k AND CLASSICAL RECORDS OF THE YEAR-SEE PAGE 26Ur.ivursi ty ArchivesSpecial Coj.iecticnP.agenstu:tu LibraryTHEFOUNDATIONOFUNIVERSITYTHEATERBySCOTTLEE The following is an interview conductedwith the staff members of the UniversityTheatre. The purpose of this interview is toacquaint the reader with UT’s organizationalstructure, some of its participants, UT’sphilosophy of educational theatre, thebudget, the technical capacities, anddifficulties, and finally, the various kinds ofopportunities for student participationprovided by University Theatre.The interview was conducted over twodays time. As different members of the staffdrifted in and out of the interview, many ofthe questions had to be asked two or threetimes. This resulted in editing which wasdesigned to end the repetition of theresponses.Maroon:How is the University Theatreorganized?The staff of University Theater, from left, are Michael Call, Nicholas Rudall, BobNelson, and Judith Fink. Photo by Scott Lee Fink: It’s organized around a paid staff offour people. The director is Nicholas Rudall;the business manager is Bob Nelson; thetechnical director is Michael Gall, replacingCharles Jenkins, who is on leave in Paris. Myname is Judy Fink and I am the secretary.Maroon: There is a board too. What is thedifference between you and the board?Fink: The board is composed of studentswho wanted to be on it. The student board isresponsible for selecting the plays that aredone in the Reynold’s Club Theatre.Maroon: What is the board’s composition?Fink: At the beginning of the school yearwe have a sign up sheet. Whoever isinterested in being on the board signs up.Nelson: It’s also advertised.Fink: Generally, it is made up of peoplewho’ve been around theatre and want to havesome say in what goes on. You don’t have tobe a student. Community people who areinterested are welcome.Maroon: How is the UT viewed by its staffmembers?Nelson: We had a meeting last Mondayabout the way the theatre is operating. Ithink Nick believes in the principle that thedirector should chose what he wants to do.Otherwise the director is boxed in. And thefact that we don’t have a theatredepartment, that things aren’tcompartmentalized, makes this a director’schoice theatre.Fink: Which is all right.Nelson: No value judgements, no valuejudgements. I think it’s right too. But youshould ask him first of all. Nick’s philosophyon the theatre is that we are an academic onein the sense that we should be some sort ofextension or reflection of the generaleducational process. Therefore we aredevoted to the classics as most universitytheatres are. But that doesn’t mean that wedon’t do contemporary plays. It means thatwe look for the theare to do a series or cycleof classic plays.Maroon: What kind of education do youwant to provide through UT?Rudall: The word educate has terribleovertones when you are talking abouttheatre. But education simply meansexposure. People will only learn about thetheatre, not by being told, but by seeing. Ifthey see different genres of theatre, then,that is an educational process. It is not anacademic process—I’d like to make thatdistinction.Presenting different kinds of plays is noteducational in an academic sense. It iseducational in the sense that it was inMinneapolis. Not that we are comparingourselves to the Guthrie Theatre, but it was acity that had no theatre and didn’t have anaudience. Then it got a theatre, whichpresented an enormous number of plays andbuilt an audience that became intelligent andperceptive because of it’s exposure to allkinds of theatre. That simple exposureeducates.Maroon: What is the method for selecting amajor production? Does the board submitselections to the staff? Does the staff discussit with Mr. Rudall and then he makes thefinal decision? Or does he suggest plays, thestaff and board discuss it and supply himfeedback?Fink: Actually, for the major productionsthis year it was pretty much Mr. Rudall.However, he said he was open forsuggestions concerning next year.Nelson: It’s usually consensus. I think tnisyear it probably was less consensual than allthe rest of the years. It’s not, and I don’tthink that it ever should be, something that’sput to a vote. We’re just not organized in thatfashion. What happend is that Nick, asartistic director of the theatre, got a lot ofsuggestions—God knows I was againstEveryman, the Father, and Murder in theCathedral. But Everyman received thebiggest response from any show we’ve everdone.Rudall: The method depends on whichproductions we are talking about. The threemajor productions are almost entirely thedirector’s choice, with feedback whereverthat is possible. The Reynold’s Club productions are the other way around.People who wish to do a show submit aproposal to the board and it either getsapproved or disapproved. It’s not anundemocratic process. It’s just that it’s anartistic one. People want to choose the showthat they whnt to do.Recognizing that people would like tosuggest major productions for the future, weare open to that. But there’s always onedifficulty—you can’t suggest to a directorthat he should do a play for which he has nofeeling at all.Maroon: What are the most importantcriteria for a UT production?Rudall: It should be seen in a totalperspective. The audience, over a long periodof time, should have a chance to view adiverse kind of theatre spanning the historyof theatre. At the same time, in any givenseason the audience should be able to see acouple of plays that are connected to eachother. Then there are other criteria too. Wealso want them to be entertaining, good, andinstructive. They must provide people theirfirst to their last acquaintance with thediscipline of the theatre as technicians,directors, or actors.Maroon: Bob, you mentioned a cycle ofplays. Is this year’s religious?Nelson: I meant a cycle over a period ofyears. Originally, we tried to plan the lastthree seasons around a theme. So that in 70 -’71 it was ‘theatre of the absurd’, withRosencrantz and Guildenstern, Ubu Roi, theLesson and the Bald Soprano. Last year itwas called ‘Brecht and After’ with theemphasis on epic theatre. This year is a littlemore value but is generally religious orquasi-religious.There was no middle play betweenEveryman and Murder in the Cathedral thatanyone particulary wanted to do. Nick askedLibby Appel from the Goodman Theatre tobe the guest director. She wanteddesperately to do the Father. And we’re allvery interested in how she’s going to do itbecause it is such a male-chauvinist,extremely repressive, anti-feminist play.Maybe she’s going to turn the thing upsidedown.In any event, this year we don’t have aplaybill that says ‘religious theatre'.Rudall: Within the context of this year,Everyman and Murder are connected in asmuch as Elliot is conscientiously writing amorality play. We thought it would be good tosee the ‘original’, that is Everyman,contrasted to a 20th Century attempt toreligious verse drama.Maroon: What is the total budget for UT?Rudall: Technically, we have never had abudget for shows except when we havereceived a grant in any given year. That is,we have always been expected to break even.On occasion we had some generousanonymous grants that kept us functioning.But basically our budget covers salaries,operations, and maintenance of equipment.Even maintenance of equipment often comesout of what we have managed to bring in withshows.Nelson: It comes out to about $20,000 forshows, Reynold’s Club efforts, readings andso forth.Rudall: The fact is that we are notnecessarily subsidized. Try to break even byperforming for four nights—it’s tough. But itis possible. For instance, the Everymancrowds.Maroon: How much does each studentproduction get?Rudall: It varies from individual show toshow. On experimental weekends the lowestit’s ever been is $150. But then it has alsobeen as high as $1000 for an experimentalproduction.Maroon: Do you get any money fromCorso?Nelson: No.Maroon: About how much does one showrun?Nelson: A major production costsanywhere between three and five thousanddollars. Three thousand is almost aminimum now. That includes not just the(Con't. on page 18)"ill Baa*as her supportive platoon, Ms. AAoore hasbeen able to bring four talented dancecompanies to MandelHalt for the EighthAnnual Chicago Dance Festival.Mow ddbs a teacher in a research institutego about bringing modern dance to thesometimes unwilling ivy hail? As inresearch, it depends upon the additive effectof accidents, friendships, and knowledge andthe muIpJicative effects of the reactions ofcotfi^iuea,- n.Modern Dance Festivals in Chicago beganin 1965 When Bruce and Judy Sagan filled thestage of the Harder Theater (which they hadbought to house the Hyde Park Herald) withsix marvelous companies, the Joffrey, Aileyand Taylor froups included. That year theHarper Festival was supported by theSagans since their backer had backed out.The first festival was a critical success andthe growing dance audience showed that thefestival was worth continuing. Question —how to finance it in the following year.For. the next four years the HarperFestival was presentedJ in the HarperTheater and was partially funded by gatereceipts and partially by the Illinois ArtCouncil (which paid half of the talent costs)and the National Endowment for the Arts(NE.A) Residence Touring Program (whichhelped defray more talent cosfs and stagecrew costs; there were no theater costs sincethe Sagans donated the theater space).The full title of the NEA granting programhints at the result of that fund raising effortof the Sagans, Each company which receivesmoney from the grant must remain in thestate for two weeks with a minimum of one-half week in any single place.The result was a magnificently expandedprogram for local dance enthusiasts (andsome sleep between plane flights and longdrives for the dancers). In addition to theirdance performances across the state, eachcompany held master classes in dancetechniques and in supportive techniques Drawing by Dan Abrahamhandled by the Dean of Students office. Thatoffice was never set up for art patronage andshould never have been expected tosame. They had other, and for them rightly,more important things on their minds andrelegated much of the concert set-up detailsto other departments. All to the detriment ofthe quick settlement of problems that alwaysarise when you deal with an artist who Istrying to arrange things so that his or her arf.will have the best chance of looking its best.Perhaps it was because the problem was sowidespread that the arts were turned over tothe University of Chicago Extension. Therepeople were assigned to Oniv. presentationsof art and their response has been hear¬tening. Ms. Joan Cowan is the AssistantDean and worked closely with Ms. Moore onlegal details, housing arrangements, etc.(Con'# on perge 3)Well, if you've had a job or any supporthere and been living on a grant you knowalready the struggle Mmes. Moore andSagan had to survive to completearrangements fpr the Seventh AnnualChicago Dance Festival. Once settled (ivywalls still intact) the arrangement proved tobe ideal. Ms. Moore no longer needed to driveto the Civic Theater to transport the dancersto the Master Classes. Since they stayed inthe Quad, Club they were quite near theirrehersabperformance arda and dressingrooms and a short walk from Ida Noyes.So, only one problem remained to hamperthe success of the 1973 Eighth Annual etc.,the red tape.Dance wasn't the only art that had beentangled in tape of the bright red variety. Theproblem was that aft art concerts andexhibits, theater presentations, etc., wereLEA THERLANP...,1433 EAST HYDE PA&jf MYO. For just $98, intact.Yes. we have fine qualitydiamonds for $98 A nd onijpto $3,000 You II find them manyoneofourstores And you IIappreciate two rules everyHollands employeelivesby:rver high pressure. Wediamonds that you can afford Wehave a large selection m your pricecategory. AskaSjtnany questions asr?“!:!i^?."9j:.eyoua",heSo. if you have the love, and a littiebit of money, wehavetherightdiartmhdforyOu *and other originalWeas1 IoIIiiihI.h JrnvHcTSDowntown ] I I V U.ih.iU, Kcti>n t-n I’la/.i , ,m hirst V\oodlicUi'>. 'Food. Drink & People. 311 E 23-rd Street2 blocks W of McC'cr mick*-Pfe..Telephone 225-617.1Open 1 1 am to 9 pm closed SunCome to..MLMAmmmmmBelt BagsSaddle BagsWine BagsBack Packs Brief CasesHeg||.'||iar<metS''-Sheepskin JacketsLeather Jackets Say "I love youwith more lovethan money.Barbara Munger (left), Christine Blockman, and Alyson Hassenforder assemble an exhibit at the Museum of Modern Art.Lloyd Hamzol (on horse), director Stephen Prokopoff (in sneakers), and EricFishel (emerging head).illusion. Her past studies in this field havebeen both innovative and unique.Using a large, rectangular section ofgallery floor as a foundation, Ms. Zehr beganher work by pouring eighteen low mounds ofsand onto a grid. She used a broom to smoothover the mounds in order to achieve asymmetrically uniform design. During theweek the artists had to work on theircompositions, Ms. Zehr fastidiouslysprinkled a variety of textured sands overthese little hillocks to create a perfectlysmoothed surface. When this had beenaccomplished, an array of delicate, unfiredclay shapes were unpackaged andstrategically placed in the sand. Startingfrom the center of the arrangement, shespread sand between the carefully spacedmounds.The artist commented on a plaque hungbeside her work, “The Navajo, every fewyears, send their old and wise ones to theplace between two waters to read the sand.Believing that in the natural process ofgrowth and decay, the cycle of their ownlives can be compared.” The end product ofMs. Zehr’s endeavor is a simple landscape,limited by its distinctive arridity. Perhapsunprolific, but not altogether unfruitful, theflowing curveture of the sand base in relation to the representative life that has evolvedthere, becomes effective in transmitting thispicture.A number of members of museum staffhad an opportunity to participate in thecreation of Barbara Munger’s art work,“Five Skies.” This composition was almostcompletely improvisational. Ms. Mungerplanned to suspend horizontal planes ofthread from several walls in -a specificsection of the gallery. She then decided,however, to confine the work tg one area. Theartist placed tacks in five long rows, at oneinch intervals, first on one wall, and then onthe opposite. Her assistants were asked toselect a particular kind of sky, and then toconstruct it by stringing colored threadsfrom one row of tacks to the other, each on asingle plane. Every individual chose thecolors they felt would best reflect the mood oftheir sky.The themes range from a “Greyish WinterSky” to an “Early Morning Sky.” Originally,Ms. Munger had expected to develop thestudy employing five skies, but one wasdropped in the process. The work, as a whole,bears strong resemblance to the layers of skyobservable from an airplane window. The(Con't on page 5)(Con't from page 2)Mmes. Moore and Sagan, both very familiarwith the modern dance world, selected thefour companies for this season's Festival. Ofcourse, things happened and problems aroseand a few verbal contracts were broken, butwith much less worry over administrativematters, Ms. Moore was able to concentrateon finding interesting companies to fill theperformance slots. It looks like an excitingfestival.All is in readiness now and tickets are onsale. The first performance will be tonight at8:00 p.m. by the Bella Lewitzky DanceCompany. (All of her master classes wereduring the week. If you missed them she isalso giving a modern dance workshop onDec. 10-14. The cost is a modest $30 and moreinformation is available at 75313574.) Ticketsrange in price according to seating (cheaper by the series) and can be purchased from theUniversity Extension. Their number is 753-3139 or -2116.About the company: Bella Lewitzky wasthe outstanding dancer of the late LesterHorton's company. She danced under herteacher, found it good, and created the sameatmosphere in her company—they are alltrained by her. Ms. Lewitzky is a Masterdancer, in full control of herself and in fullharmony with her music. Her choreographyexhibits her keen sense of the endless tiesthat create our universe—man with himself,with his past, with his present, and with hisfellow man. She is interested in energy flowand has the creative power to engage heraudience's interest in it also. Even if youmust stand in line for tickets, you will findthis concert worth every minute.art art ARTTHE SPONTANEOUSGENERATIONBY AMY WEINSTEINSome weeks ago, the editorial board of theGrey City Journal sat in question over anartistic theme that might encompass theentire December 7 issue of the Maroon. Whenit was established that we would focus uponthe formulation of art behind the scenes, Iwas faced with a number of compelling areasof thought. Initially, I considered discussingthe generation of artistic ideas with aprominent Chicago artist. I also viewed thepossibility of talking with a local art criticabout his means of relating the analysis of anexhibit to a public audience. However, I wasmost interested in examining the process bywhich an art gallery presents an exhibition.Coincidentally, a golden opportunity aroseto do just that. During the course of atelephone conversation with Alene Valkanas,Public Relations Director for the Museum ofContemporary Art, I was informed thatworks of four sculptors from Los Angeleswould soon be on display. She was excited by the unusual nature of the exhibit. During theweek preceeding the opening, each artistwould create his composition in the gallery,itself. I was intrigued, since this show wasnot only to be displayed, but also engenderedat the museum.Each sculptor arrived at the gallery withsome notion of the manner in which he wouldapproach his study. Although the media inwhich the artists work are quite different,they can be characterized by an expresseddesire to utilize new materials andtechnique. Through their compositions, it isevident that all have a reverence for the fluidquality of the substances with which theywork. The manipulation of the assortedmedia into various sculptoral pieces, resultsin a pleasing conception of meticulouslyhandled form.Connie Zehr’s sand sculpture, “The PlaceBetween Two Waters,” reflects asophisticated interaction between sand andclay, shadow and line, and shape andJAMESWAYPETERSONMOVING & STORAGEr h 646-4411roll OR forU,n 646-1234 free estimatesCompletefrre-Planned Moving ServiceLocal • Long Distance • Packing • CratingImport-ExportContainerized StorageFormerly of Genera! Office\w/ 55th * Kills 12659 Se. DotyUrtitod 1/4<>n Linmm Chicago, III. 60633 STANLEY H. KAPLAN EDUCATIONAL CENTERCHICAGO 2050 W. Devon Ave. CHICAGOPreparatory courses for the following exams are nowbeing formed - Courses begin seven weeks prior to thetest - REGISTER EARLY.LSAT 2-9-74MCAT 5-4-742 yr. 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He isoptimistic. “I don’t think Chicago audiencescome to a play with a preconceived notionabout it. They don’t let friends or evenreviewers make up their minds for them.”Woodman was especially pleased with theresponses during the previews of Freedom ofthe City, his first production this season, andmake adjustments accordingly. He himselfsees as much area theatre as possible, andnot only the professional shows. He frequentsexperimental, community and universityproductions with the ulterior motive offamiliarizing himself with the Chicagoacting pool. “Chicago is one of the threemain areas of the country for actors, afterNew York and Los Angeles. Fourteen of thesixteen cast members of Freedom of the Citywere from the Chicago area, and two of thesewere from UC’s summer Court Theatre,making their professional debut at theGoodman.” He mentioned that he had heard500 area actors read for the parts and “thatwas only a sampling.”Asked about Chicago criticism, Woodmansays he reads it all— the dailies, communityand campus papers. And he likes what hereads. “Criticism here is on a very high level. It’s very helpful.” He cited especially(and very graciously) the university papersand some of the suburban ones, though hecouldn’t seem to help adding that he was“very surprised.’’As artistic director Woodman selected allthe plays to be produced at the Goodman thisseason, a schedule that shows great varietyranging from the musical comedy Guys andDolls, to a combined version ofShakespeare’s Henry IV plays, to a highlyventuresome Sam Shepard play, The Toothof Crime, which Mr. Woodman says heselected “not because of its raunchy naturebut because it is strong dramatic literaturefor now, full of myths for the U.S. today.” Headmitted that the Shepard play may offendsome of the Goodman’s staid, conservativepatrons, but added, “Season ticket holdersget to see one play free. If they walk out onthe Shepard they can call that one their freeone.”Of the six plays on the roster, Mr.Woodman is directing two himself. Hisproduction of Brian Friel’s Freedom of theCity opened this season very successfully. InApril he will direct the remodelled script ofHenry IV in which the first two acts areessentially Part i and the third act, Part II.He is trimming the original two plays to onethree and one half hour one, but he is notchanging the language. The result will be aplay about character rather than a pair ofhistories. “The characters of Falstaff, Haland Henry will be made consistent. PrinceHall will be seen emerging into Henry V.”The design scheme will also be unorthodox :the actors, “a rag-tag contingent”; the set,“a Salvation Army junk shop.’’“This unconventional approach,’’Woodman explained, “is designed to excite ayoung audience. The audience will have asensory feeling for the play.” Asked if he willbe doing Shakespeare differently in Chicagothan he would at the American ShakespearFestival in Conneticut where he has staged ahalf dozen other Shakespeare productions,Woodman speculated a while but ultimatelysaid no. He pointed out, however, that a resident professional company aims toachieve a certain unity of style whereas heespecially wants to present this play as apiece of drama apart from its context in theShakespeare canon. “This approach makes avirtue of the fact that this is a group cometogether for one play. It will have awonderfully rough-hewn vitality.”We asked Mr. Woodman to describe theprocess of staging a play, starting with thescript which, he says, must be read andreread innumerable times. With a play likeHenry IV a “huge amount of research is alsonecessary.” The director then visualizes howa production will look and the types of theprincipal actors in the main roles. Theproduction is designed, the set and lightingfixed and the character’s movements onstage blocked before the casting starts. TheGoodman has open auditions and hundreds ofactors must be heard. Actors who thedirector feels would be particularly good in acertain role, usually a leading one, areespecially invited to read.Rehearsals begin with getting the sheermechanical details settled and go on to thedevelopment of individual character. Mr.Woodman said that he used to pre-planminutely but that he finds that with goodactors you don’t have to.Their instincts oftenhelp considerably. Complete run-throughscome next and finally dress-rehearsals andthe crucial previews. Nor do plays stay thesame after opening night. With luck a playdevelops but sometimes it can deteriorate.With a sensitive director and cast and a goodaudience the play should become more richover the run.Mr. Woodman is young, intelligent, andabsorbed in his art. He reflects the vitalitythat he feels characterizes the theatre today.He is enthusiastically but carefully trying toreestablish the reputation of the GoodmanTheatre which has been languishing inartistic dowdiness. And, who knows, if theGoodman wakes up it may start a trend.William Woodman might be just what theGoodman, and Chicago professional theatrein general, very much needs.A tool without a hand is uselessA hand without a mind is uselessA mind without a purpose is uselessANTIOCH IS A TOOLANTIOCH/BALTIMORE--a college of alternatives in undergraduate and graduate education, a leader in new ways oflearning. The Baltimore Center of Antioch College appeals to those who want to affect changes in our society. Weoffer a wide range of programs:B.A. in: Human Services • Law, Community and Politics • Social Research and Strategies • Urban Media, includingvideo, photography and film • Creative Writing • Dance • Theatre • M.A. in Media StudiesAntioch/Baltimore's concurrent work/study program is designed to aid students in supporting themselves andcomplement course work or individual and group projects. Most of our classes are held at night and we award creditsfor documented life/work experience. Today's colleges and universities must respond to the needs of thecommunities that surround them. We are committed to making our programs responsive. We attempt to providefinancial assistance to students with need. We are considering applicants for Winter and Spring 1974.ANTIOCH COLLEGE/BALTIMORE Kay Cooper, Office of Admissions 525 St. Paul StreetBaltimore, Maryland 21202 Telephone: 301-837-69654-Grey City Journal-Oecember 7,1973( Con't from page 3)viewer, can look out across the haze of amorning’s soft light, or into the vivid colorsof an August evening’s sunset, reflectingupon a lovely image.Lloyd Hamrol’s large, conical “Study for aMonument” is the product of many tedioushours spent sawing and measuring. Mr.Hamrol and his museum assistants used tenmasonite pattern plates to trace thethousand-odd pieces onto wood. Then theyset to work cutting the sections apart.The composition is comprised of 96 woodentiers, each made from thirteen parts of afourteen piece pie. By. leaving one part of thecircle out, each row has small openingsthrough which light may pass freely. Aftercutting and centering, gluing and nailing,fourteen hours a day for a week, the groupstill found it difficult to meet their deadline.When the cone was finally finished, theceiling of the floor below had to be supported' to save it from collapsing as a result of theform’s great weight.Mr. Hamrol’s study exists partly as a workof compromise. As the days and hoursprogressed, it became clear that what mayhave started as the search for a nearlyperfect cone, was subject to the bounds oftime. Functioning within these limitsrestricted the artist’s ability to continue inthat direction. The structure, however, is noless valid. The artist, himself, is able lo seehis past strivings recalled in thiscomposition. He describes it as “ameditation through repetition—layer uponlayer, building toward one idea.”The wood remnants from Lloyd Hamrol’screation helped bring about John White’s“Three-dimensional Group TreatmentNotation.” Mr. White, an artist who alsopractices psychotherapy, led the museumstaff in a session, through which heattempted to capture the atmosphere of thegroup. The ensuing work was somewhatbaffling to me. The artist used the woodscraps and sawdust to shape three piles of“thoughts.” To these, he attached little typedlabels bearing such expressions as“boredom,” “resistance,” and “self¬disclosure.” Dispersed among these can befound the names of members of the staff.Before making these piles, Mr. White hadarranged a series of black chairs in circularformations. These chairs now line two wallsof the room.He designed a large diagram graphicallydepicting the museum group’s interaction,for one wall of the gallery. On the oppositewall hand diagrams of past sessions he hasconducted elsewhere. The overall effect is acuriously unified combination of scientificdata and artistic observations concerninghuman thought and activity.Watching an unusual exhibit unfold is anexciting experience. The complex relationsbetween artists, assistants, materials, andtime confines are easily visible. I was able tosee these factors play upon one another,bringing about a fascinating and successfulshow.The exhibition opened at the‘Museum ofContemporary Art on November 16, and willrun until January 6. 