting home watching The Edge of Night. They'll be
back in that terrible position of
getting a handout. I'm talking
about working class women now. I
don't think they're free at all. I
think the system is totally against
them.
From Mrs. Blood:
All flesh is glass. This is my body
which was riven, my body which
was roven — my flesh all scattered
and tattered and torn, and Rosie is
the riveter who nailed me there as
a totem in front of the door. And he
said why seek ye a living among
the bread. He is not here; he has
riven.
PF: The colors and the
metaphors in your work are
dazzling. Who would you say influenced you in your writing?
T.: Faulkner. Some Painters.
When I was writing Blown Figures
I was very much involved" with
studying the guy who, I can never
pronounce his name, Chirico, the
guy who, there'd be a shadow in the
picture and there was nothing to go
with the shadow, the shadow
relates to something outside the
picture, that kind of thing. And the
whole surrealist thing. Although I
don't think I'm a surrealist myself.
I really like painting. I'm very
interested in it. My favorite
novelists are Patrick White, some
of Doris JLessing, the earlier Doris
Lessing, Faulkner definitely.
But I think maybe all the visual
stuff and the metaphors may come
from being involved with visual
artists for years. I- never knew
many writers. Not until recently. I
know mostly, if anyone, painters
and sculptors. Not many of them
either. But some.
I have a strong visual sense as
well. I see colors psychologically.
From Mrs. Blood:
I keep a red washcloth in my
purse in case the children fall or
have a nosebleed. Red on'red — it
doesn't show, I shall steal out early
and gather flowers and bleed to
death on a carpet of hibiscus. And
from the garage where I am hiding
with the boy from down the street I
watch his sister mince along in last
year's first communion dress.
PF: You are teaching now. How
has this affected your habits?
T.: It's had a great change on my
writing habits. I'm a very severe
taskmaster on myself and when
the girls are at school I write. But
now with two workshops and some
tutorials a big hunk of my time is
taken away. I'm much slower.
Richer but slower. Like having
intellectual gout or something. The
rewards of the rich person.
PF: Would you like to continue
doing this kind of thing?
T.: Sporadically. I don't think
ever on a regular basis. There are
too many other things in my life.
Too many other jobs that I'm
already doing besides writing. I'd
like to come back to UBC at some
point. Maybe when my next novel
is finished. I wouldn't like to
commit myself for 10 or 15 years to
anywhere.
PF: How do you find the
Creative Writing department?
T.: I've been really delighted.
Pleasantly surprised. I was very
cynical like all outsiders are. One
thing I've discovered about myself
is that I have something to teach. I
always figured I had nothing to
teach. But if you've been writing
for 20 years you do, in fact, know
some of the tricks. You can say
look, this isn't working there.
Maybe try it this way. Or cut this
little bit off it. I do see where things
have gone wrong. Not always but
usually. And I can sometimes tell
students ways they can strengthen
something because I've been
writing for so long.
From Mrs. Blood:
It is impossible for me to see
other people as separate from
myself. Jason is my husband,
Mary, my daughter. Nicholas, my
son. I can only imagine what they
are thinking by imagining what I
would think if I were in Jason's
position — which is quite different
from imagining what I would think
if I were Jason.
PF: Why did you choose a small
press like Talon books to publish
with?
T.: Why did I choose them. Well,
I guess this is one of the few
political acts I've made. I wanted
to publish in Canada. Publishing in
the States Iwas getting fairly good
reception. But I live here. I'd seen
what Talon had done. They had
never done a novel. But I'd seen
what they had done with their
poetry. Very nice. I was very
impressed with what Dave
Robinson was trying to do. I met
him through some friends. We got
talking. New Press (Toronto) I also thought of. But I decided I'd like
to publish on the west coast as well.
And I've been really pleased with
what  they've  done.   They   do   a
beautiful job. And I've had some
say in what they've done. Which is
really a heady feeling for a writer.
An unusual feeling.
PF: Do you have any complaints
with them?
T.: No. The books are very expensive and therefore they don't
seem to get put on reading lists.
But then all books are getting
expensive.
The distribution has been a
problem but now they have an
eastern distributor. It has
definitely been a problem. It's a
problem that they are aware of.
Many of the small presses feel that
if the Canada Council is going to
give block grants for production,
they should also give money for
distribution. Otherwise it's only
half the battle. These small presses
do not have the money to hire the
kind of people that McClelland and
Stewart hire. And so distribution
tends to be bitsy.
PF: You call your decision to
publish with Talon a political act.
In what sense do you mean it's
political?
T.: It's a political act in that the
financial rewards are very small.
I'm saying I believe in Canadian
publishing. And I do believe it. I
don't want American publishers
here. Canada is a big enough
country to have an autonomous
publishing industry. Of course
when I went to Talon I was
already established which helped
out.
I think the small presses should
be encouraged. Wherever I go
people always say, you know, your
books are so beautiful. Talon
deserves to be congratulated. And
that's nice to hear.
the critics predicted it. the public
confirmed it. _
warren beatty
julie christie • goldie hawn /^W
<gg~ lee grant • jack warden • tony bill
„r,n.,ii,robert towne™.!warren beatty ,in„i„,j,r,„<*.•«„...uprichard sylbert
„„„,,„ trcpau! simon m>^>-<'^ warren beatty ,),,*<*«!byhal ashby
Irestricted.
Varsitu
224-3730V
4375 W. 10th
Warning:  Coarse and suggestive language.
R.W. McDonald, B.C. Dir.
SHOW TIMES: 7:30, 9:30
One day she met a man who loved beautiful girls . .
not all in one piece.
. but
ii
TORSO
59
SUZY
KENDALL
Sex and frequent brutal violence
Show Times 12:15, 1:50, 3:45, 5:40, 7:35, 9:35
/"^^^^SfflSP^
Vogue
91S GRANVILLE
.  685-5434
Nothing can top this for laughter as the carry, on gang get to the bottom of
the problem!
