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VOL 3, NO. 7

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A MAN WHO FOUND HE SEPARATE PEACE by karen k. price GAINESVILLE, FLA

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. 1976 SOUTHERN PUBLICATIONS, INC. All rights reserved PUBLISHER: William J. Leilich EDITOR: M.K. Johnson ART DIRECTOR- Brian Grunke. ART STAFF: Elaine Go..calves, Henry Hordeman, Steve Ward. Jan^e Wasileski. ADVERTISING STAFF: Gerald B. Flanagan. Chuck Girard. Kathy Marrs. Steve Schmt COPYWRITER [ADVERTISING]: Jane Bunch LAYOUT: Judy Adams. Sandy Long,.Gec'qf C '/"•: &>•,'•: P.cse" PHOTO EDITOR: LouisA. Saumell. CINEMA EDITOR: George N.Seide. ' 1USIC EDITOR: Joei barneb RESTAURANT COORDINATOR: M C Weimer. TYPESETTER: Paula A. Rosen. Pam P e r r y . NEW LOOK MAGAZINE is published twice monthly by Southern Publications. Inc. Submit manuscript to NEW LOOK MAGAZINE. 2029 NW 6th St., Gainesville, Florida 32601. Telephone 377-1452.

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JOHN KNOWLES A MAN WHO FOUND HIS SEPARATE PEACE by karen k. price John Knowles, author of A Separate Peace, [Macmillan, 1960], doesn't advise anyone to get into the business of writing unless he absolutely has to â&#x20AC;&#x201D; unless he cannot function any other way. Being an artist of any kind holds little guarantee of an easy life. But, it's the life of John Knowles has chosen, and he's become a successful writer. "Ican't stand anything between me and what Fm doing. I begin everything I write in long hand," he tells an aspiring writer at the seventh annual Florida Writer's Conference [February 23-25, 1976]. Knowles places his hands on either side of the speaker's podium, his narrow lips curving into an even smile. While he says he enjoys lecturing, the mike, the podium, and the hundreds of eyes on him seem to make him nervous, and he breathes a silent "*->hew" during his recitation of the short story "The Reading of the Will, " from his book Phineas [Bantam Books, 6 New Look

1968]. Finally, he says, "If you want to write," his gray, hooded eyes hesitate a moment, "you should spend most of your time writing. " Even though Knowles believes that writing is an egotistical venture, he shuns the limelight Blotting his upper lip with his index finger, he checks his notes from time to time as he speaks. When the lecture is completed and the questions are all answered, 50-year-old Knowles looks like a school boy at the last bell. Test time is over. It's not that he doesn't know his subject as well. He's been writing for a living since 1950. Now, sixteen years after ii* first printing, his well-known novel, A Separate Peace, still sells 500,000 copies a year. While Knowles, the winner of the William Faulkner Award, has not been pampered by his critics, he writes - and writes well -- about youth: youth that faces war; youth that faces death; and youth that must

mature through its own self-awareness. After his appearance at the Writer's Conference [sponsored by the University of Florida and arranged by Smith Kirkpatrick, author and Creative Writing Professor at U. of F., and Wm. "Will" Scruggs, Jr. M.Ed. \, Knowles talked with NEW WOK magazine in his hotel room. Clyde, his large German Shepherd, acted as doorman when Knowles answered the knock at the door. His eyes were red from a cold, and he looked tired, but relaxed, in a short-sleeved shirt, khaki pants, and old white tennis shoes. Gently stroking Clyde, "the gangster's" ears, Knowles seemed looser and more at ease than he had seemed in a suit at his lectures. Deciding we were friends, Clyde, too, relaxed, and the interview began. New Look: Aside from the cold you caught here, how do you like Gainesville? Knowles: Oh, I love it. I really do. It's very, very' attractive town. It reminds me a little bit of Chapel Hill, North Carolina. New Look: How do you tike lecturing and the traveling involved? Knowles: Well, I don't do that much lecturing. I only give one or two or three, at the most, a year, so. I enjoy it. I think I wouldn't if I were on a full tour. I've been told it's a terrible drag. Truman (Capote) is doing it at the moment, a lecture tour of one after another one-night-stands, and I have a feeling that's a tremendously taxing thing to do. New Look: A Separate Peace, which was your first and probably most popular novel, has most likely made some-changes in your life. Can you tell us a little bit about it? Knowles: Well, it changed my life completely. I was an editor of a magazine, Holiday magazine, which was a good magazine in those days. A Separate Peace was published in 1960. I remember I was going to work at Holiday magazine, and I picked up The New York Times. I saw'this terrific, rave review of A Separate Peace, and I knew my life would never be the same. And it hasn't been. For one thing,, it freed me from having to work for a living. (He chuckles.) I mean to have to go to a regular job, and that's a huge change in anybody's.life, isn't it? And then, I had a certain identity. I am the author of A Separate Peace, and this gave tne an identity which is good, I suppose. I don't know. It's certainly different. New Look: So, apparently, you feel good about your success as an author? Knowles: Oh, I'll say! I wish I had more of it. New Look: But, have there been any thorns in the rose? Knowles: Oh-h-h, stupid reviews that attack you in ways that are unfair and untrue. Jealousy. That's about all. New Look: Have you ever had a critical review get to you? Knowles: I'll say! Did you go to my lecture last night? New Look: Yes. " Knowles: Well, that Nazi business. (Knowles was accused ot being a Nazi in The New York Times, because 01 ifm oehavioi one oi his cn<ai actors in Indian Summer, Random House, 1966.) It was an outrage and a libel and, in a well run society, I would have been able to do something about it. But, I couldn't

sue, because you can't. You can't collect in a thing like that. What are you going to do? I was victimized by him in front of everybody in the country. New Look: Who wrote the review? Knowles: Elliot Freeman-Smith. He's since disappeared into the nether-reaches of nowhere. New Look: You and Truman Capote are friends? Knowles: Very close friends. New Look: Will you tell us how your friendship began? Knowles: They asked me at Holiday magazine to get Truman Capote for the magazine in 1958. So, I got Truman Capote for the magazine. Then A Separate Peace was published. I quit Holiday magazine, but our friendship endured. Now we live near each other in the Hamptons and, when we're there â&#x20AC;&#x201D; when we're both there - I see Truman every day. We discuss everything-in the world . I'm his psychiatrist, and he's mine. (He laughs.) New Look: Looking back, was there ever a low point in your career when you thought about giving up as a writer? Knowles: Never. New Look: How much can you earn now for a published short story? Knowles: $4,000 for PLAYBOY. New Look: What about a novel? Knowles: Oh, I suppose from A Separate Peace I've earned a quarter of a million dollars â&#x20AC;&#x201D; over the years, I mean, with the movie and everything. Of course, my other books haven't made that kind of money. Most books don't make money but mine, well, I mean it varies -- but anywhere from $40,000 to $150,000. New Look: What was the first paying job you had as a writer? Knowles: Well, it depends on what you mean by a writer. I was a reporter for a newspaper. Is that being a writer? New Look: I hope so! (laughter) Knowles: Well, that was it. Reporter for the Hartford Courant. New Look: Did you like it? Knowles: I hated it. It takes a certain kind of personality to do that sort of thing, and I don't suppose I had it. New Look: You said thai yoursophomoreYale teacher told you that you would never be able to make a living as a writer. Were there others who encouraged you to keep writing? Knowles: Tnorton Wilder, who cut a lot more ice than my sophomureadviser, and he certainly did encourage me in every way, including in the most practical way. He saidjn addition to having talent,you're going to be able to make money and support yourself. So, I ignored my adviser, and I paid a great deal of attention to the three-time Pulitzer Prize winner, Thorton Wilder. New Look: What did you do to pay the rent when you were free-lancing in the mid-50's and you weren't selling work? Knowles: Well. I worked for that newspaper, and I lived in Europe for a while on the money I had made, which my father equaled. I've forgotten how much it was. But, he doubled whatever I earned writing, and' that's how I lived in Europe. Then I came back, and I worked for Holiday for three years. Then A Separate Peace was published, and my writing has supported me ever since. New Look 7

New Look: Do you write from a personal need or do you employ some specific techniques in order ip get the wheels rolling at the typewriter? Knowles: Both. New Look: Can you share some of those techniques? Knowles: I just ask myself to do a few sentences. I mean, if I don't feel like writing, I don't contemplate doing a lot. I just say, "Let's just do three or'four sentences," and, by the time I 've done three or four sentences, it extends itself into a paragraph. That carries me through a regular working day. New Look: Which writers have influenced you the most? Knowles: E.M. Forster, Evelyn Waugh, Thorton Wilder, F. Scott Fitzgerald, Marcelle Proust and

Leo Tolstoy. New Look: What was school life like for you at Exeter Academy? Knowles: It was like A Separate Peace. New Look: Were you a good student? Knowles: Yeah. New Look: Were you a man about campus there or were you pretty much of a loner? Knowles: I was neither one. I was not a leader of the class if that's what you mean by a man about campus, but I had my friends, close friends. I was on the varsity, swimming team, and my roommate was the captain. I was the other star, and we were very good friends. I suppose, in that sense, I was pretty much your average student going through school. I

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wasn't a leader, but I wasn't a loner either. New Look: Was this a happy time for you? Knowles: I don't think anybody thinks they're happy at preparatory school. You're sort of isolated, especially in New Hampshire, where it's so cold most of the year. Looking back, it was a wonderful time. Sometimes I felt isolated, not exactly isolated, but in an artificial environment. By and large, I enjoyed it very much, and it was enormously valuable. New Look: As a child, did you have imaginary friends? Knowles: No. I had real friends, thank God. New Look: Phineas is a character you return to more than once in your writings. Was there a person, or set of people in your life on whom Finny was based? Knowles: There was a person, one person. New Look: Can you tell us a little bit about him? Knowles: No. I think it would be an invasion of his privacy. New Look: What made you decide to become a professional writer? Knowles: Well, as I said last night, I decided in my teens that I could write better than the professionals in The Saturday Evening Post, and I had a great urge to write. New Look: Do you find writing a lonely business? Knowles: Yeah. New Look: What do you do to compensate for that? Knowles: (laughing) I goto parties and have a good time when I'm not writing. New Look: There's been a lot of talk about how fiction is not selling like it used to, that it is very' difficult to sell. What course do you think fiction is taking today? Knowles: I don't know. I don't know what course it's taking. It's hard to see at the time. I suppose twenty years from now people will see what course it's taking. Perhaps serious fiction is becoming more like poetry in that it's becoming very much of a coterie field. There are writers and readers who are devoted to it, and the great American public, as a whole, doesn't pay any attention to it. New Look: What's the outlook for new, beginning fiction writers? Knowles: Cloudy. Storm clouds! It's difficult, but it's always been difficult. And it's still difficult. New Look: Did you find that your

relationships with your friends writer, then do it. If you have any anybody who is a friend of a writer changed after your success? choice, don't. has to be aware that he, the writer, Knowles: Not my real friends. New Look: One final question, how will use them if he needs to. They weren't jealous of my sucdo you feel about the 'flak' Capote Faulkner once said, "I'd walk^ cess, but it was with other people is getting about his piece, "La over my Grandmother if it was in the field. I can't discuss the Cote Basque, 1965" which apnecessary to write a good story." women's movement, not being a peared in the November issue of And that, essentially is the philowoman, but I can discuss the Esquire? sophy of writers. It's just an relationships between men. Men Knowles: You're talking about the assumption that we all have, that are extremely competitive with article with all the discussion of we are basically writers, and when each other, especially when they the society people and the sexual we sit down to write, we're going are young, and nowhere more so scandals, right? to do the best we know how. The than in the arts. New Look: Yes. chips are going to have to fall Now, this doesn't apply to TruKnowles: Well, he has gotten a lot where they may. If you have to man Capote, of course, or someof 'flak' about that. The published expose people or yourself, which is one like that, but other people I excerpt is a very tiny section. It's very often the case, you're going knew who were interested in writabout 10,000 words out of a novel to do it in order to do the best job ing, or in becoming writers, would which is going to be something that you can. This is something get extremely jealous and competlike 200,000 words. So, you can't that anybody who becomes the itive. It's just one of the facets of judge what the book is going to be friend of a writer should underlife. It doesn't bother me particuabout on this tiny segment. Also, stand. • larly. But, there it is. New Look: It's been sixteen years • Millie Jackson • Willie Hutch • Queen • Tommy Bolin • Eddie Kvtutricks • Mich since A Separate Peace was first # Edgar Winter • Barry White •Jim Croce • Elton John • Eagles • Dtvid Bowie • published. Has getting older influenced your work? Knowles: I don't know. I have no idea. It's influenced me to the extent that I'm much more experienced that I was and, therefore, I write more easily. I know what I'm after; I know where it is. So, I would say that I've become more experienced and more experience has made writing easier. New Look: What's ahead for you? Knowles: Just what's behind me. (He laughs.) More of the same. I'll travel, and write, and talk - rnore than is neaitny -- about myself. And that's it. New Look:. You mentioned the other night you have a work m progress. Knowles: Oh, yes. It's about the narrator of A Separate Peace. His name is Gene Forester. The members of his family are executives in the coal business. It's hard to discuss writing in progress. It's a West Virginia family saga, if you can bear that. New Look: Do you have a completion date on it? Knowles: I'm going to stay here in Florida for two months and I would hope to get a lot of work done and perhaps get it finished by September. New Look: If you could tell new 5 writers one thing, what would your e s. advice be to them? c .i Knowles: Don't do it unless you absolutely .have to be a writer. I mean, you've tried other things and you know that you simply can't function selling neckties i-r running an automobile agency or & The Blue Notes • Miracles* Electric Light Orchestra f 5" anything else. If you HAVE to be a J «j • Harold Mekin Joni Mitchell • Rhythm Heritage • America • Road Apples • Gino Vanelli •