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Withdrummer S'. en Jo Bladd simulatingwhiplash, basorsi Janny Klein two-steppingand shouting, and Main Man Peter Wolfcareening around the stage like a runawayegg-beater, the Geils Band exhibits akineticism missing from American rocksince the >/lan, James Brown, and Ike andTina o* middle sixties.This y ,vess on the boards, and thedemands the devoted audience it netted,seemed of jte to be adversely affecting theway the J. Geils Band defined themseivesand their music. Their repertoire grew tooslowly, t show remaining essentially• inchangeo i ircughout 1972. When Bloodshotreleased last spring, some of the newigs ("Struttin' With My Baby," "Don'try To Hide It," "Back To Get Ya") vergedparodies of the image which the band'sshow had created for them. Although afi ;olid album, the Peter Wolf-SethJust, o originals on Bloodshot weren'tgenerally up to the quality of those on theband's debut album of two years previous.Now +hat Ladies Invited is here, thoseproblems appear to be in the past. For thefirst time, the Wolf-Justman team wrote theentire album. While the songs are still tovarying -qrees derivative of early-to- middle-Sixties R & R, they are melodicallyless open-ended and more effectively em¬bellished than were the pair's pastcollaborations. Further, it's getting harderto point to specific influences in the songshere, indicating that Wolf and Justman aresettling into a more self-assured, personalsong writing style. The band and producerBill Szymczyk have finally made the studiowork for them: the songs here are arrangedfor maximum effectiveness on record,whereas the band's past arrangements haveusually been aimed at the stage; andSzymczyk's production is more balanced andintegrated than ever before. Capping theseadvances with their usual impeccableexecution, the J. Geils Band have far andaway their best album to date with LadiesInvited, and considering the excellence oftheir past work, that's going some."Did You No Wrong," with its Motown '65introduction and its odd but forceful changes,is the least bombastic and the most effectivealbum opener the band has done. Theamazing harpist Magic Dick sketches sometrebly horn section lines with his Hohnerchromatic, and, for the first time on record,Seth Justman joins Bladd on backing vocals,providing some nice, unobtrusive soulharmonizing. "Did You No Wrong" gets youstarted, so "Can't Go On" can get you down.Stylistically the most overtly contemporarything here, "I Can't Go On" is akin to thework of post-Sly soul bands like Mandrill;but funkier, less mechanical, and distinc¬tively J. Geils Band. The song's stutteringlines make great use of pauses to create arhythmic tension which finds release in thecrashing chorus. An artfully constructed,flawlessly executed cut."Lay Your Good Thing Down" is realcommon demoninator stuff: finger-poppingguitar and organ lines embedded in an ultra¬simple structure. This is the same kind ofthing the band was getting at with theirH love is blind,be careful when youbuy a diamond.Most people aren't sure what tolook for when they buy a diamond ring.But we have three guides to help youmake a wise choiceFirst, we sell only Vanity Fair nation¬ally advertised diamond rings. Before adiamond receives the Vanity Fair markinside its shank, it must meet the rigidspecifications for quality and appearanceset by Vanity Fair s graduate gemologists.Second, our diamond sales staffhave been specially trained by the Gem-ological Institute of America. 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Chicago Either waywon't be sorryI \ Unity ftiirDiamonds |155 East Washington St..Chicago, Illinois 60602 *Send me the proof; the free Vanity Fair catalog, w£ Name J£ Aoaress |{ C ty c*-*~ ^State Zip.' 2 carat Bridal trioYour cost $357.50US avg S715 00 ISchoolVANITY FAIR DIAMONDSCHICAGO • NEW YORK • ANTWERP6-Grey City Journal-December 7, 1973 earlier cover of Dyke and the Blazers' "SoSharp"—a recreation of the early Sixtiesdance record-but this cut moves along witheven more conviction than "So Sharp" did.Ditto for side two's "Diddyboppin'," whereinWolf recalls, "Went to Spain/ Had somekirsch lorraine."The ballads on Ladies Invited, "That'sWhy I'm Thinking of You" and "My BabyDon't Love Me," show what strides the GeilsBand has made toward thoroughly un¬derstanding the idiom in which they prac¬tice. Wolf pleasantly surprises by handlingthese songs tenderly; he can now sing"We're headed for trouble if I follow myheart" as convincingly as the morecharacteristic "Shut your mouth and turn offthe light." The newly constituted Bladd-Justman vocal chorus adds the ability to usecall-and-response devices, a dimensionconspicuously absent from the band'searlier ballads.With "The Lady Makes Demands," theGeils Band could have their first legitimatecrack at Number One; and I hope Atlantichas the sense to release it as a single. In thepast, the band's singles have been somaniacally energetic as to sound out of placeamong the more pedestrian sounds currentlydominating AM radio, which may in partexplain' the failure of those singles to riseabove positions of merely moderate success."The Lady Makes Demands" is lighter andmore tightly controlled: it would be at homeon AM. The dignified introduction washes thelistener up against a resilient, immediatelyaccessible tune which shows traces of DonCovay (a professor in Wolf's College ofMusical Knowledge). Wolf is definitelybecoming a genuinely versatile singer. Hisvocal here is almost beseeching, employing astrained falsetto to great advantage. Thearrangement is eminently logical, the song'smain body and it's bridge (with Bladd's nicetympani-like use of the floor tom) work ef¬fectively to enhance each other."Chimes" closed the album, and while itisn't the hard-charging tour de force whichthe band's past album finales have been, itworks better in closing this album than arocker would have. "Chimes" is a brooding,dramatic cut, carefully arranged andthoughtfully, if rather flatly, produced. Itseems to me the band's most serious attemptever at making "studio music," and it'sstrikingly successful. The instrumental partsare arranged to yield a rhythmic "echo"effect, as in Gamble and Huff's work withJoe Simon. Magic Dick's chilling LittleWaiter-style harp solo and J. Geils, ar¬ticulate, tense guitar statement nicelyenhance the cut's sombre dignity.Ladies Invited is a turning point for the J.Geils Band. This collection shows that theycan make the high quality studio musicwhich is ultimately necessary to preservetheir popularity, yet at the same timemaintain their status as a "good time" band.Take a tip from Peter Wolf: don't waste thissweet taste.RingoRingo StarrApple SWAL 3413Mind GamesJohn LennonApple SO 3415By STEVE YOUNGThese are complex days for those of us whoare seriously attempting to keep with con¬temporary music. One finds oneself con¬tinually perplexed by such challenges as thatof unraveling Peter Townsend's next conceptproduction, struggling with the temptation todismiss glitter-rock as merely anothermanifestation of our accelerating moraldegeneracy, or plotting out a campaign togarner a few ZZ section seats in some hugehockey rink when Dylan comes to town. ThusI find it a pleasant task to review a pair of oldfriends able to provide some plain ol'listening entertainment, as I set down torov?r Dingo and John's ♦all albums. Beside*. it gives me the chance to go back into my oldBeatle's collection for a few weeks.After a rather lengthy silence during whichhe pursued his alternate careers as side-manand ajtor, Ringo has come out with a good-humored package guaranteed to bringsmiles to even the most embitteredpessimist. The comedy begins on the cover,where a cocky Richie S. fills in the 'I' in hisname to emphasize his qualities as a Starr.Behind him is arrayed a balcony-full of realand fictional characters of note, includingthe other three Beatles dressed, like theirdrummer, in matching blue over alls.Reflections of Liverpool ten years time ago.This humor proliferates the album, asGeorge demonstrates the buoyant effect ofhis Indian religiosity on the cover, Johncloses out the first track by insisting that he'sthe greatest, not only in this and the nextworld, but "in any world (money can buy),"and Paul graciously renders his rarepatented imitation of a mouth sax on a light¬hearted "Sweet Sixteen." Ringo himselfcould never remain serious for long, and thisalbum is chock-full of hilariously self-deprecating humility from the man who oncetold us he would become a big star by actingnaturally, and then proceeded to do just that.All in all, Ringo's album is extremelylistenable, and features one of the most solidcollections of musical talent that friendshipcan gather in the contemporary pop world,ranging from the Band to the Beatles.George's influence is strong, as Ringo andhis old lead guitarist continue to demonstratethat nothing will ever come between them.But whereas Harrison's own work is too oftenweighted down with an excess of emotionalintensity, these two seem to complementeach other perfectly. They have now suc¬ceeded in getting together for the two mostimpressive tunes to ante-date the 1970breakup, first "It don't come easy," and now"Photograph," which George and Ringo co¬authored for this album. Although the priceof Ringo is high, that's where it will leaveyou, with little effort on your part, and that'snothing to sneer at in hard times such asthese.Now if you want to plunge into the lyricalmessage of John's new album, Mind Games,be my guest; but although tempting, its notreally necessary, and if recent Lennon discsare any indication, perhaps not very fruitfuleither. I've noticed John, always quite thewit, seems dedicated to alternating albumsof first avant-grade (read Yokoist), thencommercial quality material. Although thiswould undoubtedly shed light on MindGames' considerable improvement overSometime in New York City, it is possiblethat something more fundamental underlieswhat is clearly a conscious effort on John'spart to concentrate on the music here, in¬stead of the lyrical import. Lennon allows hisElephant's Memory band much moreautonomy over the vocals on the new album,and the resulting instrumentation is perhapsthe most impressive aspect of this musicaleffort. Songs like "Tight As" and "OnlyPeople" are strenghtened by the inclusion ofsome sort of electronically spiked guitar andkeyboards work which contribute to a solidrhythm section. Likewise some of the sim¬pler love songs are refreshing after thestrained political direction so stressed inLennon's last LP. "At the Blue" and"Aisumasen (I'm Sorry)" highlight analbum which can relax and entertain withoutmuch effort. John continues to reveal hispenchant for electronic dabbling in the studioon Mind Games, and while it succeeds ad¬mirably in places, notably on "Only People"and "You are here," other tunes are notsignificantly improved by this ex¬perimentation, if for that matter it doesn'tdistract from their performance. "One Day"in particular suffers from a delayed doubletracking which makes you inspect yourstylus for dust accumulation. Still, MindGames closes out both sides with livelyrockers which leave the listener both buoyedand impressed by the general soundness ofthe album as a whole.To me, John sustained his greatest peakduring the frantically effervescent '64-'66period, when such games as "Not a secondtime," "Ticket to ride," and "Tomorrownever knows" were being produced by theBeatle leader. Then, as he began to disen-tegrate under a complex load of drug andpersonal problems, so did his music. Sur¬prisingly enough, as he approached thedepths of his psychological deterioration inthe late sixities and early seventies, suchpowerful compositions as "Helter Skelter,""Don't let me down," and the untitled'primal scream' album revealed anotherfacet of Lennon's musical talent. Un¬fortunately his slow ascent from that self-dug pit proved musically unexciting, butperhaps Mind Games indicates a re-(Cnn't on page 7)mperfect in Original(Con't from page 6)emergence of some of that former brillianceof the relatively happy days of earlyBeatledom. If indeed Lennon's creativitythrives on emotional extremes, we could alllook forward to another burst of productivityincorporating that man's varied experiencesof the past ten years into yet another goldenera. This has got to be what old Lennonfollowers around the world must hope for.Although the demise of surely one of themost influential bands of our times some fouryears ago had to sadden us all, it has sincebecome clear that the Beatle's inner balancecould no longer be maintained as the fourmusicians grew and developed. Now,although Ringo can still meet on the variedterms of his three former compatriots, as hedoes on his new album, John and Georgehave become too far removed from themusical direction pursued by their formerbassist to perform together with him. Theresulting distillation of that collective geniuswhich generated Beatlemania nearly adecade ago provides excellent material foran analysis of just exactly what thatphenomenon was, and some pretty finemusic to boot. Now ya can't kick that aroundtoo long, can ya?Abandoned LighthouseDaryl Hall/John OatesAtlantic SD 7269Where I'm Coming FromThe True ReflectionAtco SD 7031I By Larry FriskeThe musical styles of Hall, Oates and TheTrue Reflection are all a result of their earlyyears in Philadelphia. Mall and Oateslistened only to Philly R&B until Sgt. Pepper.Their debut album, Whole Oats, consisted ofsongs they had written over the previous twoyears and this production contains nineoriginals. Usually, either Hall or Oates writea song on their own, but here I like the onlytwo in which they combined ideas, ''She'sGone," and "Lady Rain." "Everytime I lookat You" expresses a funk-type feeling and,throughout, a folk harmonizing ala Seals andCrofts combines with a R&B flavor. ArifMardin arranged this date and such top¬flight talent as Chris Bond, Joe Farrell,bernard Purdie and Ralph McDonald con-I tributed.Standing on a station platform, in front of aNew York City subway car, the album coverindicates well the collective backgrounds ofthis vocal group. They have sungprofessionally mostly around New York andHoward University. Individually, Joe Blunthandles baritone and bass; Bobby Cox,baritone; Glenn Leonard, first tenor; andJoey Coleman, second tenor. Their smooth| soul harmonizing is carried off well, par¬ticularly on "Whisper."In Pursuit of the 27th ManHorace Silver'Blue Note BN-LA054-FI■ ...SuccotashHerbie Hancock-Willie BoboBlue Note BN-LA152-FLive at the LighthouseGrant GreenBlue Note BN-LA1037-G2By LARRY FRISKEThis is a short reminder in case you mighthave missed these three Blue Note issuesfrom the past year. Horace Silver takes tophonors but all three contain delightfulmoments.The Horace Silver outing is pure,unadulterated good music. First a few notesabout the combo. The Brecker Brothers manthe front-line, although Mike joins in for onlythree cuts. A new tonal color is dbtained withthe addition of vibraphonist, David Fried¬man, tor four cuts. Bob Cranshaw andMickey Roker round things out. All but twocompositions are by Silver. The bestselection is called "Liberated Brother" byWeldon Irvine, who also did the lyrics forNina Simone's, "To Be Young Gifted andBlack." The title tune showcases Silver andespecially Friedman but unfortunately,neither of the Brecker Brothers are includedin this version. Silver explains that "the 27thman is representative of the improved ad¬vanced man of the future that we are allstriving to become." And if he sounds thisgood, th^future is not far off.Blue Note has recently re-issued this 1964 recording in which Herbie Hancock wasjoined by Willie Bobo, Paul Chambers andOsvaldo "Chihuahau" Martinez. Thismusically free session ("there were nopreconceived chord changes or intendedmelody lines") finds Hancock in his pre¬synthesizer and electric days. If you heardhis acoustic version of "Speak Like A Child"at the Quiet Knight you would have noqualms about the instrumentation. It'salmost as if Herbie has come full circle in thepast ten years. He gets lots of space tolineraraliy roam over the keys on the albumand he's got a strong rhythm section to morethan hold him up.We rarely have a chance to catch GrantGreen out here in the hinterlands. Califor¬nians are luckier. Guitarist Green, hisquartet plus three, and his favorite club, theLighthouse in Hermosa Beach, are theingredients needed to produce a super-jam.A two-record set with the freedom to spreadout ("Fancy Free" and "Flood in FranklinPark" each take up a complete side) gives usspace to hear the quality of this produc¬tion: the virtuoso soloing of Grant Green. Thequartet is joined by Gary Coleman, vibes,Wilton Felder, bass, and Bobbye Hall,percussion. This aggregation is at their beston "Walk in the Night" and "Flood." "FancyFree" seems heavy-laden with organ andtenor when one knows Byrd's original but, ingeneral, this record cooks.Subject to ChangeDelbert and GlenClean Records CN 602by GAGE ANDREWSDelbert and Glen are a Texas pair whoplay with a more than incidental country air.Better than average in penning catchy tunes(which means that you might someday hearone of them), and blessed here with David"Fathead" Newman to throw in some saxlines, they've bettered their first effort by adecent margin. "Oh My" might even make agood 2 minute AM single. They still haven'tfound quite the right mixture, though, and Ifind them generally unexciting andrepetitious.Buffalo SpringfieldAtco SD 2-806By GAGE ANDREWSNeil Young, Stephen Stills, Richie Furray,Jim Messina, Bruce Palmer, Dewey Mar¬tin: CSNY, Crazy Horse, Poco, the FlyingBurrito Brothers, Loggins and Messina. Thepoint is made pretty plainly, for all those whohave missed it thus far: Buffalo Springfieldwas the spawning grounds for all thesegroups.This is the type of record that tempts me toreview it without even listening to it: I knowall the songs already, though "Bluebird" ispresented here in the original 9-minuteversion from which the earlier, shorter,album cut was made. However, listening tothese songs again, there is one comment thatneeds to be made.It is too easy and simple (not that those arequalities that I am against) to dismiss BS as only the group where all these people gottheir start. Way before anybody knew thatall its members would become superstars,and way before it splintered into the creamof country rock bands, Buffalo Springfieldwas setting the stage for all subsequent rockmusic. They were the first band to haveartistic control over their albums: eachband member could produce his own songs.But above all else, they were the first band todepend on group interplay and feedback,instead of the audience, as a direction finderfor their style. The audience had to come outand find them, because they weren't playingup to a pre-existent taste.They were the most independent bandaround. Damn the trends; they did rock androll, country, mush ballads, long jams,whatever they wanted. They did it wellenough to create a series of classics (all ofwhich are on this Ip), and to coalesce anaudience. Despite the fact that their music is(in places) almost 8 years old, they still rankwith the best bands areound today. Byeschewing contemporary classifications andcodification, they created as nearly per¬manent a niche in rock music as possible.This record, 2 albums for $6.98 list, is one ofthe best buys of the year. releases on my hifi. Perhaps if I could makea tape for my portable cassette, I wouldappreciate First more. Until then, it's toosaccharine, simple, and filled with common¬place talent to endure. The Best of Bread ismore worth your money.Caught in the ActDick GregoryPoppy Records PP-LA176-G2Occupation FooleGeorge CarlinLittle David Records LD 1005Pure B.S.Burns & SchrieberLittle David Records LD 1006FirstDavid GatesElektra 75066 Wide World of WarThe CommitteeLittle David Records LD 1007By GAGE ANDREWSDavid Gates used to be with Bread, whichwas one of the catchiest AM radio groupsaround (defining our genre). I don't own anAM radio, which might explain why I foundthem infectious instead of repetitious. Breaddidn't quite rank up there with the Hniiies,but they were close.So, when Bread broke up and Gates wentsolo, I decided to get ahold of the album anddo a little post-mortem analysis of whatmade Bread good. Unfortunately, I think Imight have a little trouble finding someoneto give this record to, for Christmas.It's not really that Gates' First is a bad Ip;it merely suffers at the hands of its en¬vironment. The problem with AM radiomusic is that it's just that: it depends onbeing in a car, or at the beach, or in someother AM radio environment. An en¬vironment which is not AM is is my livingroom, critically listening to the best FM/ LP By LARRY FRISKEIt's The season for fun and laughter andhere are four offerings to help you celebratethe holidays. Few comedians have a day setaside for themselves by the state, but thenDick Gregory has always been an innovator.Originally from St. Louis, Dick was quite atrack star in his early days. In fact in 1954, hewas ranked third in the U.S. for the half mile.His career took off in Chicago and he livedhere 15 years before packing off to aMassachusetts farm this summer.Caught In the Act, recorded in August atPaul's Mall tn Boston, was Dick's finai nightclub appearance, or so he says. Lecturing a!college campuses is more in tunc v/itr- hiscurrent lifestyle.Personal health is his major advocacynow. Still on a non-solid, fruit juice diet, Dickexplains it ail in his book, Dick Gregory's-(Con't on page io)— im ■mu ■ ii—in ~ —~t -wr |"Hello, Rudolph ?Fire i hose Fee 'bedding E/v -iI'm Buying Every??.We Need AtThe Reynold* CluGratis ~ deThisThursdayendFriday!"Help thwart Santa’s scheme to corner the market or. > *.iasgifts and to toss those lovable loafers out on then pointedears-do your shopping at Reynolds Club! 11 a.m.-G p.mGrey City Journai-December 7. 