Oh, Lascivious Us!By Nick GrofiliaDespite its 500 pounds of grapes, the secondannual Lascivious Costume Ball came off more likeregistration than bacchanal. It featured the sameeager cast of thousands, multiple hurry up and waitlines, and the brilliant disorganization so well knownfrom that bane of student life.I arrived at Ida Noyes and meekly got in the tenminute line to get in the only entrance. In front of mewas a costumed duo with silver foil antennae — orstingers — or wings protruding from their heads andbacksides. They were supposed to be bees (the birdsand . . .).Behind me was a Pakistani from I-Houseexplaining to his cutie that he was no male chauvinistand buying her ticket was purely a businessproposition . . .So eventually I got to the two burly bouncers atthe door laboriously checking ID’s. No doubt follow¬ing the Sun Times’ article touting the dance’sexpected erotic delights, the management was afraidall of Chicago’s sadists, sex-fiends, and fags woulddescend upon UC’s helpless intellectuals. So sorry.novice squad need apply.Once inside I was immediately sucked by thethronging multitude along the path of least resis¬tance into the Cloister Club. The lights were low, theroom sensuously draped with plastic sheeting, thefloor covered with soft mats and the pulpy juice from200 pounds of grapes stomped underfoot by thecrazed crowds. Their eyes followed every twitch of aGreek belly dancer who swayed to the tune of anelectric organ and drums. Here indeed was woman ather salacious summit.Then onto the floor walked two magnificentspecimens of man who proceeded to drench them¬selves in olive oil and roll about the floor in eachother’s clutches. This “Greek wrestling” was re¬fereed by a Chinaman, costumed a la Samurai, whoobserved the wrestlers’ every move closely but, withthe marvelous delicacy of that people, said and didnothing. To spur the wrestlers on to even greaterferociousness, the crowd began pelting them withgrapes, at which point I effected my departure,having forgotten my Bat grape shield.I climbed up to the third floor theater to catchMidnight Star’s striptease. Unfortunately there wasno conceivable way to pack a single additional bodywithin viewing range, or even to remove the bodiesexpiring inside from overexcitement and heat prost- brew straight off. It went down like Hawaiian Punchand had about the same effect. I also grabbed asaltine from the huge stockpile of over 10,000 andscooped up some of the orange cheese dip that hadbeen thoughtfully provided for pasting together torncostumes.That exhausted the gustatory possibilities, so Isauntered into the gym. The band was just going outfor a break. Frank Malbranche — alias Tuna Fish,alias Maurice Maestoso — and company read somedirty stories to kill time while Mr UC was getting itup. The runners-up for the title all deliveredthemselves of some fitting remarks including onebawdy duet which mercifully was not heard. At lastMr Rubin was wheeled in, propped up, and revivedwith a splash of punch. Impeccably attired in LondonFog and sawed-off hot pants, he flashed us a smileand collapsed.Next followed a demonstration of several mar¬velous and original applications of the albino prophy¬lactic by a skinny fellow who had a demonstratingprowess at bellydancing, wrestling, and in factseemed to be everywhere all night.Most educational of all were the dirty moviesshown in the library. Many students braved the longline again and again in order not to miss a singlelesson. Whatever depth of characterization mighthave been lacking was more than made up for by theplot. The films were shown backwards, forwards,slow motion, fast motion, and normal speed, eachtime the crowd deriving greater pleasure as theypursued this new experiment in programmed learn¬ing provided by the public information office.I had just missed a showing of the films, so Itrudged back up to the strippers where 1 just missedthe last set. So I went down to the basement for nudeswimming, but the pool had just closed. Upstairseven the cheese and saltines were gone, and no onewas drinking the punch because of a slight over¬ correction for its original shortcomings.So I wandered around. There were lots of peoplewandering around looking at each other, bouncingfrom one thing they’d missed or couldn’t fit into toanother. The women seemed to have gotten thelascivious costume idea down better. There wereplenty of suggestive see-through, low-cut and