OBSERVER Vol. 15 No. 2 March 10, 1976
Cover Page Photograph Evan Hall Page 1 Buckley Amendment Problems The Guy Had Good Intentions But . . . It’s A Lousy Piece Of Administration Consumer Group At Bard? NYPIRG Gail Levinson Yea Or Neigh Audrey Fleming Page 2 Bard’s Newest Sensation Robin J. Carroll To The Actors: David Page 3 The Band II Robert Levers Picasso’s Little Girls Charles Fox P.S. Now Lee Kessler Still Crazy After All These Years Paul Simon Page 4 Ice Fishing Daniel B. Eddy Pro-Bussing Observations L. J. [“Would you believe that I, Nancy Schiff am the new head of the Bard Coffeehouse?”] Nancy Schiff Page 5 Editorial Letters [“Adolph’s, . . . Referred to as down the road, is the Bard hangout.”] Nancy Schiff [“ . . . Explain some currently unclear points about dormitory damage at Bard.”] Theo Jolosky Associate Dean of Students [“ . . . Response to the two highly emotional editorials on feminism . . .”] Shari Nussbaum Page 6 Senate Page 7 Sports Phil Carducci Varsity Upsets Faculty M. C. ,.·
vofume 15 number 2 march 10.1976 TEN CENTS •,. i I •g 11111
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A c:ountywide ac•rcb Is on lror cb~ 197' MI•• Dui Pc;ren11s Addrtlu Phone, · · I . , ' 1 endentand tho.t subminion of the i~l'IV V ~ n.- me u an entry into rha Miu DJ1rcJt. r u ~un1y Sc:halar~hlp Paaeant in no way obliaatet. th" lndividwal whom 1 nomt ~ natfd. PhoneNumbo•------·------.. Scholorship Pagaont, Inc. +•I Miu Dutche Covnty ~.;li 285 Moin Mall, Pol.lgh,kMp>ie, N.Y. 112061 :< BUCI Page 1• . - ' . . \ : . BARD'S NEWESTSENSATION' . . : - · .. -·- ·· . .. . .· I . The rehc~rsal is in progress. A latccomer cnters, and sevcra[ hcads turn to look .. just .a human being coming in, the director an-.,. · nounccs,you've all seen fha.t befme. There is so me laugh tcr, and the n the .Bard College Community Choir rcturns to the serious· businesS. of rehcarsi,ng for, its spring concert~ With so many mus,icians on. campus, it's not ·surpris}ng that one out of every Cight ( ' studcnts is in the choir.. The astounding fact · I· is that this is the flrst choirat Bard for many, many years . . I talkcd with President Sotstein about the choir. How did it gct stiutcd? I decided .· thal there shou/d be a choir; he sai,d simply: IL 's one of the most importemt an.d personal · experiences for an ~mdergradtlate~ · Hatstein got togcther with Mar.y Sugatt and Luis Garc!a-Rcnart, Professor'0f Music. For a conductor, Mr. Garcia-Rcnart"rccom· ,mcndcd jamcson Marvin, the ci;JOral director at Vassar. Marvin was hircd -his salary paid i :1 part by a grant -:and the Bard Collcg·c Community Choir was born. ' ;I Though most ofthe eighty membcrs are studcnts, it is stiil a community choir f~lCUity rnembcrs, their familics, and tow'ns jrcoplc are also involved. What unitcs all of · these pcople is their. dcdication and their lovc of m'usic. When asked why they joincJ, mosl pc,oplc answcred, /tihe to sing. 1 One Jameson Marv'in 'conducting the Bar 1 l • . . / 'd Community Choir I ,, . stl!t. cnt. e a.1uratcG on U1ts :..Jb\~'N. , ~~e . . -~ .": ·-·:r '~-? rbr:> experienced singJ:ng Jn (( :;ro ~i~-· \vhae everyone ~van ts to be smgtng. · although he recdgnizcs that thcre are stiil hc will wail when the choir is 11ot in tunc, Al ready, the choir members havc some problems to bc resolvcd. The Christmas the mystery chord! . pleasant memories. Last semester, their con~crt, hc says, was rcmarkablc- a good and The choir mcmbers are unanimous in their "Christmas concert was an enormo'us success -. b languagc by which \vc can co.mmuni cate with each othcr, so that wc Jo -TO THE- AC. TORS · not finu oursclvcs hopclcssly scparatcd ! - • alo ng the way. This spring semester, for his senior · To set our trip going; wc must gcn-r project in Drama, David Schechter is eratc the cnergy of motion. This is cteating an priginal musicjtheatre picce the purpose of