Ph.D. candidate creates‘Fraternity Row’
to explore the role of a film producer
By LORI PETERSON
Of the Emerald
“Fraternity Row is a story that
had to be told,” explains creator
producer, Charles Gary Allison.
This film, recently tagged by
the Los Angeles Herald-Examiner
- as “Paramount’s surprise
sleeper,” grew out of a chapter,
possibly a moment, in one man’s
life: namely Allison's.
Its origin goes back to the
year 1959, when Allison’s best
friend choked to death on a piece
of oil-soaked liver during initiation
ceremonies at a fraternity.
The experience took script
form when Allison was attending
the University of Southern
California (USC) studying for his
Ph.D. in philosophy and com
munication. For his dissertation,
Allison decided to explore the
problems a producer confronts
while making a film.
But Allison came up against
some of his own problems. No
producer was willing to have Alli
son present throughout the entire
production of a film.
So he then decided to pro
duce a feature-length film himself,
and hence, the incident that was so
fixed in his mind and the death that
had happened as Allison says "at
a very delicate time in my life,"
transferred to paper.
While Allison was able to stir
up little support from the USC fac
ulty, he was able to gather up
Greek students at USC to star in
the Film (Paul Newman’s son in
cluded) and a sizeable crew to pull
it off. The film itself delves deep
into the lifestyles of fraternities
and sororities and deals intimately
Photo by Perry GaskiH
The Crosstown Flyers
They played Tuesday evening as part of tomorrow afternoon for the Beer Garden,
the Fishbowl Follies and will play again Free Popcorn.
with the ancient practice of haz
ing.
Allison believes it's a national
situation. “Fraternity Row is
everywhere,” he says. "It's every
street in America."
He admits that many frater
nities do not practice hazing, but
since the inception of the film 28
months ago, Allison reports seven
deaths attributed to hazing inci
dents.
He cites several incidents.
One known as the sundowner’s
incident' at the University of
Nevada resulted in the death of a
young initiate, when the youth was
forced to drink three fifths of bour
bon straight, and on the fourth bot
tle, choked and died. Allison re
ports another incident that took
the life of a Washington D.C. stu
dent. This initiate ran seven miles
as part of initiation, was brutally
beaten with a paddle, and then
collapsed. At the University of
California another initiate was
stripped naked out in a wooded
area, and had his glasses taken
from him. During his journey back
to the fraternity, he fell 300 ft.
Allison says, “during this fall,
rushees are going to be asking
questions they've never asked be
fore." Just as his story must be
told, Allison says, "at some point
the Greek community is going to
have to police itself."
The film, that opened in
South Carolina, is doing "Graffiti
business," according to Allison.
But it is not well liked by many
members of the Greek commun
ity. “Some see it as a pro-Greek,
but most people see it the other
way,” he says.
While the setting n the film
takes place during 1954, Allison
says there is great renewal in the
Greek system that typifies the
50’s. “Campuses that had only six
per cent Greeks in the 60s are
now up to 53 per cent. We re going
to see a return of the 1950's.
In short, Allison wrote the
original story because “my friend
who died typified the dream in the
story and I wanted to re-evaluate
my affection and relationship to
him—and to alert the nation that
fraternities -are coning back
strong."
Well done but who gives a damn?
By KRISTI TURNQUIST
Of the Emerald
Charles Gary Allison hopes his
film, Fraternity Row, “will create a
dialogue” between sorority/frat
members and non-believers. Unfor
tunately the only dialogue his
muddle-headed movie seems likely
to stir is mutual expressions of bore
dom.
Allison wrote and produced the
film for his dissertation at USC on the
problems faced by the producer of a
feature film. (I hope the dissertation
worked out, anyway.) Made on a
shoestring with student participation
at all levels of production, Fraternity
Row is the story of one semester at
Gamma Nu Pe fraternity, the most
fashionable house at the imaginary
eastern Summit College. The film is
set in 1954, which Allison sees as a
turning point.
Technically, the film is good, and
the intrepid students involved de
serve praise. The camera is mobile,
the editing (supervised by Verna
Fields) workmanlike, and the re
creation of the 50 s era outstanding
One problem leaps to the fore,
however — who gives a damn about
fraternities and sororities, outside of
college campuses which must end
lessly and boringly wrangle over their
worth or lack thereof? Allison thus
provides an all-purpose hinge — his
film is about Brotherhood and
Dreams. Oh, brother.
Were treated to an ill
understood batch of quotes from
The Great Gatsby to Don McLean s
gagging score and the fresh ear
nestly self-adoring young cast in an
effort to underscore a theme certifi
ably universal enough to be applied
to any institution.
For reasons known only to him
self, Allison refused to divulge
whether he has at any time been in a
fraternity, at an IFC-arranged pre
view of Fraternity Row last Thursday.
