listings - ROUTES by Ronald Bunn

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Listen to your
,mon.
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They want to bust out,
to kick off their shoes and
leave civilization dockside.
Theywant to be turned
loose on the decks of a
majestic schooner.
To reggae and rock to a steel
band far into a star-flecked
Caribbean night.
They want to sink their toes
deep into white, pink and
biack sand. Oh, so warm.
And be the first to make
their mark on an unspoiled,
forgotten strand of beach.
They want to stand on tiny
dots of land named Nevis,
Dominica and Anegada,
to discover tropical rain forests,
to slip into crystal waters
and explore enchanted coral
reefs, to sail away to another time,
another world.
They want to prop up the ship's
railing while you iinger with
a shipmate over a swizzle.
And love two other bare feet
in a secluded corner of the
most romantic Sea in the world.
They want to take off with
other spir~ed bodies and souls
on one of the most glorious
experiences imaginable.
A Windjammer 'barefoot'
adventure.
For as little as $295, you can
be footloose and free as a gull
for 6 to 11 days.
We're going to do good things
to your head. If you just list
to your feet.
(.p'n Mike,
WindJammer '•• rcfoot' Cruises,
P.O. lox 110, Dept. 973
MI...llooch, Florid. n1]9.
My shoes are: haff off already.
Send me your free full color
'Great Adventure' booklet.
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ROUTES MAGAZINE, A Guide to Black Entertainment. ..
Cover by Judi Lesta
CONTENTS
ROUTES
FEATURES
Ronald Bunn
Publisher/Editor
Ella Mystal
Asst. Editor
Jill Silberman
Copy Editor
Agnes O. Bunn
Managing Editor
Ernest Crichlow
Art DIrector
7 Peaches and Herb: Round 3
10 The Rebirth of Abbey Lincoln
17 Motown's Tinsel Town Woe.
20 Whlt'l All The RICqUlt About?
23 Thl "Spell" of MI. Shlnge
29 Trlvel Aldel
31 Mlde In Bilek AmerlcI
34 LearnIng Through Gam••
40 RoUer Disco F,shlons
42 Fettuclne Alfredo and More
Ken Simmons
Isabelle L. Ortiz
Nelson George
Michael George
Elie Mystal
Estelle Epps
Michael George
Leona Hipp
Caprece Jackson
Jill A. Silberman
Page 10
Shari Lee
Asst to Art DIrector
Chris Albertson
Editorial Consultant
Contributing Editorial Staff
Townsend Brewster
Bruce Carlos
Estelle Epps
Michael George
Nelson George
Caprece Jackson
Ella Mystal
Valerie G. Norman
Isabelle L Ortiz
Amadeo Richardson
Elna Seabrooks
Jill Silberman
Ken Simmons
Robert Toomer, Jr.
DEPARTMENTS
Page 24
4
5
12
38
45
Free For All
Highlights
Music Reviews
People
Routes' Roots
LISTINGS
Page 4/
Photographers
Morris Mercer
Reggie Weeks
Advertising
Oulnnon Martin
Vice President/Director
Sales Staff
Connles Dlvack
Leonard White
Circulation
Jackson Gill
Promotions
Leo Collins
Director
9
16
19
22
21
33
36
44
Disco
Music
Media
Sports
Theltre
Art
Kids
Dining
Page 45
Cheryl Dorman
Administrative Asst.
Volume 3, Number 3, by Cotll·Coleman Publishing, Inc. 1979. ROUTES Is published monthly at 230 W. 41st
Street. N.Y., N.Y. 10036. SUbscription Office-Box 767, Flushing, N.Y. 11352. Editorial and Circulation Headquarters, 230 W. 41st St., N.Y.,N,Y.1oo36 Telephone (212)840-7290. SUBSCRIPTION RATES: In the United
States and possessions $12 per year. Elsewhere $15. Printed In U.S.A. Foreign Subscriptions payable In advance. All Rights Reserved. Cover and Contents may not be reproduced In whole or part without prior written
permission. Second Class postage paid at New York, N.Y.
ROUTES, A Guide to Black Emerrainmem
FREE FOR ALL
CHRISTMAS TREE
LIGHTINGS
Dec 1: The second annual Christmas
tree lighting In Harlem at the State
Office Building, 125th StlLenox Av.
Dec 3: The annual Christmas tree
lighting at Rockefeller Center.
APPLICATIONS FOR
SCHOLARSHIPS
Bell Labs sponsors engineering
scholarship programs each year.
Bright, energetic and enthusiastic
minorities and women are encouraged to enter the engineering profession. The financial side of the support coming from Bell Labs includes
tuition at selected undergraduate
schools, room and board (or a living
allowance) and funds for required
texts and supplies. BLESP also provldes summer employment for 10 or
more weeks at an appropriate Bell
Labs location where the students
are given the opportunity to work
with a Bell Labs engineer. Appllcations must be received by March 1.
Write to: BLESP Administrator, Bell
Laboratories, Room 3A-431, 600
Mountain Ave, Murray HIli, New
Jersey 07974. (201) 562-4567
HOLIDAY SHOPPING
The Metropolitan Museum of Art's
new two-part catalogue is now
available-free of charge. Two
beautifully Illustrated booklets totalIng over 100 pages of gift suggestions-not only for the coming
holidays, but throughout the year.
There are extensive color photos
and listings of sculpture, sliver,
pewter, glass and porcelain. In addltion, audio-visual materials such as
posters, calendars, books, slides
and records are Included. Together,
there Is more than enough to whet
and satisfy even the most
discriminating artistic and cultural
tastes. To obtain your free copies,
write and specify the Christmas
Catalogue, the Books and Prints
4
ROUTES, A Gil/de
/0
Black £"tertomment
Catalogue or both: Metropolitan
Museum of Art, Box 255, Gracie Sta·
tlon, NYC, N.Y. 10026.
oThru Dec 9-Journey of the Three
Jewels. Japanese Buddhist paintlngs from western collections. Asia
House Gallery, 112 E. 64th St, Man,
Dally lOam-5 pm, Th 10 am-6:30 pm,
Sun 1-5 pm.
FESTIVAL
WINE TOUR
Dec 16 & 23, 11 am-3 pm-The Fifth
Av Holiday Mall Festival, between
34th-57th Sts.
Brotherhood Winery tours relating
to the art of wine making. Every Sat
& Sun, 10 am-4 pm; Mon-Frl noon-3
pm. Washingtonville, N.Y. (914)
496-9101. N.Y. Thruway to Exit 16,
follow 6-17 to Exit 130 to Rte 206 to
Washingtonville.
COOKING CLASSES
IN CHINESE CUISINE
Dec 9, 2 pm: The Hunan Garden
Restaurant will conduct a class on
the preparation and cooking of
Hunan dishes. 1 Mott St, Man.
732-7270.
EXHIBITIONS
oDec 6-6: Freedomways Magazine
art exhibition and sale. Featuring
the works of artists Romare
Bearden, Jacob Lawrence, Richard
Hunt, Richard Yarde, Elizabeth
Catiett, Toyce Anderson and Sharon
Sutton. Opening Dec 6, 5-6 pm
hosted by Rubye Dee and State
Senator Carl McCall. Randall
Galleries, 623 Madison Av/69th SI.
oThru Dec 15-Holocausl. An exhiblt of over 60 paintings and drawings based on World War II
tradgedles, by Anna Wallnska. SI.
John the Divine Amsterdam Av/112th
SI. 676-6913
oThru Dec 15-Afrlcan Art of the
West Atiantlc Coasl. Kahan, 46 E.
57th SI.
oN.Y. Public Library: Central
Bullding(5th Av/42 StHRT-The First
75 Years, thru Dec 31; Donnell
Library Center (20 W. 53rd St)Works on Paper of Mixed Media by
Dorothy Heller, thru Dec 31; Lincoln
Center (111 Amsterdam Av)-Love
You Madly-A Celebration of Duke
Ellington, thru Dec 15.
o Con Edison Energy Museum-The
age of electricity-past, present and
future-comes alive. Tue-Sat 10
am-4 pm. 145 East 14th SI. 460-6244
FREE HELP EVERYDAY
The Visitors Bureau Information
Center, 90 E. 42nd St Is open every·
day of the year, 9 am-6 pm. Maps,
brochures, folders, pamphlets and
warm welcoming words are absolutely free.
WORKSHOPS
Dec 4-Careers In Television: There
are More than Meet the Eye. Charles
Jackson, Manager of Equal Opportunlty Programs, ABC.
Dec 11-Dresslng for Professional
Success. Crystal Williams, Gloria
Vanderbilt for Murjanl.
Dec 16-Things to Do In New York
City: Free or Low Cost Holiday Ideas
for Children and Adults. Ann Hewitt
and Merble Reagon, NCNW
Women's Center staff.Two sessions
are held on each of the above dates:
12:10-12:50 pm and 1:10-1:50 pm. Frlday Workshops, 10:30 am-1 :30
pm-Focus on resume writing, effective interviewing and job search
techniques. Sandra Beck, Instructor.
Career Planning Workshops:
Dec 5-Self-Confldence.
Dec 12-0fflce Politics.
Dec 19-Dealing with Authority. Ses·
sions between 5:30-7:30 pm.
Women's Center for Education &
Career Advancement, a program of
the National Council of Negro
Women, Suite 201, 196 Broadway.
964-8934.
IIIG II LIGilTS
StQ"/~)' Turrt"ti,,~
Cissy HOllSfOn
Cissy Houston will perform Nov 27-Dec I
at the Grand Finale.
Ron Carter will perform Dec lJ-15 and
Dec 18-22 at Fat Tuesdays.
Carmen McCrae will perform Dec 3-15 at
Marty·s.
Cob OJllowuy
Stanley Turrentine and Dexter Gordon
will perform Nov 30, 8 pm at A very
Fisher Hall.
Cab Calloway will be honoree on Dec 20
at N. Y. U. Loeb Student Center.
Freddie Hubbard will perform Dec 5, 8
pm at A very Fisher Hall.
Arthur Prysock will perform on Dec 18 at
the Grand Finale.
Marie Brooks Children's Dance will dance
Dec 12, 8 pm at A very Fisher Hall.
Stevie Wonder will perform Dec 2, 8 pm
at The Met.
Herbie Mann will perform thru Dec at the
Village Gate.
Alvin Ailey Dance Theatre will dance Nov
25-Dec 23 at City Center.
Ditzy Gillespie will perform Dec 31-Jan 5
at Fat Tuesday's.
ROUTES, A Guide to Black Enterta;tlmem
5
The roots of American
soul food go back to West
Africa When you go there
you'lI find greens. yams and
barbecue gaiore.
A typical dinner from
Chez Valentin in Trelchville.
Ivory Coast, might offer an
appetizer of country pate.
smoked salmon. or a mound
of chunked lobster In a delicious cream sauce. For an
entree you might enjoy a
rack of baby lamb or "Veal
Africain." which Is a veal
cutlet wrapped around a
banana and topped with a
delicate curry sauce. As for
desser~ perhaps a flaming
rum omelette filled with
fruit. or a baked Alaska As
you can see. the pleasures of
In many of the West African countries. women dominate the retallthe palate prevail in West distribution business. Many of these "market women" have considerable
Africa Bon Appetit!
wealth and exercise Important political influence.
a
•
Hunger for shrimps and
prawns? Then take Air Afrique 10 West Africa. Our
coasts yield prawns In abundance. In fact. the name for
Cameroon comes from the
Portugues
ord for prawns:
camaroe
In
West African cooks
took the versatile okra
plant to the heights of
culinary excel- _
lence and gave ~
the world a soup ~
called gumbo.
an
fond
e got
with a
e on to a
feature these
Since the be
nlng of lime. We
can mothers h
teaching the I
ters the secret
cooking For ex
pie. t
tenderize tough mea
the young cook merel
wrapped II In papay
leaves. They're nature's
own tenderizer.
w what are
wait? Isn't It tI
you
ered West Africa?
I your Travel Agent
Air Afrique lAir
ce today. Hurry!
Africa begins wllh Air Afrique.
And I('sjust seven hours to the New Sun ...
West Africa
DISCO
PEACHES &. HERB:
ROUND 3
bad things-death, husband and wife
life-you begin to dislike people. I
wasn't happy."
Happiness had also eluded Linda,
who, after one year at Wayne State
University in Detroit, drifted from a
waitress job to singing gigs with local
bands in her hometown of
Washington, D.C. "I had come to
the end of the line," she asserts, her
eyes recollecting the ultimate frustration of life on a treadmill. "I said to
myself, 'What are you going to do for
a living? You can't type. You don't
know shorthand. Oh God, Linda,
what are you going to do?'"
Her prayers were answered when
the late Van McCoy introduced her to
Herb, who had taken a leave of
absence from the police force to attempt a musical comeback. From
1965 to 1970, Herb had enjoyed success as the founding member of the
original Peaches and Herb 'team with
Francine Barker. A staple of sentimental love ballads, including the
hits Close Your Eyes and For
Your Love, characterized their repertoire. It was, ironically, McCoy wpo
also brought Herb and Francine:
together, after the two men met in a
Washington, D.C. record store.
U
L
ast July, Billboard Magazine's
Disco Forum presented an
unusual scene. While a hot group was
on stage rocking Ii coterie of music industry people, the security guards
surprisingly remained backstage controlling an expectant crowd. The
focus of attention was the last door at
the end of the hallway leading to the
performers' dressing rooms. When
the door finally did open, a rush of
exhiliration undulated throughout the
crowd. Peaches and Herb, version
number three, had earlier in the evening entertained the audience with an
effervescent performance featuring
their gold disco single Shake Your
Groove Thing and their platinum
ballad Reunited. Standing in the
doorway, the duo warmly greeted and
acknowledged their following. As
I was working as a salesman in
the store," reminisces the 37 year old
they proceeded through the throng of
admiring fans and protective security
men, Herb graciously shook hands
with the backstage help. Yet all eyes
were riveted on the beautiful Peaches,
who, in her alluring and charming
manner, lavished her affection on
assorted strangers.
Peaches (Linda Green) makes a
habit of delighting her male admirers,
whose ardent support propelled her
and partner Herb Fame out of their
valley of depression. When they met
three years ago, Linda was desperately searching for a vocation, and Herb
was reaching for a new identity after
seven years as a Washington, D.C.
police officer. "It was a very negative
way of life," Herb recalls about his
career as a crime stopper.
u
It was
destroying me. When you only see
Herb Fame, "and when I recognized
Van, I talked him into hearing me
sing right on the spot." The impromptu audition led to a solo album
on Columbia Records, which Herb
describes as "a bummer." The LP
created little attention, so Van decided to couple Herb up with Francine
for Peaches and Herb version number
one. It was a successful union, until
Francine Barker exchanged her sequined dress for a wedding gown.
Problems
arose
with
Francine's
replacement, Peaches II (Marlene
Mack), and soon the evils of the
record industry became too high a
price to pay for Fame's fame, despite
his SIOO,OOO earnings a year.
"I hated being treated like a piece
of meat," he exclaims. "l was being
used by my record company and my
ROUTES, A Gllid" to Black Ellfertaiflme1l1
7
Ptorhn Qtld Htrb with Mikt Dou,IQS.
manager. One day, in July of 1970, I
noticed a sign that read 'The Police
Department Needs You.' Since 1
knew I wanted out of show business,
I made a snap decision to become a
police officer."
Though he switched careers to
maintain his sanity, after his seven
years of law enforcement, his wife
Yvonne (they've been married 20
years and have four children) convinced Herb he would only regain
peace of mind by giving the entertainment world another try. Despite his
initial failure as a solo recording artist, he attempted once more to make
it on his own. "I didn't want to work
with another female," admits Herb,
his voice laced with regret over his obviously poor judgement. "At the
time, I said, 'They aren't worth the
trouble. '"
Notwithstanding a rocky beginning, the old Herb and the new
Peaches have developed an almost
ideal working relationship and a binding spiritual rapport. Ending all
speculation about an affair, Herb
declares: "I love my wife. 1 love
Peaches too-but in a different
way." Peaches, her face framed by
long, intricate braids, expresses her
agreement: "It is possible for a man
and woman to love one another
without sex."
In spite of their compatibility and
pleasant harmonizing, an additional
element was needed for Peaches and
Herb to evolve into more than just
8
ROUTES. A Guide
10
Black £ml'rwinmetH
another male/female singing duo.
Their 1977 debut album, produced by
Van McCoy, generated about as
much excitement as Herb's first solo
effort for Columbia. So, Peaches and
Herb paid their dues working hotel
gigs, until producer Freddie Perren
(his credits include The Jackson Five,
The Sylvers, Tavares and Yvonne
Elliman) spotted the pair. In collaboration with Dina Fekaris, Perren
wrote and produced the duo's
platinum album "2 Hot," which
featured the hits Shake Your Groove
Thing and Reunited. Perren and
Fekaris also joined forces to write
and produce Gloria Gaynor's number
one single I Will Survive, thus giving
them claim to the two top musical
comebacks of r~cent years.
Herb and Linda attribute much of
their good fortune to the engineering
expertise of Perren and Fekaris, who
packaged to advantage their vocal
abilities by working around the
team's limited tonal range. While
Peaches and Herb are comfortable
vocalizing in the higher octaves, they
lack the intensity and raw energy
of more critically acclaimed song
stylists. Herb testifies, "If we can't
sing together, we won't sing at all,"
an apparent recognition that they
would not achieve similar success as
individual artists. Peaches, swallowing her pride, admits that she is "not
the ultimate female singer." Yet, Linda and Herb deserve their share of accolades for their unique harmonizing
which is embellished by a sincere
display of mutual love.
The revival of Peaches and Herb
was made possible primarily through
the vehicle of disco, the prevalent
musical style of the late 70s, which
has catapulted Edwin Starr, Gloria
Gaynor, Gene Chandler and other
former R&B stars into the limelight.
Not naive enough to believe that
disco will last forever, Peaches and
Herb are nonetheless grateful for the
big payday disco is providing for
them. Though it was disco which put
them back on the charts, Herb fmds the
style artistically limiting, envisioning disco
as a medium for producers and
engineers. "They are the stars of
disco," Peaches proclaims. For this
reason, Peaches and Herb refuse to
allow their act to be categorized
under anyone label which might limit
their artistry. The twosome's next
release,due this month, is expected to
contain the same mixture of disco,
slower uptempo tunes and ballads as
the successful "2 Hot."
There have been many career
detours in the lives of Linda and
Herb. But making music has been
their continuing aspiration. Linda
Green began her musical career as a
classically-trained pianist, and Herb
Fame (nee Herb Feemster) sang in
bars and strip joints from the age of
13. It was not merely the possibility of
financial rewards which made them
persevere but a firm belief in the
transcendence of music. "The people
who are into music and disco are trying to escape from what is happening
in the schools, on the news and
everywhere else. Music is what's
keeping everybody together," says
Peaches. Undoubtedly, this is a commendable idealistic view of music's
role in society. It remains to be seen,
however whether it is wise to seek
escape from reality during times of
crisis. After the world has finished
"shaking its groove thing," the problems of food shortages and
diminishing energy supplies will still
remain.
These ponderous questions aside,
this past October, the new Peaches
and Herb gave their first public performance in New York City, headlining at Carnegie Hall. This concert,
their appearance on the Bob Hope
Special from China and their recent
week-long Las Vegas engagement
present undeniable evidence that
Peaches and Herb have indeed
regained a spot on the slippery totem
pole of the record world. Jl
Over 10yrs experience
In Data Processing at
all levels of management
I
Exclusively
Executive Search in Data Processing,
Communication, Word Processing and
Sales Executives
Call Today for appointment!
Act Associates
41 9 Park Ave. South
New York, NY 10016
212-889-2485
-Ken Simmons
Anthony Craig Vice President
LISTINGS
BROOKLYN
Brown Sugar
'33 Sumner Av
57'-5615
Xanadu
376 Schermerhorn
Disco/Cabaret. Jackets
required on weekends.
$10 admission when
there Is entertalnmenl.
58 admission al other
times. 2 drink minimum
8t tables. Open Th·Sun.
237-0400
BRONX
Club Fantasy Illand
2268 Grand Concourse
Disco
Fri·Sat
$5
minimum. Swimming
pool, fhealre, game
room, saun., bathing
sull and jaCket renlala.
