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Thursday, April 25, 1974
University Daily Kansan
KANSAN comme
Editorials, columns and letters published on this page reflect only the opinions of the writers.
Ex-Warlock's Tale
Yes, now at last Lawrence audiences can see "The Exorcist." Before you go to see it, some preparation may be useful.
Are there witches and warlocks in Kansas? There are, according to an extremely skittish source who is vehement about not being identified. This source, who is an ex-warlock, says that during his high school days he helped in the fund of compulsive evil-doers who tried to summon the devil. Satan did, indeed, appear on several occasions.
One of the members or the wayfaring crowd, the source declared, murdered a couple of high school boys for pleasure. And for exercise: the idea was always to be as evil as possible, to conjure up evil—and Satan—through a forced disintegration of the per-
According to the anonymous source, another group specialized in human sacrifice. Or at least a sacrificial altar, splattered with blood, was discovered by a horrified acquaintance of his in some woods near Topeka. Animal sacrifices, perhaps? But the ex-warlock knew well what psychic pest-holes the group entered into; it was his theory that winos were coaxed out of their jungles with promises of liquor—ideal victims, since they would never be missed.
The source is, not surprisingly,
religious in the most fund-
damentalist sense of the term. For
him, Jesus and Satan are almost
flesh-and-blood entities. He is like
other Jesus freaks. The existence
of deity isn't thoughtfully argued,
nor is there any suggestion of
creative self-surrender. On the
contrary, some Jesus freaks can
attach themselves to Christ's image
for ego gain. That is, they long to
become one with a vulgarized hero,
rather than with God.
Surely, the resurgence of downhome Christianity acts as a goad to Satanism. Both points of view have so much in common that it is difficult for someone could shift from one to another; the mind of Charles Manson, as depicted by Ed Sanders in "The Family," did精确该。
Proponents of both paths, whether their visions are beattic or malefic, shut off useful, helpful and intelligent contact between people. The fundamentalist Christian, for the most part, clings to and tries to sell an image rather than examine himself and order himself with sensitivity and responsibility. The Satanist is committed to the destruction of the selfhood that the fundamentalist Christian neglects. Both approaches are horrifying because they attack one's identity and one's mind. They are strengthless ways of perceiving; the self is submerged in alien and stereotyped imagery, which threatens to replace it.
The viewer of "The Exorcist," in a sense, will not be there. But he will at least have the questionable consolation of a crowd. Possibly people become most tediously alike when they permit what is best in themselves to disintegrate. If that is true, then the crowd watching "The Exorcist" may be little more than mirror images of the individual viewer who has paid to bury himself.
"The Exorcist" might well be subtitled "The Film is in the Audience." It is a film that offers terminal stupidity and isolation. It should be a horrifying spectacle, indeed.
Jerome Lloyd
Rising College Costs Burdensome
Howard Bowen, Chancellor of the Claremont University Center, is an economist specializing in the economies of higher education.
By HOWARD R. BOWEN
One of America's great issues is how the rising costs of college should be financed—how much of the expense of higher education should be borne by students and their families, how much by government and philanthropy.
It is a pressing question for both industrial and society, and it has stirred wide debate.
For the family, sending a student to college is an investment comparable to buying a house. The 4-year outlay for college will vary by location and incidentals, may range from $8,000 to $20,000 or more, depending on whether the student lives at home or on campus, attends a public or private college, selects a low-income family, and whether he receives student aid.
Including lost income for the student who might otherwise have been working—perhaps $20,000 over the four college years—will make education may approach $30,000 to $40,000.
THIS LARGE INVESTMENT pays off handsomely in personal satisfaction, insinuates higher lifetime income. The U.S. career高手 has just reported that a man with a college degree can expect to earn $758,000 during his lifetime, where he a man with only a high school diploma can expect.
But the fact that the investment probably will pay off in the future does not lessen the risk.
College charges for tuition, fees, board and room have nearly doubled since 1960, from $850 a year to $1,600 in public institutions, and from $1,600 to $3,300 in private schools. (Personal expenses and transportation bring the total even higher).
THESE HIGH COLLEGE costs are a major worry to millions of families of all incomes—the families from which come the 6.5 million full-time college students, and
the families containing the remaining 18.5 million persons in the 18-24 age group who were born before 1930.
