Hyde Park womenBy CLARA HEMPHILLEvery woman who has ever walked alonein the city has, at one time or another, feltuneasy because of the threat of rape. Untilrecently, women have had great difficultyprosecuting rapists and finding theemotional support they need after beingraped.Now, women are banding together in anti¬rape groups trying to solve these problems.In Hyde Park, the Rape Action Group isconsidering ways to prevent it and help thevictims. “Women are learning to take care ofthemselves,” said one member of the group.“Sisters help sisters.”The Rape Action Group is now setting up a‘Hot Line’— a telephone number which rapevictims can call for legal, medical, andemotional help. The telephone will be in¬stalled within a week. The hot line will in¬form women of the ‘crisis rap groups’ whichthe organization has set up. Some rapevictims want to talk to other women abouttheir reactions.The hotline will also give women medicalhelp, telling them where pregnancy and V Dtests are available. In addition, the hot linewill help rape victims in the emergencyroom ordeal. According to a doctor atBillings, many rape victims come into theemergency room alone with the police. Inone case, a woman who had been rapedwalked home alone from the emergencyroom. The policemen who were with her didnot offer her a ride home,service through their hot line.In addition to medical assistance, the hotline will provide legal aid. Some women’sfear of the police almost surpasses their fearof the rapist. One woman organizing thehotline said, “The cops are almost another rape. The police rake you over the coals.They seem to get excited over yourdescription of the assault. They say, ‘Are yousure you didn’t encourage him? Did you havean orgasm?’ ”Prosecuting a rapist is difficult. Of 3000rape cases reported in Chicago last year,only 1500 were considered “bona fide” by thepolice. From these 1500 indictments, therewere only nine convictions. Convictions aredifficult for several reasons.A woman named Mimi said, “Rape is theonly crime where the victim has to prove herinnocence. If you know the rapist, you canforget about a conviction.” Convictions arealso difficult because of existing attitudestowards rape. Courts are reluctant to sendmen to prison for four to ten years “just forone screw.”Women can help rape victims by going tocourt to serve as volunteer “lay advocates.”If there are very few women in a court room,a rape victim is without moral support. Inone case, a rape victim went to court withher two children, and was delighted to findanother woman in the court who was willingto hold the children while she testified. Evensuch small acts of support are very helpful.The Rape Action Group has other goals, inaddition to the establishment of the hot line.The group hopes to change the present rapelaws. “Rape shouldn’t be considered a sexcrime,” said Naomi, another member of thegroup. “It should be considered an assault, aviolent crime.” With the present rape laws, awoman has to prove her innocence. If shewas wearing a short skirt when she wasraped, for example, the court will questionwhether she provoked the attack. If thisattitude were applied to assault cases, a manwho was carrying money could be chargedMuddy Waters to perforWATERS: Blues singer Muddy Waters toperform Sunday at Bartlett. By FRANK PALUCCIWho taught Jimmy Hendrix to play guitar,and was the original “Rollin’ Stone”? Theanswer: McKinley Morgenfield, and thedance/ concert with he and his band thisSunday promises to be one of the bestmusical events to hit the campus for sometime.McKinley Morganfield, better known as“Muddy Waters,” was born in Rolling Fork,Mississippi, and it is the home of “delta” orcountry blues.It is not quite clear at what point McKinleyMorganfield became Muddy Waters, but itwas at an early age. The music he had heardin his childhood made a deep impression, andMuddy Waters became well known for hissongs, his complex rhythms, and thepowerful declamatory style of his singing.His style even then had a raw force and anemotional immediacy far surpassing that ofany earlier blues performers.By 1941, Muddy’s fame was such that theLibrary of Congress asked him to makerecordings for them of Mississippi deltablues. Even so, outside of folklore circles,and the black clubs, he had not yet becomewidely known. Through his commercialrecordings in the 1940’s, however, MuddyWaters grew increasingly recognized andadmired both by the public and othermusicians, black and white. His style inthose recordings, in fact, is credited as beingthe most important influence on blues stylesin the post war period.In the years since then, of course, MuddyWaters has become recognized as one of thegreat blues artists and musicians of thetwentieth century. He has managed tobecome an enormous commercial successwhile at the same time retaining in his musica very strong sense of his Mississippi deltaorigins. Perhaps the greatest compliment tohim is the number of great musicians whohave learned from his style or have madetheir own recordings to his songs. His song“Rollin’ Stone” was first recorded in 1954,inspired Bob Dylan’s “Like a Rollin’ Stone” establish hotlinewith provoking a robbery.Changing the definition of rape is im¬portant, too. According to the present law,sexual attacks which do not involvepenetration, such as forced oral sex, do notconstitute rape. If rape were considered anassault, legally, then other sexual attackswould fall under the same laws.The Rape Action Group also hopes toprevent assaults. Two women in the group,Barbara and Pam, are researching methodsof self defense. Using the data compiled byBillings on rape victims, they hope to findstatistics which will be useful to women inthe prevention of rape. If they find, for example, that most rapists are unarmed,then thev can determine a viable defenseweapon for women. If they find that a highproportion of rapes occur in a specificplace— say poorly lit parking lots— thenthey can warn women of dangerouslocations.So far in their study, however, Barbaraand Pam have not found such results. Theyhave found, surprisingly, that there is nocorrelation between the season and thenumber of rapes. Apparently, even a wind-chill factor of -30 does not deter rapists. Alsosurprising is the number of rapes whichoccur inside women’s homes.Intramural championshiptaken by Zephyrs, 56-25My Delphi-bred sheep’s entrails failed meMonday night. Together we predicted thatUpper Flint, our old pasture, had produced aflock that would withstand the onslaught of agentle breeze. But the prize winners of theundergraduate basketball fiar fooled mysheep’s colon, and Jimmy the Greek bvlosing the blue ribbon to the Zephyrs;champions of the graduate divi¬sion, and now of the University. TheZephyrs beat the crap out of Upper Flint, 56-25.At half time, with the Zephyrs up 28-14,Flint forward Fred Horn explained that theproblem was simple. His teammates whowere supposed to pass the ball simply werenot throwing bounce passes. Bounce passeswould do the job. I couldn’t get through them Sundaywhich in turn, of course, was picked up by theEnglish rock group and magazine of thesame name. The late Jimmy Hendrix saidthat he learned to play the guitar by listeningto Muddy Waters’ records when he was achild. The most popular of Muddy Waters’songs are probably “I’m a Hoochie-KoochieMan,” “Got my Mojo Working.” “LongDistance Call,” “Baby Please Don’t Go,and “Honey Bee.” Waters has recorded tenalbums in recent years, including Alive atMr. Kellys, The London Muddy WatersSessions, Electric Mud, McKinley Morgan¬field a.k.a. Muddy Waters, and They Call meMuddy Waters, and is cutting his eleventhnext week.Muddy has said in his early days he wouldwork an evening for $.50, a fish sandwich,and half a pint of moonshine. The crowdwould be entirely black, and mostly farmworkers. Today Muddy’s fees range into thethousands of dollars, and the audience islargely young whites. Muddy dismisses thequestion of his audience by saying that youngblacks have their own interests, and that’sall right with him. “The fact is,” he says,“young whites are more responsive to mymusic than the blacks are.” How does he feelabout being imitated by so many rock per¬formers in recent years? “If it weren’t forthem, I wouldn’t be where I am today,” hesays.Time magazine said of Muddy Waters“Muddy is the king of dirty blues, lowdownblues, funky blues, and straight blues, mostcommonly known as country blues. Of allblues musicians, he is the purest, and mostlogal to where he has been and what it hascost him.” That says it better than I could.The dance at Bartlett this Sunday is part ofthe Winter Carniaval program, which hassponsored concerts by Ramsey Lewis andDan Hicks and His Hot Licks. Tickets will goon sale at Bartlett at about 7:30, and thedance/ concert will begin at 8:00 pm. Also onthe program is a group called “Woof,” whichhas developed a good local reputation. U.C.identification is required, so don i forgeiyour card. crowd to query Flint guards Ken Williams,Pedro Rullen and Harmon Manske. Still, Iwas much struck by Fred’s analysis.Melancholia or indigestion?Flint got tarred and feathered before theeyes of two fairly competent marshalls, atime keeper, the night watchman, eightattractive fans, the press corps, and floorsweeper Bob Yovovich. The Zephyr’sgraduate team (the second best team at theUniversity) is composed of ex-collegeballplayers who would give the varsity adecent battle before succumbing to fatigue,arthritis and the good humor at athleticevents that comes with graduate study.There was no one star for the ZephyrsMonday. Rather their own skills and theineptitude of their opponents allowed them totake turns making the kind of plays thatbring most varsity coaches to their feetscreaming that since that play would neverbe worked during a game by anyone in hisright mind, it should not be attempted inpractice. The Zephyrs used both bounce andchest passes.Towards the end of the third quarter ex-Boston College star Jim Phelen lobbed theball cross court to a teammate who caughtthe ball in midair and, without pausing totouch the ground, threw up a shot thatstarted at his waist and ended ten feet abovemother earth at the rim. That teammatewas, and is, James Michael Clark, brother ofvarsity ballplayers Jerry and Eugene.Horn, who paints very well, led the Flintscoring with 11 points. Center Eric Han-neman had 8, while Ken Williams was Flint’sbest dribbler, and had possesion of the balllonger than any of his teammates.Economist John Hechman, the Flint residenthead, scored twice, once after the whistlehad blown, and once for the last two points ofthe game.Of the six Zephyrs, ex-high school teacherJerry Westermeyer was the most fun to bewith on the bench. Northwestern graduateMike Strong sweated a lot, but he was thegame’s high scorer with 13. GeorgeGreenfield is the most Irish of the Zephyrs,and he did two memorable things in thegame. In the first half he had at least twoassists, and in the second half he shot everysingle time he handled the ball. He’s takingan advanced degree in English.In the fourth quarter, the Zephyr's CarlTennessee Winderl from Trevecca Collegehad just dribbled across the midcourt linewhen he put on a move that had even cubreporter Tony Barrett babbling like ablithering idiot. Barrett, trying to describethe reaction of the Flintians to Carl’s move,said that “when they finally figured out thatactually they were confused only becausethey were being confused, rather than theircondusion arising from within themselves,they they explained that now they know whatit is that they do not know.” Barrett is thestarting center for the Maroons varsity.I’m not sure what Carl did either, but youcan go watch him play with the rest of theZephyrs at Ida Noyes on most rriaayevenings around 5. 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A A1.49 O O LIMIT 12 - The Chicago Maroon - Friday, February 9, 1973IMttHUItliltUlIttlllltilLU-UC- nooicMogoiirD &ill -f^9l viouiou314 days in February: the 1969 sit-inBy C D JACOIt’s been exactly four years since the sit-in.I say the sit-in because that is how those of uswho were around then remember it; in thesingular, the one-and-only. Born infrustration and hope, it ended in frustrationand dispair, leaving behind it a series ofevents straight out of a cheap paperbackabout “The Lunatic Fringe on Campus.”It was a sit-in that left one professorjobless, another half-dead, 42 students ex¬pelled, 81 suspended, and doubts in fewminds about how the University hierarchywould react to any threat to the peacefulfunctioning of the Life of the Mind. Depen¬ding upon who you listen to, the sit-in waseither a tantrum by a bunch of improperlytoilet-trained Nazis, or a gesture of hope anddefiance, like the Paris Commune.A suspicion existed in the minds of manypeople prior to the sit-in about Universitypolicy toward radical professors, due mainlyto the University’s refusing to give tenure toradical history professor Jesse Lemisch, andrefusing to consider anti-war activist andradical professor Staughton Lynd for anappointment. When the University refused togive tenure to radical sociology professorMarlene Dixon, the pot boiled over.After several mass meetings and hours ofrhetoric from proponents and opponents ofthe sit-in, a final vote at a mass meeting inMandel Hall was in favor of occupying theadministration building. There was quite abit of student opposition to the sit-in, and apetition around campus agreeing “with theends but not the means” of the sit-in got overa thousand signatures. The number of peopleinside the ad building at any one time neverexceeded 500; yet the sit-in happened, withsupport from five or six faculty membersand a mass of students.On January 30, 500 people seized thebuilding; working in teams, they went intoevery office, announcing that the sit-in wasstarting, and asking the employees to leave.The takeover went smoothly, althoughsecurity guards in a few offices on the upperfloors did try to hold doors closed; they evenmanaged to shove one person down a flight ofstairs.Scenes of the next two weeks fall togetherlike orderless tableux from a Fellini film.Before the building was sealed off, Iremember administration officials who hadclose contact with students, like LornaStrauss, James Vice, and Skip Landt, coming into the building to take down namesof anyone they recognized. Even after thebuilding was closed to University officials,UC photographers were constantly takingphotos of everyone entering or leaving thebuilding for identification later.Meetings inside the building began toexpand issues and demands beyond thosedirectly involving Marlene Dixon. UC ex¬pansion into Woodlawn, sexism in theUniversity and society, studentpowerlessness in academic matters, and thelack of communication between students,workers, and community people were allbrought up and discussed. Memories of daysGADFLYof leaftleting and marches through Harperand Woodward Court chanting “Work,Study, Get Ahead, Kill” blend withmemories of nights spent on a floor or desk inthe trustees office or the registrars office oran elevator.A faculty member spoke to me about theUniversity’s reaction and the faculty’s at¬titude toward the sit-inners. “The Universityprovided money for faculty members to havetheir comments about the sit-in distributed tothe media. I had a pile of faculty letters onmy desk about two inches high. Thevilification was incredible; students werecalled everything from “Nazi stormtroopers’ to “Quislings’. There was nomiddle ground; it was made plain to us thatif you were a faculty member, you eithersupported Levi or you supported disruption.”The hate didn’t just come from campussources. The Minutemen, a para-militarygroup of right-wing paranoids, made anighttime call on the godless anarchists,distributing leaflets that said “TRAITORSBEWARE! OUR GUNSIGHTS ARETRAINED ON THE BACK OF YOURNECKS”; notice how they said “backs” ofyour necks. After the dust cleared, severalstudents had been beaten up, a professor hadbeen kicked in the head and blackjacked andhis wife pushed down the stairs, and aMinuteman had a broom handle brokenacross his thick skull.In addition, the Minutemen smashed into aSIT-IN: Demonstrators occupy office in Administration Building during 1969 protest.Photo by Leslie Travis. DIXON: Former professor Marlene Dixon was focus of 1969 sit-in. Photo by SteveAokilocked file cabinet on one of the upper floorsand threw a typewriter against a wall, prettywell demolishing it. After the sit-in, theUniversity held guided tours through thebuilding for faculty to point out the damage;the file cabinet and the typewriter were thetwo acts of destruction most often pointed to,and attributed to students by the guides.Richard Flacks, radical sociologyprofessor, was the victim of another, moredirect type of hate. He was found in his officein Harper Tower with his skull split open andone hand almost severed from the wrist.Professor Flacks’ public support of the sit-inrubbed someone the wrong way, and he paid.He recovered slowly, learned to walk, talk,and eat all over again, and left UC forCalifornia. The person or persons whoassaulted him are still unknown. A