Page Four
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* Slav Corner *-
iw t. Leo
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Note: This is the twelfth in a
series of weekly articles.
During my mother's last
pregnancy, I was seven years old.
I remembered seeing her
pregnant before, but had never
been curious as to why she looked
that way or how she got that way.
On , :- evening, right around my
bec.:ime. I was in her room
looI:ing at the stuff on her
dreser.
Sae was getting ready for bed
and I must have looked at her
strangely. because she said:
"Why are you looking at me like
that?" -
"You look funny." I told her
Why?" she asked
- Is there a baby inside you?"
When I said this she suddenly
beame thoughtful...paused for a
moment or two.
"Come put your hand on my
tummy." she told me. I felt really
shy. I was afraid that if I touched
her I might hurt her. So I just
looked at her. She took my hand
and placed it on her tummy. Her
skin was warm and soft. I don't
know what I expected to feel:
maybe the baby. But at any rate,
my mother was carrying around
one of my favorite people my
brother Byron. A Leo.
Now, I don't like all Leos. I
dislike a lot of them and I've had
plenty of occasions to dislike
Byron. But he is the one Leo I've
been able to study closely. One
Singer-poet Ron Mete in close rapport with his audience during
the free concert last Thursday, common hour.
Mini Folk Concert
By Myriel Hykes
In the style of a good per
former, Ron Mele opened his
program of "Folk, Rock and
Gospel" with a few jokes (to
loosen up the audience.). The
program which was - held in the
RUB quiet lounge, was attended
by 25-30 people. Most of the songs
he sang were said to be popular
songs, but as Ron said "They
have meaning." Such songs in
cluded in his opening number
were "Lean on Me", "Everything
I Own". "I Want to Sing You a
Love Song". and "Never Ending
Love" by Johnny Cash. Ron
encouraged the audience to clap
and sing along. There were songs
based on the Gospel, such as
"The Prodigal Sons". In the song
"The Holy Observer" the concept
of man as actors and the world as
a stage was elaborated. The idea
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By Rosa Myers
thing that I have noticed about
Leos is that they have sunny
affectionate personalities and
warm loving hearts. Even the
snobbish types. (And there are
'plenty of them around.) Leos are
flamboyant people and enjoy
being the centers of attention;
which isn't difficult for them
since they often have dynamic,
demanding personalities. They
will rarely go through life without
flocks of admirers.
They love to give advice. Their
own lives may be in shambles,
but they'll go right on telling you
how to solve your problems.
They are generous people and
must be careful that material
possessions do not take the place
of real affection and love in their
lives. Since Leos are often the
pampered, beloved, or chosen of
many, they are underestimated.-
But they can display a kind of
steely determination and strength
when faced with life's ad
versities. Their kind of coping is a
far better example of human
bravery than the often careless,
heroic deeds of others.
You probably already know
that Leos are supposed to be
some of the worlds great
romancers. Not lovers.
Romancers. There's a difference,
you know. They're always ready
to fall in love. They're suscep
tible.
Leos will go all out and there's
no part of themselves they'll
that stands out in my mind from
that song is man's anger when the
Holy Observer turns a page from
the book of life. Anyone who's
ever heard •Living for the City",
by Stevie Wonder, knows that the
lyricS could stand alone
as poetry. Somehow, the way Ron
Mele sang that song gave me a
more vivid awarness of the
reality of the ghetto.
Another outstanding song, that
was really a pair of songs
together was "Freedom for the
Stallion" and "Freedom is the
Truth". The idea behind these
songs was that the truth is sweet
and the truth will set you free. In
"Gone Away", Ron Mele is more
than just a singer. The songs he
chose and his style also shows
him to be a poet, and his act was
more than just an act it was an
experience.
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Behrend Collegian
withhold from a love. A lot of
Leos go through multiple love
affairs and marriages. You see,
you must flatter Leos. You
must let them, rule and be in
command. If you have ever heard
the line, "If I can't get it here, I
can go elsewhere", you'll have
some idea of Leo's love nature.
These people have quick,
violent tempers and sharp
tongues. They don't tolerate
unhappy situations. And are
capable of being arrogant, and
frosty.
A lot of Leos like to have their
own way and it can come as a
surprise when a sunny mild
manner, individual suddenly
becomes a raving maniac. But it
happens.
All I can tell you is that after all
the roaring has subsided, and
things are almost back to normal
again, try stroking your cat the
right way. He'll be purring in no
time!
Some Leo people: Ashley Swift,
John Heaps, Bruce Hackley, Joey
Kennedy, and John Tretter.
bra, Current Cinema
Young Frankenstein is a
veritable encyclopaedia of horror
film cliches. In Mel Brooks'
glaringly successful attempt to
put us in Frankensteinian stit
ches, he forms a hilarious
pastiche from all the "mad
scientist" films we saw at the
Saturday matinees.
The film begins with a low
angled, long shot of the
foreboding Castle Frankenstin.
