The Chicago MaroonVolume 81, Number 32 The University of Chicogo Friday, February 2, 1973Boucher Hall to be soldto Osteopathic CollegeBy MARKGRUENBERGWhen an ice storm, such as those of lastDecember, hits us, there is a smalllaboratory deep in the Hines GeophysicsBuilding which keeps an eye on it. The samegoes for rain, snow, hail or sleet--in short anyprecipitation which might be dumped onThe University has entered into a contractto sell Chauncey Boucher Hall (formerly themain building of George Williams College) at915 E 53rd St, and a vacant lot at the nor¬thwest corner of E 52nd St and S UniversityAve (commonly known as 5136-42 SUniversity Ave), to the Chicago College ofosteopathic medicine and health center(CCOM).Terms of the sale were not announced,except that the University will retain theright to use Boucher Hall for up to five yearsfrom the date of closing the sale. BoucherHall is currently used as a dormitory by theUniversity.Kawalek said that “Plans for the use andfuture development of Boucher Hall have notbeen finalized. Much depends on theprogress of plans for family health-careservices and educational programs.“Just this last September we announcedthat a modern, $12.3 million out-patient clinicwould be built on our campus at 53rd Streetand Ellis Avenue. It will increase ourpatient-visit capacity from 100,000 to 150,000annually. We expect to break ground thisspring.“Possibly, this is the time to emphasizethat the long-range property acquisitionfrom the University is still another af¬firmation of our commitment to continueproviding family health-care service to thecommunity.”The clinical educational facilities ofCCOM, its teaching hospital, and familyhealth-care out-patient clinic are located onEllis Avenue between 52nd and 53rd Streets.The basic science buildings, and studenthousing and other facilities are on UniversityAvenue between 52nd and 53rd Streets.Commenting on the proposed sale of Atmospheric lab probes cloud formscmcago from above.The unit’s name is the Laboratory forAtmospheric Probing, and probing cloudformations is its task, says acting directorRamesh Srivastava, associate professor ofgeophysical science.“We observe precipitating clouds andmeasure the turbulence within the clouds”with radar units, he explains. “We also havevarious other meteorological activitiesassociated with the interpretation of thedata, such as understanding the physics andthe dynamics of clouds.”“Besides the radar units we have here,”Srivastava adds “We have a transportableradar unit, and we are using it to participatein the National Hail Research Experiment innortheast Colorado. We, and other univer¬sities, participate in this experiment, inwhich we measure hail by a dual wave¬length method.”Srivastava noted that the federal govern¬ment contributed about $250,000 last year tothe upkeep and operation of the laboratory. Apparently, according to his staff, this wasthe total amount necessary to keep thelaboratory going, with the Universityproviding only the facilities.“We get a very little part of our supportfrom the National Oceanic and AtmosphericAdministration (the former WeatherBureau) and that will end this March,”Srivastava pointed out. “We are supportedby the National Science Foundation and theOffice of Naval Research and some othersmall grants. The National Science Foun¬dation and the Office of Naval Research andall the rest combined gave us about $250,000last year,” he explains.The outlook is not bright for many of thelaboratory’s activities, for it is dependent onthe whim of the federal government, “And Ithink the appropriation is going to drop,”concedes Srivastava.Maybe the conclusion is: If you want a clueas to where the usual January snows in thiscity went this January, you should call thelaboratory-before the funds run out.No lead yet in shooting at 1C stationBy TIMOTHY D RUDYHomocide area 1 reported yesterday af¬ternoon that there was nothing new in theirinvestigation of the Sunday night shooting oftwo teenagers at the 57th St. Illinois Central(IC) communter station. One of the youths,Gene Robinson, 16, died Monday morning.Billings Hospital reported yesterday thatPierre Lyles, also 16, was still in criticalcondition.The boys were dropped off at the stationsometime after 7 pm Sunday evening to get atrain. They were found at 8:40 pm and im¬mediately transported to Billings. Both hadbeen shot in the head. They had been visitingChicago over the weekend, but attended highschool in Michigan.David L. O’Leary, director of securitysince last June, told the Maroon that theshooting occured outside of the universitySecurity’s basic area of patrol. Theuniversity security force has a legallydefined area of patrol in agreement with thecity. Members of the security force have nolegal authority outside of their area.O’Leary s^id that his department was/‘very concerned about the fact that ithappened five feet from our area.” Thesecurity patrol boundary ends at Lake ParkAvenue, but the patrol does check oneuniversity building beyond Lake Park.O'Leary stressed the fact that the citypolice department was responsible for in¬ vestigating such incidents as the shooting,but mentioned the fact that security has agood patrol in the IC area.The security director also mentioned thatthere had been no requests for escorts to theIC since the shootings. O’Leary said securityat the train station was both the responsiblityof the police and the IC.Walter Walker, vice-president for plan¬ning, said the university was beginning “toinitiate conversations with the IC railroad”about the security problem.Elections stoppedEarly Thursday evening the Student-Faculty Administration Court ruled that thefreshmen elections scheduled for February1 be cancelled. The ruling was made at 5 pm byPatrick Mayers, Dawn Scotland, and AngelaStewart, an hour before the polls were toopen.The ruling stated that the election be can¬celled “until such time as the full Court canmeet to decide on: the question of themembership of the Student GovernmentAssembly; the interpretation of the 3/4provision for amending the by-laws and,further, to consider the question ofestablishing a time-table for the holding ofthe freshmen election in np«r future.”Maroons to face Illinois Institute ofTechnology in match here SaturdayBoucher Hall, Charles O’Connell, dean ofstudents at. the University, said that“Despite its relative distance from thecampus in comparison with other Universityresidence halls, Boucher has come to occupya very special place in the affections ofseveral hundred University students, pastand present. Fortunately, we have up to fiveyears in which to develop alternativehousing.”Chauncey Boucher Hall was acquired bythe University from George Williams Collegein 1965 when the latter sold its Hyde Parkproperty to the University. George WilliamsCollege moved to suburban Downers Grove,Illinois, in 1966.Boucher Hall was built in 1915 and has atotal floor area of 102,269 square feet. Thisstructure has housed approximately 100University of Chicago students in recentyears. In addition to rooms for students, ithas two gymnasiums and a swimming poolwith locker rooms. Additional space has alsobeen used for storage. After the Universityacquired the building, it renamed it (in 1967)in honor of the late Chauncey Boucher,former faculty member and dean of thecollege (1925-35) at the University. ATMOSPHERIC LAB: The University s dual wave length radar system was in the fieldat Ft. Morgan, Colorado, last summer. (Jointly with the Illinois State Water Survey.)NCAR photo.Fieldhouse Saturday at 2 pm. The IllinoisInstitute of Technology (IIT) who defeatedthe Chicago team by two points last year,will be the Maroons main dish when thecontest convenes tomorrow.The IIT team will come into the fieldhousefresh from a victory over the University ofIllinois-Chicago Circle campus. IIT downedUICC 74-59 last Tuesday night.The men to watch on the IIT team this yearwill be center Tom Skahill and forwardWayne Boss. Skahill is a massive 6’5”, with205 pounds of pure muscle. In his last outingagainst UICC he picked up 34 points; eightpoints above his 26 point per game average.Skahill’s quick moves at the pivot earnedhim 14 rebounds Tuesday in addition to his 17baskets.The other big man for IIT is Wayne Boss.Boss is a sharp 6’2”, 180 pounds. Alternatingbetween forward and guard, Boss gunned 18points thru the hoop for IIT against CircleTuesday night. Between Skahill and Boss IITpicked up 52 of their total 74 points Skahilland Boss thus accounted for over 70 per centof IIT’s scoring.On the Maroon side, Frank Edwardssporting a 20 point per game average will beout to stop his ex-high school teammate, TomSkahill. Edwards and Skahill played side byside when they were high school students atDe LaSalle on Chicago’s south side.In the first half of last Saturday’s victoryover Trinity, Edwards pulled 14 rebounds offthe back board and met his average byscoring 20 points. A repeat performancetomorrow against IIT would stop Skahillcold.Jerry Clark the leading scorer for Chicagowith 23 points per game, would halt WayneBoss in his tracks. With Steve Kroeter andJeff Salberg mounting the attack out frontand Tony Barrett teaming up with Edwardson Skahill the Maroons can raise their won-loss record to 10-3. IIT should come out of thegame with a 8-9 record.By MIKE KRAUSSThe team that spoiled the Maroonschances for an NCAA post season tour¬nament bid last season will revisit the UCBASKETBALL: Frank Edwardsscores in arecent game with Clark ‘University.Photo by Mike Benqdik. (!7ILETTERS TO THE EDITORMinority fundsAny person who sincerely desires racialharmony in our society must acknowledgethat to achieve it, whites cannot merely stopoppressing non-whites, but must contributeto a concerted positive effort to improve thegeneral welfare of their non-white fellowcitizens. In order to overcome the effects of along history of slavery, racism, and op-presion we must now exercise a type ofreverse discrimination. This may call forsome sacrifice on the part of whites, but■ justice demands it.• In my opinion, however, the recent■ establishment of a special fund “to meet’ emergency expenses of minority students’ ’ isneither just nor necessary. The earlierdecision by the University to set aside a1 special fund to “improve the conditions ofblack students” was carelessly unspecific.When after several years no agreement wasreached on what to do with the money, theadministration should have withdrawn the' funds. Perhaps afraid of arousing minogitystudent resentment, the University, in a lastditch effort to spend the money, has resortedto handing it out to individual students.Efforts by the University to make itfinancially possible tor all students to con¬tinue their education, with special con¬sideration for minority students, arelaudable. The creation of this new fund“intended strictly for non-academic pur¬poses” is foolish. Medical costs are cited asreason for a student receiving this specialaid, but aii student medical needs arealready taken care of at no cost to anystudent. Why is this fund necessary? And if itis necessary, why does it exclude whites?While money is being given to minoritystudents for special reasons, white studentswho may find themselves in serious financialstraits are left to fend for themselves. This isnot the positive discrimination in favor ofminority students discussed above. Rather,it constitutes negative discrimination against whites. If this fund is to exist at all, itshould be available to all students withfinancial need the sole factor in deciding whoshall benefit by it.Kenneth R. CarrollOppenheimerThe Maroon cut the heart from my reviewof In the Matter of J. Robert Oppenheimer(1/26/ 73). Several changes were madewithout my knowledge; the most serious wasthe excision of the central paragraph inwhich I “flesh out”—not “flush out”—myearlier statement that this is very much anactors’ play. The first responsibility of areviewer as I see it is to mediate between aplay and its potential audience. By thiscriterion the Marooned review does adisservice to me and the fine production atthe Goodman Theater. The paragraphfollows, slightly revised for being out ofcontext.“This review could be a compendium ofcomplimentary notes on acting. MauriceCopeland, Otto Schlesinger, Bruce Weitz,Ray Raynor, Paul Larson and Bob Larkinhave names less familiar than theirfaces—the actors are recognized from otherplays and television, but the faces are knownin that they are made so present in thisproduction. Gene Lesser directed withcareful attention to facial clues such asmuscle tone and the set of the eyes; the at¬tention of each actor is recorded in an arrayof physical nuances. Many people on thiscampus will recognize the physicists, forthese are impersonations of Edward Teller(played close to caricature by JeromeDempsey), Hans Bethe (Joseph Leon’sportrayal is too self-conscious) and IsadoreIsaac Rabi (Michael Granger acts the partwith gusto. I am told that his is a nearlyperfect approximation of the man.)Janet Kravetz Health servicesIn your otherwise fine article on the UChealth service by Kenneth Ladien (ap¬pearing on the 30th) you made a quite un¬derstandable mistake when you commentedon those eligible for treatment at the studenthealth clinic. As many others on campusmay share your misconception, as I once did,I felt this letter might help to clear the air.Your article stated: “Besides treatingstudents and employees, pre-physical in¬juries and accidents are treated.. . . Patientcare is also given to the medical staff and theUniversity family.”I don’t know who the University considersto be fortunate enough to be part of the“University family,” but I do know this frompersonal experience: Last fall when my wifebecame ill we were informed by the healthservice that despite the fact I was a full-timestudent, she was not eligible for treatment.When my wife replied that she herself was a full time employee of the University we werefurther informed that the health service wasopen to the employees OF THE HOSPITALSYSTEM ONLY. Persons employedelsewhere on campus were eligible fortreatment only in the event they were injuredwhile on the job.The University, it would seem, is con¬cerned with the health of its employees onlywhile the possibility of a law suit exists. Irealize the financial situation at theUniversity is difficult at the moment, andthis letter is not necessarily intended ascriticism of the policies of the health service.However, I do regard their policy as anunfortunate one that ought to be remediedas soon as possible, and