Casual.
364·8972
MANHATTAN
Adam'a Apple
1117 First Av162 51
Casual, two dance
lloors: singles
downstairs, couples
upstairs. Minimum
varies nightly($6-S12).
371-8650
C••olr
59 Murray St
Wed·Fri 5 pm·unlil; Sat
10 pm·untll. Jackets,
casual. 2'5-2400
lei Pille.
l. Flrtille
57 W. 57th 51
209 W. 48th 51
Age:!8 and over.
Duplex dance emporium
with an excellent sound
system and lounge surroundings. Draws a
well-dressed, mature
Open 10 pm-. am.
838-ll557
lIIullons
24 E. 22nd 51
1574·9177
Coiiibron
19 W. 27th 51. Wed·Fri 5
pm-until: Sat 10 pm-8
am. Ladles 23 and over;
Gents 25 and over.
689-2969
Cotton Club
668 W. 125th St.
Mon·Sun 10 pm·" am.
$10 admission; Ladles
admitted free on Sun
and Mon.
MO 3-7980
Entranca
227 E. 56 51
Shows Tue and Sun at
9:30; Wed·Sat 9:30 &
11:"5 pm. Cover charge
varies. DIsco alter mid·
night. Man cocktails only.
421·5511
Hurrah
38 W. 62 51
Disco wlttl rock & roll
and punk music. Annual
membership Sl00. Wed
& Th 11 pm" am: Fri·
Sun 11 pmoS am.
Members pay $5 ad·
mitance all days, free
on Sun. Guesls pay 58
Wed·Th,S10 Frl-5un.
586·2636
Impanama
240 W. 52nd St
Age: 21 and over. Dally
9 pm-' am; Frl·Sat
9 pm-6 am.
765-8085
JUltlnel
500 Eighth Av
Jackets reQuired, Age:
25 Genis, 23 Ladles. Fri·
Sal S5 Minimum.
G.G. Knlckarbockar
128 W. '51h St
Open Mon..sun 9 pm·'
am.5un-Th 7:30 pmuntil. 2 drinks minimum
after 9 pm.
2"6-1898
LaWI
161 E. 54lh 51
Age: 21 and over.
223.0540
crowd. Free bullet Th 5
Thur.dlYI
57 W. 58th 51
Excitingly decorated
multl·level spot lor din·
Ing and dancing from 10
pm, Inlormal alllre;
open
lunch & dinnet.
371·7777
'Of
pm-6 am(S6J.
582.0352
L,I Nualla.
1436 Third Av/83 51
Fashionable Eastside
dance club. Wed·Th($5j.
Includes one drink. Fri·
Sal{$10I, Includes 2
drlnks, open 10 pm·"
am.Sun($5), InclUdes 2
drinks, open 8 pm·' am.
737"1044
Lavlllcul
'5 W. 33fd St
Jackets required; Age:
25 GenIs, 23 ladlel.
Disco: Fri & Sat. Th: live
entenainmenl. Minimum
$5-S7 Wed & Fri.
PeguuI
1230 Second Av
Jackels reQuired. Age:
2S Gents, 23 Ladles.
535·800'
R.UectiOflI
E. 58th 5t
Bi-Ievel dIsco with
cocktail area high atop
the dance lloor. Fri·5at
10 pm" am Lunch and
cocktaJlI. Mon·Frl
Noon·9 pm.
Hlppopotamua
"OS E, 62nd St
Jackets and lies reo
Qulred. $12 Cover
charge. Open 10 pm·
• am dally.
'86-1566
La Freak
327 E. '81h St
$10 Cover charge-ali
drinks ara free.
Fri-Sal, 10 pm" am
casual all Ire.
759-3500
Naw York Naw York
33 W. 52nd 5t
Casual attire. Age: 18
and over. $15 Cover
charge. Open dally
10 pm-4 am, excepl Sun.
245-2400Xanon
124 W. 43rd 5t
Open Mon·5un 10:306am.
Cover charge $12.
221·2690
sa
688-3365
Wltdne.d'y'a
210 E. 86th St.
Sun brunch at noon. Cover $.
Frl, $5 Sat, $2 Sun & Wed.
Closed Mon.535·85OO
QUEENS
Ruling CI... 1
90-05 Merrick Blvd.
Jamaica
Age: 25 GeniS, 23 ladles.
Jackels reQuired. Open 11
pm·5:3O am. $5 minimum.
658·9572
SUBURBAN
4(J
La Cocu
152 E. 55th 51
Disco Tue-Sun 10 pm·
'am. casual aUire. Fri·
Sat
minimum. Age:
21 and over.
371·1559
Regln••
502 Park Av
Mon·Sat 10:30 pm." am.
Cover charge Mon·Th
$10, Frl-5at $12.
Reservations required.
Jackets and ties for
men and evening anire
for women.
Truda Halta"s
9th and Av of the
Americas
Cover charge 15 and 2
drink minimum al
tables.
254-8346
Ruling Cia .. II
1A2 So. Fourth Av.
Mt. Vernon. N.Y.
Disco and Reslaurant.
(914) 668-0220
ROUTES. A Guide to Black E"terraillll/nl!
9
MUSIC
THE REBIRTH OF
ABBEY LINCOLN
rehearsal at New Muse, the Brooklyn
museum for children. She struck
me as warm and vibrant, with an
urgency in her voice stemming from
a strong sense of self and an abiding
commitment to important issues.
How did your involvement with
music start?
A-As a child, I started playing
the piano at home, on a farm near
Kalamazoo, Michigan. I also used
to practice in churches and schools.
When did you decide to become a
professional musician?
A-When I was about 19. Up
until then, I wasn't aware of a music
industry. Fortunately, somebody
has always been around to bring me
work. I never had to scrounge for
a career, which is why I'm so in-
G
eat artists are both aristocrats
and recluses: aristocrats because of their taste and refinement,
recluses because they must submit
to the rigorous discipline necessary
to their work away from the hustle
and bustle of everyday life.
One of the great aristocrats of
songdom, Abbey Lincoln is also one
of its most elusive exponents. Shunning
the facile life of cabaret performers
and the glitter of Hollywood, Abbey
has always sought her art within her
innermost self. Her records are few,
but they feature such eminent musicians as Sonny Rollins, Kenny Dorham,
Paul Chambers, Max Roach, Wynton
Kelly and Philly Joe Jones and such
tasty songs as Come Sunday and
Lost In The Stars. Abbey is also known
for her stellar performances in "For
Love Of Ivy" (with Sidney Poitier)
and "Nothing But A Man" (with
Ivan Dixon), both milestone films
in their portrayal of black people.
She has also made guest appearances
on "Mission Impossible," "The
Name Of The Game," "The Flip
10
ROUTES. A Guide
10
Black £nterta;nmefll
Wilson Show" and "Hollywood
Palace."
Since divorcing Max Roach in
1970, Abbey has lived in California.
Recently, she came back to New York
to promote
H
People In Me," her
latest album release (recorded in
Japan) and to perform at the Beacon
Theatre and the Village Vanguard.
For the concert at the Beacon, Abbey,
whose unique artistry was once more
celebrated by fans and critics alike.
was backed by Top Shelf, an outstanding trio consisting of Reggie
Workman (bass), Stanley Cowell
(piano) and Billy Hart (drums).
One of the most intense emotional
experiences of my life had been to
witness Abbey sing the Freedom
Now Suire in a film of Max Roach's
European tour. I was so moved
that I had to leave the theatre. So,
I experienced tantalizing expectation and an acute sense of privilege
dependent.
I once read how encouraging Monk
had been ro you...
A-Yes. All the great jazz musicians helped me. I must say for Max
[Roach] that he was there when I
needed him, and it was because of
him that Monk, Dizzy, Miles, Sonny
Rollins and many others gathered
around me. On my first album, "That's
Him," recorded on Riverside, Kenny
Dorham and Paul Chambers helped
to back me up. Max and his colleagues also lent a hand on "It's
Magic" and "Abbey Is Blue." Although these recordings have been
out of print for a while, they have
just been released in Japan, and
I've been getting royalties for a change.
However, I have to admit that living
with a famous musician is not always
easy. There are ego problems, and
the private man is sometimes very
different from the public image he
projects.
What about your film career?
A-I was offered film roles as a
result of my work as a singer. After
"For Love Of Ivy" came out in
When I met Abbey in person, she
had just returned from a walk in lhe
1968, I entertained the thought for
a while that I might like to join the
other high rollers. But I just couldn't
manage it. The people in the industry
park, to relax before an evening
(I
as our interview approached.
won't mention names) wanted
me to give them my tOla) allegiance,
and I couldn't accept that. Also,
after all my accomplishments, the
offers I got were nOt what I expected.
I thought I would be offered something that I wanted to do. That's the
way Doris Day works ... That's the
way most known actors work ... But
I'm glad for those experiences and
credits. It's the hardest work I ever
did in my life. People often ask me
when am I going to do a movie again,
but ( didn't start out to make movies
in the first place. It's very demanding
work, and films are like recordsyou cannot change what you have
done.
Did you find films as fulfilling as
music?
A-All artistic expressions are
fulfilling, but I've had a chance to
practice singing all my life, and
singing is my first love.
You have also been teaching, lecturing and doing community work
in Californw...
A- Yes. Some friends say to me:
"Where have you been all this time?"
Well, I've been working very hard.
For a year, I taught a course on the
philosophy of the theatre and Africa's
contribution to world drama at the
Afro-American Department of
orthridge University in California.
I visit elementary and high schools,
doing presentations in which I recite
poetry, sing a song and speak to the
students about the philosophy of
life I've gathered over the years.
Quite a few women's groups have
invited me to speak to them as well.
By always living in expectancy,
I keep myself open for new ways to
grow and learn. ( paint (I've already
created over 50 paIntings), I write,
I'm learning to dance, I sing, 1 act.
I'm thankful for all these means of
expression. I have had a very special
career, had a chance to do some fine,
important things and want to do some
more.
How do you feel about your upcoming
engagements in New York?
A-It will be a celebration for
me. It's been so long since I last
sang here. Previously, I came back
East to do a film, "Short Walk To
Daylight," but not to perform.
Do you miss New York?
A-No. When (lived here in N.Y.,
I didn't miss L.A. Now that I live
in L.A., I don't miss N. Y. because I
make myself at home wherever I
am. I moved to the West Coast when
my marriage to Max broke up. My
mOl her, who passed away two years
ago, lived there... lf I have any regrets
about my career, it's that I never
had enough money to buy my mother
anything ... Anyway, I'm beginning
to see my life in perspective. I'm
counting my blessings and striving
to take a new look at myself.
During these past nine years in
L.A., I've had a chance to re-evaluate
my thinking. I used to believe that
any black person I would meet would
mean something to me. This is not
necessarily true. I no longer see
people as oppositions; 1 see a spirit
that people embody.
I heard your trip to Africa was a
wonderful experience. How did the
trip comeaboU/?
A-I was in L.A., and I had a
visit from Miriam Makeba, who
was in town to record. She asked
me if I wanted to go to Africa as
her traveling companion and offered
to pay for my ticket. ... We first went
to Guinea, and the President, who
is Miriam's patron, named me Aminata.
Then we went to Zaire, and there
the Minister of Information named
me Moseka ... Aminata Moseka is
another personality and I'm slowly
becoming her. Abbey Lincoln is
a part of me. She's also on record;
she's in some history books. I'm
thankful for the career I've had
in her name, but Aminata Moseka is
here to stay. I introduced my new
name in I I People In Me," my current
album. I am not forcing others to
use it, however. My mother never did.
How did people react to you in
Africa?
A-Nobody thought I was not
African. But they just didn't know
how to place me because I wore my
hair in braids and wore dresses that
were variations of different African
cultures. When I came back, I discovered something about myself:
I'm not just pan-African-I claim
the world as my home. I don't mean
we have the right to other people's
land but that we shouldn't be confined
to just what our passports say. That's
how "People In Me" originated.
in our society?
A-Originally, the arts were not
for sale. The fact that they now are is
to the detriment of both the artist
and society. We need shelters; we
need temples for the artists to work
in. You gather the light, and when
you take it to these places where
there is irreverence, you destroy
yourself. Artists destroy themselves.
They live in irreverence and disrespect.
I believe that music precedes people
and will always be there. But there
will always be temple-breakers who
will steal the music and run away
with it. I mentioned Japan before.
Unfortunately, Japan is on its way
to falling prey to the same commercial
madness as America.
Why do you think our society is so
materialistic?
A- We do not value our lives
enough. We throwaway OUf ancestors
for tinsel town, and that's the way
to death.
The Mexican poet Octavio Paz wrote
that our society has cut itself off
from its past...
A- Yes, this is true. ( loved the
Tutankamen exhibition, but there's
such a difference between seeing
yourself as a golden image and seeing
yourself as buried in the ground!
I don't see how one can separate the
arts from religion. I'm not talking
.about organized religion ... As Langston
Hughes more or less said, we are
as old as rivers, as old as the blood
which flows in our veins, and there
is no way we can deny the legacy of
our forefathers.
But, fortunately, Alex Haley
seeded this country, and probably this
planet, with a thought of ancestry.
My first concern is for my ancestors,
those to whom lowe my life.
One of Abbey Lincoln's earlier
records is entitled" Abbey Is Blue";
on her new album, "People In Me,"
Abbey's face is shown in a blue
light. And indeed, Abbey/Aminata
is blue, blue as the Nile of the Pharoahs,
who first found the flame of art and
handed it over to her to carry to us. Ii),
-Isabelle Leymarie-Orliz
How do you feel aboUl the economic
constraints imposed upon artists
ROUTES, A Guide to Black EmertaiwlIem 11
1"IlrSIC REVIEW
ON STAGE
Rose "Chee-Chee" Murphy, a
grand dame of traditional piano jazz,
has checked into Syncopation
nightclub in Greenwich Village for an
indefinite engagement.
Rose's delicate little voice, embodying what seems to be the eternal image of youth, is pleasant to the ear
and blends into tiny chirps and other
vocal colorings when she wants to bring a smile to your face. Aside from
using her voice as an instrumental ex-
tension of her piano, Rose's hands
are frequently employed to clap a
snappy little beat, usually in counterpoint with the firm yet never harsh'
stomping of her right foot.
Rose might sing I Can't Give You
Anything But-Chee-Chee, her
monster hit from the late 194Os, but
she really does give you a lot. It's
hard not to like this sparkling bundle
of subtle energy, whose artistry
blends perfectly with the subdued yet
spacious setting of Syncopation. Proprietor John Lewis accompanies the
songstress on drums, and on any
given evening you might run into
some of your favorite showpeople,
sidemen and singers. Syncopation is
located at 15 Waverly Place, just east
of Washington Square Park.
would have assumed it was Mary
Wilson Month in New York. This
past August, the last of the original
Supremes blew into town for a week's
engagement at the refurbished New
York-New York nitery to celebrate
her debut as a soloist. After lengthy
litigation proceedings with Mary,
which she said got Unasty" at times,
Motown decided to pull some stops to
give their old stalwart at least the initial semblance of a commitment to
her new career.
But the tough, critical New York
audience was skeptical. After all,
Mary had been labeled a "hummer"
and told to stay in the background
since she'd never make it on her own
as a lead singer. Add to that the fact
that latter-day Supremes recordings
didn't sell because they received no
air-play, and one could easily discern
that the cards were stacked against
Mary.
But Mary Wilson, who at age 35
has more charm and youthful exuberance than ever before, took to
the stage to tell the prophets of doom
to eat crow. She succeeded in convincing all but a few of the most jaded,
as the three standing ovations Mary
received on opening night sufficiently
testified.
Her incredibly strong alto took
control of the audience from the
opening bars of "Everybody's Going
To The Moon" and didn't let up until
the last refrains of "Someday We'll
Be Together. n The singer, however,
sounded most convincing on a series
of moving ballads, which Mary readily admits are her forte. Her spinetingling vibrato and the emotional intensity of her lower registers brought
tears to the eyes of many, including
former partner Diana Ross, who was
present opening night. Mary's chest
tones were absolutely superb. On a
torchy reprise of "Can't Take My
Eyes Off Of You," she soared to a
belting E flat, switched to a C sharp
which she clung to for dear life,
repeated that ritual three times and
then left the audience limp with an
amazing F sharp finale-a truly rare
accomplishment. Now, if only she'd
practice
her
head
tones
more-they're still hit and miss.
From the flurry of publicity, one
12 ROUTES, A Guide
10
Black Emerrainmell1
Mary's captivatingly warm stage
presence proved the lady's got soul,
to borrow a thoroughly apt cliche.
She had the audience in stitches when
she announced she would sing some
of her "biggest hits" and then proceeded to belt out the background
phrases to some of The Supremes's
all-time classics.
Perhaps the most surprising feature
of the evening came when Mary put
away her microphone and projected
her unamplified voice across the
room. The ripples of her lush phrasing
reached all the way to the back of the
room and into what must have been
the stunned ears of the SRO audience.
That big, fat alto is Mary Wilson's
greatest asset and could make her one
of the most promising talents of the
1980s. She's tasted success, felt pain
and has had to roll with her share of
punches. But those are the ingredients
that can transform good singers into
outstanding and unique performers.
OFFSTAGE
With a successful new album,
"When Love Comes Calling,"
under her belt, singer Demece Williams
has decided to explore some still
untapped registers of her voice.
Carrying a tape recorder with her
wherever she goes, Deniece performs
exercises designed to open up her
voice's lower ranges. Perhaps as
early as her next album, she will be
singing alto. The tapes were made
for her by Los Angeles-based vocal
coach Seth Riggs, who also taught
Mary Wilson and Stevie Wonder
how to develop and preserve their
voices.
The virtually effortless manner
in which the songstress can glide
past three octaves is largely owing
to Riggs's vocal technique, for which
Deniece has the highest praise and
respect. Deniece's greatest source of
pride is that the break in her voice
when she shifts from chest to highpitched head tones has almost
entirely disappeared.
In a recent interview with Routes,
Deniece confided, .. I start practicing
my scales in the morning shower so
that my voice stays in shape."
Obviously, she is a performer who
takes nothing for granted and continually works at honing her craft.
"I'm so excited about singing alto
because it will add a whole new
dimension to my style/' Deniece
gigglingly announced. Hopefully,
Deniece's newly-acquired range will
be in full evidence on her next release.
If it is, we will have modern technology
'and the artist'S hard work to thank.
If you wandered through
Washington Square Park on one of
those balmy summer evenings this
year, chances are you encountered a
crowd of people huddled around the
slim figure 'of a young black comeJiall named Charlie Barnett. In fact,
you may have been drawn closer to
the action by the cheers and applause
emanating from this concentrated
mass of curiosity-seekers. It's a
Barnett trade gimmick: "I get the audience to applaud and shout 'yeah'
real loud. Then everybody comes running to find out what's happening."
Charlie Barnett is something of a
hero to other street comedians. His
humor is rough, and his talk can be
vulgar. But his many allempts to grab
your funny bone are truly inspired.
He'll pace in a circle to give a physical
presence to his mental shenanigans.
He'll hunch and throw a grimace
when he comes to a punch line, or he
may even make you his victim in a
one-to-one monologue.
His summer "engagements" in the
park, at the piers and on the street
corners of Greenwich Village (" Ilove
gay audiences, they're the best") have
gained him considerable notoriety.
Recently, Trude Heller signed Charlie
up for an extended engagement at her
nightclub. And that says something,
because Trude is very picky. In some
quarters of the cabaret establishment,
Charlie is being heralded as "the new
great street comic-turned professional. "
But Barnell's humor is puzzling and
lacks clear definition. He insists that
his ethnic jibes aren't designed to
polarize but to make people laugh at
their own prejudices as a step in overcoming them. In this endeavor,
Barnell sometimes walks a very thin
line indeed. Too often his stereotypes
of black and hispanic life are so
heavily crime-oriented ("Watch out
for Puerto Ricans. They were born
with knives") that I fear they may
reinforce rather than exorcise the innermost racial hangups of his
sometimes predominately white audiences.
