THE GREY CITYVolume 3, Number 23 The Chicago Maroon Magazine of the Arts Friday, April 16,1971Igor Stravinsky, 1882-1971r By Mark BlechnerIgor Stravinsky is one of the most perplexingphenomena in the history of music. He did not bearthe usual marks of a musical prodigy. His in¬strumental performance was not outstanding, andhis ear was somewhat deficient, so that he alwayscomposed at the piano. He wrote slowly, with greateffort, but balancing his lack of facility relative tomost other major composers was a quick, inventiveintelligence and a tremendous capacity for work.Laboring with almost unbroken regularity through¬out his life, Stravinsky produced some of the finestand most original compositions of this century.Stravinsky’s most significant innovations con¬cerned the rhythmic aspects of music, which hadbeen subordinated to questions of harmony andcounterpoint in the works of the other towering figureof twentieth century music, Arnold Schoenberg.Stravinsky’s continuous disruption of expected ac¬cents and phrase lengths is most clear in his balletThe Rite of Spring. This work altered irrevocably theconception of all musicians as to what could be donewith rhythms. One of the sections of The Rite ofSpring, entitled “The Glorification of the ChosenOne,’’ is based entirely on one chord; with virtuallyno change in the harmony, the listener’s attention isfocused on the continual surprises of the syncopatedbeats and changing meter. No other composer hasever matched the constant unexpectedness of therhythm in this work.A certain radicalism also characterizedStravinsky’s setting of words to music. Russian,Latin, French, English, and Hebrew texts all foundtheir way into his works. Stravinsky’s revolution inthis area involved a violation of “correct” setting ofthe words according to their normal accentuation.His primary concern, instead, was with the puresound potential of individual consonants and vowels.“The text thus becomes purely phonetic material forthe composer,” he writes in his Autobiography. “Hecan dissect it at will and concentrate all his attentionon its primary constituent element — that is to say,on the syllable.” This attitude sometimes drew rabidcondemnation from linguistic purists. There are noRomans still around to protest Stravinsky’s playingwith “Oe’dipus” and “Oedi’pus,” but the French,true to their reputation as fanatics about their ownlanguage, were aroused to a fury when, in Per¬sephone, the heroine is implored, “Reste a’vec nous.”In his compositions, Stravinsky frequently drew onthe simplest sorts of musical materials and trans¬formed them ingeniously, investing them with anoriginal new character. For example, virtually everymelody in his ballet Petrouchka is adapted fromanother source. Russian folk songs and Viennesewaltzes find themselves in surprising situations,pitted against each other and jolted by unexpectedharmonies. The end result is a work that one cangrow up with. It has a superficial simplicity thatmakes it accessible to children, but underneath lies acomplexity and profundity which seem increasinglyawesome as one becomes more mature and per¬ceptive into purely musical matters, as well as intothe terrors of human nature.The rejuvenation of older, overused ideas charac¬terized Stravinsky’s entire output; this aspect of hiswork unites his three “periods,” his so-called Rus¬sian, Neo-Classic, and Post-Webern works. His starkoratorio, Oedipus Rex, begins and ends with a simplefigure of repeated notes a minor third apart, whichdrum out a sense of the arbitrary and irrevocabledoom that destroys the hero. The first movement ofthe Wind Octet (1924) took a fresh look at the dyingsonata form, while the opera The Rake’s Progressrevived the Italian tradition of set pieces (recita¬tives, aria, duets, etc) which had been abandoned inthe nineteenth century. Similarly, in The Fairy’sKiss, Stravinsky took tunes from minor Tchaikowskypieces (that are usually left to collect dust on theshelf) and through unique rhythmic and harmonictransformations, created a fascinating ballet, withmost of the syrup removed from Tchaikowsky’sgreat tenderness.A fresh imagination also characterizesStravinsky’s orchestration. The orchestra of TheWedding, for example, consist of four pianos andpercussion. The cimbalon, a dulcimer-like in-Continued on Page ThreeFILMTruffaut TrifiaBed and Board is a basically innocuous littledomestic comedy, but coming from Francois Truf¬faut the film is saddening indeed. Truffaut displayedsome dangerous tendencies toward apathy in hisrecent Missippi Mermaid, the only other Truffautfilm that I would count a failure. Bed and Board isn’treally bad, but it is relentlessly trivial: anything thatmight have involved Truffaut, or engaged him, orangered him, or captivated him is avoided at allcosts. Truffaut is, I think, already secure in historyas a major film artist; it is disconcerting that with somuch of his career yet ahead of him he has becomeincreasingly more professional and less personal.Bed and Board concludes the story of AntoineDANCEAvant-Garde ofthe Dance WorldThe Netherlands Dance Theater will perform atthe Auditorium Theater April 23-25. The companywas seen in Amsterdam last summer by CliveBarnes, who said, “Of all the world’s avant-gardeclassic ballet companies, the Netherlands DanceTheater is the most gloriously and conspicuouslyexcessive. It is clearly ready to try anything morethan once, and its performances are free, vigorous,and exciting.”The program for Saturday and Sunday, matineesand evenings will be the American debut of “Muta¬tions” and “Imaginary Film.” “Mutations” ischoreographed on stage by Glen Tetley, an Ameri¬can, and on film by Hans van Manen, a Dutchman,with music by Karlheinz Stockhauser. It’s an ab¬stract piece that is said to be a “juxtaposition ofsensory