Category Archives: Fashion, music, politics, sports

Politics, music, and fashion

[December 12, 1968] Playing your fish right (The Alvin Submersible, New Job, Book Review)


by Victoria Lucas

The Aquarium


Do you think the fish can hear us?

Today’s title is a result of having two reports and a book review to present to you, dear readers. There is no common theme except for me as narrator. I am inviting you to assist in performing a silent(?) version of a musical piece, “Tropical Fish Opera,” by Ramon Sender. I first experienced it at the Tape Music Center in San Francisco a few years ago. Picture three musicians sitting with their instruments around an aquarium, with another person standing at a microphone. The score is simple, and they have easily memorized it. The person at the microphone has a list of apparently random words that he or she recites as the musicians play. Each musician has been assigned a particular fish that must be followed as a guide for how to improvise in collaboration with the other musicians. The fish in this aquarium are swimming below, and I will act as a narrator who is trying to string words together in an understandable way, so that your silent(?) experience can have some meaning. Think of your voice as your instrument, although if you improvise drums or other means of making sound you can of course add to my silent voice.


The DSV Alvin

The Sinking of the Alvin submersible (Fish No. 1)

If you have never heard of the Alvin, you haven’t been keeping an eye on your fish. The Alvin is the most recent and innovative submersible paid for by the US Navy, assigned to the Woods Hole Oceanographic Institution. Commissioned in 1964, it was named after the mover and shaker who pushed for its creation, Allyn Vine. The Alvin is essentially a large steel sphere (holds 3 people) with plexiglass windows, using syntactic foam for flotation, with weights, hung with cameras, sample containers, and a mechanical arm, and certified for dives of 6,000 feet.

On October 16 the Alvin made an unscheduled dive to almost 5,000 feet, from which it has not been recovered. Yet.  It seems the hatch was still open when the chains holding its cradle snapped, and the submersible slid down its usual course into the ocean, with the pilot and two observers leaving their workday lunch behind in the sphere as they scrambled to safety. Water poured into the hatch, and the Alvin quickly sank to almost 5,000 feet as the crew of its tender, Lulu, threw everything that would float overboard to try to mark the spot. Although the Navy bought the argument that Woods Hole (WHOI) made that no recovery had yet been made from that depth, and backed the experiment of finding and raising the submersible, storms have so far prevented the consummation of the plan. Stay tuned to this story. I think they will succeed.

New Digs, New Job (Fish No. 2)


Ah, a California winter!

I’m also the performer keeping my eye on this fish. My husband Mel and I moved from Fortuna, California, where we had rented a house, to the non-metropolis of Rio Dell nearby, pooling our money to buy a piece of land. We have fruit trees, a walnut tree, and a small garden, and interesting phenomena like different weather visible from windows on every side of the house except one. I’m happy there are no windows on the 4th side, because I only know 3 general kinds of weather: rain (including fog, drizzle, etc.), snow (including sleet), and sun. I don’t want to know about that 4th side. We also have a neighbor, a teenager, who received our permission to hunt deer in our backyard with a bow and arrow. We can sometimes see him up in the walnut tree, waiting patiently. He lets us know when he will be hunting. Just in case he mistakes one of us for a deer. In the meantime, both of us are temporary workers for the County of Humboldt, Mel at the airport, and me in different office gigs. Sometimes we wave to each other as he drives home in the morning in the Jeep from his shift at the airport, at the same time I’m leaving in our car to start my day wherever the County sends me. Wish us luck. We’ll need it as we head into winter weather and knee-deep mud.

Book Review: The Unholy City (and) The Magician Out of Manchuria (Fish no. 3)


Great book!

This is your fabulous fish. I think you will find it delish. I do. Charles Finney (author of The Circus of Dr. Lao) saw the first publication of The Unholy City, in 1937 but this paperback edition (Pyramid Books) published last January combines that irreverent and self-referential story with the delightful Magician Out of Manchuria, which is my favorite of the writings of this Arizona Daily Star editor. Finney is not as prolific as some authors, although he has written many short stories and a couple of articles published in magazines aside from the occasional book. However, when away from his desk at the Tucson newspaper, he has the opportunity to take as few words as possible and place them carefully to weave weird tales, and he seizes that opportunity with both hands. These two yarns are very different from one another, and The Unholy City is not to everyone’s taste, dealing cynically not just with excesses of the consumer society, but (as the “plot demands”) with poor impulse control involving large “zellums of szelack” that seem to have an intoxicating influence. Nevertheless, I find the “Magician” with his manipulative ways, along with the woman he discovers and enhances, and his poor young servant who keeps (literally) losing his head, to be utterly irresistible. Only one of the two has a happy ending. (Guess which one.) I award this fish 5 stars out of 5.

Applause?

I once heard one musician say to another during a lecture and demonstration of the original Opera, “You’re not playing your fish right.” So if you and I were playing our fish right (right for you, that is), perhaps you enjoyed our little experiment. I hope you did.

There will be further adventures of Mel and Vicki. Where will they keep their Jeep while they wade through the mud to their home in the mountains? Will Vicki be able to work in an office where the regular secretary (on vacation) has locked up all her work? Will Mel be able to get along with his temporary boss as the airport enters a study of how it copes with the fog that envelops it every morning?

Stay tuned for the next episode!






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[December 2, 1968] Forget It (January 1969 IF)


by David Levinson

Forget the future

It’s official. As if it weren’t already clear from the events in Hungary in 1956 and Czechoslovakia over the summer, the Soviet Union has now openly declared that no communist nation in the Soviet sphere of influence will be allowed to go its own way or engage in any sort of reforms not approved by Moscow. Addressing the Congress of the Polish United Workers’ Party on November 13th, Soviet General Secretary Leonid Brezhnev stated, “When forces that are hostile to socialism try to turn the development of some socialist country towards capitalism, it becomes not only a problem of the country concerned, but a common problem and concern of all socialist countries.” That’s the justification for military intervention wherever the U.S.S.R. feels like, especially within the Warsaw Pact. We all know who will get to decide if something is a move towards capitalism.

Leonid Brezhnev after addressing the Soviet Central Committee earlier this year.

The backlash has already begun. After years of strained relations, Albania formally withdrew from the Warsaw Pact in protest over the invasion of Czechoslovakia. Of course, they have Yugoslavia as a buffer state, and the close proximity of Greece and Italy probably also offer a deterrent. As we go to press, Romanian leader Nicolae Ceaușescu has publicly condemned this new doctrine as a violation of the Warsaw Treaty. Only time will tell how this shakes out.

Forget the past

Forgetfulness seems to be the theme of this month’s IF. The issue is book-ended with stories featuring protagonists with amnesia, while two of the remaining three stories offer a man who doesn’t know his name and an entire year blotted from everybody’s memory.

Just some random art not associated with any of the stories. Art by Chaffee

Continue reading [December 2, 1968] Forget It (January 1969 IF)

[November 20, 1968] Transitory and lasting pleasures (December 1968 F&SF)


by Gideon Marcus

Beyond FM

Not too long ago, the FM band of the radio was mostly for classical music.  Why waste high fidelity on the raucous rock and pop the kids were listening to?  In the same vein, the big 33rpm LP records were for grown-ups.  That's where you found your jazz, your schmaltz, your classical.  The juvenile stuff was put on disposable 45 singles.

Well, it still is, but of late, really starting in earnest around 1965, a lot of Top 40 ended up on LPs, and since last year, the FM stations are playing psychedelia and fuzz more often than not.  Is classical down for the count?

Not if the Trans-Electronic Music Productions (T-EMP) company has anything to say about it…

From the back cover of Switched-on Bach, the new LP by the Carlos/Folkman combo who make up the T-EMP, one would think it's yet another fusty classical album.  The selections are common, the same kind of thing you've heard a million times before.

But not this way.  the T-EMP has rendered all of the pieces entirely electronically.  Using Moog synthesizers, many of these familiar songs take on an entirely different character.  In some cases, the instrumentation chosen resembles the original harpsichords and flutes and such, and the result is just competent (even a little dry) Bach.  On the other hand, you also have pieces like the Brandenburg Concerto #3, particularly the first movement, which are utterly transformed.  On those pieces in particular, Carlos and Folkman have departed the natural entirely.  With instruments reminiscent of the weird electronic sounds found in the British puppet show Space Patrol, or perhaps the theme of Dr. Who, Baroque becomes by turns cosmic, seductive, and menacing.

Normally, when I listen to classical music, I can imagine the orchestra.  With Switched-on Bach, I imagine I'm in the cool, dark halls of a computer, maybe something like the one in Ellison's I Have No Mouth and I Must Scream…before it went murderous.  The artificial tones are beautiful, hard-edged, passionate, and perfectly suited to the mathematical rhythms of the King of Köthen.