professortold me that immediately after Flacks wasassaulted, professor Morris Janowitz, anopponent of the sit-in, went through theSocial Science building announcing thatFlacks had tried to kill himself.Events were happening, but not too manyof them constructive; the sit-in withered anddied. The Chicago Police were never called,very few University operations weredisrupted since offices from the ad buildinghad been mostly re-located, factionalismbegan to thin the ranks of the building’soccupants, and a sense of rage replaced theoriginal hope. More and more people driftedaway from the building; the Universitywasn’t negociating with anybody, and wassuspending and expelling people right andleft at disciplinary hearings that bore aslittle resemblance as possible to due process.And so it ended.What, then, was accomplished0 In theshort run, nothing; Marlene Dixon was fired,123 students were suspended or expelled(many of them to later return at the end oftheir suspensions), and expellees like HowieMachtinger, Jeff Blum, and BernadineDohrn went on to form part of theWeatherman undergroundIn the long run, however, several thingsdid happen. The consensus of the fifteenpeople I talked to who were part of the oc¬cupying force was that the sit-in created apersonal political awareness. Before the sit-in, there was not much awareness of sexismat UC, and no widespread women’smovement; there was no wide-spread realization of the relationship between bigbusiness, universities, and the governmentin such things as the South Campus landgrab; and there were precious few peoplewho realized that a faculty-run university, acommunity of Scholars, could expell andsuspend more people at one time than hadthe rest of the major universities in thecountry put together in the five years from1965 to 1969.Changes came about, albeit slowly, inacademic affairs too. Students began to popup on more and more University com¬mittees; the disciplinary procedures weremodified; the role of women in theUniversity was re-evaluated; and studentshad another student to help them through thebureaucratic maze in the person of toStudent Ombudsman.UC, in addition, published its standarddefinition of “disruptive action” and thepenalties therunto attached And Ed Levi gotrid of his bodyguards.BONFIRE: Students march past burningcatalogues during pro-Dixon demon¬stration in 1969. Photo by Bruce NortonROCKEFELLER MEMORIAL CHAPELSunday February 11,197311:00 A.M.E. SPENCER PARSONSDean of the Chapel"HORIZONS OF HOPE"SUNDAY SEMINARRockefeller Memorial Chapel Undercroft9:45 to 10:45 a.m. Discussion led by TheReverend Philip M. Dripps, United M.etnodist■Chaplain. JAMESWAYPETERSONMOVING & STORAGEr 646-4411Ca OR for646-1234 free estimatesCompletePre-Planned Moving ServiceLocal • Long Distance • Packing • CratingImport-ExportContainerized StorageFormerly at General Office55th & Ellis 12655 So. DotyChicago. III. 60633| Find us ...(CERMAK) 1*1STREET22NYOU'LL BEGLADYOU DID . . .EMIL HARESPONTIAC2232 BLUE ISLANDAVENUEIN CHICAGO2S4-29Q0 HEADQUARTERSFORrwo . PASSPORT] PHOTOGRAPHSAPPLICATIONSL i PHOTOGRAPHSI black & whiteand colorCall MU 4-7424 now|for an appointmentCorona Studios1314 E 53RD*Friday, February 9, 1973 - The Chicago Maroon - 3ABOUT THE MIDWAYPatient rightsThe University hospitals and clinics an¬nounced today its endorsement of theAmerican Hospital Association (AHA)patient bill of rights.F Regis Kenna, director of hospitals andclinics, affirmed the position of the medicalcomplex. He said: “We think public en¬dorsement of the AHA’s patient bill of rightsis a way of underscoring the promise topatients we made long ago when the doors ofour hospitals first opened. More now thanever we find that as the major healthorganization in the community, we are thefocal point, where the physician-patientrelationship begins. Effective patient care isour constant concern, and we want those whocome here to know that.”Speaking for the division of the biologicalsciences and the Pritzker School of Medicinewhich provides the University’s full-timemedical staff, Dr Joseph Kirsner, deputydean for medical affairs, said, “The scienceand teaching of medicine occupies much ofour attention, as one would expect in aleading medical center. However, ouroverriding concern is for the patient and theprotection of his human dignity. The AHA’srecently published patient bill of rights seems to state these principles most clearly.We heartily support the hospital’s en¬dorsement.”The board of the American HospitalAssociation recently approved the patientbill of rights which has been publicizednationally. The AHA represents some 7,000member hospitals.ArrestsChicago police arrested two Universitystudents Tuesday evening in front of MandelHall. Michael Skory and David Klinger, bothstudents in the College, were charged withdisorderly conduct and obstructing traffic.According to witnesses, Skory and Klingerwere with a group of students on their way toplay chess around 7 pm when they werestopped by police, asked to whow theiridentification, and frisked. Skory allegedlyobjected to the police harassment and wasarrested; Klinger then warned Skory not toresist and was arrested also. Both were freedlater that night on $50 bail. Trial is scheduledto be held in a few weeks.Boycott rallyThe United Farm Workers have planned acity-wide rally in support of the A & Pboycott this Sunday, February 11, at 1 pm.ncn oc udLisVe<BRAND IDESKS-BOOKCASES-FILESSWIVEL CHAIRS-LAMPS-TABLESNEW & USEDEQUIPMENT]&iUPPLY CO.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. till 9:00 P.M. The rally will be held at 1206 N State in the Aand P parking lot.People interested in showing their supportfor farm workers’ lettuce boycott are urgedto attend. Those without transportation canmeet Sunday at 12:00 at the Blue Gargoyle at57th and University, where a car pool hasbeen arranged. People with transportationare invited to meet at the Gargoyle toprovide rides for others.Pickets will continue at the A and P at 51stand Lake Park on Saturday from lto 4 in theafternoon. For more information call 939-5120.Appointment 1Adelina Diamond has been appointedEastern Public Affairs Representative of theUniversity. The appointment, effectiveFebruary 1, was annoucned today by DJRBruckner, vice-president for Public Affairsat the University. Ms. Diamond willrepresent the University in a public relationscapacity in New York and other cities on theEast Coast.Ms Diamond is a native of Chicago. Shereceived a BA degree from the College of theUniversity of Chicago in 1947. She was areporter in the Chicago bureau of Women’s Photo by David Travis.MIDWEST PREMIERE FRIDAYFEBRUARY 16Vincent Canby of the New York Times says"THE BEST AND THE MOST ORIGINALAMERICAN COMEDY OF 1972.As startling in its wayas was 'The Graduate! ”"One of theyear's bestfilms”— Newsweek-New Yorker— N Y Times"Bestsupportinactress,ieannieBerlin:’—National Societyof Film Critics "The funniestfilm of theyear!’-Paul RmgeCircus Magazine"Bestsupportingactor,EddieAlbert”National Societyof Film CriticsNeil Simon's mThe Heartbreak KidAn Elaine May FilmSumngCharles Grodin Cybill Shepherd as Kelly" Jeanme Berlin Audra LrndJey«nd Eddie Albert From a story by Bruc* lay Fr^rjman Screenpiay by N*.l SimonFVoduotd by Edgar I Schnnch Directed by Etame May PRINTS BV OC LUXI pQjp.ATBOTH^1*14 - The Chicago Maroon - Friday, February 9, 1973d r. >oif»M ogO!> tO o "T - !!T 9 •-y rms.ne n/iay rwimrb bt utLUZl pQje* donYU66EPby CAR~REPAIRS /5ur!f’ch '/o--.BRIGHTONFOREIGN AUTO SERVICE3967 S. ARCHER AVE."Jojl ScdiAfaciio/L in,927-8000GOODYEARWHOLESALE TIREMUFFLERS...for 36H.P. up to 1960 s30°°for 40 H.P. up to 1963 *32"°for 1200-1300 up to 1967 s34°°for 1500 up to 1972 s360<'for Automatic stickshift 1500 s38°°for 1500-1600 Type 3 s4800for 1300-1500-1600 transporterType 2 s38°°COMPLETE MAINTENANCESERVICE (W-io)for 1200-1300-1500 Type 1 & 2 *28“COMPUTE MAINTENANCEs30“SHOCK ABSORBERS...ToM 200-1300-1500-1600 s9’°except Super Beetle front shocksfor 1600 Typo 2, 1968 & up-rear 510“except Super Beetle S13S0ABOVE PRICES INCLUDEPARTS & LABOR CENTERCONTINENTAL TIRES -VW ORIGINAL EQUIPMENT560x15 Blackwall s18“° plus 1.74 F.E.T.2 for s35°° plus F.E.T.4 for s6800 plus F.E.T.560x15 Whitewall ....S19S0 plus 1.74 F.E.T.600x15 Blackwall S21M plus 1.82 F.E.T.600x15 Whitewall... .*22“ plus 1.82 F.E.T.GOODYEAR TIRES-4 PLY560x15 Blackwall s14°° plus 1.74 F.E.T.2 for s27°° plus F.E.T.4 for s5200 plus F.E.T.560x15 Whitewall.... M 5M plus 1.74 F.E.T.155SR15 B/W Radial..s2750 plus 1.74 F.E.T.165SR15 B/W Radial.. $28s0 plus 1.82 F.E.T.600x13 Blackwall s1250 plus 1.61600x15 Blackwall s19°° plus 1.82600x15 Whitewall s2050 plus 1.82685x15 Blackwall $1950 plus 1.82700x 14 Blackwall s22sc plus 2.02650x13 Blackwall 51150 plus 1.74NO TRADE-IN REQUIREDMounting available for slight chargeTires for all domestic cars availableupon request — at great savings!WE SERVICE AU IMPORTED AUTOMOBILES4-door sedan, fully automatic transmission, $ qca' AM-FM radio, gas heater, ex. condition. *miohtomFOMtOM'AUTOswvtciTWO BLOCKS EAST Of CALIFORNIA USED CAR SPECIALS1971 VW 4111964 VW Sedan good transportation *4251966 VW Fas*back^3^Sionicolc°nd'’ion: *"?•"* • *4251970 MG Midget !«..««, *13501969 VW Bus excellent condition *1625J 101Wear Daily, and served as editor of the HydePark Herald from 1950 to 1952, during theperiod of the first urban renewal programs inthe Hyde Park neighborhood. She now livesin Sands Point, Long Island, outside NewYork City. She is finishing her thesis for amaster’s degree in Public Policy and Ad¬ministration at New York University. She isalso an associate of the Center for HousingPartnerships in New York City; the center isa non-profit corporation that seeks torehabilitate housing for low and middle-income groups.Walker medalTheodore W Schultz, the Charles L Hut¬chinson Distinguished Service ProfessorEmeritus in the Department of Economics atThe University, has been awarded theFrancis A Walker Medal by the AmericanEconomic Association. Announcement of theaward was made today by D Gale Johnson,Chairman of the Department of Economics.The Walker Medal is bestowed once everyfive years to an economist “who in the courseof his life made a contribution of the highestdistinction to economics.” Other Universityof Chicago economists who received themedal since its inception were Frank HKnight and Jacob Viner.Schultz joined The University of Chicagoas a Professor of Economics in 1943. He wasChairman of the Department from 1946 to1961, and was named the Charles L. Hut¬chinson Distinguished Service Professor in1952. The Walker Medal honors the lateFrancis A. Walker, who was the firstWhen a headache strikes.STRIKE BACK1(And help stop ugly wrinkles in the bargain!)Enjoy yourself at theDANCE/CONCERTSunday, 8 p.m.-l 2 a.m.Bartlett Gymnasium57th St. & University Ave.If you are one of the lucky people who have learned to live successfully In this modernworld, why not share this great gift with a troubled friend or loved one? Introduce him orher to the electric therapy practiced by the master of Chicago blues music, MUDDYWATERS, with his Chicago blues band, aided by the rhythms of Hale Aust, and Woof. Youmay learn Intuitively.How to conquer love-starvationSenual pleasure (you may never have really experienced It before)A simple body rhythm-more beneficial than strenous exerciseBubble freedom-a giddy technique to clear your thinking. How to start liking your¬self.Or, none of the above. In which case-tough luck.UCID required; Students $1.50, Staff and Guests $2.50Doors open at 7:30 p.m. Another W.C. event.CALENDARpresident of the American EconomicAssociation. He also was president of theMassachusetts Institute of Technology from1881 to 1897.Appointment 2Clyde P Watkins has joined The Universityof Chicago’s Office of Development as anAssistant Director. Watkins, who has beenan assistant Dean of Students in theUniversity’s Department and GraduateSchool of Education since 1971, will coor¬dinate volunteer efforts to secure major giftsfor the University. In addition, he will serveas liaison with the development fund for theDepartment and Graduate School ofEducation.Watkins, 27, earned a BA degree in 1967from the University and an MA degree in1970 from Ball State University, Muncie,Indiana.Garden societyThe first meeting of the indoor gardeningsociety will take place in Ida Noyes Hall onFebruary 13, at 8:30 pm. The group hopes toarrange future meetings for regular planttrading, lectures, and discussions on growingcertain species, viewing members’ collec¬tions, and tours of greenhouses and con¬servatories.We are especially interested in gardenerswith collections in greenhouses, under lights,and on the window sill. Membership is notrestricted to students andy any interestedgreen-thumb is welcome. For more in¬formation call 731-9115. Friday, February 9COLLOQUIUM: Geophysical Sciences colloquium, WilliamFarrell of the Cooperative Institute for Research in Environmental Sciences, University of Colorado, "Earth andOcean Tides", Auditorium, Henry Hinds Laboratory, 3 30pmLECTURE: Contemporary Mathematics from a Historical'<i»wpoint; "Eigenvalues of the LaPlacian Past andPresent," Mark Kac, Rockefeller University, Eckhart 133,4 :30 pmFILM: yea yea itstheoneandonly "Reefer Madness," yeayear, presented by DOC films, Cobb, 7, 8: 30, 10 pmDOCUMENTARY: "Sri Chinmoy", the daily life on anIndian meditation master in America, Pavkes Hall, Room122, Northwestern University, Evanston campus, 7 30 pmFILM: Middle East Studies Center presents, "Faziha FiZamalik" starring Omar Sharif, produced, directed, filmedin Egypt (with sub titles), Breasted Hall, Oriental Institute,7 30 pmCOFFEE HOUSE: Gay coffeehouse at the Blue Gargoyle, 812 pmLECTURE: Club for Responsible Individualism presentsprofessor Arthur Shenfield, director International Institutefor Economic Research, on "The Future of East WestTrade," Social Science 122, 8 pmDISCUSSION: The Quest for an Organic Society andCulture, Ida Noyes Hall, third floor, 8 pmLECTURE - Sri Nerode, venerable 85 year old yogacharya,will give a free lecture on the Seven Yogas, Tension,Depression, and Liberation, Ida Noyes, 8 pmLECTURE: "Jewish Tradition and Technological Man;Breakdown and Reevaluation," Rabbi Samuel Karff, HillelHouse, 8:30 pmSaturday, February 10FILM: Science Fiction Films presents "Nesfaratu," Cobb, 7and 9 pm Sunday, February 11EATS: Lox and Bagels, Hillel House, 11 amMEETING: Gay women's meeting, call 947 9780, 11 amMORE EATS: Mandarin Chinese meal, SI.25, BonhoefferHouse, 12:30 pmFORUM: "Welfare Slave Labor. Which Side of Phase 3 areyou on?", speaker, R Freeman, National Committee,National Caucus of Labor Committee, Reynolds Club, 1 pmMEETING: Phi Lambda Theta, Lambda chapter, JuddCommons, 2 pmMEETING: The Diplomacy Games Club, 5625 S University,12:30 4 pmMEETING: Gay Lib business meeting. Brain Lindburg andGraham Douglas will talk about working in the Gaymovement in Australia, 4:30 pmFILM: CEF presents "The Passion of Anna" Cobb 7 and9 15 pmFILM: Doc presents "La Ronde", Soc Sci 122, 7:15 and 9 30pmDANCE : Winter Carnival, Muddy Waters, dance concert ofChicago Blues, Bartlett Gym, UC students $1.50 others,$2 50, 8 pm to midnightMonday, February 12LECTURE: Kecent Advances in Cancer, "Are Cell CycleKinetics of Immediate Relavance to Cancer Chemotherapy?" D Hywel Madoc Jones, Billings P 177, 12:30 pmSEMINAR: Statistics Seminar "The Problem of theAmount of DNA," Bernard Strauss, Eckhart 202, 4 pmBIOLOGY SEMINAR: "Structure and Replication ofEuglena mitochondrial DNA," Robert S Ryan, Zoology 14,4 :30 pmSEMINAR: Chemical Physics, Yehuda Band, "The Simplese Charge Transfer, " Kent 103, 4 pmSEMINAR. Center for Balkan and Slavic Studies, EricHamp on "Echoes from the Hum and Whir of AlbanianStudies or A Balance Sheet Where No Glut Exists," PickHall 118, 4 pmMEETING: IPIRG, Illinois Public Interest ResearchGroup, instruction for petitioners, and general information,Ida Noyes 217, 7 pm to 11 pmFriday, February 9, 1973 - The Chicago Marot n - 5LETTERS TO THE EDITORFare increaseThe following is a resolution adopted by theexecutive committee of the Hyde Park-Kenwood Community Conference onFebruary 2, 1973, pertaining to the IllinoisCentral Railroad’s most recent request for afare increase.Mary HoughtonPresidentI. RESOLUTION: Be it resolved that theHyde Park-Kenwood Community Conferenceopposes any fare increase for IC Passengerservice until such time as the Illinois Centralprovides well kept stations and platformswith adequate over-all security,illumination, manned ticket offices, andunarmed security personnel to guard the47th, 53rd, 55th, and 59th Street stations, whowill be provided with appropriate com¬munication devices to summon immediatepolice assistance.II. BACKGROUND: In the past few years,a number of crimes against people andproperty have taken place in the ticket officeor on the platforms of the IC stations in HydePark-Kenwood. On Sunday, January 28th ayoung man was killed and another criticallywounded on the 57th St platform. The Con¬ference expresses its deep sense of concernover this tragic event and extends itsheartfelt sympathies to the families of thesetwo young men. Over these years, individuals andorganizations from our community haverequested that the ICRR provide adequatepersonnel, facilities, and lighting to protectits customers. In addition, the communityhas expressed its concern about substandardoperating safety procedures that culminatedin the tragic accident of last October 31st thatcaused the deaths of five communityresidents. Concern has also been voicedabout deteriorating service accompanied bycontinuing fare increases.While we appreciate the cooperation of theIC in getting murals on the underpasses at53rd and 55th Streets, we wish to call the IC’sattention to this community’s sense ofurgency in providing adequate protection forcommuters. We would welcome the op¬portunity to cooperate with the IC in solvingthis problem.EatsAttention should be drawn to “An InnocentEats Abroad in Gringoland,” ChicagoMaroon, Feb. 2. The author sweepinglydowngrades the 57th Street restaurant,Lucitas, from his experience there onopening night. Suffice it to say, one doescommit an analytical indiscretion whengeneralizing from a sole incident. So be it forthe “Innocent.’’ Having patronized thisrestaurant at irregular intervals, I think theservice is rather prompt. Having spentearlier days in the Southwest, I am vaguelyRip offEurope.rSTUDENT-RAILPASSThe way to see Europe without feeling like a tourist.Student Railpass is valid in Austria, Belgium. Denmark,France. Germany, Holland, Italy, Luxembourg, Norway,Portugal. Spam, Sweden, SwitzerlandEurailpass, Box 90, Bohemia. New York 11716Please send me your free Student Railpass folder orderform ; ]Or your free Eurailpass folder with railroad map □NameStreet_____C-tyState Zip192So you plan to spend theSummer in Europe this year. Great.Two things are mandatory. A ticketto Europe. And a Student-Railpass.The first gets you over there, thesecond gives you unlimited SecondClass rail travel for two months for amodest $135 in Austria, Belgium.Denmark, France, Germany,Holland, Italy, Luxembourg,Norway, Portugal, Spain, Sweden,and Switzerland! All you need toqualify is to be a full-time student upto 25 years of age, registered at aNorth American school, college oruniversity.And the trains of Europe area sensational way to travel. Over100,000 miles of track links cities,towns and ports all over Europe. Thetrains are fast (some over 100 mph),frequent, modern, clean, convenient and very comfortable. They have tobe. So you'll meet us on our trains. Itreally is the way to get to knowEuropeans in Europe.But there’s one catch. Youmust buy your Student-Railpass inNorth America before you go.They're not on sale in Europebecause they are meant strictly forvisitors to Europe—hence theincredibly low price. Of course ifyou’re loaded you can buy a regularEurailpass meant for visitors of allages. It gives you First Class travel ifthat’s what you want.Either way if you're goingto zip off to Europe, see a TravelAgent before you go, and in themeantime, rip off the coupon Itcan’t hurt and it’ll get you a bettertime in Europe than you ever thoughtpossible. in a position to remark that the food has aring of authenticity. Having hunted aroundHyde Park for the last three years for aninexpensive place where one really can fillup, I feel Lucitas deserves to be pointed outto the Hyde Park student community.Peter BrownMinority fundsThis letter is in response to the one printedin last Friday’s Maroon concerning theactions and rationale of those who ad¬minister the general campus Black fund. Iwill not presume to speak on the Universityadministration’s reasons for dispensing themonies as they do. Perhaps the serviceshould be free of all racial qualifications;perhaps it is a sort of negative prejudice i.e.patronizing. Yet there are somenonacademic reasons for which the fund canbe properly used by Blacks.I, myself, made use of the fund to make anecessary trip to see a lawyer in Omaha torectify obvious injustices that my local draftboard had inflicted upon me. If the trip wasnot made I would have had to terminate myschooling here for the remainder of the year.If I would have had to make the trip undermy own resources I would have had to “kissfood good-bye’’ for several weeks.INFLATION GETTINGYOU DOWN*Fiqht back with Neither can medical reasons be relegatedto inconsequence merely because medicalservice is “free.” My visits with the doctorhere revealed that I would have to be on longterm medication which is not free. Andalthough I am paying for the cost on my own,others may have to obtain money from otherthan personal resources.One can hardly blame Blacks for using thefund to aid themselves in pursuing universitystudies. One can scarcely blame the ad¬ministration for attempting to help. Whetherthere are not enough loans and grants tocover those not able to qualify for the Blackfund should be examined.John Banks-BrooksMost obnoxiousWhile I can’t argue with the Maroon’sawarding of the Back Row basketball teamthe “Most Obnoxious” Award, I believe youmight have mentioned the provocation whichoccasioned Back Row’s “abuse.” When oneconsiders the scandalous incompetence ofintramural basketball referees, the conductof Back Row has been highly restrained, thebusiness school’s team was gentlemanly,and those teams which weren’t in the run¬ning for the most obnoxious must have beenpositively angelic. One must wonder whyteams continue to compete in the face of suchabismal (sic) performances by the officialsand how the referees can in good conscienceaccept money for their butchering.urniftcs U D KidmanDirected & Designed by Charles A. JenkinsFebruary15-20 8:30PM.Mandel Hall 57th & UniversityUniversity of ChicagoTheaireAdmission: $2.50, Students $2.00Information: 753-35816 - The Chicago Maroon - Friday, February 9, 1973ENTERTAINMENT AND THE ARTSGestalt: All the World’s a StageBy DENNIS MOOREA glamour-school studentpromenades, brandishing a crutch as ifit were a drum-majorette’s baton. Ajilted lover clouts a clown in a cafeteria.A novice skier leads his instructor up aslope, and a postal employee wreaksvengeance on a Great Dane. But it’s notsurprising that the storyline of GestaltDrama often takes a fantastic turn. Asits practitioners, the New Chicago CityPlayers, claim, “Gestalt Dramacombines principles of Gestaltawareness with elements of im-provisational drama to develop abilitiesto function more effectively andcreatively.” While liberation of thepsyche cannot be achieved by merelyfantasizing, the Players use theirimaginative powers to overstep con¬ventional limitations upon action andexperience. The “given,” the normal,the preconceived, the socially-accepted—these are of only indirectinterest to the Players, who concentrateupon discovering and demonstratingalternatives to the path of leastresistance.In any Gestalt experience, the wholedetermines its parts, and perceivingtheir theatre against the background ofthe special realm of the stage frees theparticipants in Gestalt Drama to ex¬plore doing what they want, not whatthey should want. Thus it is importantthat Gestalt players not become actors,that they intensify rather than negatetheir self-awareness. But fullyremaining (or becoming) oneself doesnot imply staying in character quite thecontrary. The late Fritz Peris,originator of Gestalt Therapy, criticizedour society’s emphasis upon character,because “Once you have a charac¬ter...you are predetermined just to copewith events in one way, namely, as yourcharacter prescribes it to be.” GestaltDrama demands integrity and spon¬taneity, not predictability, and failswhen a player becomes fixed upon hisown character.Gestalt Drama does not presume topresent naked souls free from socialrestraint, interacting integrally, nordoes it peddle a therapy guaranteed tobring psychological barricadescrashing down. As theatre, it lacks theintensity peculiar to one-to-onepsychotherapy, as well as the overly- optimistic naivete of many sensitivitytraining programs; as a result, it canshare the ambitious goals of neither.Gestalt psychology does not “cure”patients, but gives them tools withwhich to deal with problems as theyarise. The objective of Gestalt Dramathe demonstration of basic principles ofGestalt awareness which the audiencemay retain and implement in daily lifeshoule not seem insignificant on ac¬count of its apparent modesty (com¬pared to, sya, the goals of an intensivetherapy program).The players only achieve acorrespondence between their intentand their medium by means of aredefinition of theatre which supplantstraditional criteria of quality. Unlikeimprovisational theatre, or any othermode of theatre that comes to mind,Gestalt Drama does not seek to developplot, from a beginning to an end bewarethe Gestalt scene ending in harmonyand a handshake! and the onlydevelopment of character should be theexpansion of the player’s ownawareness (i.e., development awayfrom character). Its success is notliterary, but a function of the Gestaltawareness demonstrated by the par¬ticipants. Gestalt dreamwork teachesthat acts of the imagination need beneither self-deceptive nor illusory and,while Gestalt Drama embraces fantasyas a valid human experience, it ap¬proaches illusion-free theatre.Deceptions interfere with com¬munication, and communication is theessence of Gestalt Drama.Gestalt’s new critical standardsnecessarily produce far more sub¬jective accounts of the dramatic ex¬perience. In the first place, one mustchoose whether to accept the newcriteria, or fruitlessly stand by the oldstnadard and decry the lack of formalstructure, the performers’ apparentinability to remain in character, etc.The choice is important, and failure toreassess their conception of validtheatre must frustrate Second City fansseeking a little but not too much variety.In addition, various individuals reactdifferently to identical “objective”phenomena. Some think a playermistrusts his fellow, others perceiveperfect harmony. A concession made by a stern mother to a rebellious son seemsincredible to one person and “onlynatural” to the next. Someone in theaudience manages to find pride lurkingin a player’s humbles statement orposture. Ultimate appraisals dependupon what one thinks the player ex¬periences (“He just seems forgiving”),and so on. Experience varies withperception.Just as one’s prejudices color per¬ceptions and conclusions, one’s ex¬perience depends upon the amount ofemotional energy one expends viewinga scene. Waiting for chances to laugh at“good lines” doesn't suffice, and un¬derstanding the dynamics of a scenecan require great effort. In traditionaltheatre, catching an actor on his badnight means something entirely dif¬ferent from the same occurence inGestalt, thus introducing anothersubjective variable related to theaforementioned distinction between anactor and a player. The success ofTed Sarantos’ gestalt drama troupe, The New Chicago City Players.Friday Gestalt Drama depends upon the abilityof players to interact and any sort ofpersonal impasse weakens a scene.The literature of Gestalt psychologyspeaks of the therapist as functioninglike the catalyst in a chemical reaction;in Gestalt Drama, the catalyst is theconductor. He directs routines to warmup the audience and players at thebeginning of the evening and to preparethe participants for each scene. He alsodevises the situations which provide acontext for the action. In one case, hewill allow two players to interactwithout any specified scene at all, in thelimbo of an encounter group. On theother extreme, he will take a couplefrom situation to situation, eachsuggested by something in the previousmoment (from the wedding to the nightbefore, thence to five years in the futue.and back to childhood...) The initialsituation is not imposed randomly butgrows out of the onstage encounterpreceding the scene: display of a mildantagonism may lead to casting asrivals in love; a momentarily-uptightplayer becomes an anxious groom.Even though development of plot andcharacter are antithetical to GestaltDrama, designating particular humansituations relates the demonstrationsmore clearly to everyday life. Outsideof the theatre, members of the audienceexist neither in solitude nor unaffectedby circumstance. Gestalt awarenessinvolves filling roles-“one man in histime plays many parts” without con¬forming to cliches’ in Gestalt Drama, tobegin onstage is a real beginning.During a scene, the conductor guidesthe players in concentrating upon thepresent, listening to one another, notavoiding whatever conflicts arise, andinitiating reversals (part and parcel ofGestalt psychology) when an impasse isreached. One moment, he withdrawsfrom a scene and lets it developorganically because the players seemintegrated or to allow the situation tochange slightly, and in the next momentsuggests line after line to the players,redirecting the dialogue until it bearsfruit. In difficult moments, promptingbecomes all-important: scenes headed(continued on page 8)February 9, 1973 - The Chicago Maroon - 7Traffic Jams at PlaygroundBy MARK BUSHMANAny doubts aroused by the new albumconcerning Traffic’s status as one of myfavorite bands were laid to rest lastSunday night at the Kinetic Playground.Before an audience of firetrapproportions, John Martin supported thehypothesis that white men can’t sing theblues, followed by a humdrum set fromFree. Traffic then took the stage andblew for a solid two hours. As on ShootOut, the band was augmented by theMuscle Shoals studio rhythm section(Roger Hawkins, drums; David Hood,bass; Jimmy Johnson, organ and ex-Dizzy Gillespie percussionist RebopKwaku Baah, permitting Capaldi tosing and freeing Winwood from hisformer multi-instrumental role,allowing him to concentrate on guitar,piano and vocals.The group played all of the newalbum, half of each of the previous twostudio albums, and a few earlier songs,including their classic “Heaven is inYour Mind”. The Muscle Shoals sectionplayed with the precision and powerthey used to bring to Sam and Dave andAretha records; Chris Wood’s reedwork was, as usual, tasteful; and Rebopfilled all the empty spaces effortlessly.Capaldi sang his features from LowSpark, leaving the rest of the evening’svocalizing to Winwood. He was in fineform, his voice soaring above the band.His guitar playing, while always good,has improved immeasurably of late.The lyrical and melodic weaknessesof the material from the new albumwere overshadowed by the solid per¬formances given those songs, and theperformances of the old songsfrequently managed to surpass therecorded versions. Don’t hesitate to seeTraffic next time they’re around, but do hesitate to buy Shoot Out at the FantasyFactory until you’ve heard it.Shoot Out at the Fantasy FactoryTraffic(Island SW-9323)With the tasteful assistance of reedplayer Chris Wood and lyricist-singer-drummer Jim Capaldi, Steve Winwoodhas spent the better part of the past sixyears fulfilling the promise of his initialrecordings with the Spencer DavisGroup. Winwood is a gifted composer, amasterful multi-instrumentalist, andone of the very best singers in rock.With composer-singer-guitarist DaveMason dropping in and out of the band, Winwood has led Traffic through sixartistically successful albums.The groups new release, Shoot Out atthe Fantasy Factory, is their first to beseriously flawed. Capaldi’s lyrics, ofuneven quality in the past, are oftendownright lame here. Winwood’smelodies seem to lack a sense ofprogression toward a climax, soundingalternately formless and cliched as aresult. The taut phrasing and strainedquality which make Winwood a greatsinger are largely absent; his vocals onthis album are too often tentative anduninspired.While the instrumental work isthoroughly competent, it generally lacks the conviction of Traffic’s pastefforts. A notable exception is Win-wood’s guitar solo on “Uninspired,”which also boasts the album’s bestvocal. In producing the album, Win¬wood further decreased its impact byfrequently undermixing the guitar andorgan tracks, sacrificing too muchpower in an attempt to achieve clarity.Shoot Out, like Traffic’s last album, TheLow Spark of High Heeled Boys, lacksthe edge necessary to great rock androll, but Low Spark compensated with arichness of texture absent from the newrelease.