MaroonThe University of Chicago Friday, April 13, 1973Psychology shakeup and new NCDcourse highlight curriculum moveslicagoNumerous problems hitInternational HouseBy USA CAPELLThe College Council approved two new un¬dergraduate programs and a new course offeringWednesday. Religion and the Humanities will replaceHistory and Philosophy of Religion in the newcollegiate division (NCD), and human behavior andinstitutions will replace the present programs inpsychology and human development.Along with these programs, the Politics, Rhetoric,Economics, and Law (PREL), a new NCD option, willbe offered to students beginning next fall.According to Norman Bradburn, social sciencescollegiate division master, “What we are trying to dois to provide a structure which allows the College to beindependent but not separate. It is an organizationalstructure within the college which allows, encourages,and attracts people to do things they can’t normally doin departments.’’Charles Wegener, master of the NCD, elaborated by pointing out that the Religion and the Humanities, andPREL programs “involve professional schoolfaculties. We have constructed faculty groupingswhich involve them and puts them together in theCollege.’’The most anxiously anticipated change is thereorganization of the undergraduate psychologyprogram. According to a release issued by the masterof the social sciences, the new program “provides thestudent with a general introduction to human behaviorin individuals and groups, and to the functioning ofevents as they actually occur in everyday life.”The program, though freer in course selection, has adefinite internal organization. It is composed ofvarious substantive areas, or broad topics for study.Within each area there will be courses representingthree levels of analysis of the phenomenon underconsideration; biological, psychological, and theinteraction of persons in groups, and the effect onthem of institutions. The course structure consists of five ‘core courses’in a substantive area, at least one at each of the threelevels, two method courses, one of which is statistics,one integrative seminar, and three electives.“The program is not going to be a limited numberprogram like Public Affairs or PREL; there is noformal application. It will also not be like the presentpsychology department where the requirements arefairly strict and one could go through the programswithout ever talking to a faculty member,” saidBradburn.“The program”, Bradburn continued,” is in bet¬ween. It has more flexibility in terms of courses thatcan meet certain requirements and to guide studentsthrough, in that the student needs to be attached to afaculty member.” This will be accomplished byhaving a student interested in a substantive areareferred to the particular faculty who have agreed toadvise students in that area. continued on page sixBy JANET TERRELL andROBIN PRINCE“In the planning of Chicago’s In¬ternational House (I House)... therewas one principal desire—that ofproducing a desirable home for thestudents who come from all countries tostudy in Chicago.’’This is the stated goal of the founders ofChicago’s International House in the 1935 IHouse yearbook. There are presentlyvarying opinions as to whether or not I-Houseis fulfilling the desire of its founders.In 19351-House had a magnificent buildingwith beautiful architecture. Its interior wasequally as beautiful if not more so. Thefurnishings in the main lounge wereauthentic replicas of late 17th and early 18thcentury furniture. There were hand-embroidered curtains as well as a fewPersian jars and old Chinese lamps.Over the years the exterior of I-Houseremains unchanged. Unfortunately, thebeautiful interior is no longer filled with finefurnishings as were exhibited in the 1935yearbook. The main lounge is dark andgloomy. The furnishings are old and show toomany signs of wear and tear. The upholsteryof many of the couches and chairs is dirty.I-HOUSE: Troubled residence belied bypeaceful facade. Photo by Sue Lyon. The long halls leading to the rooms are verypoorly lit so that a general atmosphere ofgloom prevails in the HouseIt is into this dismal atmosphere that thenew foreign student enters InternationalHouse is often the foreign student’s firstplace to live in America as well as theUniversity. This gloomy place is to be hisnew homeOne student described his first minutes at I-House. He entered I-House. walked to thefront desk where he told the clerk his name.She handed him his key and gave himdirections to his room There is no one toofficially greet newlv-arriving students, todirect them through I-House. the city, orprovide any basic information about theUniversity. He or she is alonePresently, there is not the interactionamong foreign students of various countriesthat one might expect. Mr Vernon Petro. isdirector of the International Houseassociation, an alumni organization whichprovides activities for foreign students as ascholarship program for these students.Petro stated. “There’s been a lack ofactivities with foreign students in mind inrecent years because they’ve discontinuedsome programs such as I-House day andsome festivals related to foreign students.They have more programs that are of con¬cern to American students (and) not relatedto foreign students and their interests toomuch ” Americans are running many of theprograms and house organizations. Mr Petrodescribed the IHA as focussing theirprograms on the foreign students, howevereveryone is invited to take partOften foreign students come to I-House,join groups of students from their owncountries. Foreign students look to thesegroups for advice as well as social activities.Although these organizations are generallyhelpful. Christine Schnusenberg, presentpresident of the International StudentSociety, stated: “Often the foreign studentsbecome involved in their own group and theystay involved with it.” The ISS is trying toget students of various countries to interactwith each other, listen to some of theircomplaints, and bring these complaintsbefore those people who can help makechanges.Ms Schnusenberg also pointed to reasonsfor the lack of success of some house ac¬tivities She described some fall quarterparties as a “conglomeration of bodies ”Presently I-House has sherry hours whichcontinued on page three Charles Wegener, master of the New Collegiate Division.Warner Wick, Humanities Collegiate