The Daily Egyptian, March 04, 1974
Southern Illinois University Carbondale OpenSIUC
March 1974
3-4-1974 The aiD ly Egyptian, March 04, 1974 Daily Egyptian Staff
Follow this and additional works at: http://opensiuc.lib.siu.edu/de_March1974 Volume 55, Issue 115
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This Article is brought to you for free and open access by OpenSIUC. It has been accepted for inclusion in March 1974 by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. / I "Nostalgia ain't '~ hat it used to be." p;gyptiBh Peter De Vries . . Magazine
ljouthem mi~s University ( ~~ Carry me back: rich lode for purveyors of pop arts
By CAlme Prescott "White Ou-istmas" or Guy Lombardo's then forged forth with his own Arma er generations, are too serious. too un· Starr Writer " Auld Lang Syne." Vintage Mon geddon. Some sociologists even theorize able to laugh without tinges of sarcasm. tgomery Ward catalogues. once ban that the nostalgi. craze would ha\'e irony or cynicism. Technology has out· Three years ago, the nostalgia craze ished to the outhouse, are selling for $S slipped into obscurity if the Watergate stripped humanity. As Carly Simon . sweeping America prompted Time apiece. Nostalgia is even credited with scandal hadn't exploded into the Ameri plaintive chronicler of liCe sings. " I essayist Gerald Clarke to ask, " How giving The Saturday E\'e"jDg Post a can consciousness. Now Sam Ervin Fan remember a time when our fears could much more nostalgia can America second chance &f immortality. Clubs dol the counlr)'side and T-shirts be named. when courage meant not re· take?" He observed. " We seem to be Also in a lilera~ vein is the Nostalgia bearmg his caricatured face sell by the fusing dares . . Now we are grown not so much entering the new decade as Book Cub, a book- and record- -..;:,~___ ~= Uwe'IIy _ =.::r=_ youIh~~ cult =~\~;..&'f!.ar;,7 IaIderscores the compelling~ ...... , - .... -- 'Z..= need to return to homespun virtues of = . ~~_..-.:.. c:.ro...: candor and honesty_ ~_ • .ao .. _ .. """ .. _ Poet Archibald MacLeish once said, in .._ ____ .... llIiI,_ ...... _" .-. .. ol verynostalgia ~ A!pI'eSeJIls fashion , that• "return the wave to =.:: .. - .. .., - .. .. history for ideas about how to ~ out of Ed_ ... _ .... _ .. Qm. _ this mess." PeopIe are seeking exam- -... e::."'\-- "'"e...... 5a3:In. 'Illes of leadership in history, they ,.rant - A, ""'II. ... -- c.or. - to '100t back to times wtet people be- =-.::=~=-:~.: tiSaDmething." - "'--: -- - . ~ ------. badt over the past • years -. ~.- c.-. a.c. ~ of led leadership, MacLeiah'. ::.-...... ~ - . theory becomes quite credible_ After ~ - 0000 -. - &ora. World War n we had Dwilht Ei- a;:..a.;.~="= · DIn semower, who ooce told his prede- _ ___. o.r _ . a.-___ _ ...... fIarry 'I'nImaD that ~ was ...._ .... _ ..... __ ,..,. - ",roud" ol_ readinc a book during ..... __. --.--~ his eipt"""'leDure ill .. mce, KeG- =-~-::...~::...-.::______11.-. ... __ disiDaI~'. a~ Clap as LyadaDf. ~ ...... ~ War as ...... -...... __-0-. .. ~)'_ RlcbarcI Nisa iaberited _ the v_ .... from ~ and Music mtfkes me homesick By Dave Skams Staff Writer Music gets homesick too. So.it goes back to where it came from - just as it hits an awesome outer realm. Acid rock's ear crashing inten· sity scared as well as intrigued us and probably frightened the hell out of pe0- ple creating it: And that's where nostalgia all started - with acid music. It 's taken for gran· ted that the first successful piece of mind exploring music was the BeaUe's "Sgt. Pepper" album, - which also contained one of the first examples of refried musical roolS : "When I'm Sixty-Four." Cream, one of the most torturously progressive groups of the '60's, tacked a British music hall ditty on the end of their " Disraeli Gears" album. And the Jefferson Airplane im provised a country barnyard jam on " Bless Its Pointed Little Head." It was all harmless fun . From there. the Monkees. Chad & Jeremy and Sopwith Camel came out with ricky-{icky tempoed numbers - all of which played with the music that was popular when our