His sex jokes, on the other hand,
are harmless, except maybe for his
"fag" jokes which might rub some
people the wrong way. But they are
uniquely funny and bizarre:"I'1l get
intimate with anybody for a dollar."
As Charlie himself admits, you'll
never see him on the Johnny Carson
show with such carnal expressions.
Barnett, who was raised in a street
environment, interestingly enough
started his career as a comic amidst
the racial tensions of Boston's school
segregation controversy. Considering
the unhealthy atmosphere of that
strife-torn environment, I can understand why he moved his act to the
more "liberal" climate of New York
City. For a time, Charlie supported
himself here by washing dishes and by
providing some needed alternate services for those who had wrillen off
booze.
In between these temporary jobs,
he was begging for auditions at the
Improv and other comedy showcases,
only to encounter the subtleties of
racial prejudice in a "liberal"environment. So, he took to the streets
and slowly plowed his way up from
poverty the hard way.
At this point in his comic life,
Barnett may lack finesse and
sophistication, but his blunt honesty
and sincerity lead you to believe
that-contrary to some of his
jokes-this guy wouldn't take a
nickel from a starving kid. He might
just give him the shirt off his back.
If you're the type of record listener
who reads lyrics printed on liners,
you have probably chuckled(to put it
mildly) over the words to Shaw Biz, a
cut from Marlena Shaw's new CBS
released "Take A Bite." They read as
follows: "When the applause is all
over/And the last ticket holder is
walkin' out the door/I do not want to
be left on the stage of life/With
nothing but ballery-operated love ... "
During a recent transcontinental
telephone chat, I asked Marlena
about those very candid lyrics.
Marlena explained that she recorded
the album just after going through a
second divorce in April. "When I talk
about 'Shaw Biz,' I'm talking about
Please send _ _ cOptes allC 6040
PEOPLE IN ME le.lIunng Abbe)' Uf/COIn
I ellClose 0 check :J money order lor
$_ _ ($7 98 per Ip poslpald.l
Name
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Address
Clly'
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Stale_ _ Z,,_ _
o
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INNER CITY RECORDS
423 Wnl 55th Slr,,1
HI. York, N.Y. 10019
ROUTES, A Guid(' 10 Black
£nrertaillml'm
13
-"What Cha Gonna Do With My
Lovin'?"-that clearly demonstrates
we haven't heard the last of her yet.
In fact, from the sound of it, she's
only just begun.
I have always admired Stephanie's
emotion-charged delivery, be it on
a ballad, disco tune or gospel song.
She long ago matured from her
adolescent image of a pigtailed lass
easing on down the yellow brick road,
as her cabaret act at the Grand
Finale last year amply revealed.
This album presents Stephanie the
way we enjoy her most-involved,
impassioned and, yes, even spinechilling at times, with that outrageous
vibrato of hers.
The outstanding cuts here are
some of the realities in life, whether
they're mine or those of the people I
work with."
The lines were inspired by
Marlena's desire to communicate her
feelings at this troubled time of her
life. "I was lonely, and while sex may
not be singularly the most important
thing in a relationship, there are so
many ads that lure you to bring
pleasure to yourself, that they finally
begin to get to you. But," Marlena
confided, "that's not where it's at. A
relationship must have depth, and
love substitutes cannot make up for
companionship."
Though Marlena is alone for the
first time since she was 16, she has the
love and admiration of her teenage
children-three daughters and two
sons. "So, I'm not that lonely, and
right now I'm basically cooling
out"-sprinkling the lawn of her Las
Vegas home and continuing to write
thought-provoking lyrics.
-Amadeo Richardson
RECORDS
Let's hear it for Stephanie Mills!
Finally, this one's a hit. After having
had an unbelievable series of album
flops on Motown and then missing
out on the part of Dorothy in the
movie version of liThe Wiz," Stephanie
is back with an extraordinary album
/4
ROUTES. A Guide
10
Black Emerrain"'l'IIf
Whal Cha Gonna Do Wilh My
Lovin'? and PUI Your Body In II,
both disco sizzlers. But the entire
album maintains a high level of
vocal artistry and instrumental
performance, all expertly tied together by former Miles Davis sideman
Mtume. A special gold star goes to
the team of backup singers who
bounce off Stephanie's vocals like
echoes off a mountain.
Stephanie Mills: Whal Cha Gonna Do
Wilh My Lovin '?-20th Century
Fox T-583
Couples Only, with a corny dancehall organ lead-in, is geared toward
the rapidly growing roUer-disco crowd,
who would just as soon dance to good
rhythms without the gimmicks.
What a shame!
Ronnie Dyson: If The Shoe FilsColumbia JC36029
Trying to ride the current disco wave
is also creating plaguing problems for
Nancy Wilson. Were it not for its
two completely innocuous disco
tunes, Nancy's new album, "Love,
Life, Harmony, " would represent
another example of the lady's
masterly musicianship.
In an attempt to be up-to-date, the
album's title song Love, Life,
Harmony completely smothers
Nancy's vocal sensibilities in a sea
of boom-boom. But the songstress
manages to jump back with a sensuous,
contemporary tune entitled Sunshine,
which is firmly grounded in irresistible Latin rhythms, complete
with some stylish jazz riffs and
instrumental solo spurts.
Most of the lUnes on this album
are laid back, with their speed resembling a lazy afternoon-a tempo
that allows Nancy to spread out and
let her vocal emotions flow. But
the lyrics leave much to be desired.
One of the disco cuts-Heavengets a passing grade. Written by Larry
Farrow and Carolyn Johns, who,
incidentally, penned all the selections
on this album, the song is light and
airy, yet rhythmically solid. And
you can even understand the words.
Nancy Wilson: Love, Life, Harmony
-Capitol STlI943
Ronnie Dyson once had one of the
most promising careers of any young
singer in the country. In 1968, while
he was still a senior in high school,
he won a part in the Broadway hit
musical "Hair," and the song
Aquarius was reportedly written for
Ronnie's soaring falsetto.
The post-adolescent falsetto
matured into a compellingly warm
tenor by the time Ronnie's forever
great If You LeI Me Make Love
By all standards of record industry
To You was released in 1970. But longevity, James Brown is an inafter that smash, nothing much stitution. Over the past twenty years,
followed, and the star of "Hair" his music has coaxed millions of
was virtually forgotten.
people onto the dance floors. ReNow Ronnie is back with "If The turning from an hiatus, Brown now
Shoe Fits," and those of us who has a new album out, "The Original
remember the singer in his best Disco Man," which seeks to convey
days won't recognize him right away. the message that James has been
His vanished tenor has been replaced doing this kind of disco stuff for a
by what appears to be a baritone of long time.
sorts-a range that never recaptures
But the musical peculiarities of
the excitement that once was Dyson's.
the Current disco scene have rubbed
The title track, If The Shoe FilS off on Brown and caused some
(Dance In II), is average disco changes. The man's music has traschlock of the Michael Zager variety. ditionally been hot, funky and gritty.
sanctified gospel in glittering guise.
If Tee's acoustic piano on Take The
'A' Train doesn't grab you out of
your pew, you don't deserve to eat
collard greens. This must be the
sockingest, nitty grittiest piece of
ElJingtonia I have heard in many a
year. It might have turned the great
Duke himself into a Tee-totaller.
Richard Tee: Strokin'-CBS Tappan
Zee Records JC 35695.
uWe All Have A Star, a Crusaders
production, spotlights Wilton Felder,
the Crusaders's sexy-toned saxophonist.
All tracks but one feature vocals, and
Mr. Felder himself sings on several
cuts. He also plays bass on the title
tune. Among the many celebrated
musicians on the album are Paulinho
da Costa (on percussions), pianist
Joe Sample, also from the Crusaders,
and guitarist Roland Bautista. Keyboard player Greg Phillinganes and
singer Khabir Ghani, neither of whom
I had heard of previously, both
sound good. Why Believe, the instrumental selection, has disco-like
percussion breaks, but the beat is not
of the square, pounding disco kind.
This record has a nice groove. My
only quibble is that it gets a bit
It
It keenly captured the mood and feel
of a bygone urban life, of hot basements where kids rocked and rolled
in blue jeans and t-shirts, to hi;
funky screams. Life in the late 70s
however, is more polyester, and
s~
is the mood of this album.
The once gutsy Brown has been
repackaged and locked into slick
studio arrangements that make it
hard to distinguish him from the
average disco artists of today. Witness
the album's two strongest tunes:
It's Too Funky In Here and Star
Generation.
The most compelling cut offered is
Women Are Something Else. No,
this is not another Ubaby you're so
hot" tune but a rare admiSSion that
monotonous.
Wilton Felder: We All Have A StarABC Records AA 1109.
Uptown dance? It all depends
upon what one means by "uptown,"
of course. The "uptown" of Stephane
Grappelli's "Uptown Dance" must
be the world of high tea at the Plaza's
Potted
Palm Court, unless it be a
it's no longer just a man's world
breakfast
at Tiffany's. Violinist
and that the female species is playing
Stephane
Grappelli
acquired his
an integral part in what happens
reputation
with
the
legendary
quintet
in contemporary society.
of
the
Hot
Club
of
France.
He
has a
James Brown: The Original Disco
beautiful
tone
and
technique,
but
Man-Polydor PD-I-6216
to me, his feeling is closer to classical
or Hungarian gypsy music than to
-Amadeo Richardson jazz proper. The record features
the inevitable Ron Carter, Grady
Tate, Richard Tee, Steve Gadd and
RJchard Tee's HStrokin'" renders other studio "monsters,
plus
us lavish funk with all the Hollywood pianist Jimmy Rowles, guitarist Jay
trimmings: strings, horns and syn- Berliner and percussionist Rubens
thesizers galore. But Richard is such Bassini. Claus Ogerman, one of
a stone swinger that he forcefully Brazil's foremost arrangers and
emerges from the slush and carries composers, is responsible for arthe music off. When it comes to ranging and conducting the sessions,
getting down, Tee sure doesn't putter as well as for one of the tunes. Mr.
around. Strokin', the title track
Ogerman, who seems to love strings,
is one hundred percent pure and has really poured the sugar on this
album. Fine for romanticists, but
diabetics beware.
Stephane Grappelll:' Uptown
Dance-Columbia JC 35415
An interesting record by one of
the new breed of virtuoso guitar
players is Ryo Kasawaki's "Prism."
On percussion, Ryo is ably backed
by Abdullah (congas) and by Steve
Turre, who is credited for playing...
shell. Bridge: Star and Joni create
tranquil, poetic moods. Nogie, with
its electronic noises, evokes a science-
fiction film soundtrack. The rest
of the cuts are in the fusion/funk
idiom. Ryo Kasawaki: PrismInner City IC 6016
Big Joe Turner hails from Kansas
City, the Midwest's jazz mecca and
the point of arrival for many a
Southerner. "Everyday I Have The
Blues," Big Joe's latest album,
demonstrates how much his exposure
to both urban and rural black music
has benefited him. His blues have
the raw power of traditional southern
blues but possess the sophistication of
city music as well .. Turner, whose
vO.ice is as imposing as his girth,
bnngs great majesty to his interpreta-
tions. Sonny Stitt blends well, and
pianist J.D. Nicholson is extremely
effective, but I especially enjoyed
Pee Wee Crayton's mellow and
meaningful guitar. The album contains a couple of classics: Stormy
Monday and Everyday I Have The
Blues. These and its uptempo blues
tunes, which almost sound like
boogie-woogies, make the disc a
must for serious record collectors.
Joe Turner: Everyday I Have The
Blues- Pablo 2310818.
-Isabelle Leymarie Ortiz
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Mllml, FID'idl J3'l3lI
ROUTES, A Guide /() Black ElIlertaillmell1
15
MUSIC
Lynn Oliver
Moo
New Vorker.
Tues
Cy Colemln
Hilil Scott
W.d
Tue-Sal
Bobby Cole
Sun-Man
All Baba
First Av/59th 51
688·4710
Sol Vaged
0.11. Grlllen
Th·Sun
Blue Book
71051. Nicholas Av
694·9465
Me Tyner
Dec 1
John Hammond and
Charlie MUlcle While &
The Night Hawka
Dec .4
The Uncle Ftyod Show
Dec5&6
John Booker
F"
Stompers
5"
5,"
AIl'I Alley
11 Greene 5t
226·9042
Red Blazer Too
Third Av/68th 5t
816..Q440
Herbie Mlnn
Nov 23 Thru Dec 31
Village Gate
Bleecker and
Thompson Sts
GR5.5120
555 Seventh 14.1/
354-0210
JAZZ
CLUBS AND.
CABARETS
_M.nhlttln/Uptown
A We.t.lde
Angry Squlr.
216 Seventh Av
242·9066
larry Herlow
Dec A·Dec 8
Ron Certer
Dec 11-15 & Dec 8·22
Dizzy GIII•• ple
Dec 31-Jan 5
Fat Tuesday's
190 Third Av
533-7902
loum.1I Morgen
Mon·5al,
7 pm-tO pm
Attlle Zoller
Mon. 10pm·3arn
Chuck Weynl Trio
Tues, 10·pm·3 am
Joe Puma Trio
Wed·Sun
Gregory's
1149 First Av
371·2220
Art En..mble of
Chicago
Nov 30 & Dec 1
l •• t.r Bowie Quintet
W/Ar1hur Blythe, Millchl
Flvor., Amini Clludln.
Mylrs and Jlck D.·
Johnltt.
Dec 1
Chico Fr••m.n QUlrtet
Dec 8
Jazz at the Public
Theater
425 Lafayette 5t
598·7150
Emporium
Fifth Av/12th 5t
615-4120
JIZZ
Knickerbocker Ssloon
9th StlUnlverslty PI
228..8 490
Mon·Frt
Cale Coco
Nov 2O-Dec 1
Dr.wlng Room
510 Greenwich 5t
431·9416
JIU Mini. Society
14 E. 23rd 5t
477-3077
red Weingart
Mu Roach
We.t End Cale
2911 Broadway
666-9160
_Mlnh.ttln/Eutslde
A Downtown
228-6300
21 University PI
674-4450
Wast Boondock
Tenth Av/lllh 5t
929·9645
Sol Vlged QUlrt.t
Sun brunch
Plcemlker.
15 West 4th SI
The Cookery
Swaet Bull
88 Seventh Av So
242·1185
-NIW Jarny
Gulllver'a
821 McBride Av
West Paterson
(201) 684..9589
Th
The Bottom Une
Sammy PrIce
Sun·Mon
Alberta Hunter
Tue·Sal
LISTINGS
Br"zln' Loungl
Amsterdam Av (Bet
143 & 144 Sts)
368-6914
Brody'.
798 Columbus Av
850-4400
CUltard'. Loung.
151 W.12nd St
874-8588
Eddll Condon'.
144 W.54th St
265.8277
481 W. Broldw.y
468 W. Broadway
260-<1799
Ledle. Fort
2 Bond SI
475.9357
Lllnl.'. Room
Playboy Club
5 E. 59th 51
152-3100
MotluUon.
476 Broome St
226-2108
Naw RICin Viliaga
101 Av A
475.9505
Sound.clpa
500 West 52nd SI
JU 6-6300
Dec 9, 8 pm: Archie
Shepp wilt lecture on
"Alro·Amerlcan Theatre
and the Alro·Amerlcan
Musical Tradltlon."Dec
15.8 pm; Charles
Stewart well known Jazz
photographer who did
many of the covers for
"Impulse" records will
present slides of his
work never belore ex·
hlbited.
H.r1.m Perlormlnca
Center
Seventh Avlt37th St
862·3000
Mlkell'a
180 ColumbuS Av
864-8832
Sha Sh. Hou.a
338 W.39th St
736-1547
Studio WI.
151 W.21st 5t
243-9278
16 ROUTES, A Gll.lde 10 Black E1I1errammem
Echo
131·35 Northern Blvd
Flushing, Queens
961-1111
Garlld.
227..Q2 Linden Blvd
732·8590
Jazz Frl·Sat
NEW ACTS ANC
SHOWCASES
The Ballroom
458 W. Broadway
473-9367
Thl Busha.
23W.13St
614·8091
CONCERTS
Friddle Hubbard
Dec 5
Avery Fisher Hall
65th StlBroadway
814·2424
Zoot Sim. Quart.t
Nov 27..Dec 2
Frank Foatlr Bind
Dec 3 & Dec 10
Woody Shlw
Dec4&Oec9
Sonny Fortunl
Dee 11·16
Mel Liwis
Dec 17·24
CI.llr Gordon
Dec 18·31 & Dec 26·31
Village Vanguard
178 Seventh Av So
25s.4031
Lou Rlwl.
Nov JO·Dec 1
Resorts International
Atlantic City
St..le Wonder
Dec 2, 8 pm
The Met
Lincoln Center
65th StlBroadway
580-9830
Morg.na King
Dec 4·9
Arthur Pry.ock
Dec 18
Grand Finale
210 W. 10th St
362-6019
Hugh Ma..klll
Eddie Pllmlerl
Dec1,8pm
Beacon Thealre
74th StlBroadway
Carmen McCrae
Dec 3-15
Tha Pled Plpera
Thl Mlgnlflcanl
Chrl.tmu Spactlculer
Radio City Music Hall
Rockeleller Center
246-4600
Olxtlr Gordon
Nov 30, 8 pm
Curti. Mlyllltd
Linda CUfford
Dec 3, 8 pm
Doc 29
Anlt.O'DIY
Dec 31·Jan 12
Marty's
Third Avf73rd St
249·4100
Gan Hightower
A BassC'on Recital
Dec 21, B pmCarnegle
Recital Hall
51th Sl17lh Av
247·1459
Routes Classified will be 8 monthly
future. All classified ads accepted at
the discretion of the publisher.
Rates: 1 time $2.00/word; 2 cons.
ads $1.80/word; 3 cons. ads
$1. lO/word;
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ads
$1.60/word; 13 cons. ads
$1.60/word; 26 cons. ads
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Display available at $l5flnch.
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be received by ciosing (10th day of
each month by 1 pm). Phone orders
accepted, however, check/M.a. must
be received within 48 hours of order.
Classified Dept., Routes Magazine,
230 West 41st SI., N.Y., N.Y. 10036.
(212) 840-7290. Reply to Routes Box
Numbers at same address.
MEDIA
Billy
1:>«
MOTOWN'S TINSEL TOWN WOES
Williams and Diorio Rtw iff "MahoB1ut1."
M
otown was the first influential,
ucrative black-owned enter-
tainment corporation
in America.
to become a movie mogul. How much
this ambitious quest has affected
Motown's record division is difficult
for an outsider to determine. But
former top Motown record producers
Lamont Dozier and Norman Whitfield
have cited Berry Gordy's absorbing
film interest as a deciding factor in
their departure.
Motown's initial visual media
ventures revolved around its recording
stars. Between 1969 and 1974, the
company produced or coproduced six
television specials, most notably
"TCB," with The Temptations and
Supremes, and "Going Back To
Indiana," with The Jackson Five.
Motown also gave its blessing to a
Jackson Five Saturday morning
Both artistically and commercially
Berry Gordy's trendsetting record
company has had a remarkable
history. From the early days when a
skinny kid named Smokey Robinson
recorded Shop Around to the release
of Stevie Wonder's Songs In The Key
Of Life album, the Motown label
has offered some of the best music of
the rock era. Since its inception,
"the Motown sound" has been imitated
and revered throughout the music
industry. Vet significantly, the end
of the company's period of dominance
coincided with its move from Detroit
to Los Angeles in 1970.
This move represented not merely cartoon series.
Since the company's arrival in
a geographical change but signalled
a major shift in emphasis as well. Los Angeles, Motown has been
Amidst the glitter of Hollywood, involved in six feature film producfounder Gordy has been attempting tions: "Lady Sings The Blues"
to fulfill a longtime dream of his: (1972), "Mahogany" (1974), "Bingo
Long And His All-Stars And Traveling Motor Kings" (1976), "Almost
Summer" (1978), "Thank God It's
Friday" (1978), "The Wiz" (1978)
and "Scott Joplin King Of Ragtime"
(1978), a telefilm that saw theatrical
distribution.