"CARRY ON  BEHIND"
Elke Sommer . Kenneth Williams
Show Times: 12:15, 2, 4, 6, 8, 10:00
Odeon
881   GRANVILLE
6827468
Gene Wilder . Madeline Kahn
"THE ADVENTURES OF SHERLOCK HOLMES
SMARTER BROTHER"
General:  Occasional  coarse Language.
R.W.  McDonald, B.C. Dir.
Show Times:  7:30,  9:30,  Matinee Sun.  2 p.m.
Park
"BAFFLING AND BEAUTIFUL!'
- Vincent Canby, N.Y. TIMES
"AN APOCALYPTIC ALICE IN WONDERLAND."
-Jack Kroll, NEWSWEEK
WRITTEN, DIRECTED AND PRODUCED BY
224-7252
DUNBAR at 30th
Frequent  brutal  violence.
R.W.  McDonald,  B.C.  Dir.
Show Times:   7:30,   9:30
Page Friday, 4
THE      UBYSSEY
Friday,  February  13,  1976 muzikmuzikmuzlkmuzikmuzihmuzikmuzikmuzikmuzi
EL© electrifies audiences
By BRUCE BAUGH
The Electric Light Orchestra seems
destined to remain something of a cult band.
Their unique blend of rock and classical
music has made them favorites among
musicians and critics from the time of their
debut L.P. in 1972.
Unlike Emerson, Lake and Palmer they
have not attempted to reduce classical
music to the level of Grand Funk. On the
other hand, they have avoided the morose
intellectualism of Procol Harum. Tongue
firmly in cheek (as even the name of the
—dee lippingwell photos
JEFF LYNIME . . . rave-up guitar
group indicates), they set out to make
classical music more approachable and
rock music worthier of critical attention by
blending the two. Artistically, the marriage
has been a happy one.
But true popular success has yet to come
the way of E.L.O. Their concert at the Queen
' Elizabeth Theatre last week, which had
been sold out for over a month, proved that
most of the music of the Electric Light
Orchestra has a large appeal to a very small
portion of the public. With the exceptions of
the groups AM singles and a virtuosic cello
solo, the songs drew little more than a polite
, response. It is a measure of the band's
dedication that they managed to sustain
sucrr a high level of energy and musicianship before an audience that only rarely
responded with reciprocal enthusiasm.
In its present form, the Electric Light
Orchestra bears little resemblance to the
r group as it was formed originally. Then it
comprised three ex-Move members, Jeff
Lynne, Roy Wood and Bev Bevan. Roy
Wood's Move had been one of the most innovative rock groups of the 1960's. They
started by taking the Who's onstage nihilism
a step further by smashing television sets,
cars and effigies of political figures with
-■• axes, while strobe lights flashed and semi-
nude women danced, at the end of each set.
The Move were later responsible for a
notorious publicity stunt. A postcard was
released to promote a psychedelic single
that showed Prime Minister Harold Wilson
in bed with a personal secretary with whom
( he was rumoured to be involved in a manner
more intimate than would have been
demanded by the rules of protocol. The
group were forced by a court order to hand
over all the royalties from the record to Mr.
Wilson.
By 1969, their most outrageous days
behind them, they released the "Shazam"
album, on which they incorporated
Creamish guitar, electric sitar and twelve
strings in a way that at once recalls Led
Zeppelin's first album and some of the
Byrd's better efforts. But Shazam is important, because for the first time it
revealed another side of the Move. Jesu, Joy
of Man's Desiring, the Sorcerer's Apprentice and other classical numbers were
performed in a piece about an asylum for
the insane, entitled "Cherry Blossom Clinic
Revisited". This set a trend that E.L.O.
would later develop.
iJeff Lynne, who had been with his own
group, the Idel Race, joined the Move after
the Shazam L.P. Although the Move was
always Roy Wood's group, Lynne and Wood
became co-leaders of the Electric Light
Orchestra, which was formed after the
demise of the Move. Following the first
album, which contained the Jeff Lynne hit
10538 Overture, Roy Wood left the group,
and Jeff Lynne became its sole leader. The
group now consists of Jeff Lynne on lead
guitar and vocals, Bev Bevan on drums and
percussion, Richard Tandy on assorted
keyboards, Kelly Groucutt on bass, Mik
Kiminsky on violin, and Melvyn Gale and
Hugh McDowall on cello.
During Wednesday night's concert, the
band played material from all five of their
albums. Yet it was obvious that apart from
two singles, most people there did not know
any of the songs that pre-dated the highly
successful Eldorado L.P. The 10538 Overture was introduced by Jeff Lynne as an
oldie, and yet few people cheered in
recognition as it began. The segue in the
middle of the overture into Lynne's pounding Move classic, Do Ya, drew ecstatic
shouts from all of three or four people in the
audience. Nothing at all was played from
the second album during the main set, which
is unfortunate as it contains some of their
most carefully composed material.
However, the albums On the Third Day,
Eldorado, and Face the Music were all well
sampled.
The set was opened by the showy instrumental from Face the Music, Fire on
High. The composition moves through
various rhythms, melodies and tempos: it is
a suite mat combines crashing guitar
chording and frantic drumming with Bach
inspired electric extrapolations. As a
demonstration of the capability of the band
as an ensemble it is a tour de force. Unfortunately, as a composition it is a little too
fragmented, and there is no resolution of the
many themes introduced in the piece. In
concert it went over much better than it does *
on record, partially because of the volume
at which it was played (deafening) and
partially due to the percussion work of Bev
Bevan, which fitted much better into the
context of the piece live than it did in the
studio.
Showdown, the first of a set of three songs
from On the Third Day, followed. The
opening bars brought cheers from the
audience for this Marvin Gaye influenced
soul-rock number. The electric violin and
cellos push the beat along with a rock
rhythm by using a bowing technique that
would be considered outrageous by purists.