parents were young. It offered satire, comic relief - and at best, a serious re ~ apprecialion for our musical heritage. We liked it he· ~use of our homesickness or perhaps .. because we suffered future shock over the frightening consequences of our '" lives and the world's recklessness. Nostalgia eventually expanded into our own past, exploiting the late 1950's and early '60's - and it let us curl up into a fetal position. There was warmth. se curity and nothing challenging or new. It was all part of a backward move that also rediscovered country and western music (The Band . James Taylor ) and blues (B. B. King and Janis ), No longer was there the inven tive song structure of the early Jeffer' son Airplane. the irrational lyrics of Jimi Hendrix, the experimental impro visational meanderings of the Grateful Dead or the eclectic cerebral signifi cance of the late '60 '5 Beatles. When popular music quit moving (or ward, iI became primarily functional - in "The Girl Thai I Mar,), ," and sol'1Wl:tliing to bring you up when you're Irylag agaiD u well. Judy Gartaad, have nooded the record market. In the wbo _ iD I .., pouessed that cer1aiD record stores of larger cities. one finds a screams her bloody head off In " Any· blue, something to dance to - not thing You Can Do I Can Do Betu.r." something to analyze. magic 100, u delDOlIStratecl by the .c bin marked simply " Judy" - no last companyiac penoD.J Imp...,..ioD. name is needed. Many album covers Judy's replacement in A ••ie was Well , why not ? This move back has feature onl y a picture and the name Belly Hullon. llelween the two there is selectively enriched our musical scope. " My dear lady, I've ~t rainbows up "Judy." '''Garland'' is somewhere in na comparison. That's easier than exploring new un the Ime prinl.l Mosl of the recordings UI all these albums. the best is "Judy dlarted realms. It was selective in the ~!ri~neJ " w~!~~~edwi - ~i~d~~~~ed! Garland." a collection of nightclub by are of old radio and television per· sense that nostalgia only encompassed washroom an enthusiastic (an. formances with very poor tone quality . performances on a German label - happy things. For example. World War And Judy wasn' t kidding. lor she There is . (or examJ.ii ..: . " Drive· In." a circa 1964 . The voice is clear and confi IJ marching songs have remained eventually overdosed on what made her half·hour radio murder mystery in dent, but dominated with melancholy forgotten , even though they stood side incomparably great - broken dreams. a which Judy plays a cdr·hop abducted by bordering on morbidity. There is none of by side with the now-re",jved Andrews precarious lile style and an unquench· OJ mad murderer. There is a radio the euphoric joy thai usually came with Sisters tunes of the '40'5. able thirst lor love. It was all there in her version of the film Meei Me ill St. Louis her liner performances and is a pathetic But the womb of pure nostalgia is a voice. She was a love monger. Nea r the and an album of Judy 's guest example 01 pure blues. bit too cramped. Wouldn 't you rather end her voice begged for it as she sang appearances on Bing Crosby's 1951 radio Bul there are some young Judy see Ann Miller's "Great American the same son~ over and over to get it - show. Garlands around today . The nostalgia Soups" commercial than sit lhrough 90 while her vOIce became more frazzled Bing : " Hi ya Judy ~ Ikrs limber up craze has gone fuJI circle: her schlick is minutes of a crusty old Busby Berkeley and brittle. the lipstick ~ .. once again in style. We have Judy's movie? Wouldn't you rather lislen to " Now rm going to Sing a new song ." Judy: "Oh . clutch me Croz ~" da~hter. Liza MInelli. whose powerful Bette Midler mimic the Andrews she would announce. " And I have n' t So goes the dated screw bail humor. beltlOg voice has expression In every Sisters than listen to an entire album of sung a new song ... since Clive Brooks Mus ically. these rauio performances quiver. But Liza seems strong enough to the real thing? was a girl! Was he?" sound rather thrown together, entertain take care 01 herself. Judy could not. Excluding Broadway productions. Her audiences loved her humor - ing . but with lillie de).'