the warm-up. based 'Over upon the fourth quartet of /Jefa this field period I have bccn dcvclop . Bartok. Ht? ~vill us.e the Observcr as a ing a grouP, warm-up for- us . The forum to ()pen his pracess to the Bard warm-up creates hc<1t, it brings the co/nmuni'ty. The followingisa /etter "playing space" to llfc. The David boJics sent to the actors im,olved in sweat as we, vibratc witm the dcsirc his proiecL durina winter field oeriod. · to1 rfwvc', The group warm-up In foll owing issues wc will publish ess ·~tys channcls that Jcsirc in a mutual by Mitchell Rabin, who is acting as . direction with the othcr actors. ·~ · Dramaturg, or "int erna! critic .. · . But, I of course, don't for th'e Bartok know thea/re piece. any of you as weil as you do your \ sclvcs. You cach havc sume sense ro the Actors: of what sort of prcparJti~n you ncc Wc J · are about to >Cmbark on a to cngage in to sct your'crc;J.[ivc motor journey. We '-i havc all becn travcl in motion. ConsiJcr wiMt you ling through L.tn con oyr livcs on separate tributc from your own·stdrc of per paths bcforc now. Sometim.es our take the rol~ of master-builder. formcr's· knowlcdgc, to hclp__forrn the paths have joincd for a time, s~ ~e iddcn streams and undiscovercd wild . As th_c initiator, I will a!so, for the structurc of the gro~p or your own , have a varicty of·conneetions with flowers. (in ourselvcs!) · ttmc be1~g, chart the voyagc f9r individualizccl warm-up. The singl ca us all . We may pass through some c ch other. So me of these connections The terr,ttory we will rough most important travcl is new to ,storms alo ng the way, physically, cl ement I can stress are ack nowlcdgcd, others I i e hidden m~!, though about the I havc heard di ~ tant rum- ·· ! emotionally or mcntally we may war.m-up, as wcU as the beneath ·thc surfacc. Now, for app-\ b~mgs of what will rcst of the "work'1 ii be !ike there. fecl our individual strengths wear i. s~ just th<~l: //must roximately three months time, wc St nee much of our path will be not be wo un- thin. This is why wc must under rk. Every st~p of our Jct must bccomc travelling companions. e~ artered by oth~rs before us, it ivity must bc play. Our endcdvors Iine tt~e fa~t that we arenone of yve wil,l befellow explorcrs travclling wlll be dangerous and I think we must all bc thcatrical .. ws travelling .alane. Wc must lcarn Th cy must tn a vesse! of our own construction are bound to get last ai p~ints. ,bc dcsigncd to opcn u~ ' up to bc .active listeners. To takethe to the which has alrcady becn dubbed by Count on that! outsidc. To allow our) nner time and the concentration. to pro- explorers who havc gon"e beforc us, It is during these last periods dc eesses to bccomc visibLc. So, ,no vctop our scnsory awarcness of as THf THEATRE. The lille .of the that \\';.C will cach be ca.lled upon to "exercise " ca n bc val i J on our cach other, to hear each ~.hi~ is al ready glven,'but its specif 1 other's voyagc if it mer.ely ·takts provide as much support fo r each othcr cries place tcatlo_ns will be determineq by us. for help, whatever form betwecn and as much personal stamina as wc can. 'they comc i·n. · the performer'and h·im- The stze, shape and color öf our ship summon up. sclf. All o ur working[ lf we aid each othcr as wc So, there are P, Iaying'ls . will bc arrived upon mutually by us steps we must to opcn oursclvcs up,cto lct othcrs gropc through the wilderncss, tl~cre isa: take to · all. At the start of this proi~n, I prepare oursclves. We must I k· ' ... chanee w~ may COfl!e upon beautiful get togcther tq c~eate a clear, common , } 'co nL o~ p~tgc 6 j -- ·. Page ~1 · • ~ !i_. \ I think the Hand is most successful on this album -with Robertson's ballads. I feel I must disagree with Lee. Kcssler when he says that sevcral of the songs tend to be PS. NOW THE BAND . , oversentimentalized. Perhaps .it is the ~way PAULSIMON NORTHERN