impressions” — and the first time a classicalballet company has performed in the nude. “Imagi¬nary Film” is choreographed by Tetley and set toSchoenberg’s “Music for an Imaginary Film.” (SeeVulture for Friday’s program and ticket informa¬tion.) Doinel, who began as a nine-year-old in The 400 Blows(Truffaut’s first film), and continued into youngmanhood in the fragment Antoine and Colette and thefeature Stolen Kisses, always played by the sameyoung actor, Jean-Pierre Leaud. In this film he hasmarried Claude Jade (his girl in Stolen Kisses), andAntoine tries out a series of occupations, has a baby,has an affair, and generally acts both selfish andingratiating.Significantly, this is the first weak performance Ihave ever seen Leaud give. Here he is totallyunprepossessing, completely lacking in charm andscreen presence. The film built around him is mostlya series of moderately amusing vignettes and shaggydog stories. Truffaut, when his love for his charac¬ters was unbounded and unrestrained, could makethe most improbable events warm and funny; butwhere gags are substance rather than medium, as inBed and Board, his inability to construct gags isapparent.Maybe everyone has been far too easy on Truffaut.People go glossy-eyed with admiration at the mentionof his name, putting him in that same unenviablecategory as Fellini and Bergman. I like someBergman, less Fellini, and much of Truffaut, but Ithink that a harsh revaluation of Truffaut’s work is inorder. Many people mistake softness for gentleness,and so stick with Truffaut and Bergman throughtheir every sloppy piece of work. What makes thewhole situation so depressing is that Bed and Boardcontains some of Truffaut’s most assured and skillfuldirection. His handling of camera placement andparticularly of editing is masterly in a kind ofenlightened textbook way.I most enjoyed Bed and Board as a study in how tomake a professional movie. But that’s saying littlefor the director of The 400 Blows, The Soft Skin,Fahrenheit 451, and Stolen Kisses. Incidentally,Nestor Almerdros’ color photography is beyondsuperlatives, and actually makes the movie morepleasant than anything. Truffaut has done.— Myron Meisel Claude Jade and Jean-Pierre Leaud in Truffaut’s“Bed and Board”UT Experiment:Minds & Bodies“Minds and Bodies,” University Theater’s firstexperimental weekend this quarter, bows on April 16,17, and 18. Gwen Dietmann, whose work was seen inlast quarter’s production of Shaw’s Passion, Poison,and Petrifaction, will present Edgar Lee Masters’Spoon River Anthology. Masters came from theSpoon River country in Illinois. His work is a series ofpoems revealing the triumphs and tortures of small¬town folk as they view their lives from the vantagepoint of death. The poetic monologues are deliveredfrom the graveyard overlooking the village of SpoonRiver.Deborah Davison will direct an excerpt fromMiss Julie by August Strindberg. Each of the twoleads will be played by two actors. That’s ex¬perimental !Curtain is 8:30pm, in Reynolds Club Theater.Tickets $2; students with ID $1.50.The University of Chicago Rockefeller Memorial Chapel • 59th Street and Woodlawn Avenue©rafortoSunday After noon • 3:30 • April 25, 1971RICHARD VIKSI ROM Barbara Pearson/Susan Nalbach Lutz, SopranosDirector Charlotte Brent, Mezzo-SopranoThe Rockefeller Chapel Choir with 42 members Donald Doig, Tenorof the Chicago Symphony Orchestra Arthur Berg, BassTICKETS:#5 .00 Reserved4.00 General Admission3.50 UC Cqnnected/Alumni2.50 UC StudentsGroup rates available upon request to theChapei Music Uthce, 753-33^7. Available at: ,All I ICkU I RON outlets, including MarinaCity; Dial T I C k F T S for nearest outlet.Reynolds Club Desk, 571h Street and University.Woodworth’s Bookstore, 1311 K. 57th Street.Cooley’s Cqrner, 521.1 Harper Avenue.Please make checks payable to The University of Uhiragradd enclose stamped, self addressed envelope.Mait Orders to: Chapel Music ()fftce, Rockefeller Memorial Chapel, <<>fh Street ami Woodlawn, Chicago, Illinois hoh p * iA2/Grey City Journal/April 16, 1971Canadian Forms and ColorsMichael Snow’s “Authorization 1969” and a Joyce Wieland work now at the Museum of Contemporary ArtWhat distinguishes contemporaryCanadian art from contemporaryAmerican art? Apparently not much, ifwe can judge from the current exhibi¬tion at the Museum of ContemporaryArt. At the risk of sounding ethnocent¬ric, I would say that most of the workon display stems from recent trends inNew York and the West Coast. Theshow, entitled “49th Parallels,” in¬cludes paintings and sculpture by six¬teen well-known artists, chosen to rep¬resent a valid cross-section of artactivity in Canada in the late sixties.The present show certainly doesn’treflect any conscious nationalism onthe part of the artists, five of whomnow live in New York. Canadian artistsare best known abroad for color paint¬ing, and this tradition is continued intheir recent work, although it seemsthat the bright hues of Molinari, Tou-signant, Lochhead and Bush could justas well have been painted in the US.Certainly there is no hint of Canadianprovincialism. The last twenty yearshas seen a revolution in Canadian art:Montreal and Toronto are no longeroases of culture; the rest of the hugecountry has joined them in producingfirst-rate artists.Some of the most interesting can¬vases are those painted by BrianFisher. Using acrylics, he creates opti¬cally complex compositions. Their con¬cern for surface quality and subtlelight are characteristic of “WestCoast” art. “Passage,” for example,gives the illusion of three-dimensional¬ity and is strongly evocative of “Op”art. Geometric forms fluctuate as thelight plays on them and after-imagesform part of the intrigue of the paint¬ing. Fisher explains, “My concern isless for objective reality than for the reality of tranquility