"Thursday, March 1, 1973

THE MICHIGAN DAILY

rage inree

Thursday, March 1, 1973 tHE MICHIGAN DAILY



Is David Bromberg found?

Anais Nin: On preserving
the feminine personality

SLi(w Runners-up (from first to fifth)
" were Gary McConnell, '73, Bob
Daily Photo by JOHN UPTON Katz, '73, Alan Klein, '75, and
From left to right: Gary McConnell, 73, Peter Fenyes, '75, Alan Klein, '75, Bob Katz, '73, Charles Pilzer, '74. Charles Pilzer, '74.

By JANE DOBIJA
Speaking to a standing-room-
only audience at Rackham Tues-
day night, author Anais Nin
clearly demonstrated that her
concern with human feeling is
not limited to her world of lit-
erature. Her listeners were
aware of a degree of sensitivity
and deep caring which accom-
panied the spontaneous mes-
sage she delivered.
She addressed herself to the
concept of anti-feminism as a
reflection of a malaise troubling
our whole society. She referred
to the American obsession with
collectivism as the root of sex-
ism, stressing the fact that wo-
men's concern with the personal
-the subjective realm of ideas
and feelings - threatens men's
real, concrete world built on the
group.
"The man," Nin" read from her
Diary (Volume II), "who has
made the definite conquest of
nature, the American man, is
the one most afraid of woman
as nature, of the feminine in
himself. The American created a
monolithic image of maleness
which is a caricature (no sensi-
tivity, only toughness, logic, fac-
tualness)."
Throughout her speech, Nin
emphasized the importance of
preserving the feminine person-
ality rather than attempting to
emasculate it. "Woman's crea-
tion," she said, "must be ex-
actly like her creation of chil-
dren, that is, it must come out
of her womb, nourished with her
own milk.'
Nin considers the ability to
feel and understand the subtle-
ties of emotion to be the most
positive aspect of the feminine
personality. This she has at-
tempted to communicate to men
as well as to women through her
literature: yet,' in person she
came across as the personifica-
tion of her philosophy of women
as artists and healthy human be-
ings.
Anais is the author of a Diary
composed of over 150 volumes,
four of which are now in print,
and a fifth to be made avail-
able sometime this year. She
considers Proust a major influ-
ence in her diaristic work, for
he taught her the value of treat-
ing her daily life in a symbolic
manner which brought her near-
er the subconscious.
She also cited the influence
of psychology, particularly the
work of Dr. Otto Rank, in the
creation of her fiction as well
as her Diaries. Her continuous,
five-volume novel, Cities of the
Interior, for example, is an in-
tricate study of psychological
problems involved in the devel-
opment of healthy human rela-
tionships.
However, in considering Anais'
work as a wholeone is immedi-
ately aware of the fact that she

has created a highly individual-
ized philosophy, rand has pro-
duced innovative literary forms.
Her use of the "prose-poem" in
her first published fictional
work, House of Incest, (Paris,
1936) and the novella form of
her second piece "Stella" from
Winter of Artifice (Paris, 1939),
established her reputation as an
experimental author whose sur-
realistic tendencies often brought
harsh criticism from friends and
reviewers. But her stubbornness
and faith in her own writing
helped her in the struggle for
acceptance and recognition until
today, shortly after her 70th
birthday, she enjoys the reputa-
tion of a vital figure on the con-
temporary literary scene.
Nin's work represents an al-
ternative to American post-war
literature that concentrated up-
on absurdity as characteristic
of the real world. Anais con-
siders it the author's responsi-
bility to lead her readers through
the chaos of experience into a
new psychological realm where
dreams and illusions are permit-

ted to exist. "To achieve fulfill-
ment," she writes in The Novel
of the Future (New York, 1968),
"we have to know first what the
dream is, and seek to approxi-
mate it, or exorcise it if it is un-
attainable . . . In a confused
world, the novelist has a great
responsibility not to add to the
confusions. Depicting chaos with-
out any illumination of its
meaning is adding to chaos."
Nin's literary success is a tes-
timony to her belief in her own
femininity which she refused to
reliquish in the struggle with
male artists. Her ability to ar-
ticulate deep-seated needs which
are common to all human beings,
her selflessness in revealing her
own life in the Diaries in order
to expose the realities of the
human condidtion is proof of
her optimistic philosophy of
life.
Her enthusiasm for life is con-
tagious, and one believes her
idealism is sincere when she
says: "It is better to risk pain
and betrayal than to withdraw
into alienation - because that
is death."