The main riff is stolen from I Heard It
Through the Grapevine, but the guitar work
is Jeff Lynne's own inimitable slashing and
precise style. A hit single for the group,
Showdown demonstrated that Lynne has
been influenced by early Motown as well as
by the Beatles and Bach. In contrast to his
softer ballad style and the next number
(King of the Universe), Lynne's vocals on
this song are almost as sharp and cutting as
his guitar playing.
King of the universe is as majestic as the
title indicates. Kelly Groucutt, who joined
E.L.O. after the Eldorado album on bass, is
a welcome addition on vocals. His voice is
softer and clearer than Lynne's, and the two
harmonize well together. The synthesizer of
Richard Tandy fills out the sound, and gives
the song an ethereal, visionary quality.
There are no gimmicks in this song:
everything is well integrated, especially the
electric string section. Mik Kiminsky's
violin solo began with difficult left-hand
pizzicato and then slipped smoothly into a
lyrical Spanish flavored passage. This is the
sort of composition that endears E.L.O. to
musicians and critics, but will never sell a
million records for them.
To keep the audience's attention from
drifting, the band moved right into the tight,
hard rocking Bluebird is Dead without
pausing. With its quick paced change-ups
and melancholy chorus ("Bluebird say it is
not so!"), it shifts from a ballad to a rocker
with ease. There are more chords and
progressions in this song than the greater
number, of rock musicians will ever
discover. Despite this, the group remained
as tight as a symphony orchestra.
The memorable moments in this song
were many: the high sustain of Lynne's
guitar notes weaving in and out of the violin
passages, the beautiful falsetto harmonies,
and a rock-a-boogie piano solo by Richard
Tandy.
One of the major surprises of the evening
was the spontaneous standing ovation accorded to the excellent cello solo of Hugh
McDowell. I was apprehensive about how
long a solo cello would be able to hold the
interest of an audience that was more in:
terested in rock than Rostropovich, but
McDowell used modern effects such as echo
chambers and phase-shifters to achieve an
eerie, avant-gard weirdness and finished off
with a dazzling version of the Flight of the
Bumble Bee that left the audience
breathless. The ovation was well deserved.
What his solo lacked in precision it more
than compensated for with enthusiasm.
The rest of the set was made up selections
from the recent Face the Music album and a
medley of songs from Eldorado. A backdrop
showing two swamis bending over a crystal
ball was illuminated, and as the taped
narrative introduction to the Eldorado
Overture progressed the crystal ball
became increasingly bright. The medley of
songs from Eldorado that followed was one
of the high points of the evening. I missed
Boy Blue is Back, my favorite track on the
album, but the John Lennon inspired single
Can't Get It Out Of My Head was included,
along with Poor Boy, Illusions in G Major
and Eldorado. Illusions in G Major shows
the empathy Jeff Lynne has for rock fans:
On the seven seas there was a phantom
ship acoming
Shinin' in the dead of night
Tunes that sounded like the Rolling
Stones and Leonard Cohen
But they didn 't know the words
So, I assumed that they was foreign. ,
Lynne is clearly standing outside the
narrative voice, but his attitude is closer to
sympathy with the naivite of the rock fan
than mockery, for as a rock fan himself
Lynne no doubt shares in part the belief that
only persons who do not speak English could
not know rock lyrics. It is ironic that Lynne's lyrics are rarely remembered except
for the choruses. This is due mainly to the
ELO's Mik Kaminsky
somewhat mumbled style of Lynne's
singing, for the lyrics themselves are
usually entertaining, and occasionally
reveal some poignant, often rhapsodic
imagery.
Midnight on the water
I saw the ocean's daughter
Walking on a wave's chicane
Staring as she called my name. [Can't Get It
Out My Head].
The songs from Face the Music were
dreary and pessimistic in comparison to the
Visionary optimism of Eldorado. Eldorado
is a land of magic and escape, but in Face
the Music, as the title indicates, there is no
escape.
Poker is a solid rocker built around a
descending riff with a brief melodic interlude and ominous lyrics about a night in a
gambling house where "everybody's gonna
burn down". Similarly grim is Nightrider, a
ballad-style song about urban wastelands of
"staring faces broken blinds", lost chances
and a women who's a "ten a penny dream"
but can still kill a man with her smile.
E.L.O.'s forthcoming single, Strange
Magic, had Bev Bevan move off his drums
to join in on vocals and tamborine. Not a
wise move. Bevan's vocals added little to
the song, which was far too innocuous to
hold any of the listeners won over by Evil
Woman. The closest the Electric Light
Orchestra has come to making a disco
record, Evil Woman combines a catchy
chorus with lots of little rythmic hooks on
synthesizer and strings. It was obviously
made to bring the group a little more
commercial success (i.e. money), and that
it did. Musically it is far below the calibre of
their other material, but it drew some of the
best applause that night. Evil Woman is just
the sort of simplistic rock that most people
want to hear, but fortunately it is not indie ative of most of what E.L.0. plays. Which
is why they will never achieve the huge
commercial success of a group like B.T.O.
They have too much integrity.
One Summer Day, which rounded out the
set from Face the Music, like Evil Woman
uses the strings only as filler, but in other
respects it was the catchiest number from
that album which they played.
There were other highlights. Mik
Kiminsky, who took a tumble over trje risers
for the string section during some stage
antics, played a violin solo that started out
as gimmickry but quickly improved until
the finale of Brahms Hungarian Dance
Number Five. Ma Ma Belle, which closed
the main set, is a Rolling Stonesish rocker
with Keith Richard style guitar. The Stones
influence can be seen on the back cover of
Face the Music, which is patterned after the
cover of Through the Past Darkly.