!". Garland freaks We also have Bette Midler. Listen 10 about the only authentic nostalgia that almost ANYTHING sbe did. it was good gel a jolt from hearing her sing a Ford Midler singing " Am I Blue" and then put has gained considerable popularity is enough lor them that she even sbowed Spark Plug commercial wilh Dick on "Stormy Wealher" Irom " Judy at personified by Chuck Berry. s"rr'y up for t>er concerts. As tbe _voice got Ha ymes. or a medley of childrens' TV Carnegie Hall." The phrasing aild style worse. tbe legend grew greaterand au· show themes or a parody 01 Jeanelle of innections are identical. came back doing what he always did: Suppose Judy was stiil alive? Would revealing its validity as a basis for diences more Wildly enthusiastic. MacDonald or even spirited World War At her lasl appearance in Chicago in II propaganda songs. she share M;ilier and Minelli's wide p0- what we have today. Also . we could be pularity? In her prime, Judy certainly satirically amused by Berry. He filled 1966. people stood on their seats scream The fine s tuff is widely scallered ing "Judy you're beautiful, Judy I love had enough wit, tackiness and vocal the same function as the frothy satire throughout these collections. One is style to outshine both of them. offered by Sha Na Na and Grease. you. " She appeared as a grotesque Judy 's heartfelt t946 rendition 01 caricature of herself. with doli-pInk Butlisten to her lasl recording (Judy: Mean~'hlle . even our serious rock " Liza:' a song wrillen for her daughter. make-up. her eye sockets coated with London, t969 1 made a lew months before groups were integrating these dusted- ' On " The Judy -Garland Musical her death. The voice struggles aDd green eyeshadow. the glitter in her hair Sc rapbook. ", On "Judy and Her Part - :!V~s nt:wc~~~~~o~:~Ja r:!lt~.. matching her spangled pant suit. ners in Rhythm and Rhr me," she sings ~:!nJ.~oh~dl~C:~~~ ~= They rarely let her on TV looking like a SIUM ing duel " 'ith V'c Damone 01 a caUed thalidomide nostalgia - moder· that. of times before. Even " Over the nized to ultimate palatability. David West Side Story medley and offers a loP, Rainbow" had tAl be transcribed down a On that particular e\'ening in Chicago. nolch pe...normance of "Too Late Now . ' Bowie and Al ice Cooper. for example, however. she could not stop smilins - few steps. Her pictures show her u a use the same basic framev..-ork. adding not even during the sad son!!S - as II to Music lrom her old movies also has haggard D~CUS clown with eccentric their own outrageous lyrics a~ slage . say ''J'd like to hate myself In the mom· been resurrected from the MGM vault, taste in c1ott.,.,- sho"'S. . including souniItraclls of ~r P. The only tI)Ing that nev.,- Remed tiled ._ There arr a fE"'" ground-breakers in :::.,aO:: ~:;::i= i ~~f !:IL~~s.!:~' ~ns't; rad., T~. Pirate and " •••er up was herl crusty wil and charisma, the jazz field. such as John McLaugh .. tears in her eyes while she sang. _ -- .II slick and sweet. A real which unl.,tunat.ely, near the end, be 1iD_ and some half~rted inroads to The most constant lactor in Judy' ile collector's item is the soundtrack from came apol!lletic for her broken-down ta- the classical field, exemplified by Keith was her close rapport with audi AIIIIIe Get YMr Gu, a mm Judy len!. I . Em...... ,.. and the Moody Blues. But in which still vividly exists fi,'e years after Bul a~ to Judy'llut buabaod, tl.'rmS of the top 40 albums, pop music her death. Judy is a favorite subject of ~, ~~t:d':t8: nb:: c,::~p'I:~e Micky Deans, her rmal rec:orcIioc .... a Slays in the shadow of the past. afraid drag queens and femaie impersonat.... , quipped. ActuaUy, she was fu-ed== because performance from whicb Ibe drew to ~ rebirth. Nostalgia is no longer Jim Bailey bei!,!! a prime exampie. Sev of her temperamental noture. The flrinC Confidence. and .,.,.,.....emeat! harmless. irs restricting. eral Garland biacraphies have hit the led tAl a suicide altempl and nerv.... No, if Judy were atiII alive, abe'd be ...... markel. 