Motown exercised varying degrees
of creative control over these productions. "Thank God" was coproduced
by Casablanca Records, which also
handled the film's marketing campaign. Due to the cost of the project,
Universal made most of the creative
decisions on t'The Wiz.' During the
filming of "Lady," Motown paid
Paramount $2 million to ensure
creative control, and Berry Gordy
himself directed "Mahogany,"
though that is not exactly a credit to
be proud of.
In contrast to the musical innovations its records introduced, Motown's
films have been frighteningly traditional in both their subject matter
I
ROUTES, A Guide 10 Black Entertai"ment 17
and approach. The seven films fit
very neatly into three categories:
• Biographies or historical
dramas on black personalities
of note. HLady," HBingo
Long" and UScott Joplin" fit
here.
• Direct or near remakes of
Hollywood films. "The Wiz" is
the obvious example, but
"Mahogany" belongs here also.
• Summer youth movies cover the
elusive pleasures of "Almost
Summer" and "Thank God."
"Almost Summer" was one of a
series of youth-oriented films distributed by Universal during the summer
of 1978. Also part of this motley
crew were "Sgt. Pepper's Lonely
Hearts Club Band," "I Wanna
Hold Your Hand" and "FM."
Most of the films played New York
City theatres about two weeks before
disappearing into the memories of
Diana Ross In
"T~
Wi:."
trivia fans and accountants.
Set at a California. high school,
., Almost Summer" was a take-off
on Watergate that didn't take off.
Aside from making some quick summer
cash, Motown used the film to promote
High Energy, a female singing group.
With "Thank God It's Friday,"
a great example of corporate cooperation, Motown and Casablanca
Records tried to perform a "Saturday
Night Fever" music and fUm parlay.
By packaging a three LP set featuring artists from both labels, they
persuaded Columbia to distribute
this low-budget flick. Casablanca's
Donna Summer and Motown's
Commodores were the stars of the film.
The album did well, capturing
hit singles for Summer and the
Commodores; in fact, Summer's
Last Dance won an Oscar for best
song of 1978. The film was also
quite profitable, though, like several
recent releases, it was in actuality only
a soundtrack with visuals.
In the historical dramas and biographies, truth was made subservient
to dramatic effect. Thus, actual
events were often taken out of context,
and fictitious characters were intro-
duced into the plots. But rarely has
the Hollywood bio stuck to the real
facts, and one shouldn't expect an
organization so enamored of the
Hollywood star system to break
tradition.
18 ROUTES, A Guide
10
Bta!'k £merw;mnem
It is more pertinent here to consider
what was presented than to compare
real life with screen life. All three
tllms were bittersweet, occasionally
tragic tales of black stars frustrated
by racism and personal weaknesses.
"Lady" has been the most widely
discussed of these films, but "Scott
Joplin" remains the most fascinating
and dramatically effective of the group.
Young director Jeremy Paul
Kagan elicited a tremendous performance from Billy Dee Williams
in this downbeat look at Joplin's
frustrated career. While HLady"
and the attendant hype established
Williams as "the black Clark Gable,"
his portrayal of Joplin showed him
unafraid to expand his image by taking
on a demanding dramatic role.
Williams's graphic portrayal of
Joplin's physical disintegration
from syphilis emotionally devastated
the viewer. l'he sequence in which
Williams tried to audition for a part
in a show but couldn't control his
fingers and so blew the gig managed
to encapsulate all Joplin's trials with
understanding and style. The closing
shot of Williams's Joplin walking
slowly through a harsh New York
snowstorm lingered in the mind long
after the gloss of "Lady" had faded.
"Joplin" has had a strange career.
Although it was made on a small
TV movie budget, executives at
Universal saw the strength of the
film and wanted it for theatrical
1elease. It reached some U.S. markets
and was later shown on NBC. Even
though uJoplin" is the company's
strongest fUm, word carne that Kagan's
film noir approach didn't totally
please everyone in the Motown
family. Without the attention a large
theatrical release guarantees, the film
went almost unnoticed in the black
community. Considering the power
and integrity of "Scott Joplin," that
is a real shame.
More reflective of Motown's
approach are the remakes. Gordy's
fascination with old Hollywood
glamour was in full evidence iJl
"Mahogany" and "The Wiz." The
latter was knocked hard by critics
(this one included), but the film's
faults resided as much in director
Sidney Lumet's pacing as in Berry
Gordy's casting decisions.
uMahogany," however came under
Gordy's direct control. He financed
it and directed it. The result was an
awful compendium of Hollywood
cliches. The premise of "Mahogany"
was the same as in the Audrey HepburnFred Astaire film ' I Funny Face"
(1957): plain girl meets fashion
photographer who makes her a star
model. But parts of "Love Story,"
including a hokey catch phrase, the
pseudo-political overtones of "The
1
Way We Were" and various smatterings
of other soap-operaish features were
also present,
Gordy got through his directorial
debul wilhout embarassing himself,
lhough one wonders how much editing
room assistance he received, "Mahogany" shows Gordy's 1973 comment
to Black Enterprise magazine that
"our message is that we have no
message" to be quile lrue.
The lack of originality of these
cinematic undertakings reflecls
Motown's weakness in lhe film
market. While it was a pioneer on
wax, MOlown has been lruly pedestrian
on celluloid.
This trend shows no signs of ending.
Janet Hubbard, a veleran member of
the MOlown film production learn,
recently outlined three upcoming
projects. Two are biographies-no
surprise there. A screen treatment of
Josephine Baker's life is being prepared
for Diana Ross; "The Gene Tierney
Story," a coproduction effon with
ABC, is in lhe works, with Jackie
"Charlie's Angels" Smith playing
lhe title role.
The other projecl, another remake,
is "Nightmare Alley," a Tyrone
Power film of lhe 1940s, now being
tailored for Billy Dee Williams. This
is not your typical Power film, for
his character is that of an unscrupulous
hustler who gets involved in the mindreading business. He manipulates
women, swindles the gullible but is
MEDIA
TELEVISION
Specials:
-Channel.
Dec 3. 8 pm: The Beren Stain Bear's
Christmas Tree
Dec 8, 8:30 pm: LIttle Rascals Christmas
Special(Anlmatad)
Dec 13,8 pm: Jack Frost
Dec 13, 9 pm: Bob Hope Christmas
Special
Dec 13, 10 pm: Dean Martin Christmas
Special
Dec 16,8 pm: Christmas Uilles of the
Fields
Dec 18,8 pm: Casper
ChrlstmaS(Anlmated)
Dec 18, 9 pm: Skin Fllnl(A Country
Christmas Carol)
Dec 22, 8 pm: The Sling lest Man In
Town
Dec 23, 8 pm: The Man In the Santa
Claus$Ult
Dec 2., 10 pm: A Christmas
Special-With Love, Mac Davis
-Channel 5
Dec 1,7 pm: life Goes to the Mo...les
Dec 8, 8 pm: Brian's Song
Dec 10, 8 pm: Holiday Costume Special
Dec 11,8 pm: Holiday Costume Special
Dec 13,8 pm: Marx Brothers Special
Dec 15, .;30 pm; Heidi
Dec 15, 8:30 pm: Yes Virginia, There Is a
Santa Claus
Dec 16,8 pm; Queen of Hearts Style
Dec 23, Noon-8 pm; Sleeping Beauty,
Going My Way, Belles of saini Mary's, &
Night and Day
-Channnel7
Dec 2, 7 pm: Santa Is Coming to Town
Dec 5, 8 pm: John Den...er & The Mup·
pets: A Christmas Together
Dec 5, 10 pm: Barbara Walters
Speclal-Ste...le Wonder
Dec 7,8 pm; Frosty's Winter
Wonderland
eventually sel up for a fall. In the
original film, Power ends up a broken
man.
This plot has fine possibilities.
But with Gordy directing "Nightmare
Alley," no one can predict what the
resulting film will look like. At any
rate, with the disappointing "Wiz"
movie closing out Motown's first
decade in films, the company's
production schedule for the 80s
could certainly use a creative transfusion of ideas. ~,
-Nelson George
LISTINGS
Dec 7, 8:30 pm; Nestor the Long Eared
Christmas Donkey
Dec 7, 9 pm: Valentine
Dec ,., 10 pm; Merry Christmas Grand
Ole Opre House
Dec 16, 7 pm: Rudolph's Shiny New Year
Dec 16,8;30 pm: Amerlcsn Christmas
Carot with Henry Winkler
Dec 17, 8 pm: A Pink Christmas Special
Dec 18, 10 pm: ABC News
Closeup-Homosexuals
Dec 21, 8 pm: Benjl's Very Own
Christmas Story
Dec 23, 7 pm; Scooby Goes to
Hollywood
·Channel 9
Dec 2, 2 pm; Thiel 01 Bagdad
Dec 2, • pm: Santa and the Three Bears
Dec 22, 6:30 pm: Scrouge
SPORTS
-Channel 7
Dec 28, 9 pm: Gator Bowl-College
Football
-Channel 9
N.Y. Knlch
Dec 5, 8 pm: Vs Washington
Dec 12, 7;30 pm: Va Atlanta
Dec 21,11 pm: Vs Seallle
Dec 23, 10 pm; Va Portland
Dec 28, 8:30 pm: Vs Chicago
N.Y.lstlnde,..
Dec 2, 8:30 pm: Vs Winnipeg
Dec 8, 8 pm: Va Toronto
Dec 23, 6:30 pm: Vs Por':land
Dee 27, 8 pm: Vs Montreal
Dec 30, 7 pm: Va Detroit
N.Y. Rangll.1
Dee 1,9 pm: Vs SI. Louis
Dec 7, 7:30 pm: Vs Hartford
The Dick Cllvlr Show(l:30 pm}:
Dec 3, Alberta Hunter
Dec ., Alberta Hunter, Part 11
Dec 5, Catherine Deneu...e
Dec 8, Henry Kissinger
Dec 7, Henry Kissenger, Part II
FILMS
No... 30 Thru Dec 8-the Harlem Cultural
Council will offer six programs which
constltute a retrospectl ...e 01 major black
American performing tatent dattng back
as far as 192•. The serIes Is called: "The
Splrlt of the Harlem Renaissance"; No...
30, "Scar 01 Shame"; Dec 1. "Body and
Soul'" Dec 2 "From These Roots'" Dec
7, "M~n of B~onze"; Dec 8, "The E;".
peror Jones" and "The SpIrit 01 Man";
"Jack Johnson" and "Black and Tan
Fsntasy." An programs begIn at
7;30 pm.
Symphony Space
2537 Broadwayl95th St
865-2557
Dec 11,7:30 pm: Vs Detroit
Dec 12,8:30 pm: Vs Chicago
Dec 15, 7:30 pm: Vs Washington
Dec 22, 8 pm: Vs PllIsburgh
COMMUNITY PROGRAMMING
-Posltl...ely Black-WNBC(Channel 4)
Sat 1:30 pm. Carol JenkIns & Gus Hen·
Ingburg.
-Black News-WNEWIChannel 5) sat
10:30 pm. Bill McCreary & Marlon Etoile
WallOn.
-Like It Is-WABC(Channel 7) Sun, 1
pm. Gil Noble.
-For You Black woman-WABC(Chan·
nel 7) Sun 2:30 pm. Alice Tr....lll.
-Black Con...ersatlons-WPIX(Channel
11) Th lOam & 10 pm. Orde Coombs.
ROUTES, A Guidi' to Black EI/terrai,mwlIf
19
SPORTS
A
s we rapidly approach the
1980s, tennis-the boom sport
of the last decade-is beginning to
take a back seat to other racquet
games just as exciting, easier to learn
and less expensive to boot.
Leading the way is racquetball, a
fairly simple game which provides
a good workout for the body, as
over 5 million participants have
discovered. Played on a four-walled
(plus ceiling) 20 by 40 foot court
(four walls outdoors), racquetball
requires a shorthandled, stringed
racquet (prices range from $10 to
$50) and large, hollow rubber balls
($2 to $3 per can). Be sure to choose
a racquet with a good grip and comfortable feel. Players should take
advantage of the many commercial
racquetball clubs where they can
secure a court for about $3 an hour.
Lklvid PhilIp. m,mbn o/IM U.S. Olympic TQblt r,nnls
Tttlm.
20 ROUTES. A Guide
10
Black Emertaillmem
WHAT'S ALL THE
RACQUET ABOUT?
N. Y. 11218 for more information.
Platform tennis-Take a 20 by
40 foot raised platform, surround
it with chicken wire fencing, add two
small wooden paddles, one sponge
rubberball, two players and you have
the ingredients for platform tennis.
Over fifty years ago, before the
introduction of indoor courts, New
Yorkers who missed playing tennis
in the winter months invented this
game as a substitute. Strategically
placed lobs, soft shots and ricochet
area, courts are uncommon, but once balls off the twelve foot fences are
you've found one, you won't need the strokes used in platform tennis,
much equipment beyond a paddle a game which requires more skill
and an old tennis ball. The deadened than power. The paddles for platform
ball is easier to handle, as are the small and paddle tennis are virtually inpaddles, which sell for $10 to $30. terchangeable and similarly priced.
To this expenditure, add 15¢ for a The sponge rubber balls cost between
letter to the U.S. Paddle Tennis $1 and $2. Clubs are generally found
Association, 189 Sedley St. Brooklyn, in the northeastern area of the country.
More information can be obtained
through the U.S. Racquetball Association, 4101 Dempster St., Skokie,
Illinois 60076.
Three other racquet games have
retained the word "tennis" in their
names, but this is their only common
denominator.
Paddle tennis-The perfect game
for people who've been baffled by
the intricacies of tennis is played on
a 20 by 50 foot court divided in half
by a net. Outside the New York
Contact the American Platform
Tennis Association, 52 Upper Montclair Plaza, Upper Montclair, New
Jersey 07043 for more facts.
Table tennis-Known in community
centers, basements and garages the
world over as ping-pong, table tennis
ean contend with any sport in intensity
and rivalry between players. Good
concentration, quick reflexes and
nimble wrists are the keys to this
easy to learn and fun to play game.
Prices for regulation size (5 by 9
fOOl) ping-pong tables start at $150,
but if space or cost is a premium, a
4 by 8 sheet of plywood from your
local lumberyard will do. A good
paddle, preferably covered with
sandpaper or hard rubber, costs
$4 to $5, while a dozen balls will set
you back about $2. The U.S. Table
Tennis Association, P.O. Box 183
St. Charles, Missouri 63301 or Table
Tennis Magazine, 12 Lake Ave.
Merrick, N. Y. 11566 can provide
further information.
Aside from the aforementioned
derivatives, tennis-the game of
gentlemen-has also spawned other
racquet sports that are fastly becoming
part of the city's athletic scene.
Undoubtedly, one of the earliest of
these spin-offs is the game of squash,
which is played on an 18 1/2 by 32
foot four-walled court, similar to the
one used for racquetball. The differences between these two games lie
in the shape of the rackets and in
the way the ball is played, particularly
on rebound shots. Placed on the
front wall of a squash court is a
metal strip called a "tin." Once
the ball hits against this strip, it is
considered out of play. As in racquetball, the squash racquet is stringed
but has a long, thin neck requiring
a different type of manual dexterity.
Squash racquets are priced from $10
to $50, and the balls cost around
$3 apiece. Clubs abound in most
cities, with varying membership
fees and hourly rates. If you undertake the game, be patient for it takes
practice and maybe a few hours of
instruction before you become an
adept player, as over 500,000 devotees
of the sport can attest. The U.S.
Squash Racquets Association at 211
Ford Rd. Bala Cynwyd, Pa. 19004
will be happy to answer any inquiries.
6,mimolf
leaves you breathless
Smirnolf S Vodka, 80 proof, Distilled from Grain,
SMIRNOFF SPORTS QUIZ
Questions
1. II Is well known that Jackie Robinson was the IIrst black to play
on a major league baseball team, the National League Brooklyn
Dodgers. Who was: (a) the second black player In the majors? (b)
the first black In the American League? (c) the first black manager
and what. team did he manage? (d) the second black manager and
what team did he skipper?
2. Who was the first and only man ever to hit a ball out of Yankee
Stadium? Does he hold any other records?
3. Who has gained more yardage for the Chicago Bears, Gale
Sayers (retired) or Walter Payton, their current hallback?
4. O.J. Simpson's name Is In the N.F.L. record books for his 2,000
plus yards gain In one season. A world record. Has O.J. held any
other world records?
5. What black jockey rode three Kentucky Derby winners?
SMIRNOFF TRIVIA QUESTION
10. What is a "Vampire Gimlet"?
Answers to Quiz appear on Page 22
c 1978 Ste. Pierre Smirnofl Fis. Division of Heublein, Inc. Hartford, Conn.
An all-time favorite of these racquet
sports is badminton. Playable indoors or out , badminton's pace looks
deceptively slow, but the action will
ke,ep you on your toes. This can be
attributed to the feathered shuttlecock or "birdie" which has more
zigs, zags and dips to it than a hyperactive hummingbird. A 20 by 44
foot indoor regulation badminton
court is a rarity, so get in touch with
the U.S. Badminton Association,
P.O. Box 237 Schwarz Creek, Michigan
48473 for assistance in finding a club.
Your local sporting goods or department store usually stocks lowpriced recreational sets that include
all the necessary equipment for a
brisk outdoor game.
Many of the one-walled handball
courts that dOl the city are now
dominated by players of paddleballthe "city game" of racquet sports.
This urban setting instills a unique
carnraderie between the approximately
200,000 New Yorkers who call the
game their own. Besides the wall,
a rubber ball and paddle are the only
equipment needed.
Most of these racquet sports
require nothing more in the lirie of
dress than shorts, t-shirts and a
sturdy pair of sneakers. But gloves
and safety glasses are a good bet
when playing racquet games that
use hard rubber balls. If you can't
find a court, you can always build
one of your own, providing you have
between $1200 to $45,000 to play
with. Incidentally, new racquet games
are popping up with increased regularity, so keep an eye open for new
variations. Who knows, you could
even try coming up with a "racquet"
of your own.
-Michael George
ROUTES, A Guide 10 Black E1I1ertainmelll 21
SPORTS
LISTINGS
TELEPHONE
SPORTS PLANNING
Sports Phone
-N.J. N.t.
Dec 5, Vs Phoenix
BASKETBALL
Dec 9, Vs Atlanla
Dec 14, Va N.Y. Knlcks
Dec 16, Vs Boslon
Madison Square Garden
33rd SI/Se~enth Av
Belmont Park
641·4700
Dec 28, Va Indiana
-Knlckl
Dec " Va Denver
Dec
Dec
Dec
Dec
Dec
11,
15,
18,
25,
Vs
Vs
Vs
Vs
Indiana
Boslon
Atlanla
New Jersey Nels
Shea Stadium, Flushing, Queens
672-3000
Meadowlands Results
Dec 2, 1 pm: Va Baltimore
Dec 9, .4 pm: Vs New England
-
-N.Y. St.,.
Dec 1, V. Carrlero1. Dreams
Dec 8, Va Hew Orleans Pride
Dec 11, Vs Philadelphia FOil
Dec 13, Va Milwaukee Does
ColI~.
Aqueduct Racetrack
641·4700
-J.ta
29, Vs Milwaukee
-Woman'.
Giani Stadium
26&-8600
FOOTBAll
Dec 4, lis Phoenix
Dec 8, V, Kansas City
594·7044
Grant Stadium, E. Rutherford. N.J.
Parks & Recreallon News
755·4100
-N.J. Giant.
New York Slale lottery
999-6868
Dec 16, 1 pm: VS Ball1mor.
Buketball Touma-
mint
Dec 22, 1 pm & Dec 23, 11 am: Rutgers
VI louisiana Tech
OTB Results
TENNIS
999·2121
-28th Annual ECAS Holiday e ••ketball
FI.Il,.1 College B.,blbsll
Dec 26, 7 pm, Dec 28, 7 pm: BoSlon Col·
lege Va. Georgetown & 51. John's VI
L.afayelle
Madison Square Garden
33td SUSevenlh Av
.....400
Weather
WE6·1212
Madison Square Garden
564·4400
ANSWERS TO SMIRNOFF
SPORTSaUIZ
1.(8) Larry Doby (b) larry Dob)'. He played
lor the cleveland Indians. (e) Frank AobWl·
son: Cleveland Indians. (d) Lar~ Deby, he
managed the ChIcago White Sole.
