—f. stop fitzgerald photo APPROPRIATELY ATTIRED in plastic garbage bags, human trash haul chariot towards victory in race with aggie team at Thunderbird Stadium Thursday. Gears and aggies provided entertainment at half-time of annual charity Tea-cup football game, which ended in 6-6 tie between nursing and home economics. THE UBYSSEY Will defends arts actions Vol. LX, No. 20 VANCOUVER, B.C, FRIDAY, OCTOBER 28, 1977 228-2301 Universities safe from cuts By BILL TIELEMAN Post-secondary institutions will not be affected by proposed government budget cutbacks announced by finance minister Evan Wolfe, an education ministry official said Thursday. "As far as we can anticipate, we will be asked to reduce our budget but we will be able to do so internally in the education department budget, without affecting provincial grants to post- secondary institutions or school districts," associate deputy education minister Jack Fleming said. Wolfe said Wednesday the finance ministry will be asking all provincial departments to reduce spending by a total of up to $50 million in order to meet the Socred government's aim to balance the budget this year. Wolfe said education was one department that was spending more than its budget had allocated. But Fleming said the amount overspent is fairly insignificant Grad student assoc. 'has sold out' to AMS The Graduate Student Association has abandoned the interests of graduate students and played into the hands of the Alma Mater Society by deciding to stay in the AMS, the president of the Association of Teaching Assistants said Thursday. Dave Smith said several GSA executive members wanted to leave the AMS in a dispute over the AMS' allocation of only $440 to the GSA. Ihe GSA originally asked the AMS for $3,000 ($1 per student), he said. But GSA president Jane Baker has decided graduate students should remain in the AMS, he said. "Baker has decided graduate students should be good little constituents and play by the AMS rule book," Smith said. "None of the GSA's monetary problems have been solved, but Baker thinks there are no more difficulties. The only ones who really lose are the overcharged GSA members." Graduate students pay $62 each in student fees. "The AMS budget allocation is ridiculous," said Smith. "By the time we are finished with haggling with them, all of our energy will be used up before we can even talk to the administration. Jane Baker is only making the situation more difficult." Baker said working with the AMS is the only way to handle the money problem, although, she said, "the AMS does not really work in the interests of the different social and economic situation of the graduate student- s." "Working with the AMS is the only realistic solution to the problem," said Baker. "I suppose the AMS is just (me bureaucracy that we're going to have to live with." and that the education department would be able to handle a induction in expenditures without affecting education programs. NDP finance critic Dave Stupich said Thursday the budgets for post- secondary institutions and school districts are firmly established and the government will not be able to cut them back this year. "I can't foresee them cutting back the universities' grants," he said. Wolfe said the government finished the first half of this fiscal year with a $100.7 million surplus but he estimated the government would have to cut expenditures in order to balance the budget. Wolfe blamed a $122 million federal miscalculation of income tax revenues and expected higher spending in the second half of the fiscal year for the need for expenditure reductions. But Stupich charged that the Socreds were deliberately ex- chicfing some revenue sources in their calculations. He said the provincial government intends to seH out its interests in a number of crown corporations that the former NDP government invested in. See page 3: EDUCATION Arts dean Robert Will defended himself Thursday against charges he does not care about student representation by blaming student apathy. "Although there are opportunities (to become student representatives), they are not taken advantage of," he said. Will was reluctant to talk at length en the subject. "I do not talk to newspapers concerning the business of this faculty," he said. Will was responding to allegations made by student representatives to an arts faculty meeting Oct. 21. Will ejected a Ubyssey reporter, five would-be representatives and two student politicians from the meeting, claiming they were not authorized to attend. One of the official representatives, Robert Staley, arts 1, said Thursday that although Will claimed at the meeting he encourages student participation he in fact discouraged it by quashing student motions on the grounds they were out of order. Staley moved at the meeting the next faculty meeting be held on or before Dec. 2 to prevent the faculty members delaying the next meeting until spring or summer. Will is reported to have said be would call the next meeting when there was something to discuss and as meeting chairman ruled Staley's motion out of order. Staley then challenged the chair, saying he had not had a fair chance to present his case. "According to Roberts' Rules of Order, used in parliamentary procedure, he should have passed the chair to someone else when challenged," Staley said. "Instead he called for a vote. All of the students there voted not to sustain the chair and all of the faculty voted to sustain it." But Will claimed Thursday that 95 per cent of the people at the meeting voted to sustain the chair. And he said he does not run the meetings under Roberts' Rules. "There are no rules here," Will said. He said Staley gave no good reason for a meeting. "You cannot call a meeting without a reason," he said. He said rules of order are not necessary to make a judgment on whether a motion is valid. "Staley made the motion early in the meeting," Will said. "I'm sure he didn't know what was coming up next. He was just being mischievous. He had no purpose for making the motion." Staley said another representative, Brendan McGivern, who is also a student representatives assembly member, moved to extend the nomination deadline for arts representatives to Nov. 4 on the grounds that Will did not effectively advertise the 27 positions open to students. "I don't know what they (McGivern and Staley) wanted," Will said. "Their statement was not clear. They didn't put forth their motions properly." Working women need support By MIKE BOCKING One of the main obstacles facing women in the workworld is that they do not have wives, the Law Foundation of B.C. research director said Wednesday. Valerie Meredith said men can usually rely on a "support system" who takes care of him and their children, but a working woman is expected to have a job and also play the traditional domestic role. "Just the fact that a woman wants to have children puts a heavy burden on her profession," she said. "Few husbands will stay home to look after the children." Meredith was speaking about women and work on a panel with Vancouver alderwoman May Brown and Charlotte Warren of Transport Canada. "There are far too few women in the political field at all levels — in parliament, the legislature and city hall," Brown said. But she said there is better female representation on school boards. She told the group of about 20 womep and one male Ubyssey reporter that women seem to lack the confidence to come forward and run for office. "Why don't women run for office?" she asked. "They do not run because they don't think they will get elected." The fact that four women were elected to city hall in Vancouver last year will encourage women in other B.C. municipalities to run for office, Brown said. "The important thing is not to have a quota system or nu, a token woman here and there," shi said. But, Brown said, there is still stereotyping at city hall. "At city hall if you talk about social services, the women will get up and make a strong statement, whereas men are more likely tobe involved in city finance," she said. Meredith said there is no sex discrimination at law school, but "in later stages of the profession such as hiring and the selection of legal partners such discrimination is more evident." "A woman has to be far better than men to be taken seriously," she said. "We're still at the stage where it takes a special kind of woman to get to the top. "There are still many women who don't want to work for other women and men don't want to work for a matriarch. "Ithinkthat as the number of women in the law profession increases their networks will develop and there will be a greater acceptance of women." Networks are the system of acquaintances and contacts one uses in order to get a job and move up in a profession, she said. Page 2 THE U BYSSEY Friday, October 28, 1977 CANADA'S LEADING STEREO CENTRE RHODES presents The World's Most Powerful Stereo Receiver. And Then Some. Introducing a new generation of Marantz Stereo Receivers. Nine brand new models with more power, more features, more performance than ever before. Top of the line is the Marantz 2500, most powerful receiver on the market today. But all nine models are built to the same high standards of excellence. 