The Minneapolis Star from Minneapolis, Minnesota • Page 19

Guess Who rcwstrds funs V7 I mini linn im.i i am in i. niffii limit Ke viewed In BS NK.I.K Minneapolis Star Staff Writer I .11 tcr and Laskiw, a anyon of amplifiers, assorted photographers, stage-types and groupies and the half-dozen fir trees that lorrr. the backdrop for the Civic Center stage. Easily the most unbelievable is drummer Garry Peterson, who plays the longest and loudest drum sol I have ever heard while the rest of the group is absent from stage and unidentified persons keep carting in new objects for him to beat upon. It is pleasant to see and hear all this and feel it through my balcony seat as two smoky spotlight beams hold The Guess Who in the dark and countless tiny lights of cigarettes move up and down the aisles below me like so many fireflies.

What abruptly ends this idyllic bliss is "American Woman," the raucous ti- Accounts tell first-hand of Nazi Germany SECRET CONVERSATIONS WITH HITLER, edited by Edouard Calic (John Day; and THE 1 2-YEAR REICH: A SOCIAL HISTORY OF NAZI GERMANY, 1933-1945, by Richard Grunberger (Holt, Rinehart and Winston; $10): two books about Nazi Germany in the words of people who lived in it. Reviewed by WILLIAM GRAHAM COLE Chicago Sun-Time Service In May and June of 1931, almost two years before Adolf Hitler came to power, he granted two secret interviews to Richard Breiting, editor of the influential con- servative newspaper, Leipziger Neueste Nachrichten, with the understanding that these were to be strictly off the record. Breiting was a former court reporter and was able to take Hitler's words in shorthand. The future fuehrer was obviously eager to win this important editor to the cause of national socialism and used all of his considerable power of persuasion, speaking (for that time) with unu- sual candor. In 1934, someone at party headquarters remembered the interviews and demanded that Breiting turn over all of his notes.

He immediately hid all of his papers with his sister and claimed that he had destroyed them. His subsequent failure to become an ardent Nazi rendered him suspect, and in 1937 he was taken to lunch by Gestapo agents, after which he became violently ill and died. The two interviews remained hidden and have only recently come to light in "Secret Conversations with Hitler." Their authenticity is vouched for not only by members of the Breiting family but by experts familiar with the Hitler style. The documents reveal plans which Hitler proceeded to carry out during the ensuing years. Many of these were of course already available in "Mein Kampf," but Hitler had tended to soft-pedal some of the more extreme of them in the months when he was seeking to come to power through the national elections.

The Breiting interviews make it clear that this was purely a prudent tactic and that Hitler had not wavered in his ultimate goals in any respect. Interesting is Hitler's comments to Breiting on the Jewish question. He made no secret of his virulent anti-semitism or of his plans to curtail sharply the participation of Jews in all aspects of German life change is the addition to the group of hard-driving guitarists Kurt (Walrus) Winter and Greg Laskiw. Winter has been widely touted for his song-writing ability, joining the group's leader and lead singer Burton Cummings in that capacity, though Laskiw also wrote a brief piece performed Saturday night. Cummings is the hub of The Guess Who's on-stage antics, playing a staccato electric piano, strolling to the center mike for one of many solos, ambling back to the piano to pick up a harmonica, occasionally whipping out a flute to enrich the intricate harmonies of his partners.

Bassist Jim Kale is even more fun to watch as he does a bent-fegged, sailor's shuffle to-and-fro amid Big savings on all our in-ground and on-ground pools! Now! Aug. 30, 1971 Tllh MINNI SI AR Ij but he specifically foreswore any intentions to eliminate them altogether. It remains unclear to what extent this represented shrewd dissembling and to what extent the program of mass genocide emerged later. If the interviews with Breiting represent blueprints for the future, Richard Grunberger's book describes the structure that was actually built. Thoroughly documented from contemporary sources, it ranges widely over all aspects of life in the Third Reich, dealing with the party, the army, education, the family, the economy, agriculture, art, music and religion.

It would be easy for some to dismiss it as a polemic by a Jew born in Austria and forced, after the Anschluss, to emigrate to England, where he subsequently took a degree at King's College, Cambridge, and has achieved some note as a historian of Germany. A careful reading of its pages, however, quickly dispels any such facile judgment, for the author is abundantly fair to the National Socialists and gives full credit for their actual achievements, which were many. He does destroy the still widely held myth that the Jews were egregiously entrenched in the leadership of the Weimar Republic. In fact, the Jewish population of Germany was just under 1 percent and had been showing a steady decline for nearly half a century. Prior to World War no Jew could hold public office, including commissions in the army.

This last bar was let down during the First World War, and the Weimar Republic lowered all of them. As Grunberger writes, "While the general breakdown in morale (in 1919) rekindled widespread anti-semitism, there occurred a transfer of political power to new leaders, who favored total emancipation and who included a few though prominently placed Jews. Out of the tension between these two aspects of the Jewish situation was fabricated a 'Jewish problem' that was to lie like an incubus on the Weimar Republic from its very inception. "The solution, as advanced by its fabricators, involved the very destruction of Weimar. The republic was branded as Jewish, and its introduction of isolated Jews to posts in the government and the higher civil service lent credence to the charge that it was a 'Jewish Republic' by virtue of the fact that such an innovation constituted an unprecedented break with German tradition." Grunberger writes a thoroughly responsible and respectable history of the facts, producing a fascinating companion piece to George Orwell's fictional "1984." WILLIAM GRAHAM COLE, formerly executive director of the Chicago Council on Foreign Relations, is now academic vice-president of Chicago State University.