Yet, none of those clues prepared me for
the surprise first number of the encore: a
driving version of Let's Spend the Night
Together that set the crowd on fire. The song
faded into The End, by the .Beatles (who
have also influenced E.L.O.). The band
pulled out all the stops on the final number,
Roll Over Beethoven: an amalgam of the
Chuck Berry Song and Beethoven's Fifth.
Lynne's lions-mane of hair shook as he tore
through a rave-up guitar solo, the cellists
hoisted their instruments on their backs,
played them between their legs, picked
them up and strummed them like guitars
and didn't miss a note. Tandy played a Little
Richard style piano solo and the rythm
section played frenetically. It was marvelous.
The Electric Lighf. Orchestra. If you saw
them then chances are you're already a fan.
If you're not, immediately go out and buy
Eldorado and Evil Woman (for the B-side, a
superb live version of the 10538 Overture).
Listen and enjoy. Join the cult.
*>*
Notice
Page Friday will be publishing its annual
Creative arts issue in the first week of
March. Poems and short stories submitted
by the students will be printed. Photos and
Graphic Art will also he included in this
special issue and an award of an
autographed copy of Robert Bringhurst's
new book of poetry will be given to the best
student entry.
Collection points for submissions will be
the Ubyssey office, at 241K SUB, or the box
in the Creative Writing Department. All
entries must be received by 12:30 Tuesday,
March 1 and will be returned if accompanied by a self-addressed envelope. So
get your thumbs out of your mouths and
start writing.
This contest is closed to toilet seat artists
and Richard Ouzounian.
Friday, February  13,  1976
THE      UBYSSEY
Page Friday, 5 filmsfilmsfilmsfilmsmmsfilmsfilmsfilmsfilmsttlm.
Kubrick style flourishes again
By CHRIS GAINOR
Stanley Kubrick has done it
again.
Barry Lyndon, like Kubrick's
previous nine movies, is a startling
arid revealing examination of the
human condition.	
Barry Lyndon
starring Ryan O'Neal and
Marisa Berenson
directed by Stanley Kubricfe
at the Denman Place.
And besides its glimpses into the
state of mankind, Barry Lyndon
features one of the most realistic
battle scenes and dueling scenes
ever recorded on film.
The film, an $11 million epic made
on location in Ireland and England,
is based on William Makepeace
Thackeray's novel, the Luck of
Barry Lyndon.
The first half of the movie
concerns the rise of Barry from
the only son of a man of gentleman
rank who lost his life in a duel, to a
wanderer on the verge of making a
fortune.
ENGLAND . . . marching on France
Barry, played ably by Ryan
O'Neal, rises by his keen sense for
opportunity to become one of the
monied men of England.
In the process, Barry deserts the
English and the Prussian armies,
cheats at cards in the courts of
The flute sings
By IAN MORTON
What makes Ingmar Bergman's
film of Mozart's The Magic Flute
such a pleasure to watch, is its
uniqueness. Certainly, from the
technical viewpoint, it is a
refreshing gallop back to the
basics. But perhaps the most endearing unique quality is the film's
captivating aura of innocence.
The Magic Flute
by W. A. Mozart
Directed by Ingmar Bergman
at the Fine Arts Cinema.
It is fascinating to watch
Bergman's use of Eighteenth
Century scene changes on the
stage of the Drottningholm Palace
Theatre, but it is even more
fascinating towatchthe expression
of a young member of the audience
on whom Bergman focuses at
intervals during the performance.
Mozart's story, super-imposed
on an electrifying operatic score, is
an imaginative fairy tale with all
the elements to excite children, as
well as a few of us older people.
Tamino andPamina are two innocent and beautiful, lovebirds
who are unavoidably caught up in a
power struggle between the
benevolent Sarastro and his
wicked ex-wife, the Queen of the
Night.
Tamino, though obviously a good
virtuous fellow, must be in-
terogated by Sarastro to assure
him that his daughter is not about
to marry one of his ex-wife's evil
compatriots. The Three Trials
which follow are tormenting affairs for poor Tamino, but also for
Pamina.
At one point, she is led to believe
that Tamino no longer loves her,
and she nearly commits suicide.
On top of this, the Queen of the
Night is also busy at tormenting
Pamina for various reasons. This
makes the whole thing a very
traumatic experience. But when
Tamino's trials are over, love is
touchingly restored, and "Truth
(Sarastro) surrenders Dark (The
Queen)."
Bergman has finally made a
movie of it, after forty-seven years
collaborating closely with both
camera and stage mediums. But
the intriguing part about it is, that
his final product could just as well
be a puppet play. There is the
naivete of a child's puppet show
which dominates the film, and
overshadows the adult polish one
expects to find in the cinema or
opera.
This is specifically achieved by
Bergman's little girl in the
audience, seated amongst a herd of
adults. She laughs heartily with
Papageno, the clownish fowler who
accompanies Tamino, cringes
when the Queen enters, and smiles
warmly at the love scenes. No
matter how corny all that sounds,
it is a marvelously effective device
for Bergman to sting the beauty of
innocence into us.
On another level, the opera is
pure entertainment. To see
Eighteenth Century stage
technique, such as a change from a
winter set to a spring set, in a
matter of seconds is gloriously
unsophisticated.
Then there is the short intermission scene where we see how
each actor relaxes before the next
act. Sarastro, a saint to the end,
joins a young boy at the curtain
"peep-hole" to view the audience.
The actress playing the Queen
rests her slinky legs slovenly on a
table, dragging slowly on a
cigarette. And fittingly, like
Ferdinand .and Miranda in The
Tempest, the Tamijio and Pamina
actors quietly play chess. This
cleverly perceived break from the
action can easily be picked up, and
understood by all watching, and it
charms.
