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Page 8 Maroon Tiger April, 1968 (Con’d, fron page 1) THf AMERICAN SCENE washing to see America for what it is: racist, aggressive, power-hungry, and imperialistic, intolerant of disagreement with its Fascist military tactics, willing to murder its'poor rather than help them. Not too flattering? Look at VISTA, the “DOMESTIC PEACE CORPS”, which gets such a small budget from Congress that it can hardly afford mailing stamps, not to mention fight a war on poverty. It is a noble effort on the part of those who are sincere but much like fighting a dragon with a tooth pick. The smallness of the budget tells the story of what is important to Congress. The lament for VISTA is that, no matter how hard it works, it will not have much effect unless it is done on a larger scale, and to do so requires more money. Congress knows this. That’s why the budget is small. Many young people have little confidence in the racist, selfish madmen running this country, and voting gives us little choice. It’s like voting for the Devil or his main man, both evil and equally hellish. The demented and perverted images that Styron inflicts on Nat Turner are but the fears and desires of white America of what they would like blacks to be. Blacks are seen as rapists drooling after white women, homosexual, vicious, and savage, Christian—in short, black caricatures of what defines the white man’s reality. It is ironical that this same year embraces The Confessions of Nat Turner, The Report of The National Ad visory Commission on Civil Disorder, andEsquire’s“The Second Civil War,” along with the jailing and persecution of Leroi Jones and Rap Brown, the invasion of black college campuses like Texas Southern University, Alcorn A & M, and the murder massacre at Orangeburg, S. C., where innocent and unarmed students were fired upon, point - blank by state troopers who were yelling, “We gon’ get us some niggers tonight.” This is the year in America when Dick Gregory runs for President, a year when George Wallace gets cheers from Ohio to Mississippi, when guns are sold to whites in Georgia for $1.00 each, a year when black students are labelled subversive for studying their own history and or ganizing their own people and talking with SNCC. This is the year that the American President is more shocked by “crime in the streets” (black people) than crimes of the drug syndicate—Cosa Nostra— and crimes in Congress and Vietnam. This is the great year that Congress sees fit to take our best educated who could do something construct ive and make footsoldiers of them, sending them to kill yellow people who ask only to solve their own problems, America is oh the verge of committing national suicide by treating the cry for bread with the medicine of riot control, by treating the cry against the Vietnam war with in duction, by treating those who expose lies with the label “subversive,” by the delusions of white sancity and purity, by the senseless neglect of the poor, by the economic and social castration of black men, and by the refusal to see that together all of us stand (but only with justice and decent equality) and divided we all fall, consumed in mutual hat red, strangled by mutual fear and despair. We must have no illusions. We must call a lie a lie, though truth is painful. Truth has now the high price of censorship, jail, or even death. It must be said or this country will perish at its own hands. Some of us don’t be lieve in suicide and find,life nor self -destruction a virtue. This writer is against the can cerous racism of America, against the murder of poor people by government’s neglect, against the murder of our fellow students and brothers in the Vietnam War, and unjust and unwinnable war which can lead only to WW III if it continues, against the dropping out of hippies—white and black, and against the degradation of human life, whether that life be incarnated in white, black, or yellow skins. America has great power to destroy and is using it. Is it'not strange that so much is given to create misery and so little to keep the candle of delight and hope alive in a bleak world run by unpoetic men who see us as guncarriers? It is not strange that discus sion has ceased about violence on television since the escalation of the Vietnam War? Is it clear why passive resistance followed Alice and the Cheshire cat for a walk in the black forest and is no longer with us? Read the daily paper and ask, “What will my children be like?” Or, better yet, “Will I have any?” "Tell Me, Teach Me About This Little World" According to Bertolt Brecht, plays should be so unrealistic the audience would not forget for a sin gle second he is attending a theatrical performance; yet his Threepenny Opera is one of the most cap tivating works ever presented on the musical stage. Tom Jones, in his adaptation of Arthur Schnitz- ler’s Anatol, successfully follows in the Brecht tra dition. The music accompaniments (played by Joyce Finch Johnson et aL) sound as if they are coming from a player piano. Louis Maza’s settings are suit able for every mood and consist of cardboard cur tains, artificial flowers, trees, snow. David Banks portrays the narrator (and Max, Anatol’s best friend), tl who tor functions as a cross between the titles in a Valentino movie and the card girl who announces acts in a vaudeville show. The servants and waiters (Gary Odom, Edward Billup) and the musicians (Walter Dallas and Robert Garcia) franti cally set tables, pose as street vendors, and play an intricate role in moving the scenery. Anatol is the story of a Viennese lover (circa 1890). Cora (Karen Hughes) is the first woman to appear in the play. Cora is a nineteen.