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Zodiac Signs
'Scorpio? Right!
You Must Be A Leo.’
By Brenda L. Camp
“Scorpio? Right!
“You must be a Leo.’’
Along with blacks on
going search for identity
and quest for self-suffi
ciency has been an in
creased interest in the oc-^
cult sciences--most not
ably astrology.
The twelve signs of the
zodiac have become guages
of personality types. While
only years ago, individuals
who got out of bed if, and
only if, their horoscope
predicted a good, day, today
are no longer the brunt of
good-humored jokes.
In Clark’s opening con
vocation, Pres. Vivian
Henderson found it neces
sary to reveal his astro
logical sign. The very
mention of Aquarius
brought a ripple of right-
on’s! and that’s hip’s!
Astrology has become
the signs of the time. And
almost everyone can
vaguely recall the traits of
each sign.
One Clark coed, seated
“on the blocks’’ in front of
Merner Hall, was taking in
the pleasant fall sunshine.
She is relatively uncom
municative with a dude who
is vigorously trying to rap.
When the girl fails to re
spond favorably to his elo
quently-phrased inquiry of
“why can’t we get it to
gether?”, the ego-bruised
dude hurls “You must be
Virgo!” at her and leaves.
A very shy senior at
Clark refuses to wear her
astrology sign patch on her
jeans. Why? “Because all
the dudes will think I’m
horny.” She’s Scorpio.
. Blacks, with upward mo
bility and more leisure
time, have delved into as
trology with a passion.
Walls of rooms and
“cribs” usually flagrantly
bare their residents’ signs
with posters and plaques,
and in paints.
Jeans, jackets and
“brims readily display the
traits of their wearers, or
a “rap” thereof.
As a scholarly-type dude
ascended the stairway in
Haven-Warren, a fellow
classmate asked him what
was his sign.
“Capricorn. Why?”
“No wonder you scored
highest on the quiz!”
'Amen Corner’ Brings Good Laugh
By Carmen Beverly
A Review
The Morehouse-Spelman
Players opened their sea
son with the standing o-
vation for presentation of
a play, The Amen Corner
on October 7-12. The play
written by James Baldwin
is an excellent play pitting
the evils of those who use
the church against the
evils of the world.
This production was no
doubt a comedy, but simi
lar to many plays directed
by Carlton Molette, the
comic aspects were over
done. Frequently, the audi
ence laughed too long and
at the actor rather than the
dialogue. The audience
participation in the play
added to the atmosphere of
hilarity.
Anoverenthusiastic
church congregation some
times drowned out the pas
tor, a Sister Margaret
(Sheila Da?is) who contin
ued to preach throughout
the play, regardless to who
or what she was talking a-
bout. Her performance
could best be discribed in
her sister Odessa’s words,
played by Gayle Williams,
“■You’re not a hard woman,
You’re just in a hard
place.” Sister Moore,
characterized by Rosalyn
Lewter, was the hit of the
show. Her portrayal of the
ambitious Elder, using the
church to win prestige in
the community was above
comparison to anything on
the Spelman stage, since
the days of “DR. B.S.
Black.”
A long time veteran of
the Players returned once
again. C. Miles Smith in
the form of Luke, Marga
ret’s long lost, trombone
playing husband, repre
sented the , evils of the
world.. C. Miles almost
stopped the show when he
collapsed from his sick
ness. His portrayal of
misery while sick made
the audience endulge in
their laughter.
The Spelman stage has
not had a set built on it in
years, but Rae Williams,
the new Technical Direc
tor, came close to creating
that environment for the
actor heretofore so evas
ive. Unfortunately the set
was painted so poorly that
it distracted from the play.
Lighting and sound crews
suffered from the usual o-
pening night gitters.
The overall production
was most entertaining and
if by chance you missed it
you assuredly missed a
good laugh. The next Spel
man production will be O-
ganda’s Journey,” by
Ezekiel Mphahlele. It will
open November 18 and run
through the 23rd.
Manhattans at MBC Homecoming
Columbia recording
artists The Manhattans
will appear at Morris
Brown College for one
night only. Saturday. Oct.
10.
The group, consisting
of five master perform
ers from Jersey City. N.
.1 . is currently enjoying
success with their hit sin
gle "Summertime In The
City" from their just re
leased album 'That'sHow
Much I Love You.”
Page Seven
PANTHER October, 1974
(1 to r) Herbie Hancock, Bill Summers, Paul Jackson,
Mike Clark (seated) and Bennie Maupin, left the audience
raving after a fantastic performance at Atlanta’s Civic
Center.
Electrified Jazz Blazes
At Atlanta’s Civic Center
BY MONICA PHILLIPS
On Sept. 28 jazz came to
Atlanta Civic Center in the
form of flutist Bobbie Hum
phrey, trumpeter Donald
Byrd, the Blackbyrds, and
pianist Herbie Hancock.
First on stage was Bob
bie Humphrey, who entered
to the pulsating rhythms of
the Blackbyrds.
Bobbie’s radiant voice
and magnificient skill on
the flute brought on a stand
ing ovation as she did such
selections as “Love
Child,” “Harlem River
Drive,” “Blacks and
Blues,” and “Chicago
Damn,” all taken from her
Blacks and Blues album.
She also gave the au
dience a peek at her soon to
be released album, “Satin
Doll,” by doing a short cut
from it.
The Blackbyrds, com
posed of students attending
Howard University, were
once the back up artists for
Donald Byrd, but now the
group is on their own.
They recently recorded
their first album entitled,
“The Blackbyrds.”
From their latest re
lease, the Blackbyrds did
the melodious tune, “Sum
mer Love” along with “Gut
Level,” and “Do It Fluid,”
two boogie down tunes that
got the audience out of their
seats and onto the floor.
When Donald Byrd and
the Blackbyrds combined
their musical skills, the
sounds from Byrd’s latest
releast, “Street Lady,” and
his Grammy Award winning
“Blackbyrd” recording e-
choed through the center.
After Dr. Feelgood
emcee for the show, an
nounced the coming jazz
concerts, which included
Bill Withers and the Cru
saders, he introduced none
other than, Herbie Han
cock.
The electrifying sounds
of “Sly,” “Vwin Melter,”
and “Watermelon Man,”
were just a few of the sonds
heard.
Hancock played two cuts
from his new album,
“Thrust.” “Butterfly,” a
mellow and soothing cut
from the new album, sent e-
verybody off.
Of course the show was
complete until Herbie Han
cock did “Chameleon.”
The showmanship dis
played by Hancock on thee-
lectric piano and organ was
fascinating, because he
performed like a scientist.
As he got deep into
“Chameleon,” Hancock
chocked the audience by ad
justing knobs on the organ
to a place where the elec
tricity from his body low
ered and raised the pitch.
When he rapidly lowered
and raised his arms to
change the pitch, he looked
like a mad scientist, in
venting a mysterious ob
ject.
Then as he moved in from
front of his instrument, he
began to swing his arms so
widly that the pitch of the
organ and the people went
berserk. And as everyone
was screaming, clapping
and looking in amazement,
a ball of smoke lit the stage,
and Hancock was throu^i.
Leaving his a u d ie n c e
thrilled and amazed, but
still ranting and raving with
their standing ovation.