— Mark BushmanGestalt: F antasy as Experience(continued from page 7)for a dead-end can become useful andsuccessful with proper intervention. AsAristotle remarks in a somewhat dif¬ferent context, recognitions followclosely upon reversals.Besides shaping verbal exchange, theconductor can emphasize one particularfacet of a situation by physicalizingsomething to which a speaker refers. Anextra player becomes a feared parent,the mailman’s canine adversary, evenfurniture or a test tube. The conductoroften urges participants to expressfeelings physically, and the interactionssometimes surface in dramaticallyconcrete terms, with two playersjockeying for altitude on the multi-leveled stage, or wrestling one anotherto the floor.Gestalt Drama is the bastardbrainchild of Ted Sarantos, a Ph.D.candidate in psychology of theUniversity without Walls. Ted taught at the Goodman for several years, but forthe last two seasons his base ofoperations has been the WellingtonAvenue Congregational Church, 615 W.Wellington, where he directs the NewChicago City Players. During the week,he offers workshops in improvisation,scene study, communication aware¬ness, and Gestalt Drama. Tedconducts Gestalt Drama with audiencevolunteers on Fridays, and with thePlayers on Saturdays (both shows at8:30 pm). Each weekend performanceconsists of a warm-up period andseveral improvised scenes.The audience participates in warm¬ups not gymnastic exercises but ex¬periments in human interaction on bothnights. Saturday night warm-ups tendto be non-verbal while, in keeping withthe increased emphasis on audienceparticipation, Friday’s opening in¬cludes verbal experiences. Ted in¬ tersperses the introductory exercises,like the Gestalt scenes, with opendiscussion. The warm-ups make theaudience more open to the evening’sinteractions and demonstrate basicGestalt principles as well. Typicalthemes are: living in the presentmoment, physicalizing one’s emotionsexpressing oneself sincerely, andfantasizing profitably.The process of Gestalt awareness,with its goal of generating creative andspontaneous lifestyles, should allow oneto surpass the norm by remaining trueto the self and the moment rather thansubmitting to the expectations of othersand the rules of the game, by findingroom for openness within the roleseveryone must play. Gestalt Drama,presented by Ted Sarantos and the NewChicago City Players, is a unique andexciting experience.Go both nights.Rockefeller Memorial Chapel • -5.9th Street and Woodlawn AvenueJut)AS MACCAbAeUSby George Frideric HandelSunday afternoon at 3:30 * February 18, 1973RICHARD VIKSTROM, DirectorThe Roekefeller Chapel Choirand Orchestra (30 players) TICKETSReserved $5.00Chancel Seating $4.50U. of C. Students $2.50General Admission $4.00ELLIOTT GOLUB, Concertmaster LARRY MENDES, HarpsichordSheila Harms, Soprano Gerald Scott, TenorPhyllis Unosawa, Contralto Monroe Olson, BassGuest Artists: Members of The Chicago Children’s Choir AVAILABLE AT:Reynolds Club Desk, 57th Street and University Avenue# Cooley’s Comer, 5211 Harper AvenueWoodworth’s Bookstore, 1311 East 57th StreetGroup rates available upon request to the Chapel Music Office,753-3387MAIL ORDERS TO:Chapel Music, 59th Street and Woodlawn AvenueChicago 60637Please make checks payable to The University of Chicago andenclose stamped, self-addressed envelope8 - The Chicogo Maroon - Friday, February 9, 1973. . jt fj rjt)f » ,(,»•»! C v i ,v /iUT Production is Big, Flashy, and FunBy DEBORAH DAVISONTRUE STORYThe Ypres sector, December 1914.English and German trenches areseparated by 100 yards of No Man’sLand.A board is held up in the German lineson the end of a bayonet.It reads: “English soldiers are fools.”The British soldiers shoot it down.Another board is held up: “Frenchsoldiers are fools.”The British soldiers shoot it down.A third board goes up: “We are all fools.Let’s go home.”The British soldiers cheer.* * * * *University Theatre’s majorproduction of the quarter, Oh What aLovely War, opens next ThursdayFebruary 15 and promises to be a big,flashy, fun, and exciting theatricalevent. The show itself is an unusualintersection of innovative dramatictechniques and unlikely subject matter,and Charles Jenkins’ production aims toexploit all the elements to their fullestextent.First produced in 1963. the musicalcame about through the historicalrt rch and impro\ sational efforts ofLoudon’s famed Theatre Workshop.‘Came about’ is more apt a verb thanone might normally expect; Lovely Warwas not written, but compiled fromsongs of the 1914-1918 period plus ex¬cerpts from official records, memoirsand histories of the conflict. The endresult offered sequences of tunefulsongs, beguiling girls, vaudevillesketches and dances while driving hometo its audience the horror, the waste andthe absurdities of World War I — and,by inference, of any modern war.The ‘authorship’ credit is extendedbut vague. The show is billed as “JoanLittlewood’s Entertainment, by theTheatre Workshop and Charles Chiltonand members of the cast, after treat¬ment, by Ted Allan and Others.’’ In¬terpreted, this means that Miss Little-wood, a rambunctious crusader againstthe theatrical Establishment of London,created the show by improvisationallypatching it together out of whatever bitsand pieces she could lay hands on.Noted for the free-swinging mannerwith which she endowed such hits asBrendan Behan’s The Hostage andShelagh Delaney’s A Taste of Honey,she built Oh What a Lovely War out ofher head as she went along.She began rehearsals with only abasic idea brought to her by Ted Allan,of documentarily spoofing the 1914 war.With Chilton’s help, and the im¬provisations of her cast, she kept addingmore and more wry or sentimental war¬time songs along with some of theespecially idiotic sayings of thegenerals and the ghastly statistics oncasualties. When she put them alltogether in front of old recruitingposters and newspaper bulletins, shehad a show that scored such a great hitin her little Theatre Workshop in an eastend London slum, that it was soonmoved to a major theatre in the West End, then on to Paris to win top honorsin the Theatre des Nations competition,on to New York for critical acclaim, anda world-wide reputation.The production which Jenkins has puttogether will include all the variety ofthe original plus some — from elaboratesong-and-dance numbers, multiplecostume changes for the Pierrot troupe,vaudeville routines and rapid-fire ex¬changes of satire and sentiment tostartling authentic contemporary slidesand a real, working newspanel. TheBritish music hall genre is to bereproduced with a sharp eye to en¬vironmental detail, even to the extentthat the intermission will contain itsown side show equivalents. In thisaspect of the production entertainmentis the pivotal intention, and as Jenkinshas rehearsed and assembled his troupeprimarily to this end, his Lovely Warpromises to be highly successful on thatscore.More problematic to young Americanaudiences is the other major aspect ofthis play, namely its World War I set¬ting and style. Jenkins admits thatmuch of the emotional impact whichLovely War had on British audienceswill inevitably be lost on viewers whodon’t know the history of World War I,or who haven’t been brought up on theold war tunes, or especially who can’tempathize with the peculiar tongue-in-cheek, teary-eyed paradox of thisspecifically British interpretation of oneof its own historical experiences. Onecan be entertained, but won’t feel thesentimentality, the nostalgia, thepatriotism or the skepticism asevocatively as a native Britisher, forwhom this play was created.Still, Jenkins hopes that at least someof the music will be familiar to theaudience, as while the selections are notas typically American as would be OverThere, many tunes in the show werepopular on both sides of the Atlantic —It’s a Long Way to Tipperary, Pack upYour Troubles, Keep the Home FiresBurning, and Wash me in the Water, toBy NANCY OXFELDWHPK returned to the air last week,resuming broadcasting after threeweeks of silence resulting fromequipment failure. A new transmitter issending out a steadier and clearersignal from the tenth floor of PierceTower. Besides new equipment, thestation, which broadcasts at 88.3 FM,has made several changes inprogramming for the WHPK “WinterOrgy.”Sunday, which traditionally wasprogrammed with an attempt to get asmany different types of programmingon the air as possible in one day, now isalmost entirely rhythm-and-blues andjazz. Only two Sunday shows are ex¬ceptions to this rule: Dawn in Your (L. to R.: Jean Elliott, Pat Billingsley,War.” Photo by Sandi Kronquist.name a few. The fact is that the words,songs, jokes and skits are all authenticand hence totally period-specific; insome instances, at worst, this mayserve to limit one’s comprehension, butat best one cannot only expect to beentertained but even hope to beenlightened in a pleasant, unusual sortof way.The cast, or, more accurately, troupe,includes many UT regulars as well asnew faces: Vyto Baltrukenas, PatBillingsley, Darryl Boehmer, LindaCrittenden, Court Dorsey, Jean Elliott,Bonnie Everts, Michael Hildebrand,Bob Hoover, Susan Kaye, Jerome H.Loeb, Steve Mencher, Gloria Skurski,Pocket, a rock and folk show andAfrican Hilife and Calypso. Both showshave occupied nearly the same timeslots for several years.WHPK has also expanded publicaffairs and special arts programming.One of the new shows is Arts Tonight.Each week someone involved in thearts, either from the University orwithin the city, will be interviewed onthe show. Introducing a new type ofprogramming to WHPK, Little Oysters,a children’s show, features readingsfrom stories and poems for childrer.Another new public affairs show, BasicBlack, features news from Africa andother Third-World communities aroundthe world, and news from the Afro-American community in the UnitedStates. WHPK seoks to make public Jerome Loeb) in “Oh, What a LovelyMary Speers, John Tsafoyannis, andSteve Weinstock. The show runsFebruary 15-20, 8:30 PM, in MandelHall; tickets are $2.50/$2.00 forstudents. As befits so elaborate aproduction, the behind-the-scenes creware as many or more than the cast, withMelody Page doing choreography,costumes by Judith Fink, flags by LindaBuchanan (imagine the difficulties oftracing down the national flags ofnation-states lasting only a decade orso!!!); Music Director, RichardMueller and Assistant Director JamesLichtenstein. All in all a peculiarly high-style extravaganza, and not to bemissed.affairs programming more responsiveto the wishes of its listeners, andwelcomes suggestions on the content olall public affairs shows. Send commentsand suggestions to Public AffairsDirector, WHPK, 5706 S. UniversityChicago, 60637.Several aspects of programmingremain unchanged. Jazz is stil!programmed every night at midnightWith the addition of Think, Jaz2Review, Something Mellow and severalof the Sunday shows, WHPK nowfeatures more jazz than any other FMstation in Chicago.Free program guides will be sent tcanyone writing to Publicity Director,WHPK, 5706 S. University Ave.,Chicago, 60637, or calling 753-3588.A frighteningdocumentary onthe nuclear age!byHeinar Kipphardtdirected byGene Lesser IN THEMATTER OFJ. ROBERTOPPENHEIMERThru Feb. 11WHPK Alive and Well at PierceFriday, February 9, 1973 - The Chicago Maroon - 9Free Enterprise Cashes in on the AmericarBy M. HEMPSTEAD and MADWOMANAs every popular movement matures, smallpublishing companies spring up, dealing with onlythat particular facet of life. The Woman’s Liberationmovement has proven no exception. Two of the smallfeminist publishing houses, both noted here, are theFeminist Press and KNOW, Inc. The Feminist Press,operating near the State University of New York, isthe larger, more well-established, and better known ofthe two. KNOW, Inc has just begun to publish hard¬cover books and is still rather small.Neither publisher is well distributed nationally, andif you want more information about their publications,you’ll have to go directly to the source. Inquiries ororders for the Feminist Press should be sent to: TheFeminist Press, Box 334, Old Westbury, New York11568. Inquiries and orders for KNOW, Inc should besent to: KNOW, Inc, Box 86031, Pittsburgh, Penn¬sylvania, 15221.Firegirl Gibson RichFeminist Press Children’s Book, $1.95“The Feminist Press is a non-profit, tax-exempt,educational and publishing group organized tochallenge sexual stereotypes in books and schools andlibraries.” Their books for eight-year-olds feature, forexample, girls that chase their dogs and boys that cryin contrast to the usual books about girls who knit hatsfor their kittens. For the older children, The FeministPress has provided biographies of women in historywho did more than churn butter and beat rugs. Theyalso have salvaged obscure books by unknown femaleauthors and reprinted them.Firegirl, by Gibson Rich, is about a little girl Brendawho is fascinated by firetrucks, fires and the knightsthat put them out. “As the the water hit its mark, thewindow pane exploded. Then came a deep hiss andthere were great gobs of smoke. It was a dragondying!”At times the style seems forced. A sopping firemanlooks like “an angry walrus,” a siren sounds “sweeterthan any music Brenda ever heard,” and the flamessound like an “elephant stepping on eggshells.” But,for any child under ten this is all probably not toomuch of a strain on the imagination. Any child who isprecociously sarcastic will be glad to find that thereare no sentences like “See Jip Run.” In fact, there isonly one thing in this book that such a child mightobject to, and that is that Brenda calls her terrier“Sue-Sue.”The drawings are either green and orange or blackand white. Few include intricate surrounding scenery,but they are still entertaining enough. For example,the bald milkman, whose house is afire, is shown hopping around in his pajamas. Brenda looks like a flyin her gas mask.Yet, the freckles on her arms are large enough to bepimples, and her orange hair not only resembles theflames around her but the snakes on the Medusa aswell. She has an adolescent face and swings a yo-yo.The image she cuts is consistent with the fact that therabbit, the life she saves in the fire, is no cream puff.He is a swollen, spotted, red-eyed beast that hangsnonchalant over her arm.Firegirl is not as much of a sissy book as mostchildren’s books. The fact that Brenda has friendsfrom every ethnic group imaginable and that she doesall the things that, in most books, only boys do shouldplease the critics. There is one quality in this book thatinsures its immediate success with its youngerreaders, however. There are no facial expressions orretorts that the child will recognize, with disgust, asbeing the kind that she can find only at Sunday School.BOOKS“Life in the Iron Mills” Rebecca Harding Daviswith biographical interpretation by Tillie Olsen, $1.95Feminist Press Reprint No. 1 (The Feminist Press,Box 334, Old Westbury, N.Y.)Life in the Iron Mills by Rebecca Harding Davis,with a biographical interpretation by Tillie Olsen, isan example of their Feminist Press Reprints. In 1861,Atlantic Monthly published Life in the Iron Mills andwas so impressed with it that they asked for exclusiverights to all R. H. Davis’ future work.Most criticisms of Life in the Iron Mills agree that“realism” was the outstanding quality in R.H. Davis’stories. A comment on the book was: “Written whenthe American novel was in all its areas ultra-romanticand over sentimental they are Russian-like in theirgrim and sordid realism.”Life in the Iron Mills begins with the narratorcursing the smoggy day and the littered river. Thenshe challenges the reader to come and spy on Wolfe, aWelsh iron mill worker, in the mill cellar where helives and works. She warns us first that the lives ofthese mill workers are as vile and slimy as those ofthe “torpid lizards in yonder stagnant water butt.”Among his fellow workers Wolfe is referred to as the“girl-man” or “Molly Wolfe.” This is because he hascollected a pile of the fleshy refuse from the burntiron. With it, he sculpts nudes that have “powerfullimbs instinct with some one poignant longing” in his free moments.One night the mill owners visit the mill and theynotice Wolfe with his sculptures. They are amused,but also curious, and they crowd around Wolfe, in¬timidating him with their philosophical rhetoric.Wolfe assumes their references to Goethe and theiraphorisms in French and Latin to be the kind ofrefinement that he would like to acquire someday, ifhe could escape the drudgery of the mill.After these visitors have left, Wolfe’s wife handshim the purse that she pickpocketed from one of themas he was leaning back against a pile of bricks. BeforeWolfe gets a change to decide whether or not to keep itthe narrator intrudes with “You laugh at the shallowtemptation? You see the error underlying itsargument so clearly, — that to him a true life was oneof full development rather than self-restraint— that hewas deaf to the higher tone in a cry of voluntary suf¬fering for truth’s sake than in the fullest flow ofspontaneous harmony?”Wolfe now declares his right to improve hisexistence and to keep the money. They arrest him, ofcourse.The narrator threatens the reader again: “Do youwant to hear the end of it? You wish me to make atragic story of it? Why, in the police reports of themorning paper you can find a dozen such tragedies;hints of shipwrecks unlike any that ever befell on thehigh seas; hints that here a power was lost to heaven,— that there a soul went down where no tide can ebb orflow. Commonplace enough the hints are, — jocosesometimes, done up in rhyme.”During his first days in jail, Wolfe “thinks of himselfwith a sorrowful pity, as of someone else.” Then onenight the moon makes a glow around the bench wherehe lies dead in his black, dripping blood.The only remaining proof of Wolfe’s thwartedenergies is one of his sculptures. It sits on a windowledge in the narrator’s house and everytime they tiethe curtains back it stares at her with its “hungryeyes.” She points another trembling finger at thereader saying “Why you tell me you have seen thatlook in the eyes of dumb brutes, — horses dying underthe lash. I know.”It is really only the title that is “Russian” or“manly” or “realist” because this isn’t so much anaccount of life in an iron mill as it is an excuse for R.H.Davis to howl her sermon. It is only the prospect of asudden outburst of bawling on the narrator’s part thatcompels one, sadistic, to keep on reading. AtlanticMonthly became more and more disappointed withR.H. Davis’ later work because she “assembled thegloom too depressingly.”Now, her work is so obscure that the Feminist Presshas felt obligated to accompany Life in the Iron MillsStudentDiscountModelCamera1342 E. 55th493-6700Most complete photoshop on South Side.A professionalABORTIONthat is safe,legal &inexpensivecan be set up on anoutpatient basis by callingThe Problem PregnancyEducational Service, Inc.215-722-536024 hours—7 daysfor professional, confidentialand raring help WITH YOU IN MINDA COLLEGIAL TELEVISION TALK SHOW"REACHING UP”With Rev. Arthur H. De KruyterWFLD-TV CHANNEL 32Each Saturday-Midnight (following movie)(See television guide for exact time)Each Sunday Morning-8:30 A.M.Hear your peers from various colleges and universities incollegial dialogue with a minister. Each student par¬ticipates equally with his colleagues, as well as theminister. No talking down to you. No "preaching at you."An open, frank discussion on contemporary subjects of interest to all-unrehearsed. All answers are honest...per¬suasive...candid.TV-CHRIST CHURCH OF OAK BROOK31st and York Road, Oak Brook, II. 60521TUNE IN TO CHANNEL 32Sponsored hv Christ Churr.h of Oak Brook CORSO CORNERGAY LIBERATION BUSINESS MEETING4:30 Sunday Feb. 11th in Ida Noyes.Graham Douglas and Brian Hlndburg will talkabout working in the Gay Movement inAustralia.Gay Women's Meeting 11 a.m.Sunday. Feb. 11th. Call 947-9780 orJudy at 324-4843 for informationGay People come to theMuddy Waters Dance with us SundayFeb. 