UNDER
WATCHFUL
,.
.
EYES, blond, C
Russo-American children
watch
waicn the
me Kazakhastan
^azaKnasian
Dancers perform ethnic
dances Nov. 5 in the
Fireside Lounge. The
troupe of 14 members is
cunently iouring the U. S.
Staff photos by Duane Hiersche
Along with the dances,
modem life in Russia was
discussed through an inter*
prefer.
P
rctcr-
1930’s movies probed in film class
Fred DeWolfe and Rick Ramsperger are instructing a class
this Winter term entitled “The Depression Years: Movies of the
1930’s.” The class is 3 credits and will be Mondays at 6:30 p.m.
The 1930’s marked not only the birth of the Talkies but the
golden age of film in Hollywood. People found escape from the
dreary social problems of the depression at such movies as King
Kong, Lost Horizon, and Golddiggers.
Yet hard-hittincf reality came in story or character form in
such productions as Grapes of Wrath, Our Daily Bread and
From Here to Eternity, and later day special effects added
another dimension to realism in The Dillinger Story with War
ren Oates.
And people laughed at the zany antics and nihilistic posture-
of the Marx Brothers in A Night at the Opera. They still laugh
ed, and at the same time found reasurance in the American
system, with William Powell who played the role of aristocratic
butler and hobo in the screwball comedy, My Man Godfrey.
FILM SCHEDULE
Jan. 4-The Grapes of Wrath
Family poverty in the dustbowl--and the search for a better
life in California..
Jan. 11--Our Daily Bread
Urban resettlement in a rural area under less than utopia con
ditions.
Jan. 18—Lost Horizon
The survivors of an air crash in the Himalayas stumble on the
lost city of Shangri-la, a place free of outside world strife.
Jan. 25—King Kong
An adventure tale with horror-full of pioneer special effects.
A storv of a giant ape who is killed on top of the Empire State
Building in his pursuit of beauty, a girl, Fay Wray.
World Theatre
comes to the
classroom
The College will host a
i I team of actors from the Oregon
Shakespearean Festival in
The ups and downs of a musical with Dick Powell and GingerJ
(
Rogers opens with a song “We’re in the Mbney.” The girls arei Ashland next Monday as part
dressed in nothing but gold coins. Another number brings on the of the Festival’s /eleventh an
other side of the depression--unemployed World War I veterans nual School Visit Program. An
drifting in the street.
nette Unwin, who teaches a
Shakespeare ¿class, arranged
Feb. 8--My Man Godfrey
for the visit, j
A screwball comedy that ends with the rich mingling with the
Joan Stuart-Morris &
poor at a nightclub, called The Dump—the site of a former hobo Stuart Duckworth, one of nine
jungle.
teams touring schools
throughout the Pacific Nor
Feb. 15-A Night at the Opera
thwest, will present dramatic
A lampoon of^the opera—thè contract performance programs focusing on
stateroom scene and aviator sequence remain memorable.
Shakespeare, American
literati^fe and World Theatre to
Feb. 22--A11 the King’s Men
students in classrooms and
A take-off on the politics of a southern state in the 1-930’s, school assemblies. “I’ve seen
moreover the making of a Governor. A study in the manipulation these two actors,” Unwin said,
of power and the backstage of politics. Intense characterization “They’re very good, and I’m
adds to the drama.
very excited about having them
here.”
Feb. 1--Golddiggers
Feb. 29-The Dillinger Story
The visit is one of the
Starring Warren Oates. Deals with the myth of the gangster
Shakespearean
hero in the 1930’s. G-man and gangster slug it out in one extend; Oregon
ed gunfight and car chase. Costume and swagger prevail at the, Festival’s audience develop
ment projects and part of its
expense of character or psychological study.
education program. It is funded
In part by grants from the S.S.
March 1--From Here to Eternity
The good and bad times in the peace time army at Peal Har Johnson Foundation and Boise
bor prior to December 7, 1941. Features Lancaster, Kerr, Sinatra, Cascade Corporation.
and Borgnine.
, The 1981 School Visit
Program continues through
December 11.
For more information call extension 328.
A record review
“Special forces'" dark murderous rock-n-roll
By Tom Jeffries
For the Print
He has a woman’s name,
wears leather pants, performs
with a boa constrictor, and pro
bably tortures small animals
with red hot branding irons.
He’s Alice Cooper and his new
album is a killer.
While probably not up to
the par of Flush the Fashion,
which was released last year,
Special Forces is still an ex
cellent example of the kind of
dark and murderous rock-and-
roll of which Alice Cooper is
the master. Not for the pop
disco gristmill that controls the
hormones of the prepubescent
bubble gum crowd, Special
Forces packs the power of a
tank, and has almost as much
subtlety.
“Who Do You Think We
Are?” the first cut on the
album, is far and* above the
best, and actually the title cut,
which becomes obvious to the
listener. Cooper’s low, menac
ing vocal, filled with murderous
intent gives the picture of' a
cross between the Green
Berets and the Waffen SS.
Theonly song on the en
tire album that is not particular
ly outstanding is “Seven and
Seven Is.” It is not very im-
pressive, but still good from a
Wednesday, November 18, 1981
musical standpoint. Its trouble
stem's from the fact that when
put back to back with the three
other cuts on that side; “Pret
tiest Cop on the Block”, “Don’t
Talk Old to Me”, and “Généra
tion Landslide ‘81” it can only
peile.
“Prettiest Cop” is probably
the second best piece on the
album and carries to a further
extent a subject that Cooper
explored in “King of thé Silver
Screen” four years ago.
Shades of every schlock
hotror film ever produced lurk
in the background of the first
song on the second side.
“Skeletons in My Closet” lets
the listener know what Cooper
would be like if allowed near an “You’re a Movie” and “Vicious
axe. “You Want It, You Got It” , Rumours” are superficially dif
keeps the mood going as the ferent in styte and content, but
album changes songs without a both keep the flow of the album
going uninterubted. Both give
break.
the impression that Cooper is
“You Look Gpod in Rags” br explaining a point to the
ings back memories of the listener, while a battery- of
mood present in Flush the deranged fans ' keeps the
Fashion, but with a much background vocals’going.
stronger and darker undercur
rent. Such lyrics as: “Forget
Yes, he’s the kind of guy
about Vogué and those hun
that makes someone wish they
dred dollar je ans/You make a
had a daughter so that they
two dollar T-shirt obscene!”
could forbid her to many him,
keep the song from being on
but he’s got an album that
the .wrong album. The
sprays 33 1/3 caliber slugs
background sounds of sub point blank at its listeners. Alice
machiné guns being cocked, Cooper’s Special Forces is
don’t hurt either.
keeping this country safe for
The
last
two
songs;
murderous rock-and-roll.
page 7