LIGHTS/SOUTHERN CR.OSS . of the music that, together with the lyrics, STILL CRAZY AFTER ALL THESE VEARS (CAPITOL STJ 7440) · . - sets up a powerful mood, coupled with his COLUMB/A (PC33540} admitted aversion to Richard Manuels' Whcn wc talk of .a band's evolution as 'weepy' vocal style that has Mr. Kessler Valeric has never heard this album and marked by their albums we should be carc making such statements. Hobo jungle, which is not a fanatical Paul Simon fan, so she has ful not to subjugate it toa h i t-or-m iss eval I find quitc moving,is a song which fits no real cxpectations ab~ut it. -Shc could,Jor uation. For then, how do wc view that this dcscription perfectly· all practical purposes 1 remain objectivc when band as having the guts to tr;,..y oui sor.nething Robertson seems concerned with the listening t6 it. The cotton expcctation does - new that maybe doesn't quitc hit the mark wea,ving of personal history with that of • not plug her ears. · i ns tead of churni ng O.ut the tr i cd and true? North America. ; The best song on the album, Givcn these circumstances, Valcrie The tried and true bec~me~- boring rather Acadian DrHtwood, has much ofthc same would ocrhaps feel that this album is good. quickly. quality as one of the Band's most famous Thcre are certainly some tuncs which: merit This is the first time in many years songs~ The Night They Drove Old Dixie Down that judgement. Gone at Leist, featuring that the Band has not workcd with Bob In this song a family is affcctcd by the British Phoebc Snow, is funky in the best se·nse of Dylan. And why did they ever stay so long? dccision to relopte the Fr'cnch Nova Scotians \ · the word; a catchy tUQ~ with an energetic Did thcy fccl they owcd a debt to the man to what is now Louisiana. Ever present in beat. A scorehing saxophone solo 'by j gent · who turned electric at the Newport Folk this song is the chorus:with the typicar Band namcd Phil Woods punctuatcs the loose and Festival with them as supporting musicians? harmony which seems to punctuatc cach lazy.l-fave A Good Time a tune which ex The success'· ot their first album, Music from versc perfectly: · hibits Simon's Makc-Th~_-Best-Out~Of-The~ Big Pink, rel i ed in part on the pr~sencl~.of Bad philosophy. But Valeric isa west-c'oast Dylan in the form of a cover pail1ting Jnd Acadian driftwood, gyp::,y taifwind woman (the grand und glorjous domain of the inciusian of some of his so'ngs. At one They eal/ my home the lat7d-of..snow ~h'~ mighty and rnajcstic John Denver) and point in the Band's career, their roughness Canddian coldfront mov1n' in o. · ts ltkely to lean toward the folky guitar- and .Dylan 's crudeness complemented each What a way to ride, what a way to go * vocal combination which Simon has uniquely othcr. This is demonstratcd beautifully on maste~ed. Sh~ would certainly feel that the ·The Basement Tapcs, pcrhaps the most cxcit This album makes one wonder what thcy' bes~ ~ong on the album is You're Kind. ing of all Band~Dylan collaborations. ever had in common with the more frenetic This song bclongs on the sarrie shelf as the But nöw th1e Band's sound is quite pol energy of the Allman Brothers ,Band and the greatest Simon and GJrfunkcl material. For ished and Robbie Robertson, their song Gratcful Dead that put thcm all togcther at three. verses, Paul e roo ns about t.he life-saving writcr, seems to bc quite consistent in pro~ the Watkins Gl en conccrt. The Band 's im·p'ro- lovc he has found· and ends with: . ducing good songs. This comes ata time . -· -visations seem based on arrangemcnts more whcn ·Dylan has dcmonstrated that he is not · than either of the othcr bands. One of the l'm gonna leave yoi.l now to be taken "for granted anymore. Th!is newer few exceptions to this might be the song And here 's the reason. why s/ic~ne~s (notmcant )n a derogatory way) or · ·Chest Fever (from their first