2. Josh Gibson, Hall 01 Fame catcher, In
an eXhibition game. Yes, most lila time
home runs 800.
3. Walter Paylon. He's done It In fewer
seasons. He recently became the all time
leading ground gainer lor the Bears.
4. Yes. He was' In 4 at the world record
440 track team, Unlverslly of Southern
California.
5. Isaac Murphy
Shea Stadium
672·3000
Time
U,N.C.F 5th Annual Arthur .... h. Tannl.
Rutgers University FIeld House,
Piscataway. N.J.
293-4300
999·1313
Dec 26, I/s Washington
564·4400
Yankee Stadium
e.nem
936·1616
Dec 9, Noon
Wash On Wnrr 011
Keyes West
Hair Fair Salon
Harlem YMCA,ISO Westl35th St
22 ROUTES. A Guide to RladP,:re"wi"mem
New ,-or" Cit~-. 690-IQ50_
Trivia Answer
Smlrnoll Vodka and roses lime Juice
THEATRE
T
he black theatre of today is a
medium at a crossroad. While
the stage can provide the best avenue
for the expression of black thought, it
remains at present its worst
disseminator. Whether this is due to
the theatre's addressing itself to only
a select group of people or whether
the pool from which black theatre
draws its audience is a shallow one is
unanswerable at this point in time.
What is known is that the historical
circumstances of black society have
forced the adoption of the spoken
THE "SPELL" OF
MS. SHANGE
word as its main channel of expression. From the early field hands to
the most charismatic preacher that
ever occupied a pulpit, language, or
in this case "black talk," has served
not merely as a form of communication but as a conduit for black
ROUTES. A Gliidt' {() Bltu'k Eflfertllillment
23
ideology. Plainly, the artfulness of
black language resides in its connoting more than it says on the surface.
Nowhere
is
this
reverence
for
language more skillfully displayed
than in Ntozake Shange's "Spell #7,"
currently at the Public Theatre. The
author of "For Colored Girls ... ,"
having been less than successful in her
attempt at structured theatre
("Photograph"), has returned to the
form that first brought her fame-the
long poem. With black language as its
foundation, HSpell #7" presents, as
its name suggests, a world of illusion
and reality. Miss Shange, who is fastIy becoming one of the most forceful
voices in the theatre, draws her audience into a meandering journey of
sel f-exploration and discovery.
"Spell #7" travels along a seemingly
familiar road which sharply veers into
an unchartered ground where the
boundaries of the imagination must
expand beyond its preconceived notion of what is real.
As the evening starts, the audience
is confronted by a magician, our
guide into this double-mirrored world
where nothing is what it seems. He
explains that his father gave up the
magic trade when a black kid "asked
to be made white on the spot," a trick
no "self-respecting colored american
magician" could claim to have in his
bag. Contrastedly, the son intends to
make the audience "colored & love it
love it/bein colored."
From there we are plunged into a
nebulous region where the demarcation line between illusion and reality
is constantly being redefined. The setting has all the appearance of a bar,
but it is essentially a platform
whereon the fantasies and realities of
what it means to be black are enacted.
The members of the cast are, according to the story line, out-of-work actors who congregate in this bar/stage
to perform and watch each other's
performances. Their statements are
not to be taken as part of their
characters but rather as part of a
role-one of the many they will each
assume during the course of the evening. Dialogue, defined as a conversation between two characters, is at a
bare minimum, for there are no
dramatis personae in this piece.
Neither can the speeches be considered dramatic monologues or
24 ROUTES, A Gllide 10 Black £1JIertainme1l1
MQr)' Alict.
soliloquies, for although a performer
often seems to be revealing
himself/herself to another performer,
he/she is simply assuming a particular role for the moment.
What Miss Shange presents instead
is a series of poetic recitations that
create a fragmented yet detailed portrayal of the joys and pains of black
lives. The unifying thread or'this long
dramatic poem is the meshing of illusion and reality which occurs in the
style, setting, acting and writing of
"Spell#7." Miss Shange truly performs magic with words; with them
as her instrument, she weaves before
our eyes a tapestry-like vision of
blackness in America. Her intention
establishes a distance that prevents
the reality of the stage from becoming
our reality. Although we identify with
the performers, we are always quietly
reminded that it is a performance we
are watching.
An example of this technique is the
"lonely housewife" vignette. A
deceptively humorous tone and mood
opens this segment, which dramatizes
the adventures of a housewife out on
a spree, looking for a little excitement
and adventure. The segment is a duet
between a narrator and a performer.
While the voice-over narrator's
description of the housewife's experience and condition is trenchant
and poignant, the pantomime of the
actress initially conveys a light and
airy feeling.
This journey into the night's impact upon the housewife is vividly
delineated in the gestures, facial expressions and body movements of actress Mary Alice. Emerging through
the doorway of the bar, she strikes a
playful pose and then proceeds to
spring and flounce about the room,
her arms swinging jovially as a child's.
We are made to feel this woman's
breathless anticipation and gnawing
restlessness, for as her jaunt begins
she is full of life and vitality. But
after her dreams of having "a good
time"
are
shattered,
her
back
becomes haunched, her face void of
expression and her form lifeless. By
conveying the disillusionment of the
woman's youthful hopes and desires,
Mary Alice has made the housewife
age before our very eyes. The combined effect of the "scene" teeters
along the line of the reality of the
spoken words and the illusionary acting. At the segment's end, just when
the audience finally accepts Mary
Alice as a real character, she quickly
steps out of the role and complains to
another performer, Haw reyno/when
is to make us doubt what we believe
as real and to accept what we took for
illusion. She proclaims to be merely a
poet, as Skeeter, the bartender/poet
of "Spell #7" and Shange's alter
ego,explains: Hi am a poet/i write
poems/i make words/cartwheel &
somersault down pages outta my
mouth come visions distilled like
bootleg whiskey/." But poetry is only
the tool of Miss Shange, who like a
sorcerer relentlessly pursues her audience. While we are under her spell,
she intends to strip off the mask that
we all wear, that disguise that makes
us bearable to ourselves and others.
Her technique, which uses a stage
within a stage, actors moving in and
out of different roles and dialogue
without stress point or conflict,
am i gonna get a chance to feel
something like that/i got into this
business cuz i wanted to feel things all
the time/."
The veil of illusion which drapes
over "Spell #7" is also the veil which
shrouds our everyday lives. Subtly
paralleling the fantasy of the black
kid who wanted to be made white on
the spot is Laurie Carlos's recitation
about hair. It is quite possible to tell
of the history of black Americans
ROUTES. A Guide ro BIlick Emerwinmefl1 25
through their attitudes about hair.
Before the advent of the 60s, hair that
was long and straight was considered
"good" hair and indicated the
presence of some other racial strand.
Thus the fantasy to have long and
silky hair was/is a real preoccupation. Through the voice and acting of
Laurie Carlos, Miss Shange gradually
penetrates the fantasy to reveal the
true nature of the wish in all its social
and economic ramifications.
Starting on a satirical note of
wishful thinking, the fantasy eventually builds to an extreme magnitude
that encompasses an entire universe
of dreams and yearnings of black
people. In the piece, humorous,
outlandish fancifulness is constantly
set in juxtaposition with sharp stabs
of reality: "j'm gonoa simply brush
my hair/rapunsel pull yr tresses back
into the tower/& lady godiva give up
horse back riding/i'm gonna alter my
social and professional life
dramatically." This illusion of
transformation is given full vent
when Laurie later exclaims: "i'll find
ambrosia. my hair'll grow
pomegranates & Soil, rich as round
the aswan. i'll wake in my bed to
ba nan as / avoca d os/ colla rd
greens/the tramp's latest disco
hit/fresh
croissant/pouilly
fuisse/ishmael reed's essays/charlotte
carter's stories/stream from my hair.
everything in the universe that i need
falls from my hair." Finally, we are
made to realize that this dream is not
merely a private fantasy of Laurie's
character but one shared by disenfranchised people the world over:
"with the bricks that plop fiom
where a nine year old's top braid wd
be, i'll brush myself a house with running water & a bidet. i'll have a closet
full of clean bed linen and the iii girl
from the castro convertible commer-
cial opens the bed repeatedly & stays
on as a helper to brush my hair." The
humor of Miss Shange is the scent
which entices the spectator into a
fly trap, and once caught we are fed a
dosage of truth that turns our
laughter into self-examination.
The deceptiveness of a magic trick
resides in the fact that only the magician knows what's going to happen.
Moreover, the element of surprise is
directly commensurate to the trick'~
degree of difficulty. Shange's mastery
26 ROUTES. A Guide
10
Black Emertaillmem
at creating searing
VISion
out of an
idea that heretofore was an insignificant trickle in the mind has the power
to make reality so unbearable that the
abyss of illusion seems a welcome
refuge. Indeed, to turn reality into illusion and have the illusion turn into
a nightmarish and grotesque revelation requires not merely the craft of a
magician but the artistry of a poet as
well. Nowhere in "Spell #7" is this
skill of Miss Shange's as evident as in
the symbolical episode on
motherhood which closes Act I.
From out the darkness of the bar
steps a girlish figure with the benign
smile of a retarded soul. Sue-Jean is
her name. The part is played by La
Tanya Richardson, who up till now
has remained a shadowy figure easily
dismissed by the audience. As she
walks downstage, the narrative unfolds with the placidity of mountain
stream: "She had always wanted a
baby/never a family/never a
man/she had always wanted a baby
who would suckle/ & sleep." It is
almost an infantile dream, one that
commands compassion for this "or_
dinary colored girl with no claims to
anything/or anyone ... (who) always
wanted to have a baby/a iii boy/
named myself." The choice of the
child's name registers a slight uneasy
tremor in the senses which quickly
disappears once the mother begins to
prepare for the birth.
With the birth of "Myself," "Spell
!f7"'s
rare
union of descriptive
writing and acting reaches its apogee
La Tanya Richardson becomes SueJean delivering a baby. Her body
drenched with sweat, her face
writhing with pain, she sits spread
eagle, -supporting herself on arms that
contort into hind legs. With bulging
eyes, a tumultuous cascade of pain
pours from her mouth: "the
nite/myself waz born/ol mama
kareena/from the hills came down to
see bout me/i hollered & breathed/i
did exactly like mama kareena said/ &
i pushed & pushed & there waz a earthquake up in my womb/i wanted to
sit up & pull the tons of logs trapped
in my crotch out/so i cd sleep/but it
wdnt go way/i pushed & thot i saw 19
horses cunnin in my pussy/i waz sure
there waz a locomotive stalled up in
there bumin coal & stemin & pushin
gainst a mountain."
After partaking in the birth of
UMyself," the audience feels a special
kinship with both mother and child.
So it is with horror-a horror that
makes the mind recoil behind its most
protective shield-that we discover,
less than a minute after the birth, the
fate of the newborn baby.
Sue-jean-everything waz goin Qwright
(iI/myself wanted to crawl
Narrator-&discover a world of his
own/then you became despondenl/& yr
tits began to dry & you lost the fullness
oj yr womb/where myself/had lived
-& j wonted that back
-you wanted back the mild
-&the tight gourd oj a stomach i
had/when myself waz bein'in me
-so you slit his wrists
-he was sleepin
-sucked the blood back into yrself/&
waited/myself shriveled up in his crib
- 0 dank IiI blk thingl; never touched
him again
-you were always holdin yr
womb/teelin him kick & sing to you
bout love & you wd hold yr IiI in yr
hand
-like i always did when ijed him
_& you waited & waited/Jor a new
myself/thO there were labor pains
-& i screamed in my bed
-yr legs pinnin to Ihe air
-spinnin somelimes like a ferris wheel/i
cd get no child to Jail Jrom me
-& she Jorgot abt the child bein
born/& waz heavy & Jull all her life with
'myself'·
-Elie Mystal
LISTINGS
Knoekout(Th. Mlr.cl.
ON BROADWAY
on 48th 5t)
Helen Hayes Theatre
210 W. 461h 51
A Chorus Line
Shubert Thealre
225 W. 44th 51
'46-5990
Aln" Ml.behavln'
Plymoulh Thealre
236 W. 45th 5t
730-1760
Annl.
Alvin Theatre
250 W. 52 nd 51
757-6646
Bellll.mania
Place Theatre
t564 Broldwayf471h 51
Bedroom F.rce
Brooks Alklnson
256W.•Hth 5t
245-3430
Chapter Two
Eugene O'Neill Theatre
491h 5t W. 01 B'wIY
'~2O
Comln Uptown
Wlnler Garden
1634 B'way
245-4878
PrevlewS Dec 4, Opens Dec 20
All bl.ck cast In Jazz, gaspe
and disco musical.
"d."
Morosco Thealre
45th 5t W. 01 B'way
246-6230
O.neln'
Broadhursl Theatre
235 W. 44th 5t
247·4636
Deadwood Dick. legend
of tIM Wilt
Carter Theatre
250 W. 43 5t
527.()836
Deathtrsp
Music Box Thealre
239 W. 45th 5t
246-4636
OoQg', H.mlat,
Cahoot'. Macbeth
22 Sleps Theatre
Broadway/48th 51
541-6162
Or.cul.
Martin Beck
302 W 45th 5t
246-6363
Eublel
Ambassador Theatre
219 W. 49th 5t
541-6490
E,lta
Broadway Theatre
\681 Broadway
398-8383
Gemini
Uttle Theatre
240 W. 44th St
221·6C25
Gr••••
Aoyale Theatre
2.(2 W. 451h 5t
245-5760
24~380
Loo.. Endl
Circle In the Square
50th 51 W. 01 B'way
97709020
36 W. 62nd St
581-9110
Thru·Dec 12
Tha Incr.dlble
F••lIng Show
The First AU ChUdren's
Theatre
Beacon Theatre
74th 5TfBroadway
874-1717
Mumm.nlch.nz
BIJou Theatre
209 W. 45th 5t
221·8500
-Brooklyn
Cinderella
Penny Bridge Players
Dec B, 2 pm
The St.phen Fo.t.r 5tory
Dec 22, 2 pm.
Brooklyn Academy 01 Music
30 Lalayette Av
Ohl Calcutta I
Edison Thealre
240W. 47th 51
757·716C
Onc. A C.thollc
Helen Hayes Theatre
210 W. CSth 5t
24S<31lO
OFF BROADWAY
Allc. Tlvough
The Looking 01...
The FJrsl All Children's
Theatre
37 W. 65th 5t
873-6400
Thru Dec 2
Amahl .nd tIM Night
VI.ltor.
Thealfe 01 the Aiverslde
Church
120Ih St/Alverslde Or
86-4-2929
Thru Dec 2
CI.v.r J.ck .. the Magie
B.an.'alk
Flrsl All Children's Theatre
37 W. 651h 51
873·6400
Decl&2
Hom.
Thru Dec: ,
TIM Mlehlg.n
Dec: 13·Jan S
The Negro Ensemble CO.
5t. Marks Playhouse
133 second Av
.74-3530
Head Over Ha.la
The Richard Morse
Mime Theatre
224 Waverly PI
242-0530
Thru Dec 31
On Midnight.
Friday Th. 13th
New Herllage Repertory
Theatre
43 E. 125th SI
876-3272
Thru Dec
Frl, Sat 8 pm, Sun 4 pm
SpellU
The Public Theatre
425 Lafayette SI
598-7150
The Art of Dining
The Public Theatle
425 lafayette 5t
598-7150
Th. Death of
Boogla.Woogl.
Richard Allen C&nler
for Cullure & Art
Clrcu. M.IIi·U.
The Alonzo Players
395 Clinton Av
522-3636
Wed, Th, Frl, 7:30 pm,
Sal·Sun, 3 pm
Inac.nt Black .nd the
FI,. Brothar.
Billy Holiday Thealre
1368 Fulton 51
~19
"Tha Snow Cu••n"
The Helghls Players
26 Willow PI
237·2752
Thru Dec
DANCE
AI,ln AII.y Amlflc.n
O.nc. The.tre
Clly Center
131 W. 55th 51
Nov 28-Dec 23
246-8989
-8rooklyn
Tha Copoelr.. of Bahl.
& The Phll.d.lphl.
Dane. Comp.ny
Nov 30
Our ChIldren's Pertonnlng Arts
Genter
300 Jay 51
....9620
Sandm.n Slm,
& Th. Hoot.1I
TIM Nlcho(.. BrotlMlI
The Cop...Uca
Leon Collin.
Joe C.rrol
Dec 29 & Dec 30
Brooklyn Academy 01 Music
30 lalayelle Av
622-443,3
Boheml.n Stat. Folk
B.II.t of Pr.gu.
Brooklyn center lor the Performing Arts at Brcoltlyn COllege
Whllman Hall
Bedford Av and Av H.
859-1180
Dec1&2
Caremony 01 Carol.
Brooklyn Dance Theatre
Brooklyn COllege
Gershwin Thealle
Dec1,8pm
760-5006
ROUTES. A Gllide TO BI(lck Eflfl'fUlilll1ll>lIf 27
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I Please start my subscription immediately, I have enclosed my
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ROUTES
I BOXm
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28 ROUTES, A Guide to Black Emerwinme"r
I
J
TRAVEL
T
TRAVEL AIDES
raveling remains for many
people both a confusing and
traumatic experience. Nowadays,
travel, especially a vacation trip,
requires careful planning and large
expenditures of money. The days when
a vacation for a black family, couple
or single person meant simply a trip
down South to visit the relatives are
rapidly coming to an end. But trips
abroad or even excursions within
the continental United States often
necessitate extensive arrangements
of plane, ship or train reservations
and tickets, hotel accomodations
and ground transportation. Now,
with so many routes opening up and
so many people traveling, the airlines
have started a whole wave of promotional fares that attempt to make
traveling easier and more economical
for the ordinary working person.
However, a side effect of all these
discount deals is that the prospective
traveler frequently becomes lost in
the maze of choices presented. An
alternative to "going it alone" is to
take advantage of the free consulting
services of a travel agent, who can
help break down all the available
options into some language that you
can understand.
The basic functions of a t~avel
agency are to take the worry and
aggravation out of planning a trip
and to provide you with as many
amenities as possible. In the relaxed
and comfortable atmosphere of an
agency, you can ask questions and
take all the time you need to make
sure you understand your entire
vacation package.
To get a more complete idea of what
a travel agency offers its customers,
Routes spoke to Louise Baskerville,
Vice-President of Gi-Gi Travel, 846
Nostrand Avenue in Brooklyn.
Louise explained that a travel agent's
services range from making the
simplest of suggestions to mapping
out the most complex excursion
tours. According to her, "the services
of an agency are limited only by the
wishes of a customer. For example,
if you plan to travel on a complex
itinerary, you may think that you
have to call five different airlines
before going from here to California
then on to Hawaii and then to Tahiti.
But in reality you only have to contact
one airline or travel agent. Within
a matter of minutes, an airline
reservation clerk or a travel agent,
with the assistance of the airline's
computer and the agent's special
red carpet desk, can inform a person
of the availability of a particular
night from now until December."
To anyone accustomed to traveling
from city to city within the United
States the time spent at a travel
agency may seem wasted. It sounds
simple enough to pick up the phone,
caIl the airlines and make one's
reservations. But the important
thing to remember is that the travel
agent has no allegiances to any
particular airline or other transportation company. Thus, the agent
plans your entire itinerary in light
of all the options open to you.
ROUTES. A Gllidi' ro Black En1l'ffa;lImenr 29
Because of their knowledge and
experience, travel agents can oFFer
suggestions and ahernatives that
assure you a first-rate vacation within
your budget. One popular costcutting measure is taking a vacation at
an off-season lime, such as visiting
the Caribbean in the summer. The
travel agent also knows which
places (like Freeport, Bahamas,
Los Angeles or Dakar, Senegal etc.)
offer discount coupon books and
deductions on meals, transponation,
sightseeing and souvenirs. Instead
of having you spend large sums of
money on taxis and car rentals to
explore the sights of your destination,
the agent may recommend an advanced
purchase of a one-priced rail pass.
Such passes, offered in Europe and
in many other areas of the world,
give you the freedom to travel wherever
you want at very reasonable rates.