misstatementssuch as those that appeared in your articlecreate the false impression that no suchimprovement is needed. Much remains to bedone if this University would have a trulyfine health care service.Patrick McCalligPhoto by Leslie TravisCHICAGO IS A WINTER CARNIVALEvents coming soon from the W.C.MUDDY WATERS SKATING PARTYwithin a dance/concert at Bartlett Gym Skating Musicalso WOOF Free Hot ChocolateU.C. ID $1.50 Skates available for rental from theSunday, Feb. 11 Student Activities Office $1.00Others $2.508:00 p.m. Reserve in Advance at Ida Noyes 209Thursday, Feb. 8, North Field & Pierce TowerClement Weather Dates: Thursday, Feb. 22Thursday, June 7for information call 753-35912-The Chicago Maroon-Friday, February 2, 1973ABOUT THE MIDWAYSecond CityEveryone in Chicago knows about SecondCity, the improvisional satire companylocated on North Wells St. in Old Town. Nowin their thirteenth year, they specialize inscrutizing society from their own wry per¬spective, which is not unfamiliar to thecampus: through the years, many membersof the company have been University ofChicago graduates and drop-outs. Last year,they sold out two performances in MandelHall sponsored by the Student ActivitiesOffice and the Alumni Association.The Second City Players are now beingconsidered for a television series. Because oftheir ties with the University, the producersof Second City have offered a limited numberof free admissions this Monday night,February 5th for two shows, one at 7 pm andone at 9:30 performance. Spaces are limited,so students are asked not to sign up if there isa chance they will not be able to attend.SpaghettiThe near south chapter of the IndependentVoters of Illinois (IVI) invites you and yourfamily to the social event of the year, theseventh annual spaghetti dinner, to be heldSunday, February 4,1973, from 4:30-7:30 pmat the Hyde Park Union Church, 56th St andWoodlawn Ave (southwest corner).As a “special added attraction,” renownedHyde Park artist Shlomo Dominitz,originator of the perceptograph method, willexhibit paintings for sale at a moderateprice—donating a substantial portion of theproceeds to the IVI.For tickets see a near south IVI boardmember or call 263-4274. The dinner is all youcan eat for: adults, $2, students $1.50 (over12), children, $1. Tickets are 25< extra at thedoor. Come hob-nob with the victoriouswinners (sic) of 1972 IVI campaigns.Mass mediaThe center for policy study at theUniversity has received a $2,000 grant to helpsupport its “Mass Media/ 73” lecture series,DJ Bruckner, vice-president for public af¬fairs and director of the center, announcedtoday,.The grant was made by the S&H Foun¬dation, Inc, which is sponsored by the Sperryand Hutchinson company.The “Mass Media/ 73” program isdesigned to increase public awareness ofcurrent issues of importance in masscommunications.The University is one of 35 colleges out of340 entries throughout the country to win anS&H lectureship grant. The purpose of the S&H grants is to bring prominent speakers tocollege campuses and to help strengthencollege and community ties through publiclectures. Since S&H began this program in1960, over 600 grants have been made to morethan 300 colleges and universities.The four lectures scheduled for the “MassMedia/ 73” series are: Friday, February 16:Neil Sheehan, The New York Times; Wed¬nesday, March 14: Hunter Thompson,Rolling Stone Magazine; Monday, April 16:Robert Northshield and Jack Fern, NBCNews; and Tuesday, May 8: Joseph Kraft,columnist.The S&H Foundation awards a number ofgrants as part of its program of aid toeducation. The grants include a range ofscholarships, matching grants, and gifts tonational educational organizations. In ad¬dition to the gift from S&H, the “MassMedia/ 73” lecture series shares in grantsfrom the John and Mary Markle Foundationand the Ford Foundation.Poetry readingsThe Chicago Review Speakers’ Series issponsoring a reading of poetry and prose bycampus and campus area writers, Monday,February 5th, at 8:30 pm in the Ida NoyesLibrary. The reading will feature suchcampus greats as Simon Schuchat, RichardNewhauser, Peter LaSalle, Curtis Johnson,Doug Unger and unannounced others. Aparty follows: bring your own high orprocure it at the reading. For further in¬formation as to reading or attending call 753-3571.Maternity centerWomen Act to Control Healthcare(WATCH) will sponsor a public meetingconcerning the future of the ChicagoMaternity Center, “the only place in urbanAmerica that delivers babies at home,” at 2pm, Sunday, February 4, in the UnitedChurch of the Medical Center, 608 S Ashland.WATCH says that actions following the 1stmeeting gave the Northwestern UniversityHospitals, which have recently incorporatedthe Center, the impetus to hire desperatelyneeded medical personnel. Now furtherplans for maintaining and improving theCenter must be made and an investigationstarted into Northwestern’s plans for theirnew Women’s Hospital and MaternityCenter.Blizzard predicted“We expect there will be a blizzard ofconsiderable proportions in this area onSaturday or Sunday, an accumulation of noless than fourteen inches of snow,” said Richard Scotch, impressario of the WinterCarnival and the student in charge of thesnow sculpture contest. “On the other hand,the weather could get warm again in whichcase we will have a mud sculpture contest.”The snow sculpture contest is being spon¬sored by the Student Activities Office as partof its series of “W C events.” For those un¬familiar with the techniques of building snowsculpture, they have prepared an instructionsheet explaining the rules of the contest andtechniques of snow sculpture. (Readers arereferred for further information to theUCPress publication Learning to Look andListen to or at Snow Sculpture. It explains“after the first large snowstorm, the wheelsof the University of Chicago Winter Car¬nival’s ad hoc committee on the in¬terdisciplinary studies in the history andphilosophy of snow sculpture will im¬mediately be set in motion. Once your workis complete, call the Winter CarnivalSculpture hotline and leave your name,number, and the location of your sculpture...our flying team of crack judges will rush tothe spot. Winners will be announced at thenext W C event.”Among the prizes cited are two awards of$50 each, woolen caps, bags of Floridaoranges, nose warmers, and “a generoussupply of snow.” Copies of the contest rulesand instruction are promised “at the firstindication of some promise in the heavens.”For students who wish to plan ahead, copiesmay be picked up at the Stucent ActivitiesOffice, room 209, or will be sent care offaculty exchange (telephone 753-3591 bet¬ween 9 am and 5 pm weekdays).It is suggested that people report theirsculptures as soon as they are completed, sojudges can see them before the weatherchanges. “You want to know our slogan?”asked Scotch. “Bring your snow sculpture tothe W C before it melts.”Shannon seminarThe Reverend David Shannon, dean of thefaculty at the Pittsburgh TheologicalSeminary, will speak at services at theUniversity’s Rockefeller Memorial Chapel at11 am Sunday, February 4. The Chapel islocated at 1156-80 E 59th St.Reverend Shannon’s sermon is entitled“The Agony and the Ecstasy.”A Baptist minister, Reverend Shannon wasawarded his BA and BD degrees fromVirginia Union University (Richmond,Virginia) in 1954 and 1957, respectively. Hereceived his STM degree from the OberlinGraduate School of Theology in Ohio in 1959,and is now a candidate for an STD at CatholicUniversity of America in Washington, DC.He joined the Pittsburgh Theological Seminary in July, 1972. Before that he hadbeen an associate professor of religionand director of minority studies at BucknellUniversity (Lewisburg, Pennsylvania).Paleo seminarsTwo seminars on the paleographical studyof medieval Latin texts will be offered at theUniversity from July 16 to August 24.Paleography is the study and scholarlyinterpretation of ancient written documents.Sponsored by the division of thehumanities in cooperation with the depart¬ment of history, the seminars are designedespecially for advanced graduate studentswho expect to use paleographical training intheir thesis research, or for postgraduateswho, having recently earned their doctoratedegree, would like to enrich their studieswith a knowledge of advanced techniques.Requests for information should be sent toKarl Morrison, professor and chairman ofthe department of history, the University ofChicago, Chicago, Illinois 60637.Popkin lecturePollster Sam Popkin called the 1972election “a potential horse race” which wasa forgone conclusion “not becauseMcGovern couldn’t beat Nixon, but becausehe screwed it up,” in a lecture Wednesday inPick Hall.Popkin also spoke about the handling of thecampaigning by the two major parties. First,Mr. Popkin talked about the McGoverncampaign, claiming that “at the beginning ofthe race, McGovern was in striking distancein all major states but Illinois where he wasin trouble.”The manner in which the two campaignstaffs presented their candidates to theAmerican people came up later in the talk.“McGovern sees the world in terms ofmorality. He believes that he tries to ap¬proach the public with trust and openness,emphasizing morality in government.“The Republicans had a differentstrategy: ‘Don’t let the man out of the WhiteHouse because he turns people off.’ Sincemost people consider Nixon a sneaky coldfish, they emphasized the strength of hisadministration. As it turned out, most peoplebelieved they were choosing the lesser of twoevils.”Mr. Popkin also focused on the Wallacevoters, “The main reason most Wallacevoters were alienated was becauseMcGovern was running. Also, the McGovernstaff had decided that law and order was aracist issue. Who else but the blacks aremore worried about who's stealing to pay thepusher? Besides law and order is one of theissues Wallace people are most sensitive to. ”SEXUALFRUSTRATIONiTtm furHinvnm The PaftmaSt fraMl Rk IN Paper fcr likhSlowly he peeled back the cover, revealinga perfect 81/z x 11 x 96 editorial body. His fin¬gers trembling with anticipation, he beganto caress the silky smooth pages, his handsgliding over the perfect binding and thefirm young staples. “Oooeeh/' he breathed,"I've never seen such well-set-up premises,such pert punch-lines, such full, thrustingads. It's-it's built-like-a-brick magazine!"The February issue of the .National Lam¬poon ... on sale now at your newsstand.Have you heard National Lampoon'scomedy album, RADIO DINNER' MALE OR FEMALEIF YOU HAVE A DRIVER'S LICENSEAPPLY NOWDRIVE A YELLOWJUST TELEPHONE CA 5-6692 ORAPPLY IN PERSON AT 120 E. 18th ST.WE HAVE WEEK-END WORK FOR YOU.LAST SUMMER STUDENTS EARNED UPTO $50 OR MORE DAILY.WORK DAY OR NIGHT, OR DURINGHOLIDAYS OR SEMESTER BREAKS.Work from a garage near home or school Gay Women'sCoffee HouseTonight at the Blue Gargoyle5655 S. UniversityAll Women Invited 8-12 P.M.Blackfriars is readingGREEN GROW THE LILACS(Better known as Oklahoma)Sunday, February 48:00 p.m.(with popcorn) The Chess Club'sANNUALSPEED CHAMPIONSHIPWill be held 7:15 Monday, February 5at Ida Noyes. It will be a 5-minute time.Open to all. Please bring Chess Clocksif you have one.Friday, February 2, 1973-The Chicago Maroon-3CALENDAR ■ iFriday, February 2SOLID EARTH SEMINAR: "Sediment faunal Relationships in the Deep Sea," Donald Rhoads, Yale University,Hinds 101, 3:30 pm.MICROBIOLOGY CLUB: "Acquisition of Bacterial Genesby Bacteriophage PI and Resultant Transmutation,"Marvin Stodolsky, Ricketts north 1, 4 pm.MATHEMATICS LECTURE: Contemporary Mathematicsfrom a Historical Viewpoint: "Nonlinear Elasticity," FritzJohn, New Jork University, Eckhart 133, 4:30 pm.HILLEL LECTURE: "Philo and Josephus: HellenisticJudaism and its Influences," Robert Grant, 5715 Woodlawn,8 pm.FILM: "Straw Dogs," 7:15and 9:30pm, Ouantrell, DOC, $1.FOLK FESTIVAL: The Golden Echoes, old time gospelgroup from Creedmore, North Carolina; HoustonStackhouse, featured performer on the famous King Biscuitradio show. New Grass Revival, an unusually innovativebluegrass band from Louisville, Kentucky; The ReverendPearlie Brown, blues musician playing guitar, autoharp,and dobro, from Americus, Georgia; and Steve LedfordString Band, fine old time music from Bakersville, NorthCarolina. 8:15 pm. Mandel Hall. $2.50, $3 and $3.50.DISCUSSION: "The economics of transition from thecompetitive to the cooperative society," Ida Noyes 3rd floor,8 pm, open to everyone.GAY LIF: Gay women's coffee house, blue gargoyle, 5655 SUniversity, 812 pm.CONCERT: Robbie Basho, the last of the three TakomaLabel guitarists, will appear at the amazing grace coffeehouse in Evanston, 2031. Sheridan Road. He will playFebruary 2 4, two shows nightly at 9 and 11. Tickets $1 at theJoorINTERNATIONAL HOUSE ASSOCIATION: Travelogue toAfrica, Home room of I house, 8 pm, students 50c, members75<, others SISaturday, February 3FILM: "Tokyo Story," 7 and 9:30 pm, Cobb, $1 (CEF).FILM: B'nai Brith Hillel: "The Last Chapter," 8 pm, RodfeiZedek, 5200 S Hyde Park.TRYOUTS: Blackfriars Spring musical Actors, dancers,singers, and tech people sorely needed. 2 pm, quantrellauditorium.FOLK FESTIVAL: 3 pm (admission, $2 50): Tom Hall andthe Storytellers, the first modern country and western bandto appear at the folk festival. Steve Ledford String Band,the New Lost City Ramblers, playing in a variety of old timestyles; the New Grass Revival, and Kevin Henry and JohnMcGreevy, Irish musicians living in Chicago. 8:15 pm(Admission $3.50, $3 and $2.50): Tom Hall and theStorytellers, the Golden Echoes, Jimmy Walker and ErwinHeifer, great boogie woogie piano duets from these Chicagomusicians; Kevin Henry and John McGreevy, and GlenOhrlin, a cowboy singer and storyteller from Mountainview,Arkansas Mandel Hall. Sunday, February 4WOODWARD COURT LECTURE: "The New SupremeCourt," Philip Kurland, 8 pm, Resident master's apartment. Woodward Court.FILM: "Brother John," 7:30 and 9 pm, Cobb, NIA, $1.PLAY READING: Green Grow the Lilacs, the basis forOklahoma! 8 pm, Ida Noyes library.BRENT HOUSE SUPPER-DISCUSSIONS: "Marxistsperspectives on Population control," panel discussion byBarbara Foley and Nick Groves. Brent House, 5540Woodlawn, 7 pm (Supper served at 6 SI). All invited.UNIVERSITY RELIGIOUS SERVICE: Preacher:Reverend David Shannon, dean of faculty, PittsburghTheological Seminary, Pittsburgh, Pa: "The Agony and theEcstasy." Rockefeller Chapel, 11 am (seminar 9:45-10:45am), chapel undercroft, led by Reverend Philip Dripps,United Methodist Chaplain.DIPLOMACY CLUB: Meets Sunday, February 4, noon, 5625S University.FILM: "Passport to Pimlico," starring MargaretRutherford and Stanley Holloway, 12:30 pm 2:15 pm,Mandel, FREE!FOLK FESTIVAL: (Admission $3.50, $3, and $2.50),Houston Stackhouse, New Lost City Ramblers, JimmyWalker and Erwin Heifer, Glenn Ohrlin, and the ReverendPearlie Brown. 