through in¬trospection, contemplation and re¬pose.”Both Robert Murray and EdwardZelenak came to sculpture from paint¬ing and work on a large scale. Mur¬ray’s constructions of aluminum andsteel are intentionally designed to lookweighty. His “To” is a smooth redgirder and a column of the same shade.Zelenak’ “Convolution” is a plastic-reinforced fiberglass intestine. Sittingin the middle of the gallery floor, itlooks quite soft and bouncy, ratherthan solid and steady. Zelenak finds that he can shape “mysterious formslike egg shells, while giving them adelicate translucency.”Peter Kolisnyk has designed “FloorPiece VII,” seven black metal beamsarranged spatially on a white floor.The most unusual work is Joyce Wie-land’s quilted cloth assemblage en¬titled “Reason Over Passion.” Herquilts are derived from her pre¬occupation with “pop” art, mov¬iemaking, and the occult. This one inparticular shows a keen sense of hu¬mor, as the words “reason over pas¬sion” (the UC motto, perhaps?) are colorfully spread across the center ofthe quilt. Little tufted hearts in pastelcolors add to the decorative quality.This exhibition is unified only by itsdiversity. Some of the work is unusualand refreshing, but much of it is in thesame style as almost everything elsewe have been seeing for the pastseveral years — competent, but unex¬citing. Anyway, a visit to the Museumis a good excuse for a lovely springtimestroll up North Michigan Avenue; theshow will remain until May 16.—Susan LeffMTJSICStravinsky: Irreplaceable OriginalityContinued from Page Onestrument that Stravinsky discovered in a Hungariancafe, adds a unique sound to the ballet Renard. Heeven wrote a piece for pianola (player piano). Theseare not gimmick pieces; Stravinsky could adaptanything that intrigued him to his compositions,revealing new potential through his unpredictableideas and his distilled sense of humor, but controllingboth with good taste.There is scarcely a composer alive today whosework does not owe a large debt to Stravinsky’soriginal ideas. Leonard Bernstein is one of the mostobvious examples. The two-chord motif that appearsthroughout West Side Story is actually almost anexact quotation from the passage in The Rite ofSpring just preceding “The Glorification of theChosen Victim.” In the same Bernstein musical, theaccompaniment to the song “America” seems verymuch like a rhythmically watered-down version ofthe “Sacrificial Dance” in The Rite of Spring. Signsof Stravinsky’s influence can be seen as well in theMAIDSTONEA Mystery by Norman Mailerplus the American Premiere of Charles Flynn’sTHE BOARDING HOUSEDoc Films Friday April 16 both at 7:15 & 9:30 Cobb $1April 16, 1971 /Grey City Joumal/3,vv v. ♦ v■ vworks of Pierre Boulez, who booed loudly at the firstperformance of Stravinsky’s Four Norwegian Moods(though he admits today that he did so only to drawattention to Schoenberg and his pupils). Boulez’ LeMarteau sans Maitre has a tempo change which isplaced and sounds very similarly to such a change inStravinsky’s The Wedding. The two works also havemuch in common as far as sonorities are concerned.These are only a few examples; a list that aspired tocompleteness might easily fill a thick volume.Stravinsky’s account of his own life is refresh¬ingly devoid of unctuous self-examination into thenon-musical aspects of his personality. In his Auto¬biography, his marriage is recorded with a single,adjective-free sentence. Stravinsky presents his lifeas the tackling of one musical problem after another,a life of continual activity. It would be inaccurate todeduce that the small concern he seems to show forhis personal life reflects a sterile human nature.Instead, it is merely that his personal life does notilluminate his music, which is of primary concern. In fact, the bad critical habit of connecting artworks tothe situation of the artist’s life is severely condemnedby Stravinsky. In discussing Beethoven in hisAutobiography, he attacks “the panegyrists (who)base their adulation far more on the sources of hisinspiration than on the music itself. Could they havefilled their fat volumes,” he continues, “if they hadnot been able to embroider to their hearts’ content allthe extramusical elements available in the Beetho¬ven life and legend, drawing their conclusions andjudgments on the artist from them?”The best assessment of the loss the world hassuffered from Stravinsky’s death may be found in thecomposer’s own words, expressing his thoughts onDiaghilev, the late choreographer of the RussianBallet: “. . . one begins to realize everywhere and ineverything what a terrible void was created by thedisappearance of this coliosal figure, whose great¬ness can only be measured by the fact that it isimpossible to replace him. The truth of the matter isthat everything that is original is irreplaceable.”LOWESTAIRFARESTOEUROPEHRLOWESTAIRFARESTOEUROPEOBLOWESTAIRFARESTOEUROPEHBLOWESTAIRFARESTOEUROPE A Good One from the GoodmanThat good material makes for a goodshow is abundantly evidenced by theproductions at the Goodman this year.The last show, Marching Song, was atired, dragged-out evening of theater;however, the current production, PoorBitos by Jean Anouilh, is one of themost entertaining and engrossing eve¬nings I have spent in the theater inyears.Poor Bitos is quite a complex play.Basically, the story deals with a partybeing thrown for Bitos in which every¬one impersonates a character from theFrench Revolution. Bitos comes asRobespierre. As the evening progress¬es, Bitos-Robespierre is insulted,mocked and finally shot in much thesame way that Robespierre was as¬sassinated in the 1790’s. After theshooting, a long fantasy period ensueswhere Bitos imagines the life of Rob-ejpierre and, as the fantasy ends, welearn that Bitos has not been killed atall, but has only fainted from