In our interview, Louise further
suggested that budget-conscious
travelers may want 10 take advantage
of off-the-beaten path lOurs, so as
not to incur the expenses contingent
upon stays in the major metropolitan
tourist meccas. Planning a vacation
to destinations where the dollar
remains strong was another excellent
economizing strategy forwarded
by Louise. Parts of Central and
South America, Portugal and Canada
all fall into this category. When I
inquired about vacation packages
under $500, Louise mentioned a
Thursday 10 Sunday or Sunday 10
Thursday Las Vegas plan which
starts at $339 per person and The
Best of Barbados-a seven day
vacation on the island that costs
less than $500.
Getting you there is only half the
service a travel agency can provide.
In most instances, your travel agent
will have already visited your destination and can therefore suggest
inexpensive restaurants, smaller
hotels which are apt to have lower
room rates and sights of special
interest 10 the black traveler.
The black traveler is the main
focus of the Gi-Gi travel agency.
LOUIse, a member of the American
Society of Travel Agents (ASTA),
has been trying to impress upon the
industry and the media that blacks
are traveling more and spending
more money than ever before. Louise
30 ROUTES. A Guide 10 Black £lIlertaillmelll
~r
Services ofa Travel Agel/cy
-To arrange transportation, whether it be by plane, ship, train, bus or auto.
eTo handle hotel, motel or resort accomodations.
-To, make arrangements for dining, sightseeing, entertainment and con-
veyance of passengers and baggage 10 and from hotels and terminals.
eTo coordinte itineraries and tours and 10 vend prepared package lOurs.
eTo make reservations for religious pilgrimages, conventions, business
trips, student tours and sporting trips.
eTo handle or give travelers advice on various aspects of contemporary
travel, including visas, passports, luggage, insurance, foreign currency,
traveler's checks, apparel, climate, health precautions and language
study material.
stated, "0ne can always spot a trend
by following the routes of the black
vacationer. This year, cruises seem
to be the 'holtestticket in town'."
A by-product of Alex Haley's
"Roots" has been a resurgence of
interest in Africa-the Motherland.
Louise enthusiastically related,
"I have booked some people on a
special package offered by the Senegal
Government Tourist Board called
International Weekends-an inexpensive trip from New York to Senegal.
The African American Institute also
sponsors economical six-week trips
lO various parts of Africa." Since
the airfare to Africa is still comparatively costly, a charter night seems 10
be the best way 10 visit the continent.
Louise stressed the many advantages
of arranging a chartered trip through
a travel agency. "If you are not
taking a chartered trip, you might
run inlO all types of problems. Hotel
accomodation requires time-consuming
Although most travel agencies
perform the same basic services, all
reputable agencies should have the
AST A insignia on display. Furthermore, their agents should hold
lATA and ATC appointments which
enable them to write both domestic
and international tickets. Of course,
one of the best methods of deciding
on an agency is 10 consult with
friends and relatives about agencies
they might have used. Good agents
establish good reputations.
A vacation's short duration and
high cost call for a maximum of
enjoyment and a minimum of ag-
gravation. A carefully prepared trip
should remove from the vacationer's
shoulder the apprehensions and
anxieties elicited by journeys to new
cities, countries and cultures. The role
played by a travel agency should
reduce the many problems of travel
or, at the very least, equip the tourist
from one African nation to another
with ways to cope with the unexpected.
To paraphrase a well-known slogan,
see a travel agency and leave the
planning 10 them. [j).
is an additional problem alleviated
by taking a chartered tour."
-Estelle Epps
correspondence. Sometimes a person
is well on his way 10 his destination
before receiving a response. Journeying
ART
MADE IN BLACK AMERICA
A
t the Gallery of the New World
(159 W. 45th Sl. Man.), the
walls and floor are lavishly appoinled
with African masks, handcrafted
clocks, tribal slOne sculptures and
leather carvings depicting the queens
and pharoahs of ancieOl Egypl.
What distinguishes the Gallery's
collection, however, is that it is
composed entirely of the work of
black-American artists. Andi Wilson,
the Gallery's director and coordinator,
established the shop precisely in
order lO tap the creative energy of
this oft-neglected group. Though
African and Caribbean art import
shops existed in abundance, Andi
recognized a glaring paucity of
showcases for the creations of our
indigenous black artists.
The diminutive size of the gallery
belies its extensive ariay of artwork
and the vitality of its versatilely
talenled staff. Outside the shop rests
a displaycase of handpainled vases
and exquisite leatherwork. Once
prospective customers enter the
premises, they find themselves
surrounded by original paintings
and etchings, handwrought gold
and copper jewelry, leather bags and
necklaces, elaborate sculptures,
candleholders and an exciting assortmeOl of other types of craftwork.
Six accomplished, experienced
artists are represenled in the gallery's
collection. Most of these men and
women have their own studios and
have given individual exhibitions
of their work. The group's members
also frequeOlly participate in citywide
craft expositions .
• M. Sin's (a.k.a Marvin Kelly)
specialty is the art of leatherwork.
Along with Egyptian designs, his bags
display etchings of astrological signs,
animals, West African scenes or
anything else you can think of, for
the artist does custom work as well.
The beautiful leather and wood
painlings that hang on the shop walls
are his creations.
Hufldpo;nlftl VllSt by G«II Cooper.
• Tom Feelings is a painter and
well-known writer and illustrator of
children's books. His repertoire
includes depictions of black people
going about their daily routines,
colorful scenes of African life and
realistic portraits.
• Starting with empty water cooler
bollles, Cecil Cooper designs handpainled vases which are an unparalleled blend of beauty and
innovation.
• Onnie Millar is a tribal slOne
sculptress whose exquisite, one-of-a-
kind pieces reflect her many years
of experience in the field.
ROUTES. A Guide to Black EII/mailllllelll
3/
• Shariff Zizwe, master craftsman
and furniture designer, fashioned
lhe handsome clocks which remain
one of the shop's most soughl after
which will premiere in New York and
then move on to Washington D.C.
for a few weeks. Artists from North
Carolina to lhe Caribbean to Tanzania
items .
will participate in lhe exhibition.
• Also associated with the Gallery There will be performing artists and
is Jamal Mims, whose Sun Gallery, film presentations as well.
which features his original jewelry, is
The Gallery also has a referral
located in Washinglon D.C.
service for hair sculpting. With lhe
Andi Wilson's oUllook for the help of creative cornrows. twists,
Gallery is quite an optimistic one: extensions, [asla braids and imagina"I believe that various art forms can lion, the Braiders of the New World
develop into industries and become are making hairstyling into an art
vibrant economic forces throughout form.
lhe world. The Gallery came into
Prices at the Gallery run from
being because I believed that by $10 10 $500, and shoppers can p'!rnurturing lhe talents of black artists chase custom designed work wilhin
I could advance the objeclives of all this range, depending upon lhe item.
black people." In the future, Andi The Gallery of the New World is open
forsees a lime when his group of Tuesday through Saturday from
artists will collectively design pieces, 11 :30 am to 7:00 pm. Interesled art
do interior decorating and incorporate lovers may call (212) 997-1565 for
their combined talents into projecls more information, bUl the best
worthy of the new art world lhey are allernative is 10 drop in at the shop
helping to creale. During the firsl and browse around. It'll be more
three weeks in December, the Gallery than worth your while.
will sponsor an International African
Arts, Crafts and GiflS Exposition,
-Michael George
32 ROUTES. A Gtdde to Blal'k
Ellferiaillmelll
ART
MUSEUMS
-Uptown
Amaric.n Mu..um
of N.tur.1 HI.lory
19 SI. on C.P.W.
87301300
Mon-Sat 10 .m·4:45 pm
Wed 10 am·g pm
Sun & Hoi 11 arn-S pm.
exhibitions: Tnfu Mar
l8-Gold of EI Dorado:
The Heritage 01 Colombia. Thru Feb 10-The
Art 01 Baing Hulchol.
ThfU Nov 26- The Art 01
SclenlllIc Illustration.
Dec 3-Jan
27-Arnerican Gem
Slone Jewrery Collection.
Thru Jan 31-The
Dowery Embroidery of
Greece. Dec '.·Feb
26-South West WeavIng: The Spanish Tradition. The People
center-Sal·Sun 1·4:30
pm: The People Genter
leaches anthropology 10
.11 members 01 the f,ml·
ly through entertaining
weekend presentatIons.
Nov 24 & 25-Mlddla
Eastern Dance: Morocco. London Itlru Ihe
Eyes 01 LD. Frazler.Dec
8 & 9 Special Caribbean
Christmas Program:
Dancing and making 01
christmas ornamenls
Dec 2, 2 pm -Dlnlzulu
Dancers. Family 11Im
lesllvat: Nov 28, 7:30
pm-The Art 01 Being
Hulchol. Dec 27,28,29,
1:30 pm-Dec 27:
Animal Stories; Dec 28;
Nallve Americans; Dec
29; Fire Water and
U.F.O.'s Slide lactures;
Nov 27, 2 pm-Growing
Up In the AnImal World.
Highlights and Hlslory
Tours: Mon·Frl; 1:30,2 &
2:30 pm; Wed 6:30 pm;
Sal 10 am·Noon, 1:JO.3
pm; Sun & Hoi: 11 am·
Noon & 1:30-3 pm.
Tours 01 selected ell·
hlbltions are glv'tn by
traIned volunteers.
Haydan Planatarlum
- Thru Jan 8:"Star 01
Wonder". Mon·Frl 2 &
3:30 pm, Wed 7:30 pm,
Sat & Sun 1,2,3,. pm.
Thru Dec 16: "Space
Photo. 01 Earth, An
Aesthetic View."
laserlum Concerts:
"laserlum Starshlp".
Wed 8;'5 pm: Frl, Sat &
Sun 7:30 pm. "light
Years,": Frl & Sat, 9
and 10:30 pm, Sun 9
pm.
Cooper. Hewitt
Mu.aum
Fifth Av. at 91 51.
..........
Weekend seminara, Ell'
hlbltlon.: Dec: '·Feb
3-Furnlture Collection.
Thru Jan 6- smithsonian. Exhibit conlalns
models 01 ships, planes
traIns; tools; measuring
Instruments; lextlles
and costumes: political
memorabilia; palent
mOdels; weepons and
other Items of protec·
tlons; toy. and games;
lurnllure and household
ulenslls; coins and
postage stamps; paint·
Ings and prints: ex·
amples of ancient
crafts; Indian and
Alrlcan arWacts:
losslls: gems and
minerals.
O~anhalm Mu..um
FIllh Av al 89 51.
""'1:'00
lue 11 am-8 pm, Wed·
Sun 11 amoS pm.
Thru Dec 5-A Year
WIth Children: This ex·
hlblt draws on the
achieve ments-paln·
lings, sculpture, multi·
media projects, draw·
Ings, collage and
photography- 01 approxlmataly '00 children
lrom New York and New
Jersey. Jan 18 thlU Mar
9-Brllfsh Art Now: An
AmerIcan Perspective,
1980.
Matropolllan Mu.aum
0'''''
Fifth Av at 82 51.
TRi-55OO
Tue 10 am":'5 pm,
Wed·Sat 10 am":'5 pm,
Sun 11 am·.:'5 pm.
Thru Nov 25: Sculpture
from NOire Dame,
Parls-A Dramatic
Discovery. Dec 11 thru
Summer 1980: FashIons
01 the Hapsburg Era:
Austrla·Hungary. Thru
Jan 6: Japanese
ceramIcs Irom the
Tanakamaru Collection.
Thru Jan 20: Eliot
Porter: Intimate Land·
scapes. Thru Jan 27;
17th century Dutch and
Flemish drawings trom
the Robert Lehman Col·
lecllon. Thru JanSamuel Colt Presents:
Three Pisiois for Czar
NicholaS. Thru Feb 3:
Clyllord Still: Paintings.
Thru Feb 10-Greek Art
of the Aegean Islands.
Dec: 5 thru Jan: Annual
Baroque Christmas Tree
and Creche DIsplay.
El Mu..o dal Barrio
1230 Filth Av.
831·7272
Tue·Frl 10;30 am·.:3O
pm, Sat·Sun 11 am·'
pm.Exhlbltlons: Thru
Dec: 31, MuJeres
Dlez-pt1otography
st10w by Hispanic
women.
LISTINGS
Muaaum of tha
Amaflcan Indian
BrOadway al 155 SI.
283-2420
Mu.aum of tha City
of Naw Yor1l;
FIlth Av. at 10' 51.
534·1672
Tue·Sat 10 am·5 pm.
Thru Jan 13-Exhlbl·
lion: Hundreds of Dolls.
N.llonal BI.ck
American HI.torlcal
Mu••um
10 W. 139 St.
222·6260
Tue·Sun 11 am·5 pm.
ExhlbJls and artllacts of
blacks In American
hlslOry.
Naw Yort
HI.lorical Soclaty
77 51. on C.P.W.
873-3.00
Tue·Frl 11 am·5 pm, Sat
10 am·5 pm, Sun 1·5 pm.
Thru Dec: 31: Artists and
Architects of the New
York SUbway. Thru Feb
29: AudUbOn and His
World-original water·
colors by John James
AudUbOn. Thru Dec: 20:
FJlm-The Ufe and
WOfk 01 John James
Audubon, The Colonial
Nalurallst.
Studio Museum
In Harlam
2033 Fifth Av
'27·5959
Wed 10 am·g pm, Tue·
Frl 1().6 pm, Sat-5un 1-6
pm. Ch.nglng contem·
porary black art eXhibl·
tlons.
Whltnay Mu.aum
of Amarlcan Art
75 51. on Madison Av
79'·7600
Tue·Frl 2·9 pm, Sat 11
am·S pm,Sun 12-8 pm.
Thru Nov 25: Tradlllon
and Modernism In
American Art 19O().1930.
Thru Dec 9-Edward
Hopper. Prints and IJ·
lusltallons. Thru Jan 6:
Masaml Teraok. ex·
hI bits: sIxteen water·
color Images Ihat are
Ironic mixture. 01 the
cullures of his native
Japan and adopted
America. Dec 18-Feb 2.;
Jan Matulka-.lxty
works by the
artlst(1916-1938). Dec:
16-Feb 2'; Preston
DIckinson 1889-1930.
Thru Jan 27-Andy
Warhol: Portraits of the
'70s. Thru Dec 6-New
American Flrmmal\ers
series: The Ghost In Ihe
Machine, by WlJllam
Childress. Thru Feb
10-Davld Smllh: Draw·
Ings.
·Mldtown
ART GALLERIES
African Amarican
In.tltuta
B33 U.N. Plaza at .7 St
Amarican Standard Bldg
'0 W.•Oth St
810·5201
"~5666
Mon·Frl 9 am·5 pm, Sat
11 am·5 pm. Thru Feb
2-Art For and By
Alrlcan Chlldren:
Games, toys, dolls, pup·
pets and waH hangings
made for kids. Nov
2&-Dec 15, 11 am" pm:
Special pre·hollday sale
of Alrlcan artifacts.
Afro Art. Centar
2191 Adam Clayton
Powell Blvd
Dally 9 am-8 pm
831-3922
Tha Altarnatlva
cantar lor
Intarnallonal Art.
28 E. Fourth St
473-6072
-Brooklyn
...,"".
Brooklyn Mu..um
188 Eastern Pkwy
6J8.5OOO
Wed·Sat 10 am·5 pm;
Sun Noon-5 pm. Claude
Ziemann Graphics. Thru
Dec: 30: American
Renaissance 1876-1917.
The Art S.lon
2'9 E. 62nd St
Thru Nov 29: SCulpture
by Robert KelJy
Banln Oallary
2366 Seventh Av
Bel. 138 & 139 Sis
Tue-Sat, 3·7 pm
23.·9723
Naw Mu.. Community
Mu..umol Brooklyn
1530 Bedford Av
77.·2900
Open dalty 2-8 pm.
Burga•• Collactlon
of IIna Art
530 Riverside Or{122 St
By appolnlment only.
535-9807
·Bronll
Bronll Mu ..um 01 Art.
851 Grand Concourse
Cordlar and Ekstrom
960 Madison Avl7a St
Tue-5at, 10 am·5:3O pm
YU8-8857
88"'000
Mon·Frl 9 am·5 pm. Sun
noon·.:3O pm.Nov 8-Jan
30: OevastallonfResur·
rectlon: The South
Bronx.
G.llary 82
National Urban League
500 E. 62nd St
61'-6500
.St.lan 1.I.nd
tn.tltuta of Art.
.nd SCI.nca.
75 Stuyvesanl PIIW.II 51
727·1135
Tue-Sat 10 am·5 pm,
Sun 2·5 pm. Thru Dec
JO: Exhibitions: Alrlcan
Trlbat Art and Geollrey
Clements: A
Photographic SafarI.
Gray Art G.llary .nd
Student Cantar
33 Washington PI
598-7603
lue·Th 10 am-6:30 pm,
Wed 10 .m-8:30 pm, Sat
1·5 pm.
I.l. Tlm~ o.nary
56 East 6611'1 St
838·1691
Tue·S.1 10 am·5:30 pm
Specializing In African
primitive art.
.N.... u County
N.... u County Cantar
lor the Flna Art.
Glen Cove Rd/Northern
Blvd, Glen Cove
(516)181·9333
Workshop 5erles:Dec:
5,12,19; Jan 2, 5-7:30
pm- "AnimatiOn lor
Everyone"-An In·
troducllon to single
Irame lIImmaklng
techniques. The em·
phasls of the course
will be on exploration
and experimentation by
student•. lec·
ture/Demonstratlon
Series: Nov 26 & Dec 3,
8 pm- 5011 SCulpture.
Dec 2, I pm-Pottery
Demonstration. Dec 10,
8 pm-Calligraphy, Its
Roots and Styles. Dec
17,8 pm-Paper Plants
Poetry Reading: Dec 7,
8 pm.
ROUTES, A Guidl'
J.p.n Hou.a G.llary
1210 LexIngton Av
288-22'1
Dec 2O-Feb 20: Japan:
Photographs 185'·1905
Rand.1I O.l1erla.
823 Madison Av/69 St
626-2097
Dec: &8 Freedomways
Magazine Art exhibition.
Featuring the works 01
Romare Bearden, Jacob
Lawrence, Richard
I-tJ1, FIdwd Yarde, 8lzilI::leIh
catlett, Toyce Anderson &
Sharon Sulton.
Th 5·8 pm, Frl, Sat
9:JO.5:30 pm
Vogua Art Gallary
'41 E.62St
_7
/(I
Bllick EII/Nwillml'nr
33
KIDS
.
LEARNING THROUGH GAMES
.
S-§tJ
D
o you ever have the feeling
that your family is becoming
an endangered species? Even on the
rare nights when everyone is home,
most often the family members are
dispersed throughout the house,
all enjoying their own separate forms
of entertainment. This situation is
further aggravated by the parents'
lack of time, television and the vast
array of toys that act as surrogate
companions for the kids. A good
way to bridge this new generation gap
is to take advantage of the large
number of games on today's market
geared to stimulate both adults
and children.
Of course, games should be fun,
but entertainment value should not
be the only criteria when making a
purchase. Parents should look for
those items that will reinforce what
the children learn in school or that
will arouse their imagination and
broaden their capabilities. These
twin goals-entertainment and
education-are easily attainable
34 ROUTES, A Guide
10
Black £menainmem
1
through the use of the many electronic
games now flooding the market.
One of the leading sellers in the
field of computerized games is
Milton Bradley's Simon. This brightly
colored, battery-operated computer
disc generates randon. sIgnals of
sounds and lights which players have
to reproduce. An updated version of
"Simon Says," this game can help
to improve a child's sequential memory,
an essential preliminary step to
proper reading skills. Simon can be
played by only one person, but its
fun is maximized when two or more
people participate. The game is
programmable to suit the comprehension levels of players from age
seven years old to adult.
Parker Brothers'S latest success is
Stop Thief, an electronic board
game in which all the players are
detectives. To aid you in catching the
thief, the scanner emits sound clues
in the form of creaking doors, footsteps and gunshots. The first player
to collect $2500 in bounty wins.
In the course of discovering the
culprit, youngsters sharpen their
deductive reasoning and inference
building skills.