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In a lecture on Socialism and eminism, Hilda Thomas said that omen's distance from the "labor nd product" process of capitalism as enabled them to maintain the umanistic values of compassion nd respect for the individual. "Men and women should fuse leir femininity and masculinity in rder to achieve a whole human eing," she said. "Men could learn to express lemselves in terms of personal esponses, while women could take ie values of brotherhood more sriously." But under the present capitalist ystem this relationship is im- ossible, she said. Thomas cited the Industrial [evolution as an example of the mdency of capitalism to alienate Joe Blell appealing IH election Joe Blell, one of two in- jrnational students who earlier lis month charged International louse director Colin Smith with eing an arrogant and insensitive dministrator, is appealing the lection that touched off the issue. He said Thursday that although e never intended to run for a osition on the international lidents' planning committee, and ill not rin if the election is reheld, e is appealing on principle, ecause his name did not appear i a list of those people eligible to on, posted by Smith before the lection. Blell claims he is eligible. The latter is currently in the hands of ie IH board of directors. Blell said the Oct. 7 election was 3t properly publicized, and all the ablicity it has had since will result i a more meaningful election if ie IH directors agree with his ppeal. "A lot of people didn't run jcause it wasn't well advertised," len said. The election controversy led to irther charges from students and lembers of the Vancouver immunity that Smith is not inning IHf or the students but as a loney-making operation. Blell earlier accused Smith of sing patronizing to foreign udents, saying the director acts ie "a colonial officer." The other student who claimed nith was interfering with the ection, Saf Bokhari, accused him suppressing student initiatives ■ set up new programs and of ithholding information from udents. workers from their jobs and ultimately from themselves. "The Industrial Revolution took away the pride of craftsmen for their work and made it a commodity," she said. "The result of that is material relationships between persons, and social relationships between things." She blamed such social crimes as vandalism and murder on this alienating aspect of the individual from its work. "People have to have something to act out against, and unfortunately it has turned into criminal outlets." But women have been largely excluded from this side effect of capitalism because they are considered "private people" according to the rules. They are exempt from two realities of the present society which Thomas called the "economic mode of capitalism," and the "ideological mode of patriarchy." (A patriarchy is a male-oriented society.) Quoting well-known economist, John Kenneth Gaibraith, she claimed capitalism is a convenient environment for converging women into a "crypto-serving class." "Today women are involved in service industries such as bank tellers, pub workers and other shit jobs," she said. But Thomas said that while this may have been an injustice, it has also been beneficial in a very important way. "Women have not been involved with this alienating process of "produce and consume," and as a result they have remained at a distance," she said. "Thus there is more possibility for self direction in women and they have retained the human qualities that are unnecessary for the production line," she said. Thomas then' referred to the words "effeminate" and "emasculate." "To emasculate something is to cut the balls off the thing and virtually do away with it," Thomas said. "And to be effeminate is to be soft and weak and therefore unimportant." Thomas went on to say that over centuries of patriarchies, and leaving out the other side of human nature, it was time society fused the masculine and feminine * aspects to create a more whole society. "The way men relate to women is a way to see how human then- responses are," Thomas said. TAKING LEAD in Thursday's Great Pumpkin bicycle race, two cyclists jockey for position on SUB loop. Women cyclist with cap -"matt king photo heads for curb, hoping to escape rush of oncoming herd and get home for lunch in one piece. 'Pub owners finance strikebreaker' The Pub Owner's Association is financing the owner of strikebound Bimini's pub through its strike, a Bimini waitress and member of the Service, Office and Retail Workers Union of Canada (SORWUC) charged Wednesday. " It a ppears that the Pub Owners' Association, of which Peter Uram is president, is financing him through the strike," said Barbara Owen. "The association had a general meeting in January and decided to keep the unions out (of pubs) by giving benefits such as medical and dental plans to employees. "Most pubs did give employees these benefits, but not Peter Uram." Another SORWUC member, Sherry Sprag, said the pub association is trying to keep unions out of pubs. "They (the pub association) had a meeting looking into dental and medical plans. They wanted to keep the employees happy so the unions would stay out," Sprag said. "We (SORWUC) know the association is supporting Peter. "They (the association) want to discourage other unions. They want the unions to get bugged-out by the anti-union thing." hikes Socreds considering in daycare funding — official The provincial government is considering increasing subsidization of daycare, human resources officials say. In a letter to Vancouver human resources centres, human resources minister BUI Vander Education funds tight not From page 1 mentioning some things that will happen," "It's deliberately upich said. The sale of crown corporation interests could easily amount to a $150 illion revenue for the provincial government, he said. Wolfe said the education, attorney-general and highway ministries had combined over-expenditure of $37.4 million. But the only department that can actually cut back expenditures is ghways, Stupich said. "Education and the attorney-general's department are tight. You could srtainly make change in the highways department," he said. Finance department figures showed increases in most provincial wenue sources. Sales tax is up $55.1 million from last year and personal income tax is 3 $206.5 million from last year, reflecting an increase in federal tax jyments to B.C. from a new federal-provincial agreement. Liquor sales profits for the first half of the fiscal year were $86.3 illion, up $8.3 million from the same period last year. But corporation income tax dropped $4.9 million to $127.3 million from 322 million, and a number of crown corporations also showed losses. Zalm states the government might increase its contributions to parents to allow for increases in the cost of living and in daycare fees. Human resources program* coordinator Alan Stubbs, who is responsible for daycare, said Wednesday that the increase is being considered along with other improvements in the subsidy system. "The sliding scale used to determine eligibility for subsidy hasn't been adjusted in four years," he said. ' 'Wages have been increased and so has the cost of living." The sliding scale currently used by the department takes into consideration the number of people in the family, net income and expenses to calculate how much the family will pay and how much subsidy it is eligible to receive. "We have not yet received federal government approval," Stubbs said. "If we raise the allowable income after deductions to $500 from $420 and the federal government doesn't approve the provincial government is stuck with the difference." Daycare centres can charge any amount they want but parents can only claim assistance from the government subsidy program of up to $140 a month for group daycare, $100 a month for home care, and $220 a month for three-day care and less. The difference in the fee charged by the daycare centre and the subsidy the parent is eligible to receive comes out of the parent's pocket. The subsidy rate has a Significant effect on the availability and quality of daycare services. Daycare centres rely on fees paid by parents to stay in operation. "Right now we are trying to place the subsidy for homemakers services for elderly people under the long-term care program on a parity with the daycare subsidy," Stubbs said. Stubbs did not know when increases in subsidies would be made. Uram was out of town Thursday and could not be reached for comment. The union is asking for more employee participation in scheduling, higher wages, recognition of seniority, medical and dental plans, sick leave and leave of absence. Management has offered experienced waitresses $3.75 per hour instead of the $4.50 asked by the union. Bimini's has been picketed by employees and SORWUC workers since Oct. 19. A union spokeswoman said Wednesday there appeared to be no immediate chance of a settlement. The Bimini workers received certification last January and have been negotiating for their first contract since then. Contract negotiations originally broke down this summer, when owner Uram suddenly became unavailable. He has cited other interests as his reason for not being able to negotiate. SORWUC has previously been active in the certification of bank employees. Bimini and Jerry's Cove employees are the first pub workers to have been certified in B.C. According to both Uram and the union, business at the pub has decreased greatly since the picket lines were first established. John Madson, a lawyer hired by Uram to study whether Uram can afford to pay medical and dental plans, said Thursday he knows nothing about strike support money. Madson said he is only concerned with the strikers' demand for medical and dental plans but said Uram's ability to pay for the plans is confidential and refuses to comment further. Page 4 THE U BYSSEY Friday, October 28, 197 IF Z Sff6iil£>£HT S7dfiJ£s ABOUT AoaSer^tc€&. ». 