1973-741«KHi:t«UkVJHMb(WANTED:AN ANGELFOR THECHRISTMASORATORIOBYTOBY LOUHOFSLUNDA mile or so from campus and right on theNorth-South bus route is the Church of St.Paul and the Redeemer. “Just anotherchurch?” you say. Wrong. It’s the locationfor Chicago’s most exciting church music.Behind it all is the affable and verydedicated Thomas Wikman. Talking with theman behind the successful Music of theBaroque series was quite an experience.Whether roasting critics or making anajmeal, he spoke his mind freely and fully without pulling any punches. Here is what hehad to say about a variety of subjectsranging from audiences to artichokes.MR. WIKMAN, HOW DID YOU GET INTOTHIS? MAJOR MUSICAL SERIES JUSTDOESN’T HAPPEN OVERNIGHT.I came to St. Paul and the Redeemerparish from St. Richards in Edgebrook,where I had performed mainly Renaissancemusic, in 1969. and found a parish choir ofabout six people. I brought with me anotherten, four from St. Richards and six who wereinterested in singing here. In the first yearthe choir varied in size from 14 to 28 people,and we put on two concerts. Bill Wahman,who had come with me from St. Richards,and who sings here when he is in town, wastenor soloist in a Teleman cantata. That wasthe first time I also worked with Elliot Golub,now concertmaster of my Baroque series.In the fall of 1971 I decided to really takethe plunge and try hiring a full orchestra todo Bach cantatas. The idea really caught on.We had larger audiences and a larger choir.It had grown to be about 30 people. That yearwe did three concerts which included aCharpentier Motet, three Bach Cantatas,#209 with Barbara Pearson as sopranosoloist, and #82 with Ray Still on oboe, #12with Sharon Powell, the Mozart CoronationMass and Bach’s Fourth BrandenburgConcerto.After the response our first season, wedecided to expand and planned five concertsin 1972, three of them followed a cantataformat. Also included was the DoubleConcerto for Violin with Elliot Golub andRay Still and two major oratorios, Bach’s St.John Passion and Handel’s Theodora.This is now our third big season, and wehave plunged headlong in with a Bachcantata, #21, which is almost like a small oratorio, and the Haydn Lord Nelson Mass.We are repeating the Lord Nelson Mass onJanuary 20 at the Church of the Holy Spirit inLake Forest, where we have been asked to doa guest performance. That concert is madepossible in part through a grant from theIllinois Arts Council.Later this season we will do three Bachcantatas with Adolph Herseth on trumpet(February 3), Bach’s St. Matthew Passion(March 31), a special benefit concert toinsure the future of Music of the Baroquewhich will feature some of the players of theChicago Symphony Orchestra (April 28),maybe a “Best of the Music of the Baroque”sort of thing. We are winding up the year onMay 19 with Handel’s Samson, a big far-flungpiece.IT IS AN UNDERSTATEMENT TO SAYTHAT ALL THIS IS AMBITIOUS. WHATDOES IT TAKE TO PUT SOMETHING OFTHIS SIZE AND QUALITY TOGETHER?From the standpoint of organizing thereare two aspects, the choir andadministration.Although the choir started out in conceptas a parish choir with four paid soloists, wehad people from outside the parish singingwith the choir from the very first year. I gavefree lessons in the beginning to get them tojoin; although I ha deceased this practice to acertain extent, I still continue this with somepeople. A lot of my singers have quit payingjobs to come and sing with me at St. Paul’s.All in all, one of the really remarkableaspects of the program is the quality of thevoices. W’e have many more than just foursoloists. I think our brochure lists 11 soloiststhis year who are singing major solos in theconcerts. And besides those, there are another 5 or 6 who will be doing some solowork during the year. The choir is reallymade up to a great extent of first classprofessional s ngers, some of whom havegone on to fairly distinguished careers or arejust now on the brink of them.For example, Barbara Pearson, the MetAuditions winner in ’71 , is at Cologne Operanow. Nancy Henninger who also used to singin the choir is now doing major Wagnerianroles with the Allexburg Opera. Bill Wahmanis with the Western Opera Co. in SanFrancisco. Isola Jones just made heroperatic debut at Santa Fe, and she has beeninvited to sing the role of Baba in the Rake’sProgress at Glyndebourne in 1975. SarahBeatty just made a spectacular butunexpected debut with the ChicagoSymphony and Solti; she had one hour’snotice before singing the soprano solo at theFriday afternoon concert of Beethoven’sMissa Solemnis. When she walked into thehall Margaret Hillis asked her if she was ingood voice. She said she was, and Hillis saidthat was good, because you are singing thisafternoon. And it is quite a tribute to her thatSolti did not call in the soprano he hadwaiting in New York for Saturday night.After he heard her sing he let her go on thenext night too. Sarah is one of my students,as are most of the members of the choir.All of the singers have some sort of creditslike that. Arthur Berg has sung far and widefor several years now. He made his debutwith Solti in Moses and Aaron a few yearsago.And there are the people who are finesingers but just interested in singing chorallyin this sort of organization if they can get intoit. That is what makes up the choir.As far as the organization aspect of puttingon concerts goes, I have a music committee(Con 't on page 9)^ ***?:*:5»«:sfc?»csfc:fe?*es|e5f<3|f§ g&wett ‘pioictt |]• ~ 4£>l E. 55TH STREET £* CHICAGO, ILL. 60615 £*r hone: F A 4-1651 JJAMESI SCHULTZCLEAVERSCUSTOM QUALITYCLEANING10% student discount1363 E. 53rd St.752-6933 HEADQUARTERSFORPASSPORTPHOTOGRAPHSAPPLICATIONSPHOTOGRAPHSinblack & whiteand colorMU 4-7424Corona Studios. 1314 E. 53RD ■many styles • designs • sizessome one-of-a-kind • stackablesThe dilemmaof being a woman. Wine Racks, Great Gift Ideas. plexiglass, parquet, oak and leather,Choose from dozens of types and and wrought iron. Some are stack-styles from one-of-a-kind, hand- ons, some hand on walls. Hold frommade designer models to purely 4 to 48 bottles. Priced from $4.25Junctional. In modular plastic, to $SS.OO Most under $20.00 Copper Shoppe Gift CertificatesGive a gift of choice. A certificateassures that the gift chosen is theright one, the most appreciated one.in any denomination from $5.00..ti. know. We ur. • -'and. We careWomen’s Service Division includes a modem, fully■« -od clinic, co.- piete with a superior medical and- '.onai staff Ol standing service is provided in aD variety of areas such as pregnancy testing andunseeing, pregnar; y termination (up to the first 12 weeks). .d menstrua! extraction (starts period up to 14 days late),r or further informal' n or an appointment, call us inconfidence.Midwest Population Center(312) 644-3410100 East OhioChicago, Illinois 60611A non-profit organization$-Grey City Journal-December 7, 1973r(Con't from page 8)with many, many sub-committees. One ofthe two chairmen is Barabara Weaver, whohandles what I call the sort of internalworkings of the church, just how the choirfunctions with relationship to the church, theuse of facilities, clearing of all dates, and thepreparation of musical notes that explain thenature of each season’s music for thecongregation. It is an enormous job.Clarise Strauch, concert manager, handlesthe business end of it. Getting all themusicians lined up. The whys andwherefores of what goes on, the physicalarrangements of the concerts. She delegatesthe responsibility of preparation of programsand translations to others. Together withBaraba Weaver she handles all aspects offund raising, writing of letters tofoundations, maintenance of the mailing list* (that has several thousand names), andgenerally tried to keep in contact with[people.ARE THEY PAID?No. This is all volunteer work. The choirand I give this way too. We are not paid at allfor the work we put in on the concerts, for thechurch does not financially support theconcert series at all. Choir and soloists havebeen extremely generous about this giving oftheir time.WHERE DOES THE MONEY COME FROMTO PAY FOR MUSIC, PUBLICITY,PRINTING COSTS?We have patrons and donors who give tothe series, and we count very heavily onticket sales, of course. There is the IllinoisArts Council grant this year, too, but that is adrop in the bucket as far as the cost of theprograms goes. Only $750. This year costsare in the neighborhood of $15,000.HOW DO YOU HANDLE THE DEFICIT?A whole bunch of us get together and makeup the difference out of our own pockets.Fortunately, it has not been too large. I havehandled quite a bit of it myself. For instance,there are many times when I don’t evensubmit bills to the committee. It wouldn’tmake any difference if I did, because theydon’t have any money to pay me back. I buy all the scores and orchestral parts, and veryoften the scores for the choir. The ArtsCouncil grant is making possible theperformance in Lake Forest next month, butif we can come close to paying our orchestraon the tickets sales, then we can free up thatgrant to begin to start paying the deficit onMatthew Passion, which we can’t even beginto cover at the gate. Repeating concertsdoesn’t help our finances. You have to paythe orchestra, and although you save onrehearsal time, the performance cost shootsall your profit. We can hold 400 people hereand we try for capacity every time. If theydon’t come we can’t pay the musicians.WHAT WOULD YOU DO IF YOU DIDN’THAVE TO WORRY ABOUT MONEY?One thing I would do is add anotherrehearsal for every performance. We haveonly one for a program like the last one wegave and a short warm-up before. Likewise,there will be one three-hour rehearsal forLake Forest and for our Februaryperformance here. Matthew Passion andSamson will have two, as did John Passionlast year. But every one of those concertscould stand one more rehearsal.And sometimes we get throughperformances, and they go like a charm. Buteverybody is really digging in for everythingthey’ve got. And it comes off. It works.Afterwards, Elliot sometimes says to me,“Well, now that we have done the rehearsal,let’s go perform the concert.”THAT SOUNDS LIKE SELLING TICKETSTO PREVIEWS.Right. But they can handle it. The choir isreally up to snuff right now. Like the lastconcert. They really sounded fantastic. Andwe perform more music than any choir in thecity of Chicago, and we don’t have any morerehearsal time. We do more than SymphonyChorus and Rockefeller.If I had more money..., I would pay all the singers to get them here another day a week,and I’d pay the orchestra to comefor another rehearsal. But that would entailan awful lot of dough.But it sure would give us that margin ofcomfort that we haven’t had while trying tokeep up the Sunday morning service (here, asort of high mass) and present five concertsa year, particularly when we include worksthe size of Matthew Passion and Samson. Iactually count on the fact that the singers areexcellent sightreaders during the Sundaymorning services, and I have to think longand hard before putting in a new motet,particularly if it is difficult and they can’tread it.So everyone has to be on his toes all thetime. If a new season is coming up, we haveto take the time to rehearse the liturgicalmusic. When a concert looms ahead, we tryto have sectionals, extra rehearsals. I wouldsay that the whole program here is really alabor of love on everybody’s part.HOW DO FINANCIAL WORRIES AFFECTYOUR PROGRAMMING?I am the most economical planner ofconcerts you have ever seen in your life. Iam loathe to let any instrumentalist sitaround for one second, and I don’t pay atympanist to come in and play onemovement of a Bach cantata. That’s a kindof luxury I can’t afford. So orchestration hasto be carefully considered, and thatautomatically let’s certain works out of theprogram. Everything has to fit together sothat I can do the concerts with about thesame forces. I spend hundreds of hourslooking over these Baroque scores with thisin mind and also with an eye towards who isgoing to be singing the solos, how they willsound, in order to maximize the effect of thepiece and the singer’s voice. I have aresponsibility to present them in the bestlight possible. Trying to find something thatworks aesthetically and has exactly thesame orchestration is like trying to puttogether a Chinese puzzle. And that’s a job.WHAT WORKS HAVE YOU PUT ASIDETHAT YOU WOULD REALLY LIKE TODO°The Monteverdi Vespers for one.I’ve also toyed with the idea of doing Bach’s Christmas Oratorio. IOne year Vikstrom did it at the Chapelinstead of Messiah. You could have shot acannon ball through the chapel without anydanger of hitting anyone. So that scared meright then and there. The people were notwilling to corne out and see if they liked it aswell as the Messiah. It was an unknownquantity. If I had an angel, I’d go ahead anddo it and not worry about the gate. I’ve toyedwith the idea of taking a poll of the peoplewho come to Matthew Passion to see if theywould come to Christmas Oratorio.HAVE YOU ANY IDEA WHERE YOURAUDIENCE COMES FROM?I think we share a lot of people withWFMT, the Fine Arts Quartet, chambermusic concerts at Orchestra Hall, and thepeople who buy Nonesuch Records. Peopleask me “When will you perform Cantata #84?I listen to it everynight, I just love thatpiece.” They are tremendouslyknowledgeable about Baroque music; theyknow the pieces before they come. It is one ofthe few audiences that I could imaginelistening to Bach Passions in German. Theyknow exactly what those long recitativesmean, they own recordings of the passions,and they are able to get involved in thedrama because they are familiar with themeaning of it all.HOW DID YOU BUILD YOUR MAILINGLIST? HAVE PEOPLE GIVEN YOU THEIRNAMES WHEN THEY COME TOCONCERTS?Yes, we have had that. We also mail tosymphony chorus, friends who are in themusic business have given us names. It hasbeen a tremendous job. I wish I knew how toreach all the people who would be interestedin hearing something like this.WHAT ABOUT THE MUSIC SCHOOLS'*We put up posters in all the music schools.But I have found that music students for themost part do not go to concerts. Most music(Con't on page 10)The Student Activities OfficepresentsThe Annual All-CampusWASSAIL PARTYTo celebrate the conclusion of the AutumnQuarter and the coming of the holidays in amanner proper and befitting the Yuletideseason.The lighting of the Ida Noyes Tree Cameo ap¬pearance of Santa Claus Carols by the U.C.Brass Choir. Hot spiced wassail prepared fromthe old Ida Noyes receipe a la Anne NealSnacks.Home-baked cookies by Debbie John, Jo Whit¬ney, Pat Sims, Pat Keig, Nina Cohen, JohnChenette, Pat Frable, Robert Newcombe,Howard Gershenfeld, Dave Schifeling, JeanRosenthal, Nora Keenan, Deirdre Stegman,Michele & Roger Hitchner, and a cast ofthousands.Singing of carols led by Jim Mack (song sheetsprovided)FREE-STUDENTS, STAFF & FACULTY ARE ALL INVITEDTONIGHT 6:30 p.m.Ida Noyes HailGrey City journai-Uecember 7, .1973—9(Con't from page 9)schools and conservatories are on the drearyside when it comes to the student body. Ithink our relationship with the University ofChicago is like that. By far the most peoplewe get from the UC are faculty, not students.STUDENTS DON’T GENERALLY TAKETIME OFF FROM WHAT THEY THINKTHEY SHOULD BE DOING TO GO TOCONCERTS. BUT, YOU DO GET OUT TOLISTEN TO OTHERS, DON’T YOU? I’VESEEN YOU OCCASIONALLY SITTING INAN AUDIENCE. BUT WITH YOUR KINDOF SCHEDULE I’M SURPRISED YOUCAN. SO MANY MUSICIANS GET SOWRAPPED UP IN THEIR OWN WORKTHAT THEY NEVER GET OUT TO HEARANYONE ELSE.But that is deadly. If you don’t go out andlisten you just die. You have to listen andparticipate. I can’t get to all the things Iwould like, but I do go to Orchestra Hall forthe big things I want to hear, choral pieces,Solti or Giulini conducting. And the opera forTosca and Rosenkavalier.DO YOU THINK THE PRESS HASTREATED YOU FAIRLY?Some aspects of it, yes. The Daily Newshas been very kind, very generous, andBernard Jacobson was a big booster; too badhe is gone. He gave us great reviews andmentioned us along with the Tudor Singers inhis farewell article to Chicago. From theother papers in Chicago, no, I don’t think wehave gotten very good coverage. TheTribune started reviewing us last year. TomWillis gave us a really good notice onTheodora last year; it was really nice. I don’tknow if he had been out to anything before. Ihave seen reviewers in the audience whodon’t write up the concert. They takeadvantage of the free tickets, but don’t writeanything.WHAT ARE YOUR GREATEST MUSICALFRUSTRATIONS?The limitations finances impose. Not beingable to reach all the people I would like toreach. The fact that the scene for musiciansin this town is a very busy one. You can’t always have who you want to have when youwant to have them. You have to work yourschedule around, symphony, opera, and inthe case of the singers, symphony chorus.WHAT IS THE MOST REWARDING PARTOF THE SERIES FOR YOU?The music itself. There is nothing likeperforming that music, particularly in thecase of the Bach pieces. Wow! It’s really ahumbling experience to conduct somethinglike the St. John Passion as we did last year.We had literally three weeks to put ittogether with the choir— there were extrarehearsals, sections, drill on every word ofthe German word by word.After all that when I stepped on thepodium, took my bow, faced the orchestra,and opened my score, I thought to myself,“Jesus Christ, what am I doing standing uphere conducting the John Passion?” It’simpossible to imagine how any human couldhave written that music - its sooverwhelming, such an incredible work. Andyou know you are embarking on anincredible odyssey that is going to last forthree hours, . There was a sense ofexhilaration half like fright and halfexultation bringing down the stick for thefirst downbeat. And I knew that once I did,there would be no going back.And after it was over, my life had changed.Then I was not the same person after goingthrough such an experience. That’s thegreatest reward of all.AND THE APPLAUSE?It’s incredible to feel people’s response.Though the applause itself is practicallysecondary to that, for I feel it in the back ofmy neck whether they are with me or not.And when I know I’ve felt it all the waythrough the performance, applause is sort ofa physical confirmation. So I always feel alittle bit spaced out during the applause.WHAT COULD THESE ENTHUSIASTICMUSIC LOVERS DO TO HELP? WHAT DOYOU THINK THE PEOPLE WHO COMESHOULD DO?The most obvious way to help isfinancially. Most people don’t realize howendangered these programs are. It’s a fight every year. And every season I have to facethe possibility that we might have to close upshop. I don’t think most of them realize that.Yet, if I could reach people...if these peoplewho came would all give us ten bucks a year,that would ensure our survival. So far we’velucked out. We’ve run into the right person atthe right time who could give us a littlemoney. And it has just been by the skin of ourteeth. It is ridiculous that on so little money,so little backing, we produce a season thesize that we do. I’ve never seen it happenanywhere else.Last year we almost stopped the seriesright before the St. John Passion. There wasa man, who prefers to remain anonymous,who really bailed us out of that. If we hadgone on without that help we would havereally been scraping everything we had andcancelled Theodora and the rest of the seriesand probably not gone on this year.We must have applied to 60 differentfoundations for support, but money is tightand people don’t want to give to anythingthat is connected with church. They don’tfeel it is reaching enough people. We justaren’t a large enough organization. We don’tplay for thousands and thousands of people.Thomas Wikman And when someone is on our level, they justdon’t want to give money.WHAT ABOUT THE WFMT REPLAYS?That was just decided on recently. And thefinal negotiations have not gone through, soit is still hanging in limbo. I first heard fromNorman Pelligrini’ he had been approached—not by anyone from my organization - bypeople who had been to our concerts, askingwhy they weren’t played on WFMT.WHAT OTHER MUSICAL VENTURES AREYOU INTO?I direct the Tudor Singers specializing inRenaissance music, and I am conductor ofthe Elgin Choral Union, a group of about 75people, concerned mainly with doingRomantic music. This is a self-containedgroup. It is far enough away from Chicagothat good singers don’t automatically go inand join symphony chorus.HOW DID YOU DECIDE TO GO INTOMUSIC PROFESSIONALLY?I think I was aiming that way when I wasyoung. Then I dropped out. Didn’t do musicfor four or five years. Just hitchhiked aroundthe country. Then a friend told me St.Richards needed an organist-choirmaster. Iwent out there and got the job.IS THERE ANY PIECE OF MUSIC THATTURNED YOU ON WHEN YOU WEREJUST GETTING INTO MUSIC?At age five I was shown the notes on thepiano and how they worked. And I just satdown and went through the entire hymnalplaying all the songs in four-part harmony. Itwas so amazing how harmony and chordsworked. I was turned on to Rock of Ages.WHAT DO YOU DO WHEN YOU AREN'TDOING MUSIC?Sleep,. Between the work at St. Pauls,teaching voice, and going to Elgin, I go ontwelve hours a day six days a week and sixhours on Sunday. I couldn’t manage withoutBarbara and Clarise. I have so little time off.I do music 14 hours a day and leave otherthings for vacation. Then I dissipate next to aswimming pool in some sunny climatesomewhere.The Gordon J. Laing Prize, 1973has been awarded toEdward ShilstorTHE INTELLECTUALS AND THE POWERS and Other EssaysThe Laing Prize is presented each year by the Boardof University Publications to the faculty authorwhose book, published within the last two years,has added the greatest distinction to the list ofThe University of Chicago PressPrevious Winners1972 Edward WasiolekThe Notebooks of Fyodor Dostoevsky, 5 Vols.1971 Herrlee G. CreelThe Origins of Statecraft in China1970 Gerald D. SuttlesThe Social Order of the Slum1969 Leonard B. MeyerMusic, the Arts, and Ideas 1968 Philip FosterEducation and Social Change in Ghana1967 Donald F. LachAsia in the Making of Europe, Vol. 11966 A. Leo OppenheimAncient Mesopotamia1965 Tang TsouAmerica's Failure in China, 1941-501964 William H. McNeillThe Rise of the West1963 Bernard WeinbergA History of Literary Criticism .in the Italian Renaissance»0-Gr«y City JoornaS-Decembei 7, 1973JCO\/jo\ STARTS FRI., DEC. 7 thru SAT., DEC. 15CLASSICS SALE!CHARGEWITH BankAmericaslRECORDSOPEN SUNDAY 12 TO HYDE PARK1444 E. 5? fhMU 4-1505MM SC5MBFGrey City Journal December 7, 1973-1 1SANCTUARY-MUSIC IN THESTORMBY GACE ANDREWSSanctuary took its name from the chapellocation in which the concerts werepresented. Hyde Park was a little surprised,it seemed, to find that someone would take achance on producing weekly concerts in thearea, but gradually the community began tobe aware of its existence. As the concertscontinued week after week—astounding thepeople who had pessimistically predictedthat it wouldn’t last a month—the people whohad discovered and attended the concertsbegan to wonder just exactly who was behindSanctuary. After all, it was a very unusualventure.Sanctuary is run by two people. SharonCounts was the major force for its creation,and was the key to getting the Blue Gargoylepeople beyond the stage of “being in¬terested’’ and into doing something about it.The fact that she has a teaching job and dealswith two children, in addition to handlingSanctuary’s publicity, made it a little dif¬ficult to arrange an interview.Jim Glover was more easily pinned down.He has been performing in follr clubs (andworse) throughout the country, for the lastten years. He got interested in trying his ownhand at running a “place,” and seems to begenerally responsible for contacting theartists and convincing them to play. He andSharon started Sanctuary out of their ownpockets; the question of why they did itbegins the Grey City Journal’s interviewwith Jim Glover.Chicago has had the Quiet Knight foryears, and the Earl of Old Town, and a fewyears back there was the Gate of Horn. In thelast few years, a whole crop of new placeshas come up, like you and Amazingrace, andplaces like Ratso’s. How is it that you finallycame to start your own club?I was a musician, and still am, though I’mplaying two roles now: a musician and well,some people call me a club owner. I’m not really a club owner, because I don’t own theclub, though that’s what people consider it. Ilike to consider myself more a musical ar¬chitect.Chicago basically was a very liquororiented music place for a very long time,and still is. Sanctuary is one of the few placesthat isn’t liquor oriented, along withAmazingrace. That’s what we have incommon. I’m on a campaign right now tosave Amazingrace, because they’re beingvery seriously hassled up there, (see note atend of story)Did the fact that Amazingrace managed tolive for six months before you started giveyou the courage to go into the concertproducing end?Yeah, I’d played all the places in Chicago,and I felt there was a lack. I knew I had tofind someplace where I could do somethingconsistent for a while, so that I could buildsomething. When you’re a musician andyou’re just travelling around, you’re at themercy of club owners; decisions are made bypeople who aren’t really interested in whatyou’re doing. This thing just happened.Why did you pick Hyde Park? Did youstumble onto the Sanctuary location?I’d met Sharon Counts down at the Earl ofOld Town. I went down there to see BryanBowers; he has this song where he getspeople to hold hands, and Sharon was rightnext to me, we held hands, and that’s how Imet her. Then I came down to the South Side.Sharon is a member of the Universitychurch, and I met a lot of the people in that,and then we came over to the Blue Gargoylefor dinner. We started talking, and they said“Hey, we sure would like to get music downhere.” I said it was really easy, but it was acouple of months later when we got together.It wasn’t really easy, but it was pretty easy.What were some of the big hassles instarting?Money for equipment was one. I was ableto cash a life insurance policy; I came up with the bread when we really needed it, andSharon did a lot. We’ve just been lucky,we’ve been able to get the money. Liketoday, I just got a check from BMI. This isthe first check I’ve gotten in over a year. It’sfor royalties from overseas, from Spain andBelgium, for(a song I wrote, “Time GoesBackwards ”$4.26. They give you a code forwhere its played: SAB AM, SGAE, that’s forSpain and Belgium. Things (like that, youknow, I really needed that four dollars andtwenty-six cents, and I just pulled it in. It’sbeen a pretty good thing.All this frustration I’ve been building foryears, being a musician. I’ve been able totake it out more, and do something with it,too. I think it’s been pretty good for HydePark too. We bring a lot of new people to thearea.The sound system you use is pretty good,and very unusual. I’ve never seen thosereflecting V panels before.I’m pretty proud of that: I built it myself.It corrects all the defects of the systems thatI’ve played with. I’m really excited about theuse of reflected sound. When I first got intosystem, I got Bose. This guy who sold them tome was really excited about them: they usevery small speakers and reflect sound off thewalls, so it sounds like the music is comingfrom an area bigger than the speaker. It’slike a movie projector, when it comes backoff the wall and hits you, it’s enlarged.The thing about the Bose is that they lack alower midrange. They use an activeequalizer that doesn’t bring out the lowermidrange, which is the balls of music, like ina voice. You listen to Cat Stevens on Bose,and he isn’t there. Then I came across theseVegas, which uses a midrange horn. It’s athree way system, it’s perfect for what Ithought would be needed in a PA system. It’slike a studio monitor.Do you have any problem withoverloading?We sometimes get feedback when we turnit up too loud. The room has a very highceiling, which is why I had to build thosetowers: I had to get as much sound aspossible down on the audiences’ ears beforeit began bouncing off the walls and ceiling. We had to direct the sound. You get an echoproblem otherwise, where the performer canhear the audiences reactions, but you can’thear the words. With Jaime Brockett,though, the audience was hanging on everyword.That was quite a concert.Yeah, it was. This week should be prettygood too. It’s our last show for 1973. MartyPeiffer—I first met him a couple of years atRatso’s, and he’s been playing at Orphansand Barbarossa; he’s a good entertainer, hegets along well with audience. He’s got somegreat stories about the Vietnam war, he’s aveteran of that war. Friday night, the nighthe plays, is the anniversary of Pearl Harbor:we’re gonna have a lot of war songs thatnight.One of the things that either you or Sharonsaid when you were originally setting upSanctuary was that, in addition to bringingthese folk people, you were going to try to getthe blues people: get them out of placeswhere Hyde Park people were afraid to goand bring them to campus. I was won¬dering...It’s funny, you know, because people fromall over Chicago are afraid to come to HydePark. I tell them where the Sanctuary is andthey say “Oh no, man, Hyde Park, no, youget mugged and raped.”Do you really have much problem withpeople not coming because they’re afraid togo out at night?People are afraid, it’s really true. I’mafraid too, just like everybody else, but whenI think about it—Jesus Christ, you only liveonce. What’s there to be afraid of, you canget careless anytime and that’s it. You livevery fully while you can.Getting back to blues, for a minute, I noticethat your biggest turnout was for Siegal-Schwall.Yeah, they definitely have the record. Wehad several United Farm Workers that camein free, but the rest of the people were payingcustomers. There must have been fivehundred, and we turned away about ahundred. It was just the way I envisaged it:(Con't on page 19JJim Glover, one of Sanctuary's founders, also performs regularly-includingtonight.COURTESY HOME CENTER95TH AND STONY ISLAND 374-6500Hearing is a natural process.Listening is an art...We sound betterJVC AMERICA. INC.A product fromSony syPERscoPE.WORLD'S FINEST AUTOMATIC TURNTABLES...they speak for themselves * GOLD CITY INN I#* given * * * ** by the Maroon]***#**** New Hours: Open DailyFrom 11:30 a.m.to 9:00 p.m."A Gold Mine Of Good Food"Student Discount:10% for table service5% for take homeHyde Park's Best Cantonese Food5228 Harper 493-2559(near Harper Court)Eat more for less.