In a similar vein, there is Electronic
Detective, Ideal Toy Co.'s entry
into the crime-solving field. The
brain of the operation is the computer;
only it can tell you who(bnit. Suspects
are briefly profiled on game cards.
When you have gathered your clues
and made your deductions, you accuse,
but beware a wrong conclusion can
find you out of the game! Because
you can program the level of difficulty, it doesn't matter whether
you are a beginner sleuth or master
detective.
An intriguing search and destroy
game is Code Name: Sector, a sub·
marine chase game from Parker
Bros. This game of pursuit contain'
a computer which manuevers an
invisible sub through the sections of a
nautical chart, thereby displaying
the information needed to track and
attack your opponent's sub. Failure
of your mission provokes immediate
retaliation from the computer.
Besides acquainting youngsters with
nautical terminology and chameading
.techniques, Sector fosters a high
level of abstract thinking and associational skills.
This is but a sampling of the many
electronic games you will choose
from at the stores. But before you
rush head-on into spending your
dollars, keep in mind these helpfol
hints furnished by the researchers
and developers at Parker Bros.
• Some toys offer more features
or umulti-games" about the
same price' as the single toy.
Check out and compare each
company's offering.
• The information on the box
should be clear and give a concise description of how the
game is played, the age range
and the number of players
• Don't buy a game just because
it is novel. Its theme should interest you or the person who
will be receiving it.
• A good game should be simple
enough to provide fun from the
onset but not so easy that it will
become boring after a few hours
or weeks.
• If the game runs on balleries,
alkaline batteries are the
manufacturer's suggested type.
• Check out the way the game or
toy is put together; it must be
sturdy enough to withstand frequent handling.
• Read the manufacturer's warranty, and make sure the game is
guaranteed to last for a
reasonable amount of time.
• Remember to turn your games
off when not in use.
If all this talk of electronics seems
a bit overwhelming and you find
yourself longing for games like those
we played as children-games that
didn't talk, light up, oUllhink you
or carry a tune-, don't despair.
Many of these games are still around,
and some have been updated to offer
you even greater challenges. For
example, a great addition to your
child's room is Avalon's 50 GamesGiant Game Cloth, a collection of
some of our all-time .favorites.
Spread out this huge cloth on your
child's floor, and the two of you can
challenge each other in Parcheesi,
backgammon, tic-tac-toe or checkers.
Children under seven have not been
neglected by the toy manufacturers.
Parents can nurture the younger
set's development by joining them
in a game of Candyland, Scrabble
Board Alphabet, Winnie the Pooh
or Missing Match-Ups. Remember,
in gameland everyone gets to playl III
-Leona Hipp
Catering
For All Occasions
Creole, French and
InTernational Cuisine
860-3973
Ask for Leonie
ROUTES. A Guide to Black £lIlerraiflml'lIl 35
KIDS
LEARNINO CENTERS
Amette.n Mu••um 01 N.tur.1 HI.lory
Cenlral Park Westl79th 51
879·1300
The Discovery Aoom: Sal-Sun 12
Noon-4:30 pm-Thru the use of
touchable specimens and Im.glnallve
"Discovery Boxes," trlls area is especl,l·
Iy designed for young people to enjoy a
personal learning experience In natural
scIence and anthropology. Youngsters
mUll be 5 years old and accompanied
by an .dull. Stat1ing .t 11:45 am, free
lickell are distributed on a llrsl-come,
IIrst-urved buls at the IIrsl floor Informallcn desk. Alexander M. White
Natural Science Center; TUB-Frl, 2-4:30
pm, Sat-Sun 1-4:30 pm-This cenler Introduces young people 10 lhe plants.
animals and rocks of New York ClIy. A
staff member Is always present to assist
and explain. see An listing for addl·
tlonal acllvltles.
Chlld~'a Art Caml.,.1
62 Hamilton Terrace, Man
234-<093
Free: This program lor children Includes
photography, sewing, lIImmaklng, ligure
drawing, painting, reading and career
training (4·18 years and up).
Cooper.Hawltl Muaeum
2 E. 91st 5t
.........
Harlam SChool 01 tha Arta
409 W. 141 51, Man
926-4100
Instruction and performance In plano
(group and private), guitar, flute,
clarinet, cello, vioUn, viola, drama and
arl.
Th. laRocque Bay Danca Company
169 W. 133 51. Man
926-1000
Classes In modern and AIrican dance
and ballet exercises. (3 years to adult)
-Brooklyn
Badlord Siur-e.ant Raatoratlon Corp.
Centar for Art and Cultu,..
1360 Fullon St
630-3398
Brooldyn Botanic Gardan
1000 Washington Av
622.....33
Naw Mu.a
1530 B'Kllord Av, BrOOklyn
774-2900
Classes In ethnic drums, trumpets, trom·
bone, art, dance, drama and other subjects.
-Bronx
BfOfUl Zoo
Fordham Ad & Southern Blvd
220-5100
Dally 10 am·4:30 pm.Dec 26-Dec 30, 11
am'" pm-Yeti, the Abominable
Snowman and his pet, Apple Yak, host
the Zoo's Holiday Festival at Ihe World
of Birds. There will be special behind·
Ih.scenes lours 01 the WQfld 01 Birds.
36 ROUTES. A Guide to Black Ewertainmem
LISTINGS
Metropolitan Mu.aum of Art
Junior Mu..um
Filth Av/82nd 51
879-5500
Tuesday afternoon/evening programs for
families: Workshop 1-5:30-6:30 pm.
Ages: 5-12. Hour sessions In drawIng,
palntlng, sculpture or construction, bas·
ed on discussions, of original works of
art In the museums cotrecllons. Tickets
S1 (materials proYlded). Meet In the
Junior Museum library. Dec 4, lines
and Silhouettes: Dec 11, Paper Con·
slruc!lons; Dec 18, Pop·up Books;
Workshop 11-5:30-6:30 pm. Ages 8·15.
Discuss wol1ls of art In the museum's
galleries, then write "word.lmages,"
such as descriptions, catalogue entries,
and poems. Reservations accepled by
phone on the day 01 class. Tickets S1
(materials provided). Meet at lhe Infor·
mation desk In the Greal Hall: Dec 4.
MusIcal Instruments; Dec 11, French
Paintings; Gallery Tallc-7~ pm. Each
week a different Museum collection Is
discussed. Meet at the Inlormatlon desk
In the Great Hall. Dec 4 Vincent Van
Gogh; Dec 11, Musical Instruments; Dec
18, Angels and Winged Messengers.
Weekend actlvllles: LoolclnglSket·
ching-Sat, 11 am In the Junior
Museum LIbrary. Age: 5-15. A slide show
presentation and discussion 01 art and
artists In the museum's collections.
Then participants look lor, find and
sketch Irom the original works of art In
the museum's galleries. Art rells A
Story-Sat and Sun 1 & 2:30 pm In the
Junior Museum LIbrary. Age: 5-15. A
slide show presentation and discussion
of why and how artists have lUustrated
certain stories. Using a prepared map,
they find the slorles In original works 01
art In Ihe museum's gaUerles. Gallery
PrOflrams- Dec 1, The Story of DavId;
Dec 2, Engraved Gems; Dec 8, Heroes of
the Aegean; Dec 9, Romances: Dec 15,
Egyptian Tomb Models; Dec 18, Dec 18,
Baroque Christmas Tree and Creche;
Dec 19, Islamic Pallerns; Dec 20. Greek
SCulpture; Dec 21, 20th Century Art; Dec
22, Toys In Art: Dec 23, The Baroque
Christmas Tree and Creche; Dec 26,
Islamic Geometry; Dec 27, Costumes In
Art; Dec 28, Muslca' Instruments; Dec
29, Winter In Art; Dec 30
Feslivals.Studlo Worlcshops-Sat-Sun,
1:30 & 3 pm In the Junior Museum
Studio. Age: 5-12. Hour sessions In paIn·
tlng, sculpture, drawing, printmaking or
collage, based on discussions of
original works of art In the museum's
collections. nckets $1. Dec 1, Clay
Relief; Dec 2, Printmaking and Rubblns;
Dec 8, Painted Wood Sculpture; Dec 9, A
Collage Book; Dec 15, Clay SCulpture;
Dec 16, Holiday Decorations; Dec 18,
Collage and Painting: Dec 19, Paper
SCulpture: Dec 20 Holiday SCulpture;
Dec 21, Holiday Collage:Dec 22,
Toymaklng; Dec 23, Holidays In Paint;
Dec 26, Printing Pallerns; Dec 27, Puppetmaklng: Dec 28, Sound Sculpture:
Dec 29, Painting Winter; Dec JO, Masks.
Film Showlngs-1:JO pm: Dec 18, A
Child's Christmas In Wales; Christmas
Cracker; The NaliYfty. Dec 19, Clayma.
tlon; Fable olttle Peacock; The Puffed·
up Dragon; Anansl the Spider; A
Playground lor Baboush. Dec 20, An·
clent Games; The FrancoIs Vase: II·
lustrallons from the Odyssey. Dec 21,
Calder's Circus; Red and Black: Merry
Go Round In the Jungle; A Chalry Tale;
Jackson Pollock. Dec 22, Clay, Tocatla
for Toy Trains; The Live Dolls of
Banraku: Vienna Boy's Choir. Dec 26, A
line Is a line; The Dragon'S Tears:
Islamic carpets; The Mystic Alhambra;
Tales Irom a Book of Kings. Dec 27, The
Adventures 01 Mr...; Chinese Shadow
Play: A Vlsllto the Armor Galleries; Ver·
sallies. Dec 28, Dance Chromatic:
Melody; Dance SQuared; Notes on a Tra·
Ingle; The eeals Go On; Instruments 01
the Orchestra; Stripes. Dec 29, Red and
Black; Henri Rousseau; Powers of Ten;
Paint.
SHOWS AND EXHIBITS
General MotCH'. Exhibit
GM Building
Filth Av/59th St
486-4518
Research, auto, appliance, engineering
and luture development exhibits.
J.C. Panney Comp.ny
1301 Av of the Americas
957"'840
Dalty 9:30 am & 2 pm. Free guided tours
01 corporate headquarters, vlslls to mer·
chandlse testing center, displays and
exhibits.
-,
The New York experience
McGraw·HIII Bldg(lower Plala)
Av of the Americas
Mon-Th,l1 am-7 pm; Frl & Sal, 11 am~
pm; Sun. Noon-8 pm. Sixteen screens,
45 projectors, 68 special effects present
the story 01 N. Y.C. past and present.
Shows hourly.
- 8rooklyn
ChUdren's Art Studio
826 Union St (Bet. 7 & 8 Avs)
Park Slope, Brooklyn
789-5759
Wed and Th, 3:30-5 pm: Art classes In
painting, sculpture and drawing (6-15
years).
New York Aquarium
W. 8th St and Surf Av
Coney Island, Brooklyn
Dally 10 am: Giant sharks, whales, ele::·
trlc eels, dolphins, penguins and many
other varieties of sea animals.
-Bronx
New York Botanical Gsrlitn
Bronx Park
185th St & Southern Blvd
220-8700
Dally 10 am to dusk. Offers garden
crafts program lor children.
-Cuean.
Queens Zoo & Chlld,..n'. Zoo
1111h St & 56th Av
Flushing Meadows Park
-Long Island
Ringling Bro., Circus
Nassau Coliseum
NoY 21·Dec 2
(518) 794·9100
and
"
~
Also available on tape
at these fine record
stores:
'.
572 W. 125 SI.
N.Y., N.Y.
Sikhulu Records
274 W. 125 SI.
N.Y., N.Y.
206 W. 125 SI.
N.Y., N.Y.
Rosalyn's Records
631 Lenox Ave.
N.Y.,N.Y.
Le Jazz Hot
275 W. 145 SI.
N.Y., N.Y.
BirdeJl's Records
540 Nostrand Ave.
Bklyn, N.Y.
Root's Record Center
703 Nostrand Ave.
Bklyn, N.Y.
Park Slope
180 Lincoln PI
Bklyn, N.Y.
Funk Faclory
1727 Boston Rd
Bronx, N. Y.
Burland Records
1640 Bruckner Rd
Bronx, N. Y.
Disco Media
Wil's Records
PEOPLE
Rlldolplt
H~r",a"
E",atlwr/ MatYdotl. JoIttl WillkJ'"
Ri~ra.
Representing the International Children
of the World, Rudolph Herman Emanuel
Macedon and John William Rivera led the
tribute to the International Year of the
Child. Other junior representatives of the
Continentals on hand were: Joyce Edwards from the Orient, Angela Cuveas
from Spain and Black America's very own
"stars" of the future Selena Black and
Maxie Colwell.
In recognition of the Continentals's
philanthropy, Congressman Charles
Rangel stated, "In this International Year
of the Child, when attention is focused on
the importance of our most precious
natural resource-our children-it is most
reassuring to know that the Continentals
did not wait until this year to provide
much needed services to youngsters aU
over the city."
Dr. Mum//' Phipps Clark, Terri Bwsh and Lou J(t10X
O
n September 30, 1979, the New
York Continentals held their 18th
Annual Bums Ball, entitled a "Gala Star
Trek to an !sland of Fantasy." at the
Astorian Manor, in Queens. The over 700
guests who attended this very special
black-lie affair traveled from various
parts of the East Coast-Washington,
D.C., SOUlh Jersey, Goldsboro, N.C.,
Atlama and Philadelphia. Some of the
very notable members of the black community on hand were: Mrs. Louis Armstrong, Len Ellore (former President of
the California chapter of the NAACP),
John Procope (publisher of the Amslerdam News) and Ruth Clark of Clark
Unlimited Personnel.
The evening began in the Deluxe Imperial Lounge and the Regency
Room,where hors d'oeuvres and cocktails
were served. After the pre-dinner get
together, guests were ushered into the
Grand Ballroom, where they were served
a full-course dinner. Guests also danced
to the disco-dancing sounds of Dick
Vance and His Orchestra. The highlight
of the evening was the Space Fashion
Show, which featured all 25 prominent
and civic minded members of the New
York chapter of the Continentals shimmering and shining in silver and white.
President Lois Knox led the promenade to
the beat of Mistress of Ceremonies
Evelyn Cunningham.
38 ROUTES, A Guide
Ie)
Black Emertaillmell1
ema MIlk rmd Lio CorfWil
CP. atld Mrs Jolt" Wltil~
In keeping with tradition, President
Lois Knox presented three organizations
with contributions to be used for the wellbeing of inner city youth: Northside
Center for Child Development, Minisink
Camp Service and the Livingston School's
Special Education Day School. President
Knox also presented Dr. Mamie Phipps
Clark, Executive Director of the Northside Center for Child Development, with a
sterling silver cup, in recognition of her 33
years of service to NCCD. Dr. Clark expressed her gratitude to the New York
Continentals for their continuing support
of Northside Center over the past 15
years.
CP. LolNrra Mays. Minisink Camp ~rvia and Hft~"
Wal/ur. HUIOFian, Cotlfi,,~nlal Soclely
FASHION
•~
!•
! ...._---40
ROUTES, A Guide 10 Black £lI1ertaillmem
ROLLER DISCO FASHIONS
L
evar Burton is doing it for
exercise. Jim Brown is doing
it to stay in shape. Ben Vereen and
Grace Jones are doing it because
they enjoy it. Just what are these
folks up to? Along with 28 million
other Americans. these celebrities
are rollerskating their way into the
19805.
Rapidly replacing tennis as
America's most fashionable sport,
rollerskating continues to draw a
diverse crowd of enthusiasts.
Students, shoppers. waiters,
weight-watchers, nine-to-fivers.
old-timers and disco dancers are
just some of the high rollers spotted around town these days. With
America having a current fit on
physical fitness, jogging on wheels
appears a fun way to exercise and
keep trim. Did you know that one
hour of skating will burn up 360
calories?
Autumn, the "in" season for
rollerskating, is upon us, and
fashion is right on its trail. No
longer do skaters have to clad
themselves in the old jeans and
shirt standby. Today's colorful,
comfortable and classy skating
fashions are made with freedom
of movement and the highly individualized taste of the roller
buff in mind. Back in the 1940s,
rollerskating dress code regulations were rigid. Shorts, jeans and
open-collared shirts were considered taboo for gentlemen, and
women had to wear skating
dresses or skirts in "good taste"
and at approved lengths.
Nowadays, almost anything goes,
but generally speaking, the
silhouette for both men and
women is the close to the body
look. Rollerwear's new streamlined style and imaginative look may
also appeal to gymnasts, dancers
and joggers.
~
~
...
~=-------_
Accessories range from waist style
bags, Flash Gordon caps and
visors that light up to avant-garde
can-can tutus and multi-hued
garters for above the skates. upper
arms and thighs. In color, fabric
and styling. rollerwear is full of
pizzazz. Outfits come in brilliant
blues, florescent yellows and
greens, shimmering reds, glittering
ing golds and slinky silvers. Satin,
feathers, chiffon, punk leopard
and Iycra spandex have all made
their way onto the roller scene.
Skaters can now roll on down in
in wraps with slits,
bodystockings, t-tards or plunging
neck and back tops which keep
one feeling breezY.
As cooler weather approaches,
heavier fabrics and layering
become the fashion for outdoor
skaters. Disco rollers will soon be
donning their dressy evening
separates.
Fashions are provided by John
Stavros 982 Second A v, Man and
Frederique (Girl in ribbons).
-Caprece Ann Jackson
ROUTES, A Guide 10 Black Ellterwinment
41
U
Pon arriving at Alfredo
Restaurant- The Original
of Rome, diners are left no choice
but to relinquish all their preconceived
notions of what an Italian restaurant
should look like. Gone are the darkened, candlelit room, the Old World
atmosphere, the red and white
checkered tablecloths, the dusty
paintings and the wandering violinplucking minstrels. Instead, they
encounter an interior that reflects
modern Italian trends in uncomplicated
design. The mirrored ceilings at
Alfredo's create an interplay of
lights which scintillate all around
the room. The soft-hued furniture
of white oak lends a relaxed aura
to the place, while contrasting with
Alfredo's chromeplated, streamlined
decor.
42
ROUTES, A Guide
10
Black Enurtainment
Under the veneer of this contemporary setting lies the core of Alfredo's, namely its menu. Of course,
the star of this menu is the Maestosissime Fettucine All' Alfredo,
prepared here exactly as it is in Rome,
under the direction of Mr. Alfred
DiLelio, whose father invented the
original recipe for this world-famous
dish.
Like all great classics, the real
Fettucine All'Alfredo is the essence
of simplicity: freshly-made fettucine,
a blend of the right kind of flour,
fresh eggs and water, expertly tossed
with a specially prepared butter and
choice Reggio Emilia Brand Parmesan
cheese. Although the exact quantities
of butter and cheese remain a family
secret, the DiLelio recipe has never
used cream or egg yolk to sauce this
fettucine specialty. The time, effort
and expense lavished upon this
classical creation have not gone to
waste, for the dish supremely gratifies
the palate. A well-known travel
writer is said to have descri bed the
Original Alfredo's Fettucine as "only
flour, eggs and water-even as the
world is only land, sunlight and sea."
LINCOLN
Motel
200 Beautiful Suites
"Disco
"Dining Room
"Sauna & Steambath
"Swimming Pool
"Waterbeds
"Free Parking
Time has not altered the truth of this
observation.
This standard of excellence is
reflected in most of the items on the
menu. Alfredo's main dishes are
divided into three categories: pastas
enlivened by a variety of delicious
sauces, appetizing Italian-style salads
and tasty veal, chicken and turkey
entrees.
Curiously absent from the bill of
fare are many of the old standards
of American-Italian restaurants,
such as lasagna, eggplant, manicotti,
ravioli and seafood main courses.
The offerings at Alfredo more closely
resemble those served in Italy. Rigatoni
AlIa Zozzona, large size maccheroni
with a rich, creamy Italian sausage
sauce, is a popular dish from the old
section of Rome. However, the sauce
is so tangy that it might be a bit too
pungent for most American palates.
In contrast, the Rigatoni All'Alfredo
Re provides a well-balanced blend
of Italian tomatoes, Chablis and
prosciuttio ham and cheese. The
combination of fresh whole clams,
chopped parsley and garlic-all
lightly sauteed in butter-lends a
surprising twist to an old dish,
Linguine AIle Vongole (linguine with
clam sauce).