0 ouJTVV rpANltf Will blocks Letters Student action Osborne undermines gay issue The scene at the arts faculty meeting a week ago Thursday was very reminiscent of UBC's heyday of student activism a few years back. The only thing missing was Doug Kenny, who has moved on to greener pastures since curbing student efforts to boost representation in faculty decision-making as arts dean. But Kenny has been ably replaced in that- role by Robert Will. "I do not talk to newspapers concerning the business of this faculty," sniffed Will, a few days after ejecting arts undergraduate society president Fran Watters, arts student senator Paul Sandhu, one of our reporters and a host of others from the faculty meeting. Will points out that opportunities to become student representatives on the faculty "are not taken advantage of," but he doesn't seem to be bending over backwards to get students onto the faculty body. True, the AUS made the positions known to students in their end-of-summmer mailout, but ads for faculty rep elections were gummed up. It is silly to hold the.meetings in camera, except for discussion of personnel matters. But Will tossed out Watters and Sandhu, who have some claim to represent arts students. Inside the meeting, Dr. Robert' ran down student motions with the ease of a Turkish potentate holding court. One gets the idea that Will shares this misconception of how student representation should work, along with some administrators, board of governors members, education minister Pat McGeer and his deputy, Walter Hardwick. That misconception holds that the reps should be quietly elected if not acclaimed, hold their mouths shut outside of the usually-secret meetings, and put them to little use inside the locked doors. The battle for proper student representation will not be won until people such as Will accept effective student representation and open up the decision-making process. That fight is a long way from being won. If it is to be won, more students must get involved on the faculty level . If we don't, it will give people who-can't stand the stench of democracy, such as McGeer and Hardwick, more fuel in their fight against students being on university governing bodies. THE UBYSSEY OCTOBER 28, 1977 Published Tuesdays, Thursdays and Fridays throughout the university year by the Alma Mater Society of the University of B.C. Editorial opinions are those of the staff and not of the AMS or the university administration. Member, Canadian University Press. The Ubyssey publishes Page Friday, a weekly commentary and review. The Ubyssey's editorial office is in room 241K of the Student Union Building. Editorial departments, 228-2301; Advertising, 228-3977. Editor: Chris Gainor Verne McDonald removed his filmy blue shirt revealing a pulsating fungoid growth. "That's disgusting," said Marcus Gee. "I vant your blood," breathed Lloyane Hurd, throatlly as she moved towards him. The earth moved, but It was only Chris Gainor. "Stupid Ralph Maurer Is sleeping by himself tonight," said Kathy Ford, as she looked longingly at Tom Hawthorn. Heather Conn and Mario Lowther all unbuttoned their shirts to the waist but Bill Tieleman and Chris Bannister Ignored them. Heather Walker displayed her willowy gams to Mike Bocking and David Morton (the cheap sell-out.) Les Wiseman dressed like a raving bloody vegetable and Matt King wondered how he would taste with a nice cheese sauce. Will Wheeler, Marta Marton and Michael Trew had an adorable menage a trois while Nicholas Read and Greg Strong ran off together (har har) Larry Green and Gray Kyles sat In the back row at the movies. Diana Schutz sat home alone and wrote poetry. Bruce Baugh went to class at 3:30. "I'm not good enough to be a perfectionist," sighed Merrllee Robson. If she comes to the newswrltlng seminar at noon today she can get better. But not much. Perhaps UBC's Libertarians have yet to hear of analytical thinking, but someone should at least let them know about common sense. To suggest that the real issues faced by the gay liberation movement and its adversaries is the 'the right to discriminate' is surely nonsense. If Cam Osborne (Oct. 25) wants to equate the words choose and discriminate, that's OK. I would hope that he realizes the.word is generally understood to have a much broader meaning. Very few individuals, gay or not, would dispute the right to make personal choices in every day life. However, when preferences, in the form of discrimination deprive individuals of equal treatment in society, it is not OK. The real issues faced by gay people are inherent in the social system itself. Gay people, as with racial minorities and women, are shunted into rigid social positions. As such they are often stigmatized as inferior or weird and subsequently exploited as cheap labor rejected by society altogether. To escape their circumstances they either hide from the system or fight against it. I don't question the right of individuals to make preference choices which best conform to their personal quality judgments. However, when personal value systems add up to constitute an attack on the rights of others, one must draw lines as to what is and what isn't a correct form of discrimination. The fact is — gay people are discriminated against in the job market, in social position, and in most other contacts with the heterosexual population. They exercise their basic right of choice in sexual relations and the social system as it stands impinges on that right. This constitutes oppression — by most standards. It's wrong to suggest that newspapers like the Vancouver Sun should have the freedom to di criminate. Similarly, the hiring practices of en pbyers shouldn't discriminate against an individu, because of sexual orientation. The role of newspapers and companies in society that of producing certain goods and service Propagation of 'acceptable' standards in behavu falls into neither of those categories. A person's ability to function as a productive facte is the only justifiable criterion in choosing betwec job applicants. When the Vancouver Sun refused 1 print an ad for the Gay Tide, it impinged on the righ of the individuals who would benefit from the ad. While it is true that preferences are discrimini tory, institutionalized discrimination is obscene. In terms of political or philosophical ui derstanding, it is important to avoid argument which revolve around semantics only. The differei connotations of a word can lead to long and futil discussions. It's just not worth the effort. Nevertheless, it's quite often the case where ce tain schools of thought fall completely into thi vicious circle. To quibble over the wor discrimination itself is a dead end. It also cuts across the central factors which repp sent the issue. Arguments over semantics ai sometimes a simple but harmful tactic used to ui dermine an issue. Certain individuals purposely use vicious circles I channel organized dissent into stagnation and sul sequent non-existence. To Cam Osborne's questioi 'is there a right side and a wrong side,' yes there i Seems to me Cam has already chosen a side. Thi choice is blatant discrimination, in any sense of tf word. Lome Rogei science Student, faculty attitudes must change Professor John Hulcoop in the department of English has rightly drawn my attention to the fact that the article reporting my resignation contained an ambiguous generalization. I do not wish to blame the error on Vicki Booth, the student reporter, or The Ubyssey. The oral interview was given hurriedly, and Vicki was under some pressure to shape rough notes into a coherent article in order to meet press deadlines. The offending sentences were these: Sexism is a major problem. Relationships between wqmen students and professors are very unhealthy, Fulton said. "They are based on playing the sex game rather than being genuinely objective, ethical and professional," she said. (Oct. 18, 1977, p. 1.) I did not mean by these statements that relationships between all male university professors and their women students are unhealthy. However, since serving as dean of women at UBC I have been made aware of the abuses which occur when faculty- student relationships are based essentially on sex. Too often students are judged subjectively rather than objectively. They are judged on the basis of personal interaction with the professor rather than by what they know, or how well they have mastered and demonstrated achievement in a particular field of knowledge. Again, to imply, as my generalized statement did, that all faculty-student relationships at UBC