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Show PARK RECORD SECTION B Thursday, June 23, 1988 Page B1 iLnmiEiLncBffl1 Writers work all week in Park City By RON CEORG Record staff writer So, you want to be a writer If your reasoning has led you to believe a writer is the life of the party, a glib, articulate socialite to whom lesser wits flock for sage inspiration, you need to spend a week at Writers at work. As the name implies, writing is work. It requires not only discipline, but the temperment to offer your innermost feelings to the whole world. The Writers at Work conference con-ference addresses both concerns, con-cerns, helping to train people in the rigors of writing as well as boost their confidance. For the first half of the week-long week-long conference, writers from novice to published authors participate par-ticipate in workshops taught by Writers at Work faculty. The workshops are mechanically oriented, aimed at increasing the writers' proficiency in the details of their craft. Most of the first part of the week focuses on process, how to set pen to paper. The second half of the week concentrates more on why you would want to set pen to paper. This is the part of the conference con-ference which can dispell myths about the glib and articulate literary hero. In a seminar format, for-mat, writers, editors, and publishers sit on panels to discuss more esoteric points on attitude and style. One of the toughest things for many writers is justification. "I am a writer" is a sentence which many closet writers fear; the general public expects a good deal of someone who utters such a statement (personally, I stick with, "I'm a reporter"). In one seminar, "I'm Okay, My Writing's Okay: Self-validation Self-validation for the Writer," three writers attempted to explain to the audience how they justify their careers. New York Times book reviewer Tom Mallon simplified the topic, saying, "I do this because it's what J do, that ought to be enough validation." The other two panelists seemed seem-ed to agree, but author Janet Burroway went on to explain why it is a writer can't expect external validation. "A commercial commer-cial society denies the necessity of personal relationships. You go to the store, and you exchange money for goods, but you don't need to relate to the clerk as a person," said Burroway. "Writing is a gift, but our society socie-ty does not treat it that way. A "gift" society embraces the personal per-sonal relationship." "Writing is a gift, but our society does not treat it that way. A 'gift' society embraces the personal relationship." relation-ship." Janet Burroway . Burroway went on to say the writer strives to create a rapport rap-port with the reader. "Writing is a gift a writer gives, and the validation is the community that is established with the reader." Mallon cautioned, however, not to rely too heavily on that relationship. rela-tionship. "It is as dangerous to try to gain self-respect from writing as it is to gain from someone so-meone loving you." Mallon also warned authors about seeking justification from reviewers. "The only acceptable review is one that says, 'this is the greatest book ever written.' If someone writes that a work is trite, remember that you are not trite. Untrite people write trite things. It is important not to fall into a mentor-student relationship relation-ship with those critiquing your work." To relieve the writers of all this heavy thinking, the conference con-ference also features readings by attending authors. This is one of the most enjoyable parts of the conference, as it gives people peo-ple a chance to hear some writings exactly as they were intended in-tended to be read. Author Richard Ford, who was recently featured in an in-depth in-depth article in the New York "It is as dangerous to try to gain self-respect self-respect from writing as it is to gain from someone so-meone loving you." Tom Mallon Times Magazine, closed the conference con-ference with a reading of a short story called "Great Falls," from his collection, "Rock Springs." Ford's voice broke in places as he read the story of a cuckolded man, told through the eyes of his teenage son. The audience au-dience was moved beyond what any private reading could have accomplished. For those who feel they've missed something which could benefit their lives, the Writers at Work conference is an annual event in Park City. . . . i i . - 1 X . V Is Janet Burroway I , , , I i 1 - i . . . y if I 2 Janet Burroway, Tom