This seems a clue to the movie's
problem, which is an almost com
plete lack of point of view about
' Greek'' life.
Allison complained of conflicting
responses to his movie. Non-Greeks
think it praises fraternities, Greeks
think the opposite. Their confusion is
over not saying anything about his
milieu, Allison tosses in a few obser
vations on the hypocrisy behind frats’
brotherhood doctrine and on the evils
of hazing.
For this we must sit through two
hours of maddeningly insulated,
superficial parades of handsome
lunkheads of both sexes? The two
frat hereos are supposedly the best
and the brightest the school has to
offer. When these two Giant Intellects
meet for heart-to-hearts, their
dialogue runs like this: “Did you ever
read The Great Gatsby?" "I always
wanted to, but I never got around to
it.” “You ought to. It’s by Fitzgerald.”
Priceless pearls.
The movie seems to condone all
but the frat hypocrisy and hazing.
These golden youths are never
shown working, studying, talking poli
tics, going to a movie or a play — yet
their constant twaddle over “house"
business is intended to be responsible
and praiseworthy. The “Dreamer"
says, “What we are is something sa
cred. It's sort of like being in Church.”
What they are is rich kids who have
had a lot of breaks
Yet Greeks’ anger at the film is
understandable too, with the ugly en
ding Allison dishes up. Supposedly
based on a real incident, and topical
in itself, the death of a young pledge
in a super-secret initiation ritual is jar
ringly out of key with the movie’s
Sunday morning tone. Allison also
makes a couple stabs at criticism.
Cliff Robertson (voice for hire) in
tones some heavy narrated mes
sages about the houses’ racial and
economic exclusivity, and their shel
tered, insensitive existence. How
ever, these bits are outweighed (in
my admittedly prejudiced opinion) by
Allison’s numb re-creation of frat life
as unspoken blessing for a system
founded on economic and social herd
instincts.
The mainly Greek audience at
the preview screening seemed pis
sed at Allison, and defensive about
his depiction of frat and sorority life.
One member, making his disgruntled
way out of the theatre, offered a bit of
dialogue Allison probably hadn’t ex
pected: “What I hated most about it
was that ‘dreamer’ bullshit.”
The film is now playing at the May
flower Theatre, which, by the way, is
now under a projectionists’ strike.
How Do You Think We Did It?
OK, how do you think we did it?
You saw just a moment ago, the
sailor.
You felt his arm; it was a real arm
— solid, wasn’t it? OK!
So, how do you think we did it?
Morrison Weed
‘Androcles and the Lion’ escaped from a carnival parade
By STEVEN HENEGAR
Of the Emerald
There was strange and distant music. Then, like an escaped carnival
parade, the Eugene Theatre Comppany s Androcles and the Lion marched
and played its way across the Atnum to the second floor staging area’, where
they tooted, banged, whistled and tripped up to the waiting audience. Declar
ing they had a story to tell, they did so. I spent the next hour grinning and
laughing and shouting assistance at the players with the rest of the audience.
The script simply retells the story of the mistreated Roman slave whose
kindness (in this case, to a wild beast) eventually saves his life. It manages this
without too much extra verbiage, so that most of the scenes are direct and
don t get in the way of the players enactment with all its attendant Commedia
fooling around. I must admit that the doggeral verse that it's written in began to
pall after a while, but the shorter members of the audience didn't seem to mind
one way or the other
The players, using stock Commedia dell Arte characters (the plotting
slave, the old miser, the bragging captain, etc.), moved and sang and danced
to their self-made music and noise through one complication after another.
We wondered whether the miserly Pantalone could prevent the young lovers
from being married; whether the slave, Androcles, would be punished for
helping them; whether the bragging Captain would get his just desserts for
taking the miser's side, and what part the befriended lion would play in the
salvation of all, though we suspected (rightly) that everything would turn out
well.
Bill Ritchie, as the harried slave, and Bill Geisslinger, as the coin loving
miser, baited and beat each other in a satisfactory manner. Carol Young and
Jim Robinson cooed and trysted secretly and appropriately. Still, I couldn't
help wishing that all the cast had played with the energy of Phillip Miller’s
blundering, bragging Captain or Will Emery's Lion, once he got rolling. He
could not only roar, but waggle his eyebrows during his discourses on free
dom.
One problem is in part scriptual. The lovers parts, after all, are very nearly
non-existent, merely a convenient excuse to get Androcles in trouble. (Surely
there must be parts for women in children's theatre other than vapid dewy
eyed maidens. Someone must find those scripts, or write them. Fortunately,
Carol Young's Isabella did somewhat better than the usual doe-eyed sighing,
particularly in the scene that she impersonates the Captain.) The major
problem, however, was that all the cast hadn't caught on to Ihe expansiveness
and generally larger proportions inherent in the Commedia style and that the
Captain and the Lion seem to have found and held. In all fairness, I saw the
third show of the day, and the actors were probably tired.