Division master.IMPULSE40% OFF ‘S’* NOW *3”WESTMINSTER GOLD3 FOR ‘500CHARGEWITH BankAmericardQJ&iCL*OtOea, RECORDSOPEN SUNDAY 12 TO HYDE PARK1444 E. 57thMU 4-15055 I2-lhe Chicago Maroorvf-riday, Aprii 13, 1973Drive for truth-in-advertising praisedBy DAVID SOBELSOHN“Truth in Advertising” was the topic of alecture Tuesday by UC law professorRichard Posner. Posner, a former memberof the Federal Trade Commission (FTCO,was chosen first speaker in a new businessschool lecture series underwritten by In¬ternational Telephone and Telegraph cor¬poration (ITT).After being introduced by business schooldean Sidney Davidson and ITT vice-president Edward J Gerrity, Posnerreviewed the FTC’s history, beginning withthe Federal Trade Commission Act of 1914, toits present situation as the public’s protec¬tion against unscrupulous advertisers.The original purpose of the FTC, Posnerfelt, was to help implement the ShermanAnti-Trust Act, but from the first, theFTC concerned itself more with advertisingthan with monopoly. He explained two mainreasons for this situation. First, the FTCreceived more complaints regarding falseadvertising than it did concerning anti trustlaw violations. Secondly, deceptive ad¬vertising cases are much easier to prosecutesuccessfully than anti-trust cases.From the beginning, the FTC responded topressures from special interest groups. TheFTC first considered cases of label en¬ forcement Pressure from labor unions laterforced the FTC to require sellers of foreign-made products to label their products withthe country of manufacture. Posner notedthat the FTC serves to protect an establishedseller from competition from new suppliers,especially suppliers of substitutes, even incases where there is little chance of falseadvertising.In order to minimize the effects of judicialreview of its actions, the FTC establishedtwo rules. First was the “Fool Standard”,stipulating that determining of the presenceof any false advertising shall be its presumedeffect on the “stupidest consumer.”Second was placing the determination ofmisleading advertising under the judgmentand absolute discretion of the FTC com¬missioners. Acceptance of these two rules bythe courts made the reversal of an FTCruling almost impossible.The early 1960’s saw a transformation inthe spirit of the FTC. Under CommissionerPhilip Ellman, the FTC took the initiative onfalse advertising. Although the famous 1964rule forcing cigarette companies to warnconsumers of the dangers of cigarettes waseventually nullified by Congress, this rule setsome important precedents for the FTC. TheFTC now needed only an informal hearing torule, rather than a full trial, as in the past.Moves to foster groupcommunication detailedcontinued from page oneprovide for a little more interaction, howeverit is difficult to get all the residents togetherfor activities.Still another foreign student pointed tolanguage problems of the students of dif¬ferent countries as well as the shyness of newstudents. One Korean student said she was soshy at first that she ran to her room everyday and shut the door.Bernard 0 Brown, associate director of I-House, stated that there was a good turn-outof foreigners in regular house activities suchas folk-dancing, house movies, etc. He notedthat often foreign students prefer to socializeand feel more comfortable among people oftheir own country. As far as the problemsforeign students might encounter whileliving in I-House are concerned, Brown saidhe was available for discussion at all times.Schnusenberg pointed to the problem offoreign students discussing problems withBrown and International House directorDavid G Utley. Students are often shy andmany times they feel their requests will notbe acted upon or perhaps their requests willbe ignored. Those students who do go to seethe acministrators about problems don’treflect the problems of foreign students ingeneral. Neither does the House Council,which supposedly discussed plans withadministration representatives. Americanstudents comprise a majority of the Council.Mr Petro, Ms Schnusenberg, and MrJames Lanfield, the new president of I-HouseCouncil, look to the future with the hope ofchange of in the social situation and asolution to those problems that plague I-House. Lanfield feels he has helped to bring about some immediate changes and he hopesthat his term in office will see an end of theproblem of lack of social interaction amongstudents.For example, he described a Chinese nightthat took place winter quarter as being atremendous success. The residents of I-House were exposed to Chinese food, song,and dance This allowed them to see a little ofChinese cultureMore cultural nights are being planned forthis quarter. Presently, there are plans for aFrench night and possibly Greek. Latin, andAfrican nights.There are also plans for discussion nightswhere various members of the faculty cancome and discuss their field with interestedstudents. This will provide opportunities forthe students to become better acquaintedwith the University faculty.Lanfield agreed that House Council waslacking foreign student members andtherefore there are problems in gettingfeedback on various plans He also saw theneed for a resident counselor to answerforeign students' questions Schnusenbergthought the idea of a resident counselor agood one but she felt a foreign student ad¬visory committee would also be helpful. Thiscommittee could deal specifically with theproblems of foreign students and serve toadvise them when necessary.Although these are possible long-rangegoals, problems still remain at I-House forthe foreign student, and not only theproblems discussed in this article. Suchproblems as I-House security, the actionbeing discussed to bring about change andthe possibilities for that change to occur willbe examined in a coming Maroon article. This provided an easy shortcut to findingdeception. In addition, the idea of correctiveadvertising as a weapon against deceptionwas tested. Previously, the only weapon wasthe forced cessation of the advertising atfault. Posner noted that, unfortunately, thispermitted the effects of the deception to“linger on”, and showed a necessity for“correction”.In 1970, Miles Kirkpatrick was appointedas chairman of the FTC. Four developmentsensued. “Trade regulation rule procedure”was put into effect. Now, rather than needingtrial-like hearings to rule on individualcases, the