THE TRUST OF these studies is that tuitions should be raised, that student aid should be expanded and that the aid incomes would remain on loan limits rather than outright grants.
"HIGHARD DAMMITE COME TO BED!"
But requiring young persons to go heavily into debt—as much as $15,000 to 20,000—for their education is less than generous toward youth.
In effect, these reports say that America's historic policy of low tuition is no longer tenable. They propose instead that families shoulder more of the burden, and that students take out loans to be repaid out of future earnings.
I DO NOT suggest eliminating all grants based on means tests, or all loans to students. But the nation should go slowly in raising tuition to levels that will require
Fairness also suggests low tuition. The student and his family already bear two-thirds of the total cost of higher education, and they pay only one-third of income. Institutional costs are only one third of the total. Since education benefits society as well as students, it seems fair that a major part of institutional costs be funded through government and philanthropy.
intensive use of means-based grants and heavy indebtedness. Such a system would break down both politically and administratively.
Private colleges and universities are indispensable: they add diversity, contribute to intellectual freedom and help set academic standards. Their competitive position undoubtedly would improve if tuitions were raised in public colleges.
C
BUT PRIVATE COLLEGES should be strengthened by lowering their tuition, not by raising them in public colleges. This could be done by providing, from public funds, partial tuition payments to students in private colleges. The GI Bill was a kind of forumerian, giving veterans the money for college. Today, more than 30 states are experimenting with various kinds of grants to reduce or offset high tuitions at private
colleges. Most of these programs do not have enough money, but the principle is valid.
America's historic policy of making higher education open and available with low cost for all will sound this was the idea underlying the formation of the private colleges in the early 19th century, the Morrill Act of 1853 establishing the land-grant institutions Bill and the community college movements.
WHY AT THIS STAGE, when we still need to bring millions of young persons—many from ethnic minorities—into the main community, including adults, are we shifting to a fifth generation?
★ ★ ★
Instead of putting more of the burden on the student and his family, Americans should stop the rising family cost of college by:
Holding down tuitions in public colleges.
-Providing adequate state financing for public colleges and universities.
- Reducing tuitions in private colleges through state tuition grants to students at the university.
-Providing adequate federal grants to low-income students.
—Using loans sparingly as supplemental student support.
Private Colleges:
Roselle Lewis is a part-time teacher at U.C.L.A. and at Valley College
By ROSELLE M. LEWIS Special to the Los Angeles Times
We were delighted when our daughter was admitted four years ago to Stanford, her father's alma mater. Two years later came the dramatic telegram from Yale notifying our son, who had been admitted to Stanford, that he had been admitted to Yale and promised financial aid.
Thus began our collective walk along the high-tunion tightrope, a nerve-wracking act whose performers are familiar to college orchestras.
Stanford's tuition and board and room charges this year totaled approximately $4,500. Yale's an even $5,000. The additional $700 for each child that we allow for transportation, books, clothes and incidentals is barely enough these days.
JUST HOW DOES a middle-income family raise roughly $11,000 a year for education? To supplement my husband's salary as a school principal, I work at least part-time. I find that I cannot afford to study in college even after completing my yearly teaching stint of two quarters.
But college costs gallop ahead of our salary increases. Stanford's tuition, for instance, rose from $2,490 in 1970 to $3,120 this year—a 30 per cent jump in the time it takes to earn a degree. Room and board rose from $1,200 to $1,400. Yale's willow will go from $3,400 this year to $3,650 next year. The total cost there will be $5,350.
NOR IS SCHOLARSHIP and generally available to families such as ours even though the students may be well qualified.
At one point, having lost my full-time job, I applied to the California State Scholarship Commission and learned that it does not furnish aid if a family with two or more children enrolled in college has a gross income over $22,000.
It might be assumed that, even though we fail to qualify for direct aid from the state or other university, we could take ad- ditional help.
Worth the Price
small, and designated for students in such esoteric pursuits as ruthenian linguistics or epic poetry.
WHEN FINANCES WERE particularly low, there seemed no choice but to borrow money for tuition. Federally insured loans are available at seven per cent interest up to $1,500 a year. I wince at the thought of students graduating with a degree fitting them only for graduate or professional school, and already heavily in debt.
It has been a fiscal juggling act for years, and I often question whether a family should spend more than half of its income (after taxes and withholding) for high-priced education. After all, it is hard to afford a private school unless you afford Stanford and other private schools only through the GI bill.