• 2-Giey Cily Jourriai-December 7, i973 (Try our convenient take-out orders.) j Hyde Park’s NewestBicycle ShopSwuykeaa (fade1301 E. 53rd St.363-8376We carry the entireCazanave line.Also Alpina, Urago, Astroand French Racer.Wa do rapair work on all makes andmodols. Come in and sea us for fast, cour¬teous sarvice. Wa are right across fromKimbark Plata.AA*A★ Last MinuteHyde ParkShopping CenterCHRISTMAS HOURSOPEN EVENINGS UNTIL 8:30 P.M.OPEN SATURDAY UNTIL 6 P.M.OPEN SUNDAY 10 A.M. TO 5 P.M.19 FINESTORES & SERVICESAlbertsCohn A SternDr. Quentin D. YoungDr. Mas low OptometristFannie May CandiesNeumode HosieryBook Nook A RecordsHyde Park Co-opShoe Corral Walgreen'sWhitmore Shoe RepairWimpy GrillsSusan Gale, IncLake Park CurrencyExchange, IncFlair CleanersPleasant ShopBumy Bros. (In the co-op)Woolworth Co. Aa*Grey City Journal-December 7, 1973-13BY GAGE ANDREWSIt might just be tha^ what the OhmCompany says about its new Ohm Floudspeaker is true: that “there is, in effect,a mathematical finality about the invention(of the Ohm F speaker), akin to that of thewheel or the lever. The concept is inherentlycomplete; only its physical execution canevolve further.”The Ohm F is, measured by all possiblecriterion, the finest loudspeaker ever made.This judgement is based both on technicalqualifications, and on subjective exposure toa vast number of “state of the art” speakers:the KLH nines (4 panel), Quad electrostatics,Klipschorns, IMF studio monitors, Bose 901s,Ess amt-1 (Heils), large Advents, InfinitySS-ls, EPI 1000s (towers), AR LSTs, and theOhm F’s own larger prototype, the Ohm A.Let’s first look at the specifications.The Ohm F is about 2-1/ 2 feet high, with a18 inch square base. It weighs about 75pounds, assembled. It is rated at 4 ohms, abonus since most amplifiers develop morepower into 4 ohms than into 8 ohms: the OhmF is power hungry, and should have aminimum of 50 watts (rms) per channel. Ihooked it into a Dynaco SCA-80Q (35 wattsper channel into 4 ohms), and the speakermade music; but it sounded like a differentspeaker when hooked up to a 175 watts-per-channel amp. Ohm states that the F canhandle 300 watts for a 3 second span; it isunlikely that there is a power amplifier onthe market that could overpower the OhmF's peak power handling capacities.The Ohm F is protected by a fuse, which isboth very fast acting and very hard to getahold of. The speaker does not have asubsonic filter, which means that at veryloud listening levels the rumble from aturntable can generate enough speakerresonance to seriously damage the speaker.(I should point out, from experience, thatbefore matters approach this point, the bassproduced by the speaker will give a warningsignal - like plaster falling from the walls).None the less, the use of the amplifier’s lowfilter is recommended if you use a highpower amp (150 plus watts per channel andup), though the filter probably cuts in at 60 hz- much higher than necessary. The Ohm Fmight be placed in the room so as to compensate for the filtered bass, as acounter to the unnecessary reduction atfrequencies above 25 hz.The most prevalent means of judgingspeakers today is by their frequencyresponse: determining the lowest note, thehighest note, and the degree to which thespeaker produces all notes equally loudlyand does not emphasize any one note. If theresponse is flat throughout the frequencyrange audible to the human ear, then thespeaker is reproducing exactly the notes thatwere put in. The Ohm F, stringentlymeasured, reproduces from 32 to 20,000 hz,plus or minus 3-1/ 2 db. While this is anexcellent figure, it is not unequalled. Whatmakes the Ohm F truly exceptional are itstwo unique claims beyond having such agood frequency response: the Ohm F isalmost perfectly in phase (coherent), and ithas the best transient response of anyspeaker I’ve heard.Transient response is, roughly speaking, ameasure of how cleanly sound is reproduced.It is the speakers’ ability to start and stopmaking a sound extremely quickly.Transient response keeps the notes fromslopping over onto each other, after oneshould have stopped and another begun.Most conventional speakers have inherent,uncontrolled mechanical resonances whichare not taken into account when thereproduction of sound is planned by themanufacturer. These resonances inhibit thespeaker’s abilities to instantaneouslyreproduce the starts and stops of theelectrical impulses which encode the notes;thus the mechanical action of the speakerreacts to the electrical impulse for a farlonger period than that electrical impulse(and the note encoded in it) exists. The noteoozes past the limits set for it, and distorts.This distortion can be seen on an oscilliscopeduring tone burst tests. Before the first fullcycle of a tone burst from any speaker otherthan the Ohm F, a series of very short risesappears, up to perhaps half the amplitude ofthe full cycle. These are indications that thespeaker is producing extraneous tonesbefore the exact frequency of the input signalcan be reproduced.The Ohm F does not do this. In the first halfcycle of a tone burst test from the Ohm F, thefull amplitude of the input tone has beenreached. There is no extraneous resonance oftone—absolutely none. In sonic, rather thantechnical terms, this means that the speakerLET US TAKE YOUAWAY FROMCHICAGO!SPENDCHRISTMAS ANDNEW YEARS INL0ND0N-R0MEU of C Charter Flights still has seatsavailable on its charter.December 15 to January 4Chicago-London-RomeRom e-London-Chicagosill roundtrip & $3.00 airport taxEligibility limited to U of C students*,staff, and faculty (plus spouse and children)Come to Ida Noyes Hall room 306 weekdays 2 to 7or call 753-3598Get your 1974 International Student Identity Card nowl OHM F-THE BESTLOUDSPEAKEREVER?is capable of reproducing — from a goodrecording-the sound of the impact of a drumstick on a cymbal before the cymbalresonances begins. It is easy to hear thetouch .of fingers upon guitar string before thenote is amplified in the guitar body. Thespeakers reveals the definition and clarity ofa recording to a remarkable extent.The clarity also results from the Ohm F’scoherence (in-phasedness). Other speakersdo not approach the Ohm F’s achievementsin this respect. Most piston/ cone speakershave two problems: first, that they alsoproduce sound by exactly the same methodas that used in the Ohm F— only othercompanies don’t appear to realize it. Second,that the engineering and physicalconstruction of most speakers is not exactenough to control this noise when it isgenerated (as mentioned in the firstproblem).This noise is produced by what is called a“transmission line,’ Any surface, includingthe cone of a speaker, resonates when struck.The resonance is audible as sound, whichvaries in pitch depending on the thickness,and the material, of the surface. Mostspeakers do not intentionally use this methodof sound reproduction, and thus do notengineer their speakers in order to controlthis method of producing noise; they feel thatit is incidental (and insignificant) whencompared to their primary method ofreproduction.The Ohm F uses solely this method and noother. One of the reasons that othercompanies do not use the “transmissionline” is that the surface used for thetransmission line must be exactlycalibrated; any slight deviations in thicknessof the material will distort the sound. Whatspeaker manufacturers fail to explain, whenthey dismiss the transmission line mtthod, isthat the use of crossover systems is merelyan extension of the problem of havingvariations in the thickness of thetransmitting surface: both cause variationsin the timing of producing of a certain note,so that the different speakers (or spots on thesurface of the transmission line surface) areproducing the same note at different times.This is called being out of phase.An example of being out of phase thatcommonly occurs with accoustic suspension speakers is when the wires connecting thespeaker are producing the same note atdifferent timesAn example of being out of phase thatcommonly occurs with acoustic suspensionspeakers is when the wires connecting thespeaker to the amp are reversed from onespeaker to the other. The two speakers areproducing the same note at different times,each emitting sound waves at exactly theright time to fill in the spaces between thewaves of the other speaker. The soundproduced by each speaker cancels out thesound produced by the other. This occurs, toa lesser degree, between the speakers of amulti-speaker unit: even the best crossovernetworks cannot exactly match the twospeakers’ timing together, even provided weignore the fact that each speaker has its ownresonant distortion which won’t match thedistortion of the other speakers. Evenelectrostatics have multi-panel phaseproblems.The Ohm F has none of these problems.Ohm appears to be almost the onlymanufacturer to be aware of them (with twoexceptions: the companies which usemodifications of portions of the Ohm F.which are also manufactured by Ohm; andthe Advent Corporation, which has longmade it a policy to use as few crossovernetworks as possible. The success and abilityof their “Large” speaker may be at leastpartially credited to this policy). The Ohm Fis a single, full frequency range speaker,producing sound solely by use of the“transmission line” waves that travel thesurface of the speaker. Careful engineeringand construction is responsible for the OhmF wide frequency range: it uses threematerials, in carefully controlledprogressions of thickness, to produce thefrequency range of 32-20,000.By using triangulation in the physicalconstruction of the cone to adjust for theunequal rates of waves transmission speedson the cone surface and (as sound waves) inthe air, Ohm has managed to arrive at analmost perfectly coherent speaker — nocrossover networks, no variations inthickness of the material that weren’tplanned upon. The speaker, which resemblesan elongated bass speaker, points downwardinto a baffled, closed box, so that only thetransmission line is used in soundTHE EAGLEcocktails ... lunchoon . . . dinner . . . lata snacks . . .IU1 BLACK STONE BANQUET ROOM HY S-1S3S14-Grey City Journal-December 7, 1973reproduction.The Ohm F will produce a recognizablesquare wave—the only speaker able to do so.This ability is the result of having the entirewave arrive in phase. The exactness whichmakes possible the reproduction of a squarewave also is present in the reproduction ofsound—a large step towards accuracy.Thus far this article has been an(undoubtedly confusing) attempt toenumerate the technical accomplishments ofthe Ohm F. The sonic results of theseachievements are, if anything, moreastounding than the technical results.Let me begin by saying that the Ohm F is aspeaker with which reproduction is so closeto the original that an equalizer would be ofuse only in correcting the deficiencies of thesource of the reproduction (records, tapes,radio). In this respect, the Ohm F would playback the original performance as exactly asit was possible to record it, and would bevery close to indistinguishable from the“live” original.The Ohm F is also the first truly omni¬directional speaker. All other speakers aremulti-directional, overlapping the dispersionareas of the various speakers. This effortstill left perceptible holes in the dispersion,desptie the very.nice effect. The Ohm F,since it radiates sound equally in alldirections (as if it were a cyclinder giving offnoise from its sides), is perfectlyomnidirectional in the horizontal plane. Thusthe Ohm F shares with the less perfect multi¬directional speakers the effect of havingexcellent stereo separation between thespeakers, no matter where the listenerpositions himselfBut it is the quality of the sound, ratherthan the stereo effect, produced by the OhmF that is extraordinary. The bass is veryclean and not muddy, and it is almostphysical in its impact. The mid-range is veryclear and full, though it doesn’t possess“presence” the way several “west coast"speakers do. The high end is astoundinglyclear: cymbals, violins, xylophones, flutesand piccolos are all so clear that the listenersuddenly has the feeling that, when otherspeakers play these passages, it seemed as ifthe instruments were not there.Listening to the Ohm F is a constantrevelation; Favorite records arerediscovered, as hidden musical lines are‘enunciated’ by the speaker. There is nosense of awkwardness listening to thespeaker; it is very smooth, and does not haveto strain to produce any of the audible notes.I listened to the Ohm F extensively withdifferent types of records. The speaker has adistinctive ability to separate theinstruments of an orchestra or a large band(which sometimes points out how badly andunevenly the recordings were made). Ithandles complex passages, such as those inMahler’s Eighth, with easy definition andwithout any muddling of the variouscomponents of the passage.The speaker is equally at home with rockand jazz, though it is much rarer in thesefields to find a record which is sufficientlywell made as to be able to exploit the abilityof the F. In fact, one of the problems with theOhm F is that it so greatly improves sheerquality of the sound that it is harder tocriticize the performance on the record: Iwind up listening to the quality of thespeaker’s reproduction, and forgetting thequality of the performance. However, when agood record comes along, the results arevery pleasing, with bass as solid, andmidrange as piercing and thrilling as an enthusiast could want. The advantages ofdefinition and clarity are apparent in rocktoo.And lastly, the Ohm F performs well, verywell, with solo instruments. Rubenstein’spiano, Fahey’s guitar, Rollins’ sax, Horn’sflute, Fournier’s cello-all seem to finallyreveal the most subtle nuances of theinstrument and the performance. It is as ifthe performance were occuring in your veryroom.Which brings up an interesting point. TheOhm F, while lending no specific sonicqualities (like pronounced lower midrangeor exagerated bass) to the music beingproduced, is not the same as what has thusfar been called a “neutral” speaker. Thoughthe Ohm F could undoubtedly assume thesonic-reporoduction idiosyncracies of anyspeaker on the market—simply by using anequalizer—the Ohm F would never be quiteable to become indistinguishable from them.Even if the Ohm F were equalized to exactlymatch the full frequency range response ofanother speaker, the Ohm F would still soundbetter; it is in phase, and it would be unfair tocompare the transient response to that ofother speakers on the market.At $400 apiece, the Ohm F may be beyondthe consideration of many buyers, and thefact that the speaker should be coupled aspowerful and clean an amplifier as possible(clean power-expense) is no help. Butconsider the fact that the quality ofreproduction by the Ohm F is the equal ofany speaker I've ever heard, and that isbeing generous to the other spwakers. Usinga value per dollar calculation, the Ohm F nolonger seems very expensive. You can hearit in Chicago at Midwest Hifi stores. At atime when the vinyl shortage (vinyl is an oilproduct guarantees that fewer new records,made ot generally poorer quality vinyl, willbe appearing, advances on the other end ofthe musical reproduction sequence are mostwelcome.MAROON AWARDSThe following people onthe Maroon and GreyCity Journal staffs havereceived the awards foroutstanding workduring the Fall Quarterand are authorized toreceive $50 apiece fromthe Maroon ScholarshipFund in late January.MIKE RUDY, maroonDAN ABRAHAM,GCJStaff Artistthe editorsV/l\Notice to Students and Staff;All University of Chicago books are subjectto recall. This regulation applies at alltimes, including interim periods.Therefore, if you plan to leave your cam¬pus address during the coming interim,please return all Library books. By retur¬ning charged materials, you can avoidpaying the normal recall fine of $1.00 perday on any books which may be recalledduring the time you are away. The returnof recalled books is your responsibility.Avoid the risk of recall fines-return yourbooks before you leave. Thank you.University of Chicago Libraries Driver mechanism of the Ohm F. Thediameter is equal to that of a conventional12 speaker. The square base fits intothe open top of the enclosure.Akadama Mama says,Be Nice to Mice*This week's letterswere kind ofdull, but I did geta neat package. .1It contained a home * Jbuilt mouse trap. Notone of thost' hurtful, snapper, killer.fxN 10 things. Hut a genuine can t-hurtyou-and- I’m-sorry - if-1 - scared-youkind of a thing. It was made of scrapwood and window screen (see illus.)and I got a very to get her friend ofmine to do a blueprint and instruc¬tions. I also have a friend wit h a copy-machine. so if you'd like* a copy of t heplan just mail me the mouse coupon.Now that we Yebeen nice to mice.I'd J club soda. ' i of a can of frozen lemon¬ade concentrate, plenty of ice andlemon and orange slices. To makemore just double, triple or quadrupleeverything.Listen to Manta, and passthe Akadama. the wine that tastesa lot more than it costs.\ /'faQ \ )r\xy '\ / ;\n i v v to 1111 v v. • ^ ^I liketogiveyou ( \ \ x»» — ^ Na couple of myj — >/ __ _ _ _ _ _ £ — ^ 'trite Akadamay '.Mail to: Be Nice To Mice / %|eci pes that will — t p.o. Box/» v +favorilrecipesbe nice to vou. Palos Verdes Peninsula, (.'a. U027 1*■ ' \kailama Mama, please lay a copy ofX f vour verv together friend s bl\ instructions on meI| NameI Addle: ueprint;AKADAMA& TUPMix 2 to 3 partsAkadama Plum;with 1 part TUP.I personally like / ./ /* _} I m checking this box because1^1 Akadama is picking up the postage anil"V I 1 hey would like it if I also asked you toSANGRIA AKADAMA* m ^pass an Akadama recipe card. iA bottle of Akadama Red. a pint ('f "*"* mm ^on<>..iti'<l l>\ Suni.m lni<-rn;in»niil I \ ( ICityStateit in a wineglass with ice Zip (‘odeGrey City Journal-Derember 7, 1973-15(Con't from page 7)Natural Diet for Folk Who Fast—Cookingwith Mother Nature. As he said in his nightclub closing, it all boils down to one all im¬portant question, "How much service did yougive your fellow human beings?"George Carlin covers much that is familiarin Occupation Foole: his keen charac¬terizations of New York voices (PuertoRican, Black, Irish, Italian, etc.); hischildhood in Morningside Heights or "WhiteHarlem"; and an exploration of particularlyinteresting words, such as Caucasian. Is it abrand of shoes? An illegal operation? Topson this album, though, is a 12-minute exposeon the seven unmentionable words oftelevision. It's not so much that his materialis new or original, but it's done with superbtiming, a genuine honesty and pure en¬joyment."The Cab Driver" highlights Pure B.S! Ifyou turned on the boob tube this past sum¬mer, you might have caught it, What can youexpect from a bathroom fixture salesman?Unevenness characterizes the rest of therecord, but one remaining standout is "TheMan From P.R.O.D.," Public RestroomObservation Duty, that is. Police OfficerPeter Pummel (Jack Burns) makes thedesired fool of himself as the head of the elitedivision of the vice squad to stop Commieperverts and Moscow Marys from making amockery of America's public restroomsystem.The Committee Revue is an im-provisational theater that opened its doors inSan Francisco in 1963. I've seen them only ontelevision (the obscene phone call, the onlyskit that I loved, is difficult to do only withjust sound), but they have been responsiblefor two films in addition to their manycampus and nightclub appearances. In fact,the Quiet Knight is hosting them this week.Unfortunately, the material here is eitherweak or inappropriate. The title cut, "WideWide World of War," a 1966 skit using foot¬ball game announcers and terms for anAmerican-Viet Cong battle, should have beenleft to die with the War. Starotypicalsituations are used too often ("The Dean'sOffice," "Computer Date," etc.) to make onefeel the need to rush out and buy this record.QuadropheniaThe WHOMCA2-10004By Tommy and the BijouxIt has been quite a while since +he lastWHOalbum, over two years, to be precise. Inthe interim we have been forced to make dowith a number of solo efforts which rangedfrom the sublime (Townshend's) to the banal(Daltrey), and two fine singles, "JoinTogether" and "The Relay," neither ofwhich got the airplay it deserved. ButQuadrophenia, the Who's new two record,rock opera type set, makes the wait wor¬thwhile.The group was kind enough this time toprovide a plot synopsis which, in addition tooffering rock critics everywhere a point ofdeparture for bullshitting about the album,happens to be the most interesting bit ofwriting to appear on an album since AndrewLoog Oldham's liner notes for the RollingStones, Now! Ip. The story is about a ratherdisturbed citizen of Townshend's teenagewasteland called Jimmy. Jimmy is hip: heeats uppers by the carton, has a zoot suit witha white jacket with five inch vents, anddrives a GS scotter with his hair cut neat. Butit's not enough. His mum didn't appreciatehis ruining his suit sleeping on the beach atBrighton (where he had seen the WHO), andthen she found a box of uppers. So Jimmy iskicked out of the house and ends up taking ajob as a trashman. That lasts two days. Onerainy night he notices the girl he fancieswalking arm-in-arm with his best mateDave. Much disturbed, Jimmy totals hisscooter. Fortified with uppers, he decides totake the 5:15 back to Brighton. There hepinches a boat and sails out to the middle ofthe bay, popping pills and guzzling gin for courage. After getting of on to the island henotices that the boat has drifted away,leaving him stranded on a hunk of rock in themiddle of a pissing rainstorm. Lovely.Quadrophenia, considered in connectionwith the WHO's other work, completes PeteTownshend's chronicle of the rise and fall ofthe youth culture. Townshend was among thefirst to express youth's newly gained self-consciousness. "My Generation,"written in1965, was a veritable declaration of in¬dependence for this new nation, and "TheKids Are Alright1," written the same year,could serve as its national anthem. Town¬shend was also among the first to suspect,however, that all was not well. Tommy,written in 1969, depicted youth's franticsearch for some form of higher meaning tolife, seeking it from such unlikely sources asa pinball wizard who had just regained hissight, speech and hearing. Good satire,especially in these times of 14 year oldperfect masters, but Tommy's plaintive pleaof "Hear me, see me, touch me, heal me"struck a bit too responsive a chord for whatwas billed as a love generation. Two of thelove song's on Who's Next, "Bargain" and"Behind Blue Eyes" were variations on thatsame "see me, feel me, touch me" theme.But by this time the despair of ever beingreached had transformed Tommy's plaintiveplea into a cry of desperation which pervadesmuch of the Who's Next Ip.Quadrophenia is a disturbing, at timealmost unbearably painful, album, duelargely to the fact that we are so clearlyshown the bankruptcy of the youth culture.Townshend leaves us with few doubts on thatscore. After assorted sins of the oldergeneration are spelled out in "HelplessDancer," a few bars of "The Kids AreAlright" are thrown in. But a few minuteslater Daltrey is singing"I've had enough of dancehallsI've had enough of pillsI've had enough of streetfightsI've seen my share of killsI'm finished with the fashionsAnd acting like I'm toughI'm bored with hate and passionI've had enough of trying to love."It seems that maybe +he kids aren't alrightafter all.So where does it all lead? Is a clue to befound in "The Punk Meets the Godfather, "which is even labelled "A mini opera witnreal characers and piot?" Townshend sings,in one of the most lyrical passages on thealbum: RECORDS"I have to be careful not to preachI can't pretend that I can teachAnd yet I've lived your future outBy pounding stages like a clown."Is Townshend saying that he sees where weare going and knows that it is nowhere? Is itnot fair for us to assume that he has found away out?He sure as hell seems content; his soloalbum to me, is the work of a man who veryclearly has found some sort of inner peace.But seeing that we are going nowhere andknowing the way out, he refuses to enlightenus, he insists that he must be careful not topreach. But why? Are we all to be strandedon an island in the rain? Lovely.But such questions of analysis shouldperhaps be left to the literary critics, for in asense it is all really neither here nor there.For Quadrophenia is a brilliant piece ofmusic. Townshend always had the talent toweave together a variety of musical themesinto a single piece.On the WHO's second album Townshendcombined elements from his own "TheGood's Gone," the Peer Gynt Suite, and thefinale to Handel's Messiah to tell the story ofa young lady who has a quick one while herhusband is away and is forgiven upon hisreturn. There are four basic themes toQuadrophenia, one for each member of thegroup (and our literary ciritics can examinethe import of the various themes at theirleisure), all of which are blended into a fewinstrumental passages which serve asbridges at various points in the album andare performed separately.These themes do provide the album with asatisfying infernal unity, but most of thetracks hold up quite well on their own. "CanYou See the Real Me" and "5:15" have beengetting some airplay. The former is probablythe funkiest piece of music the WHO havetYE EXAMINATION?FASHION EYEWEARCONTACT LENSESDR. KURT ROSENBAUMOptometrist(53 Kimbnrk Plaza)1200 East 53rd StreetHYde Park 3-8372MOTIVATION DEVELOPMENT CENTREPnoyctiy Pretextsauthor * metaphysical counselorLynn M.Iinstructor Georgia State Universityitcturt - Decanter ?7973. 