11th Bartlett Gym, 8-12(Non-university people need to be guests)of people with a U.C ID card.)NOTICEThis space is available without charge for advertisementsof events sponsored by recognized student organization.Political and religious organizations are excluded,however.10 - The Chicago Maroon - Friday, February 9, 1973n Feminist Movement, Then and Nowwith a biographical interpretation by 1961 O’HenryShort Story award winner Tillie Olsen. This biographyis supposed to prove that R.H. Davis, a finishingschool graduate, experienced the same tragedy thatall the main characters in her stories experienced —that of having her artistic genius strangled by the re¬pressive social institutions of her day. She is therebyqualified to write about life in an iron mill that shemay have never entered.According to Olsen, R.H. Davis wrote with confi¬dence until she got married. Then, a slave to house¬hold chores, and shy before her journalist husband’ssilent scorn for literature, she began to doubt the sin¬cerity of her artistic inspiration. Instead of writing, shekept trying to convince herself that “to love and beloved” were what her real goals should be since shewas only a woman.Olsen describes the crabbing of R.H. Davis’ faceduring her married years to prove that her creativitywas indeed clogged. “There is a picture of Rebeccataken during this time. The hair is still severely partedin the middle, but now the luxuriant curls are stiff; theeyes, slits; the face clamped; the hands clampedtogether. She looks old, shrewd, grim, somehowformidable; not at all the ardent young womanwho . . .” etc. The reader will decide whether R.H.Davis was right or not when she began to doubt herabilities.Olsen says that all agree that Life in the Iron Millswas R.H. Davis’ best work. Even though, philo¬sophically speaking, R.H. Davis may have grosslyover-simplified the tragedy of Wolfe’s life in the mills,her other exaggerations are sometimes effectivestylistically. Alone, the narrator’s passionate rantingsare corny, but in the crude setting of this story theyseem sincere. The junkyard adjectives would also beclumsy alone, but here they create the irony that re¬lieves, somewhat, R.H. Davis’ biased account. Forexample, in one instance a church is “a somber gothicpile,” in another, flesh beneath a red shirt is “muddywith grease and ashes,” garden sunlight is “odorous,”and a face has a “heavy weight of brain.”In her notes at the back of her biography Olsen in¬forms us that she was browsing in a junkshop whenshe stumbled upon Life in the Iron Mills in a boundvolume of ancient Atlantic Monthlies. She neverimagined she’d be writing about its author, who hadinspired her so much, because the book had beenprinted anonymously. Now she has written thisbiography because the Feminist Press has asked her.She says “This is the result. I am not proud of it but Iam not ashamed of it either.” Possibly, she doesn’t feel quite right about makingher biography the excuse for R.H. Davis’ supposedartistic failures, even though she agrees that womenwere oppressed in 1861, and in many ways still are.If any respect is to be shown for R.H. Davis as anartist, and not just as a woman, as the feminists haveit, the biographical interpretation that accompaniesher work should be called “absolutely irrelevant.”It is indeed possible that oppressive malesupremacy caused R.H. Davis to suddenly doubt hertalents, but this should not influence the acceptance ofher art. With this reminder that a wall so puny as malechauvinism can bar a person from living up to her ownprivate ideal of the inspired individual, the FeministPress is saying that the girls who remain shiveringunder their raincoats like martyrs all their lives arejustified in doing so. A thirteen-year-old girl who looksfor an identity in this Feminist Press Reprint might bemore inspired if she read a book on animal behaviorinstead. At least she can emulate the shamelessclowning of the female chimpanzee, or the queenlysolitude of the female black widow spider. For thesefemales experience an exultation that no biographer,male chauvinist pig or pining female masochist, candeny.I’m Running Away From Home But I’m Not AllowedTo Cross The Street, a Primer on Women’s Liberationby Gabrielle Burton, with drawings by DianneFootlick. KNOW, Inc., $3.50.Should a woman who joins a women’s liberationgroup and then gets pregnant — for the fifth time — bedeprived of her Kate Millet signet ring? Would such awoman have the nerve then to write a book about herjourney to liberation? I guess she would. Someone hadto write a book that could be read in the bathtub, ifonly for all those other women with five kids, ahusband, and a single family dwelling, those womenwhose only time for reading may be in the bathtub oron the toilet.Any woman’s struggle for liberation has itshilarious moments interspersed among the anguish.Gabrielle Burton tells about the funny things and someof the anguish which even sounds funny in the coollight of day. And she takes off from her personal ex¬periences to discuss philosophically the Movementposition on the issues with which she is tangling.What Burton writes is funny, and the things she saysare true, but I can’t get over the feeling that the bookis amateurish and uneven. It is her first book and thefirst hardbound book KNOW, Inc, and I find it Captain and crew of “I’m Running Away FromHome But I’m Not Allowed to Cross theStreet. ”hard to publicly criticize a feminist book published bya feminist press. The author does state that she is notout to write a classic scholarly work, but a primer forthose who never got around to reading Friedan, Milletor Greer. If I were seeing these arguments for the firsttime, the freshness might make up for the lack ofstyle.Gabrielle Burton is not a half-hearted com¬promiser; she has made a lot of difficult read¬justments, and she hasn’t divorced her husband orabandoned her children in the process. She has justlearned, and has told us about the learning, that shehas a commitment to herself as important as hercommitment to them.So, this is no literary classic or revolutionary (interms of feminism, which is nonetheless revolutionaryby definition) tract, but if you haven’t read Friedan,Millet, or Greer, read this. And if you have a sisterwho lives in the suburbs, buy it for her. It will besomething to think about other than what will happennext week on the “soap operas.”A word about the printing and the illustrations: thepublisher, KNOW, Inc, claims that this is “the first all¬feminist produced and published hardback book." Itsnot bad for a first effort; I only wish it had not beenprinted in sans-serif type - a strain on the eyes formore than five minutes reading.I wish I could say that the illustrations by DianneFootlick are not bad, but I can’t. They are awful. Someof them might have some place in a children's book.None of them have any place in a book that glories inthe strength and character of women. The charactersin the pictures have oversized, soppy Keane eyes, andthe bodies have all the dynamism of the moppets onthose ubiquitous “I love you because...” posters. Oneparticularly disgusting illustration shows what areapparently supposed to be a man and a woman aboutto embark on life together as “liberated people." A“caution” traffic signal hangs above, a bewilderedmale moppet stands to the left, on the right a femalemoppet, with demurely downcast eyes, tentativelyreaches out toward him. For God’s sake, look him inthe eye!But there are only twelve illustrations and theirinsipidness has some value: if your oppressor picks upthe book, he’ll never tell from the style of theillustrations that this is a piece of subversiveliterature.Tonight, Doc Films presents Reefer Madness,perhaps the greatest film of the lieelt known Irishdirector, Mies O’Sen. O’sen’s graceful talent wasgiven little chance to express itself; he was forced toleave his native country after the failure of his epicfilm. Shillelagh Madness. Reefer Madness is one of histwo American films (the other is a rural comedy,Haystack Madness), and contains not only some of hisfinest camera work since Watermelon Madness(Austria, 1923), but also a dazzling bit of soft-shoedancing. Plus two (count ’em) Betty Boop cartoons. 7,8:30, and 10, in Cobb Hall for one skin.Sci Fi Films finally came up with a picture I knowfor Saturday. F.W. Murnau’s Nosferatu, a bootlegversion of Dracula, is one of the few horror films thatis genuinely horrifying. One particular shot of thevampire is a regular feature of my nightmares. 7 and9. Cobb. $1,Friday, February 9, 1973 - The Chicago Maroon - 1 1An event to save you money!SAVE $40 ON SUPERSCOPE’SFEATURE-PACKED RECEIVER!A great value on a beautifullydesigned Stereo FM/AM Re¬ceiver—the Superscope R-230—especially tailored for thebudget-minded music lover.More than exceeds its con¬servative specifications . . .provides clean power, high FMsensitivity, full input capabili¬ties. With walnut case. Reg. $139.0099»0 THE PLAYBACK 1500-SX ISA GREAT VALUE!A truly outstanding value among today's receiv¬ers. Has enough clean power (60 watts RMS) todrive the most demanding speaker systems, fea¬tures and over-all performance to satisfy anyaudio hobbyist. And to make it an even biggervalue, we’re Playback-pricing it even lower! $269.95 Two PLAYBACK 10"2-Way Speakers, Reg.$139.90 ... 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Theworks are Pelleas und Mellisande,conducted last week by DanielBarenboim, and Ode to Napolean,performed under the direction of ErichLeinsdorf.Pelleas und Mellisande is by far theearlier of the two works (1905 as op¬posed to 1936), and it is an extendedtonepoem scored for an enormous or¬chestra. The piece shows just how muchSchoenberg’s music is a directoutgrowth of the music of GustavMahler, whom Schoenberg held intremendous admiration during the firstMUSICdecade of this century. In fact, Pelleassounds like one imagines Mahler’s 12thSymphony might sound, if it had everbeen written. In Pelleas, all the resources of thepost-romantic orchestra are exploited.The work is full of virtuosic effects, theplay of tone color is maximized, and thepolyphonic relations are complex to apoint which strains the ability of thelistener to comprehend it all. Things areso complex that the only next logicalprogression is to the simple. Whichbrings us to the second Schoenbergwork.Ode to Napolean is a strange work forthe Chicago Symphony to perform. It isscored for string quartet, piano, andreciter, who, well, recites a poem byByron over the instrumental ac¬companiment in a sort of declamatorystyle not unlike Schoenberg’s famousSprechstimme, but even more un-melodic. The contrast with Pelleas interms of the sheer sound of the works isabout as extreme as one can find. Butthrough both works, one can still have avery traditional experience.Schoenberg’s basic attitude towardshis art was that of an intensifiedromanticism. His music is the ex¬ploration of inner states. The switchfrom post-romantic to atonal and thento serial music was not made on thebasis of a changed attitude towards therole of emotion and feeling in music, asit was in Stravinsky’s case. Stravinsky,in rejecting the post-romanticvocabulary, was rejecting a vision ofmusic as self-expression, as emotionalexperience. It was Stravinsky who said,“Musicians combine notes. That is all.”Schoenberg would never have accepted this attitude. Even his last work, theunfinished opera Moses und Aaron,which was performed by the CSO underSolti last season, is a transformedautobiography, dealing with the mostintense psychic states.No, the switch to serial music wasmade because the limits of what couldbe done with traditional symphonicmusic were being reached. The drivefor greater and greater complexity andsubtlety in harmony, in counterpoint, ininterlocking cross-rhythms, waspushing orchestral music beyond thepoint at which it could remain in¬telligible. A new discipline wasrequired, a new method and principle oforganization, a new mode of expression.Even in the late works of Mahler, thecomposer who culminated and endedthe German symphonic tradition,exhibit a search for a more aphoristic,compact, almost chamber music style,working with short melodic motifs thatbring him close to Debussy. It was leftto Schoenberg, however, to make theradical break. Late in his life,Schoenberg said, “Once, in the army, Iwas asked if I was the composer ArnoldSchoenberg. I replied that somebodyhad to be and nobody else wanted to be,so I took it on myself.”As to the performances themselves,Pelleas und Mellisande is just the typeof piece that one would associate withDaniel Barenboim. He kept it movingalong nicely, and kept it well balanced.The Chicago Symphony did the rest.The case of the Ode to Napolean was a bit more complex. To fill theauditorium, Leinsdorf’s voice as he didthe reciting of the poem had to beamplified. This distanced the voicefrom the rest of the instruments andbroke up the texture of the piece.Leinsdorf gave an effective reading ofthe text, but one problem I had was thathis voice sounds just like that of BelaLugosi in Dracula. This may have set upirrelevant associations for otherlisteners as well. The playing of theChicago Symphony String Quartet, andRalph Votapek, the pianist, was entirelysympathetic to Schoenberg’s idiom.It is the ability to obtain perspectiveon the creative span of a composer thatmakes the wisdom of Pierre Boulez’Retrospectives with the New YorkPhilharmonic so clear. Boulez isdevoting a good part of every seasonwith the Philharmonic to the work ofone or two composers (last year it wasFranz Liszt and Alban Berg), playingmost of their important music in thoseseasons.The Chicago Early Music Ensemble willperform on February 10 in Bond Chapel, at8:30 PM. The program, featuring chambermusic of the French and German Baroque,will include the Sonata in D for harpsichordand viola-da-gamba by J S Bach, a suite forthe viola-da-gamba and continuo by MarinMarais, trio sonatas by Telemann, Quantzand Marais, and a harpsichord suite by L.Couperin. Other instruments employed in theprogram will be the recorder, baroque flute,and treble viol. Admission free.ABSOLUTELY YOUR LAST CHANCE)On AWAY SPRINC BREAKSurray-rlda, photographflamingo*, taka a glass bot¬tom boat rida, fish for marlin,or watarsklonNASSAU CHARIER SPEND SPRING IN PARISMarch 17-March 26Air France$315 roundtripMarch 16-March 26Air Canada$135 roundtripGroup ratos at Una hotalsavalfoblo.LA PLAGNE GROUP FLIGHTMarch 17-March 26Air France$315 roundtripIndudas air faro, hotol ac¬comodations and lift tkkots.La Plogna Currawtly has 3144India* of pocfcod snow.lions «t a four star hotol, and two sight-TODAY IS THE LAST DAY TO SIGN UPUNIVERSITY OF CHICRGO CHARTER RIGHTS PROGRAMCall 753-35631t30to530er come to Mo Noyes Hell room 306 NEW YORK FILM CRITICS' AWARD:PICTURE"INGMAR BERGMAN'SCRESANDVWKRSANEW WORLD RUEASt (fijIDPLAYBOYTHEATERl?04 N Of CMOS* PmOM *44 14)4 ' aLearner’sPermit.Cliff's Notes help you under¬stand novels, plays andpoems. They repacked full of thekind of explana¬tion and interpre-tation you need tostudy and reviewefficiently. Cliff'sNotes: written byexperts who wantyou to get moreout of literaturethan just a grada.At your book tellers or send forFUSE list of more than 200 titles.Include 15Y and we ll send a handy,reusable, waterproof