Sunday, October 3, 1976 THE MICHIGAN DAILY Page Five Sunday, October 3, 1976 THE MICHIGAN DAILY Poge Five SUNDAY MAGAZINE BOOKS A N WHAT REALLY HAPPENED TO THE CLASS OF '65? by Michael Medved and David Wallechinsky. Random House, New York, 285 pp., $10. By JEFFREY SELBST T1' YOU WERE TO make the rather conservative state- ment that the twentieth century has been characterized by change, you would be hard pressed to find someone who, disagree. Yet the change has been primarily scientific and technological. Long after the vorld began living out Jules Verne's fantasies with the in- vention of the car and the air- plane, its social mores remain- ed mired between Queen Vic- toria and King Tut. stic glimpse Then, bingo - all the elabor- School, class of 1965. Of course, ately constructed social pyri- the interviews were done in ofa mids came tumbling down, al- 1975, in the weeks preceding in, most substantiating a domino the class's 10-year reunion. ofa theory. One after the other, in What emerges from this com- to-d great crushing heaps, the guide- pendium is a sense of the be- den lines of morality began to sag wildering decade. It was, after son and crumble, washed away by all, a time of experiment - mou that great river known as the with drugs, sex, weird religions they sixties. But as with all flood - and a time to blaze trails from tides, this one provided noth- in areas where no taboo or pre- but ing new - it merely destroy- vious license existed. nom ed the old and unworkable. How Predictably, some reacted T did young people deal with the badly to this heady new free- stor absence of a workable system dom. Lisa Menzies, the rebelli- it w of morals? ous "bad girl," remarks: "Be- men This is the question posed by tween the ages of 16 and 18 ent Michael Medved and David Wal- I actually counted how many econ lechinsky in What Really Hap- men I went to bed with. I kept edf pened to the Class of '65 The a running list. I counted 425, cue book is a series of interviews and then I stopped counting." othe with thirty members of the Pa- ing- cific Palisades (California) High rrHE BOOK IS really two ore a a a as t is pus ,y 'I at t stories. Not only is it that generation coming of age turbulent era, but also group of unusually well- young people. The stu- s at "Pali High" were the and daughters of the fa- and the rich. In this way were protected not only the forces of the past, h Class of also of the forces of eco- nic necessity. here is a sameness in the ies of all those who found well-nigh impossible to cope ntally after graduation. Oft- this translated to a simple nomic inadequacy that forc- parents to come to the res- of their children. In what er social milieu is this bail- out possible? For the poor, even the lower-middle-class, once the child has left home,1 often no money can be spared for these types of emergencies.4 But, on the other hand, while a picture of well-to-do mem- bers of this generation is al limited one, so too is it the picture most often seen. ThusI it becomes the typical one. They protest the Vietnam War, but only one of them actually goes to fight it. They are the trend-! setters - not only for the six- ties, a peculiarly youth-domina-: ted decade, but also for the styles of the seventies. Thus their influence wvill be felt long. after everyone at the 1968 Chi- cago convention demonstrations is dead. There could also be a case made for the fact that their stories are particularly whacky because they ornia where ( don Thomas) dn rap frnm hail from apologies, the nuts Calif- Bran- really '65 they chose to ask, but answers they chose to oStill, for the thoughtful so- The reader will feel slightly cial historian type, or someone like a voyeur, poking about in sincerely interested in having all of these peoples' sex lives a picture of the sixties told and personal hangups. through the words of those who One cannot help but wonder lived through it, this book is what really motivated the in- quick and absorbing reading. terviewers to take up the leng- The questions it raises arecer- thy task of tracking all these;thenquestin traseqec- classmates down, and transcrib- t .ons ters. ing all their remarks. Besides it answers. money, of course. But there is more than a hint of the voy- Jeffery Selbst is a Daily staf eur evident not only in the ques- 'writer. A - tions those print. JOIN OUR HAPPY HOUR!! They shoot film makers, don't they? Sunday thru Thursday 10p.m. to 1 a.m. Cottage INN 6633379 '12 EAST WILLIAMS (Continued from Page 3) enough, more people are aware of what happens in a place if they're outside. Again, it takes distancing. You have to be very careful not to make a film that is going to be totally dogmatic. You have to be able to give that distancing to the people. Do you find yourself attracted to subjects that represent the environment you are surrounded' by now, that could be consider- ed distinctly American? Oh, I think it was Lenin that once said you can never live in a society and be free from it. But I would really like to make' a film about my childhood, about what it was like to grow up in Guatemala in 1954. What was that like? Oh, it was fascinating, if not totally disturbing. 