8pmTfQhouteK,COMET OF THE CENTURYfersonal md sprttMl wptartiomAOULTS *2*0 • STUDENT ♦!*Mediii Room- ftsmarcX Hotel-Chicagofog ration Md informationMOTIVATION DEVELOPMENT CENTREiTO, lAFt AYE aUHVlEYV lu EOQJS M/72» 6775 ABORTIONLOWEST COSTIN THE AREA(WEEKDAYS)$100UP TO 12 WEEKS(312) 346-4345CALL 8 AM. to 8PMCHOICE, INCORPORATEDNON PROFIT16-Grey City Journal-December 7, 1973FAMIIY PLANNING SERVICE'»* 11..1 ever recorded. Keith Moon's drumming isfrantic, as usual, but unusually clear andtight. John Entwhistle shows why Jimmydescribed his bass as sounding like a"bleeding VC-10." And Roger Daltrey ob¬viously digs screaming out lines like:"I went back to my motherI said, 'I'm crazy, ma, help me.'She said, 'I know how it feels, son,Cos it runs in the family.' ""5:15" and "Drowned" are good timerockers which are made by Chris Stainton'spiano and Entwhistle's work on horns. StevieWinwood and Townshend himself haveshown us all of the neat things that onemusician can accomplish through thewonders of overdubbing, but for my money,Entwhistle's job of playing an entire brasssection's worth of horns and having it fitperfectly into a rocking piece of music is noless a feat. Listening to those two songs, Ialways find myself picturing a MotortownRevue brass section moving in step. Andthen I realize that it is all being done byEntwhistle. Stainton's piano keeps bothsongs moving right along.On "Drowned" Townshend once againgives Daltrey some great lines to sing andRoger makes the best of them. I would bewilling to forego ail manner of physicalpleasure, and possibly even suffer a bit ofpain in return for hearing and seeing Daltreysing:"Let me flow into the oceanLet me get back to the seaLet me be stormy, and let me be calmLet the tide in, and set me freeSet me free, set me freeI want to drownIn cold water."But desire to see such performancescounts for little in the Great Ticket lottery.But that's another story."Bell Boy" features Keith Moon speakinga good-natured, slightly drunken vocal,Entwhistle's soaring french horns, and a bitof synthesizer by Townshend which wormsits way in, around, and through. It's also thehappiest of the four themes. The transitioninto an instrumental statement of the BellBoy theme offer "Can You See the Real Me"is the most joyous piece of music on thealbum.The aforementioned "The Punk Meets theGodfather" alternates the loudly raucouswith the sweetly lyrical. The track beginswith the chord pattern from the break in"The Acid Queen." The rhyme pattern ofpart of the song seems to have been liftedfrom Curtis Mayfield's "Pusherman:""I'm the guy in the skyFlying high Flashing eyesNo surprise I told lies"In addition, there is a beautiful acousticpassage, which we mentioned earlier, thewords, "my generation," stuttered andpsychedelicizedSuffice to say the Quadrophenia is amusically and intellectually more maturework than Tommy and is better performed.Quadrophenia may not be as likable a workas Tommy. In the final analysis, Tommy wasa satire, and satires are generally morepleasant than tales of woe. But it is withouthesitation that I make this offer to anyone(Con't on page 17)Faded Dungaree Jac. ,‘tsWITH THESE t ClOHRJi EMBLEMS SEWN ON THE BACKauthorized sales & service31?-mi 3-3113foreign car hospital & clinic, inc.5424 south kimbark avenue • Chicago 60615 dueath I. 1)1 u> i.i,ha> Bros. hix. < umso.NAlso Available: NEW RIDERS of the PURPLE SAGE,ROLLING STONES, LED ZEPPELINJACKETS: $12.95 t $1.0(1 for postage and handlingArmy Shirts with Emblems: $8.95 4- $1.00 for postageSizes: S, M, L, XLEmblems without Jackets: $5.95 + 500 postageNaturally Faded Jeans; $1 95 t $1.00 postage and handling(Include waist arid length sizes)Send to HE AD SUED, 21 SOlTIIObP HD..\VO|{( I STI IL 11A 01607L(Con't from page 16)with WHO tickets: Buy Quadrophenia, listento it tor a week, and if you are not completelysatisfied and I still haven't got a ticket, I willbe more than happy to buy your tickets andrefund to you the full purchase price of thealbum.For EverymanJackson BrowneAsylum SD 5067By GAGE ANDREWSJackson Browne's new album, ForEveryman, is a full blown masterpiece. It issimply the best folk album by a male singerin five years, since Dylan's John WesleyHarding and Van Morrison's Moondance.Folk music has had very few creativegeniuses. Dylan, wordsmith and acclaimedbitter-sweet spokesman; Ochs, polemicchronicler; Joni Mitchell, poetic em¬bodiment of the conflice between humainityand womanhood; Van Morrison, sensualistsynthesizer of words and music.There are others who have come close:James Taylor, who had a more eloquent hurtthan most people, and thus became a well forother people's emotions; Neil Young, theprivate man made public, who was devouredby his audiences. Carole King, who turnedthe 60's into the 70's. Randy Newman, thebarker for life's the carnival's sideshow.Shawn Phillips, almost geometricallypolished in his presentations. They all justmiss stardom for exactly the same reasonthatthey come so close: each of them is avoice for so many people. But they have notbeen poets.A poet is beyond definition. I suppose that"poet" could be described as one who writespoems, but that changes the inherent con¬notations of the word. "Poet" is not so mucha descriptive epithet, like carpenter orexecutive, as it is a massively qualitativejudgement. The judgement cannot be madeof a "poet" as he is seen as a spokesman: todo so would be to accept the Platonic conceptof all life being imperfect reflections of theone unattainable archetype, the one pureimage. A poet does not fill that role.The term "poet, •• more than any otherclassification cr description of a person,connotes individualism. A poet is an in¬dividual who both possesses and expressesthe definitiveness of his time; he can freezetimes and places long enough for the rest ofus to recognize the identify them. Theleading folk poets are not so muchspokesmen as they are rallying points, focalpoints for the controversey or peace or painor fatigue that is in the air.Jackson Browne is a poet, the finest poetcurrently writing in music (presuming thatJoni Mitchell is called a poetess). Theanalysis of his work could be better ac¬complished by examining the nexus of hisfocal point which would be a lengthy,sociological endeavor; this album begs somesort of comment, and is obviously strongenough to weather shorter interpretation.Side one of For Everman starts out withthe only co-authored song on the album,"Take It Easy . Glen Frey (the co-author) did a stunning banjo line through the songwhen the Eagles recorded it for their first Ip.He is replaced here by Sneaky Pete on pedalsteel guitar, a move which changes the paceand effect of the song from starry-eyedwisdom of the road to a recollected parable.The musical accompaniment of the songbegins the transition from the setting ofBrowne's first Ip to the distinctive tonearrived at by the end of this album."Take It Easy" blends into "Our Lady ofthe Well" as first one instrument, thenanother, shifts into the new melody. There isa strong Spanish flavor to the song, that goesbeyond the flamenco riffs, and the starkparchedness of the lyrics."Colors of the Sun" was written in the late60's, and was one of the first Jackson Brownesongs to come to the public's attention (alongwith "These Days," both of which wererecorded in excellent cover versions by TomRush on his first Columbia album). It is oneof the best illustration of a poet serving not asa spokesman, but instead as a focal point:"Oh leave me as I am, I am not losingIf I am choosing not to plan my life...Out of step with the last desperate fling ofmass involvement, and too early for theadvent of the tough turtle shell that Nixonbegan manufacturing as soon as he heard theelection returns, it was an all too truepremonition. "Colors of the Sun" wasprophetic:"Awake to understand you are notdreamingIt is not seeming just to be this wayDying men draw numbers in the sand,Dream to conquer little bits of timeScuffle with the crowds to get their share,And fall behind their little bits of time.""I Thought I Was A Child" begins with apiano guitar duel, and gradually developesinto the most peacefully rueful recountings apainful first affair ever recorded. At firstreminiscent of the Eagles' "WitchyWoman,'' because of the similar strongfascination that is focused upon the womanin each song, "I Thought I Was A Child" is asimple confrontation. The author was "solonely and so wise / until you turned andsmiled... it's such a clever innocence" withwhich she does him wrong."These Days" was one of Tom Rush's mostsuccessful songs, almost reaching his own"No Regrets / Rockport Sunday" in in¬tensity. Browne uses essentially the sametheme as Rush: wandering through thetimeless grey fog that envelops the end of arelationship. The author conveys a sense ofpersonal fault or shortcoming that is notresolved:"Don't confront me with my failuresI had not forgotten them."The arrangement credits Greg Allman withits inspiration, a quiet reminder that it is notonly lovers who get parted."Red Neck Friend," which opens side two,is the first single pulled from the album. It'sBrowne's version of what New York called"the New Lady Chatterly and Her Blue-Collar Lover." By far the most rocking andlyrically accessible of his songs, it's anatural for AM success."The Times You've Come" is the mosttenderly erotic song I've ever heard. Theylyrics say it all: "In the time that we've known that weeach are a part of oneanother/ we've lost as much as we havewon/ as our lives havegrown, we've found that it only brings uspain/ to hang ontoThe things we've done/ still I've loved thetimes you've come./When you went away, taking all that I'dbuilt my false road on/I dropped my life and couldn't find thepieces Everybody'sgot to show you their own pain, and thoughyou may try to findway up around it,/ but the need for lovewill still remainNow we're lying here in the ruins of ourown pleasure "The next song, "Ready or Not" comes as atongue in cheek sequel to "The Times You'veCome." After meeting a girl by "doing hisvery best Bogart," Browne wakes up onemorning to find that "baby's having troublegetting into her jeans." The questions ofwhether the author is "ready or not" is of noconsequence, since it is happening anyway:entanglement is inevitable. The electricfiddle, taking the place of all the guitar lines,lends an air of solemn whimsy to the wholesong."Sing My Song To Me" and "ForEveryman" blend into one song. After finallyfinding someone who will "sing my songs tome.... bring my dreams to me, out of thedarkness," the author realizes that dreamsare of the future as well as of the past:dreams have a unique place in reality, whilewe all wait for everyman."They've seen the end coming down longenough to believe theirlast warning/ Seems like I've always beenlooking for someother place to get it together / where witha few of my friendsI can give up the race, and find somethingbetter/ All my dreams,well thought out schemes, to gain theMotherland/ all eventuallycome down to waiting foreveryman Everybody just waitingto hear from the one who can give theanswers."Browne's awareness of his own role as a poetshows in the lyrics. After seeing the vision,and naming it for us—"the father's hand"—he disclaims his ability to lead: "I don'tclaim to have seen the land/ walk away ifyou think I am." The role of the poet is that ofa voice, speaker, focus; not to lead, not to pECORDSlyrics are excellent, but his singing hasimproved since his last album... not onlydoes he try for new notes, he hits them, andin the right places. The productions creditsare not listed (Browne himself?), but the mixis clear, and the choice of accompanimenthas a sure touch.There's a whole slew of famous peopledoing their bit here, but heading the list ofBrowne's invaluable jack-of-all-musical-trades, David Lindley, Browne and Lindleyremind me of Tom Rush and Trevor Veitch,who seem to know the other's minds per¬fectly. It is Lindley's acoustic guitar that isalways throwing in those little perfect riffs, itis his electric guitar that laces through therocking numbers like "Take It Easy."Lindley's slide guitar is a major factor in thesuccess of "These Days" and "Red NeckFriend,-" and it is his fiddle playing that setsthe tone for "ready or Not". Lindley is easilyone of the finest back-up guitarists around;though no one else seems to have thought ofit, the possibility of a solo album by himexcites me a great deal.Other big shots who also appear: JimKeltner, Sneaky Pete, Craig Doerge,Spooner Oldham, Leland Sklar, Joni Mit¬chell, David Crosby, and Bonnie Raitt, whodoes a beautiful, tender harmony on "TheTimes You've Come." The musicanship isimpeccable, with the sole exception ofSklar's badly distorting bass speaker thatwas corrected in the mix. That buzz from thespeaker was so bad that I spent five minuteschecking my system for defects before Ifinally chalked it up to the record,instruct, but to make as clear as uniquelypossible the situations in which we findourselves. Browne has done that superbly.There are many people who ought to becredited for their contributions. Browne'sOh yeah, one other complaint: there is nolyric sheet, which is a waste. These songs,despite their effectiveness and excellence assongs, could easily stand on their own, aspoems. For Everyman is a superb brillaintacheivement, the coronation album of ourfines new folk poet.Internationalbest-seller...unquestionably thegreatest adventureof escape ever filmed! TWO MENWITH NOTHINGIN COMMONBUT A WILL TO LIVEAND A PLACE TO DIEALLIED ARTISTS |)ii:si)nisSTEVE IDcQUEER DIISTRi HOFFimU)in a FRANKLIN J.SCHAFFNER filmPRPILLOnSEE IT DOWNTOWNStarts FRIDAY. DEC. 21abc GREAT STATESSTATE LAKE VICTOR JORY DON GORDON ANTHONY ZERBEHENRI CHARRIERE , JERRY GOLDSMITHFRANKLIN J. SCHAFFNERPANAVISION* TECHNICOLOR*ALLIED ARTISTS-,. QD PGGrey City Journol-December 7, 1973-17(Con't from page 1)show but all advertising and promotion. It’sphenomenal what you can spend. A Mandelshow always costs around that.Maroon: Is that because of the size of theplant you are dealing with?Nelson: No. I think it’s because we nowhave professional people doing our shows.Michael (Gall) has a degree in technicaltheatre. So does Jenkins in design andtheatre. It would be ridiculous to have peoplelike this and then say we can’t spend anymoney. Michael, who studied lighting, spent$2500 on lighting equipment so far this year.Maroon: What sort of percentage goes toacquiring new equipment?Nelson: Oh, we don’t deal in percentages.It is based on need.Gall: If we need a specific piece ofequipment, if the production merits it, and ifthe budget allows it we’ll buy it.Maroon: Mike, do you feel you have apretty good technical base to work from0 Areyou happy with it?Gall: Yes I am. A very good start.Nelson: You can put this down. We mustbe the only theatre in the world that has itsscene shop in the third floor of a bell tower.Now, the door leading to the room is anaverage sized door. So, not only do you haveto haul the lumber up three flights of stairs,but you have to get the assembled prop orpiece of stage through the door.Gall: Nothing can be built larger than this3’ by 6’ doorMaroon: So this leads to building things insections rather than in one unit?Nelson: It leads to constant battles withthe janitors, building and grounds, fireinspectors because there is this only placefor us to work.Maroon: Where would you like to seeimprovement in the theatre0Gall: From a technical standpoint l wouldlike to be able to centralize our efforts Rightnow we have tooL scattered in two differ entlocations. We have them on stage becausethat’s the only place we can build things.Also we have them ?n the scene shop becausethat ’s the only place we can have our sawsand cutting equipment. I* would be nice tohave a length of tune we can work on stage'Anen we work in Rockefeller it's worsebecause we have three different locations.The time that we have to set up and uo the tech for the shows is about a week. Thismeans combining all elements ofproduction—props, lighting, everything—allat once. It definitely influences the style ofyour design and what you can design.Maroon: Do you have qualms aboutmoving out of Mandel to do shows?Nelson: We’ve used a lot of alternativeTHEATERspaces on campus. We did a show in theBergman Galleries. We’ve done shows in IdaNoyes. We had one proposal to do one in thefieldhouse—to use the backs of the bleachers.It would have been a fantastic production butthe powers that be wouldn’t allow it becauseof the conflict with sports.Gall: This was one of the strengths ofEveryman. We did it in Rockefeller Chapelusing a non-traditional theatre space.Maroon: Are there any illusions, hopes, orplans for a new theatre plant?Nelson: They better not be illusions orhopes. I think there will never be a goodtheatre program without a new theatre.There will never be a good professional stafffor any length of time if there is no newfacility.Rudali: It is crucial for our survival. Oursurvival means this kind of expansion. Itdoes not mean being here and doing the samething. It means we must expand—artisticallyas well. So it’s very important to get a newtheatre.Nelson: It’s part of the developmentprogram. From Mr Levi on down there is agood solid commitment. It simply requiresthat donor' who wants to contribute to it.Maroon: Wh:n is the total projected costand how much money is in the bank?Nelson. There’s no money in the bank. Ithink when you build something like atheatre you look for one donor—whose namegoes on the front of it. The money figure isbetween $2.5 and 3 million.Maroon: What does the piant include0Nelson: 1! calls for a 500 seat house,procenium thrust. There's a studio theatreadjoining the stage which would seat two tothree hundred ft's unclear. There would also be a small theatre for experimental stuff.Fink: But it would be like a regulartheatre—a big scene shop with big doors.Gall: The scene shop would adjoin thehouse and stage. It would have roll doors sothat you could actually build things and rollthem out on stage. You could do painting andeverything in the scene shop.Maroon: If and when you get that donorwhat expansion in staff do you foresee?Would you expect a theatre department?Nelson: I don’t think so. I think that’s awhole different notion, a different issue, anda different commitment. I think what theUniversity is committed to is a center oftheatre activity.Maroon: Is there an antagonism towardthe establishment of a department?Nelson: You’d have to talk to Nick aboutthat. But my gut reaction would be to sayyes. In terms of what the University standsfor, what it is and what its resources are it’snot a question of people being for it or againstit, but rather, is this the place?Rudali: I don’t think there is anyantagonism. I think that while there mightnot be a department, certainly not adepartment, there will be expanded programin teaching theatre art. The question iswhether you become a professional schoolteaching students to be lighting designers, tobe actors or whether you teach them aboutlighting, about acting. And, therefore, you donot try to produce a professional endproduct.Maroon: Why wouldn’t you want to dothis?Rudali: I’m sure the whole nature of theUniversity’s theatre would change. It wouldbecome exclusively for those who wereenrolled in it. You just could not be acommunity theatre.That's not to say that that is bad. It's justthat it’s a huge step to take. What we need todo is extend credit in theatre arts wherepossible but not aim to be professionalschool.Maroon: The two .could tie: exist side-by-side?Rudali; They could Bu' the excitedamateurs that we have around here would :>-in second place. The amat.ee can includethose who are even better then those whowish to go into the theatre p: > c- sionallv It’snot a matter of excellence. Th“ term is no;perjorative in that sense. But there are ver many people, because of the nature of thegheatre, who do it very well but can’t affordto risk themselves in it. It’s a very dangerouscareer to take.Academically one of the best kinds ofeducation would come if we are ever able tohave artists in residence. There might be adirector or a playwright in residence. Theywould perform and direct their own plays.Thus they would be set in both an academicand a practical setting.In a sense Libby Appel is a step in thisdirection because she will provide exposureto a different kind of directing. In the sameway a playwright might come here to talkabout himself and his plays.The only kind of artist I would be worriedabout at this point would be an actor ofstature. Fitting that person into our schemewould be more difficult. Actors rarelytheorize and probably shouldn’t. In theexperiments I’ve seen or heard of at othercolleges the actor comes in and does a partwhile others stand around and watch him.What we should do, what we ought to do,but can’d do now because of lack of funds, isto bring in touring companies ofinternational stature to expand the theatricalconsciousness of this community.Maroon: You, Mr. Rudali, have been herehow long?Rudali: I’ve been with the Universityseven years.Maroon: When you arrived what changesdid you want to make?Rudali: I’ve only been with the UT twoyears. What I felt needed to be done was tocharge the UT with as much energy as wecould. I wanted to do as many full scaleproductions as possible. Also we needed a lotof discipline. If students have no actualcommitment, because this is not aprofessional school, how then do we get thesame kind of disciplined results as one couldin a professional school0 You mustencourage the discipline People recognize itis a long complicated community art thatmust have a great deal ot communal effortCharles Jenkins, who is on leave, believesthis very strongly. He has worked very hardwith me on this.Maroon: How large is the UT community?Fink: It fluctuates a lot. I would say thisyear we have had twenty people youcaneount( Con'* on popeCHECKECHRISTMASVACATIONok !*ak• w o a k * 11MM! !>\\EVENINGS• WO Ilk CIO'OR <s! MOO• { \ | \|; { )f \ I» ! \!