FTC could set industry-widestandards. Furthermore, the FTC shiftedemphasis from the prevention of misleadingadvertising to the promotion of more in¬formative advertising. Thirdly, the newprinciple that a company must be able toprove its advertising claims was de¬veloped. Fourthly, in terms of correctiveadvertising, retractions have become morecommon than ever before.Posner saw the recent developments in theFTC as part of a general legislative andadministrative movement He called it an“extension of the Ralph Nader consumerprotection movement” and pointed out themany parallels in other branches of thefederal government.Posner decided that the trade regulationrule procedure change and the institution ofcorrective advertising were both im¬provements. He attacked trial-typeproceedings as “costly charades” and thussaw no principal objection to theirelimination. He called for even greaterpunitive power for the FTC than simply theinstitution of corrective advertisingprocedures, at the same time agreeing thatcorrective advertising is better than nothing.When the FTC’s only punitive power was theability to force discontinuation, a firm had noincentive to comply, and thus could violateFTC rulings until it was caught. Now, a firmcontemplating violation must consider thepossibility of having to advertise againstitself as a result.Posner saw the other two developments aspresenting more problems. The requirement that companies must be able to prove theirclaims, Posner thought, would conflict withthe aim of the commission to increase theinformation flow from producer to con¬sumer By making the communication ofinformation in advertising more costly, theinformation content of the advertisingmessage would drop Posner pointed out thatnot all advertising claims can be cheaplyprovenHowever, Posner decided to reserve finaljudgment on the significant new develop¬ment in FTC advertisement regulation in thelast four years First, the professor said, hewanted to determine whether these newdevelopments signalled a temporary orpermanent change of course, and, if per¬manent, where this new course was leadingPosner thought it unfortunate thatgovernment agencies don’t have a greaterliability for their mistakes He felt that theyshould be liable under tort law and saw analarming double standard in certaingovernment agenciesDuring questioning Posner reiterated hisbelief that corrective advertising wasmerely a second best solution to imposingpunitive fines and cited the case of WonderBread which actually impressed the con¬sumer with its honesty by printing aretraction of an advertising claim’Posner spoke of one of the more amusingcases of his career A dance studio includedin its advertising a “checklist” whichcompared it with other dancing studios on avariety of features. One of the features usedto promote this studio was that it “operatesunder the regulation of a governmentagency” while its competitor did not. Whatwas in fact the case was that this dancestudio had been caught by the FTC. while theothers had notThe next lecture, on “The EconomicValues of Advertising”, will be given onTuesday, April 24, in the law schoolauditorium, by Phillip Nelson, associateprofessor of economics of the StateUniversity of New York at BinghamtonTickets may be obtained by writing to theconference office of the graduate school ofbusiness.CALENDARFriday, April 13LECTURE: "The Oresteia as Theodicy" by Robert Vaccafrom the committee on social thought, Soc Sci 302, 4 p.m.CONCERT: Chicago Early Music Ensemble, Renaissancemusic with period instruments, Bond Chapel, 8.30 p.m.SHERRY HOUR: History sherry hour, seocial science tearoom, second floor, 4 p.m.COLLOQUIUM: G Brant Foote of the National Center forAtmospheric Research, "Thunderstorm InvestigationsCarried Out During the 1972 Field Season of the NationalHail Research Experiment," Auditorium, Hinds 101, 3:30p.m.FILM: "Number One" by Hale Aust, second floor eastlounge, Ida Noyes, 8 p.m.FILM: Doc presents "Seventh Seal," 7:15 and 9:30 p.m.,Cobb.CONCERT: Contemproary chamber players, Mandel hall,free, 8:30 p.m. Hyde Park Boulevard, SI, 8 p.m.FILM 2: "Notorious", starring Cary Grant and IngridBergman, Imperial room of the Del Prado Hotel, 53d andHyde Park, $1.50, students $1, 8:15 p.m.FILM: "Klute", CEF, Cobb, 7 and 9:15 p.m.Sunday, April 15Saturday, April 14PLAY: "Yenta Babuska's Gargantuan Magic Circus",University Theater HPKCC fantasy festival, Mandel Hall,$1.25, 11 a.m.CONCERT: "Kalaparusha Difda and The Light" presentedby the Chicago Front for Jazz, Ida Noyes library, $2 or $1.50with ID, 8 p.m.FILM: "Siege", sponsored by Hillel and Rodfei Zedek, 5200 LECTURE: "Genera! Relativity and its Place inAstronomy", S. Chandrasekhar, Woodward Court, 8 p.m.SEMINAR: Buddhism", International Student Society,Ida Noyes library, 7:30 p.m.DANCING: Internation Folkdancing, Ida Noyes, 50c, 8 p.mFILM: "Anand", India Association, Mandel, $1.25, 7:30p.m.LECTURE: "Legal problems in defining sexual equality",Indiana law prof Julius Getman, B J law lounge, 4 p m.RUGBY: UC vs Illinois Valley, Stagg field, 1:30 p.m.CONCERT: UC Brass choir, Bond chapel, free, 2 p mCONCERT 2: Bach B Minor mass, Rockefekler chapel, 3:30p.m., for tickets go to Reynolds Club.Monday/ April 16LECTURE: Mass Media '73 lecture series. Speakers areRobert Northshield and Jack Fern, NBC TV, Law Schoolauditorium, 8 p.m.LECTURE: "Second annual report on tow photonionization", R. Stephen Berry, K 103, 4 p.m.MEETING: Lambda chapter of Pi Lambda Theta wi*hrefreshments and film "This is Marshall McLuhan—TheHAVILL’SRADIO, TELEVISION& HIGH FIDELITYSALES SERVICE & ACCESSORIES/.enilh — I'anasonirMaxleruurk — Kl.ll1368 E. 53rd, Chicago 60615 • PL 2-780045 Years Serving Hyde Park KATSA&0S p u a 6 m a (y,,K Medium is the Massage", prispective members welcome,Judd Commons, 2:30 p.m.• Complete Prescription Needs JESSELSOH’STO• Prompt Delivery Service FRESH FISH A SEAFOOD1521 E. 53rd ST. Phone 288-8700 752-2870,752-8190, 363-9186 -1340 E. 53rdOVERLAND EXPEDITION AFRICA 4Leaves London Mar. 10 (& OctjArrives Jo'berg .June. $990Also overland INDIA/NEPAL. Leaves May .June & Oct. $6711 weeks) Experimental Expedition from Los Angeles toBEUNOS AIRES July-Nov. $1350■ E/ w Brochures: ENCOUNTER OVERLANDWest Hill Court, Millfield Lane,London authorized sales & service312-mi 3-3113^ foreign car hospital & clinic, inc***^**5424 south kimbark avenue • Chicago 60615 DR. A. ZIMBLERDR. M. MASLOVOptometristeye examinationscontact lensesin theNew Hyde ParkShopping Center1510 E. 55th St.363-6363Friday, April 13, 1973-The Chicago Maroon-3JTechHifiThe Midwest’s AudioSpecialistswith Quality Componentsat the Right PriceTechHifiExchangeuricaqo n«ar norm,51 E. Cak, 337-3296(1 haur parking at 2 1' Oak)Wo it Suburban Addison.19 W 288 Lake St (US 20)543 9200Chicago Now Town.2903 N Broadway. 