1954 was when Guatemala was invaded (by forces backed by the CIA-Ed.). I remember getting up every morning and turning on the radio, and I still do it instinc- tively. I get up and I turn the radio on because I am waiting to hear a military march that was a sign that we didn't have to go to school because the country was in a state of seige. At first we were very glad that we didn't have school, but then that became a very threatening event. As we grew older it wasr no longer that we couldn't go to school, but we couldn't go out after 8:30, 9:00 at night. Do you think that was a point where the government became personally repressive to you?I I think so, although it's hard to say at what point because there are all sorts of things you can't see. I remember then go- ing to college and finding out that one of my closest friends had been killed a couple of weeks ago. And they said that he was subversive. And if any- body was not subversive it was him. He was probably just picked up on the street one night coming back from a late: party. How were the arts effected then? Was it apparent to you that people were being op- pressed? Well, oppression is disguised No, no. I think pornography very well. For example, things still would be censored very were just given a different heavily. But more erotic treat- meaning, were presented in a ment of traditional situations, different light. I remember see- and sometimes venturing into ing Bergman's "The Silence" as untraditional situations, and a pornographic film. sometimes venturing into untra- You mean that was how you ditional situations, like homo- interpreted it? sexuality, is dealth with. In the That's how it was sold. That's past, ad- 'v and sexual re- how we approached it. That was lations w dealt with in a very early, I was probably 13 double way. But now the film- We mainly saw American maker approaches that more movies. We saw a lot of cow- openly without guilt. That is boy movies. We saw a lot of subversive, but that is accept- Mexican films. There is a very, ed. case in the U. S. Why do you think that the Guatemalan government would tolerate films which are sexual- ly as opposed to politically con- troversial? Because they consider that sort of a one way street, a dead end street. Sexually controver-. sial films are an outlet to frus- tration and energy, and also divert attention. I think if we continue to see sexually contro- versial films as (the ultimate in) breaking taboos people might be content. In a culture which is still very Catholic, sex- ual taboos are very strong. And I think a lot of people tend to react very strongly, not against the authority that is imposing, but against the frustrations which come out of it. And if they are able to engage in at least vicarious experience, they will never make the connection Ste THEY SHOOT. Page 4 r A Musical Masterpiece Rich in Legand and Fantasy UAC MUSKET/MM Productions, Inc. PRESENTS f \1 Warming up with Chick Corea very large monopoly, a total monopoly by Mexico on films shown in the lower, cheaper' theaters. It was a very strange type of film that they (Mexico) made. It was a soap opera sort of a musical. Once in awhile films would come in that werel strange. I remember w h e n Blow Up" came in; it was very unusual. So basically you didn't see That is subversive in the sense that it goes against tra- ditional values? Well, it goes against tradi- tional values for some. But at the same time I think it's a trap. Because then you end up with a sexually overstimulated society that is politically insen- sitive, which is, I think, the Continued from Page 3) style that someone would pio- My next solo album will be films that would be considered made w i t h the recently-dis- neer with just fans and dollar flamenco." radical or revolutionary to other banded group, Return to For- signs in mind. Corea says this He took a last puff off a last countries either? ever. - style was born partly due to the I cigarette, and stood up to head Oh no, not at all. I remember "I don't feel stuck into a for- infie a of another former ap- for the stage. "My main pur- there was a film that played for mula," he said, explaining his prent of Miles Davis-gui- pose with music has always an afternoon and was seized musical evolution. "I'm just tarist .;' McLaughlin. been fun," he said. "It still is." because it depicted some jungle playing with the elements that "I had an idea of what kind of A man stuck his head into the guerrilla warfare. are at hand, trying to find that sound I wanted to make with' room just long enough to say, You mentioned before that balance b e t w e e n beautifully Return