There is also an effervescent
bubbling of humour laced through
the film, originating mostly from
Papageno. The audience, after
enduring intervals of long,
slogging love scenes, appreciates
the laughs he contributes with
more fervor than they might
normally give," under a more
breezing plot
Among the actors, the man who
plays Sarastro is utterly
magnificent, in voice and in
manner. Perhaps his character
delivery requires so much more
power of mind that he excels about
the others, but he is also gifted with
one of the most, startling pairs of
eyes that I have ever seen.
There are, as I mentioned, long
episodes of love serenading which
bring a danger of sleep to an
otherwise smoothly paced movie.
A real intermission here would be
nice —- just long enough to give
cramped legs a stretching —
because one is exhausted by the
end. '
But overall it is a unique film,
with a remarkably settling mixture of cinema-theatrical atmospheres, and one to remember.
The Magic Flute obviously means
a lot to Ingmar Bergman and, in
the end, it will to you too.
Europe, and finally marries Lady
Lyndon (Marisa Berenson) only
because of her wealth and status.
In this first half, Barry grows up
in Ireland and fights, cheats and
loves his way through Europe. As
such, the first part of the film is as
much concerned with life in the
18th century as much as with
Barry himself.
In this way, Barry Lyndon is
similar to other Kubrick films such
as 2001, in which character is
secondary to Kubrick's stunning
vision of that period.
At the beginning of the second
half of the film, Barry is at the
height of wealth and power. Since
he has always lived by opportunity,
Barry squanders his wealth in
search of a title, and in the process
alienates his stepson and causes
his wife much pain.
Lady Lyndon bears Barry a son,
who turns out to be the only person
Barry ever loves. The death of his
son, combined with debts and his
stepson's hatred, proves to be
Barry's undoing. ,
This part of the film is much
more concerned with the struggles
of the leading characters than the
first half, and thus is distinctly
different.
Throughout Barry Lyndon,
Kubrick strives for realism in
every detail. In a battle scene, the
futility of war is ruthlessly exposed
as the English army marches upon
the French.
The French fire on the English,
who relentlessly march forward
while men fall. The sound of bullets
striking the bodies of the marching
English soldiers conveys the
silliness of war, whick Kubrick
explored earlier in Paths of Glory.
The costumes, backgrounds and
lighting are close to perfection,
making the movie worth watching
simply to feel what it was like when
pageantry was the rage.
As a result, the struggles of the
characters take a back seat to the
-overall effect that Kubrick is
trying to achieve. Kubrick has not
been known for forming great
characterizations of an individual,
and Barry Lyndon is no exception
to this rule.
O'Neal, in fact, seems to be
somewhat out of place. Though he
has previously done romances and
light comedies, the O'Neal here is
downgraded as a character. This
was probably as Kubrick intended,
in order to maintain the general
feeling of the movie.
Berenson is quiet and distant in
her role, even as her husband is
openly unfaithful. It is a type of
role which Berenson plays almost
with perfection.
Other notable performers are
Murray Melvin, who plays the self-,
aware spiritual advisor to Lady
Lyndon, and Patrick Magee, who
plays Barry's gambling and
cheating mentor, the  Chevalier.
But one does not leave the
theatre with acting most in mind.
Instead, there is an initial overall
impression, of what life was like
200 years ago, and a second one, of
some of the less admirable
qualities of mankind.
The view of that age is unsurpassed.
And while theme and
background are the primary
aspects of the film, the pace of the
action does not leave the impression that Barry Lyndon is
more than three hours long.
In the end, the movie's
success will depend on whether the
public can accept Kubrick's
stunning vision of life, both as it
existed in the 18th century and as it
has existed throughout history.
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For more details of our STEREO MERGER SALE
Page Friday, 6
THE       UBYSSEY
Friday,  February  13,  197* drama*
dramadramadramadramadramadramadr
Sea washes in with power
SEA ... choir practice
From PF2
Elizabeth, but does not engulf.
More important are the impressions that escape into the path
of her direction:
The steel engravings of two
Roman gods, Jove and Juno were
strange bulky kind of people,
.Elizabeth thought, with no clothes
on, onlyakind of sheet draped over
them. Elizabeth never looked at
them too closely when there was
anybody around. But she took
longer looks, coming in on tiptoe at
noontimes.
Livesay makes no distinction
between an adult world and that of
a child; it is clear that there is only
the one she is dealing with. The
adults never become more than
figures of authority and protec-
tiveness, and even the locality
referred to in the title, Winnipeg, is
not obvious in the story. For these
are simply the reminiscences of
one person. They not only touch the
senses pleasantly, but also reach
out, if only in a small part.
If you are searching for a
dramatic account of homesteading
on the early prairies, then you will
have to look further. But if you
enjoy a light prose, then dread
Dorothy Livesay's Beginnings.
And if you find it enjoyable enough,
attend her lecture at UBC on Feb.
18.
ByGREGSTRONG
Imagine a savage sea roaring
against the coastal breakers off an
English town. In the darkness of
the storm, a local boy is drowning,
in spite of all his friend's efforts to
get help for him. This is how Edward Bond's play, 9he Sea opens to
its Vancouver premiere at the East
Cultural Centre.
The Sea
Written by Edward Bond
Directed by Jane Heyman
A play at the Vancouver
East Cultural Centre
Until February 21
The boy's death provides the
focus for an examination of the
people who live in this turn-of-the-
century community under the
constant and prevailing influence
of the sea.
The Sea is a dark comedy with
eccentric characters and
hilariously contrived scenes; There
are Louise Rafi, the town strong
woman, Jessica Tilehouse, her
allergic sidekick, Willy Carson, the
dead boy's friend, Hatch, a
deranged draper who believes that
alien spies from a dying world are
invading earth and finally, Evans,
an old sailor who lives by the sea.