I'm not the only one who thinks so.  Switched-on Bach is a runaway bestseller, and not with the classical set, but with the youth.  Heading toward the million mark, the Carlos/Folkman team have wrapped the vintage in a computerized cloak, and the kids are eating it up.

Including this one (I'm only 23, just like Carol Burnett).  Buy yourself a copy.  I promise it'll be worth it.

Beyond reality

Unlike Switched-on Bach, the latest issue of The Magazine of Fantasy and Science Fiction is unlikely to become an enduring classic, but there are a couple of entries well worth your time.


by Jack Gaughan

Prime-Time Teaser, Bruce McAllister

The last woman on Earth, the freak survivor of a worldwide artificial plague, splits herself into a thousand personas so as to shield herself from the enormity of her reality.  Upon discovering a screenplay her writer persona wrote, she sees, poetically rendered, the loneliness and desperation she's been repressing for three years.  Like the 5D home in Heinlein's And he built a crooked house…, all of her personas collapse into the original, leaving her bleak and alone.

Aside from plausibility issues (Edna survives in a bathysphere—presumably every submariner in the world is still alive, too), there are pacing issues.  The story moves along until we get to the screenplay, which is several pages of an increasingly sunburned turtle plodding up a beach while a building makes passes at her.

Basically, cut-rate Ballard, the type we've seen in New Worlds for the past five years.  We keep saying the same thing: Bruce has potential.  Bruce writes pretty well for someone so young.  Bruce has yet to write something we really like.

Three stars.


by Gahan Wilson

The House of Evil, Charles L. Grant

Written in quasi-archaic style, this is the would-be-droll story of a writer who is conned, by a lithe woman and her coffin-dwelling uncle, to have a brush with the unnatural that leaves him Undead.

These pastiche stories require a deft touch that Grant doesn't have.  Particularly when he has his character pour rather than pore over documents ("pour what?" I always wonder).

Two stars.

The Indelible Kind, Zenna Henderson

The stories of The People continue, this time detailing the encounter between a teacher at a tiny school in the Southwest and a precocious but illiterate young telepath.  When the fourth-grader begins picking up the distressed thoughts of a cosmonaut stranded in orbit, the teacher gets involved in a rescue operation that is out of this world.

This tale is a strange mix of the familiar and the unusual.  We've now had more than a dozen The People stories that involve the interactions of normal humans with the alien (but human) psioinic exiles, refugees from their own exploded planet.  In some ways, I feel that well has been mined out.  The telling is different, this time.  Instead of the pensive, dreamy mode that Henderson employs, the story has a breathless quality that reminds me of the fanfiction I read in the various trekzines coming out—that sort of, "Golly!  I'm on the Enterprise with Mr. Spock!"

It's not bad, just weird, and not up to the standards of Henderson's better work.  Plus, I find it strange how brazenly The People are displaying their powers these days.  Surely, that should have follow-on consequences.

Three stars.

Miss Van Winkle, Stephen Barr

A girl sleeps from birth until she is 19, then awakes—beautiful, articulate (though not literate), and devoid of superego.  She is unhappy until she meets Walkly, who loves her for the societal outcast she quickly becomes.

I am not sure if this story is supposed to be a satire on artificial social conventions or just cute.  Either way, it's a bit clunky and wholly insubstantial.  Morever, it twice tries to make clever use of the girl's surname(s), but because the author introduces them late, the reader is never let in on the joke.  It'd be as if, on the last page of the mystery, Poirot pulled the heretofore unknown murder weapon out of his pocket and used it to solve the case.

Two stars.

A Report on the Migrations of Educational Materials, John Sladek

Every book in the world, starting with the oldest, most neglected, and ending with even the most modest of volumes, begins to wing its way toward the Amazon.  That's pretty much the story.

Sladek writes well, and he writes this well, but there's not much there to this there.

Three stars, I suppose.

The Worm Shamir, Leonard Tushnet

The best science fiction incorporates real science, allies it with human interest, and makes clever predictions regarding the application of a new discovery.  This story does all of these things admirably.

Professor Zvi Ben-Ari of Israel's Rehovoth research center is hot on a Biblically inspired trail.  He is convinced that the legend of King Solomon's "Shamir", a worm used to shape rocks for use in an altar, has a kernel of truth.  But what truth could it be?  And if such truth exists, and it could be used for war, what then?

A thoughtful, atmospheric, humorous piece.  Perhaps, as an Israeli, I am biased (or, shall we say, the target audience), but I quite enjoyed it.

Five stars.

Lost, Dorothy Gilbert

Poetry: an alien pilot, scouring the Earth for some kind of Arcadia, finds instead the fleecy flocks of Scottish Skye.

It didn't move me.  Two stars.

View from Amalthea, Isaac Asimov

Inspired by a scene from the movie 2001, the Good Doctor's piece this month is about how the four big "Galilean" moons of Jupiter might look to an observer on the innermost satellite, Mimas.  He details their size and brightness.  As a bonus section, he talks about how the many moons of Saturn would look from the innermost satellite, Janus.

He never quite comes around to confirming that the shot of Jovian moons in the movie was plausible, nor does he explain that a moon one hundredth as bright as our Moon is still 100 times brighter than Venus (though that brightness is spread over a large disk, so it would look dim to our eyes).  I chalk up those omissions to space concerns.  As is, it's a handy article for those who don't want to have to do the math every time.

Five stars.

Gadget Man, Ron Goulart

Satirist/thriller-writer Ron Goulart offers up an "if this goes on" adventure set in The Republic of Southern California some time around the turn of the next century.  Hecker, an agent of the Social Work division of the police force is tasked to make contact with Jane Kendry, head of the left-wing insurgency, and find out if she's responsible for all the riots breaking out, even among the $100,000 houses and manicured lawns of affluent Orange County.

Along the way, he runs into hippie beach bums, an erstwhile Vice President and his Secretary of Defense, running a sort of revival (continuation?) of the arch-conservative John Birch Society, and finally, The Gadget Man himself, who runs the wheels within the wheels.

In tone, it's more grounded than Bob Sheckley's whimsy, more silly than Mack Reynolds' stuff.  It's eminently readable, occasionally smile-inducing, suitably riproaring, and utterly forgettable.

Three stars.

Compare and contrast

In the end, Carlos and Folkman provide a shorter-length but replayable and consistent pleasure.  F&SF this month is, for the most part, forgettable—but it takes longer to get through, and the nuggets of gold shine brightly.

Both have earned permanent places on my shelves, and I guess that's all one can ask for.  And here, what's this?  The back of F&SF has something most interesting.  We'll have to try that out, too, won't we?






[September 22, 1968] Pageantry and Picket Signs


by Gwyn Conaway


On September 7th 1968, Debra Barnes, also known as Miss Kansas, won the crown of the Miss America Pageant in Atlantic City, sharing the spotlight with protestors that managed to hang banners during the live broadcast and spark a nation-wide controversy over women's liberation.

“The personal is political.”

This astute piece of wisdom, born of deep discussions in the rising New York Radical Women group this summer, was voiced by one of its leaders, Carol Hanisch. She’s the feminist mastermind behind the Miss America Pageant protest that happened just two weeks ago on the Atlantic City boardwalk outside of the live broadcast of the event on the seventh of September.

When it comes to a woman’s image, she couldn’t be more on the nose. Women’s beauty has been touted as the ultimate symbol of the successes of nations, militaries, companies, and men. Even the origins of the Miss America Pageant are rooted in consumerism and marketing.


Miss America has two key duties after her coronation. Product placement and stimulating the economy is the origin of the pageant, and no surprise now includes brand sponsors such as Pepsi. Her other obligation, however, is touring the U.S. troops. The New York Radical Women call the latter a "death mascot."

In 1921, the first Miss America pageant was held just after Labor Day to lengthen the resort season and bring more revenue to the New York and Jersey coasts. The contest was described as an evaluation of a woman’s “personality and social graces,” with an initial round of judgment conducted by photograph–a medium, I should mention, that is hard pressed to showcase either of these laudable traits.

Within a score of years, the requirements for the pageant became clearer, though surely they were a requirement from the start. A contestant was to be a white woman in good health, never married, between the ages of 18 and 28. All the accolades that she brought with her were expected to be mildly bland, uninspiring, and only the sort of polite conversation one has with their in-laws. The Goldilocks Rule aboundeth: Not too hot, and not too cold. This contradictory manner was invented to define the Modern Woman by none other than Charles Dana Gibson, a male illustrator-turned-editor for Life magazine, once again linking the idea of women's beauty, national identity, and consumerism from the male point of view.


When Women Are Jurors, studies in expression by Charles Dana Gibson, 1902.