tightfitted to prompt even the most stolid imagination to afrenzy.The men seemed to take it all off or none. Therewas a great abundance of naked chest, but alas, anaked chest doth not a lascivious costume make, atleast for most UC chests. Many had given upaltogether on their sex image and sported the oldstandby workshirt and blue jeans.Exactly three out of 2500 saved their admissionby coming naked — Skinny, and one couple. Nowwhat’s the use of going naked if everybody behavesthe same as when you’re dressed? At least Skinnyreally let you know he was in the all-together.So there we all were roaming around, waiting forthem to give us a spectacle. Maybe there wasn’tenough ethanol or tasty little suckers this year, butno one seemed to be doing anything on his own. Therewas one couple trussed up in Purina Dog Chow bags,just begging to be ripped, but they might as well havebeen 5000 volt electric fences for all the interactionthat took place.Few took advantage of the crowds and dim lightsfor a little group groping and grabbing. During thedancing to the numerous bands, we all could havebeen transported to Arthur Murray’s with no seriousimpropriety.Dave Affelder said it at the crowning of Mr UC.He told us all to get up and push that evil column ofair that was weighing us down right back up to theceiling. But nobody did. So if Wash Prom is back nextyear, we deserve it. Not even SVNA can make rabbitsout of cabbages.ration.So I headed back down to console myself withsome SVNA punch. The familiar green plastic trashcans were foaming and boiling in the lobby, and Iplunged in my Dixie cup and manfully quaffed theTHE FAVORITE TARGETCr WOMEN’S UBCHOOSES HIS WEAPON.HARPER’S MAGAZINE.Pitk Up A Copy; Before Your Newsstand Is Pkketed.ATTENTION:VOLKSWAGEN OWNERSIf your Volkswagen needs bodywork/ bring it into our shop andlet Peter Petersen repair it.Peter is a trade school graduatefrom Germany and is a crafts¬man from the old school. Heonly knows one way to repair aVolkswagen—the right way.South Side's Finest Body ShopOur 17th Year In BusinessSHORE AUTO REBUILDERS, INC.1637 East 75th StreetMidway 3-80662/Grey City Journal/February 19, 1971 Our thing is your ring —Sbltismtb"•* .O. 1.119 N. Wabash at WashingtonENGLEWOOD EVERGREEN PLAZA ThebalancedmachineYou’ve out-grown your two-seater sports car and hate thethought of a gas-eater sedan.Now, for you, there’s a four¬seater sports car that gets 30miles per gallon. The newPeugeot 304. The perfectlybalanced machine.New Peugeot 304$2425* -5p.O.C. -Xe4imports, 3,nc.2347 SO. 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And awide assortment of books and pamphlets to answer your questionson birth control, family planning, the population problem andecology.Interested? For 25$ we’ll send you our illustrated brochure andprice list. Better yet, send $4 and we’ll ship you, postpaid, adeluxe sample package including our brochure, price list, andthree each of five different condom brands. And we’ll cheerfullyrefund your money if you’re not delighted. Why wait?TMa program it tndorttd by the Community and Family StudyCenter of the University of Chicago.POPULATION SERVICES. INC.10S N. Colombia St.. Dept, j-j Chapel H1U, N. C. HSI4j, Gentlemen: Please send me _closed). Your illustrated brochure (25/)the deluxe sampler ($4 en-State. ZipJESSELSON'S752-2B70, 732-31VO, 343-V1U - 1340 i. 53rdSoto: Stimulus and IllusionJesus Raphael Soto’s “Negros y Plata” now on exhibit at the Museum of Contemporary Art.previously mentioned “Penetrable de those already around Chicago’s work-Chicago.’’ Almost 6,000 vinyl threads ing-class neighborhoods. Williamhang from the ceiling; creating a new. Walker, Mark Rogovina Eugene Eda,For a pleasant change of pace trywalking through the vinyl rainforest,“Penetrable,” created by Jesus Raph¬ael Soto at the Museum of Contempo¬rary Art. Soto calls his work construc¬tions and they would certainly bedifficult to group under a narrowerheading. Constructed in wood, metal,perspex, aluminum and vinyl, theseworks play upon our senses, allowingus tactile ahd aural reactions as well asvisual ones.Born in Venezuela 48 years ago, Sotonow lives and works in Paris. The mainemphasis of his work is upon therepetition of simple forms and thesubtleties of optical illusion. Forcesand movements, both real and illusory,are vital to his work.In “Negros y Plata,” for example,Soto has silver and black squares reston top of a screen of