Alfredo's forte seems to be in
pastas rather than in veal. While
the Cotoletta Di Vitello AlIa Parmi-
giana melted in the mouth, the
Scalloppine Alia Cacciatora and the
Saltimbocca Alla Romana were
both a bit chewy.
The colorful, plentiful salads,
featuring three kinds of lettuce
and slices of mozzarella cheese, were
a refreshing change from the run-ofthe-mill salads normally doled out
these days. Providing a perfect
complement to the meal is the extensive wine list, composed exclusively
of imported Italian vintages.
Patrons will find the atmosphere
at Alfredo convivial and noisy but
alive. Waiters bustle briskly about
amidst animately conversing diners.
Alfredo's beautifully designed bar
is a natural meeting place for those
seeking to unwind after a hard day's
work. The restaurant, which seats
160, is open seven days a week from
11:00 am to II :30 pm. Lunches
average about $7, while dinners
usually run to approximately $14
(without wine). Reservations are
recommended for dinner (call 212
371-3367). Alfredo Restaurant,
the highlight of the Citicorp Center's
Market, is located at 153 East 53rd
Street. •
430 Broad Street
Newark, New Jersey
(201) 643-8300
Meet A Rock Star . ..
TM Prudent'-llnlur.nce Company
proudly pr....,lI tt.el,
ROCK STAR
AARON R. MILLINER
lllTC
Or~... t.
· _·.crrAnQN_·l"..
· '.uoM llOUNl-..clll· 1'"
• • 1'UIIII KIlWCI WITlt-.mAl
__
Lit A.ron l.ke elr. or .n your In.ur.ne. need.
"H.'II ~ around whl" you n.u him."
.' U I o _
.- .-.-----_
.~_
.~-
MOAD STREET, "AM, H..L 07102 • •21·2010 Of .21·2015
-Jill Silberman
ROUTES, A Guide to Black Entertainment
43
DINING
MANHATTAN
81uI HawaII
135 Third A'll
Mon·Frl Supper Club enlef-
talnmenl. Sal Disco.
260-7690
Br....rl.
100 Ent 53rd 51
A I. carte
L: Ir. SJ.75
0: Ir. SA.75
AE,BA,CS,OC,MC
Open 24 hours.
751-4MO
Tht Callir
70 W. 95lh 51.
Columbus A"'e
.... '200
LISTINGS
Olnghl. Kh,n',
M,,.,ln', G,rdan
s.. Far.,ol
197 Columbus Avf69th 51
Oualnl and colorful.
L: It $2; 0: Ir $12.
AE,V,DC,MC accepted.
Reservation, suggested.
595-2138
2274 S'wayl82nd 51
AE,MC,V accepted.
the Aega.n
Ol'••on',
Public Hou••
400 Columbu. Avl79th 51
Fish, low! and beef
specialties. L: Ir $3.25;
0: Ir $5.95. AE Accepted.
874-8726
Hom 01 Plenty
91 Charles 5t
U...es up to lis name;
SOulhern load specialties.
Dinner only-sa.50-S15.5O.
AE,BA.MC
242.0636
,...,.78
MUlt\lm
Cal.
581.()5«)
l: S2,5().5.00;D:$5-S10.
72H509
s.cond Edition
251 W. 26th 51
o.noptIlII.
French and Conllnenl.1
cuisines. AE,OC,MC,V.
924·2944
0: $7.95-$12.95
580-8127
TM Only Child
226 W. 79th SI
Good Southern lood.
874-8577
Cht.hl~ ChM..
Pa~nthtl.'
319 W. 51s1 51.
English cuisIne,
delicious cheese soup
.nd sliced steak.A I. carte.
l: $6.75-$17.50
0: S9.75-$19.5O
765-0616
392 Columbus A...
Contlnenlal cuisine.
AE,MC,V.
787-6922
TM Cockeyed Clam,
1878 Third A....
94th SI.
Selfood lire, nautical
decor.
S4.0C»7.oo
Cash only
Reservations suggesled.
831·4121
HWI Yuan
SHc:hUln Inn
40 E. Broadway
Informal dIning.
Excellent beef Ind scallions
and moo goo gal pan
dishes.
966·553415535
Jack'. Nul
310 Third Av123 rd 51
Tradltlon.1 soul food.
SA·$7. MC,AE,V.
2eO-711O
Cotton Club
Th. Jamalc.n
Sunday Brunch 10 am·
.. pm. Open dally
All major credit cards
432 Sixth A...{10th St
J.malc.n food speclallies
and se.food dlshes_ Dinner
only. AE,DC,V,MC. Reservations suggested.
932-325
Darid'. Pot hll)'
98 ChrIstopher St.
Intimate atmosphere.
Delicious crepes; omelets;
h.1l pOund hamburgers;
numerous Ice cream
goodies. $2.95-$5.50. Cash
only. Open unll15 sm.
J.w.1
1279 First A.../89th St
Warm atmosphere; International menu. AE.DC,V,MC.
737-3735
243-9614
Jock'. Plac.
DoIKon'a R.,taur.nt
341 Columbus A...176th St
L: SJ; 0:$5. AE,V,MC
accepted. Aeserv8l10n, 'e·
Qulred.
362-0100
Elephant II Ca.tl.
68 Greenwich A...
Greal omelets and
QulChe;ellcepllonal dellSerts.
A la carte $2-6.
AE,BA,CS,DC accepted.
243-1.400
E1lher Eng
18 Pen 51
S3-$9. AE,BA,DC,CB,MC accepted.
873'()75O
F••th.... R.,taur.nt
24 Filth Avl9th 51
Sidewalk c.'e and gas
IIghtlng.AE,OC,8,MC.
873-0750
44 ROUTES 1 A Gllide 10 Black
Pol.III',
2315 S'w.y/84th SI
Exceltentltatl.n
cuisine. A la carte.
0:$4.50-$6.50.
AE,OC,V,MC_ Reserv.·
tlons suggested.
580-'200
666 W. 125th SI.
hOno<ed.
P•• ch T....
557 W.t25th 51
South.rn food at
reasonable prices. Cash
only. 864·9310
2350 Sevenlh Av
Open trom 3 pm darty.Con·
tlnent.1 end soul cuisines.
283-9288
La F.mlll.
2017 Fifth A...
Long eSlabUshed soul food
ealerle.
534-0090
L. rabllt.
85 W. 73rd St
IlaU.n cuIsine. All major
creellt cards accepted.
874-9120
R.n. Pujol
321 W. 51st SI
Soulh of France
cuisIne. Quiet and .1·
mospherlc. L:$8.50-$9.75
0:$13.00-St6.oo
AE,DC,V. Reservations
requIred.
246-3023
Ttla Red Baron
201 Columbus MI69th
American and Contlnenlal cuisines.
L:S3.50-S6.75;
0:$8.0C»10.oo.
AE,DC,V,MC.
799-8080
MaIn StrHt
75 Greenwich A...
Regional American cuisIne.
929-1579
E1IferWlflmelll
biscuits.
723-6908
lob.t.r T.nk
se.food Hou..
134-30 Northern BI... d
Cozy almosphere. Great
lobster and steak.
359·9220
Taco Villa
368 Columbus Av
Mellican cuisine.
l:S2.50-SJ.5O D:
S5.50-$6.95. AE,MC, V.
580-7m
T.K"""
BROOKLYN
2249 B'wayI81S! 5t
AE,OC,MC
787-3500
aag. " Tolln.r
374 Fulton SI
A Brooklyn landmark
opened In 1879. SUII
.ervlng ellcellent
AmerIcan dishes.
Famous for steak and
seafood.
AE,DC,MC,V.
875-5181
Top of the Plrk
C.P.WJ6Oth 5t
(AIOp the G & W
Building)
Spectacular view, contlnenlal servlc., Interna·
Iional menu. 0:
S12.95-$19.5O
AE,OC,CB,V,MC. Reser·
...atlons required.
333-3800
L, VIII' Cu. StOriCI
225 NInth St
Unusually atmospheric.
Fine lood, menu varies
dally.
Dinner only.
$10.95-$12.95. ReservaUons required.
768-5883
The N•• small,
P.r'dl,.
229A Sevenlh A...
Breaklnt, lunch, dinner
283-8725
Victor', Caf.
240 Columbus Avf71st
51
Cuban cuIsine. AE,DC.
8n·7988/~
Vincent'.
14 Pearl St
AE,DC,MC
B09-o367
Under TtM Sial,.
688 Columbus Avl9.tlh
Almospherlc, Intern.·
Iional menu; gre.1
seafood. L: $1.70-SS.95;
0:S.t.95-58.95.AE,CB,
DC,V,MC.
663·3103
R~
Roo.t.r
2354 Sevenlh A...
283-9252
McDonald'a
Dining Room
327 Stuyvesant A...
One 01 BrOOklyn's
oldest and best
southern lood eaterIes.
574-3728
Old M.ldco
115 Monlague St
Small but well prepared
to serve good .uthentlc
Mexican dishes.
624-977"
Su Su'. Yum Yum
60 Henry St/Cranberry
Ellcellent cuIsIne Irom
the provinces of ChIna.
522·4531
Rlkyu J.p.n•••
R••t.ur.nt
210 Columbu, A...
799-7&47
l:I
Los Pancl'tot: Cal.
• R••l.urant
71 W. 71s1 St
Spanish cuisine.
864·9378
Carmlcha.l's
117.()8 New York BlVd
Good home cooking,
especially salmon etC)quelle breakfasl and
S9.25-$2O. AE,CB,DC,MC
366 Columbus Ay
Casual, artsy & colorful.
..73 Columbus A'll
Sun brunch $4.95-$7.95
QUEENS
25 W. 56th 51
Exceptlona' seafood.
l.: $9.25 and up; 0:
Ru.hy'.
323 Columbus Av175lh
Warm, c.ndlellght
duplell dining or
sidewalk cale. 8: SUS;
l:SJ.oo; 0:$11.00. Cash
only. Open 24 hours on
L: on weekends only.
874-8391
f!llene
R..,• .,••, FT4n,,;.
I
ttl
~
~U
•
"Magnificent Food ••r.,fld in 0
Franch·country.jnn otmo.pher."
lUrtcn • Cocktail, • DInner. AfltrJhJatr.
I'rfOQt. Partl/ 1I00m . . . CIOlfi
321 W 51 51., JlYC fin: 24J,.]023 01
Sun.
t74..t071
mUTES' ROOTS
white America, eliciting the most illogical
The champ was born John Arthur
of all human frailties-racial prejudice.
Over balf a century after his reign, Jack
Johnson is still considered by many to be
the greatest heavyweight fighter of all
time. More significantly, Johnson will take
Johnson in Galveston, Texas on March
the generations of blacks who came after
ed that he not allow the neighborhood
).
bully to take advantage of him. In time,
Jack Johnson was forntidable in lbe ring. He was
_ .....i5ifl colorful. He was arrogant.
He was, as the recent WABC-TV
documentary H Jack Johnson ... Black
Power In The Ring" pointed out
" ...everything that white America said a
black man should not be. Therefore, he
had to be removed. tt America simply
could not endure lbe indignity of a black
man possessing the greatest honor in
spons, lbe heavyweight championship title, a title lbat has always symbolized
supreme strength and power.
Outside the United States, Johnson enjoyed considerable popularity throughout
his career. But the country he loved-the
land of his birth-persecuted him
relentlessly. until his defeat by Jess
Willard in 1915. The adulation and
euphoric atmosphere that generally surrounds accomplished athletes in their
native land were replaced by resentment,
hatred, jealousy and attacks on his integrity and ability as a boxer. Johnson's
arrest on "trumped up" charges of white
slavery and his subsequent conviction on
violations of lbe Mann Act (transporta-
bracing the technological in-
novations and modern notions ushered in
by the 20th century, a bigger-than-life
black man named Jack Johnson burst onto the scene and won the coveted
heavyweight championship of the world.
At the time, the emancipation of blacks
yet remained a raw, exposed nerve in the
body of the nation. Thus, Jack Johnson's
1908 victory over the reigning
heavyweight champion, Tommy Burns, a
white man, gnawed at the very heart of
skinny childhood
destroy the myth of white superiority for
him.
W
uLil Arthur"-his
physique belying lbe exceptional stature
and strength he would attain as an adult.
Jack's pugilistic career may have been
launched by his sister Lucy, who demand-
his place in history as one who helped to
hile America was eagerly em-
31, 1878. As a youngster, he was dubbed
tion of a woman across state lines for immoral purposes) were clear indications of
unwillingness of the American system
0- cept blacks in roles other than subservient ones.
Despite the controversy and ill will that
constantly dogged him, Jack Johnson did
not succumb to the bitterness that would
have eaten away at others. The crusades
against him never succeeded in destroying
his almost childlike faith in the existence
of fair-minded persons. In fact, Johnson
was grateful for the good fortune he enjoyed and the opportunities opened up to
him by a career that held out fame and
wealth with one hand and public scorn
with the other. In his autobiography "In
The Ring And Out," Jack Johnson
emerges as an individual endowed with a
keen philosophical awareness of the ups
and downs inherent in life.
Jack earned a reputation for his fighting
ability against other young toughs.
Assisted by an employer who coached
him and improved his knowledge of boxing, Jack, at 15 years of age, won a 16
round contest against John Lee, a populu
local boxer. Eventually, Johnson took on
the barnstormers(roving amateur boxers
WABe-TV documentary "Jack
Johnson_._Black Power In The Ring"
pointed out " .. _everything that white
America said a black man should not
be. Therefore, he had to be removed. "
America simply could not endure the
indignity of a black man possessing
the greatest honor in sports.
who went from town to town offering $25
to anyone who could stay in the ring with
them for a specified number of rounds).
This led to his becoming a barnstormer
himself, then an exhibition fighter and
finally a well-known pro considered a
contender for the heavyweight title.
By the close of 1906, Johnson had
engaged in 56 registered fights, of which
he lost only three, and had participated in
numerous unrecorded exhibition matches.
But the color of his skin constantly srood
as a barrier between Johnson and the title
match. For the next two years, Jack took
on every potential contender at home and
abroad, negotiating matches that would
give him sufficient prestige to make the ti-
tle fight with Tommy Burns inevitable.
At last, after lengthy negotiations and
many concessions on Johnson's part, the
contest was set for Sydney, Australia on
December 26, 1908. It was to be the first
world heavyweight championship fight
held on foreign soil, and for the first time
in ring history, a contestant's (Burns)
manager served as bolb the promoter of
the fight and the referee. So confident was
Johnson of his imminent victory that he
agreed to this unusual arrangement, wanting to leave no room for doubt in the
decision. The disparate financial setROUTES, A Guide to Black Entertainment
45
t1ements were of minimal importance to
Johnson, who aspired to a more valuable
prize-the title. Although the title fight
was scheduled for 20 rounds, the local
police force halted the bout during the
14th round, in order to avoid what would
have been total physical domination of a
black man over a white man. However. by
this time Johnson had amply
demonstrated his mastery and control.
Burns fell from his throne, and a new
champion was declared.
Describing the period immediately
following his triumph over Burns,
Johnson wrote in his autobiography:
"The hunt for a 'white hope' began. not
only with great earnestness and intenseness. but with ill-concealed bitterness!' From that juncture until his
defeat by Willard, Johnson was the target
of criticism and determined plots to
unseat him in one way or another. not excluding threats and attempts on his life.
But whenever Jack defeated yet another
"white hope, more fuel was added to
this raging rITe.
After Jack Johnson's seemingly effonless victory over Stanley Ketchel,
another "white hope," in October 1909,
many sportswriters, looking for any excuse to deny the champ his title, decided
that Jack Johnson could not really be considered the champion unless he fought
Jim Jeffries, a former titleholder who had
retired undefeated. During the six years
Jeffries was out of the ring, he had settled
down to a comfortable life as a gentleman
farmer. After all other urgings had failed,
Jeffries was coaxed out of retirement once
he was convinced of his responsibility to
return the title to its rightful owners-the
white race.
What was heralded as "The Battle of
the Century" was in reality the battle to
decide racial superiority. Jeffries was
quoted in the Daily Telegraph as saying:
HI fully realize what depends upon me
and won't disappoint the public. That
portion of the white race which is looking
to me to defend its athletic supremacy
may feel assured that I am fit to do my
best. I'll win as quickly as I can." On July
14, 1910, in Reno, Nevada, after IS
rounds in oppressive 110 degree heat,
Johnson knocked down a bloodyfaced
Jeffries and another "white hope."
Following the match, Johnson went on
a short trip to London to make stage appearances and fight exhibition bouts.
Wherever he appeared the crowds were
large and enthusiastic. When Jack returned to the United States, he opened the
club Cabaret de Champion in Chicago,
which became another source of trouble
for the titleholder. Though it was a
showcase for fine art, including Rembrandts, curios and exquisite antique furII
46 ROUTES, A Guide to Black Emertai"ment
niture, the club was soon under fue for
what was considered I' immoral
purposes": a club catering to both white
and black patrons. After his second wife,
Etta Duryea of French-American descent,
committed suicide, Johnson closed the
club. But the hounds were still on Jack's
heels. Soon after, Jack was charged with
vioJations of the Mann Act for his involvement with Belle Schreiber, the
fighter's former paramour, at a time when
the law was not in effect. After his conviction, he ned to Europe, with no hope of
receiving justice in the United States.
Although he became an expatriate,
Johnson was prompted by his love of
country to act as a secret agent for the
American military attache in Spain, by
providing information for resisting German submarine warfare and safeguarding
shipping. While in Europe, Jack Johnson
held onto his title by easily defeating Battling Jim Johnson (December 19, 1913)
and Frank Moran (June 27, 1914). But as
World War I grew more intense, he left
the continent for a title bout with Jess
Willard in Havana, Cuba. According to
Johnson, he had been led to believe he
could return to the United States to leniency on the part of federal officials and
to resume a prosperous life if he would
appease the public by allowing Willard to
win.
eagerly... ,"wbich partially explains his
passion for and fluency in music, art,
science aDd history and his extensive
travels. After making his acquaintance,
worldwide leaders in industry, politics,
literature and the arts discerned "The
Galveston Giant" to be a magnetic,
multifaceted human being. Conversant in
English, Spanish and French, Jack read
the great works of literature in these
languages. Johnson was a truly unique in·
dividual whose skills were not limited to
the ring. At various times in his life, he
was a bullfighter, wrestler, advertising executive, actor, secret agent, promoter,
musician, lecturer, shipping clerk, auto
racer and author.
J ohoson once said that his successes
gave him great thrills and satisfaction but
his failures made him wiser. Whatever enjoyment life had to offer, Jack received
wholeheartedly. As the closing lines of his
autobiography indicate, none of the trials
Jack Johnson endured managed to rob
him of that eternal ballast of the human
soul-dignity: "As I look back upon the
life I have lived and compare it with the
lives of my contemporaries, I feel that
mine has been a full life and above all a
human life." 00.
-Elna Seabrooks
The battle between Jack Johnson and
Jess Willard took place on April S, 1915.
The champion, now 38 years old, was
knocked down after fighting 26 rounds in
100 degree plus heat. But rare footage of
the match depicts Johnson shielding his
eyes from the sun when he was supposedly
T.K.O. Whether he was fairly defeated by
Willard as some authorities assert or
whether he "laid down," thus seizing the
opportunity to settle many issues at once,
cannot be determined now. The question
is past the point of definitive scrutiny. But
for seven years Jack Johnson was the
heavy weight champion of the world.
That is indisputable.
When Jack Johnson returned to the
United States, he surrendered himself to
the authorities, who sent him to Leavenworth, where he served eight months of
the one year and a day sentence he receiv.
ed. Even in prison, Jack continued to box.
In 1925. he married for the fourth time
and seemed to find happiness in life until
he died at age 68 of internal injuries sustained in a car accident on June JO, 1946
The scrawny youngster who rose from
workiog the docks of Galveston to the
pinnacle of the boxing world never reached high school. Yet, Jack Johnson was a
man for many-if Dot all-seasons. He
'" ... lived rapidly, intensely and
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