the excitement. As the play ends, Bitos’enemies entangle him in a web ofdeceits and hatreds that end with Bitoslearning that he truly has no friends.The play, obviously more elaboratethan this, involves a good number ofparallels between the justice and poli¬tics of revolutionary France and thepresent day.The political implications of the playare much the same for Anouilh’s firstaudience as for the modern Americanaudience. Douglas Campbell in theprogram for the play states “Remem¬bering that he wrote the play in, andabout, the 50’s and the French Revolu¬tion, nothing seems to have changed —indeed the law created and used byRobespierre to destroy Danton has aquite hideous parallel in the supressionof opinions demanded by the judge ofthe high court examining the KentState affair.”The success of this play lies almostentirely in Leonardo Cimino’s tre-r ...exclusive! 1 SUN INCOMESun Life’s new incomeprotection planCould you afford to stop working for a year?If not, talk with your man from Sun Life ofCanada about their new disability income plan... to keep the money coming in when you'reStudentfares toEuropeSave up to‘212round-trip jetIcelandic Airlines jetsyou from New York to Lux¬embourg in the heart ofEurope for best connectionsto everywhere. If you stayoverseas over 45 days orunder 17 days, our newstudent fare of $300 roundtrip saves you $212 asagainst lowest comparablefares of any other sched¬uled airline. Effective forstudents, ages 12 to 26,who depart before June 1or after August 15. Evenlower fares for groups. Savevia Icelandic no matter howlong you stay. See yourtravel agent. Mail coupon.To: Icelandic Airlines630 Fifth Ave., N.Y. 10020(212) PL 7-8585Send folder CN on Lowest JetFares to Europe □ StudentFares□NameStreetCityState Zip not able to.*£ SUN LIFE OF CANADA3My travel agent isICELANDIC ^lOmEHMD W?J 6 PERFS. ONLY APRIL 28 thr« MAY 2PRICES: $9.00, $8.00, $7.00, $6 00, $5.00, $3.50Seats at Box Office and all TICKETRON LocationsOPERA HO SE • WACKER AT MADISONFI 6-0270*• Srey City Journal/April 16, 1971 Ooodmon Theog/emendous performance as Bitos, aroundwhom the entire play revolves. For theplay to succeed, Bitos must be asympathetic character with despicable undertones. And while we sympathizewith Bitos’ predicament, we must al¬ways understand that the reasons thatthe rest of the characters dislike Bitosare all valid. He is a mean, ugly hatefulman, though Anouilh seems to preferBitos’ intellect and idealism to thecattiness of his enemies.Leonard Cimino perfectly conveysall the aspects of this complex charac¬ter. I particularly like it when in hisexcitement, his voice gets squeaky-high, a real human characteristic.The rest of the cast performed ade¬quately with special recognition toJoseph Shaw as Maxime, the party-giver; LuAnn Post as Amanda, apretty young thing; and Maurice Cope¬land as Vulturne, a big business man.Special technical effects also contrib¬ute greatly to this play’s success. Theuse of an echo chamber during part ofthe fantasy sequence supplies just theproper surrealistic tone to this verysurrealistic scene.This show is definitely worth seeing— the Goodman can have an importantplace in the theater of this city if itcontinues to present productions likethis one. I hope they do. _ Mj(ch BoWtin"Irn here about the adfor a dental assistant."* Your name?""Newton Snookers,But 1 try..."Snookers?"...But I try as much as possiblenot to use that name.""Verysmart “THE TGDTH FAIRYJOINS LARRY LUJACKWEEKDAYSBETWEN 730&8AM89WLS% •%• • • •9 9'• • • % *IV. • • • • » •• • • * :•*«• • ■:£This weekend Doc Films is presenting threeChicago premieres: tonight, Norman Mailer’s Maids¬tone and Charles Flynn’s The Boarding House; andon Sunday evening, Richard Lester’s The Bed-SittingRoom.The best for first. Lester is, I think, one of thebest directors working in our mother tongue, and TheBed-Sitting Room ranks with his best work. Thepicture, you should be warned, is very wacky, andvery way-out, but if your sense of humor can acceptPeter Cook and Dudley Moore as chief adminis¬trators over an utterly wasted Great Britain, trav¬elling over the smoking mud-pits in giant balloon,giving orders over a megaphone, then The Bed-Sitting Room could be the most enjoyable work ofabsurdity you’ll see for some time.Everyone in the know knows that the originaltheater of the absurd wasn’t Beckett, but SpikeMilligan’s The Goon Show, and Milligan stars in andwrote The Bed-Sitting Room. A twenty-three secondnuclear war (including the signing of the peacetreaty) has devastated England, but class sensi¬bilities triumph even over Armageddon, and the BBCpresident gamely carries on by sticking his head intothe last remaining TV picture tube. Poor RitaTushingham stoically bears her burden into theseventeenth month of pregnancy, and bluff Ralph Richardson mutates into a bed-sitting room with theplaintive final words: “Quick, put out a sign: Nochildren, no pets, no blacks! ”Wholly unlike Lester’s admirable How I Won TheWar, The Bed Sitting Room achieves fully as manylaughs as the Beatles’ films while attaining some¬thing near to the quiet, lightly desperate sorrow andpassion of his Petulia, one of the finest works of 60’s.The Bed-Sitting Room is not a masterpiece, but it hasan indescribably graceful quality, hilarious andpoignant, like no other film I have ever seen, and thatis generally an attribute reserved for masterpieces.Norman Mailer, as the ads might one day say, ISMaidstone. The film, shot in 16mm and color byMailer some three years ago, but requiring thatmuch time for meticulous editing, is a grab-bag ofMailer’s ideas on film, acting, politics, sexism, etc. Init he plays a famous film director who is tryingsimultaneously to make a non-pornographic filmabout a male whorehouse and to run for President.Those aren’t easy projects to maintain