drawstringbook bag. Cliff's Notes. Inc., Lin¬coln. Nebr 68501Reefeay... we’re werlSne ee MDuring «e peel 14 reert Off,Note* net umV ever 2 400.000 toneef paper mew recycles pule¥1_CN-72-1Friday, February 9, 1973 - The Chicago Maroon -13Potpourri of Music Hits ChicagoALLMAN BROTHERSBy GAGE ANDREWSThe Allman Brothers are the onlyband that could entice me to endure theatrocious acoustics of the Ampithere. Inthe battle of the heavies - the finest g.d.band in the U.S. (alright, maybe theDead is a competitor ) vs. more echosand less fidelity than the Grand Canyon- the band lost. Any note of higherfrequencey than bass guitar wasreverbrated into oblivion. Withoutfurther discussion, the hall was lousy,and the band revealed a slightly new,and equally good, direction. The Am-pithetre won the Jan. 29th battle, butwill clearly lose the war.John Hammond opened the show withacoustic blues. He’s not too bad, in facthe’s a really good session man, but he’snot solo caliber. Maybe it was merelythat the crowd was noisy, bitchy andobnoxious, and didn’t give him achance. There was only a momentarylessening of the roar for his slide guitarwork (respect for Duane?), but it endedsoon and he looked glad to end too. Thecrowd might have paid more attentionto Hammond if they knew the Allman’sblues roots, but probably not.The Allman Brothers dedicated theirportion of the concert to Berry Oakley,and later played the Allman eulogy“Les Brers in A minor” for him. Theband started slow, however, warmingup. letting the crowd react to Williams,the new bassist, and Leavell on piano. Itwasn’t until ‘‘Statesboro Blues” thatthey took off and gave us a chance toevaluate their ability to jam withoutDuane and Berry.Instead of having Betts take Duane’slines (Betts being one of the fewguitarists who could handle them,seriously unheralded in his own right),Leavell began on piano. Keeping a firmboogie with his left hand, starting themelody with his right, ho quicklyreleased a display of inventive,coherent ability that showed almostfrightening sympathy to the recordedsolos by Duane.Leavell gradually worked his way outot that mold, and played his own music.His sense of rhythm, his strong com¬mand of the stage during his solo,revealed him as a musical strength whomight begin to fill Duane’s massive gap.He was playing the finest rock pianoI’ve heard; he never played like thiswith the Taylor family.Comments on other peoples’ playingseems almost superfluous. LamarWilliams is a bassist competent to playwith the Allmans - quite a compliment -but lacks the leadership that Oakleyhad. Betts, Greg Allman (who playedsome rhythm guitar, but mostly stuckto organ), Trucks and Johanson ondrums - all are of the highest claiber. Allthe favorites got played - “One WayOut”, “Stormy Monday”, a forty-minute “Mountain Jam”.They gave a good idea of what their upcoming album will deliver. “Ram¬blin’ Man” was shown on TV, will be onthe new album - it’s notable because Ididn’t miss Duane, I didn’t expect tohear his notes. Now the band has twoguitars, two keyboards, two sets ofdrums - the single star quality thatDuane gave is gone.Lester Bangs (that controversial self-parodying paragon of pop) recentlymade a perceptive observation aboutDuane Allman: that he was the onlyrock musician in the country who couldsolo as long as he wanted, never wastinga single note, never being anything butsuperb. Every member of the presentAllman band falls just below that level;the six-way interweaving of theirrespective abilities creates a wholeband about which you could say thesame thing.ROBBIE BASHOBy BEN HUANGThe term classical guitar is usuallyassociated with guiatrists like Segovia,John Williams, and Julian Bream whoplay a guitar with nylon treble strings.Seldom does one think of the acousticsteel string guitar or “folk” guitar as avehicle for profound musical ex¬pression. Not that there aren’t manyexcellent acoustic steel players, likeDoc Watson and Mississippi John Hurt;but they played the guitar mostly in thefolk-blues idiom and mainly as ac¬companiment to their songs. Recentlythere have been a group of innovativeguitarists who have adapted manyclassical guitar techniques to theacoustic steel-string guitar for theexpression of their complex musicalideas. The most famous of this groupare the guitarists from a small WestCoast label (Tacoma): Leo Kottke,John Fahey, and Robbie Basho.While Leo Kottke is still a bit folk-blues oriented, and uses folk songs asthe basis for his extended tone poems,Robbie Basho and John Fahey seem tohave broken away from thisbackground. Robbie Basho has movedin the direction of classical Indianmusic and John Fahey has moved to hisown amalgam of late Romantics; suchas Sibelius, and Messian, exploration ofmodal scales, and the many rhythmicpossibilities of the guitar.Robbie Basho first became interestedin classical Indian music about tenyears ago, around the same time hebegan exploring the spiritual andphilosophical aspects of Hinduism. Hisplaying last Saturday night at theAmazing Grace Coffeehouse inEvanston revealed his deep in¬volvement in both.His first piece was very classical.Reminiscent of some of Luis Milan’slute compositions, it is a stately anddiginified piece which he entitled “SilkyJane.” He then played a raga namedPavane Hindustani using many of theIndian techniques, such as playing puremelody against rhythm, with a tonal center or drone note taking the place ofharmony. After that he did a piecebased on sacred songs or “Vedas” ofancient India, and he accompanied theinstrumental with an American Indianchant. The man’s voice is reallyamazing, never strained and with awide range.He then played a piece which Ithought was the highlight of theevening. As Basho explained it, it wasan attempt to paint pictures withsounds. He wanted us to imagine a 12thcentury cathedral weathering a storm.It was a fantastic combination ofbeautiful melody, constantly shiftingrhythm, and variation of timbre. Ididn’t know anyone could bring out suchsounds from a guitar. During theplaying of the piece, many peoplearound me closed their eyes, joined tothe artist in a musical and spiritualbond, sharing a cathartic experience.At such times, occasionally missednotes, technical nit-picky points, andmusic theory really fade in to thebackground and one is elevated beyondtechnique .I was fortunate enough to talk toRobbie after the concert. He’s veryconsiderate and easy to talk to. Hethought that music is made up of twoparts: “melody’’ and “climbing themountain.” His music basically startsout with a melody, and “climbingthe mountain” comprises the im¬provisation on and development ofthat melody with rhythmic changes,tonal focus provided by a drone note,and his feelings at the moment. Soeach performance is a unique productof the above elements.Robbi Basho still considers his styleof guitar playing as not yet fullyrecognized and he’s working hard alongwith Kottke and Fahey to popularize it.He said that since “every culture hadtheir folk music and ended up withBach, it’s only logical that we shoulddevelop our own classical music fromour particular folk background.”I really enjoyed myself last Saturdaynight, and for those of you who are tiredof dull, high decible, and dumb-playing“guitarists”, go to the record store andcheck into Robbie Basho, John Fahey,or Leo Kottke. All three of them used torecord for Tacoma, but Fahey is withVanguard and Reprise now, and Kottkeis with Columbia. They are all worthwhile.ELVIN JONESBy LARRY FRISKEThe rhythm master himself, ElvinJones, headed up his quartet at JoeSegal’s Jazz Showcase last weekend inone of the jazz highlights of the youngnew year in Chicago.Beginning with his memorableassociation with John Coltrane in theGo’s, Elvin has come to be acclaimed asthe premier jazz percussionist of ourtime. He was again the winner of thelast International Jazz Critics Poll and regularly comes out on top in theirReader’s Poll. He especially enjoyshead-to-head competition at percussionsummit meetings, such as with GingerBaker in London, and recently withLouis Bellson and Art Blakey at theOakland Jazz Festival.The word on college night at the JazzShowcase has apparently spread. Anoverflow crowd with many turned awaywas on hand to catch the opening showThursday night. Grady Johnson, a localmusican filling in for David Liebman,on tenor and flute, was joined by Elvin’stwo excellent associates, SteveGrossman (who has played with MilesDavis on Live/Evil, on tenor andsoprano, and Cene t*erla, bass, whothough being hampered by a heavilybandaged finger, was an able supporterfor the band.Elvin gave the people what theywanted to hear in a rousing, full-of-vitality solo in the up-beat openingnumber. Johnson, who was somewhatunsure both of the arrangements andduring some of his theme statements,opened up this composition by Elvin’swife, Keiko, called “Truth,” with a solowhich gradually gathered momentumand brought a show of appreciationfrom the crowd.It was Grossman’s turn and helaunched into a short-phrased, quicklymoving tenor solo whcih brought ap¬plause even from his tenor sidemate,and Elvin finished it off with apulsating, contrasting poly-rhythmicspotlight which without a doubt con¬firmed the title of this piece.Although fumbling at first, GradyJohnson came on with a beautifulsounding flute to lead the group, backed(by Elvin’s forceful brushing, through acomforting and peaceful sound calledMy Ship, written by Garcia, aschoolmate of Perla’s at Berklee.Save the Children, with a light andsoothing theme, capped off the set andgave Grossman a brief chance todisplay his skills on soprano, blowing aseries of fast, long, high phrases, withJohnson returning to do a vigoroustenor spot.It was a most appreciative crowd andno one got up to leave after the shortfirst set. Overheard on the way out,“And I thought jazz was just for oldpeople.” Obviously not.FOLK DANCE ENTHUSIASTS,ATTENTION! LADO, the YugoslavNational Dance and Folk Ensemble willperform Sunday afternoon at 2:30 in theOpera House. Call 372-0566 for ticketprices.DANCE BUFFS: Maroon danceeditor, Nancy Moore, seeks poets,creative writers and dancers interestedin joining dance staff. Emphasis onimpressionistic rather than criticalwriting. Explore alternative methodsto dance criticism. Call 288-1988.SUMMER JOBSGuys & Gals needed for summeremployment at National ParksPrivate Camps. Dude Ranchesand Resorts throughout the nation Over 35.000 students aidedlast year For Free information onstudent assistance program sendself addressed STAMPED envelope to Opportunity Research,Dept SJO. 55 Flathead Drive,Kalispell, MT 59901,YOU MUST APPLY EARLY Study inGuadalajara, Mexicorully accredited, 20-year UNIVER-ilTY OF ARIZONA Guadalajaralummar School offor* July 2-Augu*tLI, anthropology, art, oducatlon,olklore, goography, history, gov-irnment, language and literature.Tuition $165; board and room $211.Write: International Programs, Uni-rerslty of Arizona, Tucson 85721. REGAL NOTESUNDERSTAND PLAYS, NOVELSAND POEMS FASTER WITHOUR NOTESWere new and were the biggest'Thousands ol topics reviewed forquicker understanding Our subjects indude not only English but Anthropology Art Black Studies EcologyEconomics Education History LawMusic, Philosophy Political SciencePsychology Religion Science Sociologyand Urban Problems Send $2 for yourcatalog of topics availableREGAL NOTES3150 O" Street N WWashington DC. 200007Telephone: 202 333 0201 TAKCAM-YKNCHINESEAMERICANRESTAURANTSprrt«luing inCANTONESE ANDAMERICAN DISHESOff N DAILYn A M. TO 8:30 P.M.SUNOAYS AND HOLIDAYS12 TO * 30 P MOrders to take out1318 East 63rd MU4 1062 © authorized sales & service312-mi 3-3113foreign car hospital & clinic, inc.* ^*^5424 south kimbark avenue • Chicago 60615Sci Fi Films presentsSat. Feb. 10 NOSFERATUwith Hal Pearl at the pianoCobb 7:00 & 90014 - The Chicago Maroon - Friday, February 9, 1973Reveal Variety Renoir’s PaintingsBy FREDERIC HORNPierre Auguste Renoir was a simple man. Thissimplicity, in fact, seems to have enabled him to paintsuccessful pictures for fifty years, without losing hisyouthful naivete. Intelligent, he was. Intellectual, hewas not. Ever since he began his painting career,under the training of a Paris academic painter namedGleyre, his artistic mind never seemed to resolve (andhence, stagnate) itself. Renoir’s fellow students atthat studio — Monet, Sisley, Bazille — all were ex¬ploring new, revolutionary methods of expression.Although they were receiving basic traditional,academic methods of form and draftsmanship, theatmosphere of incipient change must have kept theireyes open to paint differently than the past.For Renoir, these opposing beginnings — of anacademic style with the new revolutionary esprit-de-corps — kept his awareness of the problems of paint¬ing sharp. It seems, by looking at the largeretrospective exhibition now at the Art Institute, thatRenoir never in his entire career stopped consideringthe problems of painting. For his manner was alwayschanging.The extreme differences in Renoir’s style that thisexhibition reveals indicates he never quite un¬derstood, or was convinced, that one particularmanner of painting was justified. At times he doubtedthe actual validity he had for using a certain method ofform and structure often resulting in some depression.Somehow his intellectual orientation could notrationalize these doubts away. Apparently the resultof lack of resolve was simply a continuation of it.From our position eighty years later, however, thevisual results are not as disappointing as they mayhave been for Renoir personally at times. We canrecognize that what Matisse said rings very true forRenoir: “Naivete is the chief cause of every artist’ssufferings. It is also the source of anything good thatwe may do. Remember that. Study as hard as you like,but guard your naivete. It will be all you’ve got,someday.”, What results from naive interpretations of reality,in art, is new forms of expression. Because they arenew, and seen without any historical rooting, the artistmay quickly come to question what he has justcreated. After his initial attempts at academicpainting, represented at this show with themonumental The Clown or the small Return of aBoating Party, Renoir began to use new techniques,such as applying unmixed' paint directly onto thecanvas. But even in such a work as Boating Party,where the large amount of sky suggests the old masterDelacroix, Renoir nevertheless is experimenting inloose brushstroke and less rigid connections betweencolors.ARTLater, of course, Renoir expanded his method soloosely that he discovered very new ways of ex¬pressing the fleeting qualities of light. His mostfamous work, from this period and popularly labeledImpressionist, is the result of more than ten yearspractice with color and form. His first works werestructurally tight, with definite demarcations be¬tween form. In a piece like the famous The Rower’sLunch, Renoir has manipulated color and form into asubtle partnership, giving a soft and wispy look to thework. The distribution of light has become his primaryconcern.If, at this point, it cannot be said that Renoirdefinitely has a style, it nevertheless seems clear hehas a definite attitude. One quality of his characterthat is evident by showing a retrospect exhibition suchas this one, is that he did not paint to please arthistorians. Just when it seems that Renoir “finds”himself in a certain approach, as in his famed Im¬pressionist work, he will paint in a wholly changed “Judgement of Paris” - Renoir.manner. Many times we see him go back to rigid useof form and color, unlike Impressionist ambiguity. Aparticularly good example is the large canvas, TheAfternoon of the Children at Wargemont in whichRenoir paints a dining room scene, with a couch, atable and its ornately patterned and colored table¬cloth, together with two little girls and their mother.Renoir defines the space of the room quite carefully,and the colors, while abundant, are evenly positionedand ordered. Although this picture was done soon afterRenoir had basic reservations about his Impressionisttechniques, it still can serve to exemplify my point. Apainter, like all human beings, has different feelingsand responses on different days, at various hours. Aset manner of representing or expressing yourselfdenies this difference. Renoir, like all masters, wasnever stagnant in his style. For whatever reason,naivete or need for constantly new visual “food” forhis self, he continued to alter his modes of expressionuntil his death. By maintaining this attitude, he kepthis personal freedom.One particular aspect of Renoir’s work that in¬terests most people is his fascination with women.Some call his approach sentimental. Somechauvinistic. Whatever the term, it can be agreed thatthe real world, or at least the real visual world, wasnot being depicted. Women, for Renoir, were beautifulfor two visual reasons: they possessed admirableform, and, with his manipulation, could possess an airabout them that was noble without being schmaltzy.Renoir did not exploit women, at least negatively. Hemerely used them as exemplary subject matter tosuggest the glorious possibilities of life. A work likeJudgment of Paris, with it group