thin, closely-spaced, parallel lines. The squarepieces are projected several inches outfrom the surface. When the viewerconfronts the work head-on he has thedefinite impression that all the piecesare held together by magnetic attrac¬tion, rather than by anything moresolid. Optical interference is created bythe projected metal squares and thelined screen, so that the eye perceives adistinct, but actually non-existent, vi¬bration.Other works offer illusions just assubtle. A painting with Mondrianesquesimplicity and sophistication isadorned with three multi-colored metalrods at its base. At first glance all threeseem to be freely suspended, but Sotohas characteristically employed am¬biguity, for one of the bars is actuallypainted and not three-dimensional.Some of Soto’s constructions imploreto be touched. A large platform cov¬ered with thin Vertical aluminum poles,much like a bed of nails, sits in themidst of the gallery. Air currents andfloor vibrations give the poles softvibrations (this time real), and a quicksweep of the hand causes a chain-reaction of pulsating movement as wellas a cascade of noise. One constructionmade such a shrill sound that a doctoradvised the Museum to rope it off!Soto has said, ‘‘In the past thespectator sat like an uninvolved wit¬ness of reality. Today we know thatman is not on one side and the world onthe other. We are not observers, butconstituent paTteof a reality which weknow to be swarming with forces,many of which are invisible. There areno more spectators, only partici¬pants.”The most inviting construction is the space and climate. As. you walkthrough this hazy environment thethreads gently cling to you, and you aresure to find yourself soothed by theexperience.Forces, directions, and movementsare especially noticeable within the“Penetrable,” for the form of theconstruction is perpetually in a state offlux. The optical interest and am¬biguity of the other works is presenthere, but is intensified for us by ourpresence within the creation. The“Penetrable,” which cannot be appre¬ciated until experienced, simulates theatmosphere of a rainstorm or a vine-filled jungle.Downstairs at the Museum, fourChicago muralists are in the process ofcreating colorful panels much like and John Weber have issued a state¬ment saying, “We have joined togetherout of the necessity that demands thatall creative forces work together forthe benefit of men and women instruggle.” The artists will discuss theirwork as they paint during Museumhours. Upon completion the Museumwill donate the murals to the commu¬nity for placement by the artists atlocations of their choice. Both showswill run through March 28.For those of you temporarily con¬fined to campus, there are two unusualexhibitions right here. The staff of thespecial collections department at Re-genstein has organized an exhibition ofnotable books and manuscripts fromthe library’s collection. These are dis¬played in the showcases near the reserve room on the first floor ofRegenstein.Special collections and the rare bookroom house some amazingly fine exam¬ples of Medieval and Renaissance man¬uscripts. The more modern papersinclude historical documents, lettersby famous authors, and the researchpapers of some of the luminaries onceassociated with the University of Chi¬cago.Anyone with a strong stomach and aninterest in science will welcome achance to view the exhibition of medi¬cal illustrations on display at theCenter for Continuing Education, 1307East 60th Street. Chicago is one of theleading centers for medical illustra¬tion, and its artists continue to reflectthe drama of surgery and the in¬tricacies of the human body.—Susan LeffCulture Vulture91Voger Solie conduct- the University Chamber Orchestraday at 4 pm at 5831 University Avenue.he Chicago Symphony Orchestra will perform works bytok, Harris and Prokof ieff today at 2 and tomorrow night: 30. Eugene Ormandy will conduct.anight at 8:30 the Alistaire Trio will perform works by:art, Hindemith, and Mendelssohn in a chamber musiccert at Orchestra Hall.he Chicago Chamber Orchestra will play "Viennariosa" at the Museum of Science and Industry, February13:30.iano music of Schubert will be played by Paul Badura-da and Jorg Demus at Mandel Hall, February 23 at 8:30t the Syndrome, tonight, are Rod Stewart and Smalles. Savoy Brown and the Grease Band.tturday night at the Syndrome: Mountain, a rock band;itwood Mac, blues rock band, and Ned, a local countryd.t the