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N.C. ESSAY - PAGE 3
"The Public Messiah" A Short Story by Robin Kaplan
photo by Shyvers
Maestro Andre Segovia enlightens John Patykula in some finer
aspects of fingering during the Maestro’s Master Class held Tuesday,
Andres Segovia commented
during his visit to the School that
the guitar does not sound loud,
but it does sound far. There could
be no better description of the
Maestro himself. His presence is
gentle, rather than imposing, but
the impact does indeed carry far.
The Maestro arrived last
Monday evening for 48 hours of
special meals and receptions, a
master class and many personal
contacts with the guitar students.
Events were planned so that
proper protocol would not ob
scure the underlying reason for
the visit- a chance for the
students to know a great man and
to learn from him.
At the dinner planned jointly by
the Wards and the Silvas, the 78-
year-old virtuoso sat ensconced
in an easy chair with a score of
students at his feet, while he told
one story after another. Although
the English words come slowly,
there is more than just a fluency,
there is an easy grace. And the
stories he has distilled from a
long and fruitful life would be
worthy of Mark Twain.
In the Master Class, he listened
intently to each student play, so
familiar with all of the guitar
literature that he hummed along
and anticipated each musical
phrase. His comments,
criticisms and suggestions were
succinct and laden with his
philosophy of living and of
The reception, the speeches,
the lunch at Old Salem and all the
events passed quickly until time
for this venerable man, father of
a nine-month old son, to leave for
his next concerts. The students,
with him to the end, accompanied
him to the airport, bearing a
large sign of farewell: GRACIAS
There’s No Biz Like Toe Biz
by Kathleen Fitzgerald
Walking past Studio “A” on
Saturday, February 21st, you
may have wondered if Metro-
Goldwyn Mayer had invaded. No,
the lights and cameras belonged
to NET, National Educational
Television, and in place of the
roaring lion was Miss Agnes de
Once the lights had been hung
along the beams and the cameras
were in place, members of the
cast of A Rose for Miss Emily and
the choreographer, Miss Agnes
de Mille, began rehearsing for
the Sunday video-taping session.
Miss de Mille paced and
mumbled, working up an ap
propriate dialogue and the cast
experimented with “natural”
rehearsal postures and tried
furiously to block different
portions of the ballet for the
directions indicated by the
flashing of the cameras’ red, “on
the air” lights. All this took place
under the brilliant gleam and
heat of the lights and the screams
of the technical crews. With
everything more or less tacked
together, instructions were given
by the producer concerning
make-up and costuming and we
were freed until 9:00 Sunday
After a short rehearsal, punc
tuated with sips of coffee, of some
of the areas which had been re
choreographed we moved into
Studio “A” for the taping. The
“rehearsal” scenes with Miss de
Mille’s narration were shot again
and again until a voice came
godlike over the speakers con
nected to a microphone and a
producer proclaiming, “Fan
tastic”.” or “Excellent, ex
After a short break for lunch
we returned to film portions of
the ballet in costume with lights
and scenery. Gemze de Lappe
and David Evans danced the two
pas de deuxs from the ballet and
the “Party Children’s Dance”
was filmed as a background for
the credits. At 4:45 we were
finished. In close to seven hours
we had taped approximately 30
minutes of television viewing
The program will be aired on
March 3rd between 8:00 and 10:00
o’clock on the NET station, in
It seems th|it Dardin has the
strongest connections with
Ireland: his appearance, his
accent, his manner, and his past.
A cousin of his, a Whelan, was
hanged in Mountjoy in the Civil
War. But it’s only a device now.
He hardly ever mentions the
place, and if he does it’s only for
commercial reasons. A man was
once asking him some questions
at the end of a meeting. These
people are called come-ons, or
pumps, by the professional
speakers, because they can be
done for more money.
Pump: Why do you speak in
Dardin: Last year I sent the old
woman to Myrtle Beach and she
came back with her tongue
sunburnt. I can’t get a word in
edgewise in my own home. The
only answer to my frustrations is
to get up on that oil drum and
prove to myself that the Irish
race is not a corpse.
Pump: But why do you speak
there EVERY Sunday?
Dardin: I need the money. I’m
the last of the lachikoes...a
lackikoe is not a bohemian. A
bohemian is a person who works
to live but does not live to work. A
bohemian is an imitation hippie.
A hundred percent hippie is only
an imitation gypsy. I’m the king
of the lachikoes, the king of the
gypsies. I’m what every man is
trying to be. With these two hands
I have fought my way into the
Pump: What did your father do?
Dardin: My father put deValera
into power and never heard from
him from 1915 to 1942, so it’s
possible to forge a name in
Pump: Why do you call yourself
the king of the gypsies?
Dardin; I’m not really a king. I’m
only a shithouse king. Pay your
The man paid him about a dime
Dardin once said, said Lomas,
that he has released himself
forever from the burden of being
Irish, by going up to the desk
clerk at the Robert E. Lee Hotel
and saying that his grandmother,
Mary Ellen Brown, was the last
person in Ireland to be burnt at
the stake for being a witch, and
that history records...the local
papers of the time, that is ....that
when her soul left her body, a cat
appeared in the sky shouting,
I’LL BE BACK...I’LL BE BACK!
The desk clerk said that he didn’t
believe in witchcraft.
Dardin gave him a five dollar
The scene was the YMCA hotel.
A man from Kernersville had just
taken some money off Dardin on
the strength of a prescription for
purple hearts (amphetamine),
with which he never returned.