1bey depict her as a nourotic brealulo,+,n, beller off at home wiIb J4Id /'" I I 'I1Ie liberated ,Itride. Oa the left•• St. La...... tailored put _It from &Ilia' ye..... SpriII& oIIowiItC iD Paris. At rigIIt • lady ,elf... fnl'm IIoe pal" 01 • 1.. •• Harper'. Bazaar, 7- the past wears well Why do styles recur' women. a softness they fear is vanisb One obvious answer bas nothiDg to do ~omen bw come a long way. They with psychology, but rather with aesigD . (and their male counterparts) seem Simply put, the!e are ooIy so many ways less susceptible to the whims of fashion. that material be draped, cut and can But the early-century ~men who so stitcbed to accommodate the human unhealthily corseted themselves have body: Designers are rorced to elaborate ts who just as eagerly wear and update basic styles of their prede cessors. erously high platform shoes. Practicality also dictates that we ~• (Which brings up an interesting point. never can return completely to In the Orient. the stilted shoe was long yesterday's fashions. Materials have valued both as a symbol and in- cbanged. Nylon, dacron, rayon, per strument or woman's submission. The manent press and a plethora of knits are high heel. in one form or another. is as the raw material for a major portion of popular in 1974 as it was in the '305 and modern wardrobes. Not so in the good before. ) 'oIe days. In a multitude of ways, One young designer who is into the technology forces change and makes '50s ook has the very old-fashioned improvements in fashion. (If World War philosophy that looks are everything. 1 badn't grabbed up the national s"l'p1y She calls ~9res Deluxe. and of steel Cor armaments. women DIIgbt she says " I want to design for people stiJJ be wearing those staunch corsets.) who don't mind being uncomfortable .. .l like things that are totally impractical re~i~/'"Jr:lu~caIC:~bea~:r. ~: and non-usable. " v"'1 urge to wear clothes, to alter one's Well, there·s something Cor everybody baSIC form, is an urge belonging to the - but probably not very many for D0- human race alone. Nearly every one of lores. man's "alterations" has some kind of The search into the past is a good psychological basis. deal more than a nostalgia trip or a Why are many of the " latest things" yearning for the good old . uncom actually 20. 30 or 40 years old' Why are plicated days. ItlS a search for Identity. trendsetters simply trend repeaters' Look around. People are wearing dif One prominent theory is that we are ferent things. In the '205. a woman seeking consciously or unconsciously. an couldn't be the bee's knees if her hair escape from the pressures of modern wasn't bobbed. and a man wasn't the living. We yearn Cor less complicated cal's pajamas unless he wore a raccoon days. so we dress the part. But there is coal. Today. there is a greater stress on more to it than that. using clothes to reRect personatity. In several ways. the women's libera People are less likely to be ostracized ti_ movement bas influenced fashion because llley aren't wearing this style des~en . as they join the work force in sweater or that length skirt. greater numbers and in more varied The new attitude toward clothes in roles, demand more practical clothes. volves more than fashion. It involves The result: '306-style loose. cuffed pants costume. and below-the-knee skirts. in which In an article entitJed "The Politics of women are Cree to move withOlll the Costume" (Esqutre. May . 197)). Blair Sabol and Lucian Truscott IV examine ~:::~ou~.:! c:':~~~bJle~irbr'!..bl the idea of clothing as an extension of toed sboes have replaced daintier personality. Costumes. they contend. footwear for women on the go. have nothing to do with fashion. "A As women began to wefr more tradi costume is an idea, not a look-it's part tionaJlr masculine attire. men saw fit to of the person wearing it. not just a mere add a little more color and shape to their body wrapping . Costumes can be wardrobes without Cear of ridicule. A Ia something old. something new . 