8:15 pm, Mandel Hall.Monday, February 5CANCER LECTURE: "Recent Advances in Cancer:Manipulation of the Immune Response in Malignancy," DrCharles McKhann, University of Minnesota, 12:30 pm,Billings P-117.BIOLOGY CLUB SEMINAR: "Bird Distribution in Chileand California," Martin Cody, UCLA, Zoology 14, 4:30 pm.STATISTICS SEMINAR: "Block Clustering of UnitedNations Votes," John Hartigan, Yale University, Eckhart202x, 4 pm.INTERNATIONAL HOUSE ASSOCIATION: Boardmeeting, 7:30 pm. I HA office.CHICAGO REVIEW: Speakers' series is sponsoring areading of poetry and prose by campus area authors, IdaNoyes Library, 8 pm. For further information as to readingor attending call 753 3571.PEACE CORPS/ VISTA: Campus representatives at BrentHouse on Mondays from 11 am to 1 pm. Call 753 3392 forappointments.CHEMICAL PHYSICS SEMINARS: "SemiclassicalScattering Theory: Applications to Classically ForbiddenPhenomena," Dr Jimmie Doll, department of chemistryUniversity of Illinois (Champaign). Kent 103, 4 pm.CHESS TOURNAMENT: UC speed championship. Timelimit: 5 minutes per game. Free, Ida Noyes memorial room.Registration 7 pm, round 1 starts 8:30 pm. Also chesslessons, elementary and intermediate. The Chicago Marooneditor-in-chiefLisa Capellbusiness managerPaul Bates news editorFred Egler executive editorFred Winston managing editorBreck Borcherdingassociate editorsJeff Roth Mark Gruenberg Tim Rudyassistant business managerRich BakerstaffSteve Askin, Joan Cecich, Steve Durbin, Don Gecewicz, Clara Hemphill,[CD Jaco,Leonard Lamberg, Keith Levine, Jay Pollack, Arno Rothbart, Andrew Segal, David Sobelsohn,Mark Spieglan, Curt Spiller, Mike Strimling, Gene Szuflita, Alex Vesselinovitch, Alan Wertheimersports editorMike Kraussphotography editorUgis Sprudzsphotography staffSusan Lyons Robert Newcombe Mike Benedik, John Vail Linda Lorincz Pat Levitjt Brian Rowegets and entertainment editorElizabeth Russolassical music editor pop music editor art editor film editor drama editorDeena Rosenberg Gage Andrews FrecLHorn Dave Kehr Debbie Davisonbook editor culinary editor dance editorMark Ackerman Howard M Isaacs Nancy MooreFounded in 1892. Published by University of Chicago Students on Tuesdays and Fridays throughoutthe regular school year, except during exam periods and, intermitently during the summer. Of¬fices in rooms 303 and 304 in Ida Noyes Hall, 1212 East 59th Street, Chicago. Illinois 60637.Telephone (312) 753-3263. Distributee! on campus and ir) the Hyde Park neighborhood free ofcharge. Subscriptions by mail $9 per year in the United States. Non profit postage paid at Chicogo,Illinois.LAST CHANCE...TO SUN Oft SKI SPRING BREAKSurrey-ride, photographflamingos, take a glass bot¬tom boat ride, fish for marlin,or water ski onNASSAU CHARTERMarch 16-March 26Air Canada$135 roundtripGroup rates at fine hotelsavailable. La Plagne currently has 32-44inches of packed snow.LA PLAGNE GROUP FLIGHTMarch 17-March 26Air France$315 roundtripIncludes air fare, hotel ac¬comodations and lift tickets.SPEND SPRING IN PARISMarch 17-March 26Air France$315 roundtripIncludes air fare, accommodations at a four star hotel, and two sight*»lng trips.SIGN UP TODAY FINAL PAYMENT FEBRUARY8UNIVERSITY OF CHKAG0 CHARTER FLIGHTS PROGRMIColl 753-3596 1:30 to 530 or como to Ido Noyes Hall room 306 ! PIZZAPLATTER1460 E. 53rdMl 3-2800FAST DELIVERYAND PICKUPFind as . ..(CERMAK) 1*1PONTIAC2232 BLUE ISLANDAVENUEIN CHICAGO254-2900 5s GOLD CITY INNA professionalABORTIONthat is safelegal &inexpensive!can be set up on anoutpatient basis by callingThe Problem PregnancyEducational Service, Inc.215-722-530624 hours—7 daysfor proftaBNfciBl. confidant ialand caring halp. «given * * * *| by the Maroon6 New Hours: Open Dailyt From 11:30a.m.5 to 9:30 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(naor Horpwr Court)Eat more for less.(Try our convenient take-out orders.)•i-TheChicag^ Maroon-Friday,February 3, 1973 ,ENTERTAINMENT AND THE ARTSOldenburg: Monuments as Metaphor for ScaleDetail of “Proposed Colossal Monument for Karlaplan, Stockholm: Wing Nut (model).”By FREDERIC HORNClaes Oldenburg is no longer a Pop artist. His association a decade agowith the original Pop movement in New York appears now as only his rootbeginnings. The main thrust of the Pop artists, the idea of utilizing familiar ob¬jects as artistic forms in themselves, remains in Oldenburg’s art. His use ofeveryday objects however, has evolved away from simply displaying an object byitself, like his famous creation Baked Potato. His concern now also takes intoaccount the environment in which a sculpture will reside. Currently his exhibitionat the Art institute, entitled Object into Monument, recognizes this new emphasison scale, which accounts for the scale of the landscape we live in and the scale ofthe art object that Oldenburg places in it.The expansion of Oldenburg’s thought is actually a dramatic development. Hisinterest in staging was first realized in his ‘‘happenings” in 1959. Later he con¬ceived of his Baked Potato as somehow a theatrical event: “my own baked potato‘theatre’, which doesn’t rot.” It seems the added element of chunks of butter givesthis slit-baked potato the quality of “a very suggestive drama which is constantlybeing recorded in the magazines.” The interaction of THINGS is on his mind. We,as viewers, are not an integral part. We do participate, but the museum roomitself, which is our environment and is scaled to our needs, is not necessary to thesculpture’s existence. As viewers we do not need to view the sculpture in relationto the room, and so we do not need to view it in relation to ourselves.Oldenburg now has shifted the drama from an interaction that the object itselfsuggests, into the interaction of sculpture and landscape. He has moved us out¬side. No longer do we view his “monuments,” as he names them, as autonomousthings. We see them in the landscape, amidst the trees, surrounded by buildings.Their success as art does not depend on themselves alone, but in their relationshipwith this landscape. Behind a monument is not a blank museum wall, devoid ofspace. We now take into account the horizon, and our own relation to it. Suddenlyour presence as human beings becomes quite evident.The choice that Oldenburg must make, as an artist, is the form of his artwork.Form for him is his primary consideration. “Everything in nature is both func¬tional and a form in itself.” The world around him is the source from whichOldenburg gets his ideas for forms. By manipulating the material and/or scale ofsome commonplace form, he re-presents to us objects we normally take littletime to consider. Thus: a giant vacuum cleaner, a series of enormous electricplugs, one in elegant mahogany, one in soft vinyl. A few of his monument ideas: atitantic ironing board for the lower east side in N.Y., to tower over as an airport.For Karlaplan, Stockholm he proposes a truly monumental wingnut for the centersquare, movable up and down on its threaded shaft.These are no jokes. Says Oldenburg: . . “the resemblance, while amusing,means nothing . . . but saying more effectively that appearances are not whatcount. It is the forms that count.”It does not matter if his giant trowel sculpture looks like a trowel. It’s a FORM.The simple irony that we, in this age, perceive it as a trowel is irrelevant. To aforeigner who never saw a metal trowel before, it would be just that. To him itsurely would seem functional, since it lacks a pedestal, like traditional sculpture,and somehow seems to rise like a growth out of the earth. It communes with itsplace in the ground; we struggle to avoid liking it. Yet its simplicity and self-awareness does not need our O.K., and without that burden, it is convincing.Oldenburg’s choice of object should not be pursued too deeply in terms of any“symbolic content,” he himself suggests His primary concern is to exaggerate acommonly - seen form, like an electric plug, so that the large increase in size forces the viewer to take heed of the actual form of the plug. The meaning of anelectric plug alone can be expanded in the viewer’s consciousness, when he viewsthe expanded version. But the direction to which the viewer expands his ideas areup to his imagination alone. Oldenburg intends not to interfere. His work is not aparody, although it can be humorous; it is not didactic although it easily offers theviewer new concepts, new possibilities.When viewing this exhibition one sentiment pervades the air: happiness. Littlekids are no longer bored in visual worlds they fail to grasp, as it seems they are inthe rest of the museum. Oldenburg’s giant 4 foot high pool ball set, with ap¬propriate rack, delight all the suburbanite kids that parents have dragged along.Originally Oldenburg conceived of the pool ball set as breasts, now they arecolored plastic. Indoor pieces like this, and his many drawings of “proposals formonuments,” seem to be very successful when exhibited as a group. It mav bethat his art needs to be grouped together, where as a corpus of work it com¬plements itself to form its own history. The varied objects appear then to relateand exist as different moods, suggesting different feelings. In this grouping theart of Oldenburg justifies itself by its repeated quality, away from vogues or aspublicity pranks. Just one ordinary everyday object monumentalized can easilybe joked at. Together as a visual vocabulary the validity of these objects cannotbe negated by one’s limited taste. The size, the quantity, but most obviously thequality of Oldenburg’s conceptions and the final constructions forces the viewerto take serious heed.Outside the museums, Oldenburg has begun to work with his monuments inrelation to his history, habits and geography of his intended site. Earlier, withsculptures such as his Trowel, the site was basically arbitrary. The twentiethcentury and its need for colossal size, at least in art, no doubt affected Olden¬burg’s first creations purely as a method to emphasize and boost the spirit of hisforms. Kenneth Clark’s description of our monumental tendencies as “heroicmaterialism” seems appropriate here. Yet Oldenburg has proceeded beyondmassive scale alone, by taking into account the site of a monument, so that hiscreation will be in significant relation to the landscape.When considering what a monument actually means, Oldenburg learned thatthe definition of “monument” suggests a memorial of some sort. In memorial tosome thing, some person, or simply some aspect of local culture, the monument,suggests Oldenburg “becomes a metaphor for scale.” The object’s normal size isleft behind in the monument, but is left in the mind of the viewer. By consideringthe memory of the viewer, and adding the geographical significance of themonument site that also will affect the viewer’s reaction, Oldenburg created hismonuments such as New York’s Ironing Board, and Stockholm’s Wingnut. Forboth these Oldenburg found relations to the culture, while he was living in the city,that inspired his proposal.Kenneth Clark also suggests that we can learn the most about a civilizationfrom its architecture. Painting and literature depend too much upon theidiosyncrasies of individuals. Architecture remains more communal, in the sensethat the maker and user must exist together. With Oldenburg's new emphasis onscale in relation to our memories, our culture, and our landscape he seems towant to involve us as viewers more intimately from our personal experience. WE,in the context of the architecture we live in, must complete the creative act byrecognizing its existence, in our own particular manner. Monuments, ar¬chitecture. and ourselvesThe exhibition runs through February 25.Friday, February 2, 1973-The Chicago Morooo- 5Seven Deadly Sins: Overlapping Different OutlooksBy EVE OTTENBERGWhat started out as a perfectly or¬dinary Sunday evening, with plans tosee an all female cast performingWaiting for Godot, turned first into anintensely wintry evening, and second,the play underwent a transformation,the final outcome of which was theSeven Deadly Sins by Bertoldt Brechtand Kurt Weill. Fortunately mymisinformation led to an extremelyenjoyable and interesting evening.In brief, the Seven Deadly Sins is ashort recounting of events that a girl,Annie, experiences after leaving homein Louisana to seek her fortune. Theplay, put on by the Chicago Project, wasthe last of a series of performances thatthey were doing for two weeks. To thebest of my knowledge this was the firstproduction of Seven Deadly Sins done inChicago. For one who was only familiarwith the music of the play and had never seen it performed before, it definitelylived up to my expectations, althoughnaturally it was somewhat differentthan my preconceived mental image ofit. It proved to be a good deal morehumorous than I had expected.Six out of nine of the actors wereblack, and the combination of their ownDRAMAparticular modern culture with themood of a fairly typical Brecht play wasinteresting and provided insights intothe play that perhaps otherwise wouldnot have been available. Among otherthings, the play was a well-createdjuxtaposition of these differentoutlooks. Linda Wesley, who playedAnnie I, and Venice Johnson, Annie II, were vivacious and spirited in a mannerwhich immediately affected theaudience. They did a successful job ofcapturing the tone and mood of thecharacters they portrayed, as well asstrongly expressing themselves throughthese roles.The structure of the play, a sequenceof humorous demonstrations of eachdeadly sin, demanded quick dress andscene changes, which were wellmanaged. Given the physicallimitations of the theater, namely that itwas not particularly well-equipped interms of lighting facilities and for allpractical purposes did not have a realstage area, the actors did a good job forwhat was also clearly low-budgettheater. This in itself was a testimony tothe quality of the acting; however theselimitations did detract a bit from theover-all effect of the performance.The pianist, Craig Connora, combinedWeill’s melancholy and ever-effectivemusic with a touch of Louisiana blues. He also threw in a bit of satire, playingthe theme song from Love Song at theappropriate moment, and somehowmanaging not to over-do it.There was little to seriously criticizein this production