When New York Radical Women organized the protest outside of Boardwalk Hall, the history of the pageant was baked into its message of decrying the tradition's inherent sexism. Performances of being shackled and mopping the boardwalk with an infant in hand, for example, were meant to visually represent the unending pressures of Western women. Caricatures of the contestants were labeled as a cattle auction, and even a sheep draped in a banner that read “Miss America” was paraded around the picket line throughout the day.

But perhaps the most provocative element of the protest was the now infamous Freedom Trash Can.


Protestors throw their objects of oppression into the Freedom Trash Can on the Atlantic City boardwalk. Contrary to popular belief, no bras were burned that day, though organizers claim they'd wanted to do so in solidarity with recent draft card burnings.

Yes, the one into which women threw their objects of oppression: lash curlers and fakies, nylons and office pumps, girdles, wigs, lipstick, gloves, the Cosmopolitan… The one you’ve no doubt read mention of in the Atlantic City Press’s scorching article, “Bra-burners blitz boardwalk.” The assumption that women burned their effects seems trollish sensationalism from my point of view, though. In looking through statements from Carol Hanisch, she mentions they had intended to burn them, much like veteran draft cards in the protests on the lawn over the summer, but were instructed not to. The protest happened on a wooden boardwalk, after all.

The image of burning one’s brassiere is so striking that it will surely live in infamy, and I won’t be surprised if it happens during feminist protests in the future. Truthfully, it’s already become a double-edged sword. While women might choose to honor the efforts of the activists who came before them through bra-burning, their critics will latch onto it as well, claiming it a symbol of anarchy. To think, choosing one’s own most personal garments could be such a political threat.

However, harking on the Miss America Pageant alone only tells half of the fascinating tale of this year’s beauty brawl. The New York Radical Women’s protest revolved entirely around the misogynistic use of women as a patriotic trophy and how it signaled to American women what mainstream beauty standards should be in the eyes of male judges. But focusing on the pageant by nature necessitated the whole-cloth exclusion of brown and Black women who, as I laid out in the rules of the pageant, were barred from participation.

While white women in the United States have been oppressed by the gender extremes of our society for centuries, Black and brown women haven’t been included at all in the definition of ideal beauty. This means their struggle has been two-fold, balancing the incorrigible partnership of the legacy of slavery and a beauty standard that expects their hair, features, and physique to mold itself after the white ideal.


Phillip Savage (center) plans a civil rights march in 1963 with collaborators Cecil B Moore (left) and A. Philip Randolph (right). Savage cofounded the Miss Black America pageant with J. Morris Anderson. The poster below is undated, though this style of poster and rhetoric was ubiquitous throughout the events of September 7th.

Just down the street from the Miss America Pageant broadcast, there was another event being held: the first annual Miss Black America Pageant.

While the New York Radical Women’s protest challenged the male gaze and has received immense derision from (mostly male) newsrooms, the Miss Black America Pageant has enjoyed public success so far. J. Morris Anderson of Philadelphia decided to organize the event when his daughters lamented over not being able to participate in the long-standing contest. He, Phillip Savage, and others, came together to make a space for the Black beauty ideal on the American stage. They didn’t directly oppose Miss America and its whiteness. Rather, much like Thurgood Marshall in his Supreme Court hearings last year, they circumvented the argument altogether.


I can’t help but think that male involvement in the Miss Black America Pageant was critical to its warm reception, especially since men were barred from participating in the protests down the street. (New York Radical Women even forbade male journalists from interviewing participants.)

The strategic differences between the two events couldn’t have been more stark, nor the message more similar. While the Miss America Pageant protests on the boardwalk were meant to cast derision on men’s control of women’s bodies, the Miss Black America Pageant aimed to take ownership of Black beauty. Both events were after the same goals: to give women a voice in their own image, the power to decide what makes them feel powerful, and the platform to enact change for their communities. 


Miss Saundra Williams, crowned the first Miss Black America, gave a monologue entitled “I Am Black,” performed an African dance, and wore her hair in a natural halo of curls. Miss Williams took ownership of her roots before, during, and after her coronation. Rather than the event pressuring its contestants into following the more marketable approach of the longstanding Miss America Pageant, the organizers and contestants took it as an opportunity to speak directly to their own demographic and define beauty on their own terms.

Whether it's suffrage, the right to divorce, or the profit of our bodies, women have been fighting the same battles head on for centuries with abysmal results. Truly, if we’re fighting the same stigmas in the next century, it will come at no surprise.

Maybe the Miss Black America pageant has the right idea. We learned in looking at fashions of the Civil Rights Movement (of which many of its leaders were involved in this pageant) that the old saying holds true: it’s easier to catch flies with honey. I don’t believe that Miss Black America capitulates to the structure of how white America judges beauty, but rather makes room, and in doing so, diminishes the power of the mainstream.

While New York Radical Women and other women's liberation movements battle the mainstream head on, efforts such as the invention of Miss Black America flank our culture. In a trench war so long and grueling, I have no doubt that these mainstream ideals will sadly stand the test of time…

But they'll also be fighting for oxygen with every new space we create.


Saundra Williams speaking at the 369th Regiment Armory in Harlem New York, 1968.






[September 2, 1968] What might have been (October 1968 IF)


by David Levinson

From spring straight into the fall

Back in April, I reported on the early days of the “Prague Spring,” First Secretary Alexander Dubček’s effort to reform Czechoslovakian communism and create “socialism with a human face.” Dubček managed to keep his plans afloat through the spring and much of the summer, but—as anyone who has been following the news is aware—the Soviet bear has flexed its claws and put an end to ideas of openness and freedom of speech. But not without creating a few cracks in the Warsaw Pact.


A Soviet armored vehicle comes to a fiery end.

The first sign of trouble came in June. Military maneuvers by Warsaw Pact forces took place in Czechoslovakia as scheduled, but Soviet troops were slow to leave the country after the conclusion. A number of communist leaders visited Prague over the course of a week in early August; some, like East Germany’s Walter Ulbricht and Hungary’s János Kádár, probably trying to bring Dubček to heel, while Yugoslavia’s Tito and Romania’s Nicolae Ceaușescu were no doubt more encouraging. Ceaușescu certainly was, since he signed a treaty of friendship and cooperation with Czechoslovakia and has loudly condemned the invasion of Czechoslovakia in the last few days.

It’s not clear what straw broke the camel’s back, though the announcement that Czechoslovakia was considering loans from the World Bank might have accelerated things. In any case, at 11:00 PM on August 20th Warsaw Pact forces rolled across the border in numbers not seen in Europe since the end of World War II. Dubček and other reformist leaders were arrested, and the Soviets tried to install a puppet government, but the people of Czechoslovakia weren’t having it. On the 22nd, the Communist Party of Czechoslovakia met hastily and elected a new central committee and presidium, which then unanimously re-elected Dubček as First Secretary.


Somewhat more peaceful resistance.

The invasion triggered protests around the world, even by some Communist parties in western and neutral countries. In Czechoslovakia, although the military was never ordered to oppose Warsaw Pact forces, the invaders have been met with protests and violence. Alas, it was not enough. The arrested leaders signed an agreement to roll back their reforms on the 26th, and after returning to Prague on the 27th, Dubček gave a tearful radio address, asking Czechoslovakians to end their resistance as well as for their forgiveness for his surrender. As I write, that is where things stand, and like Hungary a dozen years ago, Czechoslovakia has been brought back into the fold.

Lost in the fog

A couple of the protagonists in this month’s IF spend their stories wandering in a daze. Unfortunately, the far less successful of the tales takes up nearly a third of the magazine and feels like a lot more, overwhelming an otherwise decent issue.

Scientists on Mars make an unexpected find. Art by Chaffee

Continue reading [September 2, 1968] What might have been (October 1968 IF)

[August 31, 1968] The Sound and the Fury (September 1968 Analog)


by Gideon Marcus

In the backround (and sometimes the foreground) of my reading of this month's issue of Analog was the Democratic National Convention held over four tumultuous days in the Windy City.  This was not four days of politicians patting themselves on the back, as we saw in Miami Beach for the GOP Convention—amid the citywide busdrivers and telephone workers strike, there was tumult, walk-outs, protests, and a general breakdown of the democratic process.


Il Duce, Mayor Daley, intent on turning his town into a police state in the pursuit of Law and Order: 12,000 cops plus a contingent of National Guard were on hand last weekend.

The writing was on the wall that first day when Julian Bond arrived with his alternate set of Georgia delegates, the group that broadly represented the demographic makeup of the Georgia Democratic Party.  First, they were not even allowed in; then they were grudglingly placed in the cheap seats of the balcony.  All while Daniel Inouye, Senator from Hawaii, gave a stirring, unprecedented keynote speech in which he decried the anarchy and violence occurring outside the convention halls, but nevertheless put on the assembly the responsibility of rectifying the racial injustice that led to such agitation.

