New Pittsburgh Courier from Pittsburgh, Pennsylvania • Page 6

ClU'ltIKH NOYKMHKH I1TJ Judy Pace 66 By Gregory Mlau Courier Drama Music Critic YTtnow, it's been said Out, by way of certain forms of self hypnosis, and leaser known means of mental control, one can actually blot out of one's memory, severt or unpleasant ex periences one have lived through. It hat also been said that shortly before one's death, one's life passes In parade style, probably, right before one's yes. Honest, that's supposed to be true. At any rate, foremost on my list of things unpleasant and severe, that I wish to have blotted from my memory is the entire 90 minute span of the most recent Black oriented film thriller, "Slaughter's Big I have also requested my attorney to file a criminal class action suit, having "Slaughter's Big Rip Off" deleted from those scenes set to pass my field of vision, when I die. On the for real side of things, since I dont have a workable knowledge of self hypnosis, and I ain't really ready to cash in my chips, as yet, I'll just have another drink and hope that tomorrow will somehow be a better day.

But before the spirits sweep me away completely, just let it be said that prior to viewing this film, I contended that the Pam Crier starrer of past, was the worst Black oriented film I had seen this year. I respectfully apologize to Ms. Grier, and turn the other cheek to say that Slaughter's Big RipOff is 73's absolutely worst Black oriented film feature. The sequel to the earlier financially successful "Slaughter's Big Rip Off" is an exercise in inferior film making. It stands Acting KlodeflJotf The most exciting part about modeling was getting the Job.

It was a battle of the wits. But after that, boredom." Judy Pace, now using her wits, beauty and talent as an actress, stands tall and straight in a fashionable pantsuit. Her long red nails tangle themselves into her carefully combed hair. The jail cell she uses for her dressing room while filming MGM's 'The Slams," with Jim Brown snows signs of feminine disarray. She picks up a magazine from the floor and reclines gracefully on the sofa.

"I look at this magazine and remember why I'm not modeling. I worked for Johnson Publications when I was seventeen, but I told them I was twenty. I'd done two weeks of fittings and was getting ready for my first show when Mr. Johnson came backstage, took one look at me and fired me on the spot. He said I looked like a little girl dressed up in my mother's clothes! He sent me home.

I cried my eyes out hurt me to death, because I thought I looked like a sophisticated fox. "A year later he called me up and asked if I'd grown up any. I said yes. Clothes were specially designed for me and I worked a full year before realizing it was boring. It takes a certain amount of talent which I think any two year old child has.

You're flaunting something you had nothing to do with. Your parents genes were at work and so came a result. You put on clothes and play dress up. I did that when I was six years old. I like to use my mind a little more than that." Judy's modeling career brought her to the attention of producer William Castle, who immediately cast her as a diplomat's daughter in "The Candy Web." "I find acting much more interesting and fun because it encompasses everything.

For instance, I like the role of Iris in "The Slams." This is the first time I've played a character with more than one or two levels. She has a lot going for her, she's intelligent and glamorous. She knows how to maneuver and sustain in both worlds, Black and White." Judy plays Jim Brown's woman in the new action drama independent enough to have a career of her own, yet vulnerable enough to risk her life for the man she loves in a spectacular prison break. Directed by Jonathan Kaplan and produced by Gene Gorman, "The Slams" follows the exploits of a WASHINGTON, D.C. (NNPA) The National Newspaper Publishers Association (NNPA), through its executive director, Sherman Briscoe, asked the Corporation for Public Broadcasting last week for an annual allotment of $6,500,000 for Black Journal, Soul, black oriented colleges, civil rights, and service organizations.

The request represents 10 times the amount now being allotted to black programming by CPB out of its $65 million budget. Briscoe was among a half dozen speakers who testified before CPB in behalf of more black programming. Among the others were: Rev. Jesse Jackson, president of PUSH (People United to Save Humanity) Tony Brown, dean of Howard University's school of communications and producer of Black Journal; and James D. Williams, communications director of the National Urban League.

Reverend Jackson pressed for across the board improvement in the relationship of public broadcasting with the black community. This includes programming, employment and upgrading of blacks, and other facets of station operations. Dean Brown accused CPB of failing to meet its commitment to the black community and of being insensitive to its program needs. He cited how Black Journal has attempted to meet these needs, only to be penalized by CPB fund reductions. He vigorously demanded a restoration of cut funds and an expansion of bis budget.

Williams reviewed the longtime support of the Urban League or increased black programming on both public and commercial media. He urged the allocation of more funds for Black Journal, Soul, and other productions. Briscoe told CPB directors that NNPA member publishers think Tho Dcrtx Doff A HM as a landmark of idiocy and In a very real way, insults the intelligence of the mature Eladt film goer. In what amounts to continuous to minute array of bloodletting and blatant, tasteless sex, "Slaughter's Big Rip Off concern the further adventures of Jim Brown versus the syndicate. (For the record, this Is the third time Brown has been pitted against the forces of organized Mafloso type criminals, having dealt with them In "Black Gunn'' and Brown as the title character, has aroused the Ire of certain underworld figures in ttexko.

Ed McMahon (And now hemrrrt's Johnny) Is Duncan, the film's Mr. Big; be is surrounded by a motley crew of perhaps the most inefficient hit men and underworld enforcers to hit the screen In a long time. Slaughter, after dogged persecution from the mob, steals the syndicate account books containing a "Who's who" list of city officials on the take. What follows Is, more detennlned syndicate persecution, and Slaughter's ultimate bloody triumph. This of course Is handled In the most violent manner possible, with the camera languishing on the films aimless and excessive brutality.