ARE WE GUILTY of a sort of second-generation academic
sabbery, of big-college name dropping, of conspicuous consum-
tion?
The answers are complex. We are committed to private university education, although we sometimes wonder whether it really is that much better than public schools. Is it six times the cost in the University of California, where tuition may only $625 a year?
It is excellence of education that is our essential reason for choosing private schools. It starts with small classes, and includes a healthy student-teacher ratio, greater accessibility of course materials, teachers and friends, and culminates in a sense of collegiate community.
VISITING YALE on a blustery February day last year, I was impressed and heartened by the quality of instruction and the keen student response. An expert on Soviet history received a strong ovation after a superb lecture.
Private colleges offer a feeling of community based on the residential system. Credit courses are planned and taken in dorms or residences, and student government seems to be more than a pretense at democracy.
In retrospect, and especially now that this year's bills have been paid, our sacrifices seem more like contributions: direct investments in our children's lives. Everything has its price: the price of private education is high, but not too high.
McCartney Says Beatles Breakup Hit Hard
By ROBERT HILBURN
The Los Angeles Times
Beverly Hills—"After the breakup of the Beatles, I was thinking of calling my first album 'I'm the One it Hit the Most,' cause it really did hit me hard,' Paul McCarthy said as he relaxed by the Beverly Hills Hotel pool.
"I thought, Oh Jesus, what am I going to do now. It's really going to be difficult to get it going on my own," he said, reflecting on his feelings at the time of the split of the most successful group in the history of pop music.
"BUT IT KIND of turned itself around and became a cause it's. corrny to say it, but it did. It became a challenge to me. I tried to be the best person I was going to get something together."
It has been four years since McCartney announced that he was leaving the Beatles, thus formally ending what was an already long and successful break. McCartney has recorded five albums, formed a new band (Wings) and toured in Europe. He has also starred in a television special and received an Oscar for his work. In 1997, he Has, obviously, met the challenge.
THE SUCCESS OF "Band on the Run" it moved to No. 1 last week on the nation's top radio station, here with Wings contributed to a genesis of confidence in McCarter's mood as he talked candidly about the events and breakup with the Beatles, and his life since.
But it hasn't necessarily been easy—emotionally or artistically. There were moments when a band's albums of his albums has been a major seller, several of them have been raped by critics. His latest album ('Band on the Rock'), in which albums to have pleased both critics and fans.
With him by the pool were his wife, Linda, who is with him in Wings, and their three daughters. They had come to Los Angeles to attend the Academy Awards. His composition lost to "The Way We Were," but it didn't daunt McCartney's spirit.
When I arrived at the hotel, McCarratt was in the pool with one of his daughters. She was a beautiful brunette, chair. Like Yoko Ono, Linda has sometimes gotten bad publicity from the press, but she is friendly and engaging as she moved through the city, visiting the children and sitting on in the interview.
a lot. By attending the oars, we were just saying hello, glad to be here, we respect each other and be friends.
"A FEW PEOPLE told us it was stupid to go to the Ocars," McCarthan said. "They said, 'Why not?' This man's gonna say you have to be a kid.' But that's not the point to me.
Then, I thought, "Oh, so they don't want the big production job." So, I recorded them. Then we were done around three days' rehearsal. There's one track—"Mumbu"—where I just said to everybody, "This one in F, it goes to Dylan, the way he just kind of copes in the
"It's not just this thing of winning, winning, winning. 'There's also the matter of winning.' There is also the matter and all that. I'm not too heavy by weight, but I know I can't win everything, but I can win
knocked, it thought—it was very obvious in a way—I'll just use the opposite next time. So, "Ram" was with the top people in the top studio. I thought "This is what they want." But, again, it was critically panned, though it did well very with the public.
SURPRISEINGLY, MCARTNEY seemed more tense and guarded in the early spring when it began to thaw.
"I definitely did go through a bit of thinking,
'Oh blimey, I really do need the Beatles.
Such a silly thing for us to break up."
had been when I interviewed him a few months ago. But gradually he爬 up and talked with increasing frankness and openness. Any Beatles reunion, it seems, would be temporary. Wings is McCartney's chief interest.