>\ v4{i10o MALE OR FEMALEiARN MONEY DURING CHRISTMAS BREAKAPPLY NOWDRIVE A YELLOWJUST TELEPHONE 225-7440 ORAPPLY in PERSON AT 120 E. 18th ST.liOMiDISCOUNTON ANY ITEMWITH THIS ADNeedlepoint KitsPainted CanvassesTapestry YarnsCrewe'Crochet CottonsEmbroidery FlossComplete line of Yarnand Knitting Accessories1633 EAST 55TH STREETCHICAGO, ILLINOIS 60615493—3523l 8-Grey City JournaLDecember 7, 1973 ***- -n'-Tg^-irpTyrMii-irr^yfiriiWir -irTiara,-r—y 1Imperfect in OriginalTHEATER(Con't from page 18)Gall: It’s hard to say.Nelson: You have a core group and I thinkthere’s a group of twenty to whom we can geton the phone and say “C’mon over” and theycome.Maroon: Are most UT students graduateor undergrads?Fink: Undergraduate.Maroon: No graduate interest?Nelson: Very little.Maroon: Wouldn’t you say for a universityof eight thousand that twenty is a smallnumber?Fink: That’s why we want to encouragemore people to come and participate.Michael had a real problem with the lack ofpeople available to work on the set forEveryman. If we had more people helpingjust a little bit it would help a lot.Gall: We believe there are more peopleinterested and available. It’s a matter ofcommunicating to them that UT does exist.Maroon: Have any of the faculty recentlywritten plays that you would like to seeproduced by UT?Nelson: Yes. As a matter of fact we doaward the Circle Drama Prize. The CDP isan endowed award which the university hasadministered for twenty years. Every otheryear the prize is awarded to the best newAmerican play. There are substantialmonetary awards, $1500, $1000 and $500. Thisyear is the year—an even numbered year. ’74is the next prize. We are getting the contestentry forms prepared right now.Maroon: Who are the judges?Nelson: We receive 400 scripts. There is ascreening process amongst the staff to weedout the chaff. Then a final judge or a panel ischosen. Alan Schneider chose the winners inthe last contest. (Alan Schneider is arenowned director of Albee and Beckett inthis country.) Thus in that context we havehad several entries from faculty members ofthe U. of C.Maroon: Can you name any outstandingor up and coming student playwrights whoseproductions we should look for this winter?Are there any?Nelson: You mean original plays that theyhave written?Fink: I think Mark Kenmore is our only upand coming playwright. There aren’t anymore to my knowledge. Hardly anybody evercomes around and says, “Here’s a play I’vewritten.” Mark’s about the first one we had.Nelson: Well, yeah, well wehad...uh...yeah, this year there’s, uh...yeahwe have peaks and valleys in, uh,various...parts of the theatre. Last year, uh,we did have Bob Hopkins who did his...Fink: That’s true.Nelson:...his, uh, ...thing.Fink: That’s true. I don’t think of those asplays though.Nelson: Well...he did.Fink: Yeah...that’s true.Nelson: And the year before we had ChrisLyon who, and uh, his group that wrote plays. They did the Socco and Vanzetti thing.Fink: That’s true...o.k.Nelson: Uh—the group was called‘Collective’. This year, um, ...Fink: Mark...Nelson: Mark Gordon...Fink: Kenmore.Nelson: Mark, Mark Kenmore, pardonme, and uh...his thing. Who knows?Maroon: So there is no pool of talentreadily available?Nelson: You mean for writing plays?Maroon: Right.Nelson: Not that we know of.Playwrights...are very inward people.Fink: Any student who wants to writeshould keep in mind the CDP. It’s open toanyone and it will be publicized.Nelson: In an effort to stimulate studentsinto writing plays, every winter quarter, wehave an experimental weekend. It’s designedfor people who are aspiring playwrights,directors or actors, to do their thing. We haveput on original plays. These are short, two orthree in a weekend.Maroon: Has the dearth of playwrightsbeen alleviated somewhat by thisexperimental weekend?Rudall: It’s important that such a weekendexist for those wno have the courage to try it.That might not seem too encouraging. Butthe point is that any playwright, whether it ishis first or fiftieth play, will learn fromperformance of that play. It is as true for theexperienced playwright or the inexperiencedplaywright that actual performance is theone place that you learn what to do the nexttime or what to do with this play. The besttheatre has always been the theatre wherethe playwright worked with the actors. Thatapplies on an experimental basis as much asit applies on a professional basis.The possibility of performing one’s ownwork should be encouragemeni enough. Ifanyone wants to do it we will encourage themand help them as far as is humanly possible.Nelson: If the board decided to do aproduction that means that the board takesresponsibility for getting it produced. In thatsense it is a tremendous encouragement forpeople who want to try their hand. In otherwords, if there are tech people needed andthe playwright doesn’t know anything abouttechnical matters, its the board’sresponsibility to provide help. It’s tough butthey do it. It works.Maroon: Mr. Rudall would you care tosum up?Rudall: Any theatre that works well,works as a family—works well as acommunal group. But if it is to work it shouldnot be an exclusive group. Because it is afamily in the first place, it’s going to take on the appearance of being exclusive. Andthat’s not an appearance we just don’t wantto be fostering. It is not exclusive—we are asopen as possible. Open for anyone to comeand do anything on any level. If they willcome to us, we will tell them how little or howmuch they have to do.It’s always depressing not to be case. Butthat happens to professional actors of thegeatest stature. Being cast in a play resultsfrom a variety of reasons—balance,approriateness, physical height—all kinds ofthings. If a person tries out once and is notcast, they should always come back. Theyshould come back three and four times.So it is very important that people come tous if they have an interest in the theatre. Wewill be glad to direct them into things theycan do. So they are not afraid of the amountof time needed for a major production, wewould like to assure people that we will notmake them work forty hours a week. If aperson comes he can do as little sewing aseam on a costume or painting a flat. He cando as much as helping us design lights orhang them.One of the extraordinary things over thepast few years that has happened is thatthose who are passionately involved in thetheatre have given an enormous amount oftime while being students in other fields. InEnglish, in business, the hospital, elsewhereand the best of them have gone on to doPh.d’s in theatre at Minnesota or Berkley.There are people who have done a smallamount but have had enjoyment from doingit and learning from doing it. We can alwaysuse help. It is such extraordinary fun. Theonly trouble is you might get hooked.SANCTUARY(Con't from page 12)when I thought of them, I just picturedpeople hanging out the windows.Siegel-Schwall is known around the world,but they don’t like to do a lot of touring.They’ve been around maybe ten years now,which is long enough to learn w hat it meansto sign a contract: usually it means to getscrewed.Do you have any trouble getting people tocome who you want to come?No. I thought we might have some trouble,but we haven’t. People really like it here, Iguess, and when I ask them for a date andthey can’t make it, they ask me if they cancome back some time later. Jethro, ofHomer and Jethro, was going to come thisweekend, but he had a gig down in SouthCarolina. Now he’s going to come in Januaryor February, and he’s going to play with hisson’s group, Wildflower. They’re really a fine folk/ country group, and his son is anamazing guitarist, so we’re really getting abetter deal on it.Do you know when Phil Ochs is comingback from Africa?In January, he said, the last time I talkedto him. I’m pretty sure that he’ll be in theSanctuary, because he said he wanted to playthere. If he hasn’t changed his mind sincethen; Phil’s kinda weird.How is Phil doing? He had a really roughperiod with the crowds for a while, while hewas back into rock and roll. People booedand hissed, and threw stuff at the stage, andthen the next time I heard of him, he’s inAfrica. I guess audiences got pretty rough onsome of the performers.Yeah, they do, they really must. Phil’sbeen through a lot of things. He’s incredible;he really insane. He’s got an incredible mind.He started out as, he still is an A-l journalist.He was my roommate in college, and hestarted a paper, and later became editor ofthe campus paper (at Ohio State) one yearafter joining the staff. It’ll be a really goodreunion for us.What happens to performers when theycome down here? I assume that none of themhas been mugged or robbed. But where dothey stay; in Hyde Park?Some of them stay with Sharon, and a lotstay downtown. It’s pretty much theirdecision; the Loop is pretty near.Have you been having success with Sanc-tuarv?I’m satisfied, as far as what I thought Icould do with it six months ago. I think we’vehad consistently the best shows in town thisfall. I get discouraged sometimes, like whenpeople don’t show up for the Thursday nightshow. I guess I can understand that; it’ssimply that people don’t come out onThursday.Why do you do Thursday and Friday showsinstead of Friday and Saturday shows?We want to do Saturdays. The reason thatwe didn’t do Saturdays in the beginning isthat there was no way that we could breakdown the equipment in time for the Sundaymorning service. Now we’ve got it solved:we’ve custom-made the towers so that theyfit, and just slide between the pews and downthe center aisles to the back. Before, theywere too big, and we had to pick them up andcarry them. They would sway back andforth, and I knew that all it would take wasfor one of those towers to go over, and itwould be all over. We wouldn’t have thecapital to replace the materials. We had tocut them down; we are now able to set up andbreak down in about an hour.Could you give us a rundown on how youcontact artist to perform here?I like to talk to individuals. There are goodagents and bad agents, the thing is that I’vebeen fortunate in knowing a lot of peoplebecause I’ve been playing more than tenyears. That gives me an advantage, when itcomes to talking them into coming down toHyde Park. Plus I meet a lot of new peoplefrom around Chicago, like TS Henry Webb. If(Con't on page 20)WILL YOUR CAR STARTIN COLD WEATHER?GIT A TUNE-UP NOW!Visit our ServiceDept, for Tune-ups.Brakes, Slmonlze,Storage & DeliveryGATEWAY GARAGE5508 Lake Park 241-6220THE HEBREW UNIVERSITY OF JERUSALEMPrograms for American Students 1974/75■ ONE YEAR PROGRAM - for college sophomores and juniors. L■ FRESHMAN YEAR—of 4-year program to B.A.,B.Sc. degrees.■ REGULAR STUDIES—for college transfer studentstoward B.A. and B.Sc. degrees.■ GRADUATE STUDIES - Master's and Doctoral programs.■ SUMMER COURSES-given in English.i For applications and information: 1' OFFICE OF ACADEMIC AFFAIRS / AMERICAN FRIENDS OF THE HEBREW UNIVERSITY11 EAST 69 STREET, NEW YORK, N.Y. 10021 / 212 - 968-8400| Na"Ald'COS. Get your Volkswagenpointed FREE!You can earn easy money, every month during school,for doing nearly nothing. Beetleboards of America willpaint your car FREE, in incredible fashion, and pay youfor driving it around as usual. That’s practically all thereis to' it. For the full story, write immediately to:Beetleboards of America, Inc. Or Call7785 Sunset Blvd. (213) 876-7517Los Angeles, California 90046 Collect FOR SOMETHING DIFFERENTU 4PHONE 955On Sunday at 10:15 St.Gregory of Nyssa LutheranParish will serve a festive Ad¬vent breakfast. Holiday foodand wine will be served, and atable Eucharist will becelebrated in place of ourregular worsnip service.These meals are free and allare welcome. First floor,Chicago TheologicalSeminary, 5757 S. University.We are holding this eventespecially for those who havenot worshipped with us beforeand would like to meet us inan informal setting.9 A.M.-4:30 P.M. Ida Noyes 209SHAPIRO’S DUE BACKPlaasa wrap in plastic if raining or snowing Mon.-Fri.Grey City lourngj-Deccmbcr 7, 1973-19we can, I’d like to see more people from thearea play, too. I think it’s a function of amusic place to give people exposure: that’swhy I like the hootenanies.Are you planning a long range artist list? IfI asked you know, could you rattle off a list ofwho’s coming during the winter?I couldn’t give you dates, no. Over theChristmas vacation, I have to get seventy-four together. I know Phil Ochs is coming,and Mimi Farina said she’d like to come;Bryan Bowers too. A lot of people are comingback, like Jaime Brockett and JackSchechtman. He’s working on a new albumfor Columbia, but they are giving him a hardtime. When he came here I asked if Columbiawould want to help with the publicity for hisconcert. They said no; they feel there’s not amarket here. That’s what I have to deal with,in record companies.Have you had any complaints at Sanc¬tuary?Well, we get a few complaints about clean¬up. People have to understand when theycome in there that it is a real church, with acongregation that meets on Sunday. That’sthe most important function of the Sanc¬tuary; it obviously can’t become a real joint.We try to keep the pews polished.Do people feel weird playing in a church?For sure. The room has its own vibrationsand its own energies. It’s & very spiritualthing. I think when people come in there andplay, they give a unique performancebecause of that. It’s only natural that that’swhat happens: it’s big, and holy, and affectspeople strangely.Most of the rest of Chicago is liquor clubs,you know, places where you come in andpeople are really drunk and obnoxious. Thenyou come in Sanctuary and it’s anotherscene. You can go there and just dig themusic, and you don’t have to be hassled byhecklers, and waitresses taking your order,and cash registers ringing. It all balancesout, because the atmosphere for playing ismuch better; it way over compensates forthe fact that we don’t have a liquor license. Ithink we have a lot more to offer, without alicense.What do you do with a heckler when youget one?Brockett set the tone for the whole thing;ever since he was here we haven’t had oneheckler. He just put it right to him by asking“What do you mean ‘we’?” because theheckler was saying “we want to know thisand that.” Brockett just said “I just want toknow who ‘we’ are. Does it mean everybodyhere tonight?” and the audience goes“Nooo!”Most people want to hear the music. Theydon’t want to hear all that shit.I hope Brockett can come back.Yeah, he will be. There’s one thing aboutBrockett; he really needs to do a live album.Sanctuary happens to be a perfect recordingstudio. The tapes I’ve made there soundmuch better acoustically than the liveperformance which the audience hears. Themikes cut out a lot of the echo problem; therecordings are clearer than a live per¬formance. People like Brockett, who arereally good performers, could use a livealbum.I’ve got a tape of “Hush, Hush” (withSiegel-Schwall) that is just incredible. Rolodoes a bass solo where he’s talking to theaudience with his base, and they’re talkingback to him. I took it up to Wooden Nickel(Siegel-Schwall’s record label), and theyagreed it was the best version they’d heard.Do you think you can make it here in HydePark? RECORDS(Con't from page 17)Greatest HitsJohn DenverRCA CPLl-0374By GAGE ANDREWSWe don't usually review greatest hitalbums, but I'm making an exception forJohn Denver. Throughout his career, I'vealways thought that he was one of the mostsickeningly sweet, stench and nausea in¬spiring performers ever to have themisfortune to be brought to the public'sattention.He inspires a John Bircher style diatribe inme, about how the rottenness of Communismis insidiously infiltrating the very moralfabric of our society. The problem is not thatDenver is a Communist: it is that he isexactly the opposite, disgustingly American.Dewy-eyed, right or wrong, Mom and applepie wholesomeness—they're all contained inDenver. He is the living embodiment andexponent of the kind of blind patriotism thatmakes a mockery of the America that I hopefor. Denver damn near destroys the countrywith his sugarcoating.So out of deference to my critics whosuggest that my dislike for him is based onjealousy of his good qualities (!), I decided toreview his greates hits Ip. Surely, if he canredeem himself with me, it will be throughthe graces of his finest efforts, the ones thathave spoken to his America. Songs include''Leaving on A Jet Plane," "Take Me Home,Country Roads," "Rocky Mountain High,"and several others that were featured in atelevision story about a girl who died. It alladds up to a waste of good vinyl.It depends on what you mean by make it.Financially, that’s always a question thoughit doesn’t seem too bad now. I’ve been tryingto be more optimistic, writing “up” songs,trying to be more positive. It’s a very hardquestion to answer; I live each day, one byone, and don’t think about the long run toomuch. I’m not too worried about things,though.The Grey City Journal agreed with JimGlover that something should be done to savethe Amazingrace. The city of Evanston istrying to close it down on two charges: thatthey are a profit making enterprise, and thuscannot be part of the University; and thatthere are too many unrelated people living inthe same house (Amazingrace is run by acollective).Amazingrace has been a vital and dynamicforce in music in Chicago. Their concertshave consistently been high quality, bringingartists who have either been limited in theamount of their Chicago exposure, or havehad none at all. It has been a service to theNorthwestern campus, and is one of the mostrespected concert producers in the city. Itwould be a shame if Evanston prevailed intheir efforts to close Amazingrace.The current status of Amazingrace isunknown to me. They ask all people whowould like to help to contact them, and theywill direct you to the most effective means ofsupport. Their phone is 492-7255. Rod TaylorAsylum SD 5062By GAGE ANDREWSRod Taylor is a far better than averagepoet (his first book, Florida East CoastChampion, predates this record by about ayear). His initial efforts at writing melodiesand performing them is a rare success.Taylor sounds a lot like some other people,especially Kristoffersonand Dylan. "I OughtTo Know" sounds, both vocally andmelodically, like "The Ballad of Frankie Leeand Judas Priest" from John Wesley Har¬ding. "Railroad" made me check the creditsto see if Kristofferson was on the album."Double Life" borrows a little from theRandy Newman style - singing with thetongue firmly in cheek, a method of creatingprofound misunderstanding.Taylor has excellent help on this Ip: fromBonnie Raittand Joni Mitchell to Ry Cooderand David Laflamme (on fiddle). Theproduction is clear and distinct (an Asylumlabel trademark), and the recording and mixstand out from the morass of new releases.There is only one serious fault with thisalbum: it may be too late.This record, you see, ranks up there prettyclose to Me & Bobby McGee and John WesleyHarding, and it is certainly better thananything Kristofferson or Dylan has donesince. The simple touches - the flailing violin,the shrilling sax - are all not only ap¬propriate, but they are unfamiliar and thusrefreshing to us. And the writing, well,James Dickey (in commenting aboutTaylor's book) said that "Rod Taylor has avery real kind of primal energy, vitality, anda very great originality which is going to bethe salvation of all of us in Americanpoetry." The talent is clearly there: Taylorwill have a ready made market which isstarved for his talent, IF the musical sen¬sibilities that were prevalent around 1969-70(when Harding and McGee appeared) arestill present. Especially watch out for thesecuts: "Livin Dangerous Blues," "I ought ToKnow," and "Man Who Makes It Fall." The Magic's in the MusicKen TobiasMGM SE 4917BY GAGE ANDREWSI like this record. It's easy to sense thatTobias' blue jeans weren't bought prefadedat Saks. There is an aura of a small folk clubabout this record, with the band slightlydrunk and vascillating between outrageousput ons and more sober efforts at what theyrehearsed.There are a lot of cliches in this album - thelyrics could be very stilted if there wans'talso a sense that everyone knew that theywere performing cliches, and just said "whatthe hell". Cliches are profound, funny,recognizable, fun; but they are never takenseriously. This record succeeds because it isa small record. It is simple, unadorned; eachsong only goes in one direction, and once itgets there, the song doesn't expand into anysort of universal consciousness..The style of writing that is contained in thisalbum has three possible results: insightsthat come from a sharp and well chosenfocus; super-,utter, extraordinary preten¬tiousness; or a limited achievement, thatknows the boundaries of its own possibilitiesand has a hell of lot of fun exploring them.The Magic's in the Music is the third type.Ege BamyasiCanUnited Artists LA 063-FSpace RitualHawkwindUnited Artists LA 120-H2By MIKE FRANZENThese two groups are similar in thebuilding blocks which they use to constructtheir music. They both use sounds of limitedtonal value in irregular rhythmic figures toachieve confusion in a larger context of longrepeating rhythmic figures.Hawkwind especially expresses theirideology of paradoxes particularly those ofseparation jn unity and confusion in order.The SPACE RITUAL jacket unfolds to ex¬pose a mixture of scientific and mysticthought illustrated by green tinted graphics.Hawkind is very intent on this spacebusiness.Can is an improvisatory band. They im¬provise without themes on which to performvariations. The result is music that appearsto flow stream of consciousness. The musicdoes have a cohesive nature. The cohesive isbased mostly on rhythmis motifs andrepetition. Two of the group's members havestudied under Stockhausen. Their music isnot easy to listen to and certainly is not salonmusic.(Con't on page 23)ASK THE MANFROMEQUITABLEABOUTTHE YOUNGPROFESSIONALSPROGRAMusoffering life insurancewith premium financing■ for interns and residentphysicians■ full-time graduate students■ full-time professional-school studentsClark R. John, C.L. U.401 N. Michigan Ave.Rm. 552Chicago, Illinois 60611Phone 321-5024people bui/d d6%THE EQUITABLEThe Equitable Life AssuranceSociety of the United States,New York, N Y. The Adventures of A<HAI A <L ALtSS(pronounced: AH-HI-YA KLAUSS) Open a bottle of DEMESTICA RED or WHITE WINE and lem whythey are the largest selling wines in Greece. DEMESTICA RED, awell-balanced red ... DEMESTICA WHITE, a light and froily Ublewine.HAVE YOU EVER TRIEPDEAfEST/CA REDOR WHITE WINE NO, BUTI'LL KEEPAN EYEOPENFOR ITImported from Greece by Corrilon Importer IK, Stm Voet. If MK?20-Grey City journal-December 7, i9/ jTo the editor:During our recent contract dispute, whenmembers ot the Chicago Symphony Or¬chestra were locked out, a number of freefund raising concerts were held in churchesand private homes throughout theChicagoland metropolitan area. We haveexpressed our thanks to those supporterswhose names and addresses accompaniedtheir contributions. However, manydonations were given anonymously, and wewould be grateful to The Maroon for givingus the opportunity of thanking all our sup¬porters for their generous assistance duringour time of need.Sincerely,Members of theChicago Symphony OrchestraTo the editor:Toby Hofslund's review of the RockefellerChapel Choir's performance of Handel'sIsrael In Egypt was one of the mostdisgusting irresponsible and stupid articlesthat has appeared in the Maroon during mysix years as a student at this university. Suchpretention and viciousness should not betolerated by a responsible campusnewspaper. Who is Toby Hofslund that shecould dare say that Richard Vikstrom"obviously" does not understand Baroquestyle nor the spirit ot Handel? ProfessorVikstrom became an expert on Baroqueperformance practice long before MissHofslund was born. It should be pointed outthat Miss Hotslund auditioned for the choirand was rejected. Perhaps her article washer revenge. It should also be pointed outthat she is not even a student at thisuniversity. I do not understand why theMaroon would have a non-student as itsregular music columnist. If it has to have anon-student, it could at least have a com¬petent one. The Rockefeller Chapel Choir is a preciousasset of this university. It is one of the finestchoirs in the world. It is an all professionalchoir that includes the best singers of thecity. The choir performs music from sixcenturies. Each Sunday three anthems aresung. Eacy year several performances ofmajor chorus and orchestra works are given.Professor Vikstrom has spent twenty fiveyears building the choir. His performancesshow the result of years of scholarlyresearch. He prepares music seriously andwith love. He is a great musical genius. It hasbeen my privilege to work with him as hisstudent and assistant and to perform underhis baton as a singer and as an in¬strumentalist. My association with him hasbeen one of the most valuable experiences ofmy life. I cannot sit back and allow the choirto be defamed. Honest criticism is one thing,but a malicious vendetta is another. Thestudents of this university should take pridein the choir and support it.Larry MendesThird-year studentin the Law Schooland alumnusof the College.Ms. Hofslund replies:I read with some interest Larry Mendes'Letter to the Editor. In it he makes a fewstatements which need clarification.Mr. Mendes devotes considerable space topraising Vikstrom, the musician and themusicmaker. It doesn't bother me that healso devotes so much space to damning me.If it makes him feel better, so be it. Whatdoes bother me is that he makes severalquestionable artistic judgments.First, it amazes me that after twenty-five years of building the Rockefeller ChapelChoir, it is no better than it is.Secondly, "a musical genius" would neverallow so many musical misconceptions andtechnical imperfections. I'd rather havemusic from one century done well thanmusic from six centuries done poorly.And, thirdly, while we're on the subject ofcenturies, Vikstrom has repeatedly shownthat he doesn't know the difference betweenClassical and Baroque periods. He treatsboth bombastically, unmusically, andcontinually forgets that there is such a thingas phrasing.Mr. Mendes has every right to worship histutor and long-time associate. In kind, I haveevery right to criticize the music Mr.Vikstrom produces. When Vikstrom putstogether correct style, choral technique, anda proficiency in orchestral conducting intoany future performance, I will gladly join theVikstrom fan club. Until then, I can onlycontinue reporting on what I hear.Toby Lou HofslundClassical Music EditorTo the Editor:I would like to compliment Steve Young forhis excellent review of the new GratefulDead album and the Dead’s November firstgig at Northwestern (The Chicago Maroon.November 9,1973). 1 spent the iast five yearsin Boston and since coming to Chicago thedearth of quality rock and undergroundjournalism has been a source of boredom anddisappointment to me. Mr. Young’s article isa glowing exception to that mediocrity andone of which I take particularly welcomenotice.The Dead are long overdue for some goodpress. Their recent reviews have been generally favorable, probably due to theDead’s upsurge in general popularity, butprior to that they were consistentlyvictimized by journalistic skepticism andsome outright hatchet-jobs. The vast bulk ofDead criticism disregarded the fans whoattested to their musical virtuosity andtreated the band as little more than mascotsto the Woodstock-hippie culture.Mr. Young does what other critics havebeen either unable or unwilling to do: heaccepts the Dead as they present themselvesand is thus able to give us a simple, butintelligent and accurate expression of whatthe Greatful Dead arp all about.As a long-time Dead devotee I could takeissue with Young on a few specific points.The Dead are even a more erraticperforming band than he lets on. In myexperience, and that of my friends, abouthalf of the Dead’s live performances are notup to snuff. Perhaps that is why they havefallen out of grace with so many rockjournalists. But for those who weatherthrough the off-nights and even the good ones(I don’t think the band has been up to peakperforming ability for almost a year) therewill be a few "magic” nights, and on thosenights it cannot be denied that the Dead areuntouchable, absolutely the best rock androll band around.As exceptional as the Northwesternconcert was. the Dead are capable of evenbetter. Young allows a few weak moments onthe album and in the concert to slip by him.but considering what we know the Dead to becapable of I don’t consider these fewmoments of over-adulation to be unseemly.It was refreshing for once to see the Dead getthe clear analysis and the benefit of the doubtwhich they richly deserve. They are a band 1hope to grow old with too. Thanks.Joe ShulkinGraduate Student—Englishm CO-OPSPECIALS mCALIF.CELERY10*BANANAS9 lb. FRESH FISHFRESHCANADIANWHITEFISH1 19lb. Reg. 1.59FANCYOCEANPERCH Fillets1 29lb. 