J
THE DAILY NEBRASKAN
Editorials
Commentary
Thursday, March 21, 1968
Page 2
i
i -
Senate in bloom
Spring arrived on the Senate floor Wednesday
as after a long barren winter the Senators finally
bloomed.
The matter which pushed the many dormant
wall flowers to the surface was of all things a
proposal that two national senior honoraries begin
chapters at the University.
The proposal sugjvted an extremely chaotic
method by which the two existing senior honorariet
would compete with Blue Key and Cardinal Key
for members.
The reasoning behind the proposal seemed to be
that additional honoraries would make anyone who
, had ever been an assistant chairman of any or
ganization eligible for the revered membership is
one of the honoraries.
Although the entire proposal is not feasible,
it did contain a significant purpose, which of course,
was not directly stated. If memberships in the
senior honoraries were easily attained, the honorar-
ies might lose their effectiveness and dissolve them
selves. While the dissolution of the Innocents and Mor
" tar Boards would be a great boon to the Univer
sity's educational system, the addition of two more
Z honoraries will only add insult to injury.
The Senate tabled the motion for a week but
where it belongs is under the table.
: The Senators passed an important piece of leg
" islation Wednesday proposing a complete overhaul
: in the University's ineffective faculty advisor pro
gram, have continued to see their advisors but
rather practice the indelicate art of forging advis
or's signatures.
It seems absurd to continue a system which
is ineffective for the majority of students and es
pecially for those who really need good advisors.
If faculty advisors for upperclassmen were free
to counsel freshmen and sophomores and if they
were also aided by student advisors, the results of
V5. the improved system would be a lower drop out
rate, higher grade point averages and, for many,
" a shorter length of time required to obtain a degree.
Cheryl Tritt
Campus Opinion
Dear Editor:
We, Vietnamese in North America, speaking as
individuals and independently of any political or
religious organization, together voice our anguish
ed concern over the war in our country.
At the moment, in the name of the highest
sounding principles, the parties to the conflict in
our country are fast reducing our villages and ci
ties to ashes and rubble, and, in the process, tear
ing apart the whole fabric of our society.
This is not a struggle for freedom and democ
racy; it has become a war of genocide.
By now, it is clear that there are limits to
what American power can do in Vietnam; on the
other hand, there are no limits to what American
power can do to Vietnam. The words of the Amer
ican Commander, that "to save Bentre it became
necessary to destroy it," plainly reflects the mor
al, political and military bankruptcy of American
policy in Vietnam.
To end the war before it is too late, we call
upon the American government to heed Secretary
General U Thant's appeal and stop all bombing
of North Vietnam. We call upon the United States
government, the government of South Vietnam, the
government of North Vietnam, and the National
Liberation Front to promptly reach a peaceful wet
tlement. A lasting peace for Vietnam should be
based upon the total withdrawal of foreign troops
that will allow us, Vietnamese, to shape our fu
ture free from all foreign interference.
We urgently appeal to the world community,
through the United Nations, to condemn, in view
of their devastating effects on our people, the
use of chemical warfare, napalm, and anti-per-sonel
bombs. Finally, to prevent the ultimate crime
against mankind we ask the General Assembly to
forbid the use of nuclear weapons by any Dartv
in this conflict '
Coordinators: SlDCereIy'
Le thi Mai Van (Vale)
Ngo Vinh Long (Harvard)
Nguyen Quang Hoc (University of Montreal)
Cong Huey Ton Nu Nha Trang (Berkeley)
Le Ann Tu (Bryn Mawr)
Nguyen Hoi Chan (Radcliffe)
Nguyen Huu Dung (University of Montreal)
Guyyen Namh Tuong (University of Montreal)
Nguyen Ngoc Phuong (University of Montreal)
Nguyen thi Loan Anh (Cornell)
Nguyen Thu Huong (Macalester College)
Nguyen Thuy Hoa (University of Montreal)
Quan Tu Anh (Montreal)
Dear Editor:
. r ? hb- Tver's letter about his
definition of black power; I believe the definition of
black power is a very relative tluig, depending
on the person you ask. From reports I've heard, a
black militant's definition would be Whitey's blood
running down a street corner gutter, a white mili
tants: blackey's blood; a moderate liberal on eith
er side of the color barrier: all the way from
Let us reason together" to "Come to the sit-in
tomorrow."
I challenge Mr. Shiver's aim Peaceful Change.