In one particularly amusing
scene, Mrs. Rafi is scattering the
dead boy's ashes while accompanied by the irrepressible
strains of a  church organ  and
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Moranti 2220B, 40w RMS $279
Ptotteer SX535, 40w RMS $299
, Pioneer SX636, 52wRMS......    $379
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Sherwood S-7210, 60w RMS     $359
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Sherwood S-7310, 80w RMS $429
Marantz 2240, 80w RMS   $479
Yamaha CR-800,90w RMS $499
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Marantz 2275, 150wRMS  $639
Morontr 2325, 250w RMS (demo)        $799
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ar 7   $75 ea.
Leak 2020    $69 ea.
Marantz 5 G (demo) . . $79 ea.
Pioneer Project 80   $99 ea.
Leak 2030       $99 ea.
EPI 100 (u) new model   $f 09 ea.
Bose 301 (demo) .    $119 «a.
Infinity POS-1 1 (demo) $129 M.
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Bose 901 Series II (demo) $619/pair
TUNERS
Pioneer TX-6500 $169
Pioneer TX-7500 $259
Sherwood S-2400  $259
Pioneer TX-9500 $479
CASSETTE DECKS
Pioneer CTF2121 $249
Yamaha TB-700 $239
CARTRIDGES
Shure M-91 ED .$26
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ladies choir. Hatch suddenly
arrives clutching his deadly
scissors and threatens Mrs. Rafi
who has just begun a funeral
oration.
"Have you no respect for the
dead!" she cries as she dumps the
urn full of ashes on his head.
Timing and spontaneous action
are important to any comedy and
director Heyman has done both
well. The hand of a clever director
is obvious when one sees the well
orchestrated scenes and sequences
in The Sea.
The West Coast Actors have
certainly presented a fine performance. There is unflagging
action and drama in this interpretation of Bond's play, and it
is easy to become involved in it.
The West Coast Actors have also
used a good mixture of veteran and
youthful performers which gives
the play an added realism and a
broad range in acting styles.
Alan Gray gives a strong performance as Carson, the dead
man's friend, though there is some
difficulty in his transition from
deep sorrow at the death of his
friend to his calm acceptance of it.
The outstanding performers
however, are those of stage
veterans, Micki Maunsell as
Louise Rafi, the village matron,
and Antony Holland as Evans, the
old man of the sea. Micki Maunsell
is able to play the very demanding
role of a pretentious, strongwilled
woman and yet have the strength
of character to make this portrayal
believable. Antony Holland does a
superb characterization of Evens,
the old seaman whose role is
crucial to this play because of his
special relationship with the sea.
Evens serves as a bridge between
the timeless nature of the sea and
the tangled community above as he
can see the community with the
insight of an outsider, yet react to
the sea in a human way.
The set of this play nicely
reflects the nature of the community's interaction with the sea.
The Sea finally ends on a
philosophical note as Evens, the
proverbial man of the sea,
describes the ocean as "a mad
woman in a grey bed" and talks to
Carson about survival and the sea.
And yet the sea is always there, an
element that moderates and
alternates the characters in this
small community.
It is a very authentic play in
terms of the English dialects and
characterizations and at intermission you can even buy
English drinks from a barman for
only a dollar, and get some rather
good English ale, stout and
whiskeys while you listen to
traditional sailing songs like, Indian Lass or Sailor's Life. The Sea
is easily the best show in town.
VISTA
By ANNE WALLACE
This year is the 60th anniversary
of Mussoc and the UBC Musical
Theatre Society had a very successful opening night on Wednesday.
The colorful sets, lights and
costumes were excellent and
director John Brockington did a
good job with his cast. The work of
choreographer Grace McDonald,
who retires this year after 25
seasons, was up to her usual high
standards of excellence. Hello
Dolly is playing until Feb. 21 in the
Old Auditorium with tickets
available at the Vancouver Ticket
Centre for $2, student price. Show
time is 8:30 p.m.
BCIT is presenting the annual
Variety Club Telethon Dance on
Friday, Feb. 20 to raise money
which will be donated to the
Variety Club Telethon. The money
that the Variety Club collects goes
to help the mentally retarded with
centres for them, such as the one
currently being built across from
the Thunderbird arena.
A select group of Telethon Stars
will be dropping in for the dance,
including Monty Hall, the Irish
Rovers, Joanne Worley, Paul Horn
and Anne Mortifee. Doors open at 8
p.m. and dancing will be from 9
p.m. until l a.m. Advance tickets
are available at BCIT for $1.50 but
will be $2 at the door.
West Coast Actors' production of
the The Sea continues this week at
VECC. Directed by UBC theatre
prof Jane Heyman, this is a very
funny comedy set in a small
English coastal village. The acting
is good and the characters are both
amusing and realistic. The Sea
runs until Feb. 21. Show times are
Tuesday through Friday at 8:30
p.m. and Saturday at 7 and 10 p.m.,
Feb. 10 to 14 and 17 to 21. Tickets
are $3 for the Tuesday through
Thursday shows and $3.50 on
Friday and Saturday.
Pacific Cinematheque continues
its oldie but goodie film series
entitled Woman as Star with this
week's showing of Shanghai Express. This movie, filmed in 1932,
stars Marlene Dietrich as
Shanghai lily. The story takes
place on a train travelling from
Peking to Shanghai, a trip filled
with mystery and intrigue. That's
Monday at 8 p.m. at VECC for a
mere $1.25.
Today is the last chance to catch
the film show featuring UCLA
student productions. Showing in
SUB theatre from noon to 1:30 p.m.
today, mese are 13 of the best
works of the students of the UCLA
film department and are really
good. Admission is 75 cents.
This weekend, Cultural Funk
presents Brent Carver in his first
solo concert. In the past year,
Carver spent five months in
Charlottetown performing the title
role in the rock opera of Hamlet,
Kronberg 1582 and in recent
months as Joseph in Joseph and
His Amazing Technicolor
Dreamcoat. This concert, entitled
The Ides of February, will consist
of a vast array of original and
popular compositions ranging
from Brel and Stevie Wonder to
David Bowie and Marek Norman.