Eventually, the delegates prepared to vote on the certification of the Georgia delegation that had been approved by the party—the less integrated one.  Actually, first they voted on if they were going to vote on it that evening.  It was during this battle that the Michigan delegation offered their seats to the alternate Georgia delegation, a move that enraged members of the "official" delegation.

With regard to who was going to get the Presidential nomination, by the end of the first night, it was clear McCarthy was a dead duck, and few were mentioning McGovern.  However, there was a rising "draft Kennedy" movement that peaked on Day 2 despite Ted repeatedly saying he wasn't interested.  More dramatically, Day 2 marked the day police evicted 1,000 protesters from nearby Lincoln Park, CBS correspondent Dan Rather got punched by plainclothes security for not wearing his credentials prominently, dozens of delegates, mostly Black, walked out, and Georgia Governor Lester Maddox took his ball and went home, saying he was going to stump for segregationalist independent candidate, George Wallace.


Don't let the door hit you in the ass on the way out…

And that night, I'm pretty sure they still hadn't certified the Georgia delegation.

On the third day, 10,000 protesters gathered at Grant Park, a terrific anti-War demonstration broke out on the floor of the convention, and the minority position tried in vain to make an end to bombing North Vietnam a part of the party plank.  By the time Humphrey was anointed the candidate (a foregone conclusion by that point), it was an anti-climax and anything but a triumphant coronation.  And what a change twenty years has wrought: the Southern delegations that walked out on the convention in '48 are now behind Humphrey, where the liberals who admired the fiery populist now reject the man they view as Johnson's stooge.

Discontent was rampant.  Delegates were frustrated that they were not listened to, that the motions they were voting on were not sufficiently explained, and that Mayor Daley was strong-arming them into voting the way he wanted them to.  Not to mention that there wasn't enough food to feed everyone in the convention's vicinity, and the hot dogs on site were terrible. Many said 1968 marked the death of the party convention, at least in its current incarnation.

But the political strife was as nothing compared to the rivers of blood that were shed as blue-helmeted cops clashed with protestors.  "The Whole World is Watching" and "Fuck LBJ" intertwined with shouts and screams, and all of it was televised in full color (but not live, as that was impossible due to the strikes and Daley's security efforts).

The only bright spot of that third evening was the nomination of D.C. and Black native son the Rev. Channing Phillips, the first American of African descent to be nominated by a major political party for President.

By the fourth day, I was exhausted, yet I tuned in anyway.  I'm glad I did.  That evening, the convention played a retrospective on RFK.  It was too hagiographic, and frankly, the wounds too fresh to bear close watching, at least for me.  But when it was over, something amazing happened.  Virtually the entire audience of delegates, excluding just the groups from Texas and Illinois, rose to its feet and began clapping.  Louder and louder, and then they started singing "The Battle Hymn of the Republic."  Over and over, "Glory Glory Hallelujah, His truth is marching on."  Daley's henchmen tried to impose order.  They gaveled.  They called out the Sergeants-in-Arms.  Nothing deterred the delegates.  All of the anger, all the discontent, all of the frustrated might-have-beens boiled over in that moment into this display of singing, of shouting, of clapping.

It was only defused when a moment of silence was called for the memory of Dr. King, and then the convention could continue.  The business of the moment was the nomination of a Vice President.  That morning Humphrey had already tapped Senator Edmund Muskie of Maine, and there was no serious opposition.

Yet, and in a truly touching moment, Julian Bond's name was advanced as a candidate (so, the first Black VP nominee of a major party in history), and he garnered 27 and a half votes before voluntarily withdrawing his name.  Humbly, self-effacingly, he noted that he was too young to accept.


Bond withdraws his name from consideration.

Muskey and Humphrey gave their acceptance speeches that night.  There was a lot on their shoulders—the need to deliver speeches that thread the needle, knitting the party back together, both addressing and condemning what had happened in Chicago.

That didn't happen.  What we got was a limp flatness of platitudes.  When I woke up, I learned that 20 delegates, supporters of McCarthy, had been beaten up in their hotel and arrested.  The charge pelting the cops with sardines.  McCarthy pointedly did not congratulate Humphrey that morning; the Vice President, now the newly christened candidate, had made no comment on the incident, tacitly endorsing it.

So that's that.  HHH is our bulwark against Nixon.  Muskie is his backstop.  Wallace just got a shot in the arm, and I can only think that's a blow against Democratic hopes.  Americans are disunited as we have not been for many decades.


It is hard to go on with my assigned task after all that, but the job remains, and I'm the one who has to do it.  The convention was four days of Hell.  Accordingly, the September 1968 issue of Analog was a slog, too, though of a different kind.


by John Schoenherr

The Tuvela (Part 1 of 2), by James H. Schmitz


by John Schoenherr

The ocean planet of Nandy-Cline is in the sights of the Parahuans, a rapacious race of aliens that was beaten back by the Federation seventy years ago, and wants another try at the apple.  They're being cautious.  The humans beat them once, which is almost heresy to the arrogant Parahuans.  To justify losing to the inferior homo sapiens, they decide there must be a secret cabal of superhumans that leads and coordinates our species.  They must know more in order to sway political power from those supporting the Voice of Caution to those in favor of the Voice of Action.

To that end, they have set up a submarine base on the planet and abducted the human, Ticos Cay.  Why?  Because he is nearly 200 years old and seems to have found the secret of immortality.  It is clear to the Parahuans that he must be in the employ of the "Tuvelas", our putative ubermenschen.  They torture him, at length, but he resists because the same disciplines that have extended his life also grant him the ability to blot out pain.  Nevertheless, he will succumb—unless he can get outside help.

Enter Nile Etland, a young biologist living on Nandy-Cline.  She and her two giant mutant otters, sapient and clever, are looking for Cay, who has disappeared from the floating island where he was doing research.  Cay's only hope is that the Parahuans will take Etland for a Tuvela and treat her with comparative kid gloves, testing her abilities, rather than killing her outright.

Etland, to her credit, is up to the challenge…

The premise for this one is excellent, and something I love about James H. Schmitz is his ability with (indeed preference for) featuring heroines over heroes.  That said, the writing in this piece is often plodding and explanatory, and I found my momentum frequently flagging.

So, three stars for this installment.  Now that all the pieces have been set up, perhaps the next half will be more exciting.

The Powers of Observation, by Harry Harrison


by Leo Summers

The Soviets have developed a new kind of super spy.  He looks just like a man, but for some reason weighs over 400 pounds.  If that leads you to guess that he's the Communist version of Hymie the robot from Get Smart, give yourself a cigar.

But the American agent tasked to pursue him through the back roads of Yugoslavia has a few gimmicks up his sleeve, too…

Well-written, but nothing spectactular.  Three stars.

Steamer Time?, by Wallace West

As America grapples with its oppressive smog situation, some are calling for a return to the good ol' days—the days of the Stanley Steamer.  I'm just a little too young to remember when steam cars battled internal combustion vehicles for supremacy, so I don't have the nostalgia for them that Wallace West infuses his piece with.  The arguments for steam are largely that it burns clean, with its only waste gas being carbon dioxide (of course, while not strictly a "pollutant", there are other problems with it; viz. our 1958 article on the potential for industry-caused global heating).  Steam engines were also more fuel-efficient, though I don't know if that's still the case.

The arguments against steam, to me, would be the long time to develop a head of steam.  In the old days, waiting for your boiler to heat up was acceptable since the alternative was cranking up your IC car, and risking breaking an arm when the crank snapped back.  With the invention of the electric starter, that became a non-issue.  Perhaps the steam folks have a plan, too.

Anyway, the piece is readable, if a bit gushing.  I'm sure the auto industry will never allow an IC competitor to emerge, although as we speak, two electric cars are racing across the nation, so who knows?

Three stars.

Hi Diddle Diddle, by Peter E. Abresch


by Leo Summers

A harried reserve USAF captain, assigned to the UFO division, gets tired of all the cranks and reporters and spins a yarn for them: the cigar-shaped "ships" are really space cows feeding on the gasses of our upper atmosphere.  His creation is recounted credulously, and hysteria sweeps the nation.  Eventually, even Soviet agents are involved.

But what if the captain actually guessed too close to the mark?

This is a tedious story, and it just goes on and on.  Analog rarely does humor well.

Two stars.

A Flash of Darkness, by Stanley Schmidt


by Leo Summers

Mars Rover (MR) Robot is having a bit of trouble on Mars.  The autonomous machine uses a holographic laser rather than a camera for navigation (apparently it's lighter; I don't buy it).  When night falls, the rover finds its vision fogged and then blinded by something beyond its ken.  It's up to the technicians back on Earth, and maybe a little intuition in MR Robot's mechanical brain, to solve the problem.