vtonight
6:00 2 4 7 News
9 Courtship of Eddie's Father
50 Flintstiones
56 Operation Second Chance
6:30 2 CBS News
4 NBC News
7 ABC News
9 I Dream of Jeannie
50 Gilligan's Island
56 Classroom Meetings
7:00 2 Truth or Consequences
4 News
7 To Tell the Truth
9 Beverly Hillbilltes
50 I Love Lucy
7:30 2 What's My Line?
4 Circus!
7 Michigan Outdoors
9 Movie
"Tarzan and the Mermaids"
(1948)
50 Hogan's Heroes
56 Behind the Lines
8:00 2 The Waltons
4 Flip Wilson
7 Mod Squad
56 Advocates
50 Dragnet
8:30 50 Merv Griffin
9:00 2 Movie
"Honor Thy Father"
4 Ironside
7 Kung Fu
9 News
56 An American Family
9:30 9 Happy Though Married
10:00 4 Dean Martin
7 Streets of San Francisco
9 Adieu Alouette

50 Perry Mason
56 Masterpiece Theatre
10:30 9 Countrytime
11:00 2 4 7 News
9 CBC News
50 One Step Beyond
11:20 9 News
11:30 2 Movie
"The Night of the Iquana'
(1964)
4 Johnny Carson
7 Movie
"Haunts of the Very Rich"
(1972)
50 Movie
"Dive Bomber." (1941)
12:00 9 Movie
"This Savage Land" (1968)
1:00 4 7 News
1:55 2 Wagon Train
3:25 2 TV Tigh School
3:55 2 It's Your Bet
4:25 2 News
cable tv
channel 3

Vinegar Joe proves one of
best English bands in years

3:30
4:00
4:30
6:00
6:30
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Pixanne
Today's Woman
Something Else (Rock)
Strateasphere Playhouse
Local news and events
Love and the Law
NCAA Sports
Community Dialogue

By HARRY HAMMITT
Vinegar Joe is a fairly new
English band who have been to-
gether perhaps two years. None
of the members are musical big-
shots from other groups; only
vocalist Elkie Brooks and leader-
guitarist Pete Gage have been
previously heard from as mem-
bers of an interesting but short-
lived band called Dada. Now
they've come together with co-
vocalist Robert Palmer, co-gui-
tarist Jim Mullen, Mike Deacon
on keyboards, Steve York on
bass, and drummer John Woods
to form Vinegar Joe-without a
doubt one of the best bands to
come out of England in the last
few years.
Rock 'n' Roll Gypsies (Atco SD
7016) is their second album and
it is very close to being a nice
down-to-earth rock 'n' roll mas-
terpiece. Out of a collection of
ten songs, none are bad and a
large majority of them are excel-
lent.
Certainly the major reason for
the quality of the music is the
fact that all the musicians in the
band know their limitations. The
strength of the band is the two
vocalists who can most easily be
compared to Delaney and Bonnie,
but work more closely and effi-
ciently together as Grace Slick
and Marty Balin at their best.
Elkie Brooks has a superb voice,
a combination of the raw power
and throatiness so vital to rock
'n' roll coupled with a very good
range and clearness in her de-
livery.
The guitar work is very nice;
it sounds as if both guitarists
share leads, but neither is a su-
perlative guitarist, just very

wcbn
89.5 fm
9 Morning After Show
12 Progressive Rock
4 Folk
7:10 Future Worlds Lecture:
Clive Backster
8:30 Jazz
11 Progressive Rock