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Mac's Drive In, 1331 E. University Ave., has opened it's doors and thrown away the key! Owner, Frederick Mahn, has operated Mac's for 81/> years. In this time he has expanded the facilities to include a separate dining room for a lunch overflow crowd and special parties at night. The original business was a gas station, then a drive-in. Now it is a walk-in restaurant with a variety of delicious food offered on the menu-eat in or carry out, day or night. Many residents will remember Mac's Drive In as one of the first of its kind in the Gainesville area. It has been in the same location for over 30 years. Telie Reddick and Jay DuBose,co-managers,summed up the success of Mac's with these words, "When something is going good and you can say it is going good, it gets even better." Telie also referred to the good home style cooking with 11 to 14 fresh vegetable choices offered on the special lunch and dinner menu. Jay's creative ideas and talents have resulted in personalized service and a harvest of fresh vegetables not found everywhere (out-of-season ones, too). Included on the 24 hour menu are homemade biscuits, corn muffins, homemade soups, chili, and Mac's own special bar-b-que. For early risers or night owls there is a delicious Steak & Egg plate, with a personal selection of steak at your table. Fish lovers will find Fried Fresh Mullet on the menu every Thursday and Friday. The homey, friendly atmosphere of Mac's Drive In enhances your eating pleasure. Families, bachelors, fishermen, teenagers, and of course, Hi ole ladies, all enjoy their good home cooking. The separate dining room, which can be reserved evenings only (no extra charge), seats 29 people. At lunchtime, it is filled with the overflow crowd from the main dining area. Mac's is usually packed from noon to 1 P.M., so the best hours for lunch and faster service are from 11 A.M. to noon and 1 P.M. to 2 P.M. Mac's is the place to go for breakfast, lunch, dinner or an anytime-bite-to-eat. Remember, Mac's never closes!

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"I'm telling you man. freedom means a lot -- to be able to do what you want and not hai'e anybody over my head to say you 've go to do it. "

>2 New Look

George Duke's illustrious career spans the nebulous boundaries of contemporary jazz and jazz /rock, From CannonballAdderley's pianist to Frank Zappa's electronic keyboardist, Duke always resounded with imagination and taste that too few seemed to hear. And despite his busy sideman schedule, he's also recorded four brilliant solo albums and numerous sessions for artists Stanley Clarke, Eddie Henderson, John Klemmer, and others. Duke is presently turning heads with the partnership of Billy Cobham [drums], John Scofield [guitar] and Alphonso Johnson [bass]. What they displayed at the Winter Festival of Jazz at the University of Florida, February 21, was only the embryo of a revigorated addition to the electronic jazz-rock medium. Bassist Johnson had joined the group just a week earlier, and an intense rapport already existed among all the members. While it was hard discerning the overall musical differences in last Spring's Corea/ Coryell extravaganza. Duke and company leave no doubts about where they stand. In. fact, the only confusion that did arise was over the name of the band, Is it Spectrum or not ? Cobham says, "We're just us!" Before his set, in a secluded hallway on the Reitz Union's fifth floor. Duke spoke to NEW7 WOK about being a Mother and other subsequent events. New Look: George, did leaving Zappa have anything to do with limitations? Duke: No. I was just ready to do something different. New Look: You did do that quite a while. Ouke: Yeah, five years. Man, that's a long time. I mean I still see him all the time. We work under the same manager and the whole bit, so I probably see him more now than I did then. I'll be on his next three records anyway. New Look: Why did you choose MRS Records for your own solo albums? Duke: I was working with Cannonball and looking for a contract â&#x20AC;&#x201D; but was having a real hard time. I rejoined Frank's band and he said, "I'll produce you!" So we went in the studio and cut four tracks. Well, he couldn't sell it. Nobody wanted to buy it 'cause they said it was too jazz-oriented or, you know, there wasn't a clear enough direction or something. Anyway, by that time I had a couple of companies interested . They said, "We know what to do for you. We're gonna put you with this producer, and we want you to play this material." I didn't have any freedom. MRS was the only company that said, "You just go into the studio and do whatever you want. We won't even talk about budgets. You just do what you gotta do. Then give us the product, and we'll sell it." New Look: MRS had that same set-up with Sugar Cane Harris and Oscar Peterson. Duke: Yeah. Unfortunately, it's a small company, and they don't have the where-with-all of the big companies in promotion and distribution. So, in a way, they may be bad for me at this point. At that point in time, though, it was a good move because I really got to get my stuff together.

New Look: What does artistic freedom mean to you? Duke: I'm telling you, man, freedom means a lot -- to be able to do what you want and not have anybody over your head to say you've got to do it. t New Look: I suppose you get plenty of offers now. Duke: Yeah, I can go almost anywhere I want to, I've got companies calling me all the time saying "When are you gonna be out of your contract? We'll give you ttiis or that." New Look: Do you spend a lot of time in the studio? Duke: Sure. When I'm off the road, I may take off a couple of weeks. Then I'm right in the studio. New Look: Do you experiment quite a bit? Duke: Yeah, I do, but it's money and all. If you got the money to spend, then it's okay. But you can spend a hell of a lot of money in studio time. New Look: Would scoring movie and television soundtracks be in your future? Duke: As a matter of fact, I may be doing something with Gene McDaniels. He produces everyone from Gladys Knight and the Pips to Nancy Wilson and Roberta Flack. He's producing the soundtrack for a film. New Look:. George, since you do have a vast knowledge of sound-mixing and taping procedures, where do you stand on the disc vs. tape debate? Duke: Honestly, the whole disc industry bothers me. I'd rather see tapes than discs, because you lose so much q-uality when you transfer to discs. You'd be surprised how much quality you'll lose. You have to really watch what you do. Everytime I record, I have to watch certain things on the synthesizer 'cause I know it won't cut on a disc range. You know, Frank has, on many occasions, had to go back in the studio and remix something because what he did on his guitar, through an effect of something, wouldn't cut. The needle says, "Oh-no!" New Look: On FEEL, your second solo album, you say the song "Tzina," is the theme to an opera of the same name....Where's the rest of it? Duke: One of these days I'll record the whole thing. Basically, I wrote the first act as my master's thesis at California State University in Long Beach. It's not complete. I've been doing it in parts, and I'm almost finished with it. And it's pretty much legit stuff. New Look: When Flora Purim sang on your last album (I Love The Blues, She Heard My Cry), she was serving time at Terminal Island for delivery of cocaine, so how did she do that? Duke: We won't get into that (Laughter). New Look: Is that too heavy to talk about? Duke: It's heavy, yeah. New Look: Next question! What does the title of "Yana Aminah" mean? Duke: At one point, I was going to have a daughter and name her Yana Aminah. It turned out I had a son, and I couldn't name him that. So, I put out the song anyway. My son's name is Rashid. I guess it really means nothing, and the fact that Flora sang with us is just a thing. She did it! New Look: Did you write the words to "Uncle Remus?" Duke: No. Frank wrote those That was one of the tunes I wrote that Frank produced and could-'t sell for my soiu conn an. 60 ne wound up going back in the studio and putting a lot of other stuff on it. He virote some words and released it on his record. The next time I saw him he said, "Guess what?" and I said, "what?" He told me he had written words to it ana

was releasing it on /-vpostrophe'. I said, "Great, I can use the money!" He played it for me and I said, "Whoa-that wasn't exactly what I was thinking about." It's sort of a spoof, but the record did well. I learned the words and did it on my record and in the show now. New Look: Do you actually play with Jeff Beck on Stanley Clarke's JOURNEY TO LOVE album? Duke: No, what happened was I stayed around an extra day to do the track, "Hello Jeff," with them but eventually ended up not doing it because Jeff was sick and stayed in England. The one track I did do with him (Journey To Love) was mixed in England after I laid down the initial track over here. New Look: Have you heard the group Aynsley Dunbar's drumming with, Journey? Duke: Yeah - I like them. I bumped into them when I was going to San Francisco a little while ago. New Look: You know, Dunbar started with Mayall in England and then moved here to play with Zappa, Flo and Eddie, Bowie, and Lou Reed. He sure came up a strange way. Duke: Not only that, he's pretty strange himself! New Look: Have you heard anybody that you'd like to teil our readers about? Duke: Yeah. Alphonso Johnson is a good bass player. We stole him from Weather Report. New Look: Did you literally have to steal him? Duke: No. When it was determined we wanted to find another bassist, I called Al and said, "Listen. We're looking for a bassist. Do you know anybody?" And he said, "Hmm..." And I said, "What about you?" and he said "Hmm!!! Let me think about it," So, he thought about it, and we worked it out. But he was like first choice. I had worked with him and knew his capabilities. New Look: Your last album, I LOVE THE BLUES, SHE HEARD MY CRY, was noticeably different in content to your previous outings. Why the change? Duke: It's more diverse in style. There's like a rock and roll thing; a thing you might consider jazz; a soft, kind of soul business; a classical touch; a little funk and some actual rhythm and blues. It kinda catches people off guard. I felt like people might start pigeonholing me, so I put this out. I'll probably never do anything like it again." â&#x20AC;˘ SELECTED DUKE DISCOGRAPHY as a leader FACES IN REFLECTION -MRS 2201H FEEL -MPS 25355 THE AURA WILL PREVAIL -MPS 25613 I LOVE THE BLUES, SHE HEARD MY CRY -MPS 25671 with Cannonball Adderley MUSIC, YOU ALL -Capitol 11484 PHENIX -Fantasy 79004 LOVE, SEX, AND THE ZODIAC -Fantasy 9445 with Frank Z sppa and the Mathers of Invention -Reprise 2030 CHUNGA'S REVENGE THE GRAND WAZOO -Reprise 2093 APOSTROPHE (') -Discreet 2175 ONE SIZE FITS ALL -Discreet 2216 ROXY AND ELSEWHERE -Discreet 2202 -Discreet 408 OVERNIGHT SENSATION WAKA/JAWAKA -Reprise 2094 BONGO FURY -Discreet 2234 with Stanley Clarke JOURNEY TO LOVE with Eddie Henderson SUNBURST