Quiet Knight through Sunday, Jaime Brockett andGlover. Alex Taylor — James and Livingston's brotherrill open February 24 at the Quiet Knight,scar Peterson in the London House through Feb 28.ebruary 20, Sandler and Young in the Opera House.kMA „ .niversity Theater will present Ibsen's Peer Gynt thiskend and next weekend, at 8:30 in Mandel Hall. Tickets0; students$1.50.je Noh Theater of Japan will perform February 20 ati and February 21 at 3 at the Auditorium Theater,ne Free Theater company of Chicago is ending its run of•lies, a rock cantata by Robert Perrey. Sunday at 7 and 9Monday at 8, through March 1. Also, on WednesdaysThursdays at 7:30 and 9, this month, Aesop's Fables, byiam Russo will be performed. The Theater is located atN. Sheffield. Phone: 929 6920.h Coward! will continue through February at the Happylium, 901 N Rush.?cond City revue this month is Picasso s Moustache,irozek's Tango will run at The Playhouse, 315 W North,iuoh Aoril. 751 9643.he Lincoln Park Players will perform Requiem tor ai, tonight and Saturday, at the Lincoln Park Theater,N Stockton Dr. LI 9 0081.he Me Nobody Knows continues at the Civic Theater,ihington and Wacker This is the Chicago production ofcurrent New York Obie award-winning rock musical based on the creative writings of school children from theghetto. Tickets $4 7.50 Call 726-7890.Grease, a 1950s rock musical, has opened at the KingstonMines Theater, 2356 N Lincoln.The Night Thoreau Spent in Jail continues at the GoodmanTheater through February 21. By Joerome Lawrence andRobert E Lee.The Effect of Gamma Rays on Man-in-the-Moon Mari¬golds at the Ivanhoe, 3000 N Clark, 8 pm. Runs through April25.Man of La Mancha continues to run at the CandlelightDinner Playhouse, 5620 S. Harlem, Summitt. Dinner isincluded, and in fact required. Tuesday through Thursday$5; Friday $6; Saturday $6.95 for the first performance and$8 for the second; Sunday $4.50 and $6. Call theater fortimes.The all male black musical Buck White continues at TheChurch, 5400 Blackstone. Thursday at 8:30. Friday at 4 and8:30. Saturday at 7:30 and 10:30. Sunday at 4 and 7:30.Tickets S2.50-S4.50 with $1 student discount except onSaturday.At the Organic Theater, 2259 N Lincoln, Candide continuesthrough March 27. Tickets $2.50; students on Wednesdayand Thursday nights get a $1 discount.The Prodigal is presented by the Old Town Players at 17 isNorth Park. Friday and Saturday at 8:30 and Sunday at7:30. Tickets $2.No Place to be Somebody continues at the StudebakerTheater through February 28.Making Money and 19 Other Very Short Plays and Silence,by New Chicago City Players, 615 Wellington. Chicagopremiere of works by William Saroyan and Harold Pinter,respectively. Friday and Saturday at 8:30 and Sunday at7:30. $2.50. Students, $2.00.Void Where Prohibited by Law. A satire of commercialtelevision. Performances at the Video Lounge of the Rush-Up, 907 Rush. Sunday through Thursday at 9 and 10:30($2.50), and Friday and Saturday at 9, 10:30, midnight and1:30 ($3.00).ARTHainrings by Mtyoko Ito are on display at the Hyde ParkArt Center, 5236 Blackstone.Jesus Raphael Soto's optical constructions at the Museumof Contemporary Art, thru March 28. Also, "Four ArtistsPaint Their Outdoor Murals Inside the Museum": the publicmay see the work in progress and converse with the artists. Medical Illustrations at the Center for Continuing Educa¬tion, through February.Black Experience at the Bergman Gallery featuresdiverse black artists' works, thru Mar 20.The Renaissance Society Gallery in Goodspeed Hallshows "Venice in Peril" and "Views of Venice: Canaletto,Whistler and Masson."Oil paintings by artists from Midway Studios now hang inthe C Shop. The changing displays will feature works by UCartists; they are for sale and the artists can be reachedthrough Midway Studios.Armor from the George F Harding Museum at the ArtInstitute through March 21. Located in the A MontgomeryWard Gallery.The Chicago Gallery of Photographs has opened up at 3742W Irving Park Road, open every Sat-Sun from noon 8.An exhibition of architectural innovations of McCormickPlace continues at Glessner House, 1800 S Prairie Ave.I- ours are Tuesday and Thursday 10 to 2 and Saturday andSunday 2 tc 5. The show was prepared by the architects ofMcCormick'Place. Runs through February 28.DANCEEdward Villella and Dance Company will performFebruary 21 at the Opera House, at 2:30. Tickets range from$3.50 to $7.50.TALKIESOn campus, DOC