3 All sizes, all shapes. Installed or do-it-yourself pooh All available for immediate delivery. Can be installed in one week! Enjoy the rest of this summer and be ready for the next Avoid price raises because of higher steel costs Buy from our stock and save hundreds of dollars! Special prices offered for a limited time only No money down. Take up to 84 months to pay. SHORTENED ACT AT FAIR Carpenters stir grumbling Reviewed by JAMES BENIGER Minneapolis Star Staff Writer In the past few years, as ecology caused many Americans to look to the wilderness, and the draft caused many young men to look to Canada, it was not surprising that American youth culture finally "discovered" our neighbors to the north.

One of the nicest things it discovered there was a surprising number of good rock bands, including what has since come to be one of the world's best: The Guess Who. The Guess Who has been awarded six gold records in half as many years, played to packed houses on tours of England and northern Europe, and recently performed in the White House at the invitation of Patricia Nixon. And they might have been expected to put on a good show at the St. Paul Civic-Center Saturday night. Even with such high expectations, however, the standing-room crowd seemed pleasantly surprised by the hour and a half of consistently good music and continuous fun that The Guess Who managed to generate.

I cannot remember when I have more enjoyed being shut up in a hot and crowded room with a rock band. The Guess Who's five members, who hail from Winnipeg, are modest young men with none of the affectations of speech or dress that make public appearances of stars so often disappointing despite the quality of their music. Musically, The Guess Who seem to have outgrown at last the adolescent sound of their mid-60s "bubblegum" period, and their new mixture of soulful blues lyrics, soft rock harmony and heavy rock beat makes even such recent hits as "These Eyes" and "Hand -M e-Down World" sound much better in concert than on the records. One reason for the TO SHOP COME TO If 1 II feller" and "Sacre Bleu, I Fell in Love with You." Delia Reese, who came to the State Fair as a replacement for the ailing Lynn Anderson, proved a joy as she applied her big voice to a medley of snappy "voung fo'ks' songs." If 1 1 1 nil lilt' lie, Who's first golden album, which brings the audience to its feet. "American woman, get Cummings sings over and over in an acid, often earthy put-down of American women and, through them, much of American culture.

This might seem offensive, coming from Canadians, but the young crowd breaks into cheering for verses like the one about a woman who neglects her husband's dinner and puts on loads of make-up to attend a weekly bridge club. AUDITIONING The Carillon Choristers singing group is now holding auditions for boys and girls ages 10-16. Anyone interested should call the group's director, Mrs. Edith Norberg. and promises, supermarket FKHH i one coupon to a iterion 1M it ClHttf Cltf StHK Mf ft! (torn QxBtffimi With unfilled books because that other GEry JkYC WHERE YOU GET The Carpenters' most entertaining numbers, for those who didn't necessarily come to hear the old hits, were two Roaring Twenties-type razz-a-ma-t a and boogie-woogie songs, "Cinderella Rocke ft) ityf I The Minnesota State Fair launched its nine-day grandstand ro a of popular music Saturday, and many spectators left the 6 p.m.

opening show grumbling. They had come mostly to see singers Richard and Karen Carpenter, who had time to do only eight numbers, half their usual act, in a total show that ran with a long intermission less than two hours. Karen Carpenter's apology and invitation to catch the complete act at the 9 p.m. show did not placate many people, who would have had to pay another $2 to $4 to reenter the grandstand. The Carpenters were the last in a show which also included singers John Davidson and Delia Reese and the Harmonicats.

The Carpenters lost a lot of the audience's sympathy before they even appeared on stage. This was because the Carpenters' stage manager rudely stalked around stage during much of Miss Reese's act, moving microphones and rattling tambourines. Davidson, who served as a singing emcee, had earlier attempted to shame the interloper off stage by asking his name and then introducing him to the audience. The same stage manager also was responsible for the interminable intermissionduring which David son lamely asked the audience to talk among itself as he tested and retested, checked and rechecked the microphones. Despite these unfortunate incidents, most of the audience wanted to see and hear more of the Carpenters, a talented and engaging brother and sister team.

With Karen, 21, playing the drums and singing, and Richard, 24, accompanying her on an electric piano, the Carpenters co-hosts with Al Hirt of NBC Television's summer series, "Make Your Own Kind of Music" romped through several of their gold record songs, including "Rainy Days and Mondays," "We've Only Just Begun" and Bert Bachar-ach's "Close to You." Backed by. a versatile five-man rock group, these songs came off as heavier, and probably most appealing to younger listeners, than the recorded versions. On records, the Carpenters overdub as many 39 voices or 13 parts three times each because the group is, in Richard's words, "not much for two-part harmony." Richard, who studied classical piano at Yale and the University of Southern California, appeared nervous. He sang and said little, leaving the show to his sister Karen, a pretty girl with dark, shoulder-length hair. decided to discontinue giving those valuable Green Stamps? No need to worry this week when shopping for food.

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