'I1Ie Gatally 1Mk. reYiYed the ' 205 . they choose bri~hUy colored something scavenged. somelhlng perfl_ b, _ .. doe ap shirts and ey.,..,atching SUIts and shoes. borrowed." ...... _ wniea ., FIt.- Some of the latest Cashion news from The ''something old" styles are sim, ..era!d ·. _Yd. Ia doe ...... Paris is a reaction against. rather than a ply giving the individual more freedom IIIilIC fw &lie 1n4 ..ale . reaction to. women's lib. In friUy . to express him or herself. Does she feel Ruttery. Rowing fashions. the models like being a sultry Garbo tOOlght ' He . a seem to be saying "look at me -I can do dasbinl Galsby? Or maybe the feeling anything. go anywhere that a man can - calls for Super-FlInk. Maybe ultra modern and geometric or blue jeans ~~tJ°~':m'!. ~~~ al~!,i\ ; and comfortable. The chic '306 look which bas turned up Nostalgia can be fWi . And the best in this year's high fashion shows is also a lhing about it is there are no absolutes. statement from male Cashion designers. The only fashion dictate is self, These men seem to be actively promot expression. ing the softness they would 1iIte to see in I ...... 1Mk ___ _ f1ewiaC. ..Is, t _ ..... u.e ...... '14; _ 0.doe doe rtpt.left. It·. doe a DIar_ ...... al. En. tM lIalr -...... '-f'e.al.. tile Onstage memorIes• By Julie Titooe Staff Writer For the last four years, Broadway has sonfd in Irene. The rive words in the title renecll.>d the growing national preoccu pation with nostalgia. Scripts (and some ~~?c:t!!na~~~:~~h ~:.Y~~I~~~elt~~ performers) have been taken off the Both actresses had the zest. talent and shelves. dusted polished and presented as an esca~ from the endless problems ~~~l:~:~::at~s~e:~dfe~~:~~~'\'~~~t!~ of th e present. But somewhere along the both. and both were supported by way, a mid the nurry of parasols and enougb talented cast members. lively high-s tepping. Broadway distorll.>d ano choreogral'hy and catch" tunes to fill the ther reneclion - the reneclion of rea theaters mght aCter night. lity. But when the two ladies went search Reality. It's that thing we awake from ing for other pots of gold as talented peo daydreams In become part or. the some ple are apt to do . things looked bad for thing that comes along with the six the shows. Nanetlf' folded in New York o'clock news . It is something that thea aCter Keeler left. and there are leI' should never try to ignore for more predictions of doom (or Irent' since Jane than a very short time. because pure Powell took over the tiUe role. entertamment becomes pure boredom Irene and NaneUe kept cash registers when not mixed with the gut-level ingre ringing. The sound has kept producers dients of life. and promoters si nging the praises of That is not to say that because theatrical reruns. The continuing search nostalgia is not the whole pictur.e it has for the right combination of talent and FllIlDyBrice nothing to do with reality . When No. No timeliness has promoted a nearly en NaaeUe. the " new 1925 musical." dless list of revivals. including Gigi. opened on Broadway in January. 1971. Molly ta musical version of the old Gertrude Berg radio series. "The Gold bergs"), The Pajama Gamt'. Damn Yankees. Good News. The Women. Applause 13 musical version of " all about Eve" ), Harvey, Our TOWD, Private U~' es and:\. Moon ror the Misbe· gotten. And of course there was Grease. ~~I~;;ffr:';':.'~~~:~hit about. but not Particularly interesting is the Broad way debut of the Andrews Sisters in Q"er lIere. a play set in World War II America and scheduled to open at New York's Shubert Theater in early March. In 1938. the sisters. a shoulder- soon becomes dull. One writer suggested Why rehash what was when you~ that th e sophisticated young might be living what is and fonning what will be7 able to feel a kind of superiority by Critics liked Follies but many thea laughing a t olde r . s impler times. But tergoers did nol. Possibly it made some that kind of joy is not palatable for long. uncomfortable to remember the past in flavored.. as it is. with the present. something other than the perfect tense. The