strong, funky, and tasteful. Bass
and drums aren't ever in the
forefront, but they never make
any mistakes and always are
available when needed; Keef
Hartley plays drums on several
cuts and his graceful simplicity
really cements the songs togeth-
er. The entire sound is held to-
gether most prominently by Dea-
con who normally plays piano
much in the tough and surging
fashion of Leon Russell. His piano
work is excellent and he shows
himself to be probably the most
talented musician in the band.
As for the individual songs,
they are all tied together by the
mutual bond of blues-derivative
rock played with sure-handed en-
ergetic . musicians. The album
c o m m e n c e s with "So Long"
which can best be characterized
as a fast-driving melodic tune
where the two vocalists mesh, al-
lowing the song to come across
very reminiscent of Delaney and
Bonnie at their very best. As the
vocals pour forth, the guitar
comes in and out with some
simple but pleasing little riffs
that add to the texture of the
song. The second tune, "Char-
lie's Horse," starts off with a
good Alman Brothers twin lead,
then surges into a hard rocker
dominated by organ sounding a
lot like Jefferson Airplane. The
title song is next and it is an
exquisite ballad in themode of a
slightly uptempo "Superstar"
with fine chorus singing.
By the time you get to the sec-
ond side, the band is really cook-
ing, and they never come down
until the last number which ser-
ves as a kind of gentle postscript
to the energy that has preceded
it. The side begins with the Jerry
Lee Lewis hit "Whole Lotta Sha-
kin' (Goin' On)". The band dis-
cards the typical contemporary
heavy-handed approach to old
rock 'n' roll and instead they give
us a meshing of rocking piano

lines and some strong but re-
s t r a i n e d guitar along with
Brooks' frenzied vocal and the
superlative background vocal of
Palmer. The song is followed by
a nice blues whose counterpart is
also on this side.
Both songs feature York play-
ing some strong but simple har-
monica while Brooks and Palmer
go to town on the vocals. In this
type of music, the lyrics have to
be tough but interesting. Gage,
who writes most of the material,
manages just fine with lines like
this from the blues "No One Ev-
er Do": "We'll have two presi-
dents, black and white/One will
rule the day, the other rule the
night."
In between the two blues num-
bers is Hendrix's "Angel" which
dominates the second side. The
band probably recorded it as a
response to Rod Stewart's recent
version, and Brooks takes the vo-
cal and really pours it out with
fierce determination, soaring ov-
er a range of octaves to accom-
plish the feat; all the time the
band backs her up perfectly,
punctuating the pauses with hea-
vy emphasis on the odd chords
w h i c h characterize Hendrix
songs.
As far as contempoary rock 'n'
roll goes, this album is the best
you can possibly get. The band is
strong at all points, and with a
powerhouse like Brooks they
have the makings of a real sen-
sation in music. This band knows
their stuff and derives great plea-
sure from a simple energetic mu-
sic that really moves.
This album is analogous to one
of the recent simple but power-
ful masterpieces in music, Layla
by the Dominoes. But with Rock
'n' Roll Gypsies, the vocals pro-
duce the real flair instead of the
guitars. With the release of Rock
'n Roll Gypsies, Vinegar Joe has
proven that they are capable of
very fine music.

Daily Photo by KEN FINK
Anais Nin

NOW SHOWING!

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COMING SOON

"outrage-
ously
raunchy,
bUt OddlY
moving."
-Look Magazine,

Mahavishnu Orchestra
shows depth, innovation

By HARRY HAMMITT
From a rather inauspicious be-
ginning playing guitar for Gra-
ham Bond, John McLaughlin has
made his way up in the music
world to his present position as
one of the most unique and im-
portant young guitarists playing
today. McLaughlin started to de-
velop his own style while playing
jazz with some rather important
British rock musicians like Jack
Bruce. Somehow he worked his
way to the United States and
was heard by Miles Davis who
was so impressed by his playing
that he invited him to play with
him, and McLaughlin appeared
on In A Silent Way and, later,
the successful Bitches Brew. As
a result of his Davis playing,
McLaughlin was made guitarist
in the Tony Williams Lifetime,
an important up-and-coming jazz-
rock band formed by ex-Davis
drummer Tony Williams. The
band was eventually joined by
McLaughlin's old friend Jack
Bruce, and put out two pioneer-
ing albums in a new jazz-rock
idiom. McLaughlin left the Life-
time, became religious, and
formed a new band with ex-
Flock violinist Jerry Goodman,
session drummer Billy Cobham,