with reference to theacting, but the actors definitely couldhave benefited from better props. Also,the fact that there is no characterdevelopment besides that of Annie (andthat only in the starkest terms) is a littledisturbing, but this seems to be a func¬tion of the play itself. Brecht does notappear to be all that concerned withpersonalities in this play, rather, as thetitle indicates, with a set of concepts;and he manipulates characters toportray these concepts, something notso uncommon with him.My only regret is that this play wasnot running longer; Sunday the twenty-eighth being the last performance, andalso that I missed something whichsounded as interesting as Waiting forGodot with an all-female cast.A n Innocent Eats A broad in GringolandBy EUGENE CRUZ-URIBEA new restaurant recently opened on57 Street by the name of Lucitas. It waspurported to have served Mexican food.Since my father was born and raised inthe Mexican heartland, my mother hasbeen serving Mexican food as long as Ican remember. Recently I was able tosubject Lucitas to the acid test. Because1 never do anything without telling mymother. I’ve decided to write home.Dear Mommy,Sunday night I went with six otherguys from the house to try out a newMexican restaurant here in Hyde Park.I wanted to see if it was going to beanything like home.We got there at twenty to six and rightafter we got our table, tons cf peoplestarted coming in and a big line formed,but I wasn’t interested in the line, I wasenveloped in the scenery. The problemwas . . . there wasn’t much — the backwall looked like some turista had hit arip-off joint in Tijuana.Speaking of tables, people werepacked in like sardines in rows and rowsof tables for two, but how could anyonecourt his chick in the true Latino fashionif the elbows of two other people are inyour ribs?The waitress quickly came and gaveus a three-paged mimeographed menu.Quickly glancing through I noticed thatmost of the more promising dishes werecrossed out with pen. The waitress saidthey had run out of those things.Resigned to bare essentials, everyoneordered and waited out the war. I or¬dered chorizo con huevos//for thosenon-Spanish speaking readers thatmeans a Mexican sausage with eggs//.I ordered their only appetizer —guacamole paste//an excellent avocadopaste with tomato, onion and jalepeno peppers added//. Like a WoodwardCourt salad it came as one scoop ofpaste surrounded by chunks of tastelesslettuce and on top they were generousenough to put three fried tortilla chips.For a buck I was feeling slightlyuneasy. Disappointment struck when Ifound there weren’t any peppers in it,only extra onions — Pancho Villa willturn over in his grave!Everyone else at the table got tomunch on a basket of freshly friedtortilla chips. Excellent while theylasted. There was a ‘hot’ sauce on thetable and since I was the only ‘native’(if they only knew), I had the honor oftasting it first. Cautiously I dipped myfork into the sauce. It was alright.During the ensuing half hour to 45minute wait to be served, we werequietly serenaded by soft music — butas it turned out it was only a radio backin the kitchen and for all I could tell itwas WLS. Our waitress came by andserved two of the guys. My mouth waswatering as I smelled the enchiladaplate so I asked if I could taste the molesauce on top. It tasted like weaklemonade with a few spices added (OKfor gringos who don’t know any better,but I was hoping for something a littlemore ‘Mexican’).Our waitress came back and told twoof the guys that they had run out of whatthey had ordered. By the time themumbling had stopped they had or¬dered again. Out of boredom all thewater from the glasses had been con¬sumed. We tried to get some more, butthere seemed to be a drought in our partof the restaurant of both water andwaitresses. We finally got some waterafter a 15 minute struggle. Greg wasfinally served his chicken plate — theyhad sprinkled cheese all over it andsince I was again drooling, I asked if I could taste it. Much to my surprise itwas that excellent cheese from Mexicowe always liked. Greg couldn’t un¬derstand why Mexicans like such abland cheese all over. You get to like itonce you know what Mexican food is allabout. Steve S and Steve B were servednext. Being terribly hungry, I decided towait.A waitress came by and asked mewhat I would like to order. I finallyFOODexplained to her that I had orderedsome time ago and still hadn’t beenserved. She said, “Oh ...”The waitress finally served me and Iwas very grateful, until I looked at myplate and saw I didn’t have chorizo conhuevos. 1 humbly asked the waitress,“What’s that?” She looked downquickly at her order book and mumbledsomething about not having any. Ireplied that she hadn’t told me aboutthat before. She looked dumb for aminute and then took it away. Thirty-seconds elapsed when the head waitress(and sometime cashier) came overcarrying this plate and she tried toexplain how they had run out of this andthat. To save myself an earful andbecause of the growling of my starvedintestinal tracts, I took the enchiladaplate (#3 on the menu for those in¬terested). The enchiladas were sortamushy, but at least they were warm.After dashing them with excessiveamounts of ‘hot’ sauce, it was palatableand soon consumed in a burst of libidinal release. I discovered that oneach end of the plate there were added‘delicacies’. On one side there weresome “frijoles” or supposed re-friedbeans. I was sort of worried that theywere a little soupy, when they startedspreading out from the edge of the plate(like syrup flows off pancakes). On theother end there was some Spanish friedrice. Unfortunately it tasted like mushyboiled rice.Curt had enchiladas and soft beeftacos. After finishing he rushed outbefore I could ask him how he likedthem. I did hear him mumblesomething about going back toBaumy’s, but I’m not certain.Don had soft tacos and said they wereOK, whatever that means. I saw himwhen I got back to the house eatingsome ice cream mumbling somethingabout how hungry he was.Greg was getting up to walk out whenhe was served the chicken plate (#11).From what I saw, I think they shouldhave let the chicken grow a while longerbefore killing it, so it would have somemeat on it.Steve S had ordered a soft beef tacobut got a soft chicken taco instead. Hekept on rubbing his back pocket whileeating, mumbling something betweengulps about how much lighter it wouldbe after he left.Steve B was the most coherent. Hehad the fresh fried eggs and sauce. Heplainly stated it was bland, overpricedand simply Americanized. He had a cupof coffee and did highly compliment itby saying, “It’s better than the coffeefrom the Cobb Hall Coffee Shop.”ADIOS from your son,EUGENIOROCKEFELLER MEMORIAL CHAPELSunday February 4,197311:00 A.M.DAVID T. SHANNONDean of FacultyPittsburgh Theological SeminaryPittsburgh, Pennsylvania"THE AGONY AND_ THE ECSTASY"SUNDAY SEMINARRockefeller Memorial Chapel Undercroft 9:45 to10:45 a.m. Discussion led by The Reverend PhilipM. Dripps, United MethodisT Chapiain.^-The Chjpqcjo Mqroon-Frjday. February 2#I973 Atop The Hyde PorkBonk Building1525 E. 53rd St.955-5151RESTAURANTCHAMPAGNE BRUNCH *4°° tax ind.All you can oat 11-2:00 Sundays.Existentialism to Melodrama: EmigrantsBy DAVE KEHRSomehow, from all the notices it’sbeen getting, I got the impression thatThe Emigrants was a Big Film. Ac¬tually, it turns out to be a small, almostintimate movie, an epic only in the scaleof its budget. Jan Troell has brought apotentially unwieldy subject down to amanageable level, but in doing so haslent it a curious and inappropriatefeeling of claustrophobia. While TheEmigrants is not an outstandinglysuccessful film, it is far from being afailure. It ranges from the existential tothe overtly melodramatic over thecourse of its two and a half hours, andalong the way has its moments of true,stature. But they are, after all, justmoments, and the film as a wholedoesn’t really hang together. Perhaps Iwas expecting too much, letting myselfget carried away with thoughts of whatJohn Ford could have done with thismaterial, but it seems that the filmnever achieves the scope it cries out for,never quite rises above the particularissues it deals with.Max von Sydow and his wife LivUllman are Swedish peasants, engagedin the perenial fight to force the meansof survival from their barren farmland.After the burning of his barn and thedeath of one of his children, von Sydowdecides to set out for a new life inAmerica. Von Sydow and his family arejoined by his younger brother and apreacher with his small following,searching, respectively, for economic,personal, and religious freedom. Thethree month voyage to America ismarked by filth and disease in thecramped quarters of the ship, and thepreacher’s wife dies of scurvy. Finallyarriving in New York, von Sydow sets out for Minnesota, which means anotherlong trip, and, this time, the death of thepreacher’s baby daughter. The filmconcludes as von Sydow marks out hisclaim in the Minnesota wilderness.There should be little doubt as to whothe auteur of The Emigrants is: Troellis credited with direction, photography,screenplay, and editing. Yet, the filmhas a peculiarly impersonal tone, due tothe lack of a consistent point of view.Troell’s attitude is constantly fluc¬tuating; at times he condescends to hischaracters, patronizing them for theirnaivete, and at others, the charactersare almost defied, in reference to nodiscernable point in the dramaticdevelopment. Basically, Troell has aweak grasp of the medium. His cameratechnique often calls attention to itself,making use of hand-held shots andzooms that defy not only the period ofhis story, but its integrity. The hand¬held camera often merely asserts thepresence of the production crew, in¬troducing some unseen ghostlycharacter into the proceedings. Theeffect is inevitably one of alienation, theexact opposite of the feeling ofdocumentary-like realism the device isusually intended to produce. To invokethe ritual chant of Truffaut’s remark“They didn’t have zoom lenses in 1850”is to sum up many of the film’s con¬tradictions. Troell’s self-conscious useof the zoom is made more disconcertingwhen you see the quiet, stately effectshe is capable of. In one brief scene, forexample, Ullman, about to leave on herjourney, takes a final ride on a swingshe has rigged up in the barn. Troell’scamera stands right behind her.Zooming forward to some point in thedistance as the swing moves away. This attempt at portraying a physical sen¬sation misfires quite messily; thefeeling produced by the rapid zoom-in,zoom-oui is one of veriigo rather thanpleasure.Immediately following this shot,Troell cuts to the exterior of the barn,and we see only Ullman’s feetperiodically coming through the win-FILMdow, this affectionate and humorousshot is in stark contrast to the affectedmodernity of the one preceding. TheEmigrants continually exhibits thiskind of tension; human and immediateat one moment, calculated and distantat the next.During the first hour of the film, whenthe family is still in Sweden, Troell’svisual ideas, though limited, pay off.The compositions are generallycramped, trapping the characterswithin the frame, and the attitudetoward the environment is well shown.It is somewhat disappointing, then, tosee Troell continue to use this stylewhen the scene shifts to America. Noneof the freedom the film has been insearch of is made tangible. The Land ofthe Free differs from Sweden only in thegreater amount of sunlight that filtersthrough the trees. Troell hardly evershows a clear horizon, a simple enoughway of portraying the freedom ofspatial expanse. Even on the sea, Troelldoes not attempt to use any spacebeyond the limits of the boat. No con¬trast is made between the squalor of thehold and the clean broad expanse of thesea, representative of the ideal that vonSydow is clearly in search of. Troelldoesn’t mean to imply that von Sydow isgoing to be imprisoned wherever hegoes, the trajectory of the film, is verymuch the opposite. At the climax of thefilm, when von Sydow first looks at theland he will make his own, Troell cutsbetween a close up of von Sydow’scraggy profile, seeming to take a pieceout of the sky (a beautiful shot), andwhat he sees around him (inserts oftrees, rocks, grass). The tempo of thecutting increases as the music swells onthe soundtrack. As the sequencereaches the height of its energy, weexpect Troell to cut to a vast Foraianpanorama of the countryside; the whiteclouds standing out against the deepblue of the sky, the infinite stretches ofthe green land below. Instead, vonSydow’s ecstatic face is followed by aclose up of an ax marking a tree. Thereis no attempt to relate von Sydow’semotion to anything more than the fewunimpressive objects around him. Therest of the sequence was builtbrilliantly, but in turning it back uponitself Troell diminishes its power almostcompletely. It is disappointing to see a man come so close to creating a greatbit of film, and then blow it at thecrucial moment.Troell the cinematographer alwaysoutshines Troell the director.Many of his individual shots have avery impressive pictorial beauty. Thelyrical quality of much of thephotography, however, is anomalouswith the film as a whole, its abstractioncontrasting inappropriatly with the“realistic” tone that Troell wishes toestablish. The direction moves towardstylized objectivity, the photographytoward the formally beautiful, thescript toward social concerns, and theacting toward the spiritual. TheEmigrants fails to reconcile as a wholethe individual qualities of its parts, andfinally emerges as contradictory anduncertain.Troell intends to tell some sort oftruth about early America, but it is atruth that can be summed up with thephrase, “it wasn’t all it was cracked upto be.” He gives an anti-romantictreatment to an eminently romanticepic subject. His direction oftentrivializes the great aspirations of thecharacters. By wanting to have it bothways, he ends by having it neither. VonSydow and Ullman must struggle topresent a sense of human stature withlittle or no help from the filmmaker.Much of the film’s appeal, in fact, canbe attributed directly to theirmagnificent performances. Von Sydowfights the claustrophobic visual withgreat success, and he is almost solelyresponsible for giving the film a sense ofdirection and development. In the finalshot, von Sydow leans up against a treeand pulls his hat down over his eyes. Hisbig wide mouth slowly forms into asmile of transcendant satisfaction, andthere lies the true beauty of the Em-migrants.ITEM: Tonight. Doc Films is showingSam Peckinpah’s essay on the nature ofmachismo. Straw Dogs. I happen todisagree with Peckinpah on a personallevel, but his stature as a filmmaker isundeniable. Peckinpah's attitudetoward violence is ambiguous butultimately chilling in Straw Dogs, whichpromises to be one of the key films ofthe seventies. 