in bal¬ance, and the film explodes with Mailer’s in¬comparable energy and audacity. The famous scenewhere Rip Torn viciously attacks Mailer with ahammer and draws blood is here, as are hard-boiledscenes of Mailer-hangers-on and Mailer’s own at¬tempts to relate to his wives, the people around him,and the basic problem of making a movie andexpressing oneself in meaningful terms. The movie isin some ways an extension of his journalistictechnique in The Armies of the Night in thatdocumentary techniques are mixed up with andreapplied to concepts of fiction and narrative (themovie was shot by D.A. Pennebaker, who didMonterey Pop and Don’t Look Back). The picture isexasperating, exciting, provocative, and if some¬times perplexing, always interesting.I would like to add my two cents worth aboutGrey City Journal film critic Charles Flynn’s firstfilm, The Boarding House. It’s in color, and reallygood color too (by old Doc Film alumnus RichardSchmidt). I’ve seen it some fourteen times, and so amhardly in an objective position, but I think it’s prettygood. It’s a little pretentious, and certainly arty, butit is also elegant and expressive. All of which is likeCharles, who is as true to himself in his way asNorman Mailer is in his. The seven-minute film,based on a story in James Joyce’s The Dubliners,stars Gail Hartmann, John Del Peschio (Grey CityJournal theater editor), and Annette Fern, and isnarrated by the unmistakable voice of KennethNorthcott. The music, which is superb, is by ClaudeDebussy. Most student films are impossible to sitthrough, but The Boarding House is engrossing andso professional that it’s hard to tell that it’s by astudent. And that, I’m afraid, is a very highcompliment.— Myron MeiselGCJ ElectionElection of the editor of The Grey City Journalfor next year will be held in the Maroon office,Tuesday, April 20 at 5pm. Every person whose nameappears on today’s GCJ masthead below is eligible tovote. We hope that everyone will attend. The meetingwill be chaired by Con Hitchcock, co-editor-elect ofthe Maroon.THE GREY CITYHere is no continuing city, here is no abidingstay.Ill the wind, ill the time, uncertain the profit,certain the danger.Oh late late late, late is the time, late too late,and rotten the year;Evil the winter, and bitter the sea and grey thesky, grey grey grey—T. S. Eliot, Murder in the CathedralEditorsWendy Glockner,Christine Froula and Mitchell BobkinAssociate Editors, , ^ .Theater: John Del PeschioFilm: Charles FlynnArt: Susan LeffDance: Paula ShapiroMusic: Mark BlechnerPhotography: Scott CarlsonStaffJack Markowski. Bob Purricelli.MarkSwedlund, Harvey Shapiro, Myron MeiselMarina Baraldini Drew Leff, Jim Leak,Steve Metalitz and Tom SokolowskiCharles Flynn directed Gail Hartmann and John DelPeschio in “The Boarding House.” Photos by SteveAoki.DANCEAn Hour of UC DanceTAhSAM-Y&NCHINESE-AMERICANRESTAURANTSpecialiting inCANTONESE ANDAMERICAN DISHESOWN DAILY11 A M. TO 8:30 P.M.SUNDAYS ANO HOUDAYS12 TO 1:30 P.M.Order* to toko out1318 East 63rd MU4-1062 Chicago Camping Company5430 N. CLARK ST.Ph. (312) RA-8-3200NOON TO 6 DAILY CHICAGO, ILL. 60640MKlHUllMlFW Greatest name 'nAWJl'UlrltfH the great outdoorsCOMPLETE LINE OF BACKPACK EQ.COLEMAN CAMPING TRAILERS • SALES&SERVICE • TENTS • LANTERNS • STOVESThe UC Modern Dance Club, underthe direction of Elvi Moore, willpresent a concert entitled “An Hour ofDance” on April 24 and 25 at 8 pm inMandel Hall.Elvi Moore, who has been teaching,dancing, and choreographing here forfive years, feels the concert representsthe culmination of a year’s work for the15-member group.This year the group has performed atseveral local high schools and will bedoing some lecture-demonstrations forinner-city children in the Urban Gate¬ways Program. They may also mayhave an informal presentation duringFOTA.The program will include “WaterStudy” by Doris Humphrey, two piecesby Elvi Moore, five pieces by students,and two other solos.“Water Study” is a 1927 classic byone of the founders of modern dance,Doris Humphrey, who said of her piece,“It started with human feelings, withbody movement, and its momentum isrelated to the psyche and to gravity,and as it developed the movementstook on the form and tempo of movingwater.”The work will be recreated by the UCgroup through labanotation, a dancescore written in columns which repre¬sent different sections of the body. Thecolumns are read from bottom to topwith the space patterns noted on floorplans for each page. Though the quali¬ties and dynamism of the piece areexpressed through symbols, somedancers feel that symbols are in¬adequate. For “Water Study,” an 11-minute piece, 50 pages of notation mustbe read and followed. Ray Cook, acertified notator, will be rehearsingwith the troupe on April 17 and 18.—Paula Meinetz Shapiro Rehearsing for the Dance Club performance. Photos by BruceRabe.Doc Films’ Triple Scoop:Lester, Mailer & Flynn~• ■'< \ l . : .t ty'fC Vl‘ April* 1&. IS7UGrey Gity Journal/SMUSICChamber Music Ensembles, April 25 in Pierce Tower at 3.Jeanne Schaefer, flute, Vince Kavaloski, French horn, andRobert Winter, piano, perform Mozart's Sonata for Fluteand Piano (K. 14), Beethoven's Sonata for Horn and Piano(op. 17), Debussy's Syrinx, for flute unaccompanied (1912),Varese's Density 21.5 (1935), and Prokofiev's Sonat forFlute and Piano (1956).Announcing Shir, a new choral group devoted to performing the finest in Jewish religious and secular art music.Shir rehearses every Sunday afternoon from 4:15 5:45 at theHillel Foundation, 5715 S. Woodlawn. For further information, call 752 1127.Thomas Siwe conducts Percussion Ensemble at theMuseum of Contemporary Art tonight at 8, playing music byIllinois composers Alan Stout, Jan Bach, Herbert Brun, andMichael Udow, and by John Bergamo and James Baird.Admission $3.50, students $1.50.The