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Do yourshopping atTHE SCHOLARSHIP SHOP"I'm off fo my favorite Utile Shop " 1362 E. 53rd ST.—tv OF CHIC*00THE.\ 08^ •ikNSF°E^nLCs|ohM0 ' / vo/:VMJO unT'L hmSPECIAL ©DISCOUNT PRICES© FOR ALLFACULTY MEMBERSAs Students or Faculty Membersof the University of Chicago youcue entitled 1o special moneysaving discount prices on allVolkswagen Service Work, id!Volkswagen Parts, Accessor >esand coy new or used Volkswagenyou buy from Volkswagen SouthShore.Upon presentation of your Univer¬sity of Chicago Identification card,our employees will show youregular price and your specialdiscount price of whatever youbuy.Remember, Volkswagen SouthShore is the closest factoryauthorized full service dealer inyour area. Our Parts Departmentis open Saturday 9 AM to 12noon.We re near the 1C or con offer youShuttle Bus Service.®vSOUTH SHOREAuthorized 7M4 s JTONY ISLANDVolkswagen Op0n , AM to 9 PMD€d!ef Solo<, Port* and Service Department*Open Saturday 9 AM to 5 PMPhone: 288-4900 WHEN DID YOU LASTHAVE YOUR EYESEXAMINED?Do it SooncourtesydiscountTo Students, Facultyand all Personnelon PrescriptionEyeglasses•Ask About OurMoney-SavingContact Lens PlanMost Major Charge Cards Honored• 2374 E. 71st ST.• 330 S. MICHIGAN• 10 N. MICHIGANLOUIE'S BARBER SHOPWill style your hair as you- would Ilk# It done.1303 E. 53rd St.FA 4-3878«I am tryingto bribe youwithuncertainty,withdanger,withdefeat.J0(60luisborges22-Grey City journoi-December 7, 19/3 That s rriostiy what you’llfind if you commit yourlife tn the millions in thedeveloping nations whocry out m the hunger oftheir hearts. That...andfulfillment too...with theCOLUMBANFATHERSOver 1,000 Catholic mission¬ary priests at work mainly inthe developing nations.We’ve been called by manynames - “foreign dogs" .. .“hope makers" ... “capital¬ist criminals"... "hard-nosedrealists"...If you are between the agesof 17 & 25 and are interestedin becoming a Catholic Mis-sionary Priest, write for:r~vp pw 16-PAGEX irtiiiJli bookletM\CMColumban FathersSt.Columbans,Neb.68056I am interested in becoming aCatholic Missionary Priest. Pleasesend me a copy of your booklet.NameAddressCity| 2ip^ CollegeI StatePhone GUITARS GALORE:GEORGE BENSONANDEARL KLUGHAT THE JAZZ SHOWCASEBY LARRY FRISKEFor the past year, the Jazz Showcase hasbeen offering the best in music for Chicagoaudiences. Its recent first anniversary showfeatured long-time great Dizzy Gillespieaccompanied, by his special guest in aringside seat, S.I. Hayakawa (without hisfamiliar tarn o’shanter). Art Blakey andthe Jazz Messengers and Robin Kenyattacontinue into December. If the saxaphone isyour thing, the week leading up to NewYear’s Eve spotlights James Moody,Southsider Gene Ammons, Eddie Jeffersonand Harold Land. After taking a quick glanceat the schedule for early 1974 thatimpressario Jo Segal has assembled, there islittle doubt that his high standards will morethan remain intact. The artists coming toChicago are practically a definitive list of thecream of today’s creators: Keith Jarrett,Sweet Bobbi Humphries, Donald Byrd, StanGetz, Max Roach, Ornette Coleman, JackieMcLean, Cannonball Adderly, McCoy Tyner,Freddie Hubbard, Yusef Fateef, and the bigbands of Clark Terry, Gil Evans andMaynard Ferguson. Need I say more?Last weekend we were graced with theGeorge Benson Quartet featuring, besidesGeorge himselt, the young Earl Klugh.Originally from Pittsburg, George Bensonhas been playing for some 20 years. He madehis first record in 1954, but didn’t get a bigbreak until joining the Jack McDuff Bandabout ten years ago. George used to playwith organ masters quite a bit, and the nextgroup, which he led himself, featured LonnieListon Smith. A few years ago, Benson metEari Klugh in his hometown of Detroit and aclose musical relationship was born. Earlprovides a complementary but stillsubstantial voice with his gut-string acousticguitar. Classically-trained and still aremarkably young 20 years of age, Klugjoined Benson to do White Rabbit and theyhave followed that up with another CTI production called Body Talk (CTI Records6033).Except for the swinging ballad, “WhenLove Has Grown,” by Donny Hathaway andGene McDaniel, where Klugh and HaroldMabern both get a chance to solo, allselections on Body Talk are George Bensoncompositions. George’s fanciest fingeringcome on the juicy “Plum.” His fluidity andspeed are showcased between the JohnFaddis-led trumpet section. Benson andKlugh combine for their most effectiveinterplay on the vibrant and swirling“Dance.” Klugh’s young years deceives uswhether he’s stroking another harmonic lineas he does here or when he’s creating anindependent counterpoint. Benson enjoys hismost relaxed and mellow voicings on thebeautiful ballad, “Top of the World.”Mobutu’s congas enrich the calypso-flavoredtitle tune and two of my personal favorites,Ron Carter and Jack DeJohnette, also join infor this session.Of course, nothing can quite equal thechance of sitting right in front of these twotalented guitarists in order to realize thatseeing is believing. And I mean directly infront. As at their previous performance atthe Jazz Showcase, Klugh’s seating wasarranged below the audience s sitting leveland George again enjoyed his lofty perch.Yours truly arrived as late as ever and waslucky to secure a seat with a straight-on viewof a post. And to anyone beyond the first row,Klugh appeared to be a well-groomedweaving and bobbing Afro emanatingbeautiful acoustic sounds. In any case,Benson controlled the spotlight and directedthe group through generally familiarterritory including “Dance,” from BodyTalk, “White Rabbit,” and a couple ofselections from Beyond the Blue Horizon.The Jazz Showcase enjoyed another SROevening and the young collegiate crownloved every minute of it.i I'J l1 I RECORDS(Con't from page 20)SPACE RITUAL was recorded live atLiverpool Stadium and Brighton Sundown.The live music suffers in that not all of whatHawkwind calls heavy metal effects can beachieved effectively. All the same there is animpressive amount of sound going on. Un¬fortunately the mass of sound can not makeup for the musical vapidity present in someof these songs. For instance in the middle of"The Awakening," there develops a melodyso simple that it could have been written by achild. Hawkwind covers it with theircharacteristic space noise and try to pass itoff as a song to match their better material.Later in the song some interesting guitarwork enters but it is short-lived and by thenmost listeners are asleep anyway.The Can album does not suffer from theseflaws. Each song is tight and succinct. Whilerepetitive, they are never redundant. Theyare not bogged down by a mystic ideology.Instead the material is presented in theabstract.Austin TexasJohnny WinterUnited Artists LA 139-FBy MIKE FRANZENThis is a re-release of the first JohnnyWinter album which was recorded in 1968.There are only three people on this album:the other two being Tommy Shannon on bassand Red Turner on drums. Ric Derringerwas not recording with Winter at the time ofthis album and the lack of his guitar createssome empty spots. Most notable is the ab¬sence of call and return between he andJohnny in the song "Mean Town Blues."However the character of the song is notmuch different from the version withDerringer on the live album. It was Winter'sguitar that defined the solo and Derringer'sguitar that embellished the main structure.Because*of the sparse personnel this albumaffords us tlje chance to hear Johnny Winterwithout the cluttering influences of otherpeople's musical ideas. Two of the songs areonly Johnny singing and accompanyinghimself on the acoustic guitar. Very nice,indeed.SvengaliGil EvansAtlantic SD 1643Last Tango in ParisGato BarbieriUnited Artists LA 045-FBy LARRY FRISKEEven after four decades of band leading,Gil Evans and his big band sound are ascontemporary as ever. The proof is in theperformance on Svangali. Gil was leadinghis own band at the age of 21 in Stockton,California. Best known for his Miles Daviscollaborations in the 50's (in particular,Sketches of Spain), he continued to work withMiles and other jazz giants in the 60's whiledoing his own film scores.All the cuts on this album, except for "ZeeZee", were recorded at Trinity Church inNew Ytrk. The Philharmonic Hall piecefeatures Hannibal (Marvin Peterson) in atrumpet spot which surpasses all other solosfound here. The evocative and preciserendering by Hannibal is laid over a somberand brooding orchestral theme.On a more comprehensive and consistentlevel, the star soloist is tenor man, BillyHarper. His two compositions constitute thebulk of the remaining material. Aftercommencing with a series of jutting en¬semble jabs, "Thoroughbred" goes on tofeature David Horowitz's synethesizer andTed Dunbar on guitar. That most ignored ofsolo instruments, the tuba, pokes itself ininside the grasp of its master, HowardJohnson. He sends forth strings of notes soeffusively and melodic that one almostbelieves it must be some kind of basstrumpet. Energetically commencing with a full¬blown, free form ensemble lead-in on "Cry ofHunger" Harper swings from a smooth bluesto a plaintive, disturbing series of jabs andthen into a masterful rundown of the scale. Abaritone saxophone solo by Travor Koehleralternatively skitters and meanders. Theensemble returns and Howard Johnsonfollows with a brief fluegelhorn solo, an in¬strument that he seldom attempts.In the capabie and experienced hands of amarvelous arranger and conductor like GilEvans, this big band is constituted by qualitytalent and is on a quite reachable and yetsophisticated level of music.One of the deserved side effects of theunprecedented attention awarded to thismovies has been the recognition of theconsiderable talent of Gato Barbieri. ThisSouth Americaf saxophonist was a hit at thisyear's Newport Jazz Festival and recently ata Carnegie Hall concert. He has assembled aband of his countrymen and has just com¬pleted an East Coast tour with, amongothers, Keith Jarrett, to publicize his firstalbum with Impulse.The entire musical score of Tango wascomposed by Barbieri. The theme song getsthree very different treatments: tango,ballad and jazz waltz. Barbieri's full andcommanding tone is most effective with theballad tune. Add the yearning strings of anorchestra (which remains unidentified) andyou get the idea for the entire soundtrack.There are selected satisfying saxophonemoments on Tango, but shop elsewhere is amore comprehensive and challengingBarbieri is your goal.(Con't on page 24)INTERNATIONALLYPROMINENTSOCIOLOGISTRECEIVES1973 LAING AWARDEdward Shils, Distinguished ServiceProfessor of Sociology and Social Thought atthe University of Chicago and Fellow ofPeterhouse College, Cambridge, has beenawarded the 1973 Laing Prize for his bookThe Intellectuals And The Powers And OtherEssays.Mr. Shil’s essays, which have commandedinternational attention for over a quarter of acentury, reflect on the nature of theintellectual calling, and provide an historicalanalysis of the roots in ideology and civilityof the modern intellectual. One section of hisbook discusses advanced societies, largelyAmerican and British, examining theintellectual’s role in contemporary massculture, and giving attention to academicalienation and the student revolts of the 60’s.Another group of essays is concerned withintellectuals in "new states” confronting themoral and political choices of independentdevelopment. "Edward Shils is one of theworld’s most distinguished theorists in thegrand tradition,” writes James Q. Wilson,Harvard Professor of Government. "Thepresent volume, the first in a series that willbring together his selected papers, is animportant event.”The Gordon J. Laing Award has beenconferred annually since 1963 by vote of theBoard of University Publications on thefaculty author of the book which brings thegreatest distinction to the list of theUniversity of Chicago Press. Edward H.Levi, President of the University, announcedthe winner and awarded the $1000’ prize at areception at the Quadrangle Club onTuesday, Dec. 4. 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Lowest-cost ski tours toEurope of any scheduled air¬line.$250 Car or Rail Tour*One week, per person, double,features round-trip jet fromNew York to Luxembourg andcar with unlimited mileage—or $260* unlimited rail travelin 13 European countries forsingles. Add $98 from Chica¬go. Offered Nov. thru March.SEE YOUR TRAVEL AGENTAll prices subject to change.To: ICELANDIC AIRLINES(212) 757-8585630 Fifth Ave., N.Y., N Y. 10020Outside N.Y. State: Toll Free(800) 221-9760Send folder CN on tours to Europefrom N.Y. □, from Chicago □,from Miami/Nassau □.NameStreet.City-State.My Travel Agent is. .Zip.ICELANDICThe money you saveon your first ski trip will payfor a big part of your secondski trip.ArapahoeAspenAspen HighlandsBreckenridgeCopper MountainCrested ButteKeystoneJackson Hole LovelandPurgatorySnowmassSteamboatTaosTellurideVailWinter ParkFor some very low prices Continental offers you ski packages at a variety ofareas. Some areas are more for experts and singles. Others cater to beginnersor families. Whichever you choose, your ski week could cost up to twice asmuch if you just take off and make your own arrangements.To save you additional money, we also have a wide selection ofspecial, low cost air fares. We’ll even take your skis free.And Continental promises you a memorable flight on ourcomfortable DC-10s anti 727s to Denver. Or we ll fly you toColorado Springs or Albuquerque.Call your travel agent or Continental’s Ski Desk at686-6500 for details. Or mail the coupon.&CONTINENTAL AIRLINES SUC jPO Box 4187North Hollywood. California 91607Send for free, complete brochure on Continental s Ski Holidays IName.Address.City . State . .Zip.^CONTINENTAL AIRLINES # iGrey City Journal-December 7, 1973-23■RECORDS(Con't from page 23)Tribute To I he American DuckOzark Mountain DaredevilsA & MSP411Tribute to the American DuckThe DillardsUnited Artists PP LA 175-FBY GAGE ANDREWSThese two albums exemplify yet a turtherretinement in the definition of musicalcategories. In the category of "rock,"subcategory of "country-rock," sub division"blue-grass-rock," these two groups are thefoot-stompingest things around.The Ozark Mountain Daredevils are a newgroup that has set out to have a good time:"If you want to get to Heaven, you got toraise a little Hell." Their ballads areparticularly impressive — a happy com¬bination of warmly expressive voices and spare, clean picking. I haven't had the albumfor a long time, and dammit It I haven't lostthe cover and am unable to name people'snames, but the Ozark Mountain Daredevilsare a strong dose of good time music in afield that certainly needs them. A definitewinner.The Dillards have been around longer andhave, if anything, created an even betterrecord than the Daredevils. As the title of theIp suggests, the album takes itselfseriously—a proper, put-on seriousness. Nowthat "bluegrass rock" is coming aboveground, or at least above Tennessee, there'sgoing to be a lot of happy people.BOULDERSROY WOODmBouldersRoy WoodUnited Artists UA LAI 68-FBY GAGE ANDREWSThis may be the most amazing record ofthe year—an extraordinary acheivement.Roy Wood has made the quintesential popalbum of the 60s, and he has done it all byhimself.The whole album. He wrote the songs;played all the instruments; does all thevoices; did the arrangements and theproduction; was responsible for the jacketconcept; and did the cover painting. It's onetotal, diverse accomplishment, conceivedand executed solely by one person.Even more remarkable than the fact thatit's a one man show is the quality of theacheivement. Throughout Wood's sojournwith the Move, and later with the ElectricLight Orchestra, his work was distinguishedby his efforts to capture and distill theessence of a particular musical work orcharacteristic style. Wood re produced thisessence, tempered by his own abilities andidiom. Obviously, this effort often took the form of synthesis, due to Wood's excellentabilities as a classical musician and his firmextrenchment in the field of rock.Wood has had some stunning successes inthe field of so-called "classical rock,"because he has refused to abandon the tenetsof either rock or classical music. The mostremarkable of his efforts was the marriageof Beethoven's Fifth symphony with ChuckBerry's "Roll Over Beethoven" thatappeared on ELO's last Ip.On Boulders, Wood has turned to the 60s forhis inspiration, and he has produced a recordthat stands beside Sgt. Pepper's LonelyHeart Club Band. A major portionofBoulder's effect comes from the innovativeinstrumentation—Wood plays the cello, flute,recorder, piccolo, bass, oboe, andsaxophone, as wellas the more usual drums,guitar, and banjo.The album won't hit you at first hearing—itall seems familiar and derivative; but I haveto be able to isolate a single direct influence.It is a compilation of effects, details,nuances; it captures the whole of the 60s popmusic. Boulders is a singular andunprecendented one man acheivement.Burnin'The WailersIsland SMAS 9338BY GAGE ANDREWSRemember reggae? The music style thatPaul Simon was supposed to have stolen?The music that was going to make a star outof singer Jimmy Cliff for his movie role in"The Harder They Come"?The Wailers are reggae. Sure, they're alittle commercial and slick; it would be verysurprising to me if I would have heard of thisrecord if they were not. Reggae might be tootricky for U.S. audiences anyway—we can't dance to it, and the music is so catchy thatthe fact that the record is pure, distilledprotest passes over most people's heads.Robert Nesta Marley is one of the old menof reggae, at age 28. He comes the closest ofany modern musician to creating the musicour parents had in mind when they forbadeus to listen to "that trash": music that isinsidious, seditious, subversive; threateningto the very foundations of our society. Damnright:"This morning I woke up in a curfewOh God, I was a prisoner too—yeahCould not recognize the faces standingover meThey were all dressed in the uniforms ofbrutalityHow many rivers do we have to crossBefore we can talk to the bossAll that we got seems lostWe must have really paid the cost."I don' claim to really understand reggae,and I don't want to take the position ofinterpreter. But I can tell you what happenswhen you listen to it: after a few days you'llrealize that, as you walk along, you aresinging a song like "I Shot The Sheriff" or"Burnin' and Lootin'". The music has strongself-respect, and it's very addicting—acombination that is very powerful.Coast to Coast FoyerDavid WiffenUnited Artists UA LA172-FBY GAGE ANDREWSDavid Wiffen is the latest in a string ofCanadian folksingers that includes JesseWinchester, Neil Young, Joni Mitchell, andGordon Lightfoot. His exposure came via aCanadian tv series; in the U.S., he isprobably much better known (on a relativescale) as the author of "Driving Wheel",which Tom Rush recorded on his first albumfor Columbia.Wiffen is a far better writer than average,but he is hampered by a delivery that isreminiscent of Gordon Lighfoot: very clean,very expressive, but without distinctivetraits or idiosyncracies. It makes songs veryeasy to listen to, but hard to remember.The physical quality of the record is muchworse than the material contained on it. Ihad heard that, due to the vinyl shortage(both from extremely heavy buying ofrecords by the Japanese, and because vinylis an oil derivative), records were now beingmade out of remnants and junk. Apparentlythis is true; both copies of this album werealmost unlistenable. Wiffen deserves better;singing mostly ballads, with tinges of blues,his first album is enjoyable despite thetechnical problems.(Con't on page 26)UC Female Student WantedPart-time 10-14 Hours per weekUp to $3.00 per hour324-7579PARK SHORE CLEANERSOFFICE WORK AVAILABLETypist, stenos, dictaphone operators: For in¬teresting jobs, Hyde Park persons apply, Suite631, Hyde Park Bank Building, 1 525 E. 53rd St.2 or 3 days a week or a full week. Choice ofneighborhood or downtown. Top wages.ELAINE REVELL, INC.Contact: Ann Coyne at—684-7000Chicago's Prestige Temporary Office Service. HYDE PARK JEWISH COMMUNITY CENTERADULT THEATERPresentsOF THEE I SINGMusic & Lyrics: Ira &George GershwinBook: Morrie RyskindGeorge S. KaufmanDirected by: Michael Hildebrand Music by: Bonita EvertsIn the IMPERIAL ROOM DEL PRADO HOTEL5307 Hyde Park Blvd.Sunday-December 9,1973-8:00 P.M. $Sunday-December 16,1973-8:00 P.M. Adults: $2.50Saturday-December 15.1973-6:15 P.M. Students: $1.25GALA AMERICAN NITE DINNER & THEATER *<■«'.. %t.toTickets available at: Students: $5.25Hyde Park Jewish Community Center5307 S. Hyde Park Blvd.Mr. G’sKimbark Plaxa -1200 E. 53rd St.Cooley's Corner5211 Harper CourtContemporary Craftsman1601 E. 53rd Street Horn OfTHE WIDEST SELECTION OF GREETINGCARDS IN HYDE PARK• GIFTS • STATIONERY• PHOTO ALBUMS • PARTY SUPPLIES• GIFT WRAPPING SUPPLIES• CANDLES• PUZZLES• DESK ACCESSORIESSee Our Complete Line of BlackGreeting Cards1312 EAST 53RD STREET684-6322CEF Presents Alfred Hitchcock's Saturday, Dec. 8Cobb Hall FRENZY 7:00 & 9:1524-Grey City Journal-December 7, 1973MmiCut/tRECOMMENDS THESE STEREOCOMPONENTS FOR SOUND HOLIDA Y 54 VINGS!STEREO & 4-CHANNEL^RECEIVERS, TUNERSKENWOOD Powerhouse stereo receiver Model 7070A300 watt (65-65 RMS) AM/FM receiver with all the i'lOAfeatures including remote control List $569.95 Sale vOdbPIONEER 4-channel receiver Model QX-8000A180 watt AM/FM stereo and quad broadcasts twinJle|®r5 ar|d walnut case—our best seller. List S01E$569.95 SaleSANSUI 1000X Stereo AM/FM Receiver100-watt with case—one of the most versatile andadvanced units in its price class. Now at a price $4 AAqaanyone can afford List $329 95 Sale 1 vvSANSUI AM/FM Tuner Model TU-666Handsome tuner with stereo indicator, signal meterand inter-station muting—walnut case. List $159.95 *00*SANSUI Professional Tuner Model TU-999Crystal filtered AM/FM tuner with 18 uV sensitivityand twin met rs All at the price of a kit. List $299.95TELEX Model 814100-watt receiver with 8 track deck.One of the best buys we have ever seen.Powerful AM/FM receiver and recording 8 trackdeck with full controls, meters, etc. List $309.95SaleMARANTZ Receiver with AM and FM and a good priceModel 2010 with 20 watts of continuous power List *158 -HFN V) LOUDSPEAKERSYSTEMS*109**$199.95 Sale SONY Receiver with cassette deck Model HST-119AM-FM-Walnut case-records and plays cas-settes. List $189.95 Sale *134*CHOOSE ANY OF THESE HARMAN KARDONQUAD RECEIVERS AND SAVE OVER 50% WHENYOU BUY A RECORD CHANGER AND 2SPEAKERS (10 inch system or larger) ATTHEIR LIST PRICE.HARMAN KARDON 4-channel AM/FM receiver Model 50+50 watt rms power 2 & 4 channel receiver withstrapped amplifier for stereo operation Get a quad $4 4 Areceiver for the price of a stereo unit List $289 95 Sale *1Model 75 + 90 watts RMS cAAAList $499.95 sale AViJModel 100 + 115 watts RMS *259List $599 95Model 150+140 watts RMSList $699.95wm SaleSalemi 41*/4J REEL TO REEL, CASSETTE &8-TRACK TAPERECORDERS& DECKS•/4IMl AMl 4*1A AUTOMATICRECORDCHANGERSSave a lot of money on these GARRARD ChangersModel SL-55BAutomatic turntable, $64 95Model SL-65BAutomatic turntable, $84.95 FISHER Loudspeaker System—Model XP-7SDecorator bookshelf system with a 12-inch 3-way $£A95system—hear this one! List $159.95 SaleFISHER Loudspeaker System Model WS-80An unbelievable deal in a handsome floor modelcabinet—8 inch 3-way system Save 62%. List $100 Sale *3750WHARFEDALE Loudspeaker System Mod W-25Hundreds of this model sold—8 inch 2-way unit You can $AA95save almost half now!! List $55 Sale 4*9FISHER Loudspeaker System Model XP-9CBookshelf system with a 15 inch 5 speakersystem—one of our best selling units! List $219 95 Sale *12400100Model SL-95Bwith Base, dust cover and SHURE M91EDiamond cai tridge the total list $207 Sale *110 SANSUI Loudspeaker System Model AS-200Not many left to sell at this price. A great sound in a 10 $CQ95inch 3-way system1 List $109.95 SaleWHARFEDALE Loudspeaker System Model W-35Beautiful system designed for either corner or shelfmounting 8 inch 3-way system for big sound—Save over $009550% List $80 Sale 0*SANSUI Loudspeaker System Model AS-100A big sounding 10 inch 2-way system at savings of 50% (At $ A A 95this price you can afford 4-channel sound.) List $89 95 Sale *1 “WOLLENSAK 8 Track Deck Model 8050-ARecord/play pro deck with auto eject, fast forwardand pause-lock One of the best ever. List $169.95 *126*N0RELC0 Tape Recorders-Cassette with savingsModel 2000deck with VU meters and auto shutoff. List $£Q95$109 95 Sale aKJMODEL 2400Same as Model 2000 but with amps and speakers.List $ 189.95 SaleKENW00D-D0LBY cassette deck Model KX-700Record/play stereo deck with Dolby noisereduction system, chrome switch and twimmeters. Save $60. List $259.95 SaleKENWOOD reel to reel deck Model KW-6044Pro deck with 3 motors, 3 heads and autoshutoff. Only 18 to sell at this price. List $359.95Sale COMPLETECOMPACTSTEREOSYSTEMS*199*249** TENNA Compact Model 5135—another gift specialAM-FM phono and 8 track with matchincspeakers. List $249.95 SALE Complete VM system with big siand bigger Savings. Model VM-4*149** sound-418Powerful amplifier, AM & FM radio with changerand two speaker systems. Compare and save.List $279.95 SaleTYRrteMp&j BELL AND HOWELL System Model 3350AM-FM stereo receiver with 8-track tape recorder $AA95and 2 speaker systems. List $159.95 Sale MASTERW0RKS complete stereo system Model 4800II4 piece AM/FM 30 watt receiver, GARRARDchanger and 2 decorator speakers, a great giftselection! List $199.95 Sale *159***129**CHICAGOLANDS STEREO SPECIALISTS NEAR NORTH48 E. Oak St.337-41501 Hr. Free Parking2 E. Oak Garage FAR SOUTH(Homewood)5th St. 18100 S. Halsted St.967-6690 383-7006 779-6500 799-2400(Morton Grove) (Oak Park) (Beverly)5700 W Dempster 7045 W. North Ave. 2035 W. 95thodd 7/w 770HOURS. Mon. & Thurs. 