This could have been an interesting piece, but I felt the ending was a let-down.  You'll see why.

Two stars.

Parasike, by Michael Chandler


by Leo Summers

A fellow pretending to use numerology to make guaranteed stock picks turns out to be a quack of a different duck.  He is promptly recruited by America's super-secret psi corps.

A lot of talking, a lot of fatuous acceptance of psi as science—in short, the perfect Campbell story.

Two stars.

Counting off

August has been one of the roughest months of one of the roughest years in recent history.  Analog finished at 2.5, which is lousy, but not that far removed from the rest: Fantasy and Science Fiction (2.5), Amazing (2.6), If (2.9).  Only Galaxy finished above the three-star barrier (3.1)

You could take all the 4/5 star stuff, and you wouldn't even fill a single issue.  That's awful.  Women were down to their usual publication rate, producing 6.5% of all new fiction this month.

It's going to take bold new leadership to change that trend, just as it will take bold new leadership to fix the country.  That new leadership doesn't seem to be near in coming.  I just hope we can withstand another Long Hot Summer…






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[August 28, 1968] The Carnival is Over (The Seekers Break Up)



by Kaye Dee

Without a doubt, Australia’s most famous musical export would have to be The Seekers, the folk-pop quartet from Melbourne who burst onto the international stage in 1964 and have given The Beatles and The Rolling Stones a run for their money when it comes to Top Ten hits. So, even with persistent rumours for some months that the band might soon break up, it comes as something of a surprise that, at the height of their fame, The Seekers announced in July that they have decided to go their separate ways.

The Seekers at the 1966 Royal Command Performance at the London Palladium

Singing for their Supper
The Seekers – Athol Guy (28), Keith Potger (27), Bruce Woodley (26) and Judith Durham (25) – formed in Melbourne in 1962. But how did a group of clean cut, coffee-house musicians – all of them with middle-class day jobs – become a hot property in the booming British pop scene and a household name on three continents? 

When the group was formed, none of its members were newcomers to the local music scene. The three male members had all attended the same Melbourne school and had their own bands before forming a new “doo wop” band, the Escorts, with singer Ken Ray. This group then transformed into The Seekers in 1962 as the folk music movement grew in Melbourne.

At the same time, Miss Durham, blessed with perfect pitch and originally planning to become an opera singer, was carving out a place in the local jazz scene. As the lead vocalist with a top Melbourne jazz band, “Judy” Durham had already released an EP with a local record label. With her beautiful and versatile voice, she can sing jazz, opera, blues and gospel – and there is no question that Judith Durham’s vocal talents have been a major factor in The Seekers’ success over the past six years.

When Ken Ray married and left the Seekers, Miss Durham was working at the same advertising agency as Athol Guy, and he recruited her as Mr. Ray’s replacement, creating The Seekers as we know them today: Judith Durham, the lead vocalist, also performing piano and tambourine; Athol Guy on double bass and vocals; Keith Potger on twelve-string guitar, banjo and vocals; and Bruce Woodley on guitar, mandolin, banjo and vocals.

On the cover of The Seekers first album, Keith Potger was replaced by former Seeker Ken Ray, because his day job as a radio producer at the Australian Broadcasting Commission barred him from involvement in a commercial enterprise. (L-R: Judith Durham, Ken Ray, Bruce Woodley and Athol Guy).




Breaking Into the Australian Charts
Miss Durham’s golden voice and the group’s folk-influenced sound quickly made them popular in Melbourne, although they were largely unknown outside it. When her previous connection with local record label W&G provided the opportunity for a recording contract, The Seekers released their debut album "Introducing The Seekers" in 1963, opening the way to reach a national audience.

In the liner notes for the album, The Seekers described their approach to their music: “We don't claim to be folk singers in the true sense of the word. Then again, we don't regard ourselves as being ‘commercial’. Why? Because we sing the songs we like, the way we like and the way we think people will like to hear them. No long-haired ethnic purity for us, it's more fun our way.”

Two tracks were released as singles, with their version of Australia’s unofficial national anthem “Waltzing Matilda” charting in the Top 40 in Melbourne, and the Top 100 nationally. Obviously, people did like to hear The Seekers singing what they liked, their way.

Sailing Away to International Fame
Since the 1950s, many Aussie entertainers seeking fame and fortune have headed off to Britain to try their luck in its larger, more vibrant entertainment industry, and in 1964, The Seekers decided that the time had come for them to follow suit. With a year-long contract to work as the house band on a cruise ship, the group departed Australia in March.

The Seekers planned to work in the UK and get some exposure for their music during the ten-week layover there before working the return cruise to Australia. Shrewdly, the group sent copies of their album and promotional photographs ahead of them to London talent agencies, hoping this might help them line up some work once they arrived. The tactic was successful, and once in London in May, the group discovered that a top agency had taken them on and already booked them on national TV shows, and on the UK variety theatre and club circuit.

Their planned “working holiday” almost immediately turned into a full-time career, with important London bookings and television appearances, a UK recording deal and the release of their first UK single, “Myra”. This was quickly followed by two studio albums and, at the end of 1964, their first big hit “I’ll Never Find Another You”.

What made The Seekers (deprecatingly described by some in the British press as “three bank tellers and a secretary” due to their conservative style of dress and a lifestyle that was definitely not “sex, drugs and rock’n’roll”) such a marketable property in a British pop scene fuelled by teen angst and teenage rebellion?

Internationally successful folk acts like Peter, Paul & Mary had paved the way for The Seekers’ sound, the product of Judith Durham’s pure and powerful voice and the “nice harmonies” of the three men. With their clean-cut good looks, equally clean-cut voices and quiet dress, they appealed to English squares because they represented something they could understand and feel comfortable with, while at the same time their catchy tunes and soulful ballads, and their sheer musical talent attracted a wide range of audiences. The conservative BBC loved them, because their music contained no offensive lyrics, and their performances no outlandish behaviour, meaning that they received a large amount of air time on radio and television, which gave them wide exposure. 

A Match Made by a Manager
Many of the catchy tunes that repeatedly propelled Seekers to the top of the charts, commencing with “I’ll Never Find Another You” (apparently recorded at the famous Abbey Road Studios by day while The Beatles were recording there at night), were written expressly for The Seekers by singer-songwriter-producer Tom Springfield, brother of Dusty Springfield. In a clever move, the agent managing The Seekers introduced them to Mr. Springfield shortly after he had split with his sister. Tom Springfield felt that The Seekers’ style of singing and performance would suit the particular kind of music he preferred to write. He became their resident songwriter, signing the group to his production company. 

In November 1964 “I'll Never Find Another You” became a massive worldwide hit, reaching Number 1 in Australia and the UK, and Number 4 in the US. It also rated highly in Europe and eventually sold 1.75 million copies worldwide. This earned The Seekers a place in the record books as the first Australian pop group to have a Top 5 hit simultaneously in the Australian, UK and US markets, as well as the first to sell over a million copies of a single.


A World of Their Own
You could say that 1965 was the year that The Seekers conquered the world, with hit after hit rising up the charts! “A World of Our Own”, “Morningtown Ride”, and my favourite, “The Carnival is Over”, were all Top Ten hits, as was their 1965 album release. With its melody apparently drawn from a Russian folk song, “The Carnival is Over” reached Number 1 in the UK, even overtaking The Rolling Stones' “Get Off My Cloud”! I’ve heard that the single sold over 90,000 copies per day in Britain, which is no mean feat.

The Seekers receiving their gold record in Australia for "The Carnival is Over"








Winning the Top of the Pops Best New Group of 1964, The Seekers starred in the New Musical Express “All-Star Poll Winners Concert” in April 1965, on a bill that included the cream of the British pop scene – The Beatles, The Rolling Stones, Cliff Richard, Dusty Springfield, The Who and The Yardbirds: The Seekers would go on to outsell them all in 1966! Then followed a breakthrough performance in June on The Ed Sullivan Show – the first time any Australian musicians had appeared on US television.

The Seekers during their first performance on the Ed Sullivan Show in 1965


The Seekers' amazing success was repeated in 1966, commencing with a sell-out concert tour of Australia, during which they filmed their first Australian TV special, “At Home with the Seekers”. There was also a successful collaboration with Paul Simon (of Simon & Garfunkel fame), which produced “Someday, One Day”, another major hit. Bruce Woodley then co-wrote several songs with Mr. Simon, including “Red Rubber Ball”, released on The Seekers 1966 UK Top 10 album “Come the Day”. 

In November, The Seekers appeared on the bill at the prestigious Royal Command Performance concert at the London Palladium, before H.M. Queen Elizabeth, the Queen Mother. Finally, in December, the group released what became their biggest hit, and highest charting American release.