are unhealthy would be quite wrong. Fortunately the majority of UBC faculty and students have a highly developed sense of. what constitutes a proper, ethical academic relationship. Many universities concerned with student-faculty relationships are beginning to require some teacher-training for faculty in order to ensure not only proper ethical relationships, but also the best pedagogical techniques at the university level. Students too have to be made aware of their proper ethical roles. The need to change attitudes towards our idea of the university, the professor and the student is very great. It is no longer good enough to maintain the status quo. ' Human relationship problems < UBC are compounded by the size t the institution and by the in balances that exist. The studei body is now nearly 50 per cei female students. Many of them ar mature women returning t university with very serious ii tellectual aspirations. The faculty is composed of a\ proximately 1,800 members < whom only about 250 are womet Until this imbalance is corra ted, women and men, both facult and students, are going to e> perfence the kind of relationship which may contribute to in; maturity and which can kee everyone at this institution fror reaching the fullest potentia possible. E. Margaret Fulto dean of womei Dismal logic hurts story I recently had the good fortune to pick up The Ubyssey and marvel i one of your articles entitled Wife beating myths dispelled. The article was apparently made available through Canadia University Press. I quote here from only the first of several idiot: passages. "As with rape, the explanation has been presented that wife battery perpetrated by sick men. The rebuttal of this myth is even more dramat: in the case of wife battery than rape, because men of every class,"colo religion and ethnic group beat their wives." I am willing to believe that you are a busy group, but even your ow writers can surely do better than this piece. The logic was so dismal thi even a quick reading should have prevented such nonsense from a] pearing in a university newspaper. I assume, of course, that you at leai are still reading The Ubyssey. Kim Ik grad student — forestr riday, October 28, 1977 THE UBYSSEY Page 5 Replace belts with safe drivers By GLEN SCHAEFER Transport minister Jack Davis is ill of hogwash. He has decided to lake driving in this province safer nd he thinks that mandatory seat elt legislation will do it. Mandatory seat belt legislation just another example of patch- ork measires that gloss over the ;al problem. The problem is not tat people aren't wearing seat elts and thus endangering their ves; the problem is that people ist don't know how to drive )mpetently. Granted, seat belts do save lives tat might otherwise be lost in lessy auto accidents, but has lybody ever thought that it might 3 a good idea to eliminate these icidents altogether? kids off the road." He considers himself a safe driver simply because he always drives well under the posted speed limit. So, one day this man and his wife are driving sedately down the road in their three-ton living room on (f reestyle) Messy Now the obvious question arises: iw do we eliminate messy auto :cidents? The answer is to make ir drivers better and more aware ; the finer nuances of driving, his does not, however, mean the anket application of an 80 kph »ed limit. In fact, it is my con- ntion that the 80 kph speed limit ay do more harm than good. I have a mental picture of the orst driver in B.C. He is imewhere between 50 and 65 :ars old; he always wears a dora type of the type that was ipular about 15 years ago; he ■ives a late model Chrysler New orker that weighs three tons; and hen he drives around, his wife is snerally with him. Anyway, this old gentleman was obably overjoyed at the in- itution of the 80 kph speed limit, his words, "it gets these crazy Reporter Glen Schaefer suggests & Female \ /\.^ Psychology - PHYLLIS CHESLER - Monday, Oct. 31 8:00 pm sub ballroom tickets at a.m.s. business office student $loo other $2oo FREE DELIVERY WEEKEND 10% Discount on Cash pick-up orders UNIVERSITY VILLAGE 11:30-9:00 p.m. every day except Friday & Saturday till 11:00 p.m. Saturday-Sunday open at 4:00 p.m. 228-9114 # EVERY SATURDAY AFTERNOON 2-5 p.m. 639 HOWE ST. 684-443E" . 1111Z11111 M 11! T T T T11 3 IdTT'M cabaret! Till Sat. MAXIMUM R & R Coming next week: BANSHEE FRASER ARMS 1450 S.W. Marine Dr. TniTIXinTTT^TTT-n^ * * * FREDERIC WOOD THEATRE * * * MUCH ADO ABOUT NOTHING by William Shakespeare NOVEMBER 4 -12 (Previews - Nov. 2 & 3) 8:00 P.M. Student Tickets: $2.50 (Student Season Tickets - Three Plays for $6.00) BOX OFFICE • FREDERIC WOOD THEATRE * Room 207 ^ -fa Support Your Campus Theatre -^ -jf ffc HONG KONG CHINESE FOOD X \ * 5732 UNIVERSITY BLVD. /& 1 in the Village Eat in & Take out - OPEN FOR LUNCH PHONE 224-6121 ft (formerly El Matador) Lunch Supper Sunday 11-2:30 p.m. 5-1:00a.m. 4 p.m.-11 p.m, 3135 W. BROADWAY 731-5322 For Lunch or Dinner try our fameus Platter for Two — enables you to sample a variety of Greek dishes) Candia Taverna M* SPECIALIZING IN * 228-9512 gTp£Te 228-9513 FAST FREE DELIVERY - 4510 W. 10th Awe. 3EK5 Page Fridays 4 THE UBYSSEY Friday, October 28, 1977 Movies celebrate 50 years of sound By LARRY GREEN Filly years ago, in October, 1927, a mostly silent, vapid little film with a couple of songs and a few lines of dialogue sandwiched in silence was released. Despite its effete theme, pining sentimentality and static staging, it was a sensation that overwhelmed its audience and turned the rest of the movie industry upside-down. It was the first time that sound had been used with film to propel the story of' a feature-length picture. The star had worked for the last cash the producers had; bankrupt, they had made the film on a shoestring. The star was Al Jolson, and the film was Warner Brothers' The Jazz Singer. People generally believe the cliche that The Jazz Singer was the first talking picture, but it was not. It was, however, the first one of any importance. Recorded sound had existed for many years by 1927, first on record discs and then on radio. It had been shown with moving pictures in European exhibitions from the turn of the century and dozens of people had worked over the years to synchronize sound with film. The trick that had not yet been achieved was to synchronize sound with a moving picture on the same piece of film material. The sound track-on-film was invented in 1919 in Germany /and an American, Dr. Lee de Forest, invented a similar process shortly after. De Forest had invented and patented in 1906 the amplification process by means of the audion tube, which projected sound across a room. He made short films of variety acts and performers in the early 1920s and travelled about lecturing about his invention. He was eclipsed by Bell Telephone research, which began to market its own sound-disc process, the Vitaphone, in 1925, with the hope of selling it to the moviemakers. Vitaphone The Vitaphone became the movie industry's untouchable; every studio turned it down, considering it a white elephant. It was feared that Vitaphone would ruin their lucrative silent film business, involve expensive, delicate, and unknown equipment, and force drastic changes in snooting methods. However, the Warner Brothers (Harry, Jack, Sam, and Albert) had nothing to lose. Quickly going broke because they didn't own enough theatres to exhibit their steadily decreasing supply of pictures, they bought it. TTie movie business in general was beginning to sag in 1927 — people preferred to stay home and listen to their radios ( a precursor to jhe television vs. film battle). In August, 1926, Vitaphone was presented for the first time in New York. The program included a short lecture by Will Hays (soon to be the Torquemada of the industry as its national censor), about the future of sound movies, some shorts featuring musical performers, and a silent film with canned music substituting for a live orchestra. Warners carried on their program for over a year. Tremendously in debt, under great strain and laughed at by the big producers, Sam Warner died of stress. The equipment was too expensive for theatre owners to buy in order to show a film , with recorded background music attached to it — they had live orchestras already. At the same time William Fox was producing shorts in Movietone, a process pirated from de Forest where die sound is . actually attached to the slide of the film and run through a specially adapted projector. Before Movietone was eventually to supplant Vitaphone's disc system, Warners at last decided to raise the sound film from gimmick status. In the Warners Theatre in New York, they openedThe Jazz Singer on October 5,1927; it was a stupendous success. It killed silent films overnight, leaving the movie moguls aghast with millions of dollars of silent films either in production or already completed. Audiences would not go to a silent film if they could help it; the new entertainment threw musicians out of work, sent actors scrambling for voice teachers, and caused theatres to rush die installation of sound equipment. The industry stood still as it JAZZ SINGER ... Jolson movie made sound movies win public support read the headlines; they they decided