Always the play moved smoothly from scene to scene, exploding into
nonsense from time to time. Still, it felt contained compared to the promise of
the Commedia dell' Arte form it chose, or its own rollicking beginning entrance.
I wanted it to pop and explode constantly only pausing from time to time to let
us rest, during a love song, say, or a secret meeting. But I begin to nit-pick. It’s
difficult to argue with the laughter (much from my own mouth), and the yelled
advice of the totally involved audience. I sweep these petty quibblings under
a convenient rug to trip over later.
The sets (no designer is listed though Jim Robinson is noted as technical
director) were decorated curtains, and changes were effected by drawing
aside a drape to reveal another. The two dimensionality fitted nicely with the
style of the play. Diane Mundt’s costumes (my favorite was the Captain s)
were colorful and silly and completely in keeping with the show.
It is good to note that ETC seems to be taking children s theatre more
seriously than most. The reason behind many theatre companies' productions
of children’s theatre appears to be that it is a convenient way to make money
with as little investment in money, time or professionalism as possible. Going
to live theatre is not an inborn drive, nor is it fostered by taking one speech
class or seeing two high school musicals. Growing up with theatre is the only
positive way to insure later interest. If the Eugene Theatre Company is serious
in its commitment to bringing us good local theatre, then I trust they will
continue to produce quality children’s theatre. Afterall, the television is much
more convenient, and it isn’t necessary to leave the house to see tripe.
By the by, that carnival parade will escape again next Saturday. I under
stand that it will be passing the 2nd floor of the Atrium at 11 a.m., 1 p.m. and 3
p.m. I would suggest being there.
1
Toucan Do It Too by The Amazing Rhythm Aces
Produced by Barry Burton
ABC Records AB-1005. copyright 1977
The Amazing Rhythm Aces have quite a few things
going strong in their favor; they are a. Southern band,
hailing mostly from Tennessee and surrounding environs
when it is good box office to be Southern; their sound
employs the finest elements of country (a good deal of it),
rock and roll (a healthy dose), and the Southern boogie
blues all fused together into a cohesive musical identity;
and most of all they have an attitude toward their music.
As performed live, according to lead vocalist Russell
Smith, perfect acoustics have little attraction “as long as I
can see somebody. If I can see who I’m singing to I have a
good time.”
And while attitude is important the Aces certainly do
not neglect the musical end of their obligations. Toucan
Do It Too, their latest release on ABC, is a change, but no
big switch from their first two records.
Stacked Deck, their first album, produced a hit single
that kicked the Aces off to a good start. “Third Rate
Romance” surprised the band though because “it was
such a big country record, and before that, before the
records came out, nobody had called us a country band
before.”
A similar reception greeted their second album Too
Stuffed To Jump which netted them the Grammy for their
song “The End Is Not In Sight (Cowboy Tune).” Once
again the Aces were taken by surprise. “We didn’t even
know about it.. .we went ahead and played another gig
and it turned out to be one of the best shows we did.”
Piano player James Hooker recalled being congratula
ted the next day by a roadie, only he didn’t know what it
was all about.
Maybe the Aces will be ready this time if Toucan Do It
Too makes a similar splash.
On this latest album the Amazing Rhythm Aces still
hold true to their country roots. "I grew up listening to
country .. .it was there (as an influence) whether I wanted
it or not,” vocalist and songwriter Smith said. Yet the edge
has been taken off and the sound has been smoothed out
some, become more of a studio product it seems, some of
it lacks the caw spontaneity and vitality that characterized
some of the earlier material.
By MARK ROWE
Of the Emerald
“Never Been To the Islands (Howard & Hughes
Blues)” which is the opening song on Side One is abso
lutely one of the finest creations on the album. With a
pleasant bass/drum backbeat the song takes off to
chronicle the land of daydreams as Smith sings;
“I've never been to the islands
but I know I'd like to go
I would be there if wishing would make that so."
The subtitle, by the way, is no putdown, direct or
implied of the late eccentric Howard Hughes. “There were
two Hughes’ and my first name is Howard,” Russell Smith
confided, “we wrote the song.”
The Aces, as previously noted, are Southerners, reb
els, and while they may not croon ballads of secession
the history of their part of the country does come through
in their music. The poignant “Last Letter Home” is the tale
of a rebel soldier wounded on the battlefield,
‘7 have heard the cannons thundering all night
And I cannot sleep for wondering
Why's a rebel's cause so right?
And the morphine seems to do no good at all..."
Drummer Butch McDade and bassist Jeff Davis carry
the melody on the excellent title track "Two Can Do It
Too," a funky, easy moving tune which could well be one
of the most popular cuts from the album.