A: Yeah, I am. I definitely did go through a bit of thinking, "Oh alimney, I really need the Beatles. Such a silly thing for us to break in."
A: For about a year after the Beatles broke up. Off and on. It sort of depended on the weather or your mood. I'm just like a boy in my school, playing with day ... and it's not going well and it all falls on top of you. For me, it wasn't the job at the office that fell in. It was the idea that I pick up a newspaper and they'd say, "Oh, Paul," and then I tell them, "Paul." So it got to me, but there weren't much I could do about it out of ringing everybody and saying, "Listen, do you want to get back together?" No one seemed like ready to so just I had to hang in there and shut up.
Q: When was that?
Q: You seem to be in good spirits now.
Q. Looking back on your solo albums, how do you vie them now? Let's start with the few you listed above.
Ar: Well, I thought "McCarthy" was quite good. Some people still think it was my best album. But then it didn't quite do it in every way. It did it salesmanly, but it didn't make it as fun to play. It was funky, just me recording on my own, playing all the instruments. After it got
A: Yeah, I liked the album. We went to Lagos in Africa to do it. It was a funny story, the whole thing. There were ups and downs, a real battle to get it done. We also had some strange things happen once we got there. In Lagos, these guys were really sensitive
studio and everyone falls in and makes the track. But that was kind of critically punched . . . so we thought we'd get it together a bit. We went in with a band for "Red Rose Speedway." That was the first Wings thing really.
Q: Did you have a special feeling about "Band on the Run?"
about the idea of people ripping off their music. They couldn't understand why we
We told them there there was no dirty movie behind it. It's just that we thought it would be okay. I didn't mind the holiday while we recorded. That's all we wanted. But it turned out to be cloudy. It was the rainy season when we got there, so we blew it. To add to it all, we held up at it and talked to the people.
Q: You were the first ex-Beatle to tour?
Was that a difficult decision?
A: "Well, no. To tell you the truth, I was wanting to go out before the Bates broke the cord. I'll get a clue. It—it's a cliche—but it’s the greatest thrill to play to people. It really is. If you get it on in front of an audience, there's nothing like it. In a recording session, that's the most impatient way thrilled."
At. Well, yeah, there was all that. I don't think anyone was madly keen on the whole touring syndrome. I know Ringo wasn't. It was just a little bit difficult at the time. He would have to be put into one good idea. John wanted big auditoriums, I wanted smaller auditoriums. Ringo didn't really want to tour anyway, leaving his kids and family and stuff. These all things we could have worked out. I had to find the kind of love thing. But the band folded.
Q: Was the reluctance of the Beattles to tour because of the craziness and bysteria that had occurred?
John decided he was going to leave and
I was a bit nasty towards him, probably during the filming of "Let it Be." I was a little insensitive, I guess-whatever people go through. So George left during the filming, then he came back again. Then John eventually left, so I sailed. Ah well, that is why we got to this place. It's ridiculous to go on like this. We're all bloody leaving each week." So that we it really, we just went our separate ways. And I started to get the idea for Wings.
that was the kind of last straw. About a year or so before that, Ringo had left. We all reassured him that we all thought he was the greatest drummer in the world and that we wanted him. So he was cool. Then there were some arguments with George.
A: I don't know about the show thing. That's really a ways off. What might be possible, I mean the easiest thing I could imagine would be that would be a Beatles album. That I see as a possibility if we all fancied it. But please remember this is purely guesswork. I haven't even talked to them about it. But I can't tell you how much you might get a stage show or something.
Q. What was the reasoning behind putting Linda in the band? You must have known there would be criticism because she wasn't really a musician.
Ar: Originally, I'm sure it was just to get the pal on stage with me; no pressure or frowns. But I don't mind frowners. Angers. But
Q1 Do you agree with the general feeling that you'll eventually get back together with you?
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Q: Have you thought about the Wings show vet?
I had a feeling for it. I had a hunch and it's
offed. On the British tour, she was
fantastic. Wait till you see her. She's really
good.
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A: Sure, we've got a million ideas. We've got a lot of potential in the band. We want to use Denny Laine more and Jimmy McCullough and Linda. We've got a lot of old material, the stuff we used in Britain, big show numbers like 'I'm Amara!' that we work well over. And some new material. We also have a lot of ideas for the show itself. We want it to be a very complete trip. That's what we're going for: We're aiming high.
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