with Flora Purim BUTTERFLY DREAMS New Look 13

@ 6

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14 New Look

Taunt muscles, slim bodies stretched almost to their breaking point, wrapped in clinging multicolored leotards. Rhythms in music, creating rhythms within the being, creating a desire, a need to move to the rhythms; a need to express, to reach out and communicate with the barest instrument of art, the human body in modern dance. This ancient, primitive, yet contemporary art form, will be displayed March 11-13 at the Constans Theatre. Eleven original choreographed works will be performed by UF's three-year-old dance company in its "Movement 76" concert. Rusti Brandman, co-founder and director of the company, choreographed thf opening dance movement, "White Bird." "People ask what a dance is about',' she says,"but, if you could talk about what the dance is about, you wouldn't have to dance to it. A dance doesn't have to have a message. For example, 'White Bird,' definitely has a*mood to it, but most of all it's simply a pretty dance." Like other artists, the authors of a modern dance movement -- the choreographers -- create differently. When Ms. Brandman creates a dance, "The first thing is always the the music. I listen to music I like and want to dance to. I'll listen over and over to the music and then get the movement ideas in my head before going out and trying them on the floor." "Pioneer Women," choreographed by Loni Donahue, has a definite theme to it. Of the dance, Ms. Donahue, a new theatre major transplanted from Utah, says, "The dance expresses the feelings of young pioneer women as they are uprooted from their comfortable homes, often with no choice, to go west with their husbands. The dance reflects the moods these women went through." After intermission, a melange of jazz UeÂť."n,cii> trace. me historical development of jazz, from the "Cakewalk," to Concert Jazz. Ms. Brandman choreographed the "Cakewalk" number fromsomel906films of differeni versions of the dance. The Cakewalk originated on Southern plantations as the "chalk line walk" -- a social competition in which dancers progressed along a narrow path performing struts, turns, and other feats. The winner was usually awarded a cake; thus, this strutting dance became known as the Cakewalk. Later, following the social upheavals of the Post-Civil War period, improvisations by black dancers in black ballrooms spread to white ballrooms

through the help of adaptations in commercial theatre. The dance underwent a transformation to the ballroom that combined AfroAmerican rhythms, posture, improvisation and modern acrobatic movements with European social dance positions and manners. The potporri of jazz moves past the fading of the Cakewalk's popularity in 1910, and past the animal dances such as Turkey Trot, Eagle Rock, and Bunny Hug, to the king of American jazz dances in the 1920's - the Charleston. The 1923 musical, Runnin' Wild pushed the Charleston craze into a national pastime during the roaring '20's. Roseann Deluca choreographed the Charleston number "as a representation of the way the dance might have been performed by a chorus line in a 1920's revue." "Stompin at the Savoy," choreographed by Fernando Fonceca, displays the Lindy as it might have been done by a young couple in the middle 1930's. Elaine Laeser and Lynn Stacey, a junior and sophomore respectively at the University, choreographed and dance the tap number, "One." It illustrates the 1940's Fred Astaire style of ballroom tap and derives its music from the contemporary Broadway show, Chorus Line, which is based upon lives and experiences of professional dancers. Susan Waller, head majorette of the Gator marching band, choreographed and dances in "The Rumble" number, a dance drawn from the 1957 landmark musical, West Side Story. "The Rumble" is choreographed in the style used in West Side Story and illustrates as did the original choreography for that scene — the conflict and confrontation between the rival gangs. "Boogiein Through the Years," a dance movement choreographed by Leigh Ann Perceival and Mike Fitzpatrick, traces the Chubby Checker introduction of the Twist, through successors such as the Frug, Watusi, up to the current rages, the Hustle and the Bump. The jazz melange climaxes in the final dance movement, "Ecstasis," choreographed by Director Brandman. Made possible by a grant from the Fine Arts Council of Florida, and the National Endowment for the Arts, "Ecstasis"

is best described as "Afro-rock." To Ms. Brandman "the piece is essentially an ecstatic celebration of life using 'gutsy' movement characterized by a fluid spine, rhythmic complexity and sudden changes in direction and dynamic quality." 'Ecstasis" features Santa Fe Jazz Instructor, Jamie Graham, as a guest artist, along with Brandman and members of the dance troupe. The costumes for "Ecstasis" include colorful masks of felt and feathers. Since 1974 the University Dance Company has grown from about 30 to almost 60 members^ as it prepares for "Movement '76'."

It's a closely knit group involved in a team effort — the members, make their own costumes and assist with lighting. The group effort must be foremost, especially in group dance: "You're a poor dancer," Lynn Stacey believes, "if you dance for yourself." Modern dance holds many varied connotations for the general public and the dancers themselves. David Lassiter, one of several male dancers in the company says, "I need it. Dance satisfies you; it includes all five senses at once. While you're out on stage you forget about the steps, and enjoy your precious minutes. You're there to give, it's a giving of

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New Look 15

yourself." Cheryle Wright, who dances in "Cantilever" says, "I simply express myself best through movement." Ms. Stacey feels that modern dance "is an emotional outlet; I think of the music taking me where I need to go. I let it take me while I dance. As far as my body is concerned, modern dance is a blend of innocence and sensuousness."

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One cannot know modern dance by reading about it or talking about it. Modern dance is physical. The mind uses the body to express. To truly know dance, an audience must be like a dancer, poised and stretched almost to the breaking point, with a need to move and communicate.

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'I simply express myself best thru movement." Tickets for the three 8 P.M. performances are currently on sale at the UF Constans Theatre and will be available for each performance. There will be a $2.00 charge for the general public, with students admitted free. jazz history research by Rusti Brandman 16 New Look

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Havine recently finishfed filming his first movie, The Man Who Fell to Earth, with Nicholas Roeg (Far From the Madding Crowd, Performance), Bowie senses new worlds to conquer and claims he's rocked his last roll: "I believe that rock 'n roll is dangerous," he says. "And as for touring, I honestly believe that it kills my art. I will never tour again." But first, Bowie will criss-cross America one final time, touching Florida only once - in Jacksonville at the Coliseum on Tuesday, March 9th, at 7:30 p.m. to inaugurate Hurricane Concerts' series there. Hurricane is the child of two Philadelphians, Rick Green and Joe Hand. Green is president of Midnight Sun in Philadelphia where he's produced over one" hundred fifty shows in the past four years. "David Live At the Tower Philadelphia,'' Bowie's double LP., which sold more than a million copies, was recorded with Green's help. Joe Hand was the major force behind Cloverlay, Inc., which guided Joe Frazier to ' the World Heavyweight Championship. Hand and Green have named Peter Wertimer as president of Hurricane Concerts.

BOWS BOWIE IN JAX David Bowie is the most celebrated, quickly-rising rock figure to emerge from the decadent '70's. He's always been a compelling enigma and a mystique has rapidly grown around his ever-changing star-studded persona.

Bowie's newly-released RCA album Station to Station already shows every sign of surpassing its predecessors. It entered the " Hot 100" at #88 the first week and flew into the Top 10 the next, resting at #8. All indications are that Station to Station will be solid gold before long, giving Bowie plenty of impetus as he spring boards into new, unconquered media. Today rock 'n roll, tomorrow the world. And all indications are that Bowie's special Jacksonville performance will be a thoroughly sold out affair, which is what it should be as anyone who has ever seen the hypnotic, eccentric genius will readily attest. Onstage, Bowie mesmerizes, moving with animal grace. When the icy sharpness of his voice soars through an auditorium, even the most jaded cynics can't help but be captured by the aural and visually explosive elements that unfold. Eschewing the costumes and spacey makeup of yesteryear, Bowie will perform with a small, tight band on an unadorned stage, allowing his personal magnetism to come to the front. Tickets are now on sale at $6.50 in advance ($7.50 on show day) for this last-ever chance to see Bowie make musical history. Don't miss this auspicious debut for Hurricane Concerts.

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CASEY VIHOCHEK Remember the Bug-Eyed Monster that used to slobber over pretty girls in brass bikinis, the one |||||esfe^e.rp:;S : zineiifsQu used to hide National Geographies? Well, he's|||teg invited to the best places in Hog town. Yes, Space Cadets. GairtSptle has pen invaded. it's: influencing the music you shelves and bookstores and fiMsysstands, possessing the movj^lipou S@e, and staring a|,,you from your TV set - with one bioeic eyebfpilt's taken over the ciasl room, and it lurks in the Rfitz Union. Iff called science fiction referred to af "Sci-Fi or "Sic-' Fic,'l|ut kwwn to its r l fiends as "H" (That's pronou eff.'l||Fhe genre of scienf| will |B fifty years old f i f t y vyears since Hugo separated light fror|S|§rkness published the first issu& of Amazing liories, creating what ;he Called

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some of its friends may be fqilnri at tH Sciertee : Fiction Society, founded by Rhyme Sacon in 1969 ,ai Jhe Scielp:f iction Book Exchartfsf& Fan Club. In the Reitz Uni<fi% .fha, members ^socialize such esetgriiC topics: as ( of popular'lfit|qfs|wW«. prog ram, t he.' poss i bi I i t y of AM i I'd ing space citlbs*it the^^ftl^srigian nodes of the moon's>,,prjjtt,>'i;;and artificial languages. M|f|^-,0fnts members are scienc^|majorSi Phyrne Bacon recently%|«gSved her PhD in mathematics, and Leland Sapiro js working on a PhD in math.

Sapiro, who vaguely resembles an undernourished Zorba until he puts on his thick eyeglasses, is more thamjust another member of the Science Fiction Society. Twelve years ago, he started a magazine seal led The Riverside QuarterlyilM?nich has been instrumental in the academic acceptance of science"fiction, "it tries to do for science fiction what the Hudson Review does for literature in general," Sapiro says. He continues publishing RQ while pursuing his rees and teaching in Californada, and UF| pages of Riverside Quarterly have been graced with; a number of serious articles on::^f, Jwo of which were serialized and later published as books: A)ex;ev Pan,shin's Heinlein In DipRefisiOB and ^Jack Williamson^ :M.G. Wells: Critic Of Progress. RQ also publishes stories, reviews, poetry, and lah. It goes 19; more than 200 J^tAjversity libraries, and many of Nts contributors are teachers. Professor Brandon KersNner. though:not;a contributor to River,s!de dijiarterly, is a teacher of . science fiction at (Jf. His course, English 293 -- Modern Science F|ctiop:, began three years ago. whssn the ;i Wew chairman of the English Department was looking fqr Interdisciplinary courses. Kershner and Professor Thomas Beyette (who taC)gh;tythe course in the Jlalt'o^afterJ-suggested a course in "si, jfirife' sirriHaf: % those in many ,il:^v universities^; (English 293 includes a brief Wstory of science fiction,.anajysislofsfwritings and ' exaliifatiog 0( fhe |enreas" social criticism and safire.) S^plpOHfa 5iha|p Critic of sf, is s ..inl|s:th| acl<i|m.ic' interest exaggerated. Eng%li departments have|npthW^ but c|^teWpt for sf. The| SQevilAs "pop^u.liure," he contiriefc. "Science fidlibrQis at the place TOW where American literature was in World War I," he states, "when it wasn't considered

worthy of study. Some teachers are doing it just for brownie points; to get things published." Kershner, whose resemblance to TV's Gabriel Kotter is enhanced by his infectious enthusiasm, also deplores those who teach courses in sf with the attitude that, "If you can find anything the kids are reading, teach it." Instead, Kershner offers the course because "it's interesting and fun to do." "With science fiction," he says, "you get the illusion of learning about science while reading an enjoyable story." Kershner, who earned his degrees at Johns Hopkins and Stanford, believes that we are emerging from the age of formalism and strictly critical approaches and are moving "toward a broader kind of criticism" which is but one aspect of a general academic broadening. Grant Garrington, a local resident sf writer, doesn't agree, however. "It's a new area for research, basically untouched," ne says. "After all, how many more original theses can you write about Chaucer?" C a r r i n g t o n , whose rimless glasses and long hair make him resemble a modernday Ben Franklin, has published more ihan 20 stories, mostly sf (the latest of which appears in the March 1976 issue of Amazing). He was associate editor of Amazing Science Fiction Magazine from 1971 to 1974, when he returned to Gainesville to do fuli-time freelance writing. Like Sapiro and Bacon,.his degrees are in math, not literature. He received his masters degree from UF in 1970. "A lot of English professors read sf as kids," Carrington adds. "They wanted to have such a course, but they couldn't. Now they have the power and can." Kershner and Beyette agree. "I grew up with it," Kershner says.

