“If a mother’s physical presence makes children happy, then the most contented people in the world should be 50-year-olds,” writes Marcia Loy in Today’s Chicago Woman (September). “Their mothers were home. That’s my generation and I don’t believe we’re particularly happy or well-adjusted. My daughter’s generation grew up with many working mothers and an absurdly high divorce rate. I believe she’s been consistently happier at each stage of her life than I was….Children may want their mothers at home but I don’t believe they need us there. They may think they’d be happier if we were there but I doubt it. Children are less fragile than we sometimes give them credit for.”
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“The cutting edge of television and well ahead of its time” is how WTTW president William McCarter describes Delmarie Cobb’s Chicago-produced, black-oriented TV newsmagazine Street Life, which may founder after two episodes for lack of funding. McCarter, according to Salim Muwakkil in In These Times (September 16-29), “has been one of Cobb’s biggest boosters. By contrast, her requests for support from those few blacks with media influence were met with stony silence.”
“One of my first impressions…of the Chicago video art community was the artists’ desire for control of the tools as well as the concepts of their medium,” writes Jeanine Mellinger in Video (September-October), published by the Center for New Television on North Dayton. “They tend to try to be competent at all aspects of installation from concept to technical realization. There is a certain desire to control the elements of the art work in order to truly ‘own’ the work. It may come from the work ethic of the farm communities that surround artists who work in the midwest or the visual stimulation of the urban, industrial environment. Or it may be derived from the rejection of the east coast and west coast art world’s attempt to influence and validate artists’ work and working conditions.”
