cause. He finally chooses capitalismnthrough marriage. Whethernthere’s a moral or existentialnlesson in it is hard to say: Mr.nKluger has used 700 pages tonmake it perfectly obscure. (JM)nOn the WarpathnAgainst the RightnRex Weyler: Blood of the hind:nthe Government and CorporatenWar Against the AmericannIndian Movement; EverestnHouse; New York.nIn the typical Westerns of then40’s and 30’s Indians appearednonly as depraved and viciousnsavages fit only to be shot by thennoble-hearted cowboys and settlersnwhose lives they threatened.nNot only did these stereotypesnslander an entire race andnits culture, but they alsonobscured the guilt of the whitenman, who often robbed andnslaughtered the Indian as henconquered the continent, atntirnes ignoring treaties evennbefore the ink was dry. Andnthough the worst offenses endednabout the turn of the century—nwhen the Indians apparentlynhad little left to give—prejudicenand injustice still occur, especiallynwhen reservation lands holdnenergy, water, or mineral resourcesnthat white men nownwant. Blood of the Landhy RexnWeyler is an attempt both to explodenthe degrading mythsnabout Indians and to expose thenpast and present rapacity ofnwhites. Weyler’s effort, however,nis simply not credible, fornin place of the red devil/GarynCooper stereotypes, Weyler substitutesnnoble savage/fiendishnwhite capitalist caricatures whichnlikewise belie reality.nActually, more than a red skinnis required for apotheosis innWeyler’s book: Indians who arennot in full support of the goalsnand methods of AIM (the AmericannIndian Movement), whichnseized Alcatraz in 1969 andnWounded Knee in 1973 in ordernto publicize their view of Indiannrights, and WARN (Women ofnAll Red Nations), the feministnsubsidiary, are somehow not fullyn”Indian” and indeed come innfor the kind of censure Weylernapplies to most whites. (Thenterm Weyler uses to designatenthose whose Indianhood standsnapproved is “traditional,” butnis difficult to see how “energeticnyoung Indians” attired innT-shirts, cowboy hats, andnmodish sunglasses are moren”traditional” than the older andnless militant tribal councils theynscorn.) In the melodramanWeyler constructs, the simonpuren”traditionals” battlenheroically against the sinisternand unending machinations ofnthe white man and his corruptninstitutions, especially hisn”multinational corporations”n(Weyler’s favorite Satan term).nWeyler does present facts suggestingnthat lust for corporatenprofits does sometimes cause rednsuffering. But in his facile andnsweeping condemnation of BignBusiness, the American andnCanadian governments, and thenMormon Church as conspiringnprofitmongers, he far outrunsnhis evidence. Indeed, Weylernslavishly follows AIM’s own interpretationsnof all eventsnwithout seriously investigatingntheir validity from any othernperspective. The reason is thatnideology, not scholarly honesty,nguides his research; he rewritesnthe most inhuman of Old Westncliches: “The only good capitalistnis a dead capitalist.” Predictably,nthose whites properlynaligned against capitalism and innfavor of AIM—the 60’s hippies,nthe World Council of Churches,nthe no-nukes crowd, rhe unilateralndisarmament movement,nthe environmentalist crusade—nsomehow escape Weyler’s malediction,nWeyler even interprets anHopi legend in such a way as tongive a supernatural sanction tonthis leftist agenda. Not surprisingly,none other white group—nthe communists—come off fairlynwell. AUende and the Sandinistasnare championed as the governorsnmost in harmony with Indiannwisdom, though Weylernclaims that “traditional” Indiansnoppose Soviet aggressionnand that their nature-philosophyntranscends all “Neo-European”nsystems of order. Hownsimple Indian “naturalness”ncould ever resist Soviet might orncontinue to sport about in thencapitalist-manufactured Landcruisersnappearing in the picturesnof AIM leaders, Weylerndoes not explain. (EC) DnDick ClarknMeets MarxnSimon Frith: Sound Effects:nYouth, Leisure, and the Politicsnof Rock ‘n’ Roll; Pantheon Books;nNew York.nOne of the better films of recentnyears about the rock-musicnbusiness (n.b.) is One-TricknPony (1980), which was made bynsongwriter-singer Paul Simon.nThe plot indicates the artisticngrowth and economic decline ofna songwriter-singer (played bynSimon) who had “made it” innthe 60’s with an antiwar balladnand who finds himself in then80’s playing his jazz-orientednmusic as the opening act for anpunk-rock band, played in thenfilm by the B-52’s (from doves tonstrategic bombers, who wouldnhave thought it possible!). Thenpoint of the film is captured in ansimple lyric: “Lord, I am a workingnman/And music is myntrade.” Few markets are so volatilenas that of rock, and thete is asnmuch demand for the tradenSimon’ s character wants to ply asnnnthere is for blacksmiths innDetroit; he is decidedly notnpunk, and he doesn’t want tonbecome a living fossil, a ftxtutenin a “Golden Oldies Show.”nRock now encompasses motenthan lecords, tapes, and concertntours; posters, T-shirts, postcards,nhats, stickers, mirrors,ndecals, etc. are part of thenbusiness; record companies arenwell aware of the fact that an actnthat makes it in the 80’s standsnto make a bundle for all concerned.nRolling Stone leads itsnreaders to believe that rock isnglamorous, the turf of strong individualsnwho make the musicnthat they want to play, destroynhotel rooms when the fancynstrikes them, party (an omnibusnterm) continuously, and generallynhave a good time. If Simon’snpicture is more accurate—and itnprobably is—then the rock industrynis an extremely grimynone, wherein many key participantsnhave more in commonnwith juvenile and aging prostitutesnthan with the objects ofnmagazine-cover photos: if thenclients want redheads, then upand-comingncarrot-tops willnhave an easy time of it; thosenlong in the tcx)th will immediatelynturn to Clairol.nRock, as Simon Frith pointsnout in his ill-subtitled examination,nis more than a musical subgenre;nit is an entire lifestyle fornboth active and passive participants.nRock has long beenntreated as a social and musicalnaberration. Given the fact it willnsoon be 20 years since ThenBeatles took the airwaves andncash registers of America bynstorm, it’s clear that such treatmentnis more than slightlynanachronistic. It’s commendablenthat Frith makes a sociologicalnexamination of the subject.nHe does many laudable things innhis turgid work, such as showingnthat those men and women whontop the charts are often more likenthe greedy industrialists of 19thcenturynnovels than the devil-nmmmmmm^^nJanuary 1983n