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July 17, 1970 - Image 4

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Michigan Daily, 1970-07-17

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h4e dilfreian Daitlj
420 Maynard Street, Ann Arbor, Mich.
Edited and managed by students at the
University of Michigan
Editorials printed in The Michigan Daily express the individual
ooinions of the author. This must be noted in all reorints.

Friday, July 17, 1970

THE MICHIGAN DAILY

theatre

FRIDAY, JULY 17, 1970

News Phone: 764-0552

Won't he ever stop
FBI DIRECTOR J. Edgar Hoover issued his yearly report
Monday. In it, he reiterated his position that the Black
Panthers are "the most dangerous and violence-prone of
all extremist groups."
He also chastised some white liberals for giving fi-
nancial support to the Black Panthers "despite it's record
of hate, violence and subversion."
He said the Panthers, along with the Weathermen,
could be blamed for much of the turmoil on the campuses
and in the cities during the past year, especially an in-
creased emphasis on "terrorism."
David Hilliard, Panther Chief of Staff, denied the
charge saying' "What Hoover calls terrorism, we call de-
fense."
THE LAST YEAR has made it clear to many people that
Hoover and other branches of government are doing
their best to quash the Panthers regardless of the so-
called guarantees in the Bill of Rights.
Panther headquarters in more than 15 cities have
been attacked by local and federal police agents. All of
the original leadership has been forced either into jail or
exile.
The idea that the Panthers are responsible for the
demonstrations is giving them more credit than they de-
serve. Certainly, the Panthers sympathized with most of
them. However, they were organized and supported by
people who are dissatisfied with the war in Indochina,
with the repression of the Panthers and other black
groups, and with the priorities of government at all levels.
The Panthers are just one group. They have h e 1 d
demonstrations. But most of the demonstrations t h a t
have occurred have been caused by the government it-
self. When people are angered by the government and af-
ter they talk and they talk and they talk, it is only nat-
ural that sooner or later t h e y should become tired of
talking and begin to act on their beliefs.
HOOVER CALLS IT "subversion" when the Panthers
speak of their discontent with this government. But
it seems that whenever groups effectively exercise their
right to dissent against the government, the FBI runs to
declare them a subversive group.
In the FBI's eyes, Spiro Agnew's inflammatory speech-
es are patriotism, but the Panthers speeches are subver-
sion.
The violence that has surrounded the Black Panther
Party has been caused by police and police agents. The
Panthers have been constantly harrassed, and on more
than one occasion had to defend their homes, their of-
fices, and their lives from overzealous policemen. They
have armed themselves for self protection.
They may be "dangerous and violence-prone" but it
is only a reaction to Hoover and his kind.
Hoover's statement just happened to be issued the
day before the trial of one of the Panthers began. The
statement came out Monday; the trial of Lonnie McLucas
for kidnapping resulting in death began Tuesday in New
Haven.
Charles Garry, attorney for the Black Panther Party,
said Hoover's statement "m a k e s it impossible for the
Black Panthers to get a fair trial."
Meanwhile in California, Black Panther Minister of
Defense Huey P. Newton was once again denied an appeal
to have bond set for him. He is currently awaiting retrial
after a high court overturned his conviction on a charge
of killing a policeman. He cannot even be released while
awaiting his new trial. American justice.
And in New York, a black woman who was brutally
beaten by police 15 months ago when she was arrested on
charges of conspiring to bomb public places, was finally
released. The Panther woman, along with the rest of the
Panther 21 in New York was held on $100,000 bail. Other
members of the group still wait in jail while the beginning
of the trial is not in sight. There is a law against excessive
bail but judges seem to forget it when the Black Panthers
are involved.
In Washington, President Robben Fleming testified
at a meeting of the Presidential Commission on Campus
Unrest that campus unrest will not cool until the war in
Vietnam ends.
Fleming was right but incomplete. The war must end
before campus unrest begins to cool. But many other
things must also end. The repression of the Panthers is
one.
-DEBRA THAL
NIGHT EDITOR: NADINE COHODAS