album) which liike to s/eep -..vith the window open pol1sh JS not the result of a suddcn merease is usually a showcase for Garth HuClson in And you keep the windo..J., closed in musicianship or virtuusity. lf one listens concert. Their concern with the arrangemcnt So goodbye, goodbye1 goodbye * to Bcfore the F!ood, the Iive Dylan/Band -· and a kind of smoothncss, which reaches a album, he not oply finds a very tight band peak on this album, scems antithcticaf to the Jerry, who ha i! s from the bowels of but an invcntive one as weil. I think the · spöntancity that the other two bands aim for Yonkers 1 has a slighily different view. Hc is liberai use of synthesizer on Northern l,tghts after the initial musieal statement of each familiar with the previous material released is in part .responsible for this polish. The song. · _ ·- ·-' _· by Simon, and in that light finds the album move to CJ.Iifornia whcrc this .J.tburn \'las _ I agree with Mr. Kesslcr when he says lae king. Jhe tune My f_ittle Town is the gem rec'orded, rcversing the trcncl of rccording that the Band has 'made the hazardous tran which we breathlessly awaited because it in the down-home atmosphcrc o'f ncarby sillon frorn the sixties to the seventies'. would recapture the old Simon arrd Gar~ Searsville studios, is probably also respon Howe~cr, I fecl that that is the result of an _ funkel magic, but having Artie in the back siblc for this. This is not tu say that they evoiution. The question of '/osing too m'uch' ground really makcs fl_o difference. '/'// eat havc lostall conJJcction ·with their Catskill doesn't mc.::w much in the face of what my shorts if that song is anything more than pa_st. That th ey havc retained th is sense of ,_ we.'vc gained - a more articulate Band. promoUonal hype. ' Hud.son mystery is obvi6us in the song ""' I 've heard jerry distractedly humming fuptter Ho/low. The lyrics retall imagcry 50 Ways To Leave Your Lover,but this is of Rip Van Winkle and the Headlcss by Robert Levers because it isa pop tune which is overplayed Horscman. all across the A.M. band. The titlc song is *Acadian Driftwood, by Robbie Robertson strangely ironic. lf Simon was stiil crazy, hc'd © 1975 Mediclne Hat Music/ASCAP probably stiil be writing good songs, but Jerry fe ars I) e is all to san e and com fortable and rich. Most of the tunes are plcasant, but jerry and J 1 who are demanding bastards, find them to bc simply dull. ·So whcnever we hcar this album wafting out of a dorrri, we slip out }P)llCCA§>OO~ ILTI1rllJL1E ' Regardless1 Four Little Girls, · Four lJttle Girls by Pablo as weil as the rest of the east, 'made by Lee Kessler / . .·Picasso was given birth. to by the ., 'the best of it-~ and produced som.e *You're Kind, by Paul Sir,non. Bard Thcatre of Drama and Dance ·good theatre. Hillary Hurst could ©1975 Paul Simon (BMI) ~~, fö,r the first time in this country, not perform in the role of the fourth within intimatc Prestan Hall. Now, little girl bcc~use of illncss, and I was what the four little girls wc re up to· disappointed in missin~ her doubtlessly l'm not eertai n, but the re was a con- fine work., The play's d i reetor, Kevin McKiever. stant transformation through the ..--. . Raymond. Benkoczyfelt she would · . ·. The sets and costull\es were ob bcautiful, grotesque, 'gay and bizarre. return for Su11day's performance. viously made with great creativity The third little girl, played wonder- Ra'ymond and Hillary are both work- and carc. Preston's smallnes.s con fully by Carolitie Martin, says with ing on the play for partial fulfillment tributed to bringing the audie~ce wistfulness and .d~t~rminatiorl in · of Seni~r Projects. Carol !Vood at tbe into· the world of the play' out the" the first scene,: Make the best you last moment filled the fourth little actrcsses seemed to heed more space can, make the bestyoL{ con of_life~ · girl full of