to Forever, and John! "We're ready to go now, Chick." making films that are sexually composed and technically ren- McLaughlin's music in the early Corea started to head towards controversial was the only way dered music that won't bypass days of his Mahavishnu Orches- ,the hall, then stopped at the that people could release their people's understanding, t h a t tra really struck an interesting stage door for a moment, and desire to make a film that was will reach people." note in me. I wanted to use a searched his pockets. controversial at all, that was But is Corea as ingenuous as solo guitar voice the way (Mc- "Shit," he muttered. "I for- a protest. Does a lot of pornog- he seems? His evolution towards Laughlin did)." got my bubble gum." raphy result from this? popular musical forms may Corea will be embarking in _ smack more of shrewd busi- yet another musical direction ness-like practicality than true with a group that he is now artistry. forming-a group which will in- - Nevertheless, Corea's jazz- lude Stanley Clarke, the extra- i rock-although it's more popu- ordinary bassist who was a lar than his acoustic accom- member of Return to Forever. plishments-is still too far out "The new band is still in the for the tastes of many pop j concept stage,' Corea said. "But music fans. And this remains I want to broaden it into a an indication that his musical blend of electric and acoustic. 0 integrity is still somewhat in- We want to reduce and clarify tact. the stage volume. We're going Other jazz musicians trying to have a vocalist to reintro- P L US- to broaden their appeal-notab- duce the song element. I'm go- ly George Benson and Herbie ing to put a brass section to- PITCH ER N IGHT Hancock-have attracted droves gether. It'll be real rhythmic I NH of fans recently by making and a lot simpler." their styles simpler, more like He also wants to branch out -PLUS- that of pop music. into a field that's relatively new: "THE KISSING CONTEST What Corea has done is dif- to him-Spanish music. "I've " ferent. His jazz-rock style may been listening to a lot of fla- K I SS 0 F F" apelmore to pop fans just menco music," he said. "I re- because he uses electric guitars discovered it through a couple and synthesizers, but it's not a of guitarists on a trip to Spain. BRING YOUR KISSEE OR KISSOR . . .4 Ar t -O A I 1 f4 A Musical Masterpiece CjTfMUSKEI/ MM [hx-ouctions. Inc. Nowneber 4,5, 710,11,12,13-1976 Lda lenldclssohn'Theater EvEning crformaics8:00 pu. (Matlnee Nov. 72:OOp.nL) Tickets-$3.00 $3.50 $4.00 CAMELOT TICKET ORDER FORM PLEASE ENTER MY ORDER FOR: Wednesday-Thursday (circle date) 4, 10, 11. $3.5"-center orchestra and balcony/$3.00-side orchestra and balcony. ...... tickets at $ ....... for total of $...... Friday, Saturday, Sunday (circle date) 5, 6, 12, 13-7 matinee. $4.OO-center orchestra and baicony/$3.50-side orchestra and balcony. ......tickets at $........ for total of $..... NAM E .....................................PH ON E ADDRESS...................... ....... CITY .... ................ STATE............ ZIP Mail order with self-addressed stamped envelope, with check made payable to "UAC," to: MUSKET, Michigan Union, 530 S. State Street, Ann Arbor, MI 48109. Phone 763-1107 or 995-2073 for reservations or further informa- tion. Tickets also available at Ticket Central, Hill Auditorium; Jacobson's; Liberty Music Shop. ' ' " ' /' .4 .4 .4 .4 '4 .4 .4 .4 .4 i 1 * SUN BAKERY A NOW OPEN n BASED ON SEXINESS, IMAGINATION & STYLE, NOT DURATION 'M.C.' BY ENGLAND'S LEADING DISC JOCKEY & FORMER KISSPERT KEN MICHAELS * PRIZES WILL BE AWARDED E. f.4 Tickts aailble t PT.P;Ticei Qfiie ~,r.4 Mencelsshn'heat~e Lbby Mor-Fri 1 -1, -54 For nforatio Cal:."74-040'4 Tickts aso aailble t al Hudo.4 I I I I COMING MONDAY, OCT.4 " Whole Grain Breads " Danish Pastry " Real Cream Eclairs " Fresh Colombian Coffee " Special Order Cakes Come See our new home STONE FRONT CAREER LI 1 516 E. Liberty 994-5350 Career Planning and Placement 3200 STUDENT ACTIVITIES BUILDING _. _ - _- - _ e III i --, I I I 1111 UNIVERSITY ' { Planning t Placement PHONE: 764-7460 301 E. LIBERTY 668-6320 _I UAC Soph Show '76 presents a MASS MEETING for f Ir "How TO SUCCEE w ithout malvtrvina' GAY RIGHTS ACTION GROUP EVERYDAY G AY P EOPLE AT THE UNIVERSITY OF MICHIGAN ARE DIS- CRIMINATED AGAINST IN THEIR STUDIES, JOBS AND OTHER ASPECTS OF THEIR LIVES. To fight this oppression, a University Gay Rights Action Group is being formed.y ALL PEOPLE-women and men; gays and non-gays; s tu d e nts, faculty, and staff; and members of the community- who are interested in working to improve ON-CAMPUS INTERVIEWS OCTOBER 4 through NOVEMBER 23, 1976 All Degree Candidates Can Schedule Appointments: * With employers for career positions in schools, industry, business, or government. " With employers for summer jobs. * With graduate professional schools for program information and admission requirements. I I