7:15 and 9:30. Cobb Hall,$1.ITEM: Nothing short of nuclearholocaust should prevent you fromseeing Ozu’s Tokyo Story when CEFruns it Saturday night. Ozu seems to methe greatest of Japanese filmmakers,his style is at once prototypicallyJapanese and completely universal.Tokyo Story may frustrate the passiveviewer with its slow and deliberatedevelopment, but it’s more than worththe effort it demands. 7:00 and 9:15,Cobb Hall, $1.ITEM: Sci-Fi Films stumps me againwith their Thursday night show. FP.l.The title tells all. 7 and 9, Cobb, $1.Max von Sydow of Sweden and Liv Ullmann of Norway are stars of “TheEmigrants.” The picture, based on Swedish classics by Vilhelm Moberg, wasdirected by Jan Troell.You, too could be a star... 2 p.m.TRY OUT for the BLACKFRIARS SPRING SHOWQuantrell Auditorium Saturday, Feb. 3JAMESSCHULTZCLEANERSCUSTOM QUAUTYCLEANING10% student discount1363 E. 53rd St.752-6933 EYE EXAMINATIONSFASHION EYEWEARCONTACT LENSESDR. KURT ROSENBAUMOptometrist(53 Kimbark Plaza)1200 East 53rd StreetHYde Park 3-8372 UNIVERSITYBARBERSHOP1453 E. 57th ST.CLOSED MONDAYS684-3661HairstylingRazor cuts TAKCAM-WNCHINESE-AMERICANRESTAURANTSpeotliiing inCANTONESE ANDAMERICAN DISHESOPIN DAILY11 A M. TO I: JO P.MSUNOAYS ANO HOLIDAYS12 TO 8:90 P.M.Order* to take evt1318 Eo«t 63rd MU4-1062 K ATSA Rl)$ m a # m a < y,.nc• Complete Prescription Needs• Prompt Delivery Service1521 E. 53rd ST. Phone 288-8700•M< 'O'Friday, February 2, 1973-The Chicago Maroon-7By NANCY MOOREWhat are “the screamin’ yellowChicago blues”? A horde of LakeMichigan monsters? State Street atsunset? Maybe a multi-media theatre-dance work?The Ensemble, propagator of twoother theatrical creations-2002: ASpace Absurdity and Evolutions, hasadded a blaring new work to itsrepertoire. Opening tonight at theUptown Center-Hull House, 4520 N.Beacon, Screamin’ Yellow ChicagoBlues is billed as “a madcap adventureof the life and times of the world’sgreatest circus...Chicago.”Screamin’ will be performed inrepertory through April 30 on Friday,Saturdays and Sundays at 8 p.m.General admission is $3, $2 for students.Call 769-0601 for reservations.The Dance Quintet, a newly formedChicago-based company, will openSunday afternoon at 3 and performregularly on Sundays through March 4.Dancing in their little studio (Room 303)at 22E. Van Buren, the Quintet’s firstfour performances are already sold out.If you wish to see them, you’d bettermake reservations now for March 4.Screamin dertotenlieder, (or ‘songs about deadchildren’) by Mahler.Other works included Tube, a comicparade of television characters whocircled the set while hanging on to itspivoting antenna; Spring, achoreographic spoof about unfulfilleddreams danced to Polly Bergen wailing“nobody loves me”; Marlene-threescathing caricatures of Dietrich ac¬companied by a few of her songs; Trios,a disapointing attempt to capture inmovement the rhythmic intensity of aBalinese gamelon, and Guitar Forms,in which Mr. Tertocha filled the dimlylit room with stringed dances.Described as “portraits in dance,”the Gallery’s work emphasized pictorialor dramatic themes more than thedance itself. Acting, mime, evensinging, were incorporated into theircreations. Often the most expressivemovements were facial ones.In By the Sea, a collection of dancesmade to ocean sounds, I remember onedancer circling her arm in a wide arcfrom head to hip, leaving behind ascrawny line which quickly dissolvedinto choreographic obscurity. As myattention centered on the tide ofemotional response which flooded her The Joffrey Ballet opened Tuesday night at the Auditorium Theater.Photo by Herbert Migdoll.’ Yellows Headline at Uptown CenterCall 939-0953. A $2 donation is requested.At the Columbia College DanceCenter, Claudia Melrose will conduct aone-week workshop in techniquestarting February 19. Currentlyasociated with the Louis-Nikolais DanceTheatre Lab in New York City, Ms.Melrose will teach beginning, in¬termediate and advanced level classes.Five classes cost $18. For reservationscall the Dance Center at 271-2665.Recently the Center brought in amodern dance company from Salt LakeCity, the Dance Gallery, for two per¬formances. The dancers, two men andthree women, have all studied or taughtdance at the University of Utah. Theydesign their own dances and costumes,borrowing motifs from theatre, paintingand music.During their Dance Centerengagement, they performed sevenshort works influenced by the creationsof such diverse artists as Henrik Ibsen,Marlene Dietrich, Gustav Mahler andPolly Bergen. Between each danceJerry Alain Tertocha strummed a bit ofclassical guitar.The concert began with a sillyvignette in which a young moth flut¬tered innocently into the jaws of apreying mantis, and ended with asomber group dance to Kin-JESSELSON’SFRESH FISH A SEAFOOD752-2470, 732.41*0. 342.*14*. 13401 face, I didn’t notice this absent-mindedgesture until it had been repeatedseveral times. On the Gallery, danceseemed more timeless exhibit of por¬traits than a kinetic flash of bodies inspace.Another kind of performing groupaltogether, the dancers and musiciansof Bali silvered the Auditorium TheatreJanuary 19-29, with tinkling bells andfragrant wisps of incense. Incompatiblewith the stage as Krishna kids on StateStreet, the Bali concert demanded thatone blot out one’s surroundings in orderto hear better.A 24-member Gamelan orchestra,composed entirely of dour-faced men,sat cross-legged at either end of thestage and ravished their exotic in¬struments with little metal hammers.Invoked by an impossible harmony ofbells, flutes and drums all playing indifferent measures, the dancers wouldsuddenly appear at the top of a shortstairway, upstage center.For a few seconds they posed thereglittering while the audience took intheir sumptuous costumes and masks.In one dance several of the womencarried sticks of burning incenseplanted upright in their headdresses. Atthe beginning of Djuak, a classicaldemon dance, there appeared a* Cmmtt Jtmut *1645 E. 55TH STREETCHICAGO, ILL: 60615Phone:FA 4-165153«* *##*4k stoic AuksluflciGreat Labor Heroine Comes Alive;Book on Mother Jones Reissued rtLSC rtVrtILAbLi.:THE STORY of a halfcentury spent in the strugglefar labor’s emancipation.She led a inarch of crippledchildren to show TheodoreRoosevelt their hands withmissing fingers, their skinnyarms with missing hands.She confronted sewer rats inWalsriiberg jail and goveaiorsin their offices. Wherevermen dig coal, her name isrevered.AVAILABLE HOW - A LABOR CLASSIC“THE AUTOBIOGRAPHY OF MOTHER JONES”reprint vl the 1923 edition with Foreword by ( tarenee DarrowNew Intrndurtion, with bibliofraphy, by Fred Thompson.HORACES RARER S2.9S CLOTH S7.S0LC 71-1*54 7 7<wK FCR CUft LISTCHARLES H. KERR & COMPANYFstuhhtlnd I SNABOOK PUBLISHERS431 S OF A R RORKI qi’ITF HQOCHICAGO, ILLINOIS 60605 THE PULLMAN STRIKEBY REV. WILLIAM h. CARWARDINE." BEST OF THE PAPERBACKS "By Hbnry KisorCbu|o Dmty New. fain, October 30. 1971*77w Rulhnon SwfbO", by Me dev. MWWwn H. CwdbtA rwtmut of Me 1994 dmMe of Social HI htorotura by e aym-oeMehc eJotfymon. Oatatllny Me yrmnnem of Me prewtMdown wort on of Ruflmoo (then e compeer town, now oChicope noiQhboftiootll ayoUm Me Rvtfmon Ratere Cm Co.A moatorpmeo of Me mrly labor own epmrr robbor borona.“THE PULLMAN STRIKE”dy Hey. WILLIAM H. CARWARCINE128 pages, paper $2 50 cloth $7 95,LC 71 - 179901jgo Maroon-Friday,February 2,1973 magnificent monster adorned infeathers and jewels and six-inchfingernails, a fathomless slit grinningunder two bulging white eyes.Both men and women often wore longskirts of brilliant reds and blues, linedwith an equally bright and constrstingcolor. They caught up the edge of theseskirts in one hand or shoved thembetween their legs to follow behind likea train.The Balinese dance, performedgenerally by soloists, is really a smoothlyintertwined mixture of dances—just asthe music is produced by a collection ofindividual tones and rhythms. Inresponse to each musical instrument,the eyes have a dance, the hands,eyebrows, mouth, forehead, toes, allhave their own dances.Having given up these parts of hisbody to the music, the dancer hovers ina perpetual plie, rising slowly up anddown or gliding about the stage. Thoughthe center of his body is absolutely still,his hands flutter like wings. Many of thedancers displayed 90 degree turn-outs,their legs tacked on at the side of a hipas though they were meant to walkleading with their insteps.To consider separately the skill of themusicians and the dancers is to wonderat the complexity and perfection of their work. But to understand how trulyamazing these artists are, consider thatnot. only have they mastered each oftheir own instruments—be it hands orhammers—in an extremely difficult actof coordination, but dancers andmusicians play with each other,predicting rhythmically what the otheris about to do.Picture this scene from KebyarTerompong, in which the terompong’smagical sounds induce a man to danceand play it as the same time. Theterompong is a long, horizontal per¬cussive instrument, consisting of tengongs and struck with a mallet.Here is I Gede Sukraka, attired insilver and green, quivering like a needleover his instrument, one hand dancing,the other striking gleefully the gongs.With the whites of his eyes flicking fromside to side, he twirls the mallet ec¬statically above him and springs to hisfeet, whipping the green and silverbehind. He dances, then stops to listen,flings himself back to the terompongand begins again his beautiful song.What I saw and heard I can’t describeadequately, but it burst from his handslike a spray of glass confetti.The next time you get a chance toexperience the musicians and dancersof Bali, bring along a pair of binoculars.A frighteningdocumentary onthe nuclear age!byHeinar Kipphardtdirected byGene Lesser IN THEMATTER OFJ. ROBERT0PPENHEIMERThru Feb. 11 DR. A. ZIMBLERDR. M. MASLOVOpftWMllfateye exommatiensC^t*$tB*Ct I^W$S^*Sin theNew Hyde ForkShopping Center1510 E. 55th St.363-0363DESKS-BOOKCASES-FILESSWIVEL CHAIRS-IAMPS-TABLESNEW & USEDQUIPMENT&UPPLYCO.Used 3 & 4 Drawer Files Letter & Legal size -$20 and up.8600 Commercial Ave.Open Mon.-Sat* 8:30-5:00RE 4-2111Immediate DeliverySpecial Discount for Studentsand faculty with I.D. cardThurs. tiii 9:00 P.M. StudentDiscountModelCamera1342 E. 55th493-6700Most complete photonn Cm U C ! J r*4 « r V n 'il'. < » ;< » it MrsTELEPHONES: ^ ■ \288-1178 \^^^tU5jL&rD}t/JUQ£*\288-1179 \^>—■& ■■■■"■■■■ mmJ JWE HONORMASTER CHARGEANDDANK AMERICARD 1204 EAST 53rd STREET(LOCATED IN THE $3id KIMBARK PLAZA SHOPPING CENTER)HOURS: 9 ■ 9:30 WEEKDAYS 9 ■ 8:30 SUNDAYS WE FILL ALLWELFAREANDINSURANCEPRESCRIPTIONSenfamilCONCENTRATEDUQUD sms*13 OZ. SALE DATES FEB. 2nd Thru FEB. 9thSACCHARIN1/4 gr. 1000 TABLETSREG.$1.69 10'sLIMIT 1 UMIT 1VISIT SWAIN CAMERA CENTER FOR AU. YOUR PHOTOGRAPHIC NEEDSONLY COMPLETE CAMERA STORE OPEN AFTER 6 P.M. AND ALL DAY SUNDAYMODESSANITARYNAPKINSSUPER ORREGULAR OVERNIGHTKIMBIES ENVELOPESREXALL BRAND50 COUNTREG.53<UMIT 1 REG$1.25UMIT 1 FORUMIT 3SHICKSmiR/DRYER2 SPEEDMENS OR WOMENSREG.22.95 SHICKFREE519”WOMENS SHAVERWITH PURCHASESHICK 2100MENS SHAVER ULTRASHEENCONDITIONER ANDHAIR DRESSINGREG.2.75UMIT UMIT 1ALKA SELTZEAlu-Sataar '•$, PLUSplus.sy,36'sCOLD TABLETS HtG.RRU8Y80 CON4S8TION | ,59w, .c/<UMIT 1 M •MMSItlMBenrGay.riSTm0f*MW0m}PHBlBEN-GAY3 OZ.REG.$1.98 UMIT 1 PLAYTEXGLOV ES2 PAIR PACKREG.2.18UMIT 1 PACK: I il v» » *> Friday, February 2, 1973-The Chicago Maroon-9Live and Licking at the U. of C.By JAY POLLACKAs everybody walked into MandelHall from the snow outside, they weregreeted with a view of some Pacificisland paradise, with palm trees andclouds floating lazily by. Against thisbackdrop, a stuffed parrot sat on aperch. A statue of a stork sat on thestage amongst the several large pottedplants there. The near capacity crowdsat patiently through announcementsthat the band would be late. But finally,they did come out on a stage, a sight tobehold. They were all dressed in a spiffymanner. The two ladies had longdresses on, and the guy playing thestandup bass had on a wild shirt withhuge flowers and wide lapels. Aseverybody took them all in, a partypopper exploded from the violin. Realcards, these guys.And then they played. Their musicMUSICis basically 1940’s jazz, complete withbop vocals, energetically performed byDan Hicks and the “Lickettes”,Maryann Price and Naomi RuthEisenberg. Although Dan sang most ofthe leads, Maryann bestowed a lovelyrendition of “I’m An Old Cowhand(From the Rio Grande)” upon theaudience and Naomi countered with ahighly dramatic song entitled, “SuccessKeeps Playing With My Mind”. Thefeatured instrumentalists were SidPage on violin and Mandolin andguitarist extraordinaire John Girton.Almost every song contained one ofJohn’s solos and they were each per¬fectly phased with the smoothest and most tasteful of sounds.Despite their overall low volume, itcannot, for one instant, be said that thisgroup does not swing. The rhythmconsisted of Dan on rhythm guitar,Jaime Leopold, who plucked sinisterlyat his bull fiddle (upon careful ob¬ other Hot Licks have always been ableto create enough rhythm by themselvesand he occasionally drowned out someof his cohorts, which is unpardonable.Dan and the gang breezed throughmany of their best oldies, especiallyfrom their last two fine albumsservation of his instrument, it could benoticed that in the holder usuallyreserved for the bow, Mr. Leopold hadseveral arrows), and the most recentaddition to the band, Bob Scott, whoplays a small drum kit, largely easingthe burden of percussion from Naomiand Maryann. His playing was good andsometime helpful, but his presence isstill slightly questionable, since the (Where’s the Money? and Striking ItRich, both on Blue Thumb) as well as acouple of new ones from an upcomingrecord Dan referred to by the title, Liveat the University of Chicago. An ob¬noxious crowd member persisted onrequesting “O’Reilly at the Bar” afterevery song until they obliged him. AndDan’s remarks between the tunes werein character with everything else. Example: “Now, here’s a song...”, afew seconds pause, and then he steppedback and started playing to thebewildered crowd.Several of their old songs were per¬formed in new improved renditions.Where’s the Money?, now two yearssince its release, had no lead guitar andmany of its songs have been expandedto include a few sweet notes from Mr.Girton. “Coast to Coast” built up atremendous drive which was onlysuggested on the record. Differentsongs featured pizzicato violin by Sidand Naomi, a re-start when feedbackkept blaring out, and a snappy dance bythe three singers, with an extendedprance by Danny.They played 75 minutes to aresponsive audience. For their encore,they did perhaps their finest songs. “IFeel Like Singing” stretched out intolong scat-singing spots for Dan andMaryann. This up-tempo song endedand as the applause faded, they went tothe haunting and tension-building, “LScare Myself”, the highlight of whichwas a fierce violin crescendo to the finalclimax, after which the group leftamongst wild cheering.Dan Hicks and His Hot Licks are oneof the few original bands left. Theirterritory is entirely untouched by any oftheir contemporaries, and they are ableto pull off their era-switching suc¬cessfully because they do it with skill, asense of humor and a high degree ofshowmanship. There aren’t manybands who would go out of their way toprovide a little decor to the usual messof amps and wires, or who alwaysmanage to keep their audience smiling,in addition to being able to soundleagues better on stage than on records.They make the perfect contribution to aWinter Carnival. I,m CO-OP mSPECIALSFLORIDAREDGRAPEFRUIT5 POUNDS69NOW! — 15 CHECKOUTS TO SERVE YOU— THE NEW YOGURT CENTER IS OPEN— NEW HOURS MONDAY-WEDNESDAYTHURSDAY-FRIDAYSATURDAYSUNDAY 9 A.M. -7:30 P.M.9 A.M.