Mallon, and Ron Carlson giving their seminar, "I'm Okay, My Writing's Okay: Self-validati6n for the Writer." vs . J t. ' "i j ' . t J ... . - . . ... Richard Ford photos by Ron Georg 3 'i 50'sfest this week By RON GEORG Record staff writer If Elvis is the King of Rock and Roll, Chuck Berry is the Patron Saint of Rock and Roll. When Berry strolls across the stage at the Snow Park Lodge as part of the Fifties Festival June 25, Beethoven is bound to roll over. Sure, musicians like Elvis, Jerry Lee Lewis, and Chubby Checker were all around when Berry was helping create rock and roll, but it was Berry who created the tunes which would go on to become rock and roll anthems. Try to imagine, if you can, a rock band which can't play "Johnny B. Goode." The roots of rock and roll are generally attributed to a combination combina-tion of blues, gospel, and jazz, but that formula didn't catch without the spark that came from Chuck Berry. He was the one of the first to discover that the electric guitar was much more than just an amplified version of its accoustic counterpart. He found a way to plug his electric Les Paul guitar directly into the synapses of his audience, awakening a mental response marked by flail ing arms, stomping feet, and primal screams. Berry's influence is, in my humble opinion, the most widespread in rock history. Not only was his guitar playing play-ing revolutionary, his licks can still be heard through guitarists like Keith Richards and Bob Weir, Berry's songs have been interpreted by some big names. Just as a few examples, George Thorogood found "Maybelline" to be a hot enough rocker for his scorching scor-ching slide guitar; the Beatles honored him with their classic version ver-sion of "Roll Over, Beethoven; " and the Grateful Dead has found that "Promised Land" fits beautifully into in-to their bohemian repetoire. Chuck Berry will play at 5 p.m., after an opening performance by Salt Lake party band the Disgusting Brothers. Tickets are $14 in advance or $16 day of show. Tickets are available at Jan's, or at Smithtix outlets. Tickets will be available at Deer Valley starting at noon the day of show. 50's fest schedule of events 10 a.m.: The event will open with a car show at the SnowPark Lodge, featuring classic cars of the era. Noon: A memorabilia show will begin with items from the era. The show, at the SnowPark, will run until 8 p.m. 2 p.m.: The vintage autos will tour around Park City until 2:30, when festivities will shift to City Park. 2:30 p.m. : An acting company from Salt Lake City Ci-ty will perform a "Grease" revue, performing tunes from that famous Broadway musical. 3 p.m. : Gates will open for Chuck Berry. 5 p.m.: Chuck Berry will play, with The Disgusting Brothers opening. 9 p.m.: The Sock Hop at Steeps will begin. The hop will feature Duece DeSoto and the Dead Weights playing Fifties tunes, and that band's alter ego, The Vultures, playing Sixties music. The hop will also feature a dance contest. There will be a $5 cover charge for the sock hop. twirl i r- t -i "V"' M f MmyJ ! WS -s Tit tMm ' Chuck Berry Deuce Desoto and the Dead Weights ParkWest Concert Series Lynyrd Skynyrd is revived Art appreciates tremendously, and unfortunately, when the artist dies. In 1977, when their music was peaking in popularity, the band Lynyrd Skynyrd was in a plane crash. The crash claimed the lives of a few band members, but the loss of Ronnie Van Zandt would end the band's career. It was Van Zandt who wrote most of Skynyrd's tunes, classics such as "Gimme Three Steps," or "What's Your Name," and it was his voice which made them popular. Ronnie can't return, but Lynyrd Skynyrd has come back, and they'll be at ParkWest June 23, at 7 : 30. One would expect this concert to be like the Stones without Mick Jag-ger, Jag-ger, but Skynyrd has an ace in the hole. Van Zandt left a legacy his brother, Johnny Van Zandt. Not too long after Ronnie's death, Johnny started 38-Special, a country-rock band cut from the Skynyrd mold. 38-Special has never come up with classic compositions like Lynyrd Skynyrd, but Johnny's voice is unmistakably Van Zandt. In fact, according to one Skynyrd member, Ronnie himself used to say Johnny is the singer in the family. Also appearing this week : Dr. Bob will be at the Alamo June 24 and 25. The show will start at 9:30. Dr. Bob is a band of local musicians, musi-cians, featuring Jeff Howrey's clean guitar and Bets Conner's steady bass and deep voice. Dr. Bob plays classic rock tunes from the Fifties through present. |