of standing, plumpnudes, is not painted to depict life as we see it but lifeas we might feel it. The women are graceful andsensuous, and seem to be proud of that basic part oftheir existence.In art history, Renoir was the last of the great oldtradition. Yet his contribution to the Moderns, if notsignificant in structural or colorist innovation, still remains in his attitude towards the fundamental joy ofcolors and forms next to one another. Whether theyare ordered rigidly, as in the academic manner, orloosely as with the Impressionists, the validityremains. So even though Renoir created anatomicalimpossibilities in many of his figures, or manipulatedscale abruptly, we accept the only beauty, which issimply in the arrangement of paint itself.This important collection of Renoir’s work, maybethe last to ever be collected, will be exhibited throughApril 1.FOODMartingayle’s1820 N. Wells664-4562What can you say about a restaurant that tried? Notmuch, unfortunately. Martingayle’s does try, but itjust doesn’t come off.It looks like a nice place—long friendly bar, at¬tractive wooden booths, maritime decorations. Andthey seem to attract a modish clientele; a bit of 3rdAve. in Chicago. And the service is prompt, cheerful,even friendly. It’s just the food that leaves much to bedesired—indifferent lobster, mediocre frogs legs, so-so shrimp cocktail, etc., etc. It all came to about $16for two, including a too-sweet, white, house wine.The menu, as you’ve probably already guessed, ismostly marine life. In addition to the items mentionedabove they also serve crab, clams and squid, plus afew meat items, e.g., hamburgers.The muzak machine grinds out anything from SarahVaughn to The Who. And someone, in a fit of cutesey,has marked the bathroom doors “Bouys” and“Gulls.” It’s obvious that they’re trying, but you justcan’t eat atmosphere. -Howard M. IsaacsSunday Feb. 11. C.E.F. brings you Bergman'sTHE PASSION OF ANNACobb 7:00 & 9:15$1.00Friday, February 9, 1973 - The Chicago Maroon - 1 5RECORDSHollandThe Beach Boys(Brother/Reprise MS 2118)There are too many of you out therewho haven’t been listening to the BeachBoys these past few years. Surely youremember “Good Vibrations” andmaybe “Do It Again” and if you werereally paying attention, some of theirmore soulful singles like “Darlin’ ” and“I Can Hear Music.” The Beach Boysfour albums on Reprise have beenlargely ignored by their old audience,even though some of the main elementsin the BB’s style are still present. Thereis simply no match for their vocalgymnastics. Ten years later, the samefive members are still the focus of thegroup and they have all blossomed intogood writers and producers. In short,those Beach Boys, who were intimatelyassociated with the American teenageidentity, have matured (Maybe that’swhy they lost their following?).The major difference in their sound isdue to the fact that they have developedthe subleties which were beginning toappear in their music as early as 1965.They now represent a very smoothsound with a touch of rhythm and blues,verv subdued. This was suggested insome ot their lastest hit singles, “WildHoney” and “Darlin.’ ” Their soulfulside has been bolstered by the additionof South Africans Ricky Fataar andBlondie Chapin Blondie’s voice has aStevie Wonder nuance to it and onHolland he sings two leads. But thereare still plenty of good old harmoniesjust the way you remember them fromyears ago. “Calfornia” is veryreminiscent of their early music, with abass and vocals similar to “CaliforniaGirls.”On Holland. a surprising developmenttakes place, as the BB’s become storytellers, of all things. If you relax for awhile, you can hear on side one the threepart “California Saga,” which isguaranteed to give you a peaceful glow,an unbelievably realistic musicaldeletion of a steamboat (if you canimagine that), and “Sail on Sailor,”which ripples along nicely. Side twobegins with another soft story, “TheTrader” (by Carl), and continues with“Leaving This Town” which is sooooomellow and has a Moog solo that glides.“Only With You” is a soft ballad byDennis, thankfully not drowned by the syrup which submerged his two songson the last LP. Finally is “FunkyPretty,” another easy-going slowrocker, typical of many fine Beach Boyssongs before it.In all of these songs, the production isperfect and the sound is crystalline(twenty Dolby noise reduction unitswere used in the recording) as it hasbeen over the last four albums. Thelyrics, largely by Mike Love and JackRieley, their manager, have never beenas good as now.Holland is the most relaxing recordput out by the Beach Boys since Friendsin 1968 and by anybody else this side ofthe Mystic Moods Orchestra sinceforever. It’ll slow you right down.Available now at your local recorddealer, no prescription necessary.— Jay PollackCross CountryToni & Terry(Capitol ST-11137)Toni Brown and Terry Garthwaite are the instrumental, lyrical, vocal heart ofthe Joy of Cooking group. Some wherealong the line they decided to do somecountry material that just didn’t fit intothe band, so they left for Nashville.Tony may be gone permanently, as shehas obviously found a place for herselfoutside the band.When they got to Nashville, theyrounded up some people whose namesrarely appear on rock albums; exceptfor Charlie McCoy on harp. Theresultant music is not what I expected.Country music has had some weirdeffects on non-country music, but this isone of the most successful blendings interms of carrying country (admittedlydiluted) to the rock audience. Theplaying is unfaultable, with an un¬deniable country influence, but doesn’twang on the nerves that way thatCharlie Pride sometimes does.The key to this is Terry’s vocals. Anincredibly adaptative singer, perhaps the best female vocalist presently inrock, she sounds here like an astoundingcross of Janis Joplin and TammyWynette. While Toni can sing harmonyquite adequately, it is Terry who carriesthe day. She manages to make thecountry-ish lyrics—which, when theyare bad, are really bad—acceptable tonon-country ears, and a non-countrymarket.There have been several recent ef¬forts in rock to bring in the countryinfluence, generally creating - whensuccessful - what is called“ raditional”, rather than “country”,rock. This album is a successful andworthwhile effort in that direction.—Gage AndrewsJoe CockerJoe CockerA&M (SP 4368)Rumor had it that Joe Cocker was allwashed up. His new album proves howwrong everyone was. Cocker is strongerthan ever, and now he and ChrisStainton from the old grease band daysare composing the songs. They’vedisposed of their former eclectic habits,and their new resources are original.The first side includes “Pardon MeSir”, “High Time We Went”, “SheDon’t Mind”, and “Black Eyed Blues”---all of them Cocker originals and eachone is as fine as the next. Cocker’strademark is his coarse and strainedvoice, which is the driving force of theband, but now he’s got four “SanctifiedSisters” backing him. The result is asoul sound that’s twice as powerfulbecause of the female chorus. ViolaWills on “Do Right Woman” is as im¬pressive as Mary Clayton’s was on theStones’ “Gimme Shelter”. “Woman toWoman” is damn near the most soulfulcut that’s every been taped—the brasssection is right on time and controlled.The new rendition of Greg Allman’s“Midnight Rider” is notable, butchances are that you'd like the originalversion more.But the only problem with this recordis that there isn’t enough of it. A Cockerfan without it is like a Beethoven nutwithout the Ninth. And if you’ve nevercared for Cocker then now is the time tobegin. If nothing else you can dance tothis record, and these days, that’ssaying a lot.—Alex Vesselinovitch“I dreamed I was a pop singer without my Maiden form bra.”Ulfth All Your HeartThe FTD LoveBundle.You have a specialsomeone somewhere^whether it’s your mom1or your sweetheart,hoping you’ll remember^her with flowers onValentine’s Day.Send her the FTD®LoveBundle. Abright and beautifulbouquet of freshflowers in a special,container. Alldesigned with^February 14thft &in mind.Usually availablefor less than14*°*Find out how easy it is to send the right flowers the FTDway Drop in for your FREE Selection Guide. Whereveryou see the famous FTD symbol. (Or write FTD, 900West Lafayette, Detroit, Michigan, 48226.) Most FTDFlorists accept major credit cards.►Ar nr, •n4«!»«n<4A»* »-»;•» FTD sets hi; sprices. <t) 1973 Florists' Transworld Delivery Association.' 1 S'SWyttiWajSB'VfdtSbh4: ff o 9*0?(0U4t^ 1645 E. 55th St.Phone FA 4-1651 Chicago, 111.60615A smile...kind word...A gift for that special personPlants and Terrariumsfrom the Village Greenare a splendid way to sayHAPPY VALENTINE S DAYSpecial Sale--February 10-14-tfcTl/illaae•'"j£G,reen1465 East Hyde Park Blvd.(corner 51st & Harper)363-0151Open: Mon. - Fri. 11:00-7:00 p.m.Sat. & Sun. 10:00-5:00 p.m.Come in and browse. We ll have a smile,kind word and a gift for you.A gift wilt ba given for all purchasesover $2.00 HA V ILL'SRADIO, TELEVISION& HIGH FIDELITYSALES SERVICE & ACCESSORIES/.enilh — I’anaxunirMaxlvruurk — hi.II1361 E. 53rd, Chicago 8*15 • PL 2-780045 Years Serving Hyde Park9 AM - 9 PM 7 *>oy* A WeakHYDE PARK PIPE AND TOBACCO SHOf#1552 E. 53rd - under 1C tracks //All students get 10% off^ask for “Big Jim"PipesPipe Tobaccos tracks //xjImported CigarettesCigarsVOLKSWAGEN SOUTH SHOREAvrtioru.d VW Dm)*/ Op*n Doily—Cloied Sunday Phone'7234 S. Stony Island BUS-49001An Overview of the JoffreyBy LEONARD LAMBERGTuesday evening the Joffrey Balletbegan its two week residency at theAuditorium Theater with Movies, adance by Jerome Robbins. When itbegan, I knew that it was a ballet onlybecause the program said so, for it wasfar removed from the Nutcracker SuiteChicago sees at the Arie Crown everyChristmas. Movies not only had nostory, it had no music either.But it did have a movement pattern.At first, the 10 dancers stood roughly ina line, moving and making unrelatedgestures. Then a man in a purple shirtstarted acting differently. A rhythmhad begun, made by the dancers stepsand their breathing, and this mansuddenly stopped following it. Thisunexpected action affected the otherdancers as well. He had no reason forhis behavior other than that themovements demanded it. They hadacquired a sense of their own, and I wasable to understand them because theyoccurred in a logical sequence.As it continued, the dancers wentthrough more movements thatsuggested all the movements andgestures in life, NOT as an allegory to achessboard or anything, but just likeleading and following, courtship andbetrayal. Some were very unclear tome, but for the most part themovements justified themselveswithout need of a story or a score. Itcommunicated a feeling to where I hadnot thought a mode of communication,much less a dance, had existed. So is it adance? I suppose, but in the light of thislearning experience it becomes a mootpoint. Did you hear that, traditionfreaks? II is more important that awork communicate than that it berecognizable as a specific genre, even“revolutionary” works that com¬municate as if they were of the formwhose rules they deny. Like a dancewithout music.With this in mind, I was Kettantanz,which was choreographed fairlyrecently to music by Strauss andMaver. It had no plot, but was of a moreclassical nature: the woman dancerswere on their toes (a la pointe) and themen picked them up a lot. The moodwas quite different, the lighting (awooded scene) and the music left less tomy imagination, but the feelingremained that the dancers were ac¬tually talking to me through their art.Wednesday, I interviewed two of thedancers, Christine Uchida and HenryBerg. Both were born in Chicago:Christine made her debut with theJoffrey at the Auditorium one year ago;Henry has performed with variousballets, and on television since 1962, andhe danced in Moves and Kettentanz. Iasked him how he thought Movesrelated to its audience. First of all, hesaid, Jerome Robbins had thecapabilities of the specific dancers, not the audience, in mind when he did thechoreography in 1959. Furthermore,Henry, who has arranged some pieceshimself, feels that the dancer is theinstrument of the choreographer, andresponsible to him in performing thework. Thus, he said, he is conscious ofthe other dancers, but does not “let hisawareness go beyond the end of thestage.” Thus, the dance becomes a one¬way conversation.But the French poet Verlaine saidthat art “consists in being entirelyoneself”, and Nenry went on about hismental preparation before a dance. Hesays that to give a logical sequence tothe movements, he has to follow therhythms within him. This is easier in adance with a plot to give meaning to it,like Feast of Ashes, in which Henrydances the Monk. The dance is by Alvin Ailey (whose troupe will be at theAuditorium Feb. 23 and 24) and inspiredby a poem of Federico Lorca. It issimilar to the story of Romeo and Juliet,and also has a mother dominating twodaughters in love with the same man,along with heavy religious overtones.By relating to the story, the dancershave something in common to express.Henry is also in Trinity, a plotless dancewith a stirring rock score that seems tobe a contemporary statement ofreligious faith.In Moves there is neither plot normusic to relate to, and the dance relieson the dancers to relate to themselves interms of the movements of the dance.So, the meaning of Moves lies in thedancers being themselves, and that,says Henry, is the hardest of all.Because of the extra preparation,Dennis Wayne and Starr Danias in John Butler’s “After Eden. ” Photo by HerbertMigdoll. Moves is usually the first dance of theevening.Christine Uchida loves to dance “forthe moment”. She denies that a balletcan be either dated or classic, andenjoys dancing The Sacred Grove of Mt.Tamalpais for the freedom of ex¬pression that she finds in it. This dancerelates the sacred rites men havealways held with the concept ofrenewal: of life and of the earth. Thesetting is Marin County, California, andit has a symphonic-rock score by AlanRaph. Gerald Arpino’s choreography istechnically challenging, but allowsenough freedom for Christine to addressherself to the ambiguous theme in herown way.She does not feel constrained in fin¬ding her own style in the Joffrey. TheCompany is made up of as many dif¬ferent talents as heights, but it hasremained small enough not to haveeither cliques or superstars.The closest thing that the Joffrey hasto a company style is their power to“redefine” the dance before our eyes,even though it seems that the dancersthemselves disavow all definitions.Wednesday night I saw CharthelArthur, Diana Cartier, and PaulSutherland in The Lesson, which isbased on the play by Eugene Ionesco.Here the moves are not presented fortheir own sake, but for the charac¬terisation of an enthusiastic butcoquettish young student and arepressive, austere pianist whodominates a timid instructor. At first,the dance seems static; the dancersseem stuck in their characters. But, asit continues, we notice somethingfrightening in the girl’s advances andthe way the instructor moves awayfrom her, less and less each time. Youbegin to see why the pianist dominateshim; it is for him own good. In the playby Ionesco, the girl is more seductive;when the instructor loses his timidness,he rapes the girl instead of performingthe stylistic murder I saw. The dancershave been able to be more subtle thanthe play because so much of thecharacter can be described by the waythe dancers move. Consequently, theend is more effective: we learn what thelesson really is. Finally, a secondstudent arrives; we, knowing what is instore, watch with a completely differentattitude than before, though the dancingis exactly the same as in the beginning,before our learning experience.So, the Joffrey has shown how balletcan accentuate a play by Ionesco,something I had not dreamed possible:but it is possible, I saw it Wednesday...KIMBARKLIQUORSINE MERCHANTSOF THE FINESTIMPORTED ANDDOMESTIC WINESFeaturing pw direct imports,bringing bettor value to you)THE ONLY TME WINE SHOP IN HYDE PARK53RD KIMBARK LIQUORS, INC1214 E. 53rd St.53-Khnbarh Plaza NY 3-3355 DR. A. ZIMBLERDR. M. MASLOVoyi oidviwngtioosconNkI Iomosin theNow Hyde ParkShopping Cantor1510 E. 55th St.303-4363JAMESSCHULTECLEANERSCUSTOM QUAUTTCLEANING10% student discount1363 E. 53rd St.752-6933 MAROONPHOTOCONTESTELIZABETH GORDONHAIR DESIGNERS1620 E. 53rd St.288-2900St Gregory of NyssaLutheran Campus Parishwelcomes Dick Jorgen¬son to the Lutheran staffof the U. of C. at theFeast of the Trans¬figuration. TheGregorian plainsongmass M/ssa Orbis Fac¬tor will be celebratedSunday at 5757 S.University. 