-9 P.M.9 A.M. 7 P.M.9 A.M.-5 P.M.HYDE PARK CO-OP SUPER MARKET1526 E. 55th STREET J!lOThe Chicago Maroon-Friday, February 2, 1973Now rent levels that respectcollege incomesand great apartments too: PlusConsider Number 1PriceStudios...as low as $115 per monthOne bedrooms...as low as $125 per monthTwo bedrooms...as low as $158 per monthAt last, rent levels that respect collegeincomes! All apartments will rent, accordingto special formulas, for not more than 25 percent of adjusted income of residents. Thefigure is subject to adjustment for income andfamily size. Reserve apartments now forspring, summer, fall occupancy. For a no¬obligation preview appointment, or moreinformation, call the Draper & Kramer CampusHot Line, 624-4701,24 hours a day.Win $500Receive $50 Certificate FreeIf you rent at Lake Village East, you’llreceive a $50 merchandise certificategood for free furniture or accessoriesat the famous Form Co-op furniturestore in Harper Court—PLUS a chanceto win $500 in free furniture of yourchoice. The $500 prize will be awardedwhen the first 50 apartments arerented. Open only to students, staff,and faculty of Chicago area collegesand universities. It’s an extra addedincentive to check out Lake VillageEast now. PlusDozens more reasons this unique38-sided new high-rise offersideal accommodations foryoung singles and marrieds2. Brand new building; people planned. Nosterile box, this. A nearly circular tower with38 sides to make home base a little moreinteresting.3. Quiet and privacy, thanks to short corridorsand only eight apartments per floor.4. Varied, unusual apartment layouts (no twoapartments on a floor are alike).5. Spectacular views of the city (and at these lowprices), plus plenty of light from full-lengthwindows.6. Campus bus service.7. Express buses downtown at the door.8. Good auto access to Lake Shore Drive, aminute away.9. Shopping, with three centers nearby.10. 200 trees, one for each apartment, in alandscaped plaza.11. Outdoor benches for summer studying.12. Playlots (mostly for the kiddies).13. Spacious laundry room.14. Dry cleaning shop (fast service).15. Package receiving service.16. Studios—large living and dining areas, goodfor singles.17. One-Bedrooms—especially spacious, with twodifferent views of the city, great for youngmarrieds.18. Two-Bedrooms—big living, dining area aslarge as 24 x 15 feet.19. Master Bedrooms as large as 15 by 11 feet.20. L-Shaped deluxe kitchens, with stainless steeldouble sinks.21. Top appliances, including gas range and ovenand large refrigerator.22. Air conditioning (optional).23. Fine wood cabinets, with plenty of counterspace.24. Ceramic tile baths, with deluxe fixtures.25. Easy to maintain floor tile.26. Master TV antenna (no charge).27. Free drapery tracks.28. High-Soeed elevators.29. Solid core apartment doors with peepholes.30. Dead bolt security locks.31. Colorful corridors, fully carpeted.32. Refuse chute on every floor.33. Free on-site parking, brightly lighted.34. Luxury lobby with quarry tile floor.35. Bicycle and carriage storage room.36. Security system.37. East Kenwood location: $25-million in newconstruction in immediate area; secondhighest per capita income in the city.38. Management by Draper & Kramer, specialistsIn integrated housing. Office on the premises. Special college previewFreeContinentalBreakfastSaturday, 10 A.M. -1 P.M.Come have a free continental break¬fast on us at a preview apartmentshowing for university students, staffand faculty. See our beautiful modelapartments. Or simply make a mentalnote to stop by at 47th and Dorchesterbefore your Saturday errands, if you’rehungry.See Lake Village East now. Reserve forspring and summer occupancy whileapartments last.Lake Village East38 sides and features to match4700 Lake ParkDraper & KramerManagement AgentsFor more information and a previewshowing, call the Campus Hot Line,624-4701.I Was a Teenage Game-Show ContestantBy DAVID SOBELSOHNAt the age of nineteen, I was a teenagegame-show contestant. On the NationalBroadcasting Company network,nationwide.Last summer, I worked in New YorkCity, on West 58th street. Every af¬ternoon, after work, I walked pastABC’s Dick Cavett Show studio on myway to the subway. On a warm af¬ternoon, late in July, as I walked pastthe long line of people waiting to see theshow, I was given a small card, one ofmany someone was handing out to allpassers-by. At the top of the card, incapital letters, were printed the words,WOULD YOU LIKE TO BE A CON¬TESTANT ON THE NEW NBC GAMESHOW, “THREE ON A MATCH” ? Thecard advised that anyone who wanted toappear on the show, should go to theSheridan Hotel on 55th street, and take atest.Never having heard of this new show,I decided to try to see it. So, duringlunch hour, I headed towards a nearbytelevision showroom.I discovered Three on a Match to besomewhat less random that many othergame shows. Three contestants sit on apanel, attempting to get the chance to-answer questions. Each secretly bids anumber, from one through four. Thecontestant with the highest bid gets toanswer thet number of questions.However, if there is a tie between thehighest bids, the third contestant getsthe chance to answer the number ofquestions that he bid.All the questions are true-false, so,conceivably, a baboon could win on thisgame show, and many have. If a con¬testant gets to answer questions, hemust answer every one correctly to win.He wins a sum of money, equal to tentimes the total number of questions bid,by all three contestants on that round, indollars. So, for example, if contestant“A” bids “4 questions”, contestant “B”bids ‘‘3 questions”, and contestant “C”bids ”2 questions”, the total sum ofmoney in the “pot” on this round is 10times 4 plus 3 plus 2, or 90 dollars.The ultimate object of the game is toaccumulate enough money to “go to theboard”. “The board” is a grid of boxes,three boxes by four boxes. The threecolumns are headed, “$20”, “$30”, and“$40”. Each column has four boxes in it,and the four rows are labeled, “Red”,“Yellow”, “Green”, and “Blue”. Eachbox contains a prize to be revealedunderneath it, and each box costsmoney to turn over. This is where thetitle of the show comes in. The way towin is to spend money to match thesame prize in each of the three columns.A contestant may “go to the board”only after answering questions correctly and winning some moremoney. Various prizes may be trips,cash, merchandise, and so forth.I decided to take the test. I wasconfronted by a twenty-question,multiple choice, trivia test, withquestions such as: “Which is fictionaldetective Nero Wolfe’s favorite hobby?(A) Chess, (B) Raising Orchids, (C)Golf”, or the pseudo scientific “Whichis the closest planet to the Earth? (A)Venus, (B) Mars, (C) Jupiter.” ITELEVISIONfinished the test, returned it to the manin charge, answered some of hisquestions about me, and left, confidentthat I had made a near-perfect score onthe test, and equally confident that whatI had written as my “occupation” wouldautomatically disqualify me from beingon the show. They’d never take anadmitted “University of Chicagocollege student”, I was sure.But they did and asked me to come fora taping around the 11th and 13th ofSeptember.Everything was set. I arrived brightand early Monday morning, September11. New contestants (there were somereturnees from previous days), abouttwenty in all, were shown around theset. We all sat down in a little room, atchairs with desks, and signed releaseforms. Anything we said or did oncamera could be used by NBC, we wereforbidden to plug any commercialproduct or enterprise on the air, wewere allowed to be on only one gameshow in a year, two in our whole life;and, in general, we were to observestrict guidelines concerning our conductin connection with the show.Taping began at 11 am. All con¬testants-to-be sat in the audience, setapart from everyone else, of course,since we were not even allowed to talkto someone not connected with theshow.The game moved slowly. When wefinished the two shows that are tapedbefore lunch, I was almost the nextperson to go on the panel. During lunch,unfortunately, someone showed up,another student, someone who hadpriority over me. I wound up muchfurther back in line, as a result of thegame show policy to mix occupations ofmembers of the panel. I left at the end ofthe show taped after lunch, and hoped toget on the following day of taping,Wednesday.I arrived bright and early Wednesday morning. To no avail. I was told to “Callcollect two weeks before returning toNew York, and I would be put on firstthing in the morning of whatever day Iwas available.” Time passed, AutumnQuarter grew old.For the first time in my three yearshere, I was returning home forThanksgiving. I was staying until theMonday after, then coming back So:“Suzi Peck, please. Long distance fromChicago.” “I’m sorry, but Suzi isn’twith us anymore”, I heard. Finally, Igot the new person in charge of con¬testants, Don McCoy, to accept thecharges. “I don’t know if we’ll be tapingMonday”, he said. “I’ll call you thatweekend if we are.”No call. Monday morning, I calledthem : “We’re sorry, sir, but we’retaping now. Please call back in onehour.” McCoy claimed he’d forgottenmy phone number, and advised me tocall him next time I was in town.I called him December 18, and wasgiven two new, fresh dates, the 26th (aTuesday, since Monday was Christ¬mas), and 27th.I arrived bright and early Tuesdaymorning. We old contestants were leftrelatively alone. We had already signedall the necessary forms, and knew ourparts almost perfectly.Taping began at 11. We sat in theaudience.By the beginning of the show tapedafter lunch, I had maneuvered andpushed my way, and was next to go on.Finally, the game before ours was over,and I was about to be introuced to (andby) Bill Cullen, the host.“...and your name is DavidSobel...zone. ‘Zat right?” I correctedhim. “And what do you do, David?”Right there and then, I publiclyproclaimed myself a “college student atthe University of Chicago” (winningmuch sympathy from the audience).I won the first bid for questions,always bidding the maximum. Mycategory was “George M Cohen”. Trueor false? “According to the song, theYankee Doodle Dandy was born on theFourth of July”; “The Four Cohens, onBroadway, were George M. and histhree brothers”; and likewise. Allanswered accurately, those questionsgave me $80, and a head start.By the time I got to answer questionsagain, an opponent had gone to theboard, and missed, relieving mesomewhat. My next category was “The1920’s“, with some questions like“Financially, the US was better off atthe beginning of the 1920’s than at theend of the 1920’s. With questions likethat, how could I lose? But I missed aquestion!! “Hitler’s abortive ‘Beer HallPutsch’ was in the 1920’s.” False? No, true! Aaugghh!I got to answer more questions.“American folk heros” - but how could Inot know that “Billy the Kid” was ac¬tually born in New York?By the end of the show, I had $80, mynearest opponent had $10, and I was tocome back the next day.Finally, I got somewhere, with the“Paris Peace Talks” no, Thieu hasnever been there; yes, one proposal hasbeen for a cease-fire supervised by abody of nations; no, Kissinger and LeDue Tho have never met publicly for apeace talk in the U.S.: and no, the NorthViets have not (yet) agreed to withdrawall their forces to above thedemilitarized zone. Right, all!!To the board !! All rooms. “$40 on theRed” Swish - “Bedroom”. “$30 on theRed” Swish - “Kitchen”. “$20 on theRed” Swish - “Living Room”. Great - nomatch. Still can go, though. Swish -“Dining Room”.It came down to where I had exactlyone pick left, and could match any of“Dining Room,” “Living Room”, or“Kitchen.” “Bedroom” would stop me.Only one pick left. Where to go?? Iclosed my eyes. “$40 on the Green”, Icalled. Swish - the APPLAUSE signlights up- Living Room!My total winnings were the “LivingRoom”, consisting of a bookcase, a 2-piece sofa, a coffee table, a magazineend table, a reclining chair, and twobrunch chairs, and retailing at $2378.50;$160 in cash; and $103 worth of rugshampoo.I now await the delivery of a livingroom set to my parents in New York.The network refuses to give us anequivalent prize or cash equivalent, andwon’t even give me a full description ofmy furniture! My phone number here is753-2233, if anybody wants a livingroom, on sale. Sight unseen! Also, foryou clean carpet freaks, we have a sale -rug shampoo at half price.ITEM: James De Priest, thedistinguished black conductor of theNational Symphony Orchestra, willconduct the Chicago Symphony Or¬chestra at the special University Nightconcert, February 17. The program forthe evening will be Corsair Overture byBerlizo, Symphonic Metamorphosis byHindemith, Five Pieces for Orchestraby Schoenberg, and the Daphnis andChloe Suite by Ravel. Following theconcert, there will be a reception forstudents and members of the orchestra.Balcony and gallery tickets, at $3.20 and$2 respectively, are available at theReynolds Club Desk.ROOM FOR RENT753-2297 LOCATED ON CAMPUSKIMBARKLIQUORSINE MERCHANTSOF THE FINESTIMPORTED ANDDOMESTIC WINESfeaturing our direct import*,bringing bettor value to you!IRE MIT 1RNE WINE SHOP IN NYBE PARK53RD KIMBARK LIQUORS, INC.1214 E. 53rd St. HAVILL’SRADIO, TELEVISIONA HIGH FIDELITYSALES SERVICE A ACCESSORIES/.enilh — I'anatuntrUaxtrruurk — kl.ll1388 L 83rd, Oncrcq 88818 • PL 2-780045 Years Serving Hyde Park 9 AM-9PM 7 Days A WwkHYDE PARK PIPE AND TOBACCO SHO&1552 E. 53rd - under 1C tracksAll students get 10% off/ask for “Big Jim''Pipe*Pipe Tobaccos Imported CigarettesCigars11- woM 0|)C'j.