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OCTO

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'67

Robert Sklar on what was being written about hippies before the hippies
were around aid there was such a thing as Timothy Leary . . .
How it looks from the upper Bronx-a community organizer talks about
rebellion and reaction . . . . . . . . . . . . .
The wealth of the University and the po verty of Ann Arbor-an in-depth
piece of reporting about the Ann Arbor ghetto and the people living
there . ". . !. 4. . . !. !. M. f. . . .! ." . . .! .t ." .! .!
Alabama's most favorite son af ter Bear Bryant is thinking about being
President of the U.S. and Roger Rapoport went down to hear what he

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thinks

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The Folk Festival at Newport is its own world that Sacks and Copi de-
scribe with the pictures from their albun . . . . . .
Over a thousand girls signed up to rush sororities this fall and some
stuck around long enough to join up-here's the way one house de-
cided who it took and who it didn't . . . . . . . . . . .

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Nane any American painter. Andrew W yeth you say?

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Andrew Wyeth's
By NEAL BRUSS
Perhaps more in the traditions of Norman
Rockwell than Cezanne,
Wyeth stands as A merica's most popular
painter

Ba

Notes from the Editor

Detroit hit this summer in Mun-
ich.
Information from home, once
you've been away for a while, takes
on a surrealistic tinge, for it is yes-
terday's news tomorrow at best that
you are reading. Without the imme-
diacy of television everything seems
less urgent and pleasantly removed.
Once-a-day quickly through the In-
ternational Herald-Tribune and
that-was-that for thinking about
the United States as something real
instead of something you merely
carried around in your head.
But when Detroit hit, when its
headlines were running in every
language at the international news-
stands and its pictures looked more
like a war-time bombing site than
an American city, one felt immedia-
tely what was up.
There was nothing removed about
it, because most of us knew again
without a doubt that we were going
home and back into it all.
The hardest thing to talk about
with Europeans this summer was
the riots. They were all eager to hear
about them, but few could under-
stand how a society could have such
violent expressions of discontent and
still appear as stable as it did.
If anything, in fact, the Europe-
an students with whom I mostly
spoke -could not believe that theh
American society is as basically pas-
sive and comfortable as it seems to

be. Just as they feel that Kennedy
was murdered by something more
than a single man, they felt the riots
in the cities were indeed 'rebellions'
and prelude to something more im-
portant than the looting of colored
televisions.
Many people abroad hate Ameri-
ca with vengeance for Vietnam. It
is striking to walk down streets in
Paris and see professionally printed
posters-"the Vietnamese people are
depending on you, don't fail them."
There is no debate about the war
among the people of most of the
countries I was in this summer -
Britain, France, Spain, Italy, Greece,
Denmark, Holland-for, with the ex-
ception of England, there is virtu-
ally nobody who supports what the
United States is doing.
But they can understand Viet-
nam. It doesn't baffle them as much
as it seems to confuse Americans.
They explain it in the Marxian tra-
dition and interpret it simply as
traditional capitalist aggression.
The Negro revolution, however,
was more difficult for them to un-
derstand. Few of them regard Amer-
ica' as a revolutionary society, yet
they sensed in the Negro movement
the beginning of a revolutionary
fervor which-might extend beyond
the Blacks.
They were looking to the Black
discontent to trigger off a larger
upsurge of liberation for although

many young Europeans now dislike
the American government they quite
enjoy Americans as individuals and
perhaps still believe in the potential
of the country. Thus it was difficult
to say that you didn't foresee any
great change at home, that the so-
ciety seemed to have become tired
and stale and fearful.
But Detroit and the other riots
this summer had done more to shake
up the country than one could tell
across the Atlantic. The Americans
have become more than disgusted
with Vietnam-they are irate and
demanding. The reaction of the
right is beginning to settle as one
knew it would, but at the other end
there is now a movement afoot to
organize and affect reality instead
of merely complaining about it.
The community organizers, the
new breed of radical, have been do-
ing this. In this issue of The Daily
Maga zine we have a fine article by
an articulate white organizer telling
how he views what is happening in
the country.
But there is an older wave of new
militancy too, and they organized
the National Convention for New
Politics, held over the Labor Day
weekend in Chicago. Substantially,
the convention was a dismal failure,
perhaps hurting more than helping
the present prospects for change.
The older people there, whose
heroes are pediatrician Dr. Benja-

min Spock and Rev. Martin Luther
King, soon realized they had less in
common with the young people in
the cities-both Black and White
--than they had thought. And the
white radicals realized just how
great the distance is between them
and the Blacks.
But the good thing that came out
of Chicago was that most people
there felt a little less alone and
lonely than they did before. It re-
in forced, the will to dissent, as do
the marches and teach-ins.,s
There is now no programmatic
alternative to the present, though,
and this is what is most holding
back whatever 'radical' momentum
is being generated. As a Western
people we continue to look to our
politics for some kind of salvation,
re-structuring of the state in a
pragmatic scheme substituting for
re-structuring of the self. Thus the
inability to come up with anything
more substantial than "Resist" as
a program is hurting.
Revolution and liberation is a ro-
mantic notion, but it does not well
lend itself to the rational empiri-
cism of the western mind. This is
the impasse where those of us un-
willing to accept the platitudes of
the past as a definition of current--
purpose find ourselves.
-Neil Shister