•fn the country-flavored category the song “Just Be
tween You & Me & The Wall You’re A Fool," has got to be
one of the masterpieces: “Everybody’s Talked Too
Much” is also a prime candidate; and the solid rock “Liv
ing In A World Unknown” highlights the guitar work of
Barry Burton, who also produces the groups albums.
Toucan Do It Too, then, marks the latest efforts of
these southern boys and their fine brand of music. It is
well worth a serious listen, particularly to devotees of the
realms of southern and slightly country compositions.
Snow blind Friend by Hoyt Axton
Produced by Hoyt Axton
Copyright 1977 MCA Records. MC 2263
“We were all bananas one night,” Hoyt Axton ex
plains when asked where he came up with his latest
touring outfit, The Banana Band. Indeed, the
folkie/country vein that Axton works in sports such other
colerful couplings as Jerry Jeff Walker and his (ex-) Lost
Gonzo Band, Lawrence Hammond & The Whiplash
Band, but it is the Banana Band that backs up Hoyt Axton
on his latest MCA release, Snowblind Friend.
It was Axton who wrote "Joy To The World,” a big hit
for Three Dog Night, who also recorded his song “Never
Been To Spain;” Axton also penned “The No No Song"
which Ringo Starr recorded. These songs, these chart
busters, however, are not reminiscent of the Hoyt Axton of
Fearless or Southbound or a host of other albums, so
many, in fact, that even he doesn’t remember all of them.
In person Axton is a big bear of a man exuding
warmth and good humor, and it seems strange that this
man can evoke such a sweet, lyrical mood with his poetry.
While his contemporaries croon about lost love and
cheatin' wives, El Paso and turning 21 in prison Axton can
compose verses like, "all of my dreams are only
windsongs/ through the trees that seldom grow,” as he
sings on the song “Water For My Horses.”
“If folk music is narrative ballad telling" Axton says,
then he is still a folksinger/songwriter, “if the song tells a
story.”
At least three of the eleven songs on Snowblind
Friend fall into the story-song category, the aforemen
tioned “Water For My Horses,” “Funeral of the King," and
the title track "SnowDimu menu, me enter eight cover a
broad spectrum from the Doomsday prophecy of “Seven
Come," to the mirthful “You’re The Hangnail In My Life,"
and at least two good old country tunes,“You Taught Me
How to Cry," which features a very nice vocal duet with
singer Tanya Tucker, and a brand new rendition of
Townes van Zandt’s “Poncho & Lefty.”
When Axton was starting out, “literally living out of an
old '55 Plymouth," he used to let whoever paid him
enough to record him when he played dates at clubs
along the West Coast folk circuit. These recordings,
fathers of today’s bootleg industry, were released and
consequently led to Axton’s confusion when questioned
about how many albums he has out.
Since then he has had his share of success, several
of his songs flying up the charts, but once in a while
something happens, as it did when “Snowblind Friend"
was released by Steppenwolf in 1969. “It got up to about
50 in the pop charts in about two weeks. Then the FCC put
out that restrictive mandate saying that every DJ, every
program director.. .was responsible for every nuance,
every word, every hidden meaning, and any record they
didn't readily understand they shiec away from. Well the
song dropped off the charts, and that really made me mad
because that was a valid anti-drug song .. .It should have
been heard. ’ Axton recalls with some bitterness.
Indeed, it is hard to see how “Snowblind Friend'’
could be mistaken for endorsement of cocaine:
"He said he wanted heaven but prayin' was tooslow
So he bought a one-way ticket
On an airline made of snow
Did You say you saw your good friend flyin’ low?
Dying slow
Blinded by snow. ”
In concert he even introduced the song to imply that some
people at the FCC “are getting paid too much."
Axton’s version of "Poncho & Lefty’’ bears little re
semblence to the rendition that Emmylou Harris released
earlier this year. Nonetheless it is still a fine western song
of betrayal and murder among bandits in old Mexico,
done in a much more upbeat fashion by Axton; Emmylou
sang it slow with a lot of sliding pedal steel.
Another of the outstanding tunes on Snowblind
Friend is “Funeral Of The King,” a song manifestly about
John Kennedy, until “after the first verse it got away from
me.” When he writes a song such as this Axton lets the
lyrics go their own way, “When I see it’s right I say That’s
right’ and I leave it where it is,” he explains. “Funeral Of
The King" is still a very pleasant song full of imagery and
is one of the catchier of the new songs on the album.
Hoyt Axton, over the years, has seen a lot of
changes, and, although he still holds hisfolksinger’s roots
close his music, has definitely acquired an edge of pro
gressive country. Axton, though, has one thing to say
about where his music is going, “It feels better all the
time."