(O*j^-6r9[ ,{ vtcutd-j-l .vt)br*lSax/Flute Balladeer at London HouseJames Moody sans beard.By GAGE ANDREWSJames Moody is a balladeer onsaxophone, and occasionally on flute.He played with Dizzy Gillespie’s bandduring the sixties, and has achievedwide critical recognition on his own (aswell as having about a dozen recordscurrently available under his ownname).Despite some early popular suc¬cess—particularly “Moody’s Mood forLove” in 1949, which is still a classic —and his continued esteem among jazzconnoisseur, Moody has never had themass recognition accorded severalothers who share his instruments.Coltrane, Kirk, Coleman — all over¬shadow Moody in the public eye.This is partially because the fluentand melodius style of his playing issuperficially very accessible, and thusacquires the designation of “jazz-muzak” from those who don’t paysufficient attention to what they hear.Yet, in a minor sense, it’s true: Moodynever assaults or confronts his audiencewith wails, shreeks, and staccatobursts. He doesn’t use dissonance as aninstrument, and this fact seems tomake him appear simultaneously lessaggressive and less “meaningful.”Moody is at the London House, nowuntil February 11, presenting his owncase in another light, and doing it withfinesse. Perhaps “finesse” is a keyword to his playing technique, alongwith “fluid,” and “lyrical.”Let me describe the situation. Sittingin the near dark, enjoying my drink, Inotice someone go past the table with two saxes and a flute under his arm.Three other people follow — all weargrey business suits. I didn’t recognizeMoody because he has a beard, whichisn’t shown in his publicity pictures.The first number is a little rough.Moody’s sax sounds a little raspy,coughy; the piano is choppy, and thebass player’s frown is the most in¬teresting thing on stage. The crowd issmall, but enthusiastic from the start,and it greets each player’s solo in theopening song with honest ap¬plause—perhaps a little more than isdeserved. Moody smiles profusely.The second number is It Might as WellBe Spring, one of Moody’s old numbers -and also one of the finest showcases forhis style. He begins by carrying themelody, playing with it in such a con¬nected, lyric flow that I never lost it,even during his improvisations. Then hestarts to work off the crowd— leadingwith a short patterned intro phrase,followed by a short solo; then beginningit all again, building a rhythm, tauntingthe crowd before finally breaking offinto some fine call-and-response scatplaying with his drummer.Each player gets his chance to solo;the pianist is mediocre, the drummer isgood, and the bassist is really nice. Ididn’t catch his name—Eddie Kinoss?— but he had the best use of the bass’full neck length that I’ve heard. Nomatter what, though, Moody is the star,teasing the audience with ripplingtrains of notes, answering the cheersfrom the bar with a friendly “honk” inhis solo. Since Moody is a balladeer, herestricts himself to the fairly easilyreachable range of each ax (tenor andalto); this works perfect for vocalistEddie Jefferson, whose low, grittysinging was fun to watch but sufferedfrom (apparent) deficiencies in thesound system which muffled his words.His third and final song was a bit aboutan “unexpected” encore, and how hehad rehearsed for it.In summary, the back-up was ac¬ceptable, and Jefferson was fun, butMoody was the hero. Playing both saxes (but no flute) with power and carefulcontrol, his strings of notes weregraceful and smoothly ingratiating. Thefirst set lasted more than an hour, and asecond set was due that promised moreof the same, so you are getting yourmoney’s worth. The money is $2.50 weeknights, $3.00 Friday and Saturday ascover, drinks extra. The London Houseis easily accessible by both L and IC -it’s just west of Michigan, before theriver. The trip is worth making: Moodyis the Nat King Cole of balladeeringjazz.America in Concert Hits the Fans HardBy ELIZABETH RUSSOThere are two schools of thoughtabout the pop concert circuit. One,which promoters are quick to point out,is that such events give the faithful anopportunity to see their favorites inperson, to share the heady experiencewith fellow worshippers—and, to besure, an electricity between per¬former (s) and audience is oftengenerated in the concert situation whichis absent in other circumstances.That almost-mystical feeling may bepowerful enough to drown out thechorus of the second school, whichrushes to belabor the drawbacks of alive concert, in justifying why theywouldn’t spend from $3.50 to $6.50 aticket for anything short of aresurrection of the Beatles. Theirgrievances are legitimate; includingalmost-standard distortion of acousticalsystems; capricious performances byartists who use concerts to try out newmaterial at the expense of the well-known work that their fans want tohear; and, last but not least annoying,the screams, moans, and gyrations oflovesick teenyboppers which willprevent the intent listener from hearingwhatever portion of the program istechnically audible.Most shows in my experience, havechalked up more points on the negativeside than the positive, until lastweekend when I went to hear Americain concert at the Auditorium. For once, a rock concert audience got what it paidfor. This group is as well-balanced,controlled and very nearly as polishedin person as on its albums.The performance began only twenty-two minutes late, a phenomenonunheard of in Orchestra Hall but not badfor this sort of affair. The warm-up actconsisted of a folk-rock singer namedJohn David Souther, who records onAsylum Records. He did an averagewarm-up set with average guitarplaying, average singing and averagematerial. The sole exception was thefinal number which he wrote himself, apoignant ballad about the Dalton Gang.Otherwise, J. D. was largely super¬fluous, and I think it was a case of beingin the wrong place at the wrong time.He isn’t at all bad, but seemed to havetrouble relating to the audience andwould probably do best in a club-typesituation.In any case, he did get the audiencesettled down into an expectantmellowness, and thus well-primed forAmerica’s first set. The first song setthe pace for the set. The finely-blendedharmonics were the result either ofperfect pitch, excessive practice or apitch pipe. In view of the fact that thegroup needs almost no time to getwarmed-up, and with their impressivecontrol and coordination, I would opt forthe hardwork alternative.All the songs in this set, coming mostly from their Warner BrothersHomecoming album, could best bedescribed as soft and “shuussy”.“Horse With No Name,” the single thatbrought America into the public eye,was given a rather draggy rendition,but one must ever bear in mind thatconcerts aren’t recording studios.“Head and Heart” was not only true toits albumatic heritage, but included aneatly-synchronized guitar and organrun as well.The three artists who compriseAmerica — Dewey Bunnell, GerryBeckley and Dan Peek — are all multi¬instrumental and got a chance to showoff their dexterity here, as well as withtheir vocal chords. “Till the Sun ComesUp Again” seemed to me to be the bestshowcase in terms of versatility, withDan on piano, Gerry doing vocals, andDewey on guitar, well-integrated withback-up men David Dickey (bass) andDavid Atwood (drums).Again, control was the byword. Allthree of the boys take their creativityvery seriously and try to make eachconcert a unique experience. Un¬fortunately, this is next to impossible ona cross-country tour playing one-nighters, and what started out ascarefully-conceived artistry mayquickly dengenerate into bleary-eyedautomation after the first week or so.America tries to compensate for theinevitable loss of spontaneity by im¬posing self-discipline. The show is tight, together, and true to the image that fanshave come to expect from America’stwo albums.“There's still a lot about the theatricsof concerts that we don’t know,” DeweyBunnell is quick to admit. Perhaps thisnaivete is what led the group to stagethe second set, in keeping with traditionat the expense of originality. America isa soft-rock group; it attracts audiencesprimarily in the 17-21 age group with agood sprinkling of young adult couples.The people sitting around me were notthere to hear hard rock and I think thatthe second, electronic, set grated ontheir nerves as much as it did on mine.I recognized some of the numbers inthis set, and occasionally when therewas a slight lessening in the overallapplication, I could hear that the finely-honed integration, which is America’strademark, was still there.The concert ended with theusual drums and guitar chordal free-for-all that could’ve been fun but wasjust cacophony. Again, I emphasize thatthis is a well above-average group withmusicians who care and a viable soft-rock medium to work with. In thiscontext, they are well worth seeing inperson and listening to on records. Andhopefully, as they matureprofessionally, they will stick to whatthey do best and leave the Richter-scale-registering antics to Zappa andfriends.REGAL NOTESNDERSTAND PLAYS. NOVELSND POEMS FASTER WITHUR NOTES,re new ond were the biggest!ousonds of topics roviowod foricker understanding. Ouf subjects tn-jde not only English but An-ropology Art. Block Studies. Ecologyonomics. Education. History low!*it. Philosophy. Pofiticol Science,vchoioay. Religion. Science Sociologyid Urban Problems Send *2 for yourtalog of topics available.REGAL notes3150 "O" Street N.W.Washington, D.C. 200007Telephone: 202-333-0201 1465 Bast Hyde Perk Blvd.(Corner 51st 6 Harper)363-0151drVillagereenA smile . A kind word. A thought of youA Plant is a splendid wayTo say Peace and LoveMon-Pri 11:00-7:00Sat A Sunday* 10-00-5 00Come in and browse authorized & servicen312-mi 3-3113age- foreign car hospital & clinic, inc.^"*5424 south kimbark avenue • chicaao 60615 40% OFFat''Across from the Co-Op'THISWEEKINew MahavisHnu OrchestraWar-World » a GhettoWatts Stax Litre Concert ChapterNorr. byTheo Bi Lei5200 Hyde Pa r L BlvdSponsored by UC Hilleln 4 r> Jf .... ! _i .1ki'iu r\ kj u » t_* » ceuUAFriday. February 2. 1973-The Chicago Moroon-13 «• (\It's Still 1972 in Reviewing LandBy GAGE ANDREWS and JAY POLLACK most satisfying pop music around.We found that after doing the “BestWax of 72” article, we had a largenumber of albums which we reallyliked, but which somehow didn’t qualifyfor best of the year. Since this list has alot of new artists and lesser-knownalbums which we wanted to proselytizeabout, we decided to run a list of them.Here they are, the “almost; nearly; butnot quite” albums of 1972:Sittin’ In and Loggins and Messina -Kenny Loggins and Jim Messina(Columbia)These gentlemen became veryRita Coolidge’s new album, “The Lady’sNot for Sale.”popular in 1972. Their style is good timecountry rock, tempered with Loggins’fine ballads and some other flavorings(Carribean, soul) mixed in. Catchy.Rock Of Ages - The Band (Capitol)This record may also be known as theBand’s Greatest Hits, Live. It is arousing performance of all of their topmaterial.Never A Dull Moment-Rod Stewart(Mercury)This sounds just like its predecessor.Every Picture Tells A Story, so itcertainly could do worse, although thereis very little progression from thatearlier work. Still good, though.Caravanserai - Santana (Columbia)Volume Four of the great Santanacontinuous soundtrack is as alive andrefreshing as ever. An acoustic basslends a jazz feel to several cuts for somevariation. Still a very powerful concept,which has never been approached byanyone else.Rhymes and Reasons - Carole King(Ode)She still hasn’t equalled Tapestry, but Seventh Sojourn - the Moody Blues(Threshold)What can be said about a Moody Bluesrecord that you don’t already know?This one is more of the same and youeither adore them or you don’t. Theyhave managed to get a little more ex¬citement up this time.The Low Spark of High Heeled Boys -Traffic (Island)Consistency is Steve Winwood’smiddle name and he manages to comethrough again with the enlargedTraffic. The title track is a masterpiece,and several of the other cuts are alsofine.The Electric Light Orchestra (UnitedArtists)Taking up where I Am The Walrusleaves off, this record transports youyears into the past with bizarre in¬strumentation, mainly cello-based Inthe absence of an album by the Move assuch, this alternate project of theirs isjust as captivating.Close To The Edge - Yes (Atlantic)It may take a few listens to get used tothis, but it is worth your time, as Yescontinue to build complex musicalstructures, without sounding too arty oraffected.Gumbo - Dr. John (Atco)The Night Tripper temporarily stopsto recall his musical roots in an albumof New Orleans 1950’s rhythm and blueswith the original feeling and even someof the original players. They do get it on.Paul Simon (Columbia)Although a few of the cuts are weak,this first solo album is generally as goodas Simon & Garfunkel were at theirbest, containing lots of the songwritingPaul Simon is so popular for, and in¬teresting arrangements, including theJamaican Mother and Child Reunion.Eagles (Asylum)With close harmonies and tightcountry rock, the Eagles are the mostpolished of the CSNY heirs.Sundown Lady Lani Hall (A&M)If this is any indication of the currentstate of night club singing, it has taken aturn for the better. Ms. Hall, formerly ofBrazil ’66, does nice interpretations ofcurrent tunes by Cat Stevens, EltonJohn, etc.Blue River Eric Andersen (Columbia)This is classic old school folk music,straight out of the early sixties in ap¬ proach. Andersen has updated the tunesand gained a little more finesse sincethen; this is his best record.Texas Cannonball Freddie King(Shelter)Though not related to the other Kings-and not needing to depend on the Kingname — Freddie has the same clean,sweating guitar style.Hobo’s Lullaby Arlo Guthrie (Reprise)The two songs City of New Orleansand Lightning Bar Blues together makethis a winner; the other songs aremerely very good.Jackson Browne (Asylum)Browne appeared about a year toolate to make troubadour superstardom.His songs are good, and though theplaying here is a little confused andundirected - unnecessarily clouding thesongs - this was one of the best albumsof the year, with Doctor My Eyes beinga representative choice for his single.Wilderness Road (Columbia)Essentially, Wilderness Road is aconcert group which had trouble in theirfirst effort in trying to transfer it. torecords. Their deadpan satire andimpeccable muscianship gleem throughhere despite the problems.Emergency Ward! Nina Simone (RCA)Ms. Simone makes you feel what shefeels - a rare ability. However, she isfeeling pretty hurt and pretty angry;despite her eloquence, this is painfulmusic.The Lady’s Not For Sale Rita Coolidge(A&M)Excellent playing and arranging giveMs. Coolidge’s voice the focus it needs.Perhaps the best yet, certainly myfavorite, from the gospel based Deltalady.Bobby Short Loves Cole Porter(Atlantic)Short’s rich, warm voice is the perfectinstrument for these lesser known songsof Porter’s. This record is in no waybefore your time.RECORDSDoug Sahm and Band(Atlantic SD 7254)Doug Sahm got lot of publicity when Bob Dylan began to drop in on hisrecording sessions in New York. Dylanbrought David Bromberg with him; Dr.John showed up on his own. Thesepeople, while each making a big con¬tribution - especially Dylan’s to album -sales - are distinctly subservient toSahm’s (Sir Douglas to some) musicalvision.The record is a weird and extremelysatisfying combination of Texas shuffle,ego-bombast-guitar, Memphis horns,and blues. There are always severalinteresting things going on, usually allat the same time; despite the fact thatthe playing is unpolished (it is rumoredthat they tried to do each of the cuts inone take), the people’s individual anddiverse talents are given free rein. Bestof all, it’s all pulled together into acohesive whole.The most noticeable quality of thisalbum, which permeates each song, is agrass roots energy. Dylan’s song is stillin his country tradition, but moves. Thefiddle playing is pure hoe-down TexasWills. The playing of everybody couldbe mentioned—it has a real jam sessionflavor to it, and perhaps its strongappeal comes from that.