248-8910SW Suburban Downors Cro»o,162-> Ogden Ave (US 34)964 4550Hours:Weekdays 11 a.m. to 9 p.mSaturday 10 a m. to 6 p.mSunday 1 p.m. to 5 p.m. 9 AM - 9 PM 7 Days A WeekHYDE PARK PIPE AND TOBACCO SHOfc1552 E. 53rd - under 1C tracksAll students get 10% off/ask for "Big Jim."PipesPipe Tobacccs Imported CigarettesCigarsHS:all the dope you’llneed for a Europe trip.Pass the word SOFA can get you to EuropeAfrica. Israel, the Far East or anywhere.AND get you back' /As the wholly owned subsidiary of| - 7 *eleven non-profit European NationalfStudent Travel Bureaus SOFA can•ssue you the international Student•dentity Card and book you on any ofour 6.000 student charter flightswithin Europe. Asia, and Africa'including Tel Aviv. Bombay.BangkokNairobi etc ) Up to ?0*/o savingsover normal faresSOFA also offers an extensivearray of tours allowing the independent istudent traveller to take advantage of ■inexpensive group arrangements andsightseeing We feature culturallyrewarding Israeli kibbutz programs andeducational tours within Europe and Rvthe Soviet Union Other services available from SOFA includea great Car Plan, the Student Reilpasa. languagecourses in Europe, end low coat accommodationsin hotels, holiday villages, end hostelsAll the dope is in the F9ttC 1973 OfficialStudent Travel Quid# to EuropeSOFA - don't sit on it - Send for it NOWD SOFA, please send me the FREE dope 90Bj_____ [1Add rasaState * PCitySend to SOFA/European Student Travel Canter Lid.136 East 57th Street. Suite 1205New York. N Y 10022Tel (212) PL 1-6000Camping Sale!THREE DAYS ONLYLast Yaar's MerchandiseGerry K Frames Baqs, Tents, and PacksGerry Tents by Alpine Designs _____Commando Tents Eureka Mt Marcy TentsFriday & Saturday, April 13 & 14. 10 to 5 ■Sunday. April 15, Noon to 5See our complete line for thisseason, featuring equipment byNorth Face, Jan Sport, Snowlineand Vasque, as well as a completeline of technical climbingequipmentWinSumI 455 West Armitage Ave.| Chicago, Illinois 60614(312) SKI 1776CORSO cornerINTERNATIONAL STUDENT SOCIETYproients a seminar-discussion onBUDDHISM; Sunday, April 15th 7:30 pmIda Moyas Hall - Library LoungaFra*and££ resolutionFOTA brings King Lear andAntigone to Hyde Park,on April 21.See "About the Midway”,0*5*5^',-e.V* >7***^^ V'°°...TO**’*4... ^4-The Chicago Moroon-Fridoy, April 13, 1973 ABOUT THE MIDWAYPetitionGraduating seniors have written a petitionto be presented to the administration. Thepetition reads as follows:‘‘We the graduating seniors would like tomake our recommendations for a con¬vocation speaker, because we feel that this isa significant occasion for us and that ourvoice in it is important. We recommend thatPresident Levi reconsider his choice andanother be made with formal student par¬ticipation, whether the choice be student,faculty, or outside speaker. This should notbe construed to mean that any one group ofstudents should have exclusive voice in thechoice of a convocation speaker. We wel¬come the voice of all involved membersof the University community.’’By late evening Thursday, the first daythat the petition was available for signature,there were already 85 signaturesIf anyone is interested in signing thepetition, it will be on the table at the Cobbcoffee shopCo-op correctedA Maroon investigation of the Hyde ParkCo-op ended Tuesday afternoon when storepersonnel corrected cash registers that hadbeen marking the wrong dates on receipts.Four of the store’s fifteen cash registers hadbeen listing the wrong month The paperbegan its investigation after receiving anumber of complaints from residents ofTufts house.The Maroon came into the possession of anumber of receipts that were dated incorrectly One receipt was incorrect by fourmonths while others were off by two monthsThe proper day of the month was alwayslisted, but the month was incorrect.Store manager Harvey Asher, when askedwhat the store policy was concerning returnof goods, said that there had to be a receiptAsked about a time limit on returning pur¬chased articles Asher said that it dependedon the individual article He mentioned mostmeat could not be returned after threeweeksWhen confronted with evidence of in¬correct receipts Asher spot-checked tworegisters. One showed the month of Marchand the other February. The manager thengot on the phone and had a store officialcheck every cash register The four cashregisters that were incorrect were numbersone, two. six. and elevenAsher said the date is supposed to bechecked every morning He said the storewould believe a customer if he or shereturned a defective product with an in¬correctly dated receipt “It won’t happenagain.” Asher concludedMaroon electionIn a close election, associate editor MarkGruenberg has been elected editor-in-chief ofthe Maroon for 1973-74Gruenberg announced the following ap¬pointments for other positions on the Maroonfor next year They are: Jeff Roth, Gruen-berg’s opponent, as managing editor: TimRudy, presently an associate editor, as newseditor. Clara Hemphill as associate editorand present editor Lisa Capell as senioreditor.Positions yet to be decided upon includearts and entertainment editor, photographyeditor and two associate editorships.In their respective speeches to the staff.Gruenberg and Roth both agreed that themain function of the paper was to Report thenews in a thorough, concise, and interestingmanner, but they differed on whether theMaroon had fulfilled that function adequate¬ly in the past year.Roth held that the news reporting had beenadequate, while Gruenberg disagreed. Hepledged that the news editor would havegreatly expanded responsibilities, along withthe associate editors “so that we wouldn’thave to use any more fluff.” He also ad¬vocated more in-depth reporting with agreater focus on community affairs and onlittle-known, but vital, areas of theUniversity.Legal drinking ageJames Vice, assistant dean of students,and John McLees, a member of the FacultyStudent Advisory Committee on Campus Student Life (FSACCSL), travelled toSpringfield Wednesday to testify before theSenate Judiciary Committee on lowering thelegal drinking age to 19. Because the bill’smanagers believed they had the necessaryvotes for passage and because of the numberof people testifying Vice and McLees werenot able to testify.At the end of the hearings the committeevoted in favor of the proposed legislation 8-fi.The Senate committee is where theliberalized drinking law was blocked lastyear after passing the Illinois House. Thatlegislation would have permitted loweringthe drinking age to 18 The proposedlegislation lowering the legal age to 19recently passed the House Vice does notexpect a vote on the Senate floor sooner thantwo weeks and probably in mid-May. Vicedoes not know Governor Walker’s position onthe legislation, but said former GovernorOgilvie said last year he would approve aliberalized drinking lawVice encouraged all interested parties tocontact their state senators about the voteVice said that if bill is not passed by the endof June it will not take effect if passed later,for another yearCCP concertThe Contemporary Chamber Players(CCP) of the University will present aconcert, co-sponsored by the Fromm MusicFoundation at Harvard, at 8:30 pm Friday,April 13, in Mandel Hall. 5706 SouthUniversity AvenueRalph Shapey. CCP music director andprofessor of music at the University, willconduct Piano soloist will be Abraham Stok-man The program consists of: “ChamberVariations.” (1964) by Harvey Sollberger;“Couleurs de la Cite Celeste.” (1963) byOliver Messiaen; and. “Giardino Religioso.”(1972) by Bruno MadernaThe Sollberger and Maderna pieces wereboth commissioned by the Fromm Foun¬dationThe concert is without charge, but ticketsmust he obtained at the Department of MusicConcert Office. 5835 South UniversityAvenue. Chicago 60637To beOn Saturday. April 21, the University HydePark community will be graced with theinitial event of FOTA ’73 The extraordinarytalents of the National Shakespeare Com¬pany will he unveiled in two performances atthe Lutheran School of Theology (55th andUniversity). A 2 pm matinee performance ofAntigone will be followed by an 8 pm per¬formance of King LearThe production of the performances will be“in the round” thereby limiting seatingcapacity to 500 per show Interested partiesshould purchase tickets in advance. Ticketsgo on sale Monday. April 16, at the ReynoldsClub desk Prices for each performance willbe $1.50 for students, and $2.50 for non¬studentsRenaissance concertChicago early music ensemble will give aconcert of vocal and instrumental music olthe Renaissance on Friday. April 13. 8:30 pmat Bond Chapel This group specializes in theperformance of early music by using theinstruments of the period only. There areinstruments such as Renaissance fluterecorders, shawms, viols, krummhornsranketts. etc. Admission is freeSpring cleaningWhat to do with that bedspread you can nclonger use since your roomie moved out andtook the matching one? Or that great toasteroven you can’t use because you blow all thefuses in your high-class Hyde Park flat9 Orthat iron inherited when last year’s roommate suddenly left for New York?Sell them and pocket the cash at the fleamarket sponsored by Student Activities to beheld in Ida Noyes Hall on May 19.Deliberately set late in the quarter, theflea market is designed to serve as amarketplace for those leaving campus inJune, and those about to join the apartmentculture. All students, staff and faculty areinvited to sell and buy Of particular interestmost certainly will be: lamps, bookcases,desks, end tables, liuusewaiea, bedding.ABOUT THE MIDWAYbikes, vacuums, irons, shopping carts, etc.A $15.00 deposit at the door will be requiredlor those wishing to sell large householditems, such as: mattresses, springs, diningroom tables, etc This deposit will berefunded when the item is sold or removedfrom the premises at the end of the dayOther activities in the planning for that dayre an auction, country band, foodIt’s several weeks off, but start to make alist of the stuff you should get rid of, andanother for the stuff you need Remember,“one man's old trash is the next man’s newtrash.”Jazz festivalThe Chicago Front for Jazz has emergedfrom its winter doldrums to present a springjazz festival, a series of concerts to bepresented over the next monthThe featured musicians are KalaparushaDifda and The Light (Apr. 14), the MalcolmX College Jazz Band (Apr 28), and KenChaney and The Awakening, with singer-guitarist Terry Callier, Student groups willalso play at various times.All of these groups are “worth hearing.”according to the Festival sponsorsKalaprusha’s quartet (the leader on tenorand clarinet, joined by trumpet, bass, anddrums) played an “astounding” set at aconcert here last quarter, a “shifting, many-tempoed free excursion played with forceand control.” The Awakening, also at thatconcert, was somewhat more conventional,and featured excellent solos by FrankGordon, trumpet; Steve Galloway, trom¬bone; the amazing Richard Brown, tenor andsoprano saxophones, and Chaney’s piano,supported by Richard Evans, bass, andArlington Davis, drums. This groupmanages to work through conventionalforms to achieve a great deal of spontaneity;the solos are quite free, and the ensemblepassages are “absolutely perfect andcompletely original.”The Malcolm X group also works throughconventional forms to arrive at its ownmusic, which is good enough to make it“probably the best college jazz ensemblearound Chicago ”The support for jazz events has been“inconsistent” at UC, the festival sponsorsclaim Too much more inconsistency andthere won’t be any more jazz. This is an idealchance to hear great American Afro-European classical music and guaranteethat you’ll be able to hear more. The April 14concert is at Ida Noyes; the other two are atthe Lutheran School of Theology. 