Old Town Renaissance Consort presents "TheAndalusian Merchant" Thursday at 8:15 at the BernardNorwich Jewish Community Center, 3003 Touhy Avenue.Free.The Chicago Symphony Brass Sextet perform works byPezel, Ives, Amram, and Mattern tonight at 8:30 inOrchestra Hall. Tickets $1.50 to $3Gustav Leonhardt, harpisichordist, performs music byFrescobaldi, Couperin, Bohm, and Bach, in Mandel Halltonight at 8:30. Tickets, $4, can be purchased at 5835University Ave.The International Society for Contemporary Musicpresents a symposium dealing with the music of Alan Stout.The program, with the composer participating, will includea performance of some of his works and a discussion of hisnew Symphony which will be performed by the ChicagoSymphony Orchestra, April 17 at 2 pm. Reservations mustbe made in advance. The Newberry Library, 60 W. Walton.922 8634.THEATERMinds and Bodies, UT's first experimental weekend of thequarter, tonight through Sunday at 8:30 in Reynolds Club.Admission $2, with student IDS1.50. Two plays, Spoon RiverAnthology by Edgar Lee Masters and Miss Julie by AugustStrindberg, will be performed.The Goodman Theater presents Anouilh's Poor Bitos,continuing through May 16. A comedy probing the roots ofman's power-compulsion.Buck White is moving to Saint James United MethodistChurch, 4611 S. Ellis Avenue. The all male black musicalplays every Thursday and Friday. Tickets are $2.50 4.50with $1 student discount except on Saturday.You're A Good Man Charlie Brown has opened at theHappy Medium, 901 N Rush for an extended run. Studentsmay purchase tickets for $3 a half hour before curtain time,Tues Fri performances at 7 30 pm.Chekhov's The Seagull is being performed for free everyFriday and Saturday at 7:30 at the Columbia CollegePerforming Arts Center, 1725 N Wells. 944 3756. Culture VultureFree Theater will present through May, William Russo'sAesop's Fables Sunday at 7 and 9, Monday at 7:30 and 9 Atleast through the end of the month, they will also presentRusso's Civil War on Saturday evenings. Call 929 6920 formore information. The theater is at 3257 N Sheffield.Obviously, admission free.Theater First continues with Roshoman For moreinformation about performances, call 463 3099Mrozek's Tango will run at The Playhouse, 315 W. North,through April, 751 9643.The Me Nobody Knows continues at the Civic Theater,Washington and Wacker This is the Chicago production ofthe current New York Obie award-winning rock musicalbased on the creative writings of school children from theghetto. Tickets $4 7.50. Call 726 7890.Grease, a 1950's rock musical, continues at the KingstonMines Theater, 2356 N Lincoln.The Effect of Gamma Rays on Man-in-the-Moon Mari¬golds at the Ivanhoe, 3000 N Clark, 8 pm. Runs through April25 Irene Dailey, star of The Effect of Gamma Rays on Manin-the-Moon-Marigolds, will conduct seminars about theplay and about theater in general after performances.Interested groups should call 248 6800.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.Second City presents Picasso's Mustache this month. Callfor times.ARTThe Hyde Park Neighborhood Club will have a Teen ArtFair April 24-25from 1 6pm. Further INfo: M13 4062."Multiple Art" by Karl Gerstner at Deson Zaks Gallery,Inc., 226 E. Ontario St, through May 15.The Cezanne Exhibit at the Art Institute opens tomorrowand will run through May 16.Color Photographs in Israel, an exhibit by Robert M.Lipgar is at Hillel House through April 30."49th Parallels," an exhibit of New Canadian Art, will beat the Museum of Contemporary Art April 3 May 16Danny Lyon's Photographs are on exhibit at the BergmanGallery in Cobb Hall.The Renaissance Gallery in Goodspeed presents "Artafter Art."An exhibit of Japanese hanging scrolls and handscrollsfrom 14th through 19th centuries continues in Gallery 116 atthe Art Institute.Drawings and Lithographs by Jean Dubuffet continues atthe Art Institute in Gallery 107.The Art institute also features an exhibit of Etchings andLithographs by Paul Klee; Gallery 107.The 73rd exhibition by artists in the Chicago area will beat the Art Institute March 13 until April 18.The Art Institute will exhibit photoserigraphs by LarryStark from March 6 through April 25, in Gallery 106. mire moms'WHO'S RFRRID OFUIRGimfl UJ00IF?Harriet M Harris Center offers very inexpensive coursesin drawing, painting, leathercraft, macrame, etc begunApril 12 Call 955 3100 for info.Ryder Gallery at 500 N Dearborn presents "the latest inelectronic phototypography and related processes" Dailyseminars will also be held on this material. Open Mondaythrough Friday, 11:30-5:30.FILMDOC for the week: tonight, Norman Mailer's Maidstone and Charles Flynn's The Boardinghouse, 7:15 and 9:30Sunday, Richard Lester's The Bed-Sitting Room, 7:15 and9:30. Tuesday, George Cukor's The Marrying Kind at 7:30Wednesday, a double feature, John Ford's The Sun ShinesBright and Howard Hawks’ Dawn Patrol, at 7:30CEF presents Who's Afraid of Virginia Woolf Sunday atthe Law School, 7 and 9:15.Hitchcock Films presents The Wizard of Oz in Cobb at 7 15and 9:30 Saturday.Dore O. and Werner Nekes, two independent filmmakersfrom Hamburg, Germany, will show and discuss their filmstonight at 8 at the Evanston Art Center, 2603 Sheridan Road,just north of Northwestern. Contributions $2, $1 for studentsAt the Biograph April 16 22, Mask of Demetrious withSidney Greenstreet plus The Sea Hawk, with Errol Flynn.A documentary. In the Year of the Pig, April 20 and 27 atAlice's Revisited, 950 W. Wrightwood. Close of the FrenchIndochinese WarSPECIAL EVENTSMichael Hamburger will read a selection of his poems andtranslations Tuesday, at 8 in Soc Sci 122. Free.The Ensemble "Living Newspaper," a mixed mediapresentation, opens tonight. Friday at 8, Saturday at 7:30and 9:30, Sunday at 8. Tickets $2.DANCEUC Modern Dance Club presents "An Hour of Dance" inMandel Hall, April 24 at 8pm and April 25 at 2:30pm. Ticketsare $1. ($.50 for students) and may be purchased at IdaNoyes Hall in room 201 from 9 to 5, or at the door. Forinformation call ext. 3-3574Netherlands Dance Theater April 23, 8:30pm "Situation,""After Eden," "Grosse Fuge," "Symphony in ThreeMovements." April 24 and 25 matinees 2:30 and evenings8:30, "Mutations," and "Imaginary Film." Tickets $2 5010 at box office or Ticketron Auditorium TheaterLes Grands Ballets Canadiens presents "Tommy," a rockopera dance spectacular, April 28 May 2, Wed thru Sun at 8,Sunday matinee at 2. Tickets $3.50 9 at box office andTicketron Opera House (Wacker at Madison)POPAlice Cooper, The Stooges and Mike Ouarto at the OperaHouse, Wacker and Madison, tomorrow at 7:30pm, tickets— $4 to $6Three Dog Night and Uriah Heep at the Amphitheater,Sunday at 7pmLeo Kottke is currently at the Quiet Knight throughSunday. Brewer and Shipley start on the 21st.However, the best pop music in the city is on film. Go seeCelebration at Big Sur with Joan Baez, Joni Mitchell andCrosby, Stills, Nash and Young It is currently playing at theneighborhood theaters.George Shearing is at the London House, Michigan andWacker.For those of you with a fat tenor fetish, Wayne Newton isat Mill Run Theater in Niles, through April 18.Lily Tomlin and Ray Ramirez are at Mister Kelly's April19 to May 2.^CONTRACEPTIVES< privately? jWe believe your private life should be your own. And when itcomes to buying contraceptives, the hassle in a crowded drug¬store isn’t exactly private. So we’ve made it possible for you toget nonprescription contraceptives through the mail.We specialize in men's contraceptives and we offer two of the mostexciting ones available anywhere—Fetherlite and NuForm condoms.They're better than anything you can get in a drugstore. Importedfrom Britain, they're lighter, thinner, more exciting to use; andprecision manufacturing and testing techniques make them as re¬liable as any condom anywhere. Made by LRI, world's largest manu¬facturer of mens contraceptives. Fetherlite (the best) and NuFormnot only conform to exacting USFDA specifications, but are madeto British Government Standard 3704 as well. We think you'll likethem.Our illustrated brochure tells you all about Fetherlite andNuForm. And about seven other American brands which we havecarefully selected from the more than one hundred kinds availabletoday. And we explain the differences.We also have nonprescription foam for women and a widevariety of books and pamphlets on birth control, sex, population,and ecology.Want more information? It's free. Just send us your name andaddress. Better still, for one dollar we ll send you all the informa¬tion plus two Fetherlite samples and one NuForm. For four dollarsyou’ll get the brochure plus three each of five different condombrands (including both Imports). All correspondence and merchan¬dise is shipped in a plain cover to protect your privacy, and weguarantee your money back if you're not satisfied with our products.Why wait?POPULATION PLANNING ASSOC.Box 2556-G, Chapel Hill, N. C. 27514Gentlemen: Please send me: Your free brochure and pricelist at no obligation, Three samples for $1 Deluxesampler package for $4AddressCity___ State ZipDiscount TicketsFor Photo ExpoMODELCAMERA1342 E. 55th St.392-6700 Richard Lester'sTHE BED-SITTING ROOMCHICAGO PREMTERE!Hoc FilmsSunday April 18 CHICAGO PREMIERE!7:15 & 9:30Cobb Hall $16/,Grey City Journal1 April 16, 1971Carole King Comes BackPll flcmenty of the Ttrurfi Cophired Live on filmThe Master of Space &TimeJKTHflT) PCRfORTH in THf Pl£fiAJRf POLflCLT OF fimfHCfiIT’S A MOVING PICTUREMAO DOGS & ENGLISHMENTapestry by Carole King (Ode SP77009):Carole King has been around for along time. She started writing songs inthe late fifties and contributes suchfine songs as “Up on the Roof” and“Will You Still Love Me Tomorrow” tothe popular repertory. Throughout thesixties, Carole disappeared from thepublic eye but with this album, she haspopped up again — as a contemporarystar, not a relic of 1961 Tin Pan Alley.Tapestry is a beautiful, lyrical, com¬pletely successful album. Yet trying topinpoint what makes this album sogood is quite hard to do. Carole’s voiceis not at all spectacular, since herrange is very limited. And though somevery talented people (James Taylor,Merry Clayton, and the members of JoMama) back her up on the album, thearrangements are sparse. Carole her¬self plays piano in a style reminiscentof Laura Nyro — a style highlighted bydramatic riffs, lots of pounding and afew off-key notes.So, the success of this album liesneither with the singing or the in¬strumentation. Rahter, this album suc¬ceeds because Carole King knows howto write effective, moving songs. Itmakes little difference that otherpeople will probably do these songs in amore popular style. Because she haswritten these songs herself, Caroleinfuses them with a spirit and anemotional direction that can overcomeany technical faults.This is not to say that this album istechnically sloppy. On the contrary,once you get used to Carole’s ratherflat soprano voice, you will begin toanticipate and even like her (in¬frequent) off-notes and valiant at¬tempts to reach notes out of her range.Much as one excuses a friend for a faultor two, one likes Carole in spite of hertechnical deficiences.There is not one bad song on thisalbum and there are any number ofmasterpieces. Carole understands theintegration of melody and words betterthan almost anyone else writing songstoday. Writers like Laura Nyro andBob Dylan often have a great deal oftrouble fitting their words to theirmelodies; Dylan often speeds up hislyrics and Nyro has trouble with chop¬py music and lyrical words. But CaroleKing is always in control of her songs.You pushthe button.We dothe rest.