The atmosphere had something
to do with post-revolutionary
ennui: the faded chartreuse walls
dictating the fetid smell, or the
other way around. Bacilli dying
behind some postage stamps.
He had a man with him:
Stewart Kravits, whose brother
was in prison for slashing a
painting by Salvador Dali. I
admire that, said Dardin.Kravitz
here admires me in the park, so I
admire him on account of his
They brought back trays of
food from the canteen and set
them down at one of the tables.
Some of the men there gathered
I’ll tell you my philosophy. The
heads drew closer. My grand-
motherwas my mother, and that
makes me my father’s brother.
But there are no women in
heaven. God did not need a
woman...a woman is a man-made
thing...now you understand
homosexuality. When your
father’s a man and your mother’s
a woman, you’re half and
half...When you make the two
halves live in harmony, you’re a
man. Now I was on Fourth
Street....and there was this ad
vertisement for Salem cigarettes,
with a woman in it....she was
TALKING to me. I was
paralyzed. The woman went out
They looked very bored.
Stewart turned around to see if he
could spot the man Dardin gave
One of the many curtain calls for Pauline Koner’s “La Malinche.” L.
to R. - Gyula Pandi, Pauline Koner, Edward de Soto.
(the fifth in a series of reviews
of records in the NCSA library)
STRAVINSKY: Le Sacre du
Printemps (The Rite of Spring).
Pierre Boulez, The Qeveland
Orchestra. Columbia MS 7293.
With over fifteen different
recordings available of
Stravinsky’s “Rite of Spring,”
the average record buyer
naturally wonders what could be
so important about another
addition to the cumbersome list.
The importance of this record
merely lies in the fact that Pierre
Boulez, possibly the greatest
living interpreter of 20th century
music, is coupled with an or
chestra that unquestionably
proves to be the finest in the
world, owing to the impeccable
training of the late Dr. George
This performance is hair-
raising. For rhythmic precision,
accuracy, balance, clarity, and
sheer excitment this disc out
shines all previous recordings of
the work ( including Stravinsky’s
own!). It is an intellectually
refined performance but utterly
exhilarating and fresh. Boulez’s
interpretation remains highly
extroverted and dramatic
(stylistic for Stravinsky), but
never once does he let one minute
detail in the score slip out of his
hand. He literally knows the
piece inside out, and the power of
the man can be felt in the
Cleveland Orchestra’s fearless
and authoritative sound.
Columbia’s engineering is quite
superb and certainly responsible
for part of this record’s success.
by Alan Zingale
The rich reproduction of the shrill
upper string and woodwind
registers, balanced against
strong support from the lower
brass and bass sections makes
for thrilling listening. Also, the
clarity and power from the
percussion battery can be
staggering in fortissimo
The impact of the recording is
illustrated personally: it is the
first record I have decided to
purchase a s a result of t his re -
the money to for the purple
Don’t WORRY, said Dardin.
Don’t WORRY....don’t you see?
He won’t come back. That’s
REAL metaphysics for you.
With long intervals of neglect,
undernourishment, and the lack
of sleep induced by the bar-
drinamyl, and methedrine, his
health always declines. He came
up one night to a room Freddie
Klein has on Dickson Street.
Dardin looked terrible. His beard
had grown in patches on his face;
his whole body trembled. He
became some sick joke about St.
Vitus’s dance. Under a foul shirt
his ribs clawed in and out at his
lungs forcing them to breathe. He
said he was going to die. Klein
I want to tell you this: when
anyone is going to take your
mind, make it a blank. Stand in
front of a high brick wall that you
can’t get over, and when you’re
flying high out of your mind, the
smoke that you draw flows down,
not up. Become the coils of
smoke...I am telling you this
because at this moment I am the
hand of fate, and I’m tired of
it....tired of the loneliness. I’m
cold...not that kind of cold
ness...you could drop in a heap on
the street and ^ey’d throw
crumbs at you. When you’ve
climbed three quarters of the
way up the tree of knowledge,
they nail you to it.
He said he was going to see
Jenny Drake. Klein said he could
sleep on the floor if he liked. He
left. Two days later a letter
arrived for Klein.
Dorthea Dix Hospital
Raleigh, North Carolina
From the home of the insane, I
to be continued
A large block of ice is
now abiding in the school
swimming pool and the
contractor and the ar
chitect are too busy trying
to decide whose respon
sibility it is to get it fixed!
It seems that the heater in
the pool room froze on one
of the cold days around
Christmas break and was
Therefore, the heater
that was heating the pool
also had to serve to heat the
air which did not work. So
it appears that we will be
without a swimming pool
In the meantime, you can
go pay 50 cents and watch
the polar bears chase the
walruses over the iceburg.
School will start later In September 1971 as the result of the
adoption of the trimester system for the coming school year.
The new system, which calls for three 11 week terms in con
trast to the two term system now in effect, was worked out by
Sam Stone in response to the need for greater flexibility in
scheduling the arts and academic courses. It was adopted by the
Deans Committee and the Administrative Committee after
discussions with faculty members.
The 1971 72 trimester calendar follows:
Sept, 9 15
Nov. 24 28
Nov. 29 Dec.
Doc. 4 17
Dec. 17 Jan.
March 13 17
New students arrive.
Returning students arrive.
All classes begin
End mid semester grading period
Thanksgiving recess begins at noon.
Intensive arts work,
All classes resume
End mid semester grading period.
Last day of classes
All classes resume
End mid semester grading period.
Last day of classes