Merc hat
By MARCIA ABRAMSON
For some time the University
Players have been reputed to be
"improving" - but improving is
hardly the word for their The
Merchant of Venice, which open-
ed this week. The production was
very close to perfect.
As in past performances of a
similar genre, like Life Is a Dream
and The Duchess of Malfi, the
staging was bright and innovative,
the costumes brilliant. More im-
portantly, the cast, led by Wanda
Bimson as Portia, was totally in-
volved and certain of every move
in the play. There was a spirit of
wholeness in the production which
carried it far above anything I
have seen from the Players.
The Merchant is Portia's play,
and Miss Bimson was all that"
Portia should be, the young bride
who is also a princess and who
out-thinks all the men in finding
the solution to the seemingly im-
possible dilemma of the pound of
flesh.
The supporting players were all
strong. Perhaps the main problem
was Shylock's (Stephen Wyman's)
inability to resist the temptation
to put on the stereotype American
Jewish immigrant inflection too
often. The accent clashed with a
few of his more dramatic lines,
although his handling of the role
was generally quite good.
The Merchant is a mixed play,
dark and light, playing the many
love themes against the darkness
of the role into which Shylock has
been forced by this Christian
world. There is evil on both sides,
and, after he has been ruined by
The Editorial Page of The
Michigan Daily is open to any-
one who wishes to submit
articles. Generally speaking, all
articles should be less than
1,000 words.

:0

Portia's interpretation of the laws,
Shylock stumbles out of the the-
atre (in an excellent bit -of stag-
ing).
When he has gone, and we are
expecting the lovers to begin their
joyous c e l e b r a t i o n, Shylock
screams, a long terrible scream,
and everything stops for a mo-
ment, as the players are confront-
ed with what is true. But only
that; the play coasts on to its
light, comic ending, almost shal-
Jow-but then, that has to do with
Shakespeare, and Shakespeare's
time, and not this production.
Throughout the play a minstrel
sat on stage, and almost contin-

ually played Elizabethan airs. Most
of the time the music was appro-
priate, although it did not stop
soon enough for some intense
scenes.
But then again, the music was
used most effectively as a death
knell as Antonio bared his breast
to Shylock's knife, and the scat-
tered use of song fitted well with
the love play.
All the players were graceful,
with well-planned and executed
movements, sometimes even
dance-like. And so was the pro-
duction: an exceedingly graceful
execution of a well-planned move-
ment.

Buckminster Fuller, UNTI-
TLED EPIC POEM ON THE
HISTORY OF INDUSTRIAL-
IZATION, Simon and -Schu-
ster, $4.95, paperback $1.95.
By NEAL BRUSS
Buckminster Fuller's p o e t i c
message is that industrializa-
tion is the process by which man
will reach the epoch of his sal-
vation. Thus, his poem might
be classified as an epic the way
Hegel's Phenomenology or Mil-
ton's long theodicies might be:
as sweeping histories of the
human struggle ending in per-
fect fulfillment.
The "Untitled Epic," however,
does not really meet this or
o t h e r immediate poetic tests,
and worse, it is neither appeal-
ing as verse nor convincing as
industrialist rhetoric.
This is unfortunate, because
the poem seems initially very
seductive. The poet-Bucky, as
he is called-is a much pro-
claimed prophet-architect of a

plode out of the Present, and
that is a sufficient condition for
the failure of his type of poem.
The "Untitled Epic" in fact be-
gins with the image of a train,
"the Twentieth Century Limit-
ed," "reduced to . a snail-like
crawl" in the eyes of the narra-
tor, "zooming aloft in a pursuit
plane." There is no visionary
unveiling of the Future; on the
contrary:
From this aeronautic viewpoint
as the horizon increases,
the relative speed of the train
through the observer's world
is diminished.
This ho-hum attitude, this
patience with the present gives
the poem something of the tone
of a Steinberg cartoon, that of
a bleak landscape in which ideas
appear as slatternly words in
rococco lettering:
And it is from this fifty-
thousand foot elevation
on a particularly clear
"North West" day
that-we review the
portentous entry