films follow: Orson Welles Touch ofEvil, 7:15 and 9:30 tonight; Tuesday, Michait Curtiz'Flamingo Road at 7:15 and Ramrod (Andre de Toth) at 9,Wednesday at 8, Leo McCarey's Ruggles of Red Gap PLUSRene Clair's Entr'acte.CEF will present Bunuel's Diary of a ChambermaidSunday at 7 and 9:15.Cool World will be shown Saturday night at 8 at theUniversity Church of the Disciples.SPECIAL EVENTSIrene Dailey, star of The Effect of Gamma Rays on Man-in-the-Moon-Marigolds, will conduct seminars about theplay and about theater in general after performances (atthe Ivanhoe). Interested groups should call 248 6800.i nvcA do it-yourself exploration — "How to Bypass the DatingGame" — will be presented in the First Unitarian Church,5650 S. Woodlawn at 8:15 PM Sunday. The program willexplore ways of communicating that bypass customarystilted formalities and move quickly to building morehonest, intimate relationships.February \ 19, i 1971/Grey City. Jourpol/3.te*lSPRINGflEflPQLEBEscape to Acapulco for a full week of super sun and top notch night life.Visit the tequila factory and other famous Acapulco nightclubs. EscapeInternational will take you to Acapulco any Saturday from February 27 toApril 10.Your package includes:0 Round trip air transportation to Acapulco, Mexico.• Transfers between Acapulco International Airport and the DelMonte Hotel.• Seven days and nights accommodations at the Del Monte Hoteloverlooking Acapulco.• A fiesta from arrival to departure a welcome party, water skiing,3-hour cruise of the bay with native music and an open authenticMexican bar.0 Tips and taxes on services are also provided.Membership in Escape International Air Travel Club requiredmonths dues just $12.50.mim BasilJoin thousands of students from universities across the nation for a week ofsun filled days and high evenings.The Summitt Features:0 Apartments consist of 2 bedrooms, living room, kitchen-dining area.Can accommodate up to 6 people.0 Motel rooms contain two double beds and can accommodate upto 4 people.0 All units contain 19" GE Television - individually controlled airconditioning - wall-to-wall carpeting - telephone - daily maid service.0 Coffee Shop - Elevators - Olympic size pool - Shuffleboard - CocktailLounge - Recreation Room.RATES: All Rates 7 days 7 nightsOcean View Motel Rooms - $261.00 / Ocaan View Apartments - $319 00 / OceanFront Motel Rooms - $279.00 / Ocaan Front Apartments - $369.00.Seven Nights Package Rates Available Following DatesI - Mar. 20-27 / II - Mar. 27 - Apr. 3 / III - Apr. 3-10 / IV - Apr. 10-17.A check or money order for $50.00 must accompany your reservation. Full refundif cancellation is received in writing 7 days prior to arrival. Cancellation must be madeto Escape International / P.O. Box 10325 / Lambert Airport / St. Louis, Mo. 63146.rwEFNT. awnEFfflflfTlFl isinmDon't miss colleges weeks at the famous Freeport Inn, Freeport Bahamas.Each spring thousands of students spend their spring and easter vacationsoaking up the sun and nonstop nightlife of Freeport, Grand Bahama Island.Take a trip ... your Freeport package includes:0 Round trip, air transportation to Freeport, Grand Bahama Island.©Transfer between the Freeport International Airport and fabulousFreeport Inn.©Seven nights of accommodations at the Freeport Inn.©Free happy hour with native music and open bar 5:30 - 7:30 eachevening.©Tips and taxes on services included.Membership in Escape International Air Travel Club requiredmonths dues just $12.50.Special departures during "Quarter Breaks" and Easter Vacationsdepartures every Sunday - March 7 to April 11, 1971. sixFOR FURTHER INFORMATIONCONTACT:Escape littcrnofionol169-032?ESCAPE INTERNATIONAL / THE TRIP CLUB A Vision (John Cassavetes’ Husbands (at theEsquire) is perhaps the most misun¬derstood movie of recent months. WhileTime-Life canonizes the director ofFaces and Shadows as the apostle ofthe New Honest Realism, the Chicagocritics and Pauline Kael have lashedout at the holes in his “method.” Theembarrassing intimacy and torturedturgidity of his images and situationsinspire poles of violent reaction from. critics everywhere. So far the opposi¬tion holds all the cards, but that’sbecause refuting Cassavetes’ allegedfriends isn’t particularly difficult.Nothing can tarnish a reputation fasterthan misguided praise. The crudeedges of Cassavetes’ technique, theartiness of his one-word titles andindependently financed look, and theextreme improvisatory