UCA AR
FILM-AA Film Co-op presents Altman's M*A*S*H in Aud.
A at 7 and 9; New World Film Co-op shows Please Stand
By followed by discussion with filmmaker: Aud. 3, MLB,
at 7 and 9:30.
MUSIC-The Music School presents the U Philharmonia at
Hill, 8 p.m.; the Bach Club sponsors a recorder concert
with refreshments in Greene Lounge, E. Quad at 8.
DRAMA-Student Lab Theatre presents We Can't All Be
Heroes in Frieze Arena at 4.
POETRY-Grad students read their own poetry at 4:10 in
the UGLI Multipurpose room.

and two new players: Rick Laird
on bass, and Jan Hammer on
keyboards. The band was named
the Mahavishnu Orchestra and
they put out an impressive and
exciting first album which has
now been followed up by an
equally impressive second al-
bum, Birds of Fire (Columbia KC
31996).
The new type of music that
McLaughlin has helped to devel-
op is based on the merging of the
rhythmic changing quality of jazz
and the power and energy of
rock. There are the complicated,
foreign melodies that are com-
mon to jazz but unfamiliar to the
rock audience blended with the
powerful cutting edge of the elec-
tric guitar.
McLaughlin emerges on Birds
of Fire as the obvious group
leader. He does a lot of the solo-
ing which is also shared by
Goodman and Hammer. But no
matter who is soloing, the same
characteristics always emerge.
The solos always burst open with
real ferocity which -carries it
through with great force and en-
ergy..
Thesolos prod the already en-
ergetic music to new heights of
power. The songs are usually bas-
ed around a simple riff that is
laid down by the bass and driven
by the drums. Around this, Mc-
Laughlin sets the mood by rip-
ping in with searing guitarwork
made up for the most part of
fast runs that onlynpay superfi-
cial homage to the riff itself. Mc-
Laughlin just tears across the
more restrained rhythmic fabric
of the piece and forces it into
high gear.
The title song which starts the
album off, begins with a resonant
gong joined by -the guitar build-
ing up layers of sound. The gui-

moving and then McLaughlin
steps in and literally propels the
song forward with a fast biting
spurt of notes.
Goodman's violin captures the
same raw energy and produces
sounds that are very similar to
the guitar. Both the guitar and
the violin rip across the music
whenever they solo, and they are
joined by Hammer's moog which
is particularly powerful on "Cel-
estial Terrestial Commuters"
where the moog surges in to
separate and carry on a power-
ful interplay between guitar and
violin.
The raw energy which eman-
ates from the band's playing is
the essence of their music, but
they can and do play other types
of music as well. Both "Thousand
Island Park" and "Open Coun-
try Joy" feature more typically
melodic tunes featuring lilting
violin, but in the latter Mc-
Laughlin can't resist adding a
short passage of power and speed
which eventually comes back in-
to the slower main theme. There
is also a short bit of pseudo-
symphonic music called "Hope."
On "Miles Beyond" and "Thous-
and Island Park," the band plays
mach more softly than normal,
allowing McLaughlin to rip off
runs on acoustic guitar in the
same inimitable fashion but with
more mellowness and less edge.
Particularly in "Thousand Island
Park" McLaughlin's acoustic gui-
tar blends perfectly with Ham-
mer's piano to suggest a harpsi-
chord in contrast to the piano.
The album ends on a somewhat
ambiguous note with "Resolu-
tion" a song that continues to
build with the guitar soaring ov-
er the rhythm, being replaced by
the violin, but never resolving it-
self.
The .band is certainly one of
the most intricate and unique
ones around. As a unit they are

Elliott Gould, Donald Sutherland, and Sally Kellerman

in ROBERT
ALTMAN'S

t A ,5C

The riotous black-comedy saga of the "Medical Army Surgical Hospi-
tal" in Korea. Meet "Hawkeye" and "Hot-lips"!
. 1 . .A. ! % V T.....I.

I ANTHONY FRANCIOSA Svo