-year-old femme fatale, and Anatol hypnotizes her in an at tempt to discover if she has been true to him; but his vanity prohibits him from pursuing this scheme. Annie (Adrienne Lanier) is a boisterous ballet dan cer with a “sentimental tummy;” she leaves Anatol despite the fact that he can provide her with every thing she wants in the world: oysters, champagne, oysters, beer, and oysters. Although Miss Lanier did not seem to be graced with a beautiful voice, it was as it should be; and her zany performance was a show stopper. After two comic vignettes, the tempo changes to that of a melodrama. In a winter scene, Anatol and Gabriclle ( AnnGartell) desperately try at not lov ing one another, but they eventually find it neces- Gabrielle in Anatol sary to depart. The next scene takes place in Max’s study. Anatol and Max look over memoirs of Ana- tol’s past love affairs; Anatol recalls how madly Biaca loved him, but Bianca (Betty Coleman is charming in this role) fails to remember him when again they meet. On Anatol’s wedding day, Ilona al most prevents him from getting married — the idea of his making love to her before marrying someone else is not her cup of tea. Lara Buggs played this role of a prima donna, as well as sang, with perfect ion. The part of Anatol is the most strenuous in the play, but seems to be tailor made for Hannibal Penny. He never faltered and delivered an excellent performance. Although Anatol lacks substance, it has charm and the finest presentation of the Morehouse—Spel- man Players this season. The cast, songs, and libretto, costumes (Luis Maza),and lighting (Charles Walker) were commendable. Ronald Allison was the musi cal director—and Robert D. Donnelly expertly co ordinated this fanciful shebang. (The play was per formed at the Fine Arts Building, Spelman College, during the week of March 6). (Con’d, from page 1) Dr. Beatty is well qualified to help stu dents with their problems because he has held numerous positions as counselor, college dean, and for one year served as acting col lege president. Despite his many honors in scholastic achievement, he speaks humanely, truthfully, and frankly to all who hold con ferences with him. I would encourage all to make use of his talents for not only voca tional guidance but with hopes that his know ledge and experience will help us solve our personal problems. (Con’d, from page 2) from the rest of the black race throughout the world. The etymology of the word Negro has no related background to the Latin or Spanish meaning. Negro - Spanish, Le noir-French, Ethiop -Greek, Nigri - Latin, or Negro Port ugese would be correct in describing a so-call ed Negro, because they all mean black. They are all descriptive adjectives associated witn the original race of Africa. Negro is a word of no descriptive or relative meaning. The word Negro is suggestive of a head- scratching, grinning, inferior black man who lives in America. The American black man, the so-called Negro, is the only person in America who is called by a name other than one of description or origin. You don’t call the American white man a “funny” name be cause he is a white man in America; you call him a white man or an American. This is al so true with all other racial and ethnic groups in America. To understand this even better, we must look at the other groups. A person who has arrived in the United States from another part of the world is named by the part of the world from which he or she comes — hence the names Irishman, Puerto Rican, Cuban, German, and African. An offspring of this person may have his name linked with the word American to show he was born in this country or is a citizen of this country. So we have the names Irish -American, Chinese - American, Polish- American, and so on. If his ancestry has a deep enough root in Ameri ca, he may be known as an American. A prime example of this is one of our famed beer commercials, with its references to the Chinese - American population, Ger man - American population, Hungarian - American population, and so on. An African, if not recognized as a true African, is seen as a black American or ac cording to the American way of thinking, a Negro. We can now reason that the name Negro was given to the black man brought to. This name Negro was used to separate the American black man from his original an cestors. By doing this, the white man had been able to keep the American black man in ferior. But now that the black American is no longer inferior and is on the road to equal ity, he is going to have to realize his heritage. In doing this, ne must see that he is an Ameri can or African descent and therefore an Afro-American. The white man in America is not called by one specific name. He is called by either his origin: Irish -American; his color: white; or his nationality: American. I feel the black man should be called the same. By his color: black; his origin: African or Afro -American; or his nationality: American. The white man uses his color to urfite him with the rest of the white men throughout the world. I feel that the black man should do the same. PEAS PORRIDGE WARM bhw According to Marshall McLuhan (author, UNDERSTANDING MEDIA), a lecture would be considered cool. It consists of two separate bodies: a speaker and a mass of people. There is very little interplay between the two. On the other hand, a symposium or discussion group would be considered hot. Cool refers to the bygone days of the Best Generation; it suggests detached objectivity and disinterestness, e.g., a “cool attitude/’ “Hot,” days McLuhan, “indicates a kind of commitment and participation in situations that involve all of one’s faculties.” During a recent Tuesday morning history lecture Professor Klenbort attempted some thing which had not been previously done this academic year. The student body was al lowed a more active role in the proceedings: “What is a Nation-State?” asked Mr. Klen bort. Various responses were given by mem bers of the audience; these responses were later clarified by him. History lectures have been tedious and of ten difficult to follow. Last-minute question and, answer periods are futile remedies. Giv ing students more opportunities to express themselves at these sessions might spark more interest in them. Professor Klenbort seems to have stuck his finger in the pot and proved warm peas porridge is not bad after all.