veneer to hisstaging have led the opponents of glossand style to form an unwholesomealliance with one of the most stylized ofall the new major American directors.Husbands is a compelling film that isnot to be missed. Nonetheless, I hopethere is no forthcoming school of Cas-savetean imitations. Better to sitthrough a dozen pale, bromidic rendi¬tions of Love Story than hours of theintensely self-conscious psy-chodramatic spinoffs from Husbands.Cassavetes is decidedly one of a kind,and his vision belongs properly to himalone.Cassavetes’ expression derives fromthe quality, and more to the point, thequantity, of his actors’ expressiveness.If Faces seems more emotionally validover the long haul than does Husbands,it is perhaps because in Faces Cassa¬vetes exploded his novel vision on thesurprised audience via the commu¬nicated agony of unknown performers.In Husbands the audience is braced forthe rough treatment, and Cassavetesdelivers more strongly, as he must —witness the twenty-minute vomitingscene.Still, many critics have complainedthat their continual awareness of BenGazzara, Peter Falk and Cassaveteshimself as performing personalities(reinforced by their clowning on talkshows) dissipates their emotional in¬volvement with the plights of Gus,Harry and Archie — the husbands whojust can’t go home to their wives. Thepassion of the director however, goesbeyond showing unflinching honesty or From left, Peter Falkgiving actors a chance to ham. Therelies the rationale for the tightness of hisfocal lengths, for the aggressive dis¬comfort of his compositions, and for therambling associative structure of hislong, long scenes.Ultimately, the first principle ofCassavetes’ cinema is the actor — notacting, but the actor. Cassavetes examines the spectacle of actors search¬ing their private and public selves for apersonal psychological experience tocorrespond with the screen’s emotionalsituation. Some critics claim that Cas¬savetes writes his scripts entire; oth¬ers think he merely commits the impro¬visation of his players to a screenwri¬ter’s credit. I suspect that his writingmethod represents a fusion of both,with a determined avoidance of acompromise between the two, and a farmore sensible and careful plan than iscommonly suspected.Much of what is most stimulatingand teasing about his films strikes oneinitially as gratuitous — especially theextreme self-indulgence of Pirandellomechanisms such as the opening mov-ie-within-a-movie in Faces, or thesound boom clearly showing in thepenultimate scene in Husbands, or4/Grey City Journal/February 19, 1971 Peter Falk and John Cassevettes in the Funeral scene in “Husbands."Continued in HusbandsBen Gazzara, John Cassavettes, and David Rollins as the fourth husband whose death triggers the movies'action.(most subtle and tantalizing of all) thebarroom scene in Husbands where thethree men ruthlessly direct a rathercowed barfly in the proper expressionand heart with which she should singan old ballad. Sure, Roger Ebert willexpertly detail all the unconvincingdetails of their tippling (and admit¬tedly, Cassavetes’ public behavior en¬courages this sort of criticism), butwhat really matters is the bully sadismand furtive longing in the men’s intenseinsistance, and beyond that, the in¬ escapable awareness of performanceon the part of every bit and lead playerin the scene.Cassavetes’ camera necessarily reg¬isters close-ups, because his chief con¬cern is the proximity of every man’ssoul to his expressive needs. That iswhat is most beautiful in the threecomrades’ friendship. Close to theactors and close to their feelings.Cassavetes’ shoots close-ups that con¬vey both sympathy and objectivity.The picture definitely presents a case for the liberation of all sexes fromthe tyranny of Gender Imperative (asBetty Freidan has pointed out in TheNew York Times); it is equally anindictment of suburban success, of thefailure of the American Dream, etc.But the film’s interest lies not inpolemics, but in its context for theserelated social symptoms. Cassavetestakes these common denominators ofour experience and struggles for formsand gestures to contain an artist’s viewof them. The payoff scenes are always aculmination of continual, agonizingreappraisal of our lives as revealed inour manners and public conduct. AndHusbands is most successful as adelicious comedy of manners. (Frank¬ly, I find the theory of personality associal gesture implicit in