to move forward. As moviemakers rushed to produce talkies, they encountered new problems. First, what were they to do with their backlog of silent films? Some were provided with canned music, sound effects, and even a little bit of Technicolor. they were disasters, and the newly-rich Warner Bros, company dutifully reminded the public in a publicity ad that "if it's not Warner Bros. Vitaphone, it's NOT the real, life-like talking pictures." During 1927-29 the bulk of these problems were confronted and resolved. At first cameramen had to film from an enclosed, immobile soundproof booth to muffle the sound of the machine. Such workers would often emerge dripping wet. Eventually covers were invented for cameras to act as mufflers. Shot after shot would be unmoving and still because the camera, and the sweating man behind it, could not move except for a slight left-right motion. Silenced by padding, the camera could, by 1929, be moved around a scene, instead of remaining a dull invigilator. The microphone was a stationary enemy; not only was King Mike to be the destroyer of legends, it had to be fixed onto one place on the set and required actors to yell directly at a pot or a bush (as so brilliantly spoofed in 1952's Singin' in the Rain). The machines needed were costly, and they picked up any noise not only in the studio but outside as well: cars, airplanes, anything. Enclosed sound stages were built, and studios flew blimps overhead to ward off airplanes. This was solved by the boom mike; suspended on booms over the set, mikes could be moved and controlled out of camera range. More drastically, and most obviously, the movies had to reckon with their main audience attraction, the stars. Seated before flickering shadows whose actions were accented by dramatic sweeping music, the audiences of the 1920s had been asked to perceive a star as more than simply a physical presence; with their emoting and gestures, the actors were more like spirits than people. < When sound arrived many of the tremendously popular stars were found delivering dialogue for their first talkie with squeaky voices, inaudible diction, or incomprehensible heavy accents. Not very romantic for legendary beings. Pushed off their lofty heights, many of them plunged into oblivion and sank, among them Colleen Moore, Norma Talmadge, and Pola Negri. Handsome John Gilbert lingered for a while but could not stem the tide, his pleasant tenor voice recording a squeak at the hands of unscrupulous technicians. StiD other stars had too much money saved up to care very much either way. Among the stars who made it were the redoutable Joan Crawford, Ruther Chat- terton, Janet Gaynor (the first best actress Academy Award winner), Ronald Colman, Norma Shearer (by virtue of the stock interest she held in MGM, and of course, Greta Garbo. A top box-office draw throughout the twenties, a status she was never to have in the 1930s despite "her great roles, MGM kept her in silent films until 1930, when in Anna Christie she arrives after more than half an hour into the film and asks for gin vith viskey. "Garbo Talks!" ran the billing, and sound seemed securely entrenched. Charles Chaplin held out; having once said, "A good talking picture is inferior to a good stage play, while a good silent picture DISNEY ... took sound beyond gimmickry in Steamboat Willie is superior to a good stage play," he made City Lights in 1931 and Modern Times in 1936, achieving his greatest success with silent films well into the 1930s. With the necessity of constructing huge sound stages in which to shoot pictures, the movies abandoned studios in New York (where, for instance, the Marx Brothers made their first films), and moved everything but business offices to Hollywood. The movies seemed abandoned in another way as well: aesthetically. The movies had reached their technical peak in the twenties in the areas of photography, lighting, and set construction and design. The best stories given to the best directors and photographers available could become exhilarating and absorbing films; the actors, emoting like mad, projected lyrical, haunting performances in their quest for truth. The sound rush was so frantic that any pretensions to art disintegrated. If the people wanted talkies, they would get talkies in the form of non-stop dialogue and musical numbers. The Lights of New York (1928) didn't rest for a minute. Broadway Melody (1929) was so stuffed with rubbish, and made in a crude color process besides, that it won the second Academy Award for best picture, the first musical to do so. Broadway became key, the most obvious tiling to imitate: its actors, its plays, its jokes, its brashness and its crudities were all shipped wholesale to Hollywood. The directors who had to package what they were given had to unlearn the method of making film art with the image alone and had to learn to balance a picture with talking. It wasn't the image anymore, it was the noise that made a movie. For that reason the new movies were visually still and lifeless, using long sequences of a single shot while actors tried to project their endless stream of words into one earth-bound microphone, or having the track punctuated with exaggerated sound effects. Disney's art Eventually directors like Ernst Lubitsch (Monte Carlo, 1930), King Vidor (Hallelujah!, 1929), andRouben Mamoulian (Applause, 1929) showed a great deal of imagination, bringing in roaming cameras and microphones, worthwhile material and better editing. Walt Disney played a large role in sound creativity. In Steamboat Willie (1928), sounds were generated from visual images, such as a cow's teeth being used by Mickey Mouse as a xylophone. Sound was turning into a real force of its own and ceasing to be an aggravating handicap. If there could be no more improvisation or slapstick comedy, in a way its arrival was retrieving the pictures from lush gimmicks and sentimentality. With the help of new, more naturalistic actors such as Frederic March, Jean Harlow, and Clark Gable, sound was enabling the movies to communicate characters and substance. Even so, with the stunning impact aside, talking pictures were not a revolutionary art form, they were the revolution of one art form. For the crowds of the late 1920s, talkies were the total experience, but they did not change opinions about the art or lifestyles the way television would. Accustomed to sound recordings in their homes, the public found that it had outgrown silent films and was no longer interested in whatever they had to offer. Feeling that silents were artistically superior and unimpressed with the dismal quality of the first talkies, the experts had other opinions. Thomas Edison said people would tire of talkies; Eisenstein said that the sound film would remain unchallenging and deal with endless dialogue to please crowds. Others predicted a side-by-side relationship. "It would have been more logical," Mary Pickford has said, "if silent pictures had grown out of the talkie instead of the other way around." We are now exactly fifty years from the sound revolution, and whether you agree with Pickford or not, the movies, all singing, all talking, all dancing, came fifty years ago to stay. Pa$e Flukey^ £ Friday•f&s&stfasfwri THE UBYSSEY Nureyev outstanding as Valentino ByMARTAMARTON The films of Ken Russell connote extravagance and eccentricity and his latest work, Nureyev is Valentino, is no exception. The frenzied life of Rudolph Valentino is a perfect vehicle for Russell's artistic talents. It is Rudolph Nureyev who saves the film from becoming just another sensationalist movie. Russell has a string of biographical films behind him; Manler, Lisztomania, and Isadora Duncan, to name a few. But never have his films had a presence as powerful as Nureyev's. He gives an impressive portrayal of the romantic screen lover. Both Valentino and Nureyev, with their brooding exotic and romantic looks, exemplify sensuality, pride, and ambition. Nureyev, in his first dramatic screen role, transcends his own personality and becomes Valentino. The film begins as thousands of mourners crash the gates which enclose Valentino's coffin. The remainder of the picture is a series of flashbacks which never cease to shock our senses and imaginations. Russell has selected a strong cast. However, Michelle Phillips, as Valentino's ambitious and beautiful second wife, Natacha, never seems to be comfortable in her role. She does not extend beyond her off screen personality as a former singer for the Mommas and the Poppas. Yet she provides a perfect example of the ideal women of the twenties with her cold beauty and boyish figure. Valentino's undying love for her is believable because she is probably the only women he has met who never completely submits to him. Leslie Caron gives an excellent portrayal of the bitchy and sly Nazimova. Carol Kane, as Fatty's Girl, is well cast as the giggly, shallow starlet who is one of the first to perceive Valentino's potentials. Goodbar flops By GRAY KYLES Diane Keaton is best known for her work in a series of Woody Allen comedies which culminated in her virtuoso performance in Annie Hall. She has proven herself as one of the finest comic actresses of the last decade. Now she wants to be recognized as a major dramatic