major I'roblem with nos talgia is Although it was a tale about illusions the i mpossib,lity of transplanting the and delusiol\S. FoIli .. zapped a sbot of almosphere of which a play was origin reality in Br6adway's arm. Follies. nol a ally part. Nostalgia is a selective ph ... success at the box office. did succeed at nomenao. only encompassing th e good renecling the truth behind the nostalgia about the past. A Time essayist said it craze. well : That craze should come to a n end . and "The eye of memory lakes in 1936 and quickly . American lheater -goers want the elegan<.."e of an Astaire dance or the more for their money th an foll y. froth of a Lubitsch comedy : it is blind to Depression breadlines. It catches the shapely legs of Ri ta Hayworth in t944 's hot pants but neglects the 500.000 .5. war casua lties of that year. It is amused by the crew cuts and .Iang of 1953 bUI forgelS the anli-Communist hysteria and fear that followed detonalion of Russia's Marion Davies first hydrogen bomb." To date. only one play has pointed out that it is not only ridiculous, but undesir able to immerse the country in a hope less effort to bring back the past. Appro· priately. the show was named Follies. Follies. which opened in 1971. was largely the effort of producer-director Hal Prince. a 43-year-old thea trical mir acle worker wbose hits ha ve included Pajama Game, :\ Funny Thing Hap· :n~e ~!!~ :n'J' ~~~!~r:sma ~~~~~r metaphor for Follies. Prince used Eliot Elisofon's picture of Gloria Swanson amid the ruins of Manhattan'S Rox y Theater. a " barococo" movie palace that was demolished in t960 . Like Swanson. the-characters in the play link the past and the present. The score for Follies, which was re. vamped by composer-lyricist Stephen Sondheim . is roughly deri ved from a never-produced play. Girls Upstai... . a bac.kstage murder mystery set in me lody. Follies, as it was reconceived by Prince, bears litlle relation to that boole IL has. as a matter of (act. very lillie plol. FoIljes revolves loosely around the re union of the celebra ted personnel of an old. soon·to-be-demolished Broadway theater. The gathered ~roup (an obvious paraUel of Flo Ziegfeld s Follies. joins in an orten haunting, sometimes spectacu lar music·and·dance reminiscence of ~/=tgf!c~J!J a::ti~d~\e~ldies _ but-goodies that highlighted many revi Aled, SID"II (PIJytUa" vals. But Follies was not a revival. It Mary McCarty (Stell., wa5 a statement about revivals, ..d Oorollly Celli •• Three ladies with heydeys in the past (Sally ..... ''WIle'. TIlat portrayed three theatrical stereotypes WelD ..!" '- • , ...... gathered for the reunion. There was .... po.&iy "lDber r... .. Alexis Smith as Phyllis. the leggy bruno Follies. ette who married well : Dorothlt Collins :...~.t; . ~~hiy~=:'otehe-~rito ~~: wise lion 'earn whi:e Nanelle struggled to play Ruby Keeler was Evelyn Keyes . wards Broad way. The lead male role . At SIU. on March 8. the role which for exampl e . changed players three' Ms. Keeler created on Broadway win limes. The book was compl etely rewrlt · be played by Evelyn Keyes. len from the 1924 on g ln al and wasn't Ah . come on now. this is all reality. completed until the morning or the And ..... ho needs It ? Certainly not No, No Boston opt-nlng . The scon.· underwent Nanette. extensive addillons and subtractions. Nanette. Instead . offers a silly plot The problems or the new "'a.oelle ch· about a philandering Bible publisher. maxed in a s uit bet wet.>n tht> producers. Jimmy Smith, his wife Sue, their play· The fin al cOlO cldenct:' - lhe onl y one ful ward. Nanette and a crazy mixed~ that reall y ('ounls - IS thiS despite weekend in Atlantic Cit y. The old horrendous problems . both the onglnal fashioned . meandering story ramtiJes and the revived Nanetk' we rt> smash through three old..fastuone(l acts and hils e ve rywhe re. stops dead for each musical number. Th~ Ceiebrit v Series No , No . Nanette Nanette, ofrers a has a shive ry cO ln cld~ n c l.' of 115 own. On instead. chorus line of girls in modest Twenties-style bath- Broadwa y. Nanette's femall' lead was pla)·..d by Ihe Ruby Keeler . 