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About The Battalion. (College Station, Tex.) 1893-current | View Entire Issue (Sept. 29, 1976)
Several misfortunes cause Kinks’ music to 4 • £ ^ • THE BATT> WEDNESDAY, SEPTt6fc iWi ByLESUE DENTON During the twelve years that the Kinks lave been making music, they have un- loubtedly had more ups and downs (more lowns than ups actually) than any other land that comes to mind. Their misfortunes have included an un- uplainable banishment from the United tales between 1965 and 1969, a lack of upport from two of the record companies hey have worked with, and the personal roblems that have plagued the group genius, Raymond Douglas Davies. Following the success of their early songs, “You Really Got Me,” “Till the End of the Day,” and “All of the Day and All of the Night,” (songs full of kinetic energy and joyfulness that symbolizes the best of rock and roll) they fell into the exile already referred to. While the Airplane was loving the White Rabbit, while the Doors were lighting fires on the crystal ship and everybody else was involved in the acid-laden magical mystery tour with Sargeant Pepper, the Kinks re mained in London churning out some ip- credible music: albums like “Face to Face;” “Village Green Preservation Society;” “Something Else,” with the exquisitely beautiful “Waterloo Sunset;” and “Ar thur.” Two anthology albums, “Kink Kronikles” and “The Great Lost Kinks Al bum,” from this period contain cuts which were previously unreleased material. In 1970, they released the infamous “Lola” about the transvestite Ray picks up in a bar. This was one of the first songs that dealt with this subject. Of course, we all know what has happened since then. Un fortunately, due to the non-support of Music Review Warner Brothers/Reprise, they were never able to follow up on this smash song. They switched to RCA in 1971 where they released six albums; two are worth noting here. “Muswell Hillbillies,” which is Davies’ most autobiographical work, contains two of my favorite songs, “Twen tieth Century Man” and “Oklahoma U.S.A.,” which contains the poignant lines: “all life we work and work is a bore; if life’s for living, then what’s living for?” The other album is “Everybody’s in Show Biz,” a two-record set. One record is a live recording showcasing the classic drunken show they used to put on. It is sloppy, drunken, loud rock and roll just the way we love it. On the studio side is “Cel luloid Heroes,” wbiei tears on more than one There are few sekpgwrit me like Davies cat*. PerJ because I can understand loneliness and despair, gloomy hotel room aft« lonely working girl Hayworth being taken i to Oklahoma, UTSrA. ten. After all, theyare^ says, “one of tbe su* Kubrick’s best films at Cinema Theater Network scheduling influenced results Rif V" v • ■fcV-i'VY -."St w,; ABC wins over-all premiere week By SHEPHERD GRINNAN A trilogy of Stanley Kubrick’s most icmorable films, “2001: A Space Odyssey” nd “A Clockwork Orange” and “Barry melon” is playing at ABC’s Cinema Thea- IV These movies continue in a series of films (Kubrick’s including “Spartacus” (1960) id “Lolita” (made in 1962 and noted for its Adult Only’ rating from the Legion of lecency because of “daring” subject mat s'). He then produced “Dr. Strangelove f How to Stop Worrying and Love the crab” (1963) followed by “Odyssey,” Orange and “Lyndon.” “2001: A Space Odyssey” (1967) is the ory of man’s evolution from ape to “child (the universe. It begins with the void of a lank screen, followed by the recurring bne of the alignment of sun, planet and won probably signifying some sort of in- erplanetary communion. At this stage of evelopment, man is an ape-like creature /hodevelops progressively as his cranium rows in size. He lives in groups competing iithhis enemies and other man-creatures irfood and water. Aggression is the key to urvival. Time passes and a huge rectangular wnolith appears accompanied by disbar- Cutting the tape HOW CAN I ORDER TRAN SCRIPTS? Order blanks are available on the first floor of the Coke Building. Writ ten permission is necessary by law for the ranscripts to be released, also a $2.00 charge per copy is re quired. If ordering by mail be sure to indilde your signature. Address the letter to the Office of Admissions and Records. Transcripts are not repro ducible. monious music. This initially frightens the apes away. Eventually, however, the apes touch it and some spark of intelligence is passed from the monolith to the apes. This “intelligence” is manifested in the ability of apes to manipulate tools, primarily in the form of weapons which they use to kill their enemies and prey. Movie Review Kubrick then transforms a thrown ape- weapon into a rotating space platform, catapulting the creature from prehistoric ape to man in 2001. The theme of sun- planet-moon recurs suggesting communi cation with other worlds as a Pan American space shuttel travels from the Earth to the Moon to the accompaniment of the “Blue Danube” Vienese waltz. Man discovers another monolith on the moon buried there four million years ago. An American team is sent to investigate and sets oft a beam to Jupiter. A “Jupiter mission” is headed by Keir Dullea and a talking computer named Hal. There are problems and Hal and the humans begin to differ in viewpoint. Nevertheless, Keir manages to get to Jupiter and the Jupiter- moon-earth-sun figure recurs. The addi tion of an orbiting monolith again suggests intra-planet communion. Keir is then sucked into some sort of Star Trekian time-warp which apparently connects two universes. During this time, he experi ences a visually dazzling journey and ar rives in a room ideal for human living. In this Einsteinian universe, he appar ently ages and finally is transformed to be come the “child of the universe,” commun ing with the universe. What is Kubrick saying about Man? He is saying that man is an evolving creature who proceeds from stage to stage with the help of some outside force. He is saying that aggression is a key part of man from his