10-9; Tues., Wed., Fri., Sat. 10-6 Closed Sunday To Save You More and Serve You BetterLET’S TALK ABOUT PRICE! MUSICRAFT’S LOW PRICES ARE GUARANTEED!In the unlikely event you see a stereo component or system advertised by MUSICRAFT for less, within 60 days after you ve boughtit from us, we'll make an immediate CASH adjustment or WE WILL BUY IT BACK . . . BECAUSE WE WANT YOU BACK COPYRIGHT 1973 BY MUSICRAFTBf ST Of Al.SPLUS 15 DAYMON £ Y 8 AC K GUARANTEE 60 DAYEXCHANGE PRIVILEGE I YR SPIAKIR TRIAlS YR SYSTEM GUARANTEE JO OATS IN 11Rf S T f R f tON ADVERTISED SYSTEMS LIBERAL IRAOt INS PROEESSIONAL SLRVIClIN fVERY STOREGrey City Journal-December 7, T973-25FIRST POOBAHELIZABETH RUSSOGONZOGAGE ANDREWSART EDITORAMY WEINSTEIN CLASSICAL MUSIC EDITORTOBY LOU HOFSLUNDDRAMA EDITORMEREDITH ANTHONY FILM EDITORDAVE KEHR FOOD EDITORLESLIE KOHNROCK EDITORMARK BUSHMAN STAFF ARTISTDANIEL ABRAHAMDISTAFF*STEPHEN BLANK BEN HUANG HOWARD M. ISAACSDIANE WONIO BILL LEVINE HERBERT MORTON* Compare SPEAR SCOTT LEELARRY FRISKE(Con't from page 24)Sweet RevengeJohn PrineAtlantic SD 7274By GAGE ANDREWSJohn Prine is an inimitable talent, one ofthe few writing resources that we can claim.He is almost good enough that hisperforming style is inconsequential, with thelyrics transcending all limitations.This album doesn't have quite the impactof his first Ip, but it comes close. Take"Sweet Revenge":"I got kicked out of Noah's ark,I turn my cheeks to unkind remarks,There was two of everythingAnd one of me.And when the rains came tumbling downI held my breath and stood my groundAnd I watched that ship go sailingOut to sea."Follow that with a tongue-in-cheek last willand testament, "Please Don't Burn Me"; thesong that had to be written someday, "DearAbby"; the final analysis of rock-and-rollsongs, "Onomatepeia"; and the song inwhich Prine passes on to us the immortal fokwisdom from "The Accident (Things CouldBe Worse)": it's all the humor of everydaytriteness.Prine, I suspect, dangles these humoroustidbits before us as an open inducement tolisten to the whole record. The rest of thealbum Is somewhat somber, with poignantvignettes that draw a quick picture before flashing onward. "Christmas in Prison","Mexican Home" and "Grandpa Was ACarpenter" are all stories that display thePrine focus, of simple objective descriptionthat colors a black and white picture.His use of the chorus is notable here,especially since not many other writers stilluse it. It almost always is the stem of hislyrics, with stanzas branching off from it.The repetitious inanities that are AnnLanders' replies form the chorus; the smallgestures that become the trademark of aman are summarized in the chorus of"Grandpa was a Carpenter" and keep thesong from becoming maudlin. There are onlytwo (of twelve) songs without choruses:"Onomatepeia" and "A Good Time"."A Good Time" is the most ego-centeredsong on the album, and is, oddly enough, alove song. "Time was once/ Just a clock tome.Success was something you just had tobe." Experience does not necessarily lead tohappiness.The album closes with Merle Travis' "NinePound Hammer", which was twenty-fiveyears ahead of Prine's own style. ThoughPrine's performance will never be polished,it has a raw energy which nonetheless comesthrouah.Bright WhiteShawn PhillipsAAA SP4402By GAGE ANDREWS Shawn Phillips is easily the most angularand percussive of today's folk artists. Hedeals in straight edged units and sharpthrusts, totally disdaining the ambiguity thatalways seems popular among most of theother artists.Both his lyrics and his singing embody thisapproach. His songs are incisive, compact.They depend heavily upon rhymes andrepetition to create units and natural beats.His voice, in addition to following (andinfluencing) the metric rhythms of his songs,furthers the impression of percussive.Phillips enunciates so clearly andemphatically that his words have a very highsonic impact.Because of these characteristics of hisstyle, the arrangements and engineering arecrucial to his albums. Without having thesedone well, Phillips' records could easilydeteriorate intoa musical bombardment thatwould be analogous to assulting a repeatinghowitzer.This album, Bright White, is not one of hismost successful in this respect, especially when compared to the stunning engineeringon his earlier album Collaboration. His voiceis more abrar.ive here than ever before, andthe album as a whole seems very disjointed.There are moments of glory, but there is nosustaining thrust: Songs fall apart in themiddle, and the technical effects comeacross as gaudy and self-indulgent. Theover all sense I got from this album was thatPhillips SRent a lot of effort building anelaborate and guilded frame, but forgot to-paint the picture. Not recommended toanyone but Shawn Phillips fans; he's donemuch better and more important work.The Renaissance Art Gallery, in Good-speed Hall room 108, is holding their annualArt for Young Collectors sale. Drawings,paintings, sculpture, ceramics, antiquecurios - all are assembled in an exhibit aimedat young Christmas shoppers. All objects arefor sale, ranging in price from about 10dollars and up. The gallery is open daysduring the week, and is well worth a visit.CONTEST CONTESTDue to an overwhelming last minute resjponse to theContest Contest, the judges were unable to complete theirdeliberations in time to announce the winner in this week’sissue. The winner will be contacted as soon as the decision ismade so that the prizes may be awarded; his name will beannounced, and the winning contest published, in the firstGrey City Journal of the Winter quarter.ROCKEFELLER MEMORIAL CHAPELCONVOCATION SUNDAYDecember 9,1973 11:00 A.M.MARTY E. MARTYAssociate Dean and Professor of Church History.The Divinity School, The University of Chicago.“A MISSION OF CLARITY”This is the last Service of the Autumn Quarter.The next Service will be January 13,1974.SUNDAY SEMINARRockefeller Memorial Chapel Undercroft 9:45-10:45 a.m.Discussion: “The Politics of Eternity” Leader: The ReverendLawrence M. Bouldin, United Methodist Chaplain. BEST RECORDS OF 1973 BALLOTThe ballot which most closelyapproximates either the poll results l-ULK-or the critics' choices will receive a Artistfree Ip of his choice. The entry mustmatch as closely as possible in all Titlefour categories. The results of the Artistpoll will appear in the second GreyCity Journal of the winter quarter, Titlealong with the critics' choices ANDthe critics' replies to the public doIIresults. CLASSICALArtistJAZZ TitleArtist ArtistTitle TitleArtist Ballots should be sent to:Title Record PollMaroon ,Ida Noyes Hall 304ROCK 1212 E. 59th StreetArtist Chicago, III. 60637Title NameArtist AddressTitle26-Grey City Journal-December 7, 1973MAROON CLASSIFIED ADSSPACE77th & So Shore Dr. Spac 5 rm apt.faculty or grad students. 15 min fromUC. $185 Mo. S08 7727 AM or eves.,avail avail Dec. 16.Female undergrad urgently needsapartment or room in quiet apt. withother women beginning Jan 2. Max$90/month, must be close to quads. Ifyou have a room available or have thesame problem, call 667 7277. Furn 3 rm apt 5405 S. Woodlawn, 6432760 or 667 5746. Mrs. Green.Female roommate wanted. Somewhatquiet. Own room, bath. Furnished.Near library. Laundry facilities, A—C,Jan. 1, $115. 493 3349.House to share single person wantedto share spacious South Kenwoodhome with 2 teachers, startingDecember 1. Rent: $115.00 per month,plus utilities. Call 538-4165.Live rent free in spacious room withbath in exch. For 15 hrs/wk baby.Fern, student or couple. Call 624 8363 Heart of Hyde Park, Townhouse, newconstruction, 3 bedrooms, 1 1/2 baths,central air and heating. Carpeted,Room for rent Very reasonable.Kitchen priv. D03 6397. modern kitchen appliances,tremendous value. FOR SALE, 3322988.Need male for own rm in huge apt forwinter term. Call 684 7994. Live in Frederika's famous bldg.Nearby, furn. or unfurn. 2 and 3 rm.Thinking of living in a dorm? Help meget out. 1 can't move 'til 1 find someoneto enter any dorm in Universityhousing. Call Peggy 753 2105, eve. 753-2350 aft. apts for 1, 2, 3 people. Refrig, stove,pvt. bath, strr. heat. Quiet, Sunny,View Parking, trans., $120.00 up. Freeutils. Latham Cruz, 6043 Woodlawn,955 9209 or 427 2583. Short term leaseor longer.1 1/2 rm. FURNISHED KIT¬CHENETTE APT for Dec. 17th $122.00mo. Lease. One person, 5442 HarperAve. Midway 3 938°.Best room in Broadview Hall avail.Winter/spring to single grad stud.Large, private bath, furnished, maid& linen service. Improve yoursocial/sex life. Live with fellowstudents. Call Peggy eve 753 2105, day753 2350.Free room and board in private livingsection of an East Lake Shorecooperative. Responsibilities wouldinclude taking care of plants as well asminimal housekeepikfg and allow youflexible part time hours. Opportunityfor salary as well, depending uponamount of time you can devote to theseduties. Call Carol Stutler at 782 5800for more info.2 1/2 rooms immediately available,sublease $120/mon. Call Gary 947 6555,9-5, 947 9528 after 5 p.m.Need male for own rm in huge apt forwinter term. Call 648 7994.Two students badly need nice, cheap 1bedroom apt. Jan-May, or longer ifnecessary. Call (quick) Steve Vogelcollect, 203-432 0564, After Dec. 21, 212777 8257.VERSAILLES5254 S. DorchesterWell Maintained SecureBuildingSublet lovely 2’/a roomStudioAt Campus Bus StopFA 4-0200 Mrs. Groak CHICAGO BEACH HOTELBEAUTIFUL FURNISHED APARTMENTS Near beach, parks, 1C trains,11 min to loop U of C and loop buses atdoor. Modest daily weekly, monthlyrates, 24 hr. desk. Complete services5100 S. Cornell, Miss Smith DO 3 2400.TENANT REFERRALREASONABLE RENTALSDESIRABLE APARTMENTSFurn. and unfurn. Lake Front Communlty.South Shore Community Services 2343 E.71st St.See Monica Block 667 2002 or 2004.Moving? Hire my van and me. CallAlan at 684 1175.Female student rm plus bd plus 80/moin exch for even, duties, help handicapped psychol must drive, 947 9435AM'sSCENESTHE FLAMINGOON THE LAKE5500South Shoro DriveStudios from $158One bedroom from $170Furnished or unfurnishedShort term leases752-3800Mrs. AdelmanFactory AuthorizedDealerSAABVolkswagenSouth-Shore Inc.7234 S. Stony IslandBU 8-4900 Santa Claus suit for rent. 753-3491.SKI and SEE—at travelogue Dec. 7—8 p.m., 1414 E. 59th St. Films fromAustria, Switzerland, Canada, USAExperts to answer questions. Gifts,food, music. Benefit scholarship.Students 50c, others $1 00. International House Ass'nTHE VEOMEN OF THE GUARD AGilbert and Sullivan operettapresented by the South CommonsTheater Dec 7 at 8 PM, Dec 8 at 3, andDec 9 at 2, performances at l IT's HubAuditorium, 3240 S. Dearborn. Benefitfor Trinity Episcopal Church.Donation $2.50. Tickets at the door orcall 842 4969, 326 3935.There will be no Coffeehouse thisweek. See you next quarter.A veritable music orgy at the Sanetuary. Fri Marty Pfeifer, JamesGlover, and Chicago Blue Grass Band.Sat. The Johnny Young Blues Band.$1.50 at the door. 8:30 p.m.Encore: Open music nite. Come toplay, team up, or just listen. Tues.Dec. 11, 7 PM 5655 Univ. Gargoyle.Chaplin! The Goldrush, The Cure, TheAdventures. 8 PM Tues. Dec. 11.Gargoyle.Discussion dinner 6:00 "CompulsoryEducation." Luther's table talk, BlueGargoyle, Monday.Even on Sat - Good music at theSanctuary. The Johnny Young BluesBand. $1.50 . 8:30 Last show of thequarter.Dance benefit for Women's Center.Hear MOTHER RIGHT Band Sat.Dec. 8, 2 PM Church at 53rd andBlackstone.For women only.ISRAELI FOLK DANCING everyThurs. 8:15 p.m. (Note new time)Hillil 5715 S. Woodlawn PL 2 1127.PEOPLE WANTEDPiano Teacher for 3 boys (ages 14 - 1210) at our home. Basics, but not overloaded. Fun, ability to play, an understanding of music. Must enjoyforming teaching relationship. CallBeverly, 225-3373.Univ. of Chicago student. Do you wantgood part time work? Eve. hrs. DO 32400 Miss Smith.• EYE EXAMINATIONS• CONTACT LENSES• PRESCRIPTIONS FILLEDDR. MORTON R. MASLOVDR. AARON ZIMBLERHyde Pork Shopping Center1510 E. 55th St.363-6363 FOR SALE 1967 Chevrolet Bel Air wagon Ex¬cellent condition, good tires, newbattery, radio, power steering andbrakes. Available Dec. 20. Price $500.Call 753 2433 office or 624 5941 homenow This is a good buy.1969 Camaro 6 cycl 3 speed, new tires,clutch, water pump, $1,000 or bestoffer. McClure 783 5958 weekdays.RIDESMature responsible grad studentwanted to increase accounts for HydePark based distributor. Must have carand be free Tues. Wed. or Thurs.Minimum $40 for one easy day's workper week. Call Mr. Baker at 753 3266for info and/or interview.Need a babysitter on weekdays from 8AM to 2:30 PM. Call 752 3961.ASSISTANT MANAGER, RENTALS:HYDE PARKHigh rise elevator bldg. Lake Shorelocation. Will train. Fine salary, ineludes elegant apt Great opp't forwife of graduate student Wonderfulopp't to supplement family income.Bruce Hensel PL 2 3800Babysitter wanted 6 mo girl. 947 9152.Johnson's Restaurant. Waitresswanted. Good tips. ES5 5516.Spanish tutor wanted. Box 12 Maroon.753 3265.Sitter for 8 month old. MWF 10-5, myhome (near campus). 955 8653.Female genuinely interested in thereligion of wicca student or practicingwitch contact me at Box 7, in theMaroon office.Child care needed for 3 month girl inyour home or mine days. 285 0752.HELP! I will lose my apt if my catsdon't find new homes. 5 beautiful 10 wkold kittens. Father also he's longhaired & black. Call 947 9282 8, keeptrying or call after 9:30 PM.Sales investments $144 288 per week.Call 9 5 weekdays. 649 9313 Mr.Cummings or Mr. Jones.Graduate students wanted to tutorEng. or math Call 764 5151.PORTRAITS 4 for $4 and up. MaynardStudents. 1459 E 52nd St., 2nd FI.643 4083PEOPLE FOR SALENONNIE'S DAY CARE SERVICEBirth to Six Months Only LicensedSeven Years at Loc Specializing inChild Development Med Consultation -Lots Of Love 667 1324Need someone to take care of the kidsfor your family ski trip? I am 26, lovechildren, and can teach how to ski.Call 285 1069.Professional Services, Call aft 6 PM.Instructor Business woman will type,also transcribe tapes some tutoringEnglish, grammar, vocab., spelling,reading 955 0052.Private guitar lessons. $3.50 Basicmusic folk classic. Evenings 2889810.Piano tuning Reasonable rates. Call221 9038.Exp. man. typ 947 6353 or 779 8034.Expert typing Reasonable 667 0580..TYPIST exp. Call 752 8119 after 6 PMExperienced manuscript typing onIBM Electric 378-5774.Russian by Exp Native teacher. Triallesson no charge. 472 1420. CE6-1423. To Balt, or Wash, anytime Dec. 13 15.Will share all expenses. ContactRoger, 1720 x 753 2240.Ride needed to NYC on or after 12/7will share exp Al 493 2822.Need ride to Cleveland. Dec 12 or 14—Share expenses. Scott 752 9528Sidney The large school bus - isemigrating to Calif, in Mid December,and can take several riders. Call:Arthur 696-2713 929 2377 8. conservegas.RECORDERSRecorders for beginners or advancedplayers. The last of therosewood/ivory Kungs, no longermade. Sopranos, sopranios, altos,tenors, contra bass. The Fret Shop,5210 Harper in Harper Ct. Mon-Sat 116.WANTEDRecycle entr needs Irg car top carrierand trailer on loan or cheap 324 1537.CHANUKAHChanukah candles & Menorahs are atHillel 8. for sale now. 5715 Woodlawn.LOSTDog, small It brown mutt "Panza". Ifyou howl he'll join in, REWARD.Dependent personality. Call 353 3383.T-Ost cat. Gray female, 7 mos. old.Needs medical treatment. Lost Nov. 17in alley behind 53rd St. Woolworth.Call MI3 1913 in PMGUITAR SALEMany new 8< used models at The FretShop, 5210 Harper in Harper Ct. MonSat 11 - 6.GAY LIBERATIONCoffeehouse tonight 8 12, BlueGargoyle, 5655 University. Dancingand Communitas. All Welcome. Lastone for quarter.Office open Sun Thurs 7:30-11. Tues iswomen's nite. Come up or call 7533274.Sexual identity discussion Group 7 30Thursdays Ida Noyes, Straights,Bisexuals, Gays, Undecideds,welcome.FIREWOODLike new Spinet piano. $500 or bestoffer. 241 6350.1973 VW Square back. 1300 miles. Autotrans. radio. Color "Clementine."Asking $2,300. Call HY3 8303 from 9:30a.m.—6:00 p.m. Ask for LeeLeaving country - selling furniture:Hideaway bed, sofa, air conditioner,bed, desk, tables, chairs, etc. Openhouse sale, Sat. Dec. 15, 5649 So.Maryland. Info: 363-0710.Mustang, '67, std., 6 cyl., 60,000 mi.great bdy. Only $200. Larry 955-7841.Chanukah candles 8. MENORAHSARE AT Hillel 8, for sale now. 5715Woodlawn.72 VW ex cond AM FM $1950 or offerEveng. 955 9378 or Blings Dr. Galdji.Tandberg TTAPE RECORDER,Knight 3 way speaker system, printingpress kit, old typewriter Swed. letters,air riflt, electric saw and tools. D033710.Rug: 11 x 11, dark moss green,fringed, by Karastan; Zenith 19"portable TV black & white, exercisebike Phone 643 2450 after 5.New (3 months old) Sears B8. W TV.,excellent condition, $55. Call 753-2433office or 624 5941 home. Seasoned and split hardwood 1, 1/2, or1/4 ton, basmt & upstair deliv. 241 5430or 731-9759.PLAY TENNIS6 indoor courts, 3 outdoor courts.Private and group lessons available.South Side Raquet Club, 1401 E. Sibley,VI9-1235.STEP TUTORSStudent Tutoring Elementary Projectneeds volunteers to tutor biweekly.There are a lot of children who coulduse the help if you are interested,please cal Jay Sugarman at 947 8804or Mary Lou Grebka at 642 8266.STUDENT DISCOUNTWeeknights at the Efendi! 955-5151.REFRIGERATORRENTALMinifrige: Pennies a day Billedmonthly, call Swan Rental 721 4400.BLACKFRIARSDeadline for scripts for the Black-friars spring show is Jan 11. $50 of¬fered for the script that is chosen. Ifyou have questions call Pua 947 8277or Steve, 241 7349.BudgetRentaCarof Hyde Park5508 S Lake Park Ave$ 5 per dayplus 1 OC a mileand up493-7900II4 Y ILL'SRADIO. TELEVISION& HK.H MDKLI I \SALES SERVICE & ACCESSORIES/.emlh — I'nnusunttWaslrruork — kill1368 I. 53rd, Chicago 80815 • PL 2-780045 Years Serving Hyde Park SPEECHPERCEPTIONEXPERIMENTParticipate in an experiment onspeech perception. $2.00 per hour Forinfo and appointments, call Bruno,Repp at 3 4714FOLK DANCING8 p.m at Ida Noyes Hall, Sunday(general), Monday (beginners),Friday (requests) 50 cents donation,for info, Call Janet 955 8184,PAN PIZZADELIVERYThe Medici delivers 5 p.m. to 10:30p.m. Sun. thru Thurs. 5 p.m. to 11:30p.m. Fri. and Sat. 667 7394. Save 60cents by picking it up yourself.REWARDBlackfriars offers $50 for the scriptchosen for the spring musical. Scriptswith or without musical will be considered. Deadline is Ja. 11 8. scriptscan be left in the BF mailbox in IdaNoyes, For questions, call Pua 9478277.SHIMER COLLEGEShimer is trying to say itself. Find outhow you can help. 288-6304.MUSIC BOOKSFresh shipment of music books! Manynew titles just in at The Fret Shop, 5210Harper in Harper Ct., Mon Sat., 11 6. MADWOMANFOUNDWomen's eyeglasses in case found onMidway weeks ago, man's pipe andglove, rhinestone diamond and goldbrooch, someone's house and car keys,last chance, folks. Call 32703 JessicaNEED EXTRACASH?UW Grad Student wishes to sub let anapartment in campus area for self andspouse while attending conference inChicago. Evenings 26 28 Dec. Total$25. Contact p. Noble, UW Dept, ofGerman, 819 Van Hise, Madison, Wise.53706.PERSONALSFemale puwiy needs a home: 7 wksold, rn«d size, white, some samoyedmarKingSi/ excellent with children.C&I 493~Sfj||^-Hey' everybody! Good luck withexams. Gon't forget, next Sunday isBeethoven's birthday; listen to his NNinth with someone you love!Schroeder P. S. Monday is Kitty HawkDay, fiy in an old plane and think ofOrville and Wilbur in 1903.DickDavis Thank you, YOU KNOWwho YOU Are I've seen the Love inyour Eyes.I'm One of Those PEOPLE YourMOTHER WWARNED YOU ABOUT— That'S WHY.But Aren't YOU Really.The following Maroon people are tomeander over to O'Connell's officeafter mid January: Russo, Roth, bothRudys, Hemphill, Durbin and D.Alexander. Gruenberg, too, but hedoesn't count.The following Maroon staffers haveletters waiting for them in the "StaffMail." Please come and get them:C D. Jaco (Machtinger's address),Mark Spieglan, and Bob Charkovsky.Thank you.WRITERS' WORKSHIP (PL2-8377)PREGNANCY TESTING every Sat.10 4 5500 Woodlawn. Cost $1.50 Bring1st morning urine sample.Got a problem? Need information?Just want to talk? Call Changes, 955-0700 M F 6-12 Blue Gargoyle.J. Carlson. Please call J. Beckett.Will the man in WALKING SHORTSwho I briefly spoke to at LaRussoRestrat on 53rd St. on 11-10 Pise Callme at 338 5212 betwn 6 AM 7 AM orafter 7 PM. If no ans keep tryingArnie. I have once again been duped byPsychology Today. Previous experience has inevitably shown thatmagazine to be shallow pippsychology. It caters to those peoplewho shop for intellectual concepts asan adjunct to their total image, thelatest idea bearing the same weight ofconsequence as a chic pair of shoes.And, just as clothing stores providemirrors so that customers can try onclothes, so P.T. provides questionnaires so readers can see how newattitudes fit them.But there is some danger in runningdown P.T. and the people who buy it; Ibought it. I couldn't resist theirspecial issue on "The Female Experience." Now any non ethnocentricfeminist should think twice aboutbuying a magazine purporting to beabout the female experience, whichhas a photograph on the cover of anude male sporting a bandage over hisexcised rib. Is Adam's post operativetrauma the female experience? Or isthe picture there to let us know thatthis issue limits itself to the JudeoChristian female experience. Iquestion the perpetuation of the Adamfirst myth, a latecomer in creationstories and a perversion of the morecommon original female or bisexualmyth. Don't any of P.T.'s "welleducated readers" know any othercreation stories? At least, you wouldthink that P.T. might feel obliged.Once they themselves had brought upthe Adam-first thing, to point out thebiological fact that humans are allfirst femal, and the maleness is thereal biological afterthought.But back to the intellectual fitting room, P.T.'S questionnaire on"Woman 8, Man" or how to find outhow you feel about 'WLM" (theWomen's Liberation Movement) maybe most interesting in what it tellsabout P.T.'s feelings about 'WLM".Most of the questions seem fairlyphrased, although there is adistressing tendency to list possiblenegative responses first. But thedoubt raiser, the question that seemsto have a built in answer, is this one -"What is the principle effect ofwomen's liberation on your sexuallife?A I have begun to have heterosexualrelations with more partners.B I have become more aware of or atease with my homosexuatinclinationsC. I have begun to have homosexualrelations in addition to heterosexualones.D. I have turned to hort)osexualrelations exclusively.E. No change due to women'sliberation.F. I avoid sex as much as possible."What a choice! The process ofliberation has made me a)PROMISCUOUS, B — D )HOMOSEXUAL, OR F) FRIGID. Thattells us all we need to know about whatP.T. thinks is the real nature ofwomen's liberation, doesn't it?MADWOMAN40% OFFon these specialsatAcross from tho Co-Op?THIS WEEK IIsaac Hayes "Joy”Allman Brothers "Eat A Peach”New Ringo StarrGILL & COMPANYLIQUORSThe only liquor deliveryservice in the Hyde Park-Kenwood area.1238 E. 47th St. (at Kimbark)Ki 6-6500Draft beer in Vi gal. & kegs.Full line of wines. TAKEAM-YNNCHINESE-AMERICANRESTAURANTSpecializing inCANTONESE ANDAMERICAN DISHESOPEN DAILY11 A.M. TO 8:30 P.M.SUNDAYS AND HOLIDAYS12 TO 8:30 P.M.Orders to take out1318 East 63rd MU 4-1062UNIVERSITYBARBERSHOP1453 E. 57th ST.ICLOSED MONDAYS!684-3661HairstylingRazor cuts PIZZAi PLATTER1460 E. 53rdMl 3-2800FAST DELIVERYAND PICKUPIIIIIYoung Designs byELIZABETH GORDONHair Designers1 620 E. 53rd St.288-2900Grey City Journal December 7, T 973-27HAVE A GLASS OFMADEIRA M’DEAR!Madeira is the wine that the Founding Fathers drank.Washington was a “2 bottle-man”. While we don’t recom¬mend 2 bottles a day, one is very fine for any use. Use it onceand become a lifelong fan.BLANDYMadeira’s Finest ShipperBEALMALMSEYVERDELHORAINWATERSERCIAL Rich and Creamy with the taste of the richsemi-tropical growth and lush ripeness of thegrapesSlightly drier but still quite sweet. You havenever fasted Madeira until you try this one.Medium dry but with a slightly sweet finish.For a between meal snack with a piece of un¬frosted cake or cookie.The wine is the color of rainwater that hasbeen stored in a rainbarrel and this gives itthe name. The taste is dry, soft, and elegantwith a slight bite.The beautiful dry snappy taste of this winemakes it ideal to serve before food as acocktail. May be served cold. In soups itmakes canned soup possible to use. $4.98*449$449*449949aYOU MAY SAMPLE ANY OF THESE WINES BEFORE BUYING•1”Vermont 3 year old cheddar wMlHlitodServe it with MADEIRA lb.COMPLETE PARTY SERVICE FROM2427 East 72nd StreetBA 1*9219 Appetizers to Zinfandel351 East 193rd Street593*1311Daily: 9 aat*19 pm Saaday: Naaa-9 pa.28-Grey City Journal-December 7, 1973HAVE A GLASS OFMADEIRA M’DEAR!Madeira is the wine that the Founding Fathers drank.Washington was a “2 bottle-man”. While we don’t recom¬mend 2 bottles a day, one is very fine for any use. Use it onceand become a lifelong fan.BLANDYMadeira’s Finest ShipperMALMSEYVERDELHO/RAINWATERn W T M w Rich and Creamy with the taste of the richK RJ /A W j semi-tropical growth and lush ripeness of thegrapesSlightly drier but still quite sweet. You havenever tasted Madeira until you try this one.Medium dry but with a slightly sweet finish.For a between meal snack with a piece of un¬frosted cake or cookie.The wine is the color of rainwater that hasbeen stored in a rainbarrel and this gives itthe name. The taste is dry, soft, and elegantwith a slight bite. $,£98$44984498449SERCIAL wineas a $498The beautiful dry snappy taste of thismakes it ideal to serve before foodcocktail. May be served cold. In soumakes canned soup possible to use.YOU MAY SAMPLE ANY OF THESE WINES BEFORE BUYING$«99Vermont 3 year old cheddar lb. |Serve it with MADEIRACOMPLETE PARTY SERVICE FROM2427 East 72nd StreetBA 1-9210 Appetizers to Zinfandel351 East 103rd Street508-1S11Dally:* aai-1* |MB Saatay: pm28-Grey City Journal-December 7, 1973