"I read sf as a kid," Beyette says. Most of the Sf Society Members got into sf through the writings of Robert A. Heinlein or Andre Norton (who lives near Orlando) or the TV program "Star Trek." "Star Trek," too, has its own group - the Star Trek Federation of Fans, UF Chapter. The overlapping memberships of Star Trek and the SF Society are just two tendrils of the many-tentacled creature called science fandom. Science fiction is an unusual form of literature in that it has its own organized group of followers, usually called "fandom." While specific writers have had followings and there are afficionados of mysteries, spy stories, and westerns, none of them are as well-organized as science fiction fandom. It has its own conventions; in fact, there is a science fiction convention somewhere in the country nearly every weekend of the year. The major one, The World Science Fiction Convention (or "WorldCon"), is on Labor Day weekend in a different city each year. This year, the WorldCon will be in Kansas City, Mo.; in 1977, it will be held in Orlando. (In 1975, it was held in Melbourne, Australia.) Science fiction's influence has extended far beyond its fans. There are those who believe that the rise of sf's widespread popularity coincides with the hippie and psychedelic movement — as evidenced by the music of such rock groups as Yes ("Starship Trooper" - from the title of a Robert Heinlein novel), Hawkwind (with sf writer Michael Moorcock as a member), Pink Floyd ("Set the Controls for the Heart of the Sun" and "Welcome to the Machine"), and the Jefferson Starship. Heinlein's novel Stranger In A Strange Land, moreover, became a bible of the flower children.

Another favorite sf author, Philip K. Dick, writes novels that frequently deal with altered states of consciousness ^~ and the premise that all is not as it seems to be. "Science fiction brings into question the underlying concepts, the things people take for granted," Carrington says. "The function of science fiction," Sapiro states, "is to increase the range of awareness." "It is a literature of ideas," says Kershner. These ideas are now no longer confined to science fiction. They permeate our daily life - from supersonic transports to TV programming to moon landings to such books as Future Shock. The future is now, and what does that leave for science fiction, the fiction of the future? "I hope," Kershner says, "we'll have a mature science fiction The great science fiction novels are yet to be written, and we'll be seeing them in the next twenty years." Carrington is not so optimistic. "Twenty years from now I don't think there'll be any science fiction. There'll be damned little fiction of any kind, and most of it will be told around campfires." But the members of the UF SF Society look on the brighter side. They see humanity venturing out into space, perhaps becoming part of a galactic confederation and evolving into higher and higher states of being. And, maybe that's where sf's basic appeal lies — it is one of the last bastions of romantic literature, ,r» which mankind aspires to cosmic heroism. Meanwhile, the rest of Gainesville goes along placidly and quietly in its day-to-day life, not realizing that matters of galactic importance are being considered right here in Hogtown. •

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DARTS by Melanie Peters

20 New Look

"The subject of darts brings chuckles from some people, but I think it would be funny if I went to California and came back with about ten thousand dollars in my pocket. I'd laugh too -- all the way to the bank." Austin Moon is used to charges that the sport he is so passionately involved with is "child play." He is president of the Gainesville Dart Association (GDA), and he spends a good deal of time trying to educate people to the rapid rise of organized dart competition in the United States. Darts is a game that goes back as far as the Middle Ages. Then, the game was called "Butts," and shortened, light, flight arrows were flung at the rounded ends of wine casks. By the 17th century, the divided clock face board, which is still used today, was invented. The game has enjoyed a long life in England and today, in the British Isles alone, there are an estimated six million players. One million registered competitors participate in more than seven thousand leagues, pubs, and clubs there. Although the sport is not as popular in America, if recent trends continue, Britain will no longer have the corner on the market. With more than 300,000 players, California boasts the largest single state membership. The South has been one of the last regions to jump on the bandwagon â&#x20AC;&#x201D; Florida is not even represented by a state association. The lack of organization in the state doesn't thwart Moon's optimism though. He predicts that the Gainesville club will grow from the current 45 members to 100 by the end of 1976 and that by then, a Florida Dart Association will already have established itself. Though his club is only a few months old, it plans to install two more boards at headquarters, the Purple Porpoise. GDA members include UF professors, carpenters, students and the unemployed,and Moon, (who owns and operates The Purple Porpoise), stresses that the sport is not exclusively maleoriented. "Right now, we have five women. They weren't really ,6ure before they joined if they wanted to compete against the men. But, one of them placed second in our first closed tournament, and that picked up the girls' morale tremendously. Anyone that takes the female dart thrower lightly is making a big mistake. There's nothing physical about this game that a woman can't master."

During its rise to popularity, the game and its equipment have undergone a facelift. Tungsten darts are fast replacing the old familiar brass darts. The more streamlined tungsten darts are, however, more expensive. The average cost for a set of three darts is $30. It's a one-time investment, though, and brass darts are still available at around $5 for the economy-minded. Professional English boards mounted 5'8" from the floor to the center of the bull's eye and 8 feet from the throwing line are made of compressed fiber. The two most popular dart games are "Cricket" and the U.S. Dart Association (USDA) game "301 Up." The object of "Cricket" is to finish by closing all game innings before your opponent. To close a number, three hits must be scored in that particular number. Two rings encircle the face of the board. A hit in the outside ring counts double, and scoring inside the ring counts triple.

'Darts is basically an individual sport. Your success depends solely.on personal skill." The game of "301 Up" requires more skill than strategy. The goal is to score exactly 301 points by starting and finishing on a double. For example, a player begins by hitting a double number. He continues his turn until he now needs a score of 32 to make 301. If he throws a double 16, he wins. A single 16 leaves him needing a double to go out and so on. If you are now thoroughly confused, don't worry. GDA members offer free instruction at the Purple Porpoise (Equipment, as well, may be purchased at headquarters.) The top twenty GDA players compete against Palatka's top players in a Gainesville tournament

on March 21. The winning club will receive a four-foot-high trophy. The first money tournament in Florida was the Azalea Festival in Palatka the last weekend in February. Competitors came from as far as Virginia to play for a portion of the $900 prize package. A Cleveland meet awards its winners a total of $11,000 in March; California tops things off with a $30,000 tournament, but the granddaddy of all competition is the World Championship in England in April. There, ,tne USDA's US open winner will represent the United States before an expected 17,000 spectators. Mike Conley, vice president of the GDA, attributes his interest in

darts to the fact that "it's basically an individual sport. Your success depends solely on your personal skill." Others confide that they play because "it doesn't cost a quarter" (there's no 'rent charge' for the boards at headquarters) or simply because they "like to date dart players." Whatever the reason, more and more people are finding new, more sophisticated aspects to a childhood game. It is a sport that combines skill and concentration with simple entertainment. "Once a person throws his first dart in competition," Austin Moon says, "it's like a bug that nips at you. It's plain contagious."

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22 New Look

Tim UUor/owicz flow loolc/ Un/ung Mono brought to you by Goody/ For a guy who has been injured on three separate occasions since the start of his sports career, top wrestler Tim Worsowicz has come a long way since he started wrestling for the Gators. The i n j u r i e s , h o w e v e r , haven't seemed to hinder him much T nough the Gators lost the SEC Championships to the Kentucky Wildcats (February 27-28), Worsowicz took top place in the 177-lb. class. Worsowicz, 22, is from Jacksonville, weighs 177 and is a P.E. major. He started wrestling for the Gators in January, 1973, as a freshman. "When I got out of high school, I thought I wanted to get into football," says Tim, "but somehow I got into wrestling, and I'm glad I did." After his first season, he received a scholarship from Coach Keith Tennant."without that scholarship I probably wouldn't be in school right now." Since then. Gary Schneider has taken over as f he new coach, and Tirr t h i n k s •He is probably the only one whc could have handled the job." Worsowicz had his first •njury in his sophomore year when

he tore the ligaments in his right knee. "The doctors were going to operate at first, but they decided to wait and see if it would heal itself. Fortunately, it did." he says. Despite that injury, which occurred near the season's end, Worsowicz went on to win the First Collegiate Title with little trouble. Two weeks before last year's conference, the same injury to the same knee put Worsowicz in a cast for six weeks. "Last year was my best year even though I got hurt," he says. '' I was undefeated in dual

by Randy Sarrow meets 9- ' and ;,'-« uvorall. , had already beaten al' the guy? I was to wrestle against in the conference, so I felt I had a good chance at winning. During this past Christmas break, Worsowicz twisted his right knee for the third time. The result: he was in a cast for eight days and narrowly escaped being 'red shirted.' "I though it would put me out for the season, but I felt better and decided to go ahead and wrestle." Tim's determination paid off, and he leaves the Gators with the SEC 177-lb. title under his belt.

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24 New Look

Count Basie makes it all seem so easy. Sitting in the back of his trailer after a concert,* sipping a diet root beer and talking about old times, the 72-year-old pianist-composer-band leader makes it seem normal to play royal command performances, presidential inaugural balls, concerts with Billy Eckstein and Sammy Davis, and tours with "Frank and Ella." To him, it's just all in a day's work. The whole world, he says, has been good to him. "I've no regrets. How could I when I've accomplished everything I've ever wanted to in life?" Kansas City, 1935. Benny Moten dies and Count Basie, then a member of that group, goes to a club across the street and the seeds of his band are planted. Looking back at those "hard times" now, he just smiles and nods his head like he's telling the young folks how it used to be. "Believe me, there were many times when I didn't even have a place to spend the night, but I just kept looking ahead. I always knew what I wanted. "I never intended to form my own group. It just sort of happened. John Hammond was 90 per cent of the influence behind the group. He selected many of the members and pushed it all the way to where it is." Of course. John Hammond. Who else would it be? Hammond - that purveyor of noted music for the past five decades. Hammond - adored by everyone who ever ran across him, regaled by the musicians he made. Basie is no exception. "Hammond's a helluva man. Never taken a nickel from anyone in his life, but he's given plenty to lots of people, including me. He's remarkable. He's meant so much to me." Basie says we can read all about Hammond in his autobiography Basie is proud of the book. It will ' 'tell all," he sayr J^-JT â&#x20AC;˘â&#x20AC;˘;, professional and private life. "All my life i wanted to be in show business. When I was a young cat i wanted it all, mostly the travel. I love to tour; it's my work." He's just finished a gig in Miami where he's played two shows a night, three hours each, with Eckstein and Davis, no small feat for a man 72 years old. Those big band and jazz concerts are what made him famous. His roots, however, are in blues. "When I was young I didn't know hing about jazz or blues. I never heard of big ba .us. Everything then was ragtime. The bands at that time never had more than four pieces." Basie traveled from Red Bank, New Jersey, out to Kansas City in the 30's'where all that was happening in music at that time was happening in a big way. It was Kansas where blues was first converted into big band music, and the shape of things to come was being formed. Bas'e was in on the movement from the start. Only Hanem had a sound that was bigger than the Kansas City sound. Duke Ellingtonâ&#x20AC;&#x201D; "the master" as Basie calls him -- was leading the East Coast as the Count was coming up from the Midwest. "The Duke was so far ahead of things," says Basie, "he played everything - heavy blues, swing, concert -- just anything, and he did it best. There's simply no sound like Ellington's." Between shows at Great Southern, Basie talks of

"My sourd hasn't changed much over the years Kids today could fit into my music more than I could ever fit into theirs. "

* Count Kasie appeared at the Great Southern Music Hall. February 21. New Look 25

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26 New Look

"Fve accomplished everything Fve ever wanted to in life. "

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everyone as "great" and "wonderful" and "remarkable." There's no getting him to talk about the times that weren't so great — times when he wasn't setting trends either in his style of music or in where, as a black, he was allowed to play it. In his lifetime, he has gone from being the first black to play many of the big name nightclubs to playing command performances before the Queen of England. He seems to only remember the command performances. "You can't really tell how the royal family is enjoying it. It's all very polite, very formal. Afterwards, of course, you meet the family. Prince Philip was very gracious, but the Queen Mother was one of the warmest persons I ever met. I guess I enjoyed her about most of all." Carnegie Hall, presidential inaugural balls, a list of awards that includes being named Most Popular Band, Top Band, International Critics' Poll Winner, and on and on and on. He's a legend and totally unpretentious about it all. When asked about the influence he's had on others, he turns the question around. "So many people opened the gate for guys like me. And the kids today are great - coming out and creating totally new sounds." Disco music? "It's crazy. Marvelous. They're playing and playing it good. A whole new thing. My sound hasn't changed that much over the years. Kids today could fit into my music more than I could ever fit into theirs." He tells of listening to high school bands and being amazed at their abilities. "Kids today have everything and they're listening to all kinds of music. They're coming out and listening to jazz. They're reading and finding out what it's really about. It used to be that you'd mention big band music to kids and they'd say 'Ah, come on . . .' but you don't hear that anymore. Now, they're really interested again." As for himself, he says he listens to all kinds of music except his own. "I'm never satisfied with any of my albums. You just can't quite capture the sound on an album that you can in a ballroom or concert hall. But, I do love to listen to other people." It's getting late, near time for his next show. He's been leaning his head on the wall for awhile now, looking tired. "Yeah, it's been a good life, but now I got to get ready for the next show."