talent, which is why she took on the challenging lead role in Richard Brook's new picture Looking For Mr. Goodbar. Keaton tries hard but she is undermined at every turn. The result is a disappointing role and a disastrous picture. Looking for Mr. Goodbar is a maddening failure. It's maddening because there is a great deal of potential in the project, including good actors and an interesting and original story. Looking For Mr. Goodbar directed by Richard Brooks Capitol 6 But director Brooks handles the wholeaffair insuch a confused and hamhanded manner that it is doomed right from its stylized opening credits. Actually the credits and the last scene are the best things in the picture. Unfortunately there is the little more than two hours in between. Keaton plays a young teacher at a school for deaf children. Unable to find any love or humanity in her strict Catholic family she breaks away to live on her own. She is attracted to the night life of the bars and discos in her seedy neighborhood and becomes involved with drugs and a number of odd characters. Her life becomes a contradiction. By day she is the respected teacher, at night she haunts the bars looking for a quick pickup. Her life is depressing and slightly frightening but it is also the life she chooses. She grew up with a lot of sexual fantasies which plague her as she tries to live up to them, in as wild and exciting a fashion as she can. The story, based on Judith Rossner's best selling novel, is good. It is an interesting examination of some of the results of the so-called sexual revolution of the 1960s and looks critically at the meat-market, quick pickup disco and bar scene. That it never reaches its potential is the fault of one man, writer-director Richard Brooks. Best known for such films as The Professionals, In Cold Blood and Bite the Bullet, Brooks was way out of his depth when he tackled Mr. Goodbar. Rossner's story requires a director who can put his message across subtly. Unfortunately that's something Brooks has never been able to do. He is a graduate of the sledgehammer school of symbolism. At times a five-year-old child could tell you what he is trying to put across. In one scene Keaton, who comes from a Catholic family remember, is returning from an afternoon liaison with her first love, her married professor. As she stands in the subway a train pulls up and stops. The doors open and there, perfectly framed in the doorway, stands a nun. As if that were not obvious enough Brooks cuts back and forth from the nun to Keaton's horrified face. Eventually the train pulls out, Keaton carries on, and we have been graphically shown what we already knew. She suffers from guilt founded in her religious upbringing. Throughout the movie Brooks exhibits his complete lack of depth or subtlety. He also continually, telegraphs the ending to us; lots of knives, beatings, threats and such. Watching Looking For Mr. Goodbar I was constantly impressed by the potential that was there. I kept thinking what Robert Altman or Martin Scorscese could have done with this story. To his credit Brooks did establish the mood of the story quite well. You come out thoroughly depressed. But you are also bored and annoyed at the waste of talent, which by the way is in great abundance. Keaton shows promise as a dramatic actress but does not reach her potential due to the direction. William Atherton (from Day of the Locust) proves once again that he is (me of America's most interesting young actors in a role that is unfulfilling and inconsistent. Newcomer Richard Gere plays the fascinating but frightening young swinger she becomes involved with and gives a top-notch performance. Despite all of her high hopes, Keaton is going to have to wait for something other than Looking For Mr. Goodbar to establish her as a dramatic actress. She took a big chance, became involved in a daring and important project and was foiled by a second- rate director. All we can do is wish her, and us, better luck next time. The boxing scene between Valentino and a reporter an ex- heavy weight champion) is the most dramatic moment of the f ilm. The reporter has insulted Valentino's honor and manhood and Valentino feels compelled to prove himself. One can't help but become absorbed in this scene. Valentino appears to be in a losing battle. His face becomes bruised and swollen and he spits blood between bouts. Yet after winning the boxing match he is still not satisfied with his success. He continues in his struggle to uphold his honor with a drinking competition in which he appears to have attained godlike powers as he outdrinks his opponent. Inspite of his abilities to con women he remains a dignified character. Although he often displays poor taste in choosing film " roles he never loses his magnitude. Valentino was constantly controlled by aggressive domineering women. He used women to aid him in his career just as women exploited him. Nureyev's dancing is always worth watching. Although he is thirty nine years old, he moves with grace and control. It is only in the love scenes that he is awkward as he throws himself upon his mates with boyish exuberance. It is ironic that a man hailed as the greatest malesex symbol of his time was tormented and ridiculed by suggestions that he was a homosexual. Perhaps his marriage to the strong willed Natacha and her friendship with Nazimova, who was a lesbian, confirmed that opinion in the minds of those who were suspicious of his masculinity. In this film, as with most Russell films, the director indulges in shocking our senses to the point of nausea. The scene in which Valentino is in jail because of a bigamy charge, is particularly repulsive. There he is plagued by lecherous, V.D.-ridden prostitutes and perverted men. Russell has altered some of the details of Valentino's life apparently to enhance the film's dramatic effect. The most obvious change is at the end of the film when Valentino seems to die suddenly. According to biographers, his fatal infection of peritonitis was prolonged over several agonizing days in a hospital. At the end of the movie we are heralded with a song There's a New Star in Heaven Tonight. Like all great sex symbols, the star's success is both tragic and grotesque because he could not possibly live up to the myth that surrounded him. Although Russell enjoys presenting the lurid scenes of Valentino's life; the film is worth watching if only to see Nureyev's portrayal of the star. Nureyev captures the nuances of his personality. He shows his sense of humor, arrogance, vulnerability, sensuality, charm and pride, and pride. He draws a human and believable character with subtlety and insight that has rarely been achieved by any actor. NUREYEV .. .captures Valentino's haunting presence Imported Drum Dutch Blend Cigarette Tobacco, blended in Holland. For people who take the time to roll their own Page Friday. 6 THE UBYSSEY Friday, October 28, 1977 history History lives on at Heritage Village By GREGORY STRONG Heritage Village is an outdoor pioneer museum near Deer Lake in Burnaby. The buildings have been taken from locations in the B.C. Interior and repaired and reassembled to create the atmosphere of a pioneer town in the early years of the twentieth century. Every building and display is operated and maintained by the Heritage Society volunteers who are retired men and women working as the proprietors in the stores. Many of these volunteers were blacksmiths, or druggists, or mechanics during their working lives and demonstrate the use of the old tools and answer questions about the displays. Heritage Village is a complete town with real estate offices, a Royal Bank, a dress shop and a Chinese herbalist shop. The village church is actually available for marriages and baptisms. Ihe village is artificial, but we can still make associations with our past; the hardworking pioneer and his strong sense of materialism. It is a beautiful walk through Heritage Village, down the gravel paths and over the green lawns, between the church and the homes and the Main Street. —colin fenby photo HERITAGE VILLAGE; MAIN STREET The old towns had these same wide gravel streets. When it was wet, they were muddy. The age was in the wood and worn on the floor. Decay and chipped paint are missing here, everything is fixed and has new paint. —colon fenby photo THE VILLAGE CHURCH: The old church in the shadow of sunset. Village churches were the heart of a district; baptisms, marriages and funerals. —mary janeway photo THE APOTHECARY: Rows of yellow and brown bottles. It smells old. Behind the glass counter and corded bottles is a sea captain's surgical kit with a steel bone saw and double edged knives. They are bound in velvet in a beautiful rosewood case. —colin fenby photo THE OLD MOTORISTS' SHOP: Fred Maunsel was a grease monkey for forty years. Chester documents oppression of women By MERRILEE ROBSON In every existing society in the West and, in fact, most of the world, female destiny has been subjugated by male power, and therefore male desire. And throughout history, male use of power has been disastrous for much of humanity, especially for women. Phyllis Chesler and Emily Jane Goodman make this statement in their book, Women, Money and Power. The authors divide power into