As an extended dolly shot slowly
takes us into the castle, through
latticed windows. we are
reminded of the opening scene
from Citizen Kane. Brooks
borrows from other films as well:
Frankenstein's (Gene Wilder)
and the monster's (Peter Boyle)
rendition of "King of the Ritz", in
white-tie and tails, is quite like
the explorer's presentation of the
gigantic gorilla in King Kong; the
Transylvanian police chief's
mechanical arm certainly echoes
Dr. Strangelove: Igor's (Marty
Feldman) "walk this way" and
"you take the blonde and I'll take
the one in the toyban (sic)" lines
are straight from Groucho's
mouth; and Frankenstein's
fiancee (Mddeleine Kahn), in her
final bedroom scene is the Bride
of Frankenstein.
But Mr. Brooks needn't depend
on others for his supreme, comic
artistry. He masterfully
recreates the classic horror film
mise en scene' with ahigh grain,
black and white stock, a
well-suited, scratchy sound and
an eerie, unrefined musical score.
He supplies this environment with
the standard dialogue and
situations, then proceeds to turn
them on their heads. A terror
fraught scene, in which the
monster is strangling its creator,
degenerates into a game of
charades. Brooks begins to
repeat this gag, but—a knock at
the door—the director knows
when to stop. In another scene
Frau Blucher's (Cloris Leach-
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Pop and Rock
t \
By Ken Bobek
Poco is one of the best country
rock bands around today, and
they have a new LP out entitled
"Cantamos". In Spanish Poco
means little or small, cantamos.
means "we sing". Listening to
this LP, I wondered why a group
would ever name an album
"Little We Sing", especially one
as good as Cantamos.
Poco has been around for a long
time, and, like wine, they have
only improved with age. Can
tamos is their eighth album;
their second since the loss of
former members Jim Messina
(now with Kenny Loggins) and
Richie Furay (now with the
Souther, Hillman, and Furay
Band). The absence of Messina
and Furay was slightly noticeable
in Poco Seven, the album
previous to Cantamos, but
whatever poise and luster which
was lost has now been regained
and excellently demonstrated in
the new release.
The guitar work is handled by
Paul Cotten and Rusty Young,
Rusty also playing the banjo,
By Robert Curtiss
man) emotional confession of her
true relationship to Victor
Frankenstein, young Franken
stein's grandfather, ends in the
bathetical exclamation,
"boyfriend!"
There is another interesting
element in the just-mentioned
scene. As young Frankenstein
asks a series of pertinent
questions of Frau Blucher, she
accompanies each revealing
answer with a minor chord from
the violin she is holding. Here, we
actually see the sound effects that
we have only heard in so many
previous horror films. Also, we
remember the sudden ap
pearance of Count Basie and His
Orchestra, in the middle of the
desert, in Brooks' Blazing Sad
dles.
The director, and co-author of
the script, with Gene Wilder, uses
the sight gag to his credit and the
audience's amusement. Igor's
hump switches from side to side
throughout the movie. Once, even
the police chief's mechanical arm
switches. Elsewhere, Gene
Wilder informs his assistants of
the necessity to appear normal,
as his collar flies undone and his
bovvtie sails through the air.
Director Wilder is also pre
occupied with sex. The film is
laced with double entendres.
like Froedrich Frankenstein's
exclamation, "what knockers,"
upon seeing the castle doors,
which is received by his.,well
endowed lab assistant with a
"thank you". Another suggestive
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dobro, harmonica, mandolin, and
steel guitar. Tim Schmitt fills in
on bass, and George Grantham
supplies the percussion to keep it
all going. Paul, George, and Tim
all combine to form the unique
vocal harmonies of Poco.
The legendary western style of
Poco is never once forgotten, the
whole album composed of such
cowboy-ish cuts as "Sagebrush
Serenade" "One Horse Blue" or
"Western Waterloo." The guitars
of Paul and Rusty rarely quit, and
are frequently enhanced by
banjo, percussion, and steel
guitar solos. The crisp vocal
harmonies are pleasant to hear,
keeping the happy mood
characteristic to Poco.
Canta mos is a refreshing
change from the ordinary-. The
simple, easy-going melodies can
only make you want to clap your
hands or tap your feet. The lyrics
are simple and friendly there are
no hidden messages for the
listener to find. Instead, Poco
provides plenty of good, happy
music which will brighten the
sprits of any listener.
gag, which is totally dependent on
camera movement, takes place in
the inner reaches of the castle.
The camera is trained on the low
lit ceiling of a secret chamber.
Off screen, we hear the grunts
and moans of Young Franken
stein. As the camera inches
downward, we find him excitedly
pouring over the manuscripts of
his famous ancestor rather than
the expected scene.
Finally, Brooks' editing is
superb..He uses contracting and
expanding irises, slow wipes and
a beautiful matching action cut
which takes us from a swinging
drawing of the proposed monster
to a swinging, hanged corpse
from which the monster is
eventually constructed. A
"spinning" cut is also employed,
which transfers Wilder from an
American train to an identical
Transylvanian train. These
cutting techniques greatly
enhance the notion that his film is
from the period and genre it
parodies.
During the public inquiry into
the young Dr. Frankenstein's
activities, the two town elders
remind their fellow citizens of the
gravity of the affair, and tell that
they have been haunted "five
times over" by nightmares about
Dr. Frankenstein. Presumably,
they are referring to the
multitudinous remakes of this
classic horror film. But, in this
one they need not worry, for they
do not have another nightmare,
but a dream come true.