1100 E 55thThey are all at 8 PM. and admission is $2general, $1.50 for students with ID and forCFJ members Series tickets, good for allthree concerts, will be sold for $ at the firstconcert Warwick exchangeEach year in the Fall Quarter theUniversity and Warwick University inBritain exchange a small number of un¬dergraduate history students. This exchangeprogram, limited to four students, will againbe offered to history majors for the comingyearThe terms of the exchange are as follows:1. Chicago students receive full credit forthree courses taken at Warwick; 2. Fulltuition is paid to the University for the FallQuarter (not to Warwick); scholarships maybe applied as usual; 3. Room rent in theamount of $21000 for the quarter must bepaid to the University to cover the cost ofaccomodating Warwick students while here.Rooms at Warwick are arranged similarly,so no charge is made for accomodation inEngland. (Students who wish to hold adormitory room at Chicago for occupancy onreturn should sign a contract in a dormitorywhere there is no board contract. To reserveroom in a dormitory where there is a boardcontract, students must cover the cost ofboth room and board during the autumnquarter ); 4 Chicago students pay for foodand expenses at Warwick; 5. Chicagostudents pay their own travel costs.Students interested in becoming familiarwith course offerings and instructors mayfind it useful to peruse the WarwickUniversity catalog, available for consul¬tation in the office of Professor Coats-worth (Social Sciences 119) or Mrs Pyle(Administration Building 226.)Application forms for students who wish toparticipate in the program are availaWofrom Professor Coatsworth or from BobSmith in the Social Sciences CollegiateDivision office in Gates-Blake 219. Selectionof participants will be based on academicrecord and faculty recommendations.Preference, ceteris paribus, will be given tostudents who will be seniors next year Onlyundergraduate history majors are eligible toparticipate. Deadline for submission ofapplications is Friday, April 27For further information contact ProfessorCoatsworth (Social Sciences 119. extension 3-3453).HPNCCommunity residents will be on streetcorners with tags and boxes Friday, April 13.to receive contributions fot the Hyde ParkNeighborhood Club and the Chicago Com¬mons Association.Children’s Tag Day is a city-wide fund¬raiser under the auspices of the Children’sBenefit League. All money collected goesdirectly to support the agencyTag Day chairwomen are Margaret Barry,1401 E 55th St, University Service League.andSusan Freehling, 5442 S Hyde Park Blvd.Hyde Park Neighborhood Club accent*^ shop inc.STOREWIDE SALE•giftwares •gourmet cookware•lamps *home furnishingsAll reduced from lOi to 50*APRIL 11th THRU APRIL 21stAccent offers its customers the opportunityto save on purchases from its wide selectionof imported and domestic giftwares, lamps,and home furnishings. We offer an excellentchance to stock up on wedding, Mother'sDay, and anniversary gifts at greatly reducedprices.Giftwares and Gourmet Cookware:Ironstone Mugs, choice of two patterns Reg. $ 1 25 —Sale 60CSabatier Carbon Steel Paring Knife Reg $2.50 —Sale $1.95Butter Warmer, Stainless with rosewood handleReg. $2.50-Sale $ 1.95Leyse Broiler Pan Reg $2.95 —Sale $2.25Fondue Cooker, stainless steel with tray Reg. $ 1 9 95 —Sale $ 14 95Leyse Oriental Wok, with steamer pan . . . Reg $ 1 4.95 —Sale $ 1 1 95Salton Hotray, 16” x 9” with thermostat Reg. $17.95 — Sale $9 95Salton Savoy Hotray, 22” x 11”, with thermostat & hot spotReg. $24.95-Sale $ 1 9.95"Pizza Keeper”, hors d'oeuvere warmer by SaltonReg. $ 14.95-Sale $ 10 95Ice Bucket, 3 quart capacity Reg. $9.95 —Sale $6 9510” Saute Pan, heavy-duty aluminum ... Reg. $10.95 — Sale $8.95Sabatier Sharpening Steel Reg $7.50 —Sale $4 95Flatware Sale —Save 30%Stainless Steel, 50 pc. service for eightwith extra serving pieces. Choice of three patternsBOLERO Reg. $39 95-Sale $27.95LIBERTY BELL Reg. $39.95-Sale $27.95MARK SEVEN Reg. $34.95-Sale $24.50STEREO Reg. $49.95-Sale $34.95Crystal Barware Sale • Sets of Eight • Save over 2 5%Imported handsome tumblers from Poland and CzechoslovakiaChoice of two sizes and styles —LINEAR 14. oz. Ice tea or high ball, Set of 8Reg. $ 14.00 Sale $9.95LINEAR 10 oz. Juice or on-the-rocks, Set of 8Reg. $ 12.00-Sale $8 95RIPPLE 14 oz. Ice tea or high ball, Set of 8Reg. $18.00-Sale $ 12.95RIPPLE 10 oz. Juice or on-the-rocks, Set of 8Reg. $ 1 6.00 —Sale $11.95LETTERS TO THE EDITORRC sixWe would like to criticize the criticisms ofAlan Wertheimer’s article of 3 April, whichhave appeared in the Maroon over the pastweek, as well as, and most importantly, todefend the activities that those letters at¬tacked The issue is student participation inchoosing a convocation speaker All theseletters, from Charles Wegener, from theCommittee of the College Council, and fromMitchell Glass, ignore the fact that the“Reynold’s Club Six’’ presented threealternatives. These alternatives ruled outneither faculty, nor outside, nor studentspeakers. Rather, they proposed that any ofthese three might speak as long as her or hischoice was made with a significant amountof student input. Accepting convocation as agathering of the University community, itseems necessary to recognize the importantrole of students in that communityGraduation ceremonies, if not the point ofconvocation, must at least be recognized asan important part of them.In response to each of the letters:Without commenting on the accuracy ortaste of Mr Wegener’s letter we will go on to the letter of the Committee of the CollegeCouncil.The Committee of the College Councilcomments that we have many opportunitiesto hear outside speakers We would like topoint out that we also have many op¬portunities to hear the faculty speak Whilewe appreciate the CCC’s concern forcreating an opportunity for a student ad¬dress, we feel that the choice of HonorsAssembly as a forum of this kind is a poorone. Most students are not involved in theAwards Assembly. We personally have nointerest in using an occasion that representscompetition and distinction among us forstudent expression We don’t need amanufactured occasion to hear a speaker ofour choice. Convocation provides an ap¬propriate opportunity.Mitchell Glass claims to represent studentopinion on the basis of an unstated number of“interrogations” of students We questionMr Glass’s representativeness, because hewas not chosen by students nor does he seemto have a thorough method of registeringstudent opinion. We were unaware that theoffice of Chairman of the Dean’s Studentcontinued on page eight Home Furnishings:Lucite Parsons Tables, 16” x 16” x 16”, choice of black, yellow, orwhite Reg. $9.95 Sale $6.95Director's Chairs, tubular chrome frame, vinyl seat and backReg. $32.95 Sale $24.95Cane hampers, imported from Mexico, Save 2 0% to 30%SMALL approx. 14” x 22" . . . Reg. $4.95 Sale $3.50MEDIUM approx. 