Can results so slow in coming ever calm the re
sentment, the bitterness, the hatred, after so many
years of feeling like second class citizen?
The acrid smell of a burning borne can do
a lot to cleanse the pentup anger in a man's soul,
brt what if it is his own home? And how do you
Siifle the cry of a dead man's wife? By telling her
she can enter any restaurant she wants to?
Let ns pray gentlemen and gentlewomen. We
have done so little else.
Phyllis Herman
Dear Editor:
About Alan Reed's fuss over the simulated
communist takeover of Wahoo High School by John
F. Kennedy College students
Mr. Reed appears to feel that J.F.K.'s
accreditation should be revoked because of the in
cident. Why else would he protest to the N o r t h
Central Association?
He maintains that the couo experiment was
invalid. Even assuming this to "be true a rather
difficult thing to judge second-hand is an invalid
experiment sufficient cause for revoking accredita
tion? Isn't Mr. Reed threatening academic freedom
at John F. Kennedy College by his action? It is a
sad situation when one scholar would dsn others
their right to experiment. ,
Susan Kaye O'Brien
TU CfflFSNtJ!
Uairiber
of Seville'
presented
The Turnau Opera Play
ers will present "The Barber
of Seville" in English Thurs
day night under the sponsor
ship of the University Speaker-Artist
Series
The audience is swept into
the high spirits of Rossini's
three-act romantic comedy
with vivacious music, lyric
arias, brilliant show pieces,
and wirllng ensembles.
The Turnau Players repre
sent a pilot attempt to take
opera into smaller commu
nities and at the same time
give younger singers and
production personnel valuable
expreience.
"Barber" is a work well
suited to the intimate style
of the Turnau Opera since
the intricacies and ingenuities
of the plot are enhanced and
clarified when the opera is
played on a smaller rather
than the "grand opera" scale.
Tickets for Rossini's ro
mantic comedy may be ob
tained froo of charge at the
main desk in the Union.
Joseph Alsop
Nightmare of the future
Washington An older man,
nostalgically hankering for a
simpler America, glumly
packing for yet another
journey to Vietnam, would
prefer to say a cheerful fare
well. Yet in honesty it must
instead be said that all our
immediate, fast - converging
crises of the dollar, of the
war and of our national lead
ershipare downright trivial
compared to what now lies
ahead.
It has taken some tLr.e lor
this reporter to get through
the whole of the vast, not
very well-organized report of
the President's riot commis
sion. The report has been re
ceived, so far as one can
judge, with depressed indifference.
Yet, the President, the Con
gress and the country should
instead be responding with
the desperate, unanimous ac
tivity of the people of a city
remorselessly besieged the
women twisting their hair in
to bowstrings, the old gaffers
grimly tak ng their places
next to the young warriors,
even the little children hur
rying to carry food and wa
ter to those who man the
threatened walls.
For this report's cold print,
bolstered at every stage by
columns of unanswerable sta
tistics, is nothing more or less
than an official portrait of
the Amertcan-dream-turning-into-nightmare.
We are not
beseiged but we are sore be
set, and by such a problem
as this nation has not known
since the guns at Sumter
opened the Civil War.
Furthermore, for all its
strong, even emotional lan
guage, the riot commission's
report timidly understates the
true horror of that problem.
The heart of the horror is the
series of statistical tables on
Negro immigration to the cen
ter cities, or white emigra
tion to the affluent, rancidly
complacent suburbs, and on
the consequest future pattern
of the great cities of Ameri
ca. The nation's capital today,
as this reporter has often
pointed out, is no more than
a huge black ghetto thinly
concealed behind a pompous
white federal facade. Today,
Washington, with 66 per cent
Negro population, and New
ark, with more than 50 per
cent are the two American
cities with solid Negro ma
jorities. But in only IS years (and
probably in much less time)
Washington and Newark are
due to be joined by Chicago
and New Orleans, St. Louis,
and Detroit, Philadelphia,
Oakland, Cleveland and Rich
mond, Jacksonville, Balti
more and Gary. And if the
almost equally wretched
Puerto Ricans are added to
the calculation New York,
and half a dozen other major
cities must be added to the
list.
Cater Chamblee . . .