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wrcr As I walk with David Sarscious from backstage at the North Union Lawn to his fifth floor hotel room at the Union, I'm surprised to see that he has become prominent enough to receive hero worship. One kid comes up to David and asks if he can shake his hand. David says, "Sure, man." The kid sticks out his hand and stares into David's face. The kid just stands there staring and says, "Gee. Thanks for letting me shake your hand." We finally make our way past several more starry-eyed students and reach his hotel room. But, all is not safe. An energetic, Journalism 301 student follows us into the room. With official Jm 301 note-

book in hand, he asks David the one question he doesn't want to answer, "How was playing with Springsteen?" Exhausted from the concert, Sancious brushes the question off and gives the reporter a dirty look. As the kid starts backpeddling out of the room, he offers an excuse for his Springsteen question. "You know, David, I'm from Ashury Park, just like Bruce is, anj all of us people from Asbury feel a kind of bond. And since you were in Bruce's band..." (fade out.) That is the life of David Sancious. That krd didn't even realize that David, too, was from Asbury Park. In fact, David was the only

member of Bruce Springsteen and the E Street Band who actually lived on E Street. For David Sancious, the problem of figuring out when he has reached stardom will be easy. He can safely say he has made it on his own when people stop asking him about Springsteen. For now, no matter how much he dislikes it, he is still Springsteen's old piano player. About two years ago, Sancious left the E Street Band to start a solo career. Reportedly he felt that Springsteen confined his style too much, and he wanted to experiment with jazz. David's acoustic piano on Springteens's second' album (The Wild, The Innocent and The E Street Shuffle), was brilliant. His classical intro to "New York City Serenade" will go down as some of the greatest minutes of rock 'n roll recording history. David had developed a significant following while playing with Springsteen, and his finest solo album, "Forest of Feelings," was eagerly awaited. The album received mostly strong reviews â&#x20AC;˘ For David it was a major shift in styles. Not only was it not rock 'n roll, it wasn't really jazz either. The biggest surprise was that David was playing as much guitar as piano. The fact that David could play guitar had been one of the best kept secrets on the East Coast rock gossip hotline. In his recently released second album, "Transformation", David plays even more guitar, although the credits list him on the acoustic piano, Fender Rhodes piano, Hammond organ, Yamaha orga/i, moog synthesizer, Clarinet, and electric and acoustic guitars. David's University of Florida concert on February 21st was, in some ways, a showcase for a multi-talented artist '-ith a strong back-up band. But, in many ways, the concert was disappointing.The band took what seemed like forever to do their soundcheck, which alienated the audience. And to the disappointment of many ~ especially those who came to see Springsteen's ex-piano player, David didn't play any" acoustic piano. Once David has a chance to rest for a couple of minutes in his hotel room, my first question is "Are you ever going to play the grand piano in concert?" New Look 29

"I do,man. Whenever I headline a show we do, but there's no time to do it when you're an opening act. Plus, if you're an opening act, the school won't get a piano for you. Or a lot of times the other act has so much equipment that there' is no place to put a piano on stage. And they're not going to clear the stage for you. Who are you? You're the f-king opening act." Leaning back on the couch, David looks youthful and full of stored energy. He's wearing the same t-shirt and baggy pants that he had on stage, and he looks like a middle sixties ivy-league student. He speaks softly and eloquently. His eyes shoot randomly across the room but, when he tries to make a point, he flashes them at your face. He is quite affable, unless he is pushed in the wrong direction. A girl from New Jersey told me at the concert that David had picked up a guitar for the first time eight months ago. This seemed incredible to me, so I say, "You started playing guitar, recently, right?" He just sits there like he is waiting for me to go on to a more

important question. Then he looks puzzled and sarcastically asks, "Recently? What have yo,u heard?" He is playing games with me and I hesitantly tell him that I've heard he has only been playing guitar for eight months. "Eight months? Wow!" He breaks out laughing, and the other members of his band, Gerald Carboy and Ernest Carter, who are also present, also start laughing hysterically. I feel like a jerk. "I've been playing guitar for eight years, man. Eight months? I'd have to lock myself in a room, and not even compose. I couldn't write my tunes. All I could do is practice guitar for eight months. "Hey, I was supposed to play guitar in Bruce's band. It just never happened. We even rehearsed some things with both of us playing guitar. But, it's like when you don't have a lot of money ... Back then there wasn't a lot of money happening, and there was not always that much time to rehearse, so we never got around to doing it live." I ask David about his next album and, he says it is going to be a

symphony. He starts laughing, and I'm asking myself why I'm still sitting there being playfully maligned. When I suggest that David's guitar playing is largely copied from the late Jim Hendrix, he breaks into laughter again. "It's only because I cut mv finger, and I got a band-aid on it." (He stops talking for a second to show me the band-aid.) "Because of the band-aid I can't play like myself, so it's easier for me to play Hondrix 'cause I studied the cat for so long that, whenever I get ,in trouble, I fall back on him." It is obvious that David wants very badly to be recognized as a star in his own right; he even dislikes being compared with his hero, James Marshall Hendrix. For now his creative and strong musical ideas will have to remain in the background, for David lacks a consistent direction (the kind that Springsteen provided). Perhaps as David experiments with hew concepts and styles, he will find one with which both he and his fans will be comfortable. Then, and only then, a barrd-aid on his finger will not stop him from playing like himself.

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THEATRE "The Crucible A Play by Arthur Miller For a change of pace from comedy or for drama you can sink your teeth into (no vampire pun intended), "The Crucjble," by Arthur Miller, might be the play to cleanse your soul. Performed at the University of Florida's Constans Theatre Feb. 23 through 28, "The Crucible" is the story of the Salem witch trials in 1692, in which John Proctor (played by Craig Hartley) tries unsuccessfully to live down his seduction of Abigail Williams (played by Deborah Harris). Proctor's undoing begins when Abigail turns against him after he rejects her for his wife, Elizabeth (played by Ruth Johns). The 17th century dialogue could have been a problem in a period play such as this, but Director Richard L. Green seems to have made sure his cast enunciated their lines clearly. Also commendable is the grip the actors had on the roles they were playing. Proctor and Reverend Hale (Kim Williams) come across as being dramatic without being maudlin. Elizabeth's jealousy and fear of Abigail is believable, and Abigail herself is convincingly sinister, if prone to melodrama in spots. Finally, Giles Corey, played with subtly by Chip McChristian, provides comic relief without coming across as silly. Unfortunately, the second half of the play seemed to have been over-acted. Deputy-Governor Danforth, played by Gary Luther, shouted in moments when an icy calm voice would have been a more convincing show of rage. Elizabeth tends to whoop instead of weep, and Abigail's final frenzy made the audience laugh rather than quake with terror. This is not to say that Miller's play was turned into a soap opera. For the most part, the tragedy and the final dramatic message remain intact, though the audience does

Craig Hartley and Rebecca Johns as John and Elizabeth Proctor in THE CRUCIBLE [U.F.] not weep for Proctor as it might have. The essence of "The Crucible" was not so much the repression of the witch-hunt, but in how this repression manifested itself. It became not only patriotic, but holy, to confess the sins of thy neighbor. Many of these "sins" were little more than private guilts foisted onto the easiest mark. In Act I, Giles Corey, an eightyyear-old crank, claimed that his wife, Martha, has the power to stop his prayers. She has taken up book-readingand he was sure that was the source of her power-especially since when she closed her book and left the room, he could pray again. Corey was only one of many who were trying to get on God's side in a controversy that had little to do with theology. It was more the story of neighbors that stewed too long over grudge';, of businessmen who coveted the successes of

their competitors, and of farmers who wanted more land than they cci'ld afford to buy. What easier way to settle these scores than to do it in the name of God? It's an old story that goes back as far as the Crusades and is as recent as the CIA scandals, where many government men keeping "secrets" might be suspected as being unpatriotic. Patriotism was a big issue in the McCarthy "witch-hunt", and it had not yet simmered down when "The Crucible" opened on Broadway in 1953. (Miller would come back to McCarthyism again in a later play "After the Fall".) The controversy hurt "The Crucible", and it ran only 197 performances. However, the play has had a revival off-Broadway and can be viewed with less bias now. Or can it? Not all of the witches from Watergate nave been iaid to rest. - Karen K. Price New Look 33

CINEMA ONE FUW OVER 1HE CUCKCD* NEfT One Flew Over The Cuckoo's Nest is a tragic-comedy based upon Ken Kesey's celebrated 1962 novel of the same name. It is the story of the free-spirited rogue Randall Patrick McMurphy (Jack Nicholson) who has been sent to a mental hospital from the prison work farm where he is serving time for statutory rape.C'She told me she was 18," he tells a doctor, "and she certainly wasn't built like she was 15.") At the farm he fakes mental illness to elude work details and is sent to the mental hospital for observation and diagnosis. At the hospital he is rebellious, organizes the other inmates in various escapades, fights long and hard with Head Nurse Miss Patched (Louise Fletcher), and eventually loses. The 1948 film, SNAKEPIT showed the horror of the insane asylum. One Flew Over The Cuckoo's Nest shows the horrors today of a clean, modern mental facility: the regimentation, the unnecessary medications, and the rules that benefit the whole, but never the individual. This motion picture's impact is staggering. The feelings of frustration, helplessness, anger and fear are very real and very, very strong. In one scene, McMurphy requests a change in work schedule so that his therapy group could watch the World Series on television. He is told no and finally submits to a vote of the ward. During the vote the inmates neither raise their hands nor look Miss Hatched in the eye. The next day, McMurphy calls

for another vote and as the others have gathered their courage, they manage to tie vote. However, Miss Patched refuses to accept the tie saying that it must be a majority of all the ward members, and the nine "vegetables" did not raise their hands. Another tie vote. McMurphy refuses to concede the issue and goes one by one to the vegetables trying to get one to raise his hand. Just as McMurphy succeeds in getting a vote to break the tie, Miss Patched calls the meeting,to an end and refuses to accept the changed vote. McMurphy still refuses to concede and stares at a blank TV screen. He then gives a brilliant play-by-play commentary, as if he were a radio sportcaster. Soon he is surrounded by his delighted fellow patients screaming and carrying on as if they were actually in the stadium. Miss Ratche'd's disljke for McMurphy increases, he discovers that the mental ward is the ultimate prison. He has been committed for an indeterminate period of time, possibly extending beyond his prison term. Fear of commitment leads to a decision to escape. So, he sneaks two young women arid a lot of booze into the ward for a midnight going away party. He asks one gini to make love to the forever stuttering Billy Bibbit, magnificently portrayed by newcomer Brad Dourif. While they

wait for Billy to return from a side room, everyone falls asJeep in their drunken stupors. They are all found in the morning by Nurse Patched. No one escaped. Sidney Lassick as Cheswick, Louise Fletcher as Nurse Patched, Brad Dourif as Billy Bibbit. and Jack Nicholson as P.P. McMurphy gave performances that deserve the highest accolades, if not and Oscar. The characters, though, rely on the screenplay for their substance. Adapted from the novel by Lawrence Hauben and Bo Goldman, the screenplay is spellbinding for its entire two hours and nine minutes.' The screenwriters have woven pathos and comedy together with the brilliance and feeling of Chaplin's THE KID.Thescript would be meaningless, though, without the proper actor for the part of McMurphy. No one in cinema today could have been better than Jack Nicholson for the role. Nicholson is a five-time Oscar nominee: EASY RIDER, CARNAL KNOWLEDGE, THE LAST DETAIL, CHINATOWN and, now, One Flew Over The Cuckoo's Nest. The anti-hero McMurphy, the ultimate N icholson performance, deserving the Oscar for Best Actor. The film was co-produced by Saul Zaentz and TV star Michael Douglas, son of actor Kirk Douglas (who owned the screen rights to the novel). It was masterfully directed by Czechoslavakian Milos Forman, a past Oscar nominee tor THE FIREMAN'S BALL. One Flew Over The Cuckoo's Nest is a must for everyone who enjoys cinema. Not only is the acting superb, but the overall film is one of the best to come along in years. It is a nominee for Best Picture of 1975.--George N. Seide*