109 costumes and boys in argyle swea I"~~ndar)' ters and knickers. In fact , all the period Pari and pared of Ih~ Klaeler mystique costumes Id esigned by Raoul duBois ) an' ml~mOrlt.'s of ht' r stormy . much· publi CIZed marri age 10 tht" .. jazz Sing. for the cast of 33 are eye-fillers. ('r .· · AI Jolson. I u."gl·nds should neyer ~ offers songs like "I Want to marr\'. It S(.'t'ms. I Be Happy" and "Tea for Two," and - Wh en . 10 the 'SCs , a mOYIt' was made yes - tap-danclng and soft·shoe. of AI Jolson 's life. th e actress chosen to Who could ask for anything more? EvelY" Key.... Itar of viJIlaCe movies. stan Nee _'" Ia No. No, Nuette. could N.""tLe, mere froth that it is - ("It has no plot line," Ms. Burnett said I - become a phenomenon? The production ran ror over ''''''0ye ars on Broadway, broke records on the road and has made a bundle for its pro· Cave.u", at aeuWe. UIeae ducers. Besides proving its mass ap AII.. 1Ie aty IIeaIIlIn eooIiftll peal. Nuelle, with few exceptions. has Ne. Ne. 1'11_ willi IIIeIr won critical raves. "Pad! _ lIoe lie..... ~ " People have a srlective memory ror the 'old times: .. Ms. Bumetttbeorized. " When they reach far back enough . "--- they don' remember the bad things." To put it another ","'ay. Don Dunn in his book n.e MoId_, of No , No , N_, describes the sho,,"s Broad way opening : . "As had happened so many times before, the audience.was transported to an earlier time, a tuI.ppier . me. "'-hen girls wen. beautiful . jokes w.re funny , songs were lovely, a t biggest worry in lif. was ,,'iiet6 r not it might rain during an Atlantic City holi· day (and it neve-. never did )." Dunn goes so far as to maintain that audiences, viewing N_. don't even really _ what's happening 011 the Jta&e. They _ iDsINd, tw belie.-es, • reel after reel 0( aid Bulby IIerbIey I __ ..-iDe IIuouIh their Mads. "., _ ...... fNm Ibe family ...... "., _ \heir ,.... when Female 1., roadcaster wants women tn• field ByGary-' WilS made for the class ,,'as a skin OIl _ .. Wrilor "Sbe's always the move. 10. Ms. Mampre said she hopes this Dick. until mine came a101lg." With " Ytrginia does the ",bole thina. =: o-:e.:.!::r~e a'f o~~ !how will help get perooos active in a laugh sbe added. "Everyone even thi.ngs that the floor managen Women are slowly entering the .aid with • tired sounding sigh. pubtic television. always knew my films ." are supposed to do. She is always Evidence of this is the new sbow Ylrginia Mampre has dooe pretty field of broadcutiDg but it still is Ms. Mampre was born in Evan pulling people up by the bootstraps &be bas pIanoed. " You're in Good wnmal for a young woman of 24 to well in a (ield that in the past bas Dot ston. a Chicago suburb. She was and seeing to it that e\'ery body's been overly kind to ..· omen. Men in be u active and successful in it as serving an internship at WTTW in energies are being directed towards the broadcast business look out. Yuginja fvSr~W:~ J~~e:.!~~ Mam ..... the proper things." by Dave Terwi5che, bost of the Ylf'ginia Mampre is bound to con· Ms. Mampre is tbe only female gu.;:~c;,~: di~e~ . " Vinrpoint" is a show she brought regular version of " You're in Good inltructor 10 l,be. Department of vince a lot of women to compete (or wed to stay 00. to SIU. It's on Public Access Company" . It will air Man:b 9 and YO'" jobs. Radio-TV. Sbe aho is the director Socm she was an ~n t director television aDd WSIU " invites auy aDd producer of two teievisioo shows at the station. This (B: ~ she came to group or organization within for WSIU-TV. CIlrboodale with the Iuiowledge &be OJannels 8 or 16 is viewing area to Her Grrice. located in tbe Com · would be oroducing and directing use our facilities." municatioas Building, is lDlall and her own televisioo show. " We have a bost. Ms. Mampre cramped. with almoot f!Yery inch of " You're in Good Company" is the said, but be only introduces. be space taken up by papers, ao- name of the show and Ms. Mam(re doesn't moderate. Once we got into puts a great amount of time into its the studio that particular group has ~~U;::OTn~.