Close to perfect

Up with

Bucky

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which chimps tie together twigs
to snag overhead bananas.
Fuller, in a sanctimonious
retrospective tense, makes the
liberal point, which some would
dispute, that the so-called un-
derdeveloped world needs Ame-
rican industrialization:
That broader cause
was that the principle
of Industrialization
has thus far in history been
developed
to hybrid full bloom
only within the United States
or Northern America;
and in dynamic fulfillment of
evolutionary balance
the principle had now to be
fully applied
to the rest of the world;-
before the world could settle
down into peace and order.
One wonders whether the Third
World wants anything like the
blossoms of Southwest Detroit,
or if even for the United States,
Industrialization is worth the
violation of land and people. If
one agrees, as Fuller would, that
the end of life is to bring about
some sort of' Paradise on Earth,
it would seem more logical to
de-escalate the industrialization,
return the cities to meadows,
produce durable goods of true
worth and make wholesome
foods easily available for all.
The commuter trip doesn't jus-
tify the train; shredded wheat
doesn't justify the cereal fac-
tory.
At one point, Fuller says that
industrialization achieves t r u e
morality by putting man behind
the wheel:
When a five-ton mechanically
extended man'
is coming at him in the
opposite direction
at such speed that
they must pass one another
on a narrow strip of earth
at the rate of 120 miles an
hour,

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style of far-out, futuristic con-
struction: modular homes, dis-
posable buildings,. flying cities,
and the Geodetic Domes which
have been built during the last
twenty years. One e x p e c t s of
him what the art historian John
Berger insightfully attributes to
the Cubists: a rich vision of the
Future without an adequate
sense of the costs in energy of
bringing that Future into being.
Fuller does not venture to ex-

of INDUSTRIALIZATION
into the U.S.A. cosmos
outwardly around
whose whole horizon
lies the rest of the world.
Fuller is best in the poem
when he explains industrializa-
tion as the extension of man's
reach and as the creation of
over a hundred slaves-per-per-
son for every American. Thus
Fuller's poem has the appeal of
those studies of learning in

"Keep to the Right" needs no
priestly dogma
nor police enforcement.
"Love thy neighbor as thyself"
comes naturally to America,-
on wheels.
Pronouncements such as these
strikecthe readeras either ec-
centric or terribly oppressive.
Fuller's "hold-on-a-second-and-
I'll-explain" reply to the ter-
rorism of Industrialization would
be no consolation in a sweat-
shop, and his soft-peddling of
inequalities and exploitation as
the mere bungling of Indus-
trialists does not jive to assem-
bly line logic. In fact, automo-
tive workers have impressed
management that they do not
share Fuller's industrialist vi-
sion. Absenteeism, w h i c h re-
flect among other thing work-

music-C -
Tacchino: A healthy contrast

Short stories:

Three new coll

By R. A. PERRY
While thousands flocked to Ann
Arbor's summer Money Fair, a
small group of music lovers gath-
ered in Rackham Aud. last night
to hear the second artist in the
University Musical Society's sum-
mer concert series, Gabriel Tac-
chino. The 35-year-old French
pianist is not well known in this
country, and only two of his Angel
recordings-both devoted to Pou-
lenc and one having won the
"Grand Prix du Disque"- have
been made available here. His fine
concert last night won- many
friends, but no doubt left as many
untouched.
Tacchino proved to be an artist
who does not "perform" in the