Andrew Wyeth's New England
world is rapidly being transfigured
by high-tension electrical antennas
which march across his meadows,
by construction of roads and houses
and by all the other products of the
megalopolitan boom. Wyeth is a
painter; he can simply omit elec-
trical towers from his pictures. But
for Wyeth fans understandably
woven into urban-suburban life, a
Wyeth canvas is a nostalgic, per-
haps painful reminder of more spa-
cious and meaningful days.
Wyeth is America's most popular
contemporary painter for several
reasons. Above all, viewing a Wyeth
canvas is almost an overwhelming
experience. Wyeth's colors are alive
and meaningful: his winter whites
radiate energy, his tree greens seem
to know what photosynthesis is all
about. Wyeth's figures each embody
a spirit. Wyeth is a great draftsman
whose paintings seem often to be
moving with tremendous power into
or even off of the canvas: ,barns
seem to fall off the world - and
the effect is totally intentional.-
Viewing a Wyeth canvas is great
fun.
Persons, places and things in
Wyeth paintings are immediately
recognizable, unlike those in much
of modern art. Fans can readily
identify Wyeth's very exciting fig-
ures. And they can also identify with
his profound and by-no-means cor-
ny messages. Wyeth paintings tell
stories of individuals and their lone-
liness, of country more enduring
than men, of a world filled with
more thought and humble adenture.

Wyeth's fans are people who are
ready to be moved - and even
smashed - by things they see and
by messages from a world more
meaningful than their own. Few liv-
ing artists have so rigorously at-
tempted to directly plunge into their
world and to thoughtfully and di-
rectly tell it like it is.
Wyeth's art to a large extent
seems to evolve out of a formula.
Scenes from the aged and mellow
country around Chadds Ford, Pa.,
and the Maine seacoast usually in-
clude only one person on a canvas,
a friend or relative caught in a mo-
ment of dreaming or loneliness.
While the pictures are vigorously
well-drafted and styled in an every-
blade-of-grass realism, the perspec-
tives are eerie and -abstract. And
most important, Wyeth's art con-
stantly traps moments of life, brief
flashes of meaning, fractions of sec-
onds in which spirits are revealed.
A combination of ingerdients
makes Wyeth's art exciting: Wyeth's
insights, the technical skills which
he originally learned from his fa-
ther, illustrator Newell Converse
Wyeth, and the energy Wyeth ex-.
erts to find the action.
Wyeth plants his easel ankle-deep
in slush to paint a winter meadow;
he climbs a rooftop to discover and
paint a lightening rod; he braces his
arms in slings to paint while recov-
ering from a massive chest opera-
tion; he stretches on barn rafters
to paint a dory moored in a hayloft.
Regardless of where Wyeth has
been stretching himself and his ea-
sel, there is always, action in his

paintings. The mood may be as ab-
stract and cerebral as an Antonioni
movie, but the painted figures glow
with spirit. A view of Wyeth's light-
ening rod in "Northern Point" is so
highly charged with energy that it
can knock a viewer across the
room.
Wyeth's popularity broke loose as
suddenly and intensely as the scene
in his paintings. He was relatively
unknown in the '50's as he trudged
into his woods. But suddenly, by
1963, President Kennedy had award-
ed Wyeth one of the first Medals of
Freedom; TIME Magazine had put
him on its Christmas Week cover;
his painting, "Her Room" had drawn
the highest price paid to a living
American artist, $65,000.
A half dozen other national mag-
azines have since graced their pag-
es with reproductions of Wyeth art
and narrated the story of the art-
ist's development. Printmakers slow-
ly released pictures for a public eag-
er to put Wyeth's world on its walls.
Last winter, for example, four Ann
Arbor campus-area stores simultan-
eously decked their windows with
the prints.
But even the best prints - which
still are being manufactured - nev-_
er had the power of the originals,
which were scattered in homes.and
museums throughout the country.
This summer, 200 of the paintings
and drawings were collected for
showings in the Pennsylvania Aca-
demy of the Fine Arts in Philadel-
phia, the Baltimore Museum of Art,
the Whitney Museum in New York
and the Art Institute of Chicago.
A four-dollar catalogue loaded
with pictures of the paintings sold
out before the show reached its last
stop in Chicago. The catalogue went
into a second printing; museums in
cities which had not hosted the

show stocke
-- hundreds
Enthusiasi
work sentim
ing past ma:
nation whic:
joys flower
psychedelic
which blitz
ground ima
seems hardly
a people tau
the evils of
Asia, the si
ploitation, a
slayings and
The Wyet
trays an ide
and by the
and white ra
pendence. in
personal str
with a spa
countryside.
It is by n
or outdated
plea for the
being corrup
of, among
black people
his New Eng
and in his p
sonal and ci
speak louder
"The Drift,
lard Snowde
Wyeth's Stu(
World in the
marine. "Gr
of an older
been a rich,
who repress
strengths an
round the F
he came to
filled with ac
has the path
trait.
In "April
another Neg

i

The Daily Magazine
The DAILY MAGAZINE is publish-
ed monthly, September through
April, by the Board in Control of'
Student Publications, 420 Maynard
St., Ann Arbor,-Michigan.
PICTURE CREDITS
Cover-Jan _Holcomb; 3, 10, 11, 12-An-
dy Sacks; 10, 1, 12, 14-Thomas R.
Copi; 9-Rouger Rapoport.

October '67

EDITOR........ .. .............. .... Neil Shister
ASSOCIATE EDITOR ..............Carole Kaplan
ASSISTANT EDITOR ................ .Lissa- Matross
PHOTO EDITOR............................Andrew Sacks
BUSINESS MANAGER ....... .... ..Hank Pfeffer

NEAL BRUSS, a philosophy major with wide-ranging
terests, is a junior editor of The Daily and has reported
Time Magazine and The Detroit Free Press.

in-
for