The concert is on this Sunday at
8:30 and tickets are $2.50.
This week the centre coffeehouse
is bringing in Fred Booker, a folk
and blues singer. Booker is a
recording artist with several
albums and although American
born, has spent many recent years
living in Canada, and has written
songs about his new home. The
Coffeehouse opens at 8:30 p.m. at
the Lutheran Campus Centre.
Admission is $1.
There's not much time left to
submit any stories, poems, photos
and graphics to be included in the
annual PF Creative Arts issue.
Any contributions must be in by
March 1. An autographed copy of
Robert Bringhurst's latest volume,
Bergschrund, will be presented for
the most outstanding contribution
as judged by the staff of Page
Friday.
:riday, February  13,  1976
THE       UBYSSEY
Page Friday, 7 A Classical Reeoinl
On The Beautiful Blue
Danube, Emperor
Waltz, Morning Paper, Weber: Invitation
to the Dance, Josef
Strauss! Village Swallow, R. Strauss: Waltzes from "Der Rosen-
kavalier" Chicago
Symph. Orch. Fritz
Reiner.
AGLI-1269-J STRAUSS
AGLI-1270-RAVEL
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AGLI-1271-KAY-SOUSA
AGLI-1272-STRAVINSKY:
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Music from
Romeo and Juliet
ItCil
Daphnis and Chloe (Complete)
(New England
Conservatory
Cho. dir. by Lar-
na Cooke de
Varon) Boston
Symph. Orch;,,
Charles I
Gotterdammerung: Brunn-
hilde's Immolation; Tristan
and Isolde: Prelude and
Liebestod, Boston Symph.
Orch., Eileen Farrell,
Charles Munch.
AGLI-1274-WAGNER:
[Symphony No. 95 in C
Minor; Symphony No.
101 in D ("Clock"),
Fritz Reiner And His
Symphony Orch.
AGLI-1275-HAYDN:
Suite From The
Ballet "Stars and
Stripes". Kay-
Gottschalk: Suite
From The Ballet
'.'Cakewalk", Stars
and'St,r;ipes,; Cake,-- >
walk, Arthur
Fiedler/Boston
Pops.
YOUR CHOICE OF ANY
OF THESE RECORDINGS
Prelude to Act 1, Prelude
to Act II, Dance of The
Apprentices, Procession of
the Meistersinger, Gotterdammerung: Siegfried's
Rhine Journey, Siegfried's
Funeral Music, Chicago
Symphr, Orch., Rerner Conducts Wagner.
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AGLI-1265-TCHAIKOVSKY
Symph. No. 2 in C Minor, Op.
17 (Little Russian) Liadov
, Eight Russian Folk Songs,
Op. 58, London Symph.
Orch., Andre Previn.
AGL/-1266- TCHAIKOVSKY
Concerto in D, Op. 35,
Dvorak: Romance in F, Op.
11, Boston Symph. Orch.,
Itzhak Perlman, Erich Leinsdorf.
AGLI-1267- BRAHMS Concerto No. 2 in B-Flat, Op. 83,
Chicago Symph. Orch.,
Sviatoslav Richter, Erich Leinsdorf.
AGLI-1268- BEETHOVEN
Symph. No. 5 in C Minor, Op.
67, Schubert Symph. No. 8 in
B Minor ("unfinished"), Boston Symph. Orch., Charles
Munch.
AGLI-1276-R. STRAUSS: Don
Juan, Op. 20, Respighi: Feste
Romane (Roman Festivals),
Los Angeles Philharmonic
Orch., Mehta Conducts
Strauss and Respighi.
AGLI-1277- THE ROMAN
CARNIVAL, Op. 9; Beatrice
and Benedict: The Corsair,
Op.21; Benvenuto Cellini, Op.
23; Royal Hunt and Storm
(from "The Trojans"), Boston
Symp. Orch. Charles Munch.
AGLI-1279- CHOPIN Scherzo
No. 4 in E, Op. 54, Ravel: La
vallee des cloches (from
"Miroirs"): Jeux de'eau,
Rachmaninoff: Three Preludes: In F-Sharp Minor, Op.
23 No. 1; In A, Op. 32 No. 9,
In B Minor, Op. 32, No. 10,
Prokofieff: Gavotte (from
"Cinderella"); Visions fugitives: Nos. 6, 8, 9, 15, 18.
Sviatoslav Richter in Recital.
AGLI-1280- BRAHMS: Symphony No. 3 in F, Op. 90,
Chicago Symph, Orch., Fritz
Reiner.
AGL.I-1283-UN VERDI
RARITIESGiornoDi Regno (11 Finto Stanislao):
Grave a core innamorato; 1
Lomardi: Non fu sogno!; I
Due Foscari: Tu al cui
sguardo cnnipossente; Alzira:
Da Gusman, su fragil barca;
Attila: Oh! nel fuggente
nuvolo; etc; RCA Italiana
Opera Orch and Cho, Montserrat Caballe, Anton
Guadagno.
AGLI-1278-DIE
MEISTERSINGER:
Songs from the
Chinese Op. 58,
music for voice
and guitar,
Julian Bream and
Peter Pears.
AGLI-1281-BRITTEN:
Juliet-The Young Girl: Romeo,
Mercutio and
Benvollo Masked; Dance of
the knights;
Gavotte of the
Departing;
Guests; Romeo;
Dance of Love;
Dance for Five
Couples at the
Festival; etc;
Boston symph.,
Erich Leinsdorf.
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LaForza del Destino:
Pace, pace, mio Dio!
Aida; Ritorna vinci-
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Puccini: Tosca: Vissi
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Andrea Chenier: La
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Mascagni: Cavalleria
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sapete (Orchestra
under the direction
of Arturo Basile),
Operatic arias,
Leonie Rysanek.
