Monday. February 4, 1374
Union week
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Festura Vrlter
Singer, composer and conductor Howard Roberts will lead his choir of highly
polished and versatile singers in a program of music drawn from black history and
folklore at 8 p.m. Tuesday in Memorial Hall.
Tickets, $2. are available at the Union desk.
Electrifying is the only adjective to describe the performance of the Howard
Roberts Chorale, according to one critic. Their music, backed by electric guitar,
piano and African and West Indian drums, ranges from the lively Zulu chants to the
hypnotic gospels of the slaves.
The Chorale is the brainchild of the multi-talented Howard Roberts, whose own
credits include appearances with the Robert Shaw Chorale and with the
international company of Porgyand Bess. He has acted as musical director for the
Alvin Ailey Dance Theatre, for NETs To Be Young. Gifted and Black and for The
Great White Hope.
The Chorale's work leaves no doubts of the tremendous impact that Africa has
had on the music of the new world. The first half of the program highlights the
original African chants, and the second half delves into the music of African natives
who became American slaves.
The gospels and hvmns of the second half are dynamically performed by Ella
Mitchell, the featured soloist of the Chorale. Mitchell, whose rich voice portrays the
sou! of the music, is described as a "supercharged glory of a woman."
As one critic noted. "If this program was a hint of what "black is beautiful is all
about, we are getting the message.'"
Operatic Quartet
A unique quartet of fine opera voices is featured in the fourth concert of the
Friends of the College 1973-74 season. The quartet will perform at 8 p.m. Friday
and Saturday in Reynolds Coliseum. Raleigh.
Tickets are available to UNC students for $1.50 at the Union desk.
The quartet features Anna Moffo and Robert Merrill. Metropolitan Opera stars,
and Beverly Wolff and Jose Carreras. ' '
Gloria Steinem
Gloria Steinem. journalist, feminist and founder of Ms. magazine, will speak at 8
p.m. Thursday. Feb. 7, in Memorial.
Tickets, SI. are available at the Union desk.
Steinem received her degree in government cum laude from Smith and worked 10
months in India as a Chester Bowles Asian Fellow, an experience which enlightened
her. "America is an enormous frosted cupcaked in the middle of millions of starving
people." she said.
A degree in political science and a Phi Beta Kappa key did not unlock many doors
for Steinem in the job market, where she was informed that she could do research
and fetch coffee, but not reporting.
She spent many years writing unsigned articles for Esquire and Harper's until
1968 when she took over the "City Politic" column of New York magazine.
Steinem's involvement with the Women's Movement dates from the late '60's, as
she became aware of the deliberate economic, political and social exploitation of
"1 learned these lessons by watching and interviewing gifted, industrious women
as they were turned away, limited in scope, denied equal pay and promotion or
simply ridiculed by the institutions that needed their talents most, she said.
In 1968. Steinem covered a meeting of the Redstockings, a group protesting the
rigged legislative meeting on abortion reform.
"Women got up and told about their abortions, and mostly it was so tragic and
humiliating and dangerous..,that it was an incredibly emotional evening," she
recalled. "It made me understand that women are oppressed together. There is
always anger and humiliation in us." '
Since then, Steinem has gone to the front of the Women's Movement, with the
establishment of the National Women's Caucus with Bella Abzug and Shirley
Chisholm and the founding of Ms., a magazine dedicated to the issues of feminist
cultures.
Steinem's approach is firm, but not strident. "Women don't want to exchange
places with men," she insists.
Steinem's talk is co-sponsored by the Carolina Forum and AWS.
Encountcrtcpss
This semester the Carolina Union will again offer a program of Personal Growth
Encountertapes for U NC students, faculty and staff. An organizational meeting for
the group will be held at 6:30 p.m. Wednesday in the Carolina Union. .
The encountertapes are a program of interpersonal exercise developed by the
Western Behavioral Sciences Institute. The program consists of 10 sessions of
structured exercises, each lasting approximately one and a half hours.
Although the sessions were developed for leaderless groups, facilitators will be
present in each group. The facilitators will work under the supervision of Dr.
Eugene Watson, professor in the School of Education.