“Georgy Girl”, the title song for the film of the same name, reached Number 3 in the UK, Number 1 in Australia, and Number 1 on the US Cashbox Top 100 in February 1967, ultimately selling 3.5 million copies worldwide. Jim Dale and Tom Springfield, the song’s writers, were nominated for the 1967 Academy Award for Best Original Song of 1966, although The Seekers had to pass up the opportunity to perform at the awards ceremony due to a prior booking in the UK. Unfortunately for them, the Oscar was won by the title song of the film Born Free.

The Seekers at the Myer Music Bowl, a publicity shot for "The Seekers Down Under"




While touring Australia in March last year, The Seekers appeared at a concert at the Sidney Myer Music Bowl in Melbourne, which is claimed to have drawn an audience of 200,000 – the largest concert audience ever in the southern hemisphere according to the Guinness Book of Records. (Though rumour has it that the audience figure is somewhat exaggerated, because visitors to the annual Moomba festival occurring in the vicinity were also counted!). During their 20-minute performance, the group was accompanied by the Australian Symphony Orchestra, conducted by Hector Crawford, also a producer of radio, film and television. Film of this performance was included in The Seekers’ second Australian TV special, “The Seekers Down Under,” which drew a record audience of over 6 million!

A scene from "The Seekers Down Under", showing the group in Canberra

By this time Miss Durham apparently felt the need to branch out on a musical career of her own, and recorded a debut solo single, "The Olive Tree", which was released in June last year, while The Seekers were on a North American tour. For The Seekers as a group, the hits just kept on coming, for both their single releases and their most recent album, “The Seekers Seen in Green”. But when Judith Durham’s second solo single, “Again and Again”, appeared at the end of last year, it sparked early rumours that the group might split up.

During their North American tour, The Seekers joined fellow Aussie performers Rolf Harris, Normie Rowe and Bobby Limb in the special “Australia Day at Expo 67” concert in Montreal, that became the first official satellite broadcast into Australia. They also made another appearance on The Ed Sullivan Show, singing “Georgy Girl”, which has turned out to be their last US hit.

The Seekers performing at the Australia Day concert broadcast via satellite to Australia from Expo 67

Our Last Goodbye
Though we didn’t know it at the time, when The Seekers returned to Australia last December, it was to be their final Australasian tour. But in a fitting finale to their career, The Seekers’ rapid rise to international fame was crowned with Australia’s highest honour: in January, they were collectively named “Australians of the Year for 1967”. This was the first time that a group, rather than an individual, has received this prestigious national recognition.


The Seekers with Australian Prime Minister John Gorton and his wife after receiving the "Australians of the Year" award.

During this tour, they also filmed their final Australian TV special, “The World of the Seekers”. Filmed in colour for international distribution, the programme was first screened in cinemas (so we could see it in colour, lacking colour television in this country) before being broadcast nationally to outstanding ratings. 

At some point during the tour, Miss Durham informed her band mates that she intended to leave The Seekers in the middle of the year, although the swirling rumours of their impending break-up were consistently denied and laughed off, even a few weeks before the split was announced. 

Despite knowing that their days of performing together were coming to a close, The Seekers recorded a final single, “Days of My Life”, in April, which sadly has proved less than successful. A final UK album, “Live at The Talk of the Town” has also been recorded and will be released later this year. A compilation album, “The Seekers — Greatest Hits” has just been released here in Australia (quick work by the record company, that one!).

When The Seekers publicly announced in the UK on Wednesday 3 July that they were breaking up, they insisted that they had never intended to go on performing indefinitely. “It’s getting far too complicated, and should be run as a cold hard business, which means it has now reached a stage we never wanted it to,” they said in a group statement. “It is time for us to part. We are all at a stage where we should be growing up as individuals, not as a group”. This rather suggests that Miss Durham was not alone in her desire to branch out into a solo career, and her decision to depart simply accelerated something that was already in train.

The Seekers made their last appearance together in a 50 minute television special on 9 July, rapidly arranged by the BBC. “Farewell The Seekers”, which has not yet been screened in Australia, was reportedly an emotional experience on screen and off, attracting an audience of more than 10 million viewers. When the lights went down, the carnival was over, and an amazing chapter in Australia’s musical history had drawn to a close. I wonder what will come next for the former Seekers?


[August 16, 1968] Brown is the color of my true love team (the NFL in 1968)


by Marie Vibbert

Looking forward to the 1968 NFL season!

The only big news this year is that The New York Giants and New Orleans Saints have switched divisions.  The New York Giants had finished second in the Century Division last year and will bring competition to the Dallas-dominated Capitol Division.  Hopefully they will not just beat up on Philadelphia and Washington, but if they do, with the advantage of short bus rides to those cities, they’ll be all the more able to knock Dallas off their perch.


Yankee stadium where the Giants played the Packers last October; that's Frank Sinatra and Lee Remick in the foreground.

Meanwhile, the Saints finished dead last in the Capitol Division last year and might do better against the softer teams at the bottom of Century – namely Pittsburgh and St. Louis.  They should be pretty evenly matched with St. Louis, and it’ll be fun to see two hot weather teams wrestle it out early in the season, as they do September 29.

The league negotiated these moves to make the divisions more evenly matched, and if that comes to pass, it is good news for football fans.  Who wants to watch a one-sided slaughter?

At the draft earlier this year, the Minnesota Vikings traded for the first pick, which they spent on Ron Yary from UCSC, an offensive tackle.  This is the first time the number one draft pick was an o-lineman, and about time, I say!  Coaches underestimate the vital importance of the line.  And Yary is well worth the pick.  As a junior, he was moved to the offensive line from defensive line (where he was a PAC-8 all star) and was a consensus All-American as a junior and a unanimous choice in 1967. He was the 1967 winner of both the Outland Trophy and the Knute Rockne Award, awards that annually go to the nation's top collegiate lineman. During Yary's three seasons, the Trojans compiled a 24-7-1 record.  I think Minnesota will be well pleased with their pick for many years to come!

The beleaguered Vikings traded their QB Fran Tarkenton to New York for the draft pick.  Despite the player it gained them, I cannot agree with being so profligate.  Tarkenton threw four TDs in his first game, which was also the Viking’s first game, and no rookie quarterback has accomplished that feat since.  For the past six years, Minnesota has suffered the problems typical of a young team, and Tarkenton has been one of their bright spots, leading 8 of the first 10 wins the team had in his first three years.  Sure, they only had three wins last year, but remember they had three ties, too.  What Tarkenton needed was a stronger offensive line to give his arm time, and now they have it – but no Tarkenton.

We’ll see if Tarkenton provides the spark to take New York forward from their 7-7 season.  They’ll also be happy to be away from the constant spanking by the Cleveland Browns, and as that rivalry has been so one-sided lately no one will miss it.  While they managed to win one this year, the last time they won against their division rival was five years ago, losing six straight games!  I’d be nervous if I were Dallas!

The Giants play their first division game against Dallas on November 10th – though I wish it were in New York for the snow.  But if the fine weather and fine home field refs manage to squeak a victory for Dallas, they’ll have to face New York again in New York in December, and I guarantee they won’t win that one.  Not a fan of Dallas; I think the team is weaker than their record shows.  They got lucky with some simple mistakes and questionable calls in their playoff win against the Browns last year, as was clearly evident when they were easily defeated in the next round by Green Bay.


The Packers and the Cowboys face off at the "Ice Bowl" which culminated last season

Speaking of the Browns, yes, I am pleased that the only team to come close to them is leaving the division, but they don’t need the help.  Remember that their record in their “bad year” 1966 was 9-5, same as it was last year.  It was pure politics and stat voodoo that kept them out of the playoffs for one year.  Last year proved that. 

Running Back Leroy Kelly went for over 1,000 yards rushing for the second straight season, along with 11 touchdowns, while Ernie Green, now out of the shadow of Jim Brown, went for over 700 yards for the second year. Frank Ryan showed he’s not so old and beat up after all, throwing for 20 TD passes.

I think Browns head coach Blanton Collier’s done a lot to re-shape the team after the 52-14 playoff loss to Dallas.  (I have questions about the officiating in that game, but besides I guarantee the results would have been different in Cleveland.  Warm-weather teams don’t play hard in the cold.) Perhaps too much, but it can’t be denied that a lot of our stars are aging out and young blood will do them well. 

It’ll be strange to see the Browns without place kicker Lou “The Toe” Groza, who has announced his retirement – yes for the second time, but this time for real.  He made 11 of his 23 field goals last year and is the last member of the original Browns team from 1946. For twenty-one seasons he has been a reliable offensive tackle and kicker, helping the team win eight league championships. He holds the NFL record for most points scored by a single player, most field goals made and most extra points made.  234 field goals, 641 extra points, and 1,349 points total!  For a man who started out on the offensive line! 1,603 points if you count the pre-NFL years.  Groza, at 44, has much of life ahead of him, but the game of football will forever be changed by his presence.