AGLI-1282-VERDI:
RC/1
Page Friday. 8
THE       UBYSSEY
Friday, February  13, 1976 Friday,  February  13,  1976
THE      UBYSSEY
Page 15
Mandatory questionnaire
demanded by senator
4 f v'~*
From page 5
other   aspects,   he   said,   the
questionnaire is adequate.
"It has taken three years to
develop," he said. "It's main
weakness is being voluntary."
Salkeld said he would like to see
all courses use the questionnaire,.
- There may not be much students
can do if neither their department
nor their prof wants the
questionnaire filled out.
? Divinsky, also assistant science
dean, said if the department and
the prof are against having the
questionnaire, there won't be one.
But Salkeld, who wants to make
the questionnaire mandatory and
uniform throughout the faculty,
said it's really up to students.
If a student wants a course
evaluated by the questionnaire, he
or she should pressure the
department head and prof to
distribute the questionnaire.
If that doesn't work, the student
should make his or her wishes
known to Volkoff.
M that fails, Salkeld said, the
student should obtain copies of the
ejuestionnaire from the teaching
evaluation committee ,and personally distribute them in class.
What will happen once the
questionnaires are completed?
The teaching evaluation committee is responsible for compiling
the results.
But once the results are completed, they become the property
of the profs who've been evaluated
when the department has made it a
policy, results also automatically
go to the department head.
There is no guarantee that
students will ever see the results,
though.
That's okay by Volkoff, Divinsky
doesn't think it makes any difference, Salkeld thinks it is not a
serious problem — because he will
release any results he has access to
as a committee member.
But Ron Walls, whose senate
seat Salkeld will assume in April,
said he thinks student access to the
results is the biggest issue.
Walls said the questionnaire
results should be used to allow
students to make intelligent
decisions about courses and profs
to take and avoid.
He said he would like the results
collated   and   published   in   a
Catch up res hikes seen
From page 1
to a decision against exempting
UBC residences from the act.
- Responding   to   pressure   from
residence student representatives
Party plans
attacked
WINNIPEG (CUP) — Students
are trying to stop an $84,000 birthday party to celebrate the 100th
anniversary of the University of
Manitoba.
v The university has announced it
will spend $3,000 for a centennial
song and $25,000 to bring 100
distinguished U of M graduates to
its May convocation for presentation of specially minted medals.
, The university will also subsidize
the publication of a former U of M
president's memoirs and will print
: ajjd distribute glossy pamphlets
explaining the university's history.
.According to student David
Tudor the celebrations are "a
gross waste of university funds,"
especially when it is already in a
difficult financial situation.
"This slick Madison Avenue-PR-
type of campaign is hardly fitting
for a place of higher learning,"
Tudor said.
and then student board of governors member Svend Robinson, in
the summer of 1975, the NDP caucus decided to uphold Clark^s
ruling. Attorney-general Macdonald then sent a letter to the UBC
administration stating the Landlord and Tenant Act "likely" applies to UBC residences.
The UBC administration decided
to abide by Macdonald's interpretation limiting this year's rent
increases to 10.6 per cent. This
decision has forced the administration to subsidize student
residences, something it has never
done in the past.
The administration's stand has
always been that student services
such as residences should operate
on a break-even basis. And there is
evidence that many administrators are angry they had to
subsidize residences this year.
Angry enough that they may
decide to make up the loss with
large rent increases next year.
Rick Murray said Wednesday
some board members have been
talking about "catching up."
"There may be discussion if we
are exempted (from the act) that
we should catch up. I have to agree
that the philosophy of residences
paying for themselves will have to
remain," he said.
VALENTINE'S DANCE
SATURDAY, FEB. 14-8:30-12:1
SUB BALLROOM
DIRECT FROM CALGARY
SPUNK  (LONDON RECORDS)
FULL FACILITIES
"catalogue," as Volkoff terms it.
Volkoff said the questionnaires
can serve two purposes. They can
provide information for tenure
decisions, and they can be used as
feedback to help profs improve
their courses and or teaching.
Volkoff said he doesn't think
anything can be gained by
publishing the results, but added a
prof's reputation could be unnecessarily damaged by
publication.
"It depends on the course," he
said. "A prof could do poorly on a
first year course, because he
doesn't usually teach that course
and is not prepared for if. But he
could be an excellent teacher in a
third or fourth year course."
So there are two issues which
will be facing the science faculty
this year. Should the questionnaire
be a uniform, mandatory one?
Should the results be made public,
so students as well as profs can
make use of them? Stay tuned.
—matt king photo
EARL McPHEE speaks Thursday at opening of conference centre in
Angus named in his honor. Education minister Pat McGeer missed
ceremony and demonstrators waiting outside.
Anti-inflation board to
review Carleton wages
I SUBFILMSOC just can't
refuse to present
flllltt
SKS***
OTTAWA (CUP) — The
collective agreement between
Carleton University's academic
staff association and the administration, signed Dec. 11 is
being examined by the anti-
inflation review board.
The university administration
and the faculty presented a joint
submission to the board. The
faculty also submitted one of their
own, defending the wage increases
irr the contracterf    - - —~
Don McEwon, secretary of
Carleton's board of governors, said
the main argument made in the
joint proposal was a historical one.
The average increase given faculty
in universities across the provinces
was 15 per cent and the collective
agreement was similar to this at
about 14 per cent for its first year.
UBC's faculty received an average
17.3 per cent last year.
The faculty's presentation to the
review board made three points.
It challenged the constitutionality of a federal body like
the board becoming involved in
educational affairs within
provincial jurisdiction.
In the past two years student
enrolment has gone up at Carleton
while the number of faculty has
remained constant. Production by
the faculty has gone up.
Faculty's brief also points out
the increase did no more than help
them catch up to the salary levels
of high school teachers.
Sources within the board said
there about a dozen cases to be
reviewed before Carleton's is
considered and no date is yet
available on when a decision will
be made.
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