Certainly, in an action film of this sort, violence Is an expected basic factor, however Slaughter's Big Rip Off, exercises no restraint or reason to the dispatching of Its characters. In a real sense, it would appear that Gordon Douglas, who, by the way has proven past to be a more skilled director, did octets the film as much as be Instructed the csst to "Go 'head, get out their and kill somebody." it is appalling that they would allot a mere a year to black programming out of its $65 million budget. Then he asked for $6,500,000 to be allocated to Black Journal, Soul, black oriented colleges to promote higher education for black students, and to S'vil rights organizations, id service groups to present programs wnicn clarify their own objectives and translate the black experience for the television audience. Last week for the first time in its history, the CPB directors opened their meeting to the public for its views and comments. About 40 organizations responded.

The less said about the acting performances, the better. Jim Brown, Is, who else, Jim Brown. Stoic, cool, ultimately stiff and successfully detached from the film's action, and performing as If he'd much rather be somewhere else. Gloria Hendry, the film's female lead, portrays the same giddy, girlish character she's been in her past two films And Let Die and "Black Ms. Hendry's characterizations bring to mind one of those simply awful, emptybeadad, shallow beach bunnies from the countless "beach party" movies of the IKO's Brock Peters, who Is perhaps one of the finest stage and screen actors in the country, Is totally wasted in his role as a police detective.

Perhaps the overall foolishness In "Slaughter's Big Rip Off" is typified in a scene in which Brown and lit. Hendry are forced to drive a vehicle over, what must surely be a 230 foot cliff, Into the awaiting sea. Brown emerges along the shoreline, like a god, from the sea, carrying the dead Ms. Hendry. As Brown surfaces, the camera, Instead of showing us a man who survived a JCOfoot fall, shows us a sparkling, lushly romantic photographed shoreline, on which Brown, the film's love theme warbling in his ear, emerges, the damp Phoenix.

Do I sound hard, love? I mean to be. "Slaughter's Big Rip Off" is a miserable little film, representtive of Black oriented film making at its lowest ebb. Tfce Reggfe Aofctej Ttb: prisoner and his flight against the penal system. The screenplay was written by Richard L. Adams.

Judy's new role as a mother hasn't altered the figure which led her into a modeling career. "My little girl's name is Shawn, but we call her Pie. She is three, months old and a genius already. She is an Aquarian." Judy is married to Don Mitchell, a regular on the "Ironside" series. NNPA Asks CPB For $6,500,000 For Journal, Other Shows 1 i Jazz By The Sea, As Played By The Trio Of Reggie Ashby By Jay D.

Lew (Special To The Courier) Dorado Beach, Puerto Rico "Cerromar," in Spanish, means "by the sea." And in the afternoon sun, deeply tanned bodies lay lanquidly on the beach fronting Ue long crescent shaped hotel; the incessant pounding of the surf soon lulls one into rhythmical thoughts of the flamenco. But thoughts to the rigors of the dance causes one to fade such frolicsome ideas. And one just lie there and drink in the But late in the evening it is different Inside the Cerromar Beach Hotel's Banner Bar, the syncopated sounds of the Reggie Ashby Trio compels one to get up from the bar or table and dance. Reggie is from New York, originally. And he is Black.

"I like to entertain, I enjoy pleasing my audience, and when they're happy, so am he says. Unlike some of his contemporaries, he doesn't play strictly for himself. Yet he does for when his listeners are pleased, that in itself is his reward. Reggie plays piano, and is the lead vocalist; Henry Newton plays bass, and Tommie Orta plays drums. They entertain each night except Tuesdays at Cerromar's late night watering hole.

And they keep the guests coming back for more. livl 1 III, mm yl Guyana Becoming Self Sufficient tco." 't. i "Hey, like, I'm glad to see some brothers down here," Reggie grinned. "I've been in this area for about the last ten years." Prior to his going to Puerto Rico, he and his trio played in and around New York. At one time, West 52nd Street was Music Row.

(And even now, on occasion his music is reminiscent of that fabulous era). The Onyx Club, The Three Deuces, and Kelly's Stable wre among the night spots featuring the great bands of the time. Reggie worked there with the greats: Billie Holiday, Billy Daniels, Charlie Parker. Many others. But of all this has evolved his distinctive style: an up to date treatment, at once smooth and exciting, of virtually every kind of music Latin, calypso, jazz, ballads, even rock.

His music is never dated, even though some songs might be from the Twenties. If you have a mind for some soulful sounds of a past jazz era and the money we heartily suggest you hop an Eastern Airlines flight to San Juan, Puerto Rico. Take highway 165 to Dorado Beach, hang a right turn to Cerromar Beach Hotel. Your enjoyment from romping on the beach and listening to Reggie Ashby and his trio, will last you a very long time. Dr Oliver M.

R. Harper, right. Minister of Health of the Republic of Guyana, told a media luncheon group recently in Washington at the National Press Club that his country alms to achieve a large measure of self sufficiency within the next few years. In addition to Increased food production. Guyana expects to have a textile mill soon.

Chatting with Minister Harper, right, are William Raspberry, left, Washington Post columnist; and Sherman Briscoe, executive director of the National Newspaper Publishers Association..