He will be succeeded, but not replaced, by Don Cockroft, who was drafted out of Adams State last year in the third round, a gifted young kicker who will have the advantage of a year studying under Lou.

The Browns spent their early draft picks shoring up the defense.  Marvin Upshaw from Trinity will be the only rookie on the tough D-line.  John Garlington and Wayne Meylan, from LSU and Nebraska respectively, will join the linebacker core.  With a strong, veteran offensive line and two great running backs behind them, Frank Ryan won’t have much to worry about at QB but hiding when and where he hands the ball off. 

The season looks pretty soft, too, starting off with the Saints and the Cowboys, who, I repeat, are not as good as their record shows, with two pretty-much guaranteed wins against Pittsburgh and one more chance to beat up New York as a non-division game.  I know I say this every year, but this time I feel almost bored with how sure I am.  The Browns will go all the way.  The Cowboys will find when they have a real division rival in the Giants they won’t even make the playoffs. 

But the real winners are the fans.  This promises to be a hard-hitting, hard-playing season.





[August 12, 1968] Galaxy's the One?  (the September 1968 Galaxy)


by Gideon Marcus

Live from Miami Beach!

If you, like Walter Cronkite, Chet Huntley and David Brinkley (and me), soldiered through the four days and nights of GOP convention coverage, you saw the drama unfold in Miami Beach as it happened.  Dick Nixon came into the event a "half-inch" shy of having the nomination sewed up, his chief competition coming from New York governor Nelson Rockefeller.  California governor Ronald Reagan, best known for his Chesterfield cigarette ads, coyly denied that he was a candidate…until he suddenly was, in a desperate bid to court "the New South".

The suspense was all a bit forced.  By Day Two, it was understood that the New Jersey delegation, which had been putatively firm in supporting native son Senator Clifford Case through the first ballot so as to be able to play kingmaker later on, was now breaking for Nixon.  On Day Three, South Carolina Senator Strom Thurmond, who had expressed that his first and second choices were Ronald Reagan, suddenly declared his support for Nixon.

And so, after endless seconding speeches for candidates who had no intention of being President, like Governor Hatfield of Oregon and "dead duck" Governor Romney of Michigan, Nixon won on the first ballot.

After that, the only unknown was who would be his running mate.  The South made loud objections to any GOP liberals being tapped, like New York mayor John Lindsay and Illinois Senator Charles Percy.  The smart money was on a Southerner like John Tower of Texas or Howard Baker of Tennessee.  So everyone was surprised when Maryland governor Spiro Agnew got the nod at a press conference the morning of Day 4, overwhelmingly winning the ballot that night (though not without loud protest from Romney's Michigan contingent).

Why Agnew?  Here were a couple of comments from the NBC reporter pool after the convention:

"It's not that Agnew adds anything to the ticket; it's that he doesn't take anything away."

"Everybody loves Agnew–no one's ever heard of him!"

Agnew, who is kind of a Southerner, and kind of a liberal, but who has recently come out in favor of strong "law and order" (which means urging cops to shoot Baltimoreans if they steal shoes), will enable Nixon to retain his chameleon qualities while Agnew acts as attack dog.  And since being the actual Vice Presidency is worth exactly one half-full bucket of warm piss, it doesn't really matter that Agnew is brand new to large scale politics.

Long story short, Nixon is the One, which we've known since February.  God help us all.

Live from New York!

When Galaxy first appeared in 1950, it was also "the One", breathing fresh new air into the science fiction genre.  18 years later, it is still a regular on the ballot for the Hugo Award.  Last month's was a superlative issue; does this month's mag maintain that level of quality?


cover by Jack Gaughan

Nightwings, by Robert Silverberg

Silverbob presents a richly drawn future world, one in which humanity has soared to great heights only to stumble back to savagery twice.  Now, thousands of years later, Earth is in its Third Cycle.  The planet is an intergalactic backwater, and its people are rigidly divided into castes.

Our heroes are a Watcher, a Flier, and a Changeling.  The first, whose viewpoint we share, is an aged itinerant, hauling in a wagon his arcane tools with which he clairvoys the heavens three times a day (or is it four?  The author says both.) for any signs of an alien invasion.  The Flier Avluela, the only woman in the story, is a spare youth who is able to soar on dragonfly wings when the cosmic wind is not too strong.  And finally, there is Gorman, who has no caste, yet has such a broad knowledge of history that he could pose as a Rememberer.


art by Jack Gaughan

All roads lead to Rome, so it is said, and indeed the three end up in history-drenched Roum, where the Watcher finds the city overcrowded with his caste.  The cruel Prince of Roum, a Dominator, takes a shine to Avluela, compelling her to share his bed.  This incenses Gormon, the crudely handsome mutant, who vows his revenge.

Gormon has the advantage of knowing that justice will not be long delayed–the alien invasion is coming, and he is an advance scout…

There's something hollow about this tale, rather in the vein of lesser Zelazny.  Oh, it's prettily and deliberately constructed, but the story's characters are merely observers rather than actors.  The stage is set and the inevitable happens.  When the alien conquest occurs, it is our Watcher who sounds the alarm, but it is implied others were about to do so (why they did not cry out the night before when the invasion first became apparent is left an inadequately explained mystery).  It's a story that doesn't really say or do anything.

Beyond that, I object to the lone female existing to be loved and/or raped, depending on the man involved.  She is there to be a pretty companion, a object of pity, a tormented vessel.  I suppose the small mercy is she is not also a harpy, as Silverberg is occasionally wont to present his women.

Anyway, I give it just three stars, but I imagine it'll be a Hugo contender next year…

When I Was Very Jung, by Brian W. Aldiss


art by Brock

A weird mix of sex, cannibalism, and archetypes.  I found it distasteful and out of place.

One star.

Find the Face, by Ross Rocklynne

One of science fiction's eldest veterans offers up this romantic piece.  It has the old-fashioned narrative framework, with an aged tramp freighter captain describing the day he was contracted by a wealthy widow, and what ensued afterwards.  The widow's husband and family had been lost in a space accident, but somehow, his face remained, etched across the sky in cosmic clouds and star clusters.  The widow saw this phenomenon once, and she was determined to find from what vantage in the universe it could be reliably observed again.

The captain, meanwhile, was looking for Cuspid, the planet whence the green horses that sired his favorite racer came.  Together, they went off on their separate quests, and in the process, found the one thing neither had been looking for: new love.

It's something of a mawkish story and nothing particularly memorable.  That said, it is sweet, almost like a romantic A. B. Chandler piece, and I appreciated the two characters being oldsters rather than spring chickens.  Moreover, these were not ageless immortals, but silver-haired and wrinkle-faced septuagenarians.

More of that, please.  Three stars.

The Listeners, by James E. Gunn


art by Dan Adkins

In the early 21st Century, Project Ozma continues, despite fifty years of drawing a blank; even with the efforts of dozens of astronomers, hundreds of staff, and the entire survey calendar of the great Arecibo telescope in Puerto Rico, not a single extraterrestrial signal has been encountered.  Low morale and lack of purpose are the rule amongst these dispirited sentinels.

This is an odd story, with much discussion and development, but no resolution.  At times, the author hints that a message is forthcoming, or maybe even already being received, if only the listeners could crack the code to understand it.  But the climax to the tale has little to do with the story's backbone, and, as with Nightwings, the characters drift rather than do.

It feels like the beginning of a novel, not a complete story.  Larry Niven could probably have done a lot more with the piece in about half the space.

Three stars.

For Your Information: Mission to a Comet, by Willy Ley

Now this piece, I dug.  Willy Ley talks about why comets are important to understanding the early history of the solar system, and which ones could feasibly be approached with our current rocket and probe technology.  The little chart with all the astronomical details of the Earth-approaching comets was worth the piece all by itself.  I particularly liked the idea of Saturn for a "swing-around" mission to catch up with Halley's Coment from behind!

We truly live in an SFnal reality.  Five stars.

The Wonders We Owe DeGaulle, by Lise Braun


art by Brock

Newcomer Lise Braun offers up a droll travel guide to a mauled Earth.  It seems a French bomb that exploded in Algeria sundered our planet's crust, sinking half the Americas and turning the Sahara into a stained glass plain.

It's mildly diverting but Braun's clumsy writing shows her clearly a novice.  I think the setting would have served better as background than a nonfact piece.

Two stars.