life. Helen Renn~lds in which to move. There were mom- \ From this point on, the play secms gave an outstanding performance as · ents when the pli!Y seemed to strain -twash with something rcsembling the second little girl, and with h~r and f<:ill apart because of the cl_oseness rcality, fantasy, allegorieal animals, . p1'agic voi~c, lines such as ~ lsry't of the audience to the phformcrs. _ The play did make strong state nigh!mares, ecstacy, and much, much it lovely, lsn't it lovely, in the· · There was, h'owcver, an on-going dircct ments, particularly about a struggle color. This is Picasso) remember. country, in. the sun_, your big ness to the play which helpcd to carry to be frce, and yet share experience: .The bnguage of the play is full of tummy in the it through these 1 melting middle ... momcnts. _A very teii Fou'r Little Girls worked to weave the i1i1ages. l n moments th ere isa qepth -shone ici an of te n confuslng script. der scene in which all of the kinetic nakcdness of scxual, re press-cd and :md delightfulness to bc found 1 but Catherine Askue and Caroli'ne energv was stillcd, actually took imaginative naturcs together. The ~ . . morc often the irnages smudge eact1 /Hurtin blended qualities of high place in a kind of net or cage. The directo·r, Raymond Benoczv. anu .other'into dullness: The painter ' energy, aggression and pathos . . four little girls, having shed their company worked skillfully with · PicJsso has difficulty turning paint Especiafly funny were the strange , clothes, begin ever s? gently to something entirely new, b'ut aias, into words, much the same-as ~ deatures that waridered and hppped caress one anothcr, and in a kind Picasso's gifts lie i.n art, and not playwright would have troublc tuni- about. There has never been a furinier of sadness} rcalize the co~plex in playwrighting. '· ing words intopaint. frog in Bfird Thc~ltre history th:m beauty of their relatio11ships . . ! l .. Charles Fox ...... Page 3 ) The Obsefver is an independfnt student publi- ·· cation of,the Bard College community. Publi~ Gttion is weekly during the Bard College It is this last point which was not ("hade· clear initially; it is hopcd that the pro ccdurcs are now bcttcr uhdcrstood. To the Editor: . 1,.. . I am writing in responseto your rccent edlt The .isJue of interest that accumu:. itor: odal exploring the possibilitics of my hanging lates on the $1 OO damagc deposit is it up. Let me instead expiain somc currently stiil being discussed. A distinct poss- i . . • .undear points about dormitory damage at. ' ibility is that any intcrcst earned will ph 's, more commonly refcrrcd 1 Bard. . i • • i , . bc specifically targeted for dorrnitory To the Editor: 7 the road, is the Bar9 hangout. Thcre are two rnarn •ssues: (1} the procedurcs improvement. The dcpositswill be y bar with rcasonably-priced to be followed with regard to the polrcy, and · separately accouotcd for on the i \ drinks. The social setting !caves (2) themotivation behind the policy bcing in . Col.leg?'~ boo,ks, ,a"nd at any point.. \ This is in rcsponsc to the two highly ~to be desired,but ies al! we've stitutcd, l'll discuss the first issue first, for an mdJvrdual s deposit balarice or emotional editorials on feminism pub the editorial lprimarily questioncd how things the total of all dcposit balances · lished in the last Observer. The 'vast t part of Adolph's for me is dan wcre going to be done, not why. will bc casily' obtainablc. majorit.y of feminists are not rad ical r e isa nice big rooiil in the back I should first apologize for npt making clear lesbians. (Aithough it is possible to ld-sized uanc.e flqor. lf you go an important point, namcly, that th ere are si- The second issue--that of the be a lesbian anu not a feminist.