Burton quartet paces new jazz
Now the new voices are
here and the songs they sing
are strong ones. No better
case for this thesis exists
than the Gary Burton Quar
tet (Burton, vibes; Larry
Coryell, guitar; Steve Swal
low, bass; Ray Haynes, drums
on the first album; Bobby
Moses, drums on the se:ond),
the group that plays the
finest jazz of our time. I
know of no other group in the
history of the art whose
early prodcutions are as high
in quality as Burton's first
two, Duster, Victor LSP 3835,
and Lofty Fake Anazrom,
Victor LSP 3901. unless it be
those of the Modern J a z i
Quartet of 'good god, but its
been a long time ago.
Both albums are strong
(Duster has more roots, Lof
ty, more complexity) and both
are worth picking upon.
Gary Burton, whose ap
pearance has changed from
that of an earnestly serious
graduate student to that of
a singularly spaced out pop
idol, remains the most tech
nically proficient vibraphon
ist in the history of the in
strument. He's rather soft in
his approach but no one comes
:.ear him for richness of chord
structure, for brilliance of at
tack. His playing is a com
pound of lush chords, delicate
lines, and abstract purity of
form that approaches the
space age coldness of Hohn
Caye.
He lacks feeling for
blues, a serious detriment In a
jazz musician, but what ha
does is worth doing uii what
he does he does better than
anyone else.
Clark Terry said of Larry
Coryell that he was the fin
est bines gcitarist in 25
years and that would be since
Charles Christian and that
wcsld make him the second
greatest jazz guitarist of all
Coryell has the technique,
the range, the rhythmic com
plexity, the knowledge, of
chord progressions, the
touch of the best guitarist with
the attention to sound as
sound, the electronic experi
mentation, the down home
roots of the best acid-rock
guitarist.
One never knows the direc
tion his flight, will take, but
they will be high and soar
ing. At one point he will
overpower the listener with
sheer sheets of sound, then
he will suddenly be dropping
lyrically beautiful separate
notes Into the rhythmic in
tensity of the booting drum
mer. In the middle of an atonal
passage he will deftly insert
a B.B. King riff or a country
and western thing that is
amazingly right. He will be
behind a bass solo and
switch logically and inevitably
to a broad whining drone as
if he were playing a fretted
theramin.
Steve Swallow demon
strates that the natural wood
of an arco bass has a mel
lowness, a tonal warmth, a
lyrical potential for beyond,
say, the best vacuum tube
fender were assembled. The
lyric beauty, the casual grace
cf his solitare of course, the
province of the musician, not
the instrument, and the mu
sician deserves much praise.
Few other bassists are
capable of the delivery be
exhibits on his unwieldy axe,
while always maintaining a
light swinging drive (a heavier
ier bassist, M i n q u s for one,
would overpower this group.
Lyricism and a very complex
technical brilliance are their
strong points, despite the
deep blues roots of Coryell's
approach to the guitar.)
The drummer, Roy
Haynes on Duster, .Bobby
Moses on Lofty Fake Anaz
ron, are loose enough over
all that they don't hold down
the other musicians with a
too rigid beat for their mus
ic, but have enough bottom
to their attack to give their
fellows a more individual
stylist than Moses, pushing
the soloist with a nervous
persistence on up tempo
numbers, forcing him often
to extend himself beyond his
intentions with insistent trim
shots. To my taste, he drives
the group better than Bobby
Moses but Moses does well
enough, and his lighter hand
is more in line with Burton's
own approach to vibraphone,
a percussive instrument, af
ter all.
The tunes on the two al
bums are totally varied, each
one so completely an example
Daily Nebraskan
Vol 91. No. 12
SecoDd'Cl&vl tioatare naM mt fjnmla. Net.
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of Its style and no other,
that it is bard to believe the
same group played them
alL
It is difficult to go from
the mean acid-rock of "One,
two, 1-2-3-4" to the delta
roots of "Sing me softly of
the Blues," from the clean
baroque style of "Lines" to
the dancing Joy of "General
Mojo's Well Lord Plan," from
the quiet sadness of
"Mother the Dead Man" to
the flashy sharpness of "Bal
let" or the twittering icep
cold computer brillance of the
double tapping on "General
Mojo Cuts Up" and believe
it was the same four all
along.'
The musicians vary their
styles drastically from cut to
cut to fit the share of each
tract.
Vet each cut is recogniz
able by the Gary Burton
Quartet. The very stylessness
becomes itself a style. The
inevitability that the solosits
will radically alter his ap
proach to his song sever
al times during its course,
from chordal pattern to sin
gle note flurries, rfom clean
ness of line to broadness of
twxture, becomes a from as
rigid as a single minded de
votion to the back-beat
We know that Coryell will
have more drive, more soul
than Burton, that Burton's
harmonics will be righer than
Croyell's, that Swallow's Solo
will impress ns with its lyric
grace.