A Specter is Haunting Texas (Part 3 of 3), by Fritz Leiber


art by Jack Gaughan

Lastly, the conclusion to Leiber's latest serial, a sort of fairytale version of a hard science epic.  The "Specter" is really a spaceman named de la Cruz, a gaunt, eight-foot figure kept erect by an electric exoskeleton, denizen of a circumlunar colony.  He has been the centerpiece of a Mexican revolution, which is trying to throw off the literal yokes (cybernetic and hypnotic) forced upon the Mesoamerican race by post-Apocalyptic Texans.  The spaceman's comrades include two quite capable and comely freedom fighters, Raquel Vaquel, daughter of the governor of Texas province, and Rosa ("La Cucaracha"), a high-spirited Chicana; then there's Guchu, a Black Buddhist, reluctantly working with the ofays; Dr. Fanninowicz, a Teutonic technician with fascist sympathies; Father Francisco; and El Toro, a charismatic leader in the revolution.

In this installment, de la Cruz finally makes it to Yellow Knife, where he wishes to lay claim to a valuable pitchblende (uranium) deposit.  Unfortunately, the Texans have gotten there first–and what they have established on the site finally reveals just what all those purple-illumined towers they've been planting across the North American continent are for.  'T'ain't nothin' good, I can assure you!

Last month, I read a fanzine where someone complained that this was a perfectly good story ruined by being turned into a tongue-in-cheek fable.  Certainly, I felt the same way for a while.  By Part II, however, I was fully onboard.  While this last bit didn't thrill me quite as much as the middle installment, it's still a worthy novel overall.  When it comes out in paperback, pick it up.

Four stars for this section and for the serial as a whole.


art by Jack Gaughan

Roll Call

Like the Republican convention, the outcome seemed certain, but a few twists and turns along the way did create a bit of doubt.  But in the end, if this month's Galaxy is perhaps not all the magazine we hoped it would be, nevertheless, it's one we can live with.

For the time being, Galaxy remains The One.  May it continue to be so for four more years.






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[August 4, 1968] Changing Tastes (The Year of the Sex Olympics)


by Mx. Kris Vyas-Myall

Last Summer I complained about the growth of “flower music” onto the charts in the UK. Almost as quickly as it appeared, it seems to have vanished again, apparently being a phenomenon over here only as long as it was 1967. In fact, there is barely anything that could be described as psychedelic in the top 40 singles or albums.

Arthur Brown in makeup with lighted horns
Not the usual hippy scene

The only notable exception is “Fire” by The Crazy World of Arthur Brown, which is very different from the sounds coming out of California last year.

Chicken Shack and Rolling Stones Covers

So, what has been replacing it? Well, firstly there has been a revival in the heavier blues sound, in both established acts such as The Rolling Stones and John Mayall, or new acts like Fleetwood Mac and Chicken Shack. Others seem to moving towards a pop sounding rock ‘n’ roll with heavy degrees of satire, the kind pioneered by The Kinks, we are now seeing on acts from The Beatles to Dave Dee, Dozy, Beaky, Mick & Tich.

Andy Williams and Don Partridge covers

There are two genres that were also popular in 1967 that continue to be so. The first is the kind of Easy Listening music which predominates on BBC Radio 2, with figures such as Engelbert Humperdinck and Val Doonican. The other is folk music, which has much more variety in the charts, from the poppier sounds of Esther & Abi Ofarim, the more traditional route of Don Partridge or the curious experiments of The Incredible String Band.

Supremes and O.C. Smith covers

But probably the biggest musical genre in Britain at the moment is soul music. Not just the continued success of American greats like The Supremes, The Four Tops or Ray Charles. But also newer acts such as P. P. Arnold, O. C. Smith and the orchestral sounds of Love Affair, along with established British Acts like Dusty Springfield, Lulu or The Mindbenders.

If anything, this goes to show how quickly musical tastes change nowadays. What was popular in the summer of ’67, ’66 or ’65 sounded decidedly old fashioned the next year. Where will tastes be in 1969? Only time will tell.

Whilst I was pondering this, a stunning new teleplay came on to Theatre 625 and gave us a glimpse into the entertainment of the future.

The Year of the Sex Olympics

Promotional image for The Road
Nigel Kneale: Last seen by The Road

It has been a while for Nigel Kneale as a TV writer, working on films such as The Witches or First Men on The Moon instead. His last teleplay was half a decade ago with the excellent clever ghost story, The Road.

His teleplays have been known to be shocking and to provoke debate, sometimes even in parliament, and this is certain to carry on in this tradition.

Opening Logo for Year of the Sex Olympics

In a future clearly inspired by Huxley, the world now exists at peace and without want. Society is now divided into two groups:

There are a small group of “high drives” who we observe work in broadcasting and control the TV programs we see. Most people, however, are “low drives”. These people do not work, instead live in automated controlled environments. These do not have any interest in working and are kept pacified by the television programs the high drives produce.

High-Drive controllers watching a couple having Sex in qualifiers for The Olympics
High-Drive controllers watching the “Sport”

This society seems to be set up in this way for two reasons. Firstly, it keeps people pacified with the regular mantra, “Watch not do.” Sex television was designed to stop population explosion and wars, people numbed to doing anything by just seeing it all the time.

Secondly this acts as a form of eugenics to promote more high drives. With the sexual impulse of the low drives suppressed they are less likely to reproduce and most end up dying by the age of 35. Further tests are also done to determine if any high drive children are low drives and they are cast out into the audience.

Chessboard in a glassbox with a machine labelled "auto-chess"
Why bother playing chess when a computer can do it for you?

We are shown two problems with this situation. Firstly, some of the controllers are getting disenchanted with this society. Most notable is Kin Hodder, a set dresser, who is trying to introduce his real art into the broadcasts against the will of the controllers. The other is that the computers say they need to add more humour into the broadcasts, a concept none of the audience seems to be able to understand. For example, getting groups of clowns throwing custard pies only generates boredom.

Both problems are solved at the same time when the artist falls from a rope and dies in a gruesome manner, resulting in huge laughs from the audience. Thus is born a new concept: a show where people live on a remote island without any modern conveniences and are constantly filmed. Viewers get the thrill of never knowing if the participants will live or die. Two controllers, Nat and Deanie, volunteer for the pilot of the Live-Life show and bring along Deanie's daughter Keten.

Life is going to be much harder than they thought and, unbeknowst to the contestants, it turns out that the island is already inhabited. However, it will make for excellent ratings!

Naked woman lying down holding a veil with the word "Artsex" imposed over the top
Fancy something a bit more high-brow? Try Artsex!

The dangers of television becoming more shocking for the sake of it seems to be a subject en vogue right now, for example Kate Wilhelm’s Baby You Were Great or the film Smashing Time’s You Can’t Help Laughing. However, having it on screen in this way is much more immediate and shocking.

The message is hammered home very hard throughout. Not just with the imagery but with the language as well, where we hear phrases such as:

“A censor stopped things from going too far. We stop when things don’t go far enough.”

This could seem as too didactic or curmudgeonly but it is a testament to Kneale’s skill that he manages to pull it off.

I have to wonder if some of this is also grumpiness at his own experiences of television. It is notable that “audience testing” is a big part of this future. Continuous calibration made to audience reactions and even the winners of competitions are based on this.

Two people throwing food at each other.
Other entertainments include “The Hungry Angry Show”.

One of the odder choices is to give many of the (all British) cast American accents, something it does not appear they had much training on. This combined with the use of futuristic slang did make it hard to follow at times.

One person thankfully not trying to do one of these accents is Leonard Rossiter, a character actor probably well known to SFnal fans for his recent turns in The Witches and 2001: A Space Odyssey. He is an excellent choice for Coordinator Ugo, as he is able to come across as very unpleasant at the start whilst selling the disgust he feels at what is happening by the end.

Nat holding an axe whilst seeing a native of the island
The Live-Life Show. I think the title could do with some work

We do have to talk about the ending, as it is worth the price of admission alone. However, if you would rather wait for a possible repeat showing, stop reading now.

So, on the island Keten catches a disease that would be curable in the city, however, with no help available she dies. After the funeral Deanie is then brutally murdered by another inhabitant of the island who is then killed by Nat in revenge. This delivers the effect the controllers were hoping for as we see the audiences in raucous laughter over the horrific deaths and Nat’s grief.

This is disturbing enough but Nigel Kneale adds one final twist of the knife. Throughout we hear little jingles, very much in the style of pirate radio. Rather than having dramatic music playing over the ending, we just have a continual repetition of “The Year of the Sex Olympics Jingle”. Forcing us to ask, are we the same as them? Did we learn anything from what we saw or are we just as much passive participants?

If you missed it and are in the UK, write letters to the BBC asking for a repeat. If you are outside, see if you can convince a local station to import it.

Five Stars






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