} . week, the bar is"n',t too crowded. tuations· which might rrisc whcre the college ~easons underlying the institution {l~tr~d of the ~n~le se~)s not~ fcn:~ . · · :ekends the place is packed. wiH absorb the cust of damage and stuJents of thisl?olicy are, in my mind,of rntst 1dea; fem1nrsrn. hatcs the rllog1cal :uality displayed in the· bar dis will n9.! bc billed. An example.: if you h.tppcn central lhlportancc. The intent of . sexual roles that build up walls be which is my main rea~on for wri~ , to bc living it up, in downtown Red Hook one the pr~c~durcs dcscribcd above is twecn rnembcrs of the opposlte scx and women. com e on fo cach Saturday night änd sorneone back at your don11 for mdlvlduals at Bard (1) to come and those of the same gendcr. ·To bjects, instead ot as human be- throws achair out of the window, the fol-low- ·· to understand that they are respons- think that all feminists are angry, 1 ~ up world. This is 1976, the year ing pracess will go into cffect! Fir~t, dorm ible for their own aetions anu that · screaming chcst:beating girls is pure ·e should bc anothcr American residents will be contatted in an attetnpt these aetions do have certain con- · fantasy. This image is crcatcd by the · 1, the Femin'ist Revolution. Start . to detcrminc.exactly w~at Jüppericd. · scquen'ccs for thcm and (2) to sim - media, which sclects only the most 1g people as human beings and not• ilarly undcrstand that they havc raclical groups t.o rcpresent the whole ts.' lt's all n ice and good to climb some responsibility for maintain- movement. It is certainly not unusual ~>Vith whomever you want--1 just ing a high quality of group living for the media to prc~cnt all changc" having a little respeet for that per herc. Bard .College is more than 650 oricnted organizationsina ncgativc oughout the pracess I 've becn ir:_divid~als seeking their own satisfying light, so it would bc wisc for 'pcoplc ..;cr by a lot of "people and it feels academ re and social lives; what you to take stcrcotypcs on telcvisi·on n d if you can 't be decent, at do affects other people, and what _ with a. grain of salt. · deeent in a public placc--like others do affect you. In this particular Polarize isa negative word. It ihl ., because your be_havior is offcn area. of dormitory damage, the. cdit~" plys .that fctninists want all women e. lt's time to have J little respeet oriiil n~els the pölicy encourag~s to join togcther to d estroy the .cncmy pcople. J'd likc ~o see Adolph's ((ratti'ng" but r view th'e policy as and alienatc themsclvcs from incn in t comfortaole hangout instead of 1. lf the ,in?ividual responsi 1 bl~ for the encoUraging collective responsibil ity. every context. This is also nonscnsc. . joint. Come on. What do you damage IS known, she/hq wdl he , The former view sees the problem at Women coming togcthcr to eslablish · treat people as ~eoplc. Those sex billed the costs of repair "ür rcplace! an individual level ;the latter sees the \a common identity, not based on . s are out of date. lf you can't bc ment. . · J ( problem in a broadcr pcrspective falsc soci.etal imagcs, does not crcJtc d stiil get laid: maybe you ought of what it means to live with other polarization. Jt is simply hclpfLd and ne your bedside manner. People p·cople. : · hcalthy through role rcdefiniiion 2. lf dorm residents notify me that _ . . e ab le to ask for what th ey want, with other women who ztrc goi.ng th,ey know the individual ~c.spons ·' Th~~ College doe.s nee·d a method g sex, without playing games. At .iblc, throufh the. sam e procC.ss. (ThJl but do not want to teil me to cover the extcnsivc damagc donc ~time, people .have the right to res-1 is why male consciousness L1 _ising who that individual.is, all dorrn to Jormitorics (over $4,000. last reject those requests. But the bull rcsidcnts will be hillcd on a pro groups are all male.) I think Tt is iCS most Barct students pby rared basis for the rcpairor re-. ~crnc s tcr alo,nc.) 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