theatrical sense, but who seeks to
provide as objective a rendition
of the composer's writing as pos-
sible. While objectivity in musical
performances, is, of course, a non-
existent ideal (recalling Wanda
Landowska's famous remark: "Let
other players play Bach their way;
I'll play Bach his way"), it is
nevertheless true that many artists
add much, in the name of inter-
pretation, that is merely willful.
In his performance of Mozart's
Sonata K. 310 (which, in terms of
frequency of programming, is Mo-
zart's "Moonlight Sonata"), Tac-
chino created a beauty that was
not dependent in any way on a
uniquely stylish interpretation or
on willful phrasing, but which

emerged from an almost business-
like presentation of the constru-
tion of the music. The pleasure
derived was not of interpretation
but of the score itself. Although
the Allegro maestoso was mildly
antiseptic, the Andante cantabile
and Presto were wonderfully clean,
straight-forward, and musical.
Where other pianists gush,
linger, and over-romanticize (in-
cluding Gould's ironically Roman-
ticizing Intellectualism), Tacchino
was simply "true" in a fashion
that may be thought of as uni-
quely French. Everything control-
led, in its place, unexaggerated,
lucid. His performance of Pou-
lene's Mouvement Perpetuels, No. 3
wandered very slightly from that
which Poulenc himself offered on
his old Columbia album (ML
4399): as pristine -as freshly cut
confetti. Even the Fantasy and
Fugue in G minor (Bach-Liszt)
which opened the program was
never vulgar in the manner some
pianists effect when they pummel
out the fugue, though Tacchino's
performance was not really tight
or without a few flubs.
Without a doubt, the m o s t
thoroughly successful piece on the
program was the Chopin Scherzo
in B-flat minor, Op. 31, where
Tacchino's fusion of digital clean-
liness and poetic feeling was in-
spired; the music flowed spon-
taneously, unsullied by sophisti-
cated sentimentalism, and one
could appreciate anew Chopin's
genius.
Prokofieff's Sonata No. 3, which
closed the program, did not gain
from Tacchino's good taste; it is
vulgar music and requires powers
beyond mere digital prowess; Rich-
ter's performance of Prokofieff, in
Hill Aud. a few months ago, still
rings in the ears.
.Thus Tacchino's performance
last night was unique and satis-
fying; for appetites trained to rel-
ish meat and potato fare, it was
as delectable as a cucUmber sand-
wich. Above all, it was supremely
musical.

Judith Johnson Sherwin, THE
LIFE OF RIOT, Atheneum, $5.95.
Barton Midwood, PHANTOMS,
Dutton, $5.95.
Alejo Carpentier, W A R 0 F
TIME, Knopf, $4.95.
By ELIZABETH WISSMAN
Edgar Allen Poe made what
was perhaps the most useful
generalization about the short
story, when he insisted upon un-
ity of effect. For most, certainly
most contemporary American
writers, this dictum means (as
it did to Poe) an attempt to
manipulate the mood created
in the reader. Often this "mood
control" descends to the level
of the merely bizarre or horri-
fying. Given only a brief space
in which to engage the reader's
attention, a gimmick, a guaran-
teed perversion, or an O'Henry
twist are often used to relieve
the other-wise dull and brittle
pretzel. While none of the books
here under review resort entire-
ly to trickery, there is still
enough deliberate sleight-of-
hand, enough invocation to the
Muse of the Peculiar, to distract
us from the intended magic to
the wires and mirrors which
sustain the effects.
The jacket to Judith Sher-
win's The Life of Riot proclaims:
"If there was one dominant
intent in mind while- writing
these ten stories, it was to si-
multaneously arouse and violate
the reader."eAlthough this (plus
a little added vulgarity) might
be enough to convict Mrs. Sher-
win of pornography under the
most recent Supreme Court rul-
of her art. Most of the stories
are published here for the first
time.-significantly after' Mrs.
Sherwin had been selected for
publication by the Yale Series of
Younger Poets, in 1969. In fact,
the best of these stories, espec-
ially "A Growing Economy,"'