There will be a $5 charge for the 10 sessions. Groups will be formed during the
organizational meeting, and facilitators will be available to answer questions.
Persons who are interested in the program but are unable to attend the
organizational meeting may leave their names and telephone numbers in Union 201
so they can be contacted when groups are formed and if spaces are available.
Deep Jonah
Singers Dianne Gooch, Carol Ponder and Bruce Wolff will perform from 8 to 1 1
p.m. Saturday, in Deep Jonah in the Union Basement. Admission is free.
Gooch is known for her performance of folk music with the guitar and dulcimer.
Ponder and Wolff perform a variety of folk music, ballads and popular music. Both
will slant their programs toward women's week:
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by Billy Armlstead
Television Critic
Nostalgia. which, on first encounter,
sounds like a kind of disease has lately
come to signify anything old that is
merchandisable. The TV networks, of
course, are quick to pick up on whatever
sells, and their most recent stab at nailing the
nostalgia audience is ABCs The Happy
Days, which debuted four weeks ago on
Tuesday nights.
The happy days of the title are the I950's.
Cynics might question the happiness of the
first freedom riders or of Joe McCarthy's
victims; however. The Happy Days skirts the
dull stuff and dwells on the most fascinating
aspect of the Fifties, its teenagers.
Ron Howard of American Graffiti and,
long before that. Tfie Andy Griffith Show,
plays Richie, a high school boy preoccupied
with high school girls. His preoccupation
feeds on ignorance; so far. he has barely
figured out how to talk to girls, let alone
decide what he wants from them and vice
versa. (The obvious thing for him to want is
not openly discussed on this show.)
Rickie's friend, Potsie, may or may not be
more experienced, depending on whether he
is bluffing. In contrast to the shy and initially
inarticulate Richie, Potsie is outgoing and
without nerve, carrying off with aplomb the
sexual rituals that Richie still bungles.
The premise is similar to that of Summer
of '42, but The Happy Days, to its credit,
does not patronize its characters: their
ignorance and confusion does not invite
condescending laughter.
While still very small, Ronny Howard was
one of the most unaffected, endearing
children ever to appear in television or films,
but as he got older, he became just an
ordinary child actor. Now that he is almost
grown, it is hard to say whether he can act or
not. Miraculously, he has avoided the
broadness so common to aging child actors
who feel they must please at "any "cost.
Rather, he is at the opposite extreme.
Attempting to crack his subdued,
uncomplicated personality, one wonders. "Is
he underplaying or just not playing?"
In either case, he comes off well in the role.
The way he stops, as if to recall every move
he makes or line he speaks, may indicate
nothing more than his histrionic ineptitude,
but it is almost as plausibly almost,
because it is too good to have been faked
an indication of Richie's ineptitude. Yet
Howard (or Richie) is too honest and
sensitive to be laughed at, and he is not
pathetic, either. He is just a nice guy, out of
his element until he can catch on.
Anson Williams is fine but far more
conventional as Potsie. Henry Winkler does
as well as anyone could in the gag role of a
super-cool dropout, but the warm, excellent
Tom Bosley is wasted as Richie's father.
One wonders what women will think of
the high school girls who drift in and out of
The Happy Days. Though sympathetically
played, they are viewed through the boys
eyes not as people but as guardians of a rich.
forbidden sexual wealth. The boys are
afraid of these girls to think of getting
know them (in the non-carnal sense). Fea
understandable because the girls do hint a
formidable sexual sophistication.
It is unfortunate that these girls are nc
viewed on their own terms, like Richie an
Potsie. Even if they are well-depicted as fa
as the boys can understand them, it is a
insult to women that (1) the boyi
viewpoint is the only one taken; and (2
shows and films that take the viewpoint o
teenage boys can picture the boys as likeabh
human beings. Whereas, shows and films
taking the viewpoint of teenage girls, an
always variations on Gidget.
Behind this seems to lurk the belief thai
teenage boys are possessed by dark,
mysterious sex drives that force them to seek
out women, while teenage girls do not have
sex drives , at all (did Gidget?): They just
chase after boys because it is their nature to
do dippy things.
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