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Direction and Screenplay by Stanley Kubrick Barry Lyndon, the tenth feature film of renowned director Stanley Kubrick, is incomparable cinematic art. Despite its rather slow pace, the movie is entertaining and has been nominated for Best Picture of 1975. The story of the gentlemanrogue Lyndon is told by images rather than words, which is the

vein in which Kubrick's genius shines. He lets the audience find the ;hemes tor themseives, while he concentrates on the purity and potency of the cinematic images. Using1 the motion picture camera as an artist uses a brush, Kubrick makes repeated use of a "stately pullback" to enter scenes. They begin with a detailed close-up of a character and then move slowly back to reveal the scene. Kubrick is a genius shooting indoors. He has found a way to adapt an incredibly fast still camera lens (developed by Zeiss) to a motion picture camera. It permitted him to film indoor scenes at night using only available light like that available to the inhabitants of the 18th century. Some scenes are illuminated by only one candle, while in others hundreds of candles flicker in candelabras and spectacular ciiandeliers bathe the scenes in a wonderful orange glow that almost no one no^v alive has ever experienced. This film was photographed entirely on location in England and Ireland. Kubrick has painted a picture of the 18th century so true that many of the costumes used are legitimate antiques. His drive for cinematic purity

has taken three years of his life and $11 million dollars of Warner Brother's money. Because of production and distribution costs, this film must gross $30 million before a profit will be realized. The story of Barry Lyndon is of a fellow gallant enough in battle but of little moral fiber. Born poor, but with a modest claim to a gentleman's rank he will do anything to acquire wealth and title. He deserts the Army, travels through Europe and England card sharking, and contracts a loveless marriage to acquire a fortune. The design for Barry Lyndon is marvelously simple. The first half of this film is like a documentary of 18th century manners and morals. The second half deals with the downfall of Barry Lyndon. Each of the performers in Barry Lyndon give excellent portrayals, although the lack of dialogue in many scenes may have kept the cast off this year's Academy Award nominations list. As usual, Kubrick's films are his to the core. They are the director's medium. And, once again, it is the work of a man far ahead of his time technically and visually. See the film. It is another landmark in film history.

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New Look 35

MUSIC

Joel Barnes

UNDERTONES New Zealand-born bassist Charles Tumahai of Be-Bop Deluxe is being asked to leave England. The Faces had the same problem two years ago with Japanese bassist Tetsu. The country's Musicians' Union insists that foreign musicians like Tumahai are depriving British musicians of work. A spokesman for the band says they will appeal...Ex-Crimso drummer Bill Bruford will take on Phil Collins' drumming vacancy in Genesis as Collins moves up to fill lead vocalist duties for the group...P.P.M. have added solo vocalist Bernardo Lanzetti, who was previouly with the Italian band Acqua Fragile...Argent have lost their lead guitarist John Grimaldi, who has left to form his own band..

name of a temporary band fronted by ex-Hatfield and the North bass 1st/vocal 1st Richard Sinclair... I've heard 2 titles for the upcoming Led Zep disc, "Power Source" and "Obelisk"...The Sparks split is final. Ron and Russell Mael are currently in Los Angeles...pianist Oscar Peterson is hosting an interview show on BBC2-TV...Andrew McCulloch heard drumming with Peter Banks' Flash on recent session.. .saxist Eddie Jobson, who played with the Mothers of Invention in Toronto and Montreal at the end of the Roxy Music American tour in December, was invited by Frank Zappa to join the band. Jobson turned him down saying, "I want my Bryan!"...

* * * single * *"Love * *to * Donna Summer's Love You Baby," is a smash hit here but, is only being played by British radio stations at times when it is least likely to be heard by younger members of the audience...Joni has broken up with boyfriend - drummer John Guerin for Tom Scott...Arista Records seem worried about a hypersonic backlash from over-publicizing Patti Smith ..Michelle Phillips has dissolved her relationship with Warren ("He's So Vain!") Beatty. .Van Morrison is shelving more records than some people make in a lifetime...Bowie's "Station to Station" was held up being released because David wanted that b/w photo on the front instead of the original color one...

The government's * * * *tax*evasion * * case * against Clive Davis is now expected to go to trial in May...New Fripp & Eno out soon...Richie Furay is due back in the studio shortly...Robbie Robertson helping Clapton produce his new one...Doc Severinsen has signed with Epic and an album is emminent...MCA has stolen New Riders of The Purple Saga from Columbia...Chet Atkins and Les Paul have a duet album entitled, "Chester and Lester" on RCA...Mike Oldfield's "Omnadawn" is the first British album to be released in both of the quad matrix sytems SQ & QS...Exmodel Twiggy reported to be getting $250,000 to sing in U.S. nightclubs in April...import "Bob Marley and the Wallers - Live" available here now...

* *has * cut *a * * solo * * Chris Hillman debut album at Caribou Studios...Wizard Robert Fripp is unleashing a double album of old King Crimson material, appropriately dubbed, "A Young Person's Guide to King Crimson" .."Best of the Jefferson Starship" due this year...Flo and Eddie to sing back-up on new Steve Stills album...United Artists' new American Flyer band includes (get this!) Steve Katz, [Blues Project, B,S,&T], Doug Yule [Velvet Underground], Eric Kaz [Blues Magoos] and (are you ready?) Craig Fuller [Pure Prairie League],..Sinclair and the South is the

* * * *due...also * * *available * Live Robin Trower is "Mike Gibbs Directs the Only Chrome-Waterfall Orchestra" ...Santana-drummer Mike Shrive claims the group's "Lotus" import is the best live music they've ever done. The cover of the 3-record set unfolds multidirectionally and contains some breath-taking artwork. The personnel is the same as on "Caravanserai." It may never be released in the states, so grab a copy while available...Watch WUFT's (5) "Come Together" show, March 10 which is highlighted by an interview with author Truman Capote. -11:00

THE KINKS 'SCHOOLBOYS IN DISGRACE" RCA-5102

Schoolboys in Disgrace is an album filled with the embarassment, sacrilage and glory of one hundred and one very wet dreams. Ray Davies and the Kinks are looking back to the traumas, daydreams, and insecurities of grow36 New Look

ing up British. This isn't really a concept album. Davies writes concept songs, not albums, but somehow the pieces of Schoolboys consistently strike at the same obsessive theme: pubescent confusion and disgrace. This is the best Kink album since LOLA..., largely because of the fact that Ray Davies leaves himself enough room to maneuver his ideas without falling into a state of hopeless nostalgia. Davies is assisted by a group that seems to get better and better with each effort.

(There have been more than 20 Kink albums). In fact, on Schoolboys, brother Dave Davies, emerges as a guitar player easily in the class of Jeff Beck, Eric Clapton or any of the other supposed elite of British rock'n blues guitarists. The heart of this album lies in two brilliant tunes that are placed back to back at the beginning of the second side: "I'm in Disgrace" and "Headmaster." "I'm in Disgrace" showcases a fabulous vocal performance by Ray as he reveals the fragility of a young boy's sexual and romantic desire. The first time that I saw you, You were the lady of my dreams... The third time that I saw you, You treated me with such disgrace, Now I wish that I'd never seen your face, I'm in disgrace...

You can feel love and hate emanating from Davies' heart with each new confession. "Headmaster" takes off with a stunning piano intro by John Gosling and then soars into the best Kink song since "Celluloid Heroes. '' The schoolboy is once again in disgrace, this time because, "I've been with those naughty little girls again. Now, those naughty little girls are going to put me to shame.." Against a strong rock 'n roll backing, the vocals beg forgiveness until a state of emotional distress forces Ray to plead, "Headmaster please spare me , I beg you/ Don't make me take my trousers down." For the last ten years one of the great questions of rock 'n roll has been; why a band as talented and deserving as the Kinks has not risen to st/perstardom. Yet, the "near miss" underdog image of the group has made them the most affable and lovable band of our time. Schoolboys in Disgrace is just one more example of a Kink album that should rise to the top of the charts, but somehow won't. It has been said a hundred times before, but it ia worthy of repitition. "God save the Kinks," and may he allow Ray Davies to continue writing the most interesting, artful tunes since Cole Porter. --John Winer

475-9471

New Look 37

I AHASSEE FLORIDA PRESENTS THE SECOND ANNUAL

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38 New Look

Grant Carrington

Tinker, Tailor, Soldier, Spy by John Le Carre'. Bantam, $1.95. 365 pp. John le Carre's THE SPY WHO CAME IN FROM THE COLD and THE LOOKING GLASS WAR were excellent spy novels, dealing with the world of the spy in a more realistic manner than the James Bond fantasies. Le Carre, who in "real life" is a member of Britain's secret service, thus became a "name", and TINKER, TAILOR, SOLDIER, SPY zoomed right up to the top of the best-seller list. Unfortunately, the book is a crashing bore, written in the stiffupper-lip British style. Only the most recalcitrant spy buff will enjoy trying to untangle the thread that le Carre tries unsuccessfully to untangle for us.

The book begins with the arrival of tutor Jim Prideaux at a prep school in Britain. He's an odd duck. Then Prideaux disappears from most of the rest of the novel, while George Smiley, recently kicked out of the British spy service, is brought into an attempt to find out just what has been going on. The key incident involves Jim Prideaux, and all the details of the puzzle are there for the reader. Unfortunately, the characters

seem so much like one another that it's often hard to figure out just who is who and what they're supposed to be doing; le Carre never summarizes the whole affair, which evolves in bits and pieces in such a way that the reader can't make sense out of something that Smiley and his cohorts apparently have figured out. It would have been better had le Carre told this story in a more straightforward manner.

The Best of Cordwainer Smith Ballantine Books, $1.95. Prior to the mid-Sixties, most science fiction writers were primarily adventure-story tellers whose literary abilities were minimal. Cordwainer Smith was one of the few writers of the genre who had some sense of writing style, penning his tales in a "mythical" form that was individual and recognizable as his and his alone. Even today, his style is unique in a field where style has been basically unimportant. Unfortunately this collection, the fifth in Ballantine's series of "best" collections of sf authors, underline.. Smith's weakness as a storyteller. Individually, most of the storits seem to be gems: collectively, underneath all the

filigree of style and the impressive display of inventiveness in the stories becomes evident. This is most obvious in "The Burning of the Brain" and "Golden Ship Was -- Oh! Oh! Oh!" brief stories in which Smith spends most of his time filling in the background for a very minimal climax. This is true of six other stories in this collection as well, . but, in those six, Smith's marvelous detail almost overcomes *he lack of plot. In the remaining four stories, especially "The Dead Lady of Clown Town" and "Alpha Ralpha Boulevard," the combination of a moderately strong story line and Smith's style make them high points in the genre. In real life, Smith was Dr. Paul Linebarger, a government expert in China who was Sun Yat Sen's godson and an advisor to Presi-

dent Kennedy. Like many sf writers, Smith developed a future society of his own, ruled by a group of "Lords" and "Ladies" called "The Instrumentality." Most of the unpleasant work in the society was done by intelligent beings created from animal flesh, called "underpeople." The loss of humanity by true human beings and the struggle for equality by the underpeople, connected by the threads of love stories, form most of Smith's slim plots. The quality of Cordwainer Smith's work was remarkably uniform, and very few sf readers will agree that these are the "best" of his work, but they are representative. J.J. Pierce provides a biography and a brief introduction to a book that, oddly enough, shows sf at its bes* while displaying its weakn--*ses. New Look 39

Restaurants & Nite Spots THE ORIGINAi ftl.AN'S CU8ANA PART II, i!)-' N Mu'r! a

'.nk. The r

M ' - 3tirns as ti:u King ' ° o • .ting taks OLt and f*ee der.ery on ?• yc<- r favorite extra delicious submarines and regular sandwiches. Alan Lederman, General Manager, and Chuck Kinard, President, invite you for a mouthful of the best eating in this world. For take out orders call 377-1090 ALLEN'S GATOR HAUS, Two locations - #1, 1209 S.W. 16th Ave., 377-6510 and #2, Butler Plaza, 375-2430. Feature the finest in hot and cold sandwiches, side orders, plus a wide variety of domestic and imported beers and wines. Allen's features adjacent Red Velvet lounges and free delivery of any order minimum $1.25. THE ALIBI LOUNGE, West University Ave. and 34th St., one of three Big Daddy's lounges in the area, offers a nice quiet atmosphere where one can sit and sip, talk and be heard. Something different for Big Daddy's. Phone: 378-2836.