remind me strongly of the last
agonies of Sylvia Plath, where-
in domestic machines and mar-
riage-relations become meta-
phors for murder. Although
many of the stories deal with
this failure-of-love-and-sex-in-
the-modern-world, they are as
hackneyed as only the self-con-
sciously modern can be.
Take, for example, "The Olde
Daunce" which. describes the
strange appearance on a beach
of an Olympic foreigner who
eventually - oh you'll n e v e r
guess-brings undreampt-of ful-
fillment and reconciliation of
mind and body to two dissatis-
fied suburban matrons. Most of
the tales are more mature than
this embarrassing pseudo-Lawr-
entia, but all are torn between
adherence to approved Literary
Alodels-Thomas Mann, Goethe,
even Gertrude Stein-and a de-
sire to render in chic alienation
the contemporary angst. Despite
her intelligence and obvious ed-
ucation, Mrs. Sherwin is too-
deliberately precocious.
B a r to n Midwood 'a name
even his own mother would find
suspect) has collected his Phan-
toms after their appearance in
major periodicals such as The
Paris Review and Esquire. Al-
though he too relies on the sur-
real, the metaphor which ab-
sorbs and replaces a natural
setting, Midwood's most perva-
sive gimmick is irony. "I am not
realy imitating Kafka because
I deride my own attempts at im-
itation." Thus when priests be-
gin to string out the endless
paradoxes of their !attempt to
believe, and life is presented as
a voyage on a rudderless ship,
the author behind the fiction
sits smug in his own mauvaise
foi. So smug, inafact, that he
allows himself flaws in crafts-
manship (as when a native
farmer says "I have acquired
neither the cruelty, nor the de-
tachment, nor the bestial intui-
tion, that- are so necessary if

one is to be masterful with ani-
mals.") in the hope no doubt
that such will be attributed to
deliberate Brechtian alienation.
More alarming is the "face-
lessness" of Mr. Midwood's irony
which seems to have (like God)
no center but a circumference
everywhere. "The Hunt1e y-
Brinkley Report" is in diary
form, interspersed with narra-
tive concerning the television-
hardened sensibilities of New
Yorkers who have entirely lost
the ability to dream. The name-
less protaganist reports to us
what he has seen reported on
the news, with obstensibly sly
"digs" at the amorality just
beyond the ken of his innocence.
But, unlike another American
innocent, Huck Finn, the hero
of "Huntley-Brinkley" has no
conceivable position-no raft, no
childhood, no moral bond with
a Jim-from which to discern
the incongruities he merely
notes. His own reporting is in-
distinguishable from the nicest
morsel of NBC.
War of Time, a translated
collection of stories by Cuban
Alejo Carpentier, has as great
a sense, but much greater a con-
trol, of the Absurd as that which
fills both Phantoms and The
Life of Riot. Carpentier's vol-
ume is not an accidental. ac-
cretion but a deliberate compil-
ation of stories which interani-
mate and modify one another.
Then, too, Carpentier does not
seem to be impressed by the
unique condition of t h e Hu-
man Modern. Although he can
invent in a contemporary idiom
Today's W riters
Miss Wissman and Mr. Bruss
are both Doctoral students in
English at the University. This
summer, Miss Wissman is tak-
ing prelims and Mr. Bruss is
working for Time Magazine.

-in "Right of Sanctuary," he
comments "In Latin America,
coups are always successful,"-
his roots are more enduring. He
can see eternity even in Don-
ald Duck:
Whenever a child asked for
the one in the window, a wo-
man's hand would seize him
by his orange feet and soon
afterward put another similar
Donald Duck in his place. This
perpetual substitution of one
object by another identical
to it, made methink of Eter-
nity. Perhaps God was relieved
of his duties from time to time
like this, by some superior
power who was custodian of
his perenniality. At the mo-
ment of change, when the
Lord's Throne was empty,
there would be railway dis-
asters, airplanes would crash,
wars begin and epidemics
break out. Some such hy-
pothesis was needed to refute
Marcion's abominable heresy,
according to which an evil
world could only have been
created by an evil God.
As Mrs. Sherwin uses marriage

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