1 5” x 23” . . . Reg. $6.50 Sale $5.20LARGE approx. 18” x 24” . . . Reg. $7.50 Sale $5.95Cane Picnic Baskets, Imported from China . . Reg. $4.25 Sale $3.95Butterfly Chairs, Black steel frame, 18 oz. canvas slingReg. $ 18.95 Sale $16.95LAMP SALE: All Accent floor, table, and desk lamps will be reduced at least 15%. Many one of a kind floor sample lamps will beACCENT SHOP INC.1437 E. 53rd ST.Ml 3-7400STORE HOURSMON-FRI: 10:00 AM to 6:00 PMSAT 9:00 AM to 6:00 PMSUNDAY 12 NOON to 4:30 PMRemember at Accent: No Sale is Final Until You Are SatisfiedSorry No Free Gift Wrapping of Sale ItemsCreative Playthings and Books Not Included in This Salereduced as much as 40%.•h accentco qaccent coFriday, April 13, 1973-The Chicago Maroon-5»rvmnNew Collegiate Division introducesPolitics, Rhetoric, Economics and Lawcontinued from page onek urrently, 19 faculty members have indicatedwillingness to advise students in the program; theyare Stuart Altmann. Norman Bradburn, BertramCohler, Mihaly Csikszentmihalyi, Donald Fiske.Paula Foster, Leslie Freeman, Stephen Golant, IsraelGoldiamond. Sebastian Grossman. Haskel Levi,Donald Levine, Salvatore Maddi, Ralph Nicholas.David Orlinsky, Thomas Roeper. Richard Taub andMarvin Zorns.There is no fixed curriculum or set of specifiedprerequisites. Substantive areas are formed anddissolved depending on whether faculty and studentsare committed enough to a particular area of study.Several program areas have been developed by faculty and others are being planned.One area of study is ‘personal life' with Orlinsky andMaddi as advisors, another ‘development andevolution' with Csikszentmihalyi and Levine advising,and psychopathology developmental and en¬vironmental perspectives,’ has Cohler listed as ad¬visor.Undergraduates currently in psychology and humandevelopment have the option to remain in thoseprograms or transfer. However, there may be aproblem as to how many people the new program canhandle. “We do not intend to put any limits on it but inthe beginning stages there might just be a physicallimit. We expect it to be a popular area and we expectto accomodate everyone once were geared up,”Now, Here’s Your Chance To Find Out.It's time the struggling songwriter got a break.You put so much work into writing a good song, and thenyou can't find anybody to give it a professional hearing.Wc know how tough it is. We re seven music professionalswho've worked hard, had some luck, and made it big in themusic business. As individuals, we've gotten many songs fromaspiring songwriters which never received the proper hearing. Ifthese songwriters had been able to get real professional advice,many of their songs could have been significantly improved.Now a unique company, Song Consultants Inc., has beencreated to provide that professional help. We are not a corre¬spondence school, nor do we offer any course of instruction.What we do is evaluate songs, and in that way help aspiringsongwriters who think they can write hit songs, but just needsome professional advice.Any song you send us will receive a comprehensive, pro¬fessional and honest appraisal by our staff, who will evaluateyour song using our specially-devcioped Song Evaluationform. T his evaluation form, which is the exclusive property ofSong Consultants, offers you the appraisal you’ve been looking: t to help improve your songs.ft Your Song Is Really Good .. .;* we think your song has real commercial potential, we il offer10 uii ll it over to our publishing affiliate. 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Aoril 13. 1973 commented Bradburn.“I think its a very exciting program which willreally pull together faculty who have a lot ofoverriding interest and as the program evolves it willturn out something intellectually exciting.” he said.The other new undergraduate program is Religionand the Humanities, the aim of which is the un¬derstanding of religion as one of man’s primaryresponses to and expressions of the human conditionAt the heart of the program is a core of four courseswhich serve as a focus of integration and coherence,and give the student a disciplined base which willallow him to make maximum use of other relevantcourses in the College, the Divinity School, and theGraduate divisions. The four courses, open to anystudent in the College, are: the basic problems in thestudy of religion, basic structures in the interpretationof religion, basic structures in self-interpretation ofreligion, and religious literature and expressionIn addition to these four courses, the student wouldbe expected to take at least one Western and one non¬western civilization sequence. However, a new coursesequence, the Philosophy of Discourse, is being of¬fered as an alternative second quarter sequence.“We have a group of faculty who have intellectualproblems about the study of religion who can onlysolve them by going into another environment insteadof the professional school,” stated Warner Wick,master of the humanities collegiate division. ‘‘We’venot had available a way of studying religion that hasinterdisciplinary scope and at the same time a definiteintellectual structure and courses available tostudents no matter what their interests are,” heconcluded.Two courses in Religion and the Humanities will beoffered next year. In the category basic structures inthe interpretation of religion, the course History ofReligions: Judaism” will be offered, and in basicstructures in the self-interpretation of religion acourse entitled ‘‘Studies in Religious Ethics; TakingHuman Life” will be offered.The other program that will incorporate facultyfrom a professional school is Politics, Rhetoric,Economics and Law (PREL). The members of thecommittee are Bradburn, Stanley Katz, PhilipKurland, and Richard Posner from the law school.Paul Peterson and Lloyd Rudolph from politicalscience, George Stigler in economics, and WayneBooth from English.The stated purpose of the program is to providestudents with an intense introduction to legal conceptsand methods, the central logic of economic analysis,basic concepts and problems in the study of politicalinstitutions and processes, and practice and analysisof the region oi discussion and argument in whichthese concepts and methods become effective indetermining attitude and action.The program consists of two phases; the first iscommon studies’ which will consist of three coursesin law. In 1973-74 they