oy^ers. soaiic^s ano, f-Jlet. ^or 'andlubr.ers, they serve charcoal broiled steaks, ham steaks and pork r.hops. Enj:,/ your favorite cocktail ^nd be sure to try the Island Lime Pie for dessert. It's made from a special recipe sought after by Gourmet Magazine. CAPT'N LOUIE'S GALLEY, The ones with the most experience usually are the best in what they do. Weil, this is certainly true of Capt'n Louie's Galley, for this establishment has been a part of Gainesville since 1948. Serving the area with the best seafood around, this fast food service strikes us at NEW LOOK as unique in being one of the few fine fast-service seafood establishments in the area. Two locations to serve you: 309 N.W. 13th St. and 231 N.W. 10th Ave. CARMINELLA'S, located in the Gainesville Mall, is a fine place to stop for a quiet rest while shopping in the Mall on N.W. 13th St. Carminella's is a good place for either lunch or dinner. Call 376-0666.

ladies mixed drinks 50c each. Hours: Mon.-Sat. noon to 2 a.m., Sun. 1-11 p.m. Phone 372-9221. DIXIE CREAM, corner of 6th Street and 23rd. Avenue, serving "all of the people all the time". Features a complete menu of fresh foods, on-premises baking and daily specials. You'll always find homemade biscuits, chili, vegetable soup and many gourmet delicacies in great demand - just ask. Open 24 hours. 7 days a week with plenty of free parking. DOUBLE D LOUNGE, Highway 441, Micanopy. For a down right good time of drinking draught beer and cold wine, come drink with us. Featuring three pool tables, electric dart game, country-western juke-box, and dance floor. We know you'll find your place. Open 7 days a week, 4 p.m, till 2 a.m., except Sunday, 4 p.m. till 11 p.m. 466-9244. The biggest and best sandwiches: Ham (and Cheese) and our own Bar-B-Que Beef and Pork. DOMINO'S PIZZA, Three locations in Gainesville to serve you and one in Ocala. Domino's is not'only known for having deliciously prepared pizza but also because they specralize in free delivery. So if you want to stay at home call Domino's. Phone any three numbers in the Yellow Pages. The Pizza People Plus!

AHBY'S ROAST BEEF, 1405 S.W. 13th St. Get the best shakes in town as well as Arby's Roast Beef Sandwiches, Super Arby's, potato cakes, and turnovers. Open 11a.m. to 12 midnight.

CASTELL'S FISHERMAN, offers the finest in traditional coastal seafood. Located in the unique village of Cedar Key, just a leisurely 50 mile drive from Gainesville. Open every day except Tuesdays. For further details call 543-5305.

THE ARCHER ROAD RESTAURANT, For the finest in homestyle country cooking take a drive just west of 34th St. on Archer Road. Open 7 days a week. Their meals will fill you up without emptving your wallet. They also have a call ahead - p;ckup service. Generous portions, fair price, pleasant atmosphere. Call 377-6230.

CATCH 22, The catch is that it is for rednecks and intellectuals. The customer is never right; the atmosphere is. Food, beer or liquor upon special request. Formal wear required after closing hours. Located in the chic Jonesville Mall, just past where West End ends and life begins. Bring money and spend it.

ART'S RESTAURANT & LOUNGE,4 miles south of Gainesville on Hwy. 441, known for having some of the finest steaks around with your favorite wine or cocktail. Art's is open Mon. through Thurs. 5-10 p.m., and Fri. & Sat. 5-11 p.m. Call 372*5635.

CHICKEN UNLIMITED, serves crispy fried chicken to go or to enjoy on the premises. Chicken Unlimited Family Restaurant is located on 1805 S.W. 13th St., and offers you chicken by the dinner, by the box or by your favorite part. Hearty sandwiches are also served, along with a la carte items like french fries and cole slaw. Open from 4 to 10 p.m. every night, children under 6 free. Call 377-0901 for more information.

12 EAST RESTAURANT, specializes in elegant continental cuisine. Either on their intimate patio or in the tastefully appointed dining room you can enjoy expertly mixed cocktails and the finest cooking. Open from 4 to 11 p.m. from Monday through Saturday. The Cocktail Hour from 4:30 to 7:00 is a perfect way to close the business day. Tuesday thru Saturday enjoy Old-Timey fiddler Ed Partridge and Guitarist George H. Nelson on the Mardi-Gras Patio. 12 S.E. 2nd Ave. 378-6307. Something New Down-Home Cooking from 11:30 a.m. to 2:00 p.m. daily.

C!N CITY BIG DADDY'S, 1611 S.W. 13th St. This is where Rockin' Rick does his thing. When in Gainesville you've got to stop by this hot disco. From their walls covered with mirrors to the $15.000 disco sound & .light system, you'll find it at Cin City. Watch for their nightly specials.

EL MEXICANO, 2409 S.W. 13th St. is the place to go for delicious Mexican food. Tortillas, enchiladas, tacos, and retried beans are among the treats to choose from. All of the dishes are prepared on the premises so you can count on homemade Mexican cooking. Take out service available. Call 377-5151.

AUJO'S SANDWICH SHOP, 1997 N.W. 43rd in the Millhopper Shopping Center. If it's a large delicious sandwich you want for lunch or a late night snack, this is the place to come. Also served are your favorite beers and wines. Open Mon.-Sat. 10-12. THE BEEF AND BOTTLE. 5220 S.W. 13th St., Just south of Gainesville. Dining at this restaurant is more than just going out to eat. From oysters on ihe half shp'l to Drnie rib, it's all at the Bopf and BoHle. Sornethinq new dancing in our Entertainer Lounge. For a full evening of pleasure try the Beef and Bottle. Call 372-3449. BILBO & GANDOLF'S, 2300 N.W. 6th St. Now featuring delicious entrees, delicatessen sandwiches and specialties like French Onion Soup. Open daily for lunch, Mon.-Sat. at 10:30a.m. Dinners available evenings, Mon.-Thurs. till 1:00 a.m. Friday and Saturday evenings enjoy our assortment of exquisite cheese baskets. Fine entertainment nightly. Call ahead for reservations, 377-9890. BLIMPIES, 1802 West University Avenue. Gainesville's new place to go for an adventure in eating. Super base subs - regular (6") or giant (12"j. Free delivery with a $3.00 minimum. Open 11 am to 2 am daily. Call 375-8181. BLUE WATER BAY, State Road 26 in Melrose, is not just a dining experience but pure enjoyment. Their rustic surroundings add pleasure to whatever you eat, whether it's delectable shrimp and lobster or select oysters to the choicest N.Y. steaks. Including an assortment of beers and wine hard to resist, even on Sunday. Entertainment on Friday, Saturday, and Sunday. Call 475-9471. THE CAPTAIN'S TABLE, in Cedar Key off State Road 24 is one of the finest seafood restaurants in the area, the Captains Table features a variety of dishes, including shrimp.

COOEY'S RESTAURANT, located on the Steinhatchee River, is one of North Florida's finest seafood restaurants. It features fresh seafood prepared to your specifications. Crab, shrimp, and fish are among Cooey's specialties. Also available are steak, chicken, fresh oysters, and roe in season. Dinners range from $1.75 to $8.50. In addition to its fine restaurant, Cooey's offers boats and motors, tackle, and fishing guides to take advantage of the excellent gulf fishing. AAA Motel and banquet facilities for up to 125 people make Cooey's the perfect spot for a complete evening or weekend getaway. For special arrangements call (904) 498-3501. CRYSTAL STEAK ROOM, located inside The University Inn at 1901 S.W. 13th St. The Crystal Steak Room offers an elegance in leisurely dining; their menu offers excellent food at a good price. They offer everything from marinated herring in cream for an appetizer to steaks and chops and Henny Penny - Lucky Ducky & Friends. The Crystal Steak Room is open Wed. thru Sat. from 6 p.m. to 11p.m. CYPRESS LOUNGE, 4005 N.W. 13th St., Gainesville's only neighborhood bar. You'll find the friendly people and relaxed atmosphere a comfortable change of pace. Enjoy every drink from draft beer to our Dirty Pink Squirrel and New Orleans style Bloody Mary. Pool tournaments Tuesday and Sunday evenings. Ladies Night - Sunday 5:30 - 9:30 p.m

DUB'S, 4560 N.W. 13th St. This is one of Gainesville's largest bars, featuring disco sounds to get down. Dub's has some fantastic specials. So, for an evening of fun, check out Dub's.

THE GENERAL GAINES RESTAURANT, 1900 S.W. 13th St. located in the Holiday Inn downtown, begins serving breakfast at 6 a.m. and continues until 11:30 a.m. Lunch is served from 11:30 a.m. until 4 p.m. featuring the Businessman's Luncheon. Both lunch and dinner are served in the comfortable surroundings of the Fireside Room. Call 372-3311 for reservations. GREAT SOUTHERN DELICATESSEN, 235 W. University Ave., downtown. Next door to the Great Southern Music Hall. It's the place to go for the most complete line of sandwiches in the downtown area. Specializing in fine quality meats and imported cheeses. Their bagel, lox and cream cheese is the finest. Open daily at 10 a.m. for your morning coffee. And 6 p.m. Sunday. Visit the deli for lunch, afternoon breaks, movies and concerts. Call 376-1635. GREAT SOUTHERN WINE CELLAR, 235 W. University Ave. Downtown. Just below the Great Southern Deli, this wine cellar offers a mellow relaxed atmosphere, excellent mixed drinks, imported and domestic beers and a fine selection of wines. Served daily (except Sunday). Happy Hour between 4:30 and 6:30 p.m. featuring free hors d'oeuvres.

[continued!

40 New Look

Qbervmcf Q&eautifitl(^faod

Featuring delicious entrees, delicatessen sandiciches & specialties like French Onion Soup Open daily for lunch Tues. - Sun. at 10:30. [)inners available ei-enings Tues. - TTiurs. till 1:00 Friday & Saturday evenings, dinner til 9:30 Aftertcards. enjoy our assortment of exquisite cheese baskets Cull Ahead hor Reservation*

Fine Entertainment Nightly

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corner of \ W6th St. & 23rd St. New Look 41

If you've got the time, we've got the beer. Charlie LaPRADD DISTRIBUTORS GAINESVILLE, FLORIDA — OCALA, FLORIDA 373-5515 42 New Look

622-3000

Restaurants & Nile %iÂťct* [continued]

GULLIVER'S, on 516 N.W. 13th St., serves piping hot deli-stylesandwiches of all varieties. You can take them home or eat them there. Open 7 days a week from 11 a.m. to 10 p.m 375-3345. HARRY'S BAR, located in the Gainesville Hilton at 2900 S.W. 13th Street. A piano bar ... luxuriously relaxing ... adjacent to the elegant Prime Rib Restaurant ... Harry's sets the mood for conversation and cocktails. Open 12 noon to 11 p.m. Monday through Saturday and 1:00 p.m. to 10:30 p.m. on Sundays.

JACK IN. THE BOX, 1209 West University Avenue, new to Gainesville, is open 24 hours daily, 7 days a week. Good things cookin, at jack in'theTtox include the Breakfast Jack, the Moby Jack, the Jumbo Jack and tacos. Fast, effic'e'nt service makes dining inside, outside or takeout enjoyable. You can even drive through! JOE'S DELI, 1513 S.W. 13th St., features the biggest selection of quality sandwiches in town with over 40 to choose from. This selection is highlighted by their 2 ft. Gatortail Sandwich. Also available is New York style pizza, homemade lasagna, and sp_aghetti dinners. Enjoy beer and fine wines with your meals. Open from 10:30 a.m. to 4:00 a.m. THE KEG, 203 S.W. 16th Ave., the most unique sandwich shop in town. Huge sandwiches on white or rye. Happy Hour 4:30-6 p.m. Wednesdays and Fridays. Also, professional quality foosball, pool, and pinball. Live JAZZ.

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THE KINGS TABLE, 215 N.W. 10th Ave., o'fers a large selection of hot or cold sandwiches served on custom baked white, rye or trench bread. And they have just expanded with a larger dining room and lounge to serve you. There's even a Royal Happy Hour from 4:30-6 p.m. daily. Hours: 11 a.m.-2 a.m. Phone 377-0150. KRISPY KREME, 310 N.W. 13th St., the place to get fresh doughnuts at any hour. With more than two dozen kinds of doughnuts and fresh Krispy Kreme Coffee, it's where you can get just what you want. Open 24 hours. The king of American doughnuts. THE LAMPLIGHTER, 1 N.W. 10th Ave., is Big Daddy s largest Gainesville lounge. They feature good drinks, good times, and the hottest bands in town. Plus they're open 12-2. Call 378-0636 for more information.