Husbandsmore intriguing than the more con¬ventional pop psychology of peelingaway layers of defenses in Faces.) It’sa gruff comedy, with most of the jokingunregenerately in the historic malemode, and most women would prob¬ably not find it funny. Still, no critic hasmade anything of Cassavetes’ con¬sciously affectionate absurdity in thefilm. It derives from the shared con¬sciousness of him and the men in thefilm, for while the actions of the menare most decisively not endorsed, theyare still richly felt and understood asexperience common to the director.It comes as little surprise that Cassa¬vetes the actor is the best thing in thepicture, although I liked everyone inthe film. Until the next chapter ofCassavetes’ life on celluloid, we canenjoy the best moments of Husbandsfor their individual pleasures, and thestrained ones can be passed as waystations on the road to future develop¬ment. Meanwhile, the camera obses¬sively watches its subjects crowdedinto the frame to hassle out theirexistences, straining to escape fromthe bonds of social restrictions theydepend upon for survival, like the lastshot of the exhausted couple in Facescollapsed together in the stairwell, orlike the errant husbands desperatelydelaying destiny with the piper thatthey cannot realize is already paid.—Myron MeiselMUSICThe Right Music, the Wrong PlacesTwo concerts — by the Juilliard String Quartetand the Rockefeller Chapel Choir — marred by thehalls in which they were presented!The Juilliard String Quartet came to Mandel Halllast Friday, only to face the obstacle of em¬barrassingly poor lighting. Their performance ofBeethoven’s Quartet in F-minor suffered from faultyintonation, especially by the first violin, but who canblame them? They could hardly see the notes. Surelythe University should (and can) avoid discouragingreputable performers from coming here because ofsuch slip-ups.The central work on the program was the StringQuartet (1969) by Stefan Wolpe. The striking featureof this work was its continual references to tradition¬al tonality. The second movement, especially, contin¬ually offered suggestions of harmonic sequences andcadences, sometimes with a seemingly satiric effect.The main problem with Wolpe’s Quartet was itsrhythmic drabness. The individual string partsstated the material evenly, without break in the flowof the music, either through syncopation or pol¬yrhythms.After intermission the concert returned to thenineteenth century. The Juilliard Quartet was joinedby Leonid Hambro for Brahms’ Piano Quintet in F-minor. The performance of this work suffered fromthe pianist’s faulty phrasing (he seemed to havedifficulty maintaining a legato line) and from hisoccasional disruption of the instrumental balance.For example, in the second movement passage forviola and piano only, the keyboard instrumentcompletely overwhelmed the beautiful string melo¬dy.This was not a bad performance, but a dis¬appointing one, nevertheless. Past concerts andrecordings show that, under better conditions, theJuilliard Quartet is capable of much more.Did you see the part where he took a carrot and . . .Shh. We’re in a church now.Rockefeller Chapel was packed last Sundayafternoon, with students and non-students fa8er\°experience a complete, live performance of Bac sMats in B minor. .The performance was difficult to judge on pur ymusical grounds. The acoustics of the church grossly The Julliard String Quartet, as they appeared on campus last Friday.distorted the sound coming from the musicians up inthe choir loft, so that the listener’s ear was confusedby multiple echoes and gnawed at by clashing highfrequencies. Sections of the music containing rapid¬running passages fared worst in the church-turned-concert hall. Scales seemed to become virtual toneclusters, as the stone walls of the chapel refused toabsorb the sound.One must speak of the Sanctus, in which thethickly-scored string six-part chorus, abetted byheavy-sounding trumpets, oboes, and strings,creates a musical climax, in terms of texture.Unfortunately, after bouncing across the chapelseveral times, the massive sound became morepainful than exalting.The bass aria “Quoniam tu solus sanctus” alsomay have suffered much in its journey from the choirloft to the audience below. In this section the soloist isjoined by a muted French horn and two bassoons,instruments which, in their normal registers, usuallyproduce a soft, round tone. In Sunday’s performance,the