—Gage AndrewsITEM: Robbie Basho, the third of theTakoma Label guitarists (with JohnFahey and Leo Kottke), will be ap¬pearing at the Amazing Grace CoffeeHouse, 2031 Sheridan Road, Evanston,Feb. 2-4. Performances will be at 9 and11:30 nightly, $1 at the door. Highlyrecommended.Elvin Jones, the master of rhythm,and his group made up of Liebman ontenor and soprano sax, Grossman ontenor, Parla on bass, and Elvin’sbrother Hank on piano, will be at theJazz Showcase this weekend, withshows at 10, 12, and 2. The group istalented, and recognized with awards,beyond mention; they are probably themost talented, rhythmic group you’llsee in Chicago. At 901 N. Rush.The Folk Festival is at the U of C thisweekend, spread all over the place butcentered in Mandel Hall. Major per¬formances are tonight, and tomorrowafternoon and night. Completeschedules are readily available, andthere is honestly something good foreveryone.Larry Coryell will replace the can¬celled Dave van Ronk at the QuietKnight, 901 N. Belmont. Two shows anight of this fine guitarist.Saturday Feb. 3, C.E.F presentsYasujiro Ozu'sTAI/VA ctadvCobb TOKYO STORY7:00 & 9:30 $1.00"PASSPORTTO PIMLICO”starring Margaret Rutherford andStanley HollowaySunday, Feb. 4 12:30 p.m. & 2:15 p.m.Mandel Hall Admission Free NEW 73 2193 50.(S 193.50 9ow7$6MI«W$7fl|J^£z?3r it'7™.':##PercentageRat* ta 14.54 Total'Deferred p r i < •$2*75.14 M.Tulilii tMMCrri*’193 mw.VOLKSWAGEN SOUTH SHOREAwthorued VW Dealer/ Open Daily- Cloied Sunday PhofM'7234 S. Steny Island (U1-490014-The Chicago Maroon-Fridoy. February 2, 1973MAROON CLASSIFIED ADSSCENES"Philo & Josepus: Hellenistic Judafsm& Its Influences", Prof. Robert Grant,(UC Div Schl), at Hillel, tonight at 8:305715 Woodtawn. Feb. S130. Call 324 1619 before 8 am &anytime after 6 pm. 317 south. Call FA4 1414 (office) or 9479142 (evenings). Experienced manuscript typing onI BMSelectric 378 5774Gay Unitarians! The 1st gay caucusmeeting will be tonight, 8 p.m. at 5128S. Hide Park, 3rd fl. Call Sandy orClark at 752 0117, or Henry at 947 9645for further information. l bedroom apt. avail March 1, sepdining rm, carpeted, nr campus andcoop. 5476 Harper S168. Call 955 1855 or947 8786. Kitchenette apt. working fireplaceS144/mo. call 643 0741 eves PEOPLE WANTEDLg sunny rm in pleasant apt. avail, sprqtr for fern nice rmmts. 54th & Kimbark cheap 324 1426. TENANT REFERRALREASONABLE RENTALS Immed. a pt time babysitter on wkdays morns, our place Call 667 8697.Female elemantary math tutorneeded call 536 8255 after P M.DESIRABLE APARTMENTS furn.and unfurn.George Stigler to speak at SCAF mt inIda Noyes E. Lounge Feb 13,5 pm. Roommate to share apt. S. Shore tilsum. Own room Call Peter 721 2167.Tryouts for the Blackfriars springmusical at Quantrell. 2 pm, Feb 3, Sat.Tech help needed, too. Nine room apt avail Feb. 1. Has backyard and is in good location. 5427Blackstone. Call 324 6914 or 445 1923after 4 p.m. Family or four roommatesat $61.25 each."Marxist Perspectives on PopulationFoley and Nick Groves as a panel atBrent House, 5540 Woodlawn. Supperand discussion this Sunday 4th Feb. 7.pm*, supper for. $1 at 6 pm S. Shore loc. 2 bdrm dining rm, bale.1st fl. walking dist to 1C shops &schools. Incl. carpets, appl. & garageSl75/mo. 798 5700 Americus.Films: As Six Become One, a study ofroles seen thru the lives of woman, andLavender, an exploration of therelationship of two gay women.Speakers. McGiffert Lounge, 5751 S.Woodlawn 7:30 Feb. 6. 50c admission,sponsored by The EcumenicalWomen's Centers. Sublet avail immed 5313 Harper. 5 rm& bale, in friendly ctyd bldg, lots oflight & space. 1C, campus bus 947 0846anytime.CHICAGO BEACH HOTELBEAUTIFUL FURNISHED APARTMENTS. Near beach, parks, I.C.trains 11 min. to loop. U of C anddowntown loop buses at dbor. Modestdaily weekly monthly rates. 24hr dest.Complete hotel services 5100 S. CornellAve D03 2400The Coffee House is open every Fri.night. Good folk and jazz music.Coffees, teas and goodies. 8 12. IdaNoyes Library.SPACE Spacious two bdrm., two bath, apt.2 1/2 rm apt. deluxe unf. in Hyde Park5120 S. Harper Need to sublet by 14th a/c. good security, exc. location.Garageoptional. $265/mo. Ask for apt. LAKE FRONT COMMUNITYSOUTH SHORE COMMUNITYSERVICES 2343 E 71st St. Girl Friday to become involved in allaspects of survey planning. Maturity8, responsibility essential must type &handle varied customer contact. Call753 2078 or 753 2067.See.MONICA A BLOCK667 2002 or 667 2004Cooperative for sale: You seldom savemoney like this! 2 bdrms, 1 bath, bale.,1st fir. Loc. 69th 8< Paxton. Immaculate. Near shopping 8, lake.Asking only $9860. Americus 798 5700 Survey coordinator detail orientedperson to process survey reports. Mustbe able to learn quickly and handlecustomer contact. Some typingneeded, computer skills helpful.Advancement possibilities Call 7532078 or 753 2067PEOPLE FOR SALE We need 4 people to recruit officeworkers, typists, clerks etc. oncampus Top pay plus bonus. Call BE86562 for details.FRENCH? FACILE! Call Bruno 1stlesson free 753 2100 room 203 eves. Actors, singers, dancers, and tech,people —tryouts for Blackfriars atQuantrell, 2pm, Feb. 3, Saturday.Student wife will care for children inher home. Call Kathy 955 3827. FOR SALETax consultant will help prepare yourtax return. Call 731 9636.Portraits 4 four $4.00 up MaynardStudio, 1459 E. 53 2nd floor 643-4083 1964 Dodge 4 dr sedan 1 owner stickshift sure grip diff. Heavy duty brake,clutch and battery. Engine 8, tiresgood Body sad $200 KE8 1326TYPIST exp 752 8119, after 6:00 pm. 1963 Dodge Start & runs well. Needssome work. & 150. Phone 493 6572.UGGEDMUmjBS1U1 CAR REPAIRS !Sur/AcA - -BRIGHTONFOREIGN AUTO SERVICE3967 S. ARCHER AVE.“Jo)l Satisfaction, in. ScAoict."PROBLEMS WITH YOUR CAR???..CaN "BRIGHTON" at927-8000FEBRUARY-SPECIALCONTINENTAL TIRES -for 36 H P. up t° 1960 ;3o»» VW ORIGINAL EQUIPMENTfor 40 H.P. up to 1963.. 532“ 560x15 Blackwall *18°° plus 1.74 F.E.T2 for s35°° plus F.E.T.for 1200-1300 up to 1967 s34°°for 1500 up to 1972 $3600for Automatic stickshift 1500 s3 800for 1500-1600 Type 3 s4800for 1300-1500-1600 transporterType 2 $3800COMPLETE MAINTENANCESERVICE CW-/o)for 1200-1300-1500 Typo 1 & 2 *28“COMPLETE MAINTENANCE“BWsSS,!.. ....or 1200-1300-1500-1600except Super Beetle front shocksfor 1600 Type 2, 1968 & up-rear S10ype l, 2 & 3except Super Beetle s 13ABOVE PRICES INCLUDE 4 for *68“ plus F.E.T.560x 15 Whitewall.... S19“ plus 1.74 F.E.T.600x15 Blackwall *21“ plus 1.82 F.E.T.600x 15 Whitewall.... s22!0 plus 1.82 F.E.T.GOODYEAR TIRES-4 PLY560x15 Blackwall M4°° plus 1.74 F.E.T.2 for *27“ plus F.E.T.4 for *52“ plus F.E.T.560x15 Whitewall *15” plus 1.74 F.E.T.155SR15 B/W Radial. .*27*“ plus 1.74 F.E.T.165SR15 B/W Radial.. *28” plus 1.82 F.E.T.600x13 Blackwall *12” plus 1.61600x15 Blackwall *19“ plus 1.82600x15 Whitewall *20“ plus 1.82685x15 Blackwall *19” plus 1.82700x14 Blackwall *22“ plus 2.02650x13 Blackwall *11“ plus 1.74NO TRADE-IN REQUIREDMounting available for slight chargeTires for all domestic cars availablePROBLEMS WITH YOUR CAR??? . . upon request - at great savings530259:PARTS & LABORwe SERVICE ALL IMPORTED AUTOMOBILESUSED CAR SPEQALSMHOHTONKHtf IO M'AUTOHivin£ 1963 Va stick-auto, excellent condition *8501971 Datswi Wagon AM-Fm radio. Automatic 15901971 Swp«r Beetle Stick-auto, tereo tape 1650TWO tlOCKf I AST or CALIFORNIA FUR COATS just in RADICAL RAGS1375 E. 53rd St.'69 Opel station wgn. auto trans(rebuilt) new exhaust system, oversize tires $895 or offer 753 353930 inch bellbottoms &7 RADICALRAGSBIG APPLE HATS RADICAL RAGSOld FURCoats & Jackets $15 8, upRADICAL RAGS 1375 E. 53rd. St.1964 VOLVO 544, rebuilt engine andfront end 561 3712 asking 8,4001969 Fiat 124 new brakes tires mufflercoil battery best otter over &700 callJim 743 8038 evenings.WANTEDDesks! Call Carin or Mike 643 8384.Wanted: people to write Sports for theMaroon. Generous personal reward.Wanted:2 or 3 used steamer trunks.Call HY 3 2717 after 5 pmSUPERBALL VII7th Annual IVI Spaghetti DinnerSunday Feburary 4, 4:30 7 30 p.m.Hyde Park Union Church, 56th andWoodlawn (S.W Corner) $1.50 forStudents (call 263 4274) 25c extra at thedoorPLAY TENNISPlay tennis rain or shine. South SideRacquet Club, 1401 Sibley Blvd ,Dolton, 147 & Calumet Exp VI9 1235.5500 S. SHORE DR.FLAMINGO ON THE LAKEHapp with your roommate? See us. Wehave the apt for you.S*udio i bdrm furn unfurn Shortterm leases the price is rightCampus bus 2 blocks.Security shops elevator restaurantParking 24 hour switchboardMrs Adelman 752 3800REFRIGERATORRENTALMini frige. Pennies a day. Billedmonthly Call Swan Rental 721 4400.U.T.: SPRINGGUARTERPRODUCTIONUT is now accepting proposals forSpring Quarter Production either aspart of an experimental weekend or asa full production Deadline for submission of proposals is on Monday,February 5. For more information call753 3581 between 9 and 5.FREEBIEGet your free handsome, personalizedUC baggage tags from your AmericanAirlines campus rep Larry Mardenfrom 1 5 on Saturday, Feb 3 Thirddoor of Ida Noyes Or call 947 8867after 6 PMIF YOU HAVE ANURGE TO WRITEwhy not write for us? The Maroonneeds stafmrs the more the better.For fi '•♦her information call 753 3269and ask 'or l-rodELIZABETH GORDONHAIR DESIGNERS1620 E. 53rd St.288-2900 NAPPYGROUNDHOG DAYnJUMTNttRYALL HER FRENIS■Hyde Park Blvd. Discount to HillelAffiliates, 50c; non affiliates $1.LOST8,10 REWARD for return of lost dog,small white shaggy cockapoo. Answers to Christopher HY3 9600 x662Lost 2 Parker pens, red & greensentimental value If found please call288 3647, late pm Many thanxPLAY TRYOUTSSomewhere in our script there's a partwritten just for you. Try out for theBlackfriars spring show at Quantrell,Sat, Feb 3, 2 p.mLOX & BAGELSSunday, 11 a m at Hillel House $1MUSICIANSVolunteer Musicians Trumpet, StringBass, Clarinet, Sax for OH WHAT ALOVELY WAR Call 753 3581PERSONALSNA I IONAL ORGANIZATION FORWOMEN is collecting evidence ofUNIVERSITY SEXDISCRIMINATION call 955 3347 foradvice or help2nd lecture in series "In the Lands ofDispersion" tonight at 8:30 at HillelProf Robert M Grant (Div School) onPhilo and JosephusBrent House 5540 Woodlawn. Supperdiscussion this Sunday 4th Feb 7 p.m.Supper at 6 pm for only $1. Hear MsBarbara Foley and Nick Groves as apanel discuss "Marxist Perspectiveson Population Control."Let Blackfriars make you a star yourchoice of gold or pink Quantrell, 2 pm,Saturday, Feb. 3.big Bear, 240mo old, pink and whitecheeks, pink and white sheets, noclaws but ticklish, likes honey andtarts Alas, no vegetarian, but he eatsporridge. Call x3 3774 and ask for lighthorse harry's descendant.Are male nude calendars exploitive?Find out TuesdayWRITERS WORKSHOP (PL 2 8377).We need people to play in the CoffeeHouse Call Debbie 753 3444. (DU).RENT/BABYSITTINGLarge & sunny room in Lovely Kenwood home for rent or babysitting orcombination Call 548 4748 Put a taco in your tummy Lucita'sMexican Food, 11 am to 11 pm. Fri Sat1 am 1440 E, 57th St, 955 0888.THE LAST CHAPTERSpecial showing of film depicting 1,000years of Jewish life in Poland.Narration by Theo Bikel. Cosponsored by UC Hillel & RodfeiZedek. Tomorrow night at 8, 5200 S. Pregnancy testing Sat 10 4 Bring AMurine sample 5500 Woodlawn (inback).INFLATION GETTINGYOU DOWN?Figkt back withmum itsJAMESWAYPETERSONMOVING & STORAGEw n 646-4411PaN or For'/<,M 646-1234 free estimatesCompletePre-Planned Moving ServiceLocal • Long Distance • Packing • CratingImport-Export^ Containerized StorageFormerly at General Office55th & Ellis 12655 So. Dotytjrtttod i/*»n Lino* Chicago, III. 60633Friday, February 2, 1973-The Chicnoo Moronn-lS<. \ ' i k y Ot I3FM 41*01 l*.-f1 *t» I C/vt OCO't' ) sill 4-i iCH EESE IS FORLOVERSEven if you are not a lover you will love ourcheeses, because not a single one has the plasticflavor of ordinary cheese. Every cheese in stockoriginates where the authentic type wascreated. No imitations, no fakes, and noprocessed cheeses are in stock. We are eager tohave you sample before buying. We know thatyou may not like every flavor, but we carry allthe flavors so you can try something new. If youwant to live a little, here is the place to start!WINE and CHEESE tastings areplanned at no cost to youSTART NOW- UVE A LITTLE■sComplete PartyService From242? East 72nd StreetBA 1-9210 Appetizers to Zinfandel351 East 103rd Street568-1811Daily: lOam-llpm Sunday: Noon-9 pm Daily: 9am-10pm Sunday: Noon-9 pm16-Tt»e Chicago Moroon-Friday, February 2, 1973<. /J