10:00 a.m. EYE EXAMINATIONSFASHION EYEWEARCONTACT LENSESDR. KURT ROSENBAUMOptoma trist(S3 Kimbaii Plaza)1200 East 53rd StreetHYdeJ>ark 3-837? LOSE 20 POUNDSIN TWO WEEKS!Famous US. Women Ski Team DietDuring the non-enow off seasonthe U-S. Women's Alpine Ski Teammembers go on the "Ski Team” dietto loae 20 pounds in two weeks.That’s right — 20 pounds in 14 days!The basis of the diet is chemical foodaction and was devised by a famousColorado physician especially for theU.S. Ski Team Normal energy ismaintained (very important!) whilereducing You keep “fuU” — nostarvation — because the diet is de¬signed that way' It's a diet that iseasy to follow whether you work,travel or stay at homeThis is. honestly, a fantasticallysuccessful diet. If it weren’t, the U.S.Women’s Ski Team wouldn't be permitted to use it! Right? So, giveyouiself the same break the U.S. SkiTeam gets. Lose weight the scientific,proven way. Even if you’ve tried allthe other diets, you owe it to your¬self to try the U.S. Women's SkiTeam Diet. That is, if you really dowant to loae 20 pounds in two weeks.Order today. Tear this out as areminder.Send only 12.00 ($2.25 for RushService) — cash is O.K. — to Infor¬mation Sources Co.. PO Boa 982.Dept. ST. Carpintens. Calif. 93013.Don’t order unless you aspect to lorn20 pounds in two weeks! Bacaaasthat’s what the Shi Team Mat will do!Friday, February 9, 1973 - Thp Chicago Maroon,t ,17New ContributionBy LEWIS RAMBOFreedom To Be: Experiencing andExpressing Your Total BeingEverett ShostromPrentice-Hall, Inc, $5.95Since World War II there has been anastonishing proliferation of bookswritten by psychologists andpsychiatrists who propose not only todiagnose and analyze the multiple ills ofmodern man, but also to offer directionsfor the improvement of man's situation.This form of secular “spiritualguidance’’ or “pastoral care” has and isbeing given, with varying degrees ofquality and value, by people like ErichFromm, Rollo May, Carl Rogers, ViktorFrankl, William Glasser, AbrahamMaslow, and Thomas Harris (author ofI’m Okay, You’re Okay). Most of theseauthors are advocates of third forcepsychology, most commonly called“humanistic” psychology, which is tobe contrasted with psychoanalysis andbehaviorism.Everett Shostrom’s new book,Freedom To Be is another contributionto this genre of “popular psychology.”Shostrom shares the basic assumptionsof humanistric psychology which in¬clude sharp and persistent criticisms ofthe presuppositions, theories, andmethods of Freudianism andbehaviorism (especially of B F Skin¬ner). More important, however, is thehumanistic psychologist’s willingnessto engage issues of vital human con¬cern, such as the blight ofmeaninglessness and alienation ex¬perienced in modern society. Shostromcontends that a combination of rigidsocial structures, prefabricated roles,and manipulating styles of in¬terpersonal relationships distort andconstrict, and therefore render unhappythe lives of many people.Shostrom’s solution is aimed at arenovation of destructive styles of life.“Actualization” of human potential,achieved through a creative integrationof the basic polarities of strength-weakness and anger-love, rather than mere survival is the keynote throughoutFreedom To Be. Each dimension ofthese poles is vital to a life that iscapable of relationships characterizedby interdependence, not dependencewhich is often parasitic andmanipulative, or independence which isoften destructive or egotistic. In¬ter dependence is possible only when aperson is willing to be fully himself inthe expression of his emotions, needs, ordesires. “An actualizing relationship,”writes Shostrom, “requires the powerand tenderness of eros, the un¬derstanding and vulnerability of em¬pathy, the assertiveness and related¬ness of friendship, and the respon¬sibility and receptivity of agape.” Inother words, for the actualizing personthe polarities of weakness, strength,love, and anger become transformedinto compassion, courage, caring, andassertion.Actualization theory, Shostrom avers,can be applied to psychotherapy, familyrelations, and even internationalrelations. Shostrom says, for instance,“I hypothesize that when anger-loveand strength-weakness are not ex¬pressed and permitted, then theybecome repressed and rigidified into ageneralized hostility. When hositlityaccumulates or is repressed suf¬ficiently, then it is projected onto‘enemies’ and developes into group vs.group war.”There are a few appealing, evenilluminating, ideas in this book. On thewhole, however, it is mostly areiteration of the slogans of the “humanpotential movement,” such as “(rustyour feelings,” “express your realself,” etc. Shostrom’s book lacks therichness and intellectual depth of RolloMay’s books, the awareness of thesocial and political dimension found inErich Fromm’s work, and an empathyfor human suffering and tragedy foundin Viktor Frankl’s writings. In short,Shostrom’s lucid style and the fewmoments of illumination cannotcompensate for a book that offers littleintellectual or emotional sustenance. to Pop PsychologyFRHDOM10 BEExperiencing and ExpressingYourTotal BeingBY EVERETT SHOSTROM, PhD.Author of Man, theManipulatorThe Collegium Musicum presentsCHICAGO EARLYMUSIC ENSEMBLEin a program ofChamber Music of theFrench and German BaroqueBond Chapel-Feb. 10th8:00 p.m. Admission FreeFREE LECTURESEVEN YOGASTENSION DEPRESSION LIBERATIONSRI NERODEVKNERABLE 85 YEAR OLD YOGACHARYAIDA NOYES HALLUNIVERSITY OF CHICAGOEVERYONE WELCOME I2,, EAST S*th STREETAUSPICES Of THE SOCIETY Of EASTERN CULTURE Wfe’re only half a world away.Come join us for less than half the usual price.New low round-trip air farefrom New York—only $450 direct toBombay or Delhi.50% reduction for students on alldomestic air and rail fares and re"duced group fares for bus travel.Your dollar is still worth a dollarin India. And India has always beena bargain.Our Youth Hostels and HolidayCamps also save you money!Naturally, you’re not thinking about visiting India simply to save money. It is another world half aworld away, and that intrigues you. Here’s a world of contrasts. A fascinating variety of races and cultures.Where the old and the new abide in surprising harmony. The rising cities throbbing w ith life. Old townsreflecting the pomp and majesty of Empires long past. The whispering peacefulness of the flatlands. Thelush, green jungles. The remote, snow-capped peaks. All this is India. More than 4000 years of it.What else?Our “Meet the People” program lets you visit with an Indian family. And we’ve another programthat introduces groups of visiting students to Indian students on their campuses. For complete details andmore information, see your Travel Agent. Or contact the Government of India Tourist Office. Mean¬while, send in the coupon for your free copy of our 52-page brochure. It brings India somewhat closer.Government of India Tourist Office,New York: 19 East 49th Street. Chicago: 201 North Michigan Avenue.San Francisco: 685 Market Street.Gentlemen: Please send me your free 52-page brochure about India.NameAddressCity State ZipSee India. It’s another world.21918 - The Chicago Maroon - Friday, February 9, 1973MAROON CLASSIFIED ADSSCENESINDOOR GARDENING SOCIETYFirst meeting Tues. Feb. 13, 8:30 p.m.Ida Noyes for green thumbs. Aims:plant trading, lectures, tours, exhibits- info, call 731 9115."Jewish Tradition & TechnologicalMan: Breakdown & Reevaluation."Talk by Rabbi Samuel E. Karff, SinaiCong. & lecturer UC Divinity School,at Hillel tonight at 8:30.George Stigler speak at SCAF mt inIda Noyes E. Lounge Feb. 13,5:00 p.m.The Coffee House is open every Fri.night Good folk and jazz music.Coffees, teas and goodies. 8 11:30 IdaNoyes Library. SOUTH >nORE COMMUNITYSERVICES 2343 E 71st St.See MONICA A. BLOCK667-2002 or 667-2004Cooperative for sale: You seldom savemoney like this! 2 bdrms, lbath, bale.,1st fir. Loc. 69th & Paxton. Immaculate. Near shopping & lake.Asking only $9860. Americus 798-5700.5500 S. SHORE DR. Urgent: Sitter wkdys morns 9:30 1:00Call 947 5515 days; 955 0984 evesBabysitter wanted: near campusM/ F c. 12 hrs wk flecible hours paydetails 667 3716 or 753 2878 Preferstudenf but others o.k.We need 4 people to recruit officeworkers, typists, clerks etc oncampus. Too pay plus bonus. Call BE86562 for details.SPACEE. South Shore, 2 rooms newlydecorated, 1 blk 1C, Stove, refrigerator721 8420.Roommate needed big place own roomgood stereo & location $65; 324 4146.Roomates wanted to sheare largeSouth Shore apt. Couple preferred.Singles O.K. On bus route. 643 5344.ROOM Kenwood home. Campus buslim. kitchen priv. Student only 285 3673Attractive room for rent free use oflibrary and color T.V. A great deal.Located on campus 753 22972 rms 3rd fl. private home 58th andBlackstone. Ideal for student, respondc/ 0 Box 100, the Maroon.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.Sublet avail immed. 5313 Harper. 5rmand bale, in friendly ctyd bldg, lots oflight and space. 1C, campus bus. 6678278 anytime.CHICAGO BEACH HOTEL BEAUTIFUL FURNISHED APARTMENTS.Near beach, parks, I.C. trains 11 min.to loop U of C and downtown loop busesat door. Modest daily weekly monthlyrates. 24 hr desk. Complete hotel services 5100 S. Cornell Ave. DO 3 2400.TENANT REFERRALREASONABLE RENTALSDESIRABLE APARTMENTS furn.and unfurn.LAKE FRONT COMMUNITY FLAMINGO ON THE LAKEHappy with your roomate? See us. Wehave the apt for you.Studio 1 bdrm furn unfurn. Shortterm leases the price is right. Campusbus 2 blocks.Security shops elevator restaurant-Parking 24 hour switchboard.Mrs. Adelman 752-3800.PEOPLE FOR SALEExperienced University typist will doletter-perfect typing. Call 955 8721evenings.Local moving, light hauling and trashremoval 924 3560Tax consulant will help prepare yourtax return. Call 731 9636.Portraits 4 four $4.00 up MaynardStudio, 1459 E. 53 2nd floor 643 4083TYPIST exp. 752 8119, after 6:00 pm.Experienced manuscript typing onIBM Selectric 378 5774.PEOPLE WANTEDSingers wanted to perform goodJewish Israeli & liturgical music andjoin a chorale patterned after NewYork City's ZAMIR Rehersals Mon.evenings Flyers & informationavailable at Hillel; or contact NeilLevine 432 6360, or Toby at 752 2166.Mature dependable person wanted tocare for young child in my home.Daytime hours. Call 752 1427.Warded: Maroon Sports writers.Generous personal rewards. Call 7533269 days.Maroon Dance Editor, Nancy Moore,seeks poets, creative writers anddancers interested in joining danceStaff. Call 288 1988.Maid $2.15/ hr 4 to 5 hrs/ wk Call 7533444 Ask for Peter, Joan or Joe. FOR SALENikkor 28mm f3.5 lens Ex. cond. $90.288 7348.Piano. Console. $500. MI3-0583 p.m.Good, dry Wisconsin oak $15-$17 per1/ 4 ton. Upstairs and basementdeliveries. 924 3560 , 4845 S. Kenwood.Dorado Folk Guitar flawless cond. $80.Call 947 0950.Marantz, Sansui, Pioneer, KLH, Dual,BSR, Sony and many others areavailable at the lowest pricesanywhere when you speak to Jan at262 3503.1964 volvo 544, rebuilt engine and frontend. 561 3712 asking $400.WANTEDUsed Gibson Les Paul good to verycondition only Call HY3-0623.Need cheap, used slide projector ingood condition. Call Don 493-0326.LOSTA bird-lt. grey Cockatiel, 10" long, 5"high-orange cheek patches. Reward.Call 324-1727 with information.DOG LOST small white shaggy malecockapoo Hyde Park 1/ 12/ 73 HY39600 x663 "Christopher ' $100 Reward!FOUNDPUPPY: Small blond male with collar& leash near 56th & Kenwood. CallD03-3612.BUSINESS MAJORSHow would like the enviable position ofconsultant, right after graduation;with the Peace Corps or VISTA, partsof ACTION, you'll be the leader, theproblem solver in getting newbusinesses on their feet in 57 countriesand all over the U.S. If this challengeis for you see the recruiters at the U ofHouseofGandhi1457 E. 53 rd St.643-1100Protect your health & start the day rightnatural food storeFood Information CenterNatural VitaminsWhole GrainProduce Body CleanserCheeseFresh Organic 8oz.\mrOrange Juice350offer good 8 to 11 am daily 1(■ o m C Placement Office, Feb. 12 14 or atthe G.S.B Feb. 21 & 22.HEALTH & SOC.A child with pneumonia in theemerging nations of the world has only30% as much chance of recovering asdoes a child in America. And in someparts of this country, that isn't toogood either. Peace Corps and VISTA,parts of ACTION, provide medicalvolunteers and social servicesvolunteers for projects in 57 countriesand 49 states to help that child. If youhave a major in nursing or medicaltechnology, social work or sociology,we need you for a year or two. See therecruiters at the U of C PlacementOffice, Feb. 12-14.HOUSE SALEClothes, household goods, etc. Feb. 1011, 10am-5pm 5658 S. BlackstoneSPEECHPERCEPTIONEXPERIMENTStudents and Staff; Participate in anexperiment on speech perception 4hours of listening (2 sessions). $2.00per hour. Call 3 4714 for app.ISRAEL NOWCome find out about work or studyprograms in Israel. Both for thesummer and the year. Informationwill also be available on permanentsettlement. Sun. Feb. 18, 1:30 Hillel. EDUCATION MAJORSHave you ever thought of teachingwhere the kids fight to go to school,instead of fighting to stay out? ThePeace Corps and VISTA, parts ofACTION, have projects in 57 countriesand all over the U.S. where those kidsexist. It makes teaching fun. We canuse you if you have a specialty in Mathand Science, French, Liberal Arts, orChemistry. See the recruiters at the Uof C Placement Office Feb. 12-14.BAGELS & LOXSunday, 11 a.m. at Hillel $1NOSFERATUMurnau's vampire stands alone as themost repugnant and loathsome figureto be encountered in film.NOSFERATU Sci Fi Films, Cobb Sat.7:00 8. 9:00IPIRGThe Illinois Public Interest ResearchGroup means action for a change Tolearn more about IPIRG come to IdaNoyes, 2nd floor, Mon. or Tues., Feb.12 8, 13, between 7:00 8, 11:00 pm orcall 947 8659.PLAY TENNISSLEEP LABSUBJECTS WANTED FOR SLEEPSTUDIES BOTH GOOD AND POORSLEEPERS. FEMALES ONLY. $10PER NIGHT. APPLY IN PERSON TO5741 DREX^|. ROOM 302, M-F, 9 5ONLY.RECORDSHelp save a group and the person youlove. Wilderness Road "Sold forPrevention of Disease Only" StudentRecord Co op.Solti and C.S.O. interpretsBeethoven's 9th. $5.50 Student RecordCo op. Play tennis rain or shine. South SideRacquet Club, 1410 Sibley Blvd.,Dolton, 147 and Calumet Exp. VI91235.REFRIGERATORRENTALMini frige: Pennies a day. Billedmonthly. Call Swan Rental 721 4400.GAY LIBERATIONGAY SEMINARIANS interested inrap/ support group. Contact JackYoakam 5757 S. University, Chicago60637 for further info. Next meetingwill be Wed. Feb. 14, at 8 p.m.LOST$100 REWARD for return of lostdog,small white shaggy cockapoo.Answers to Christopher. HY 3 9600x662. WINTER ART FOR .THE QUADRANGLEThe prize of $25 if being offered for thebest idea for a sculpture, happening,or mixed media work to take place inthe Quadrangle. Entries will be judgedon how effectively they offset winter"greyness" and the feasibility ofconstruction or performance Entriesshould be in the form of a writtendescription, sketch, or whatever elsewould make the idea understandableto the judges. All entries. All entriesshould be brought to the BergmanGallery (Cobb 418) before 2 pm, Feb.9, 1973. Judges will examine the plansand a winner will be announced thefollowing Tuesday. The winning entrywill be constructed on the quads assoon as possible thereafter. For moreinfo, call 753 4137. Sponsored by SAOand the Bergman Gallery.PERSONALSColor Documentary Film on SriChinmoy, daily life of Indianspiritual master. Music by JohnMcLaughlin. Feb 9, Northwestern U.,Parkes Hall Room 122, 7:30 p.m.Jeff! Come to the waterhole with us onalternate Thursdays! We have a sixpack for the lounge. Liz 8, Joan.Georgie was a lover, he had no sins,Chris was a bitch, but she knew how toquim, Walking down the sidewalk, seeold friends with my eyes, Jesus Christ,Goddamm it all I think I'm going todie. Rocks off at the Student RecordCo op.Hal Pearl will be playing at Nosferat,a vampire movieof epic stature. Sci FiFilms Cobb Sat 10, 7 8. 9.WRITERS WORKSHOP (PL 2 8377).We need people to play in the CoffeeHouse Call Debbie 753 3444. (DU).Pregnancy testing Sat. 10 4 Bring AMurine sample 5500 Woodlawn (inback).Vronsky: Please call a very sick andvery sorry Anna in Evanston. Thetrain is nearing the station.NATIONAL ORGANIZATION FORWOMEN is collecting evidence ofUNIVERSITY SEXDISCRIMINATION call 955 3347 foradvice or help.I—PIZZAPLATTER1460 E. 53rdMl 3-2800FAST DELIVERYAND PICKUP 1 Contemporary Chamber Players presentPEBBRAWOOD . violinRICHARD BOLDREY at the pianoFRIDAY • FEBRUARY 9 • 8:30 P.M.MANDEL HALLAdmission is free and open to the public40% Offat''Across from the Co-Op?'THIS WEEK!New Mahsmhnu OrchestraJudy Collins’ New AlbumWatts Stax Lite Coacert FRESH FISH & SEAFOOD732-2S70, 752-SI SO, 343-91*4 -13401. SMK AT SA R0S p u a e m a < y,mc• Complete Prescription Needs• Prompt Delivery Service1521 E. 53rd ST. Phone 288-8700The University of ChicagoCLUB FOR RESPONSIBLE INDIVIDUALISMpresents the first of a series of lectures for Winter1973"New Directions of American Economic Policy"tv THE FUTURE OF EA$T-WE$T TRADE"By Professor Arthur Shenfield-Director, InternationalInstitute for Economic Research.8:00 p.m.Friday, February 9, 1973 Admission FreeSoc. Sci. 122Friday, February 9, 1973 - The Chicago Maroon - 19i r( t v'fH'Co' /coh3 - iico'fiM oijddmOop"1*• 3fAN UNUSUAL IMPORTEDWe have acquired the stock of a glasswarehouse at sensational values. 20 different: ‘ Hsizes and shapes of hand made glass are 1priced comparable to the cost of machinemade glasses. These beautifully shaped andstyled glasses start at $9.60 per dozen or $1■ j jeach.^ :This sale merits your immediate attentionbecause you will never again buy this finequality at such terrific prices. Since quantitiesare limited and can not be re-ordered wesuggest early shopping.