The gamecock. (Columbia, S.C.) 1908-2006, November 18, 1976, Page Page 9, Image 9
* Focus^5^
beginning Saturday, Nov. 27. For
more information call 799-2812.
A grand prize of $1,000 is being
offered in a poetry contest sponCnroH
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monthly poetry newsletter. In
addition, there are 49 other cash
and merchandise awards.
For rules and entry forms write
to: World of Poetry, 801 Portola
Drive, Dept. 211, San Francisco,
Gr Calif. 94127.
The Russell House University
Union (RHUU) Contemporary
Sounds Committee will sponsor
Columbia blues singer Drink Small
and his band at 8 p.m. tonight in the
Golden Spur. Admission is free
with a USC I.D.
The RHUU Cultural Series
Committee, in conjunction with the
SC Arts Cnmmissinn anH tKio
National Endowment for the Arts,
will present the contemporary
music ensemble "The Performer's
Committee for 20th Century
Music", in a free public concert at
8 Monday night in Fraser Hall.
Although the committee, founded
in 1967, has included as manv as 90
musicians in some performances,
its travelling ensemble consists of
Judith Nicosia, soprano, Jayn
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pianist; and Joel Sachs, pianist
and conductor.
The committee's touring
oroerams comDrise works hv hoth
established 20th century masters,
from Aaron Copland to Igor
Stravinsky and newer con*
temporary composers.
"THERE IS a feeling of great
looseness and spontaniety in the
works of 20th century composers,"
Sachs said. "No matter how
sophisticated the works may have
become in their creative
development, they are still closely
linked to trends in popular music in
which there is a great deal of
conceptual improvisation."
Thp Sppnnrf Annual
Shorts Film Festival, sponsored by
the RHUU Fine Arts Committee,
will be held at 8 p.m. Monday in the
Russell House Ballroom.
The Classic Cinema Series
continues this week with "Women
in Love" at the Gamecock Theatre.
Glenda Jackson won her first
Academy Award as Best Actress
for her Dortraval of a "sexuallv
mature and intellectually active"
woman Jackson is frustrated by
her tangled relationship with the
son of a mine owner (Oliver Reed),
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and the rigid class structure of the
mining town's society.
4 "Hie latest screen interpretation
of a D.H. Lawrence work is a
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far beyond the surface. What is
relevant to the film is its intensity,
the saturation scriptwriter Larry
Kramer and Ken Russell, the
director, have provided in a
specific time and place so that
universality of human behavior
and its contemporary significance
glitter throughout. It is difficult to
recall another film that so successfully
recreated the past with a
depth that brings to life every
album snapshot we have seen of
the time," New York Magazine
said.
The RHUU Cinematic Arts
Committee is sponsoring two
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o^iwini pujr iiiuio tins WCCR.
"The Seduction of Mimi", directed
by Lina Wertmuller will be
shown at 7 and 9:30 tonight only in
the Russell House Theatre.
GIANCARLO GIANNINI stars
as a confused victim of circumstances
reacting to forces he
can't understand. After abandoning
his wife and being run out of
town by the Mafia, Giannini must
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return to that unfriendly environment.
By this time, however, he has
remarried and has a child. Thus,
the plot turns into an inane comedy
as Giannini leads a double life to
keep his wives separated.
"Mimi describes with hilarity
and compassion, how sex, pride,
provincial ignorance, economic
necessity and the strains of a
Band
dimly lit. Walking in, a rush of fear
possessed me, as if I had just entered
an opium den. The legend sat
in the corner of the room, away
from the rest of the entourage. I
found him to be extremely cool and
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place the tape recorder on the table
between us, McGuinn sat up rigidly
in his chair, looked straight at the
device and talked directly at it.
When asked if he was tired of the
road, he said, "If you're going to
ask negative questions then don't
ask any at all."
Sensing the hopelessness of
salvaging the interview, I turned
off the recorder and sat back. Only
then, did he loosen up a bit and
talk, but onlv in vaanp ioe
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After incessant questioning, he
spoke briefly of many varied and
random things: his love of the
road, his recent divorce, no place
he calls home, his belief of extraterrestrial
beings.
He planned to play 75 minutes
that night?he actually played 85
minutes?the Rickenbecker he
plays is new, because the original
guitar was stolen "by a souvenir
hunter," he still gets nervous
before each show; he loved the
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music Leon Russell is playing.
After a few moments, the conversation
abruptly died. I had run
dry of questions and McGuinn
offered nothing on his own.
Groping for anything that came to
mind, I asked the interviewer's
taboo question: What's on your
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double life between his wives and
mistress ultimately transform the
militant Communist into a company
man who learns to live with
the system but has a harder time
living with himself," critic Bruce
Williamson said.
"The Exorcist" will be shown at
7 and 9:30 Friday and Saturday
nights, in the Russell House
Ballroom.
mind right now? An interviewer
never asks this question because
the subject will probably tell you
how irritating you are.
"One thing is that I wish I had
some beer right now," he said.
"But I don't because it's Sunday or
something like that. The other
thing is I'm getting tired of
talking." I thanked him for the 1C
minutes; he looked up, nodded and
I exited, trying to unravel what had
just occurred. It wasn't that
McGuinn felt he was too good to
talk to a college kid; the problem
was he simply didn't seem to care
about much of anything.
As I sat watching the show, I was
impressed by how smooth and well
rehearsed it was; one of the
McGuinn trademarks. The people
got to hear their favorite Byrds
songs. Yet, something McGuinn
said during the 10-minute fiasco
stuck in my mind: "I'll keep on
doing this (the music) until
something better comes along,"
and "It's not wrong to re-live the
'60s, they were good times." But
how long can Roger McGuinn
survive by playing old Byrds'
songs?
iditviug 10 mc^jruinn ana watching
him on stage this past
Sunday night, I noticed how much
he has aged; his face shows signs
of wrinkles and a belly pokes over
his belt. But, maybe that doesn't
matter. Perhaps it's like he sings
in the song: "But, I was so much
older then, I'm younger than that
now."
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