■ JET TOEUROPE& ISRAELInexpensive flightsthroughout the yearLowest Fares, choice of1 way or round tripSTUDENT HOLIDAYS40 EAST 54th STREETNEW YORK, N.Y. 10022212/832-6844 l SilATHACK STtBCO SOUNDMETBOGCHDWYN MAYER preienu JO€with lEON RUSSf U Ex»cut.v*Produce* JERRY MOSS Auoooie Produce* SIDNEY ItVINProduced by PIERRE A DOGE HARRY MARKSond ROBERT ABEl Deeded by PIERRE ADOGEAn A&M Film In A jioooiion Wilh Creative Film Associates In ColorOPENS FRIDAY23rdHer experience shows.“Will You Still Love Me Tomorrow”and “Natural Woman” are two oldCarole King songs in this album. Iprefer the original versions of both,though Carole does infuse both songswith a lot of umph. Her new material iseven more impressive. “I Feel theEarth Move”, “It’s Too Late” and“Way Over Yonder” will probably becovered by a group like the FifthDimension much the same way thatLaura Nyro was basterdized. Caroleseems to invite comparisons withLaura, but it is hard to say who seemslike whom for although Carole has beenwriting longer, Laura has been record¬ing for almost three years longer thanCarole.I like Carole King and I think you willtoo. Give her a listen.The Road to Ruin by John and Bever¬ley Martyn (Warners 1882) and Laterthat Same Year by Matthews SouthernComfort (Decca 75264):A WALTER REAOE THEATRE[squire58 E. OAK STREET • 337-1117 PARKING AT 33 E. CEDAR3Vi HRS. $1.00 These two English groups playacoustic, quiet folk-country music.John and Beverley Martyn released analbum on Warners last year entitledStormbringer! that was 1970’s mostoverlooked record. But now this pleas¬ant married couple is back with theirown quiet, beautiful music and hopeful¬ly, they will get their due recognitionnow. “At the risk of being quoted(pause), after a close scrutiny and dueconsideration (emphasis), we think wecan safely say quite categorically (em¬phasis) that this music has nothing todo with dying or anything like that,”John and Beverley say on the back ofthe album and they are so right. Thismusic is about life and love and it isnice to see two people who are sohappy. It is almost cantagious.Matthews Southern Comfort wasformed by Ian Matthews when he leftFairport Convention, yet his group(this is their third and last album, Ibelieve) captures much of the earlyFairport sound. The harmonies thatmade Fairport so famous are dupli¬cated here and the instrumentation isas tastefully underplayed as the bestFairport songs. Yet Ian makes themistake of covering some Americansongs for the English market and he too falls into the trap of doing the songstoo much like the original versions. His“Woodstock” and Neil Young’s “TellMe Why” follow the originals note fornote. When performing original work,however, the group lets loose and playsvery pretty songs like “Sylvie” and“The Brand New Tennessee Waltz”,the latter by Jesse Winchester. It is toobad the this group broke up for there isnever enough pretty music in this veryunpretty world.— The Great PumpkinLove Call by Ornette Coleman (BlueNote BST-84356):A few years ago, Ornette Colemanbecame known as perhaps the mostinnovative jazz saxophonist around. Inhis latest album, he proves it will besome time before he surrenders thattitle. On the four cuts, all of which seemso spontaneous it is hard to believe thatit is a studio album, Coleman utilizesmelodic lines and dissonant harmoniessimilar to those he developed in hisearlier works, but he presents them inan exciting, entirely different rhythmiccontext. The overall effect is of frag¬mented, very intense bursts supportedby the raw energy of the rhythmsection.As in his last album, Coleman hascombined his talents with those ofDewey Redman on tenor sax, JimGarrison on bass, and Elvin Jones ondrums. Coleman himself plays alto saxand trumpet. Redman, a relative un¬known, at times proves himself themost daring of the quartet, coaxing outstrange tonal effects from his tenorwhich are sometimes effective andsometimes not. Jones and Garrison,who have played together for quite along time now, know each other per¬fectly and thus are able to create subtlerhythm changes which would be impos¬sible for two less-matched musicians.The album has two really out¬standing cuts, the title number and thefinal cut, “Check Out Time.” “LoveCall” features Coleman toying with hisrecently acquired skill on trumpetpaired off against Redman with thehorns alternately fighting and com¬plementing each other. Coleman exhib¬its neither the ability nor confidence ontrumpet that he has on sax (he learnedto play trumpet only three or fouryears ago on a Ford FoundationGrant), but the ideas he is projectingcome across very well in spite of this.“Check Out Time” has unusual synco¬pation and is probably the most cohe¬rent piece on the album.— The Pumpkin Seeds♦♦[♦ LUNG-HINGa new Chinese-A merican Restaurant inHyde Park 1435 E. 51st St. 667-1316 ♦♦♦♦♦^Special Chinese Brunch Service every Salureay & Sundays▲ from 11 to 2 p.m. 50' per plate. Items such as I♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦ per plate.1. Egg Kow 3. B. B. Q. Pork Bun2. Beef Shui Mai 4. Shrimp ChinAs a SPECIAL FOR READERS OF THIS PAPERBRING IN THIS AD AND RECEIVE:Diced Beef with Almond Reg. S3.30/now S2.90Sweet & Sour Shrimp Reg. S3.50/now S2.95Hong Sue Chicken Reg. S3.40/now S2.85Order 1 day ahead the following:Pekin Roast Duck (half) Reg. SI.50/now S4.00(whole) Reg. S8.25/now S7.50SPECIAL STL DENTS NIGHTS EVERY TUESDAYAll von can eat plus a glass of Imported Mine - V hite. Rose' or Red. Mithan\ of the following: 2 951. Pekin Beef 3. Chicken Chop Sue\ or Chow Mein2. Kxtra Pine Cut Chow Mein t. Beef Chop Sue>Cocktail Hour 5-7 Reg. drinks 50'Banquet Room Available for 30-50 People.Carrv out service also available. Offer Good Till 4/22 ♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦April 16,\1971/Grey City Joumal/7vj