sound of these instruments became so foggy thatit was often almost impossible to distinguish betweenthe individual melody lines.The most effective sections were those in whichthe chorus sang softly and slowly, in which the totalharmonic progression seemed to take precedenceover the individual voice-leading. The chorus “Quitollis peccata mundi” with its strange, surprising modulations, was pure magic. In this case, the built-in echo of the chapel actually made the music moreeffective, intensifying the mysterious atmosphere.The long B-minor Mass is very difficult toconduct; since the music is of such consistently highquality, there is hardly any “filler” to give theconductor some respite from the necessary high levelof concentration. Richard Vikstrom deserves admi¬ration for undertaking such a demanding task. Iwould quarrel only with his tendency, at the end oftriumphant choruses in bar-form, to speed up thetempo considerably when the opening section re¬turns. This was probably done to increase theexcitement at the end of such choruses. Bach’swriting, however, mitigates against accelerating thetempo, since increased intensity is built right into thescoring of the “recapitulation” of such choruses. Irthe end of the “Et resurrexit” for example, BacIchanges the orchestration of the opening, giving thetrumpets a much thicker, boisterous part.The highlight of the concert was the arie“Benedictus,” in which the vocal soloist is accompanied only by a violin and bass continuo. Comin{right after the two most energetic choruses of th»Mass, this aria is a brilliant, sudden excursion intiintimate chamber music. Donald Doig, the tenosoloist, interpreted his part appropriately, witlsimple, peaceful beauty.Mark BlechneiFebruary 19, 1971/Grey City Journal/1970’s PULITZER PRIZE PLAYno mace nI -1 3 T’j T1“IS A BLACK PANTHER OF A PLAY. STALKINGTHE STAGE AS IF IT WERE AN URBAN JUNGLE.SNARLING AND CLAWING WITH UNINHIBITEDFURY AT THE CONTEMPORARY FABRIC OFBLACK WHITE AND BLACK BLACK RELATIONSHIPS ! ” - TIMC MAGAZINE“CHARLES GORDONE ISTHEMOSTASTONISHING NEW AMERICANPLAYWRIGHT SINCE EDWARDALBEE.“-Walter Kerr, NY TIMESSPECIAL STUDENT STAND-BYRATE$n — _ ^ _ _ TUES through FRI at 8:30 P.M.2.00 OFF sunday a*7 00 p MMAT WFD & SAT at 2:00 P.M. NO DISCOUNTSAT NIGHTSTUDEBAKER THEATER 418 S MICHIGANPHONE 939 3744DUSTIN HOFFMANIITTLF BIO MAN"A Cinema Cente< FilmS PresenfalionMARTIN BALSAM Jtf f CORtY Cfllf f DAN GEORGEbased on the Nove' Oy Thomas : LAYf DUNAWAY A Natrona* General FVrtutes ReleaseFNnatesion lechocoio» CPASMRSPfNOMME J^oduced Stuart 'Varied t* AelHx NnrNOW! »k* C*IA> fj1 Alt j rntA (itUNITED ARTISTSBANOOIPH AT Dt AiBORN YOUR SAFE, LEGAL NEW YORKCAN BE DONE TOMORROW!(212) 222 6023 or 222 6025Mon.-Fri., 9-5(2121 PL7-3170 24 hrj.. 7 daysm rvgiMerec) nurse schedules youlowest available cost.Save ad tor fu ture referenceThe first time they performed,the act they had to follow was God<Back in church in Mississippi The ChambersBrothers were just little kids singing after a sermon.But the Baptists who watched them danced andswayed. And got the message even though it waslittle fellas doing the preaching.Then later on The Chambers Brothers added adrummer. Who played like he must have clappedin church himself.And it wasn’t long before the group that giggedat backwoods revivals put their gospel frenzy intoblues and rock, and brought it to places like theFillmore and Carnegie Hall.And with the same feeling that made church-folks twitch 20 years ago, The Chambers Brothershave made their latest album, “New Generation.”With the addition of a 22-piece orchestra that playson some of their songs.Of course, back in Mississippi they still don’tput a big band or fingerpopping in the gospel. ButContemporary European FilmsDIARY OF A CHAMBERMAIDCobb Hall Feb. 217 & 9:15MIDWEST'S LARGEST DISPLAY OFNEW AND USED SPORTS CARSCONTINENTAL MOTORS INC.5800 S. LA GRANGE RD.LA GRANGE, ILL. 352-9200 All New71 PfNR)*1919PIZZAPLATTER* Pizza, Fried Chicken} Italian Foods] Compare the Price!| 1460 E. 53rd 643-2800 *_WED€UVER J 7626 So. Stony Island Ave.Phone: 731-7000Open 9-9 p.m. Weekdays Sat. and Sun. 'til 6“i umnnmns niraniramrasr Warner— Stefan Kanfer. Time Magazinensm nmuH is t Hum!Aim it ifffj aiaat ui fill if iisliif nrpriw!"-Newsweek Magazine“A LARRUPIN’ LALAPALOOZA!”- Bob Salma,,i. Group W NetworkJAGUAR mmiT EDWARDS-DINWIDDIIMMEDIATE DELIVERYHOME OF THEof FORDableFords8/Grey City Journal/February 19, 1971