conflict with nature to his conflict with his creation, technology in the form of the con flict with Hal the computer. Kubrick’s perspective in “2001” in time less. It is truly a dazzling movie. By JAY SHARBUTT Associated Press LOS ANGELES — While ABC won the over-all ratings for “premier week” and CBS emerged an unaccustomed third, the start of the new season last week fea tured anything but typical network scheduling. ABC had 11 shows among the nation’s 20 highest-rated, compared with six at NBC and three at CBS. But consider: Four half-hour comedies were doubled in length, three series that usually go an hour got twice that, and TV’s sole Western, NBC’s normally-an-hour “Quest,” got 30 extra minutes of premiering time. NBC’s new Dick Van Dyke show, a Thursday opus, was premiered on a Monday, and the network’s new “Baa Baa Black Sheep,” after a two-hour Tuesday opener, legged an extra hour’s time Thurs day. And Thursday was the night the network schedules were thrown into even more dis array by the opening Ford-Carter debate. So only a loon would use last week’s ratings as indicative of any trend. This week’s Nielsens, expected next Tuesday, will give the first real hint of normal-times viewing patterns. But how did Crazy Week go? Quite well for ABC’s “Happy Days,” whose one-hour opener Tuesday featured Fonzie’s new hearthrob. The show was the week’s top-rated ef fort, seen in 24.7 million homes by a whop ping 53 per cent of the estimated audience. The lowest-rated? NBC’s “Big Party” in New York, where a glitter gang of celeb rities showed up to preen and be famous. Bad news for their egos: Viewers in but seven million homes cared about it. The bash, part of NBC’s new “Big Event” of Sunday hoo-hah, should have done better, considering the estimated 19.8 million-home audience for the preced ing show, half of the hit movie, “Ear thquake.” The drop of 12.8 million homes may in dicate that few viewers care if the rich and famous have a marvy time in Gotham. Of 14 new weekly entries arriving last week only four made the Nielsen top 20 — ABC’s “Charlie’s Angels,” “Captain and Tennille,” “Tony Randall” series, and NBC’s Dick Van Dyke show. The new ABC wares premiered in their normal time. Not Van Dyke’s hour, which inherited a huge Monday audience from NBC’s preceding “Airport ’75,” the week’s third most-watched Whether Van Dyke next Oct. 7 when he Thursday slpt remaiinis then face CBS’ “BaMia^ “Streets of San Franc For the ratings jWsC mier week” shovs« r iW “Happy Days” and “B Sundance Kid” ABC; “Bionic Woman ’ A NBC; “All in the Famil Poor Man” anct/'CJ “M-A-S-H” CBS; s ‘Six and “Baretta” ABC; ney” and “Sanford £ tain and Tennille” ABC; “Van Dyke” Hutch” and “Barne)y “Good Times” CBS. - im ligh” jrt Musician brings blues to Basement Coffeehouse By TONY GALLUCCI On Friday and Saturday a young Austin musician will return to the Brazos bottom lands, bringing with him what may be left of the heritage of Texas blues. When Kurt Van Sickle comes to the Basement Coffeehouse this weekend, his style of play will echo that of one of Ameri ca’s foremost proponents of the blues, Mance Lipscomb. On Jan. 29, 1976, Mance Lipscomb passed away in Navasota, the small com munity 20 miles southeast of College Sta tion where he was born, raised and spent his life as a sharecropper. During this time he taught himself to play the guitar and developed a unique fast-fingered, rollicking style of blues. Now, his style and originality are pre served only in the Archives of Folk Music at the Smithsonian, on six hard to find rec ords produced by a folk music company in the living presence of Van Sickle. Van Sickle met Lipscomb in 1971 when he was asked to put the already frail but active bluesman up for the night while Lipscomb played a nightclub date in Dal las. Van Sickle became intimate friends with Lipscomb, and Lipscomb’s music had a lasting effect on Van Sickle’s style. Van Sickle spent a great deal of time learning the difficult riffs and rhythms characteristic of Lipscomb’s style, but credits Lipscomb’s patience as the ultimate influence. Van Sickle has been singing the night club and odd-job circuit ever since his in troduction to the increasingly popular folk-country music scene. But his emphasis on his lyrics backed by his 12-string guitar has caused him to be come leery of club dates. “When I play in clubs, it is difficult for people to hear some of my slower, more lyrical tunes. ..The concert stage offers a perfect format for expressing the dynamics of my music,” said Van Sickle. Van Sickle brings his Lipscomb-inspired blues and his own folk music to the Base ment Coffeehouse on Oct. 1 and Oct. 2 with shows starting at 8 p.m. Admission is one dollar. Novel on Hearst unbelief ex-fiance tells role he p mz My Search for Patty Hearst by Steven Weed with Scott Swanton By GEORGE M. HILLER On February 4, 1974 Patricia Hearst was kidnapped by members of the Symbionese Liberation Army. What happened on that day and what happened in the days that fol lowed is a truly unbelievable story; a story told by Steven Weed, the ex fiance of Patty Hearst in his book, Mij Search for Patty Hearst. From the SLA’s first communique with its slogan of, “Death to the fas cist insect that preys upon the life of the people,” to Patty turned Tania, to the shootout in Los Angeles be tween six SLA members holed up in a house and three eight-men SWAT (Special Weapons and Tactics) airrf kid ns fek'tes i teams, to Patty s ca; trial, the book is li novel too uribeliev What really hap it possiblq that daughter of one ■ families in tbe Unit Tania, a sedf prod: ar\ fighting to overthrow emment? What Hearst while she waft'Vnlb Was she brain washed; vya. ing under fear oflier hi, . oi join them of her Steven Weed the events, tbe sty; dences, the mistakes sides, and of the role the kidnappingto the Campbell Hearst. mri epi) by- zed, 3 dfPs ?#v- tsig)’ •z/yL ■ M * v ,? : V •':-' .p ; Imported and Bottled by Hiram Walker & Sons, Inc., Peoria, 111., San Francisco, Calif. Tequila. 80 Proof. Product of Mexico. is all it takes ff