its 12 major forms. These are physical, technological, scientific, military, and consumer power; the power of organized religion and secular institutions, of social position and influence, and of beauty, sexuality and motherhood. Women, Money and Power by Phyllis Chesler and Emily Jane Goodman Bantam, 288 pages $2.50 paperback The book points out that few of these types of power are available to women. And it shows that the types of power women are generally assumed to have — beauty, sexuality and motherhood — are not considered very valuable. In fact, these powers often work against a woman rather than for her. The old 'hand that rocks the cradle rules the world' myth is dealt with, proving how ludicrous that point of view is. While mothers have a definite influence on their children, the mothers of powerful men are very rarely called upon to attend board meetings or plan military strategy. Motherhood is generally considered a desirable job for women. It provides society with its citizens. Yet women are never paid for the care of their own children. The authors say that, in our culture, money is associated with worth. The implication is that the jobs traditionally held by women are worthless. There have been some recent efforts to improve the wages and conditions in those jobs, as well as moves by some women into traditionally male-dominated fields. But, in general, the status quo has been maintained and many employers use women's sup- posedfy desirable ability to reproduce against her. Most working mothers do so out of necessity, even, as is often not the case, if there is a male wage earner in the family. Yet many employers still believe that women are working to provide luxuries for themselves or to relieve their boredom (by working eight hours a day as a cashier!). The children are always considered to be the wife's responsibility and this is often an obstacle in a woman's career. Employers say they are reluctant to hire a woman for an important position (or even an unimportant one) because she will stay home if the children are ill. A woman who is not a mother may quit if she becomes pregnant. No one ever asks a man how he manages marriage and a career; his marriage and children are not supposed to be paramount in importance. The book also deals with the popular belief that a beautiful woman can marry above her class or sleep her way to the top. It states that the instances of beautiful, poor women marrying wealthy men are rare and that romantic relationships more often result in the woman's dismissal from her job than in her meteoric rise to the top.of the business world. Even when a woman does attain some power in the business world, she is never at the top of the power structure. The authors state that a woman executive is expected to behave in a nurturing, maternal manner or behave flirtatiously. Both types of behavior will ensure that her male colleagues will not feel tlreatened. The authors do question the validity of woman's struggle to attain power in an essentially inequitable society. But they point out that, within their class, women are poorer than men and that equalizing the classes will still leave women in a weaker position. They say that housework is still considered the woman's responsibility in both capitalist and communist countries. If women are to be able to make any changes in society they must first become powerful, which in our society generally means rich. Women, Money and Power does not deal strictly with the philosophical aspects of this issue. There is also a practical discussion of legal rights concerning division of property after a divorce, alimony and child support payments, equal opportunity employment and credit ratings. Unfortunately, this deals solely with American situations and the Canadian reader may not find these sections particularly interesting. However, the problem, if not the laws, is the same in Canada. Women, Money and Power makes some interesting and sometimes startling observations on the economic situation of women. Phyllis Chesler, one of the authors, will be speaking Monday on the effects of feminism on male and female roles, in the SUB ballroom. CHESLER ... women left powerless in male dominated society Friday, October 28, 1977 THE U BYSSEY Page Friday, 7 art Cree art shows unique view of country By DAVID MORTON Until very recently, native Indian art has been known largely for its stylized ink designs depicting religious or mystical aspects of the native way of life. Colors are used sparingly, depending on whatever natural dyes the artist has available. A Cree Life: The Art of Allen Sapp by John Anson Warner and Thecla Bradshaw J. J. Douglas, 127 pages, $24.95 But a new school of native art has been emerging out of the prairie regions of Canada, which is arduously, there is an air of fond reminiscence in them. The people seem. happy and contented with their industry. The winter landscape while harsh in actuality, is homely in the paintings. And the leisurely hours are warm and serene. Sapp's sensitivity toward this lifestyle comes not just from being part of it, but also from his being an outcast on his Cree reservation. For much of his early life he was afflicted with tuberculosis and was unable to take part in much of the schooling for the Cree children. Instead, he would spend his idle hours at home with his grand- TAKING WATER HOME . .. nostalgic look at Cree life a departure from the more traditional style. Led by Cree artist Allen Sapp, this school is making use of acrylic colors on canvas, and falls into the recognizable style of modern expressionism. The paintings of Allen Sapp are thesubject of a new book published by J. J. Douglas, and some of his more recent work is on display at the deVooght Galleries. Sapp's paintings depict the lifestyle of the Cree Indians of the Saskatchewan prairies. They portray the people as they struggle against the harsh winter, and in the springtime as they cultivate their land, and raise their cattle. But on a deeper level, the paintings are a personal recollection by Sapp on the older simpler ways of life he knew as a child. While many of the subjects are of the native people working mother sketching the life around Mm. His activity of sketching was not favorably looked upon by the members of the reservation. The Cree society was heavily machismo oriented and Sapp's sensitivity did not belong. Because of this he was the object of much fun by children of his own age. There are other motifs which occur throughout Sapp's paintings as well as the grandmother. The horses, dogs, men chopping wood, women carrying water, and the tribe at leisure all paint one large picture of life on the Cree reservation. Sapp's method of painting is quite unorthodox. Rather than working directly from nature as do most modern artists, Sapp works from memory. This accounts for the nostalgic tone of the paintings. "I got pictures in my mind," says Sapp. "I see wood lying in a field. I make pictures like I remember. That wood was old sleigh runner. I go along in that sleigh, horses pulling . .. pulling . . . just like that. Just like I remember, long time before government houses come. That's the way I paint." Thus, from his memory he paints accurate pictures of the life around him, giving each painting a descriptive title. The titles in themselves are colorful: Bringing in Some Wood, Albert Soonias' Cows, and Charlie Bear's Place. The book published by J. J. Douglas, A Cree Life: The Art of Allen Sapp, consists of 90 plates of Sapp's paintings, some in color, and others in black and white. It seems a shame to put out a book of paintings most of which lack the color, but Sapp's work particularly lends itself to color reproduction. John Anson Warner, one of the book's authors, said it was important the book came out at the right time. It had been in the works for five years, but Sapp's patrons and agents wanted the book out for this Christmas. No other company could make room for the book in its publishing schedule. But the book's strength lies in the manner in which the paintings themselves are presented. Most of them are accompanied by descriptions by Sapp himself. By an English professor's standards, Sapp does not have a good command of the English language. But the descriptions of the paintings are simple and direct and add to the paintings more of the mood that is originally attempted. He adds things in a casual way that make the paintings even more interesting to look at. One painting of a woman pausing over her husband, who is busy at work, is accompanied by the following quotation. "Going to make something out of it — axe handle. Lady got water from well and just stopped for a moment to ask him what he wants to eat." At the same time, it is hard to say whether these descriptions realty add to the paintings. The viewer may tend to interpret the works through what Sapp says about it, rather than letting the paintings speak for itself. The quotations are very descriptive in themselves, and may ultimately take too much away from the paintings. But the book is worthwhile for the paintings and Sapp's descriptions. His work is also on display at the deVooght Galleries at 2215 Granville Street, until Oct. 29. 