LEONARDO'S, w i t h two locations to serve you. Both take pnde in bringing you the only Chicago style pizza in a pan. Leonardo's promises you'll be delighted. Eat in or take out at both locations. No. 1 - 706 N. University Ave. open from 11 am serving whole pies only. Leonardo's No.2 across from the Flagler Inn serving slices only starting at 11 a.m. Both serve draft beer. Call 378-2001 or 372-2001.

MANARO'S, 212 Hawthorne Road, serves dinner from 5 to 9:30 p.m. Tuesdays through Thursdays and 5-10:30 p.m. Friday and Saturday. Manaro's boasts of serving authentic Italian food from old Sicilian recipes, and after trying homemadecanolli, you can see why Ken, the man behind Manaro's, is so proud of his restaurant. For good food and good times try Manaro's. And you can enjoy Sunday dinner from 5:00 to 9:30. Call 372-4690. NEW HARVEST RESTAURANT, located at 1718 W. Univ. Ave., offers the most unique menu in town. Virtually all the food served at New Harvest is prepared fresh daily in their kitchen. Try one of their hearty salads. For good food that you will remember, visit New Harvest Restaurant. Daily lunch specials. Call 378-9239 for take out. PALM COURT, Combine the convenience and atmosphere of a quaint airey side walk cafe with the Hilton's tradition of excellence in food preparation and you have the Gainesville Hilton's Palm Court ... Gainesville's most unique restaurant. Whether i t ' s breakfast, lunch, dinner or a late evening snack ... Offers a specialty service after 3 p.m., serving tea, pastries and flaming coffees in a warm atmosphere. Martinis and manhattans mixed tableside. Open seven days per week from 7:00 a.m. to 10:30 p.m. PIZZA HUT, in three convenient locations to serve you the finest pizza in Gainesville. In addition to pizza, there is a complete selection of other foods, including Cavatini and their famous deep dish spaghetti. Fine food and courteous service is an apt description of the area Pizza Huts. All this and your pizza can be their regular or new Thick 'n' Chewy. 2109 N.W. 13th St., I-75 & Newberry Rd., and 1723 S.W. 13th St. PIZZA PALACE, 608 N.W. 13th St., offers a casual atmosphere and candlelight dinner. Dining until 11 p.m. weekdays; Friday and Saturday until 12. Open Sunday at 5 p.m. Enjoy beer or wine with your meal. Try the house specialty: Shrimp Provincal, Shrimp sauteed with spices, served with side order of spaghetti (clam or marinara sauce), garlic bread and salad. Call 372-1546.

LILLIAN'S MUSIC STORE, 112 S.E. 1st St., offers atmosphere and service unlike anything else around. Decorated in an antique style with many pieces coming from throughout the southeastern United States. Happy Hour offers those much deserved cocktails from 4:30 to 6:30 every day. Enjoy the Livingston Goldin Duo Wednesday thru Saturday.vir; Phillip Goldin on the piano Tuesdays.

PRES & ED'S BAR-B-OUE #2, 1214 N.W. 5th Ave., for the finest barbecue goat, ribs, beef and chicken in the Gainesville area. Open Mon. -Thurs. 11 a.m. to 12 midnight, Fri. and Sat. from 11 a.m. to 4 a.m., and from 3 p.m. to 11 p.m. on Sundays. Serving your choice of sandwiches, dinners or plates (a hearty meal of meat and bread). Rib lovers take note, you can get a huge slab of ribs at Pres & Ed's #2 for little money. Phone 375-3900 and your take out will be ready when you get there. "There's no place near This Place like This Place - So this must be THE PLACE."

MAC'S DRIVE IN, 1331 E. University Avenue. One of Gainesville s oldest eating establishments is returning to the original style of service and good food at low prices. Breakfast 24 hours a day and good home style cooking continuing around the clock. Featured foods include 11 Vi fresh vegetables daily, homemade biscuits, corn muffins, cinnamon rolls, soup, chili and our own barbeque. Daily lunch and dinner specials 11:00 am til 10:00 pm. Takeout any food anytime, Mac's has thrown away the keys and opened the doors 24 hours daily. 376-9788.

PRIME RIB RESTAURANT, in the Gainesville Hilton, 2900 S.W. 13th St., ... Leave the 20th century behind you as you walk through the Mediterranean stone arches and into the refreshing atmosphere. The Maitre D' and the Executive Chef create gourmet dining m Gainesville's most elegant Restaurant... Specialties of the Prime Rib include: outstanding Prime Rib of Beef, Dover Sole, Live Maine Lobster, assorted crepes and a wide selection of German and French pastries ... Relaxed dining ... overlooking beautiful Biven Arm Lake. Facilities are available for small dinner parties. Call 377-4000.

MAD MONK'S INN, At N.W. 13th St, and 5th Avenue treats you to food and brew served in the relaxed atmosphere of a bygone era. Quiet Acoustic music nightly. Open 11 a.m. to 2a.m.

PRIMROSE INN, 214 W. University Ave. This is the place to go in Gainesville for good home cooking and true southern hospitality. Open every day 11:30 - 2:30 for lunch and 5 - 1 0 for dinner, free parking next door and in the First Federal parking lot. [continued] New LOOK 43

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LEO KOTTKE Special Guests Rosewater Blue Fri. March 5th - 8:30 & 11:00 Reserved Seats - At Box Office - $4.50

* CHUCK MANGIONE QUARTET With Esther Satterfie'.d Sat. - March 13th - 8:00-11:00 Reserved Seats - At Box Office - $5-6.00 UPCOMING MOVIES Sleeper Everything You Ever Wanted to Know About Sex Hard Times Breakout 44 New Look

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[continued] PURPLE PORPOISE, 2106 S.W. 13th St. The porpoise is the most friendly mammal in the sea, and the Purple Porpoise Drings you that fun, friendly atmosphere Here you can get a free draft Busch beer with any sandwich. And they serve the thickest sandwiches in Gator Country. If you like darts, you'll find the only professional dart facilities in Gainesville. Open Mon.-Sat. 11 a.m. - 2 a.m. anci Sun. 1 p.m.-11p.m

SNUFFY'S, 1017 W. Univ. Ave., destined to become hamburger haven for Gainesville, with their famous charcoal broiled Snuffy Burger. Pub Style luncheon and light dinners are their specialties. Try their London Broil. Happy Hour 4-6, 35c beers. Also call ahead - carry out service. 376-8899.

REX'S BAKERY, 15SW2nd St. Rex s features baked goodies from breads to cakes & a wide variety of sandwiches for Lunch, carry outs. & salads Everything is made fresh daily - baking by Rex & Rex - Try the REST and then come buy the BEST. Hours: Mon.-Fri - 6 am-5 pm Sat. - 6 am-12 noon. Phone 376-7703

SONNY'S FAT BOY'S, 2700 Waldo Rd. and 3610 S.W. 13th St. Barbecued beef and chicken served in casual surroundings in Gainesville. Sonny's is famous with college students for crispy salads and side orders of garlic bread. Good food at low, low prices. Visit Sonny's for lunch or dinner.

RUBY'S RESTAURANT & LOUNGE, south of Gainesville on Hwy. 441. Serving dinners Mon.-Sat. 5 to 12 and Sunday 4-9:30. It's definitely worth the drive. If you're tired of the same old typical restaurants, we suggest Ruby's because here Vou'll find something different in dining out. No stone is left unturned in the preparation to ensure that your meal is everything it should be. SHANGHAI GARDEN, 1620 S.W. 13th St. This unique restaurant offers an exclusive menu with delicacies from the land and sea. The menu features authentic Mandarin Chinese cuisine prepared by our own chefs from Taiwan. For a full evening of pleasure relax in our Polynesian Tiki room. Chinese Peacock Parlor, or romantic garden terrace. We serve you every evening from 5 to 11. Call 372-5656.

SOME PLACE ELSE, 1430 S.W. 13th St., Gainesville's new disco and restaurant. Our restaurant features a "First" for Gainesville steak by the ounce; Cut To Order At Your Table. Enjcy HAPPY HOUR 5-8 p.m. - Drinks 35c Come in for an evenings of drinks, dinner and dancing.

THE STEAK PLACE, 1542 W. Univ. Ave., across from the U.F. campus. Truly "THE" place for steak. If you are looking for a fast, clean family steak house where the food is served right the first time, every time, and every employee believes that the customers' satisfaction is his most important consideration, you owe yourself and your budget a trip to The Steak Place. No expensive frills, just the best steak and potato money can buy at prices anyone can afford. THE TAVERNA LOUNGE, Downstairs in the Gainesville Hilton, 2900 S.W. 13th St. ... The Taverna offers excitement, adventure and a touch of mystery ... all awaiting your evening's pleasure. Nothing for miles around will be able to match this festive room ... where the best of entertainment, atmosphere and fast service come together to give you an evening you'll long remember. Kaleidoscope invites you to an evening of exciting entertainment ... Chris, Tom. Steve and At want you to discover why the Taverna is the place to be in Gainesville. With Kaleidoscope generating the music that makes

you dance ... relax at your table or at the comfortable bar and let Kaleidoscope take you away ... Open Monday through Saturday from 8 p.m. to 2 a.m. Featuring the finest imported and domestic beverages with entertainment and dancing nightly. TONY AND PAT'S PIZZA, 3510 S W. 13th St., is a lively spot with plenty to offer. Everything in a pizza from cheese to their new Hawaiian pizza with ham and pineapple. Enjoy supremely prepared pasta dishes like spaghetti, lasagna, manicotti, ravioli, and veal parmigian. Salads and wine too. A place not to miss for good food and drink. VILLA ENRICO, located at N.E. 23rd Ave. here in Gainesville. For three years, people have been enjoying the fast and personal service and the delicious Italian-American delicacies offered. Enjoy the varied spaghettis, lasagnas, and custom prepared orders, like Villa's special Polenta and Breast of Chicken in Mushroom Sauce. THE WAHINE LOUNGE, 1901 S.W. 13th St., located in the University Inn. Here you'll find Bobby Griffin at the piano bar singing your own request. Enjoy your favorite cocktail here in pleasant surroundings. Open from 3 p.m. to 2 a.m. Monday through Saturday. Call 372-4242. WEST COAST SEAFOOD MARKET AND RESTAURANT, 1228 N.E. 5th Ave. and Waldo Rd. Friendly service and quality dining. West Coast Seafood has takeout orders for the beach or park and a seafood market for those who prefer to cook at home. In the restaurant or at home, West Coast Seafood is not to be missed. Cocktails are available. 378-1353. THE YEARLING RESTAURANT, located in Cross Creek off Hwy. 441, South SR 325 just 20 minutes from Gainesville. Specializing in fresh seafood items, the menu offers such delights as soft shell turtle, frog legs, quail steak and chicken. New Look recommends the cajun style Gumbo. We're sure you'll like the food as well as the drive. Call 466-3033.

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New Look 45

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NOW SERVING YOUR FAVORITE COCKTAIL Mon.-Thurs. 4:00-9:30 Fri. & Sat. 4:00-10:00 Sun. 11:30-9:30 Own6d and operated by Betty and Virgil Griffis

Waldo Road and 5th Ave. 378-1353 48 New Look

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PURPLE PORPOISE

Thickest Sandwiches in Gator Country

Pres & Ed's #1: 925 SE 7th Place

FREE Draft Busch Beer With All Sandwiches

378-3900

Wed. - Thurs. 11 A.M. - 10 P.M. Fri. & Sat. 11 A.M. - 2 A.M.

Complete Line of Professional and Amateur Darts. Featuring: Unicorn • Kwiz • Dartronics

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375-3900

Dart Tournament

Mon. - Thurs. 11 A.M. - Midnight Fri. & Sat. 11 A.M. - 4 A.M. Sun. 2 P.M. - 11 P.M.

Gainesville Dart Association vs. Dart Association of

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Announces

OUR NEW LESSON PROGRAM 4> GUITAR B'Grass, Folk, Slide, Finger Picking, Flat Picking, etc.

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Lunch 11:30-2 Dinner from 4:00 Cocktail Hour 4:30-7:00 Entertainment Nightly Reservations 378'6307