~ ' &:Sl~:~::,~: productiOll. ODe of the members of cootrol over the show." &be created h... . and other odds and the Ooor crew. Martin Rose. said. " Things are never dull around bere. ends. related to her work.. One look at the order of ber office tells just bow active and busy she is. BABGAlI TABLE Under the te1epbooe is I stack of presents papers that seem to be in no par * ticular order. PromotiCll&l po5ters are all over the walls. lying under the chairs and on the floor. le~ool lu"Ue, The bulletin board is fdled with :·············· ··· ··· ··f··· ····.·····. .. ·· ...... · ····... . papers aDd notices that overlap and cover each other. There seems to be BALLPOINT PENS no semblance of order. but she retail price 19c seems to be able to quickly locale anythiDg &be needs. . Now 2 for 15c Another of her activities is ( ...... organizing and coordinating Car bondale Wcxnen in Broadcasting. She is hoping to introduce more FELT TIP MARKERS women to the field of broadcasting. She dismisses any problems hse : retail price 49c bas eocountered as a women in a field dominated today by men. ''['ve been very lucky. For a woman to ~ ...... _ .~Q. w.. .Q .~ .. J ...~ . ~.~.. ~.~.~~... .. succeed sbe must be persistent." Her obvious persistence must be noticed and admired. 3 SPIRAL NOTEBOOKS Relating back to her un reta il price S1.9S dergradual 01 art"'ork done by women. and read NAME ______~ ______~ ___ a list of relatively unknown women DA TE artists. The list included women paiDting in the twelfth century. as PHONE NO. well as artists from later periodl. Although many women ha ve iii!! 2fl i~ ~Y Jjla y~ ~y~ ~n " made it in the arts." Ms. Green· 2 C , .,•. C ...... ()...... C ' ~ .. 3 C I DAy 5 2 5 .80 51.50 S2.oo S6,oo o """",, .. , C ) field explained. there are many " we c ,".. · ~ .. ,f;;. DAYS 2.25 3.00 9.00 ~ ~.:.--- o ..... 0 5 DAYS 1.20 just do no! know aboul: ' · . ~.·, c - ·v . .. C 20 DAYS 4.00 12.00 One reason for this. she said. is the C .. ..,N.. ".• . 4 1.60 3.00 edW!Ation women get. Women had to START 5 2.00 3.75 5.00 15.00 RECEIPT NO. _ _ ::el;~:l .. PMo~~c~e:!e:fi:l d v~i. 6 2.40 4.50 6.00 18.00 AMOUN T PAID 7 2.80 5 . 25 ~ 21.00 p1ainod. AII~ )oeY\ to" 8 3.20 6.00 8.00 24.00 TAKEN BY. _ oJd '0 sian I' ",-,Iled. Mi ni mum charge is for Iwo lines DEAD LI NES: 2 dan in -''4r'a. 5 p.m . Exc:eot Frl. for Tues. ads. . CHECK ENCLOSED FOR 5 . - 4 ~~~~~-L~-+~~~~~~~~~~~~-+~-+-L-L-L-L-L~~~~4 ~~~~~~~~~~-i-L-L-L~J-L-~~~~-L-L~~4-~~~: ~~~-+~-L-L~~~~~~-L~~~~~~~~~-L-L-L-L-L~-L~~7 ~~-t~~+-~~~~-i-L-L-L~~L-~~~~-L~L-L-L-~L-~. ~-+-t~~~~~~~-i-L-L~J-~~~~~~~~L-L-L-~L-~I. ~~~~~L-~~~~~~~~~~~~~~~~~~~+-~L-~. I I Wind ensemble to run gamut of band mustc By Dave s..ea... porary music at 8 p.m. Mooday In One impressionistic piece on the lion on the program is Robert " Dies Irae" melodv as ...ell as a Dolly EDJ>IIaa swr Wriler 9lryock Audilcrium. program is Leslie Basseu 's J"j! ... ·s " ~ - A Satirical sum~uous poIypboiuc texture ap " Designs. Images and Textures." " Here's the concept - between Suile for Band." Jag... explained ~ P~~ folk soog. " I 'm Riding ' 'Concert Wind Ensemble" is a \he Symphonic Band and \he Con· ..tUcil like Mussorgsky's " Pictures the cryptic title in the program misleading lenn. cert Wind Ensemble. we tTy to nUl at an Exhibitioo. invites the listener "Since imitation is the sincerest DiroclOr Mel Sien... deCmes \he the gamut of modern baltd music. to associate music ..i th \isua! art ~~~~~" I~i -:n~n:ingis .: f ...m d flaUery. I hope \hal ceruin fIlSeJlble as a 55 piece mncerc band from -rlassical to semi-d.assical to "Sud1 association is by no means arrangement of fi "e objects in a mmposers will DOl. be too upset," (whim makes it a bit srnall~ tbI!n pq>UIM." Siener expWned. ··Con · a requirement for intelligent and square or recta.n,gle. ODe at each Jaga- ... TOte. \he Uni.ersily Symphonic 1Iandf. sequently. the students leave here perceptive listening. since music. as corner and CXle in the center. nae Compleling the program is "'ilh an up- / It's the Hot Line -t,o a I Cool Deal!