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Our monstrous neighbor to the south has greatly affected generations of potentially proud Canadians, which has resulted in a wariness, or even embarrassment, of anything Canadian. Despite our 110-year-old history, we are still searching for the definitive Canadian novel, the definitive Canadian joke, and even the definitive Canadian identity. The Retarded Giant by Bill Mann. Drawings by Aislin Tundra Books, 96 pages] $2.95 The Retarded Giant is another in an apparently endless series of "all-Canadian" books. Giant stands out from the others as being one of the most refreshing and interesting reflections on Canadian lifestyles to appear in a long time. The Retarded Giant is a collection of one-liners, quick jabs, and other related humorous paraphernalia, all of which poke fun at the Canadian outlook on life. Bill Mann has competely mixed these jokes in order to give a fast-moving and humorous view of all the particular and peculiar traits we Canadians tend to exhibit. Bill Mann, of course, is an American. WHAT IS THE QUEOJ5 MAJOR KQtf. IN CANAtt? □ a fiGurctead? D a LOGorhead? a steals lots of stands. QUEEN LIZ... object of Canuck humour A Canadian woman who had just moved to Chicago asked her American boy friend, "Where do you find a good gynecologist in this town?" Her boy friend chuckled, "I'll look into it for you." "Please do," she answered, walking away. "And call me when you've got a name." • • • Assorted Canada Council Grants, 1977-78: $45,000 — to La Ligue des Patriotes de Rosement, Quebec, for their four-act play, "Mange dla merde, les maudits anglais d'Ottawa!" $40,000 — for a performance of the Montreal Symphony at the Mackay Centre for the Deaf. $5.57 — to Ottawa cabbie Max Hulk, for his vocal presentation, "My Meter is Still Running, Jerk." $21,000 — to D'Arcy McGee H.S. chorale, Vancouver, for their trip to Bucharest to perform selections from "Frampton Comes Alive." * - • * Perhaps the most enjoyable parts of Giant are the 22 Aislin drawings. Aislin (Terry Mosher) is unquestionably Canada's premier cartoonist. His sketches are very often enough to portray our particular Canadian identity. While The Retarded Giant occasionally lapses into fits of warmed-over Newfy and Polack jokes, most of the material is quite reflective of Canadian personality traits. Reading Giant is not unlike watching old reruns of Wayne and Schuster — you laugh not because it is particularly funny, you laugh because it is Canadian! Giant is Mann's attempt to give Canada a gift of laughter, something which he believes we sorely need. Weare berated for our puritanical regard of sex, our paranoid view of American supremacy and for our total inability to fully comprehend anything the least bit humorous. Some examples of the ultimate in Canadian humor include: Q. What are the three gradings of Quebec meat? A. Win, place and show. Q. What does the average Canadian think of LSD? A. That he was an OK president. Q. Give an example of Canadian money being accepted at par value in the U.S. A. To buy hotels on Boardwalk and Park Place. r By NICHOLAS READ For all aspiring writers, the Surrey Art Gallery will be holding their Westcoast Writers' Weekend on Oct. 29 and 30 at the Surrey Arts Centre, 13750-88th Ave., Surrey. Approximately 34 writers will be participating in the many literature-related activities which include everything from book binding to poetry readings. The centre is open from 12 to 8 p.m. on Saturday and from 12 to 6 p.m. on Sunday, and all activities are free and open to the public. Angel Productions is proud to announce the opening of Lothar, a fantasy with music, at the Iron Horse Theatre Restaurant tonight at 9 p.m. Peter G. W. Watkins, founder of Angel Productions, has collaborated with Vancouver writers Les Wiseman and Allan Hart to create this sword and sorcery epic which is said to combine elements of Star Wars, Camelot and Greek mythology. Lothar runs until Nov. 5 and tickets for the show are available at the Iron Horse and at the Black Swan record store. The Commodore Ballroom invites you to spend the evening of Oct. 31 at their Halloween Hpedown. Four bands will be featured in this hallowed evening's entertainment and cash prizes will be awarded for the best Hallowe'en costumes. Doors open at 8:30 p.m. and advanced tickets are on sale at all Woodward's Concert Box Offices and at Ernie's Hot Wax record shop. Also for your Hallowe'en entertainment, the Vancouver East Cultural Centre, 1895 Venables, is presenting two special Halloween concerts featuring Joe Mock and Rick Scott, who make up Tlie Pied Pear. The duo bring their own special blend of songs and tunes to the centre on Oct. 30 and 31 at 8:30 p.m. The Vancouver Society for Early Music is presenting soprano Ingrid Suderman in an evening of lute songs and music from three centuries. Works by Rossiter and Dowland, Purcell and Handel will be included in this musical program which begins at 8:30 p.m. on Oct. 30 at the Community Music School, 1270 Chesnut Street. Artie Gold, a surrealist poet and author of three books of contemporary Canadian verse, is the featured speaker at'this week's edition of the Steveston Library's series, Seven Canadian Poets Reading. He will begin his reading this evening at 8 p.m. The Burnaby Art Gallery is presenting the Halcyon Players, a group of local musicians who will be performing selections by Brahms and Debussy on Sunday afternoon at 2:30 p.m. The group features clarinetist Gene Rams- bottom, cellist Ian Hampton and pianist Melinda Coffey. Admission for the performance is free. Finally, Vancouver's Pacific Cinematheque will be presenting Tom Joslin's 1977 American production of Blackstar: Autobiography of a Close Friend on Oct. 28, That'll Be the Day from Britain on Oct. 29, and the Japanese film, Younger Brother, on Oct. 30. Showtimes are 7 and 9 p.m. at 1155 West Georgia. Beginning this Sunday, Oct. 30, the week-long Chinese Festival '77 will be the centre of a variety of activities for all who care to attend. Sponsored by the Chinese Students' Association of UBC, events will range from lectures and demonstrations to art exhibits and live theatre performances. The week will terminate on Nov. 4. For more information, phone Allan Li at 433-2981. Available in sizes 6V4-14 A-EEE Black & Burgundy 516 W.Hastings 770 Granville SUB films rJorth-by-Northwesterly presents From the devious mind of Alfred Hitchcock, a diabolically entertaining motion picture. There's no body in the family plot ALFRED HITCHCOCK'S SEE3 ^. I* KAREN BLACK • BRUCE DERN • BARBARA HARRIS WILLIAM DEVANE • m^john williams-s^^ernest lehman tate^'THE RAINBIRD PATTERNS VICTOR CANNING niiawivAlfREDHrrcHCOCK'AUNMi^pnijisiawiaiu^ SUB Aud. Thurs. & Sun. 7:00, Fri. & Sat. 7:00 & 9:30 75c. Those who have seen this film already are warned not to reveal the ending. "The movie that everyone is talking about is "Storwars" — Les Wedman, Sun Starring Mark Hamlll, Harrison Ford, Carrie Fisher, Peter Cushlng and Alec Guinness. voqut , . - SHOWTIMES: GENERAL 12:15, 2:35, 4:55, 7:15, 9:35. »'» GRANVILLE Sunday 2:35. 4:55. 7:15. 9:35. 6S5-S43* Who is SHOWTIMES: ODEON - 12:40, 2:55, 5:10 7:25, 9:40, Sun.from 2:55 BROADWAY - 7:25, 9:40 odEON DROAdwAV 1 «81 GRANVILLE 6«2-7468 70 7 W. IROADWAYj 874-1927 ^^f^KB^^^^l^^^^Original, alive and funny.1 , , i If1. . .\ A ,^-H . Charles Champlinl S1a,„ng CRAIG RUSSELL a HOLLIS McLAREN LosAngetes Times! CORONET 1 Warning: occasional suggestive | scenes & dialogue. B.C. Dir. SHOWTIMES - 12:00. 2:05, 3:50, 5:55, 7:45. 9:55; Sunday from 2:05 85) GRANVILLE 685-6828 MARTY FELDMAN THINK DIRTY SHOWTIMES: 12:00,2:00, 3:35,5:10,7:20,9:30 Sunday from 2:00 CORONET 2 WARNING: Some ^^^_^^^_ nude & suggestive TT^JTEJT^T scenes. B.C. Dir. '..« *.V!UI 08J-OS2S FRANK CAPRA CLASSICS 'IT HAPPENED ONE NIGHT'j 1934 OCT. 28-30 SHOWS 7:30 - 9:30 BEST PICTURE-BEST DIRECTOR-BEST WRITING BEST ACTOR - CLARK GABLE BEST ACTRESS - CLAUDETTE COLBERT "MR DEEDS GOES TO TOWN" 1936 OCT. 31 - NOV. 2 SHOWS 7:20 - 9:30 BEST DIRECTOR THE ORIGINAL"L0ST HORIZON" 1937 NOV. 3 - 5 SHOWS 7:20 - 9:30 INTERIOR DECORATION-FILM EDITING "MR. SMITH GOES TO WASHINGTON" 1939 NOV. 6 - 8 SHOWS 7:15 - 9:30 BEST WRITING >«. philippe de brow's Lb Uci >nif U|iie SHOWS _ 7:30 WARNING: A satire on 9:30 sex & violence. B.C.Dir. . JOANNE GREENBERG'S 'I NEVER PROMISED YOU A ROSE GARDEN" KATHLEEN QUINLAN BIBI ANDERSON KOlEf (LE GASPARDS) ENG. SUB-TITLES a real underground comedy Starring PHILIPPE NOIRET SHOWS and 7:30 - 9:30 Friday, October 28, 1977 THE UBYSSEY Page Friday. 9 Page 16 THE UBYSSEY Friday, October 28, 1977 MORE POWER MORE FEATURES MOT PERFORMANCE 221 SB The best-selling receivers now me low price. _ ^_^ ^_ 199 at an all-time low price. 15 watts RMS per channel with super low distortion MODEL 2220B A full 20 watts RMS per channel. Three tone controls and more features than you'd expect for this low price. 249 MODEL 2230B Enough power for most speakers and a price low enough for ^^ ^^ ^^ most budgets. 30 watts RMS ^^) ^ACl' per channel. MWM^0 ^0 MODEL 2240B Over 40 watts RMS per channel with virtually no distortion. This Marantz receiver gives you performance, prestige and reliability. 349 MODEL 22S0B An amazing price for a full 50 watts RMS per channel. 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