But we do not know what
form of blues Coryell will
play when, nor which har
monics Burton will play
where. And Steve Swallow's
grace is the kind of excited
achievement we shall always
admire. The Gary Burton
Quintet is worth the attention
of anyone interested at all
in American music that
is to nay, jazz.
Al Spangler
Leave Vietnam
Writing about the war in Vietnam nearly two
years ago, General Matthew B. Ridgeway said, "It
is my firm belief that there Is nothing in the pre
sent situation or in our code that requires us to
bomb a small Asian nation back into the stone
ages."
But that is just what we were doing then, and
we are still doing it now. Jean-Paul Sartre said it
in a slightly different way: The United States is
committing genocide in Vietnam.
Another military man, Lt. General James Ga
vin, testifying before the U.S. Senate Committee
on Foreign Relations, said that "bombing attacks
Intended to achieve psychological Impact through
the killing of noncombatants Is unquestionably
wrong.
Likewise the attack of targets near areas high,
ly populated by civilians, where civilians are likely
to be casualties, Is also militarily as well as morally
wrong . . , "But we continue to bomb and kill
iWiieai.jaiMH;i
Strange
Day
civilians. What Is more (and this requires some
imagination), we've discovered that sometimes we
have to destroy a village in order to save it.
There have been some changes in our war pol
icy. We changed the name of "search and kill"
missions to "search and destroy," and the mili
tary makes fewer pronouncements about an im
pending victory.
But the steady extermination of ou Vietnamese
brothers continues and the GI's come home In boxes
in ever-increasing numbers. And more and more
of us at home are saying, "Let's get this over
with."
Howard Zinn (Vietnam: The Logic -of With
drawal) has made a very reasonable suggestion:
"Speedy withdrawl need not be shameful; this is
not a Dunkirk situation where decimated troops,
harrassed on the ground and air, scramble into
boats and flee. The United States controls the air,
the ports, the sea; it can make the most grace
fu, the most majestic withdrawl inhistory."
If, as politicians are fond of saying, politics
is the art of the possible, then it is our job to
insist that politicians expand their narrow view of
what is possible.
For surely it is possible for the United States
to withdraw from Vietnam; if we do not with,
draw, it is possible that genocide will occur much
closer to home.
Reuben Ardila
Bridging the gap
Literary and scientific groups in England are
talking about J. Bronowski's new book: The Face
of Violence in any cafe of the West End of London.
They are, however, probably in two different cafes,
because literary people don't like scientific people
and vice versa, not even in London.
Bronowski is a mathematician who takes li.
terature seriously. He is the man who bridges the
gap, between the "two cultures," and is the writer
who doesn't balk when people start talking about
DNA, Hamiltonian equations or combinatory topol
ogy. He is a scientist who knows the great im
portance of humanities, and who is able to see
his work in perspective:
The subject of the book is violence. In the au
thor's opinion it Is man's symbolic gesture against
the constraints of society. In all societies the In.
dividual suffers a split personality.
On one hand society nurses and sustains him,
but he finds this pressure irksome and attempts
to escape from its grasp. The destructive wish is
depicted in the scapegoats who suffer for all the
collectivity. Man wants to be a member of society
and at the same time he wants to be an individual
who is the real existential dilemma.
To a certain extent Bronowski defends the right
of the individual to be different. He writes, "The
gesture of disobedience is a catharsis which we
must not deny tc any man ... The man has a
right to protest against communities; if he had
not done so, he would-still be with the ant colonies."
He is against the exploitation of violence, of
course. Probably his ideas should be studied to
getter with Loren's "On Aggression" and Ardey's
"African Genesis" in order to obtain a clear pic
ture of this controversial topic.
A dramatic play constitutes half of the novel.
The theme revolves around a former soldier who
searches for a man who he thinks is a monster of
cruelty. But when he finds him, he realizes that Us
imagination has been overworked.
The play won the Italia Prize in' 1951 as the
best radio play of the two preceding years. The
essay on violence is a new addition. Eoth the
essay and the play are connected, however, and
complement each other.
Bronowski has written a very stimulating book,
although one .-an not agree with everything and
Tip1-0126 the suPerfial treatment of some
topics. But in any case the book is worth reading