will be Introduction to CriminalLaw. Introduction to Civil Procedure, and In¬troduction to Torts. Economics 200 and 201 arerequired as are three political science courses. It isintended that all these courses be completed in thefirst year in the program (the second school year). Inthe second year of the program students will take asequence of courses developed by a staff headed byWayne Booth called Philosophy of Discourse.This course is open to all students in the Collegeother than freshmen and is being offered to thecollegiate divisions as an option in the second quartetor requirements.This sequence will look closely at traditional andmodern views of how inquiry works and of how itsresults are shared. Problems about the relation ofcommitment’ and ‘reason’ will be explored, usingdocuments from literature, history, anthropology,sociology, psychology, philosophy and rhetoric.NCD master Charles Wegener feels that PREL hasthree important contributions to the college, ‘‘First, itrepresents an investment in undergraduate educationby a major law school; second they are doing it in avery strong context (it is not an undergraduate lawprogram) and thirdly, they are going to teach law andnot something else.”The overall objective of all the new programs andcourses is to provide a ‘more creative education’.Moreover, the masters of the humanities socialsciences and NCD divisions, and those faculty whohave contributed their time and ideas hope to see thedevelopment of a new notion of intellectual life oncampus and a new identity for the College. \Class of 1977 to be wined and dined by UniversityBy MIKE KRAUSSMembers of the College class of 1977 will bewelcomed to campus on the weekends ofApril 20th and 27th by organizers of thecampus festivities, the Student SchoolsCommittee and the Maroon Key Society.Joan Huebl and Ann Moses of Collegeadmissions office have been planning for thearrival of next years incoming students.The Student Schools committee has puttogether a program which will introduceprospective students to as many aspects otthe University as possible during their briefvisitThe program will bring the students intocontact with current college students andwill also expose new students to faculty,staff, classes, and the College house systemAll admitted students will be invited toparticipate in one of the two weekendprograms.On Friday of their respective weekends,candidates and their parents will be invitedto attend classes and take tours of thecampus Lunches and an introduction todormitory life will follow. Candidates will beinvited to stay with students in the Housesand that night will be provided with dinner inthe dormitory cafeterias. Friday evening the candidates will spend their time with studenthosts being guided through a typical ChicagoFriday eveningFollowing breakfast at the Oriental Institute Saturday morning students willbe invited to attend a lecture given by Ar¬nold Haven, professor of biology and microbiology. Haven will speak primarily onthe “Prospects for the Control of Heredity"Those students visiting campus on theweekend of the 27th will hear Ira Kipnisspeak on an as vet undisclosed topicCampus walks and lunch will fill can¬didates early afternoons. The balance of theafternoon will be filled by discussions led bystudents and faculty Parents and candidateswill be invited to discuss topics such as: theHousing System, the Common Core. Ex¬tracurricular Life in the College anaChicago- the Student, the City and the Neigh¬borhood Other discussions will include,Financial Aid, the respective collegiatedivisions, professional options, collegeservices and advanced placement creditA reception will be held following thediscussions by one of the housing systemsresident masters A resident master will hostanother gathering following dinner to whichother resident heads, students and par-TURN THOSE USELESS SKILLSINTO HANDSOMEBUDWEISER PATCHESNO Moo* OF PURCHASE REQUIRED OFFER VOID WHERf PROHIBITED Bt LAA AUOW FOUR WEEKS FOR' OELIVER*OFFER EXPIRES DECEMBER 31. It7?For example, if you can hug cans pretty good,you can wear a Budweiser World ChampionPatch. Just hug, next to your person,a record bunch of empty Bud* cans.Record to beat is 38.WHAT’S GOING ON?Oh, happy day. At last someone is doingsomething positive about the currentworld shortage of champions.Budweiser is sanctioning five absurd eventsin which college youths can set records andearn wonderful, big Budweiser patches(7"x6", washable, genuine colors).Besides the breathtaking BUD-CAN HUGabove, there are four other ways to be a WorldChampion. Get details at your favorite beerstore where you see the “Budweiser WorldChampionship” display!Do one, beat the record, tell us about it ona postcard and get your marker pen readyfor inscribing your particular specialtybeneath where it says “World Champion.”TO GET YOUR BUDWEISERWORLD CHAMPION PATCH(EVEN IF YOU DON’T SET ARECORD), JUST WRITE YOURNAME, ADDRESS AND WHATYOU DID ON A POSTCARD. (Maybe you've detected thatthis is not an official, rigid-rules“contest.” But it is a lot of fun,even if you can't break therecords. You can, though,can’t you?)SENDTOBUDWEISERWORLD CHAMPIONSHIPS? will be invited Candidates will again beinvited to again spend the night in the dormsVolunteers are needed to lead tours, act ashosts and to lead discussions throughout thetwo weekends Sleeping space in college houses is also being sought Anyone wishingto help make a prospective student’s visit tothe Cniversity more pleasant is urged tocontact Joan Huebl or Ann Moses at CollegeAdmissions and Aid. phone 753-4581WORKOUT: Cy Acosta and Steve Stone and the rest of the Chicago White Sox weredriven by inclement weather in to UC fieldhouse workout. Photo by Robert Newcom-be."MAGNACVMROCK"Oynthia Peabody was far and away thebrightest girl at the university. Addedto her many triumphs were Home¬coming Queen, captain of the debate team andhonorary right tackle of the varsity football squad.The actual right tackle was a happy-go-lucky 280pounder named Mad Dog Linguini. Mad Dog wasoverjoyed about sharing his position with Cynthia.He loved the way she looked. He even loved theway she debated. Well, you know how impulsivefootball players are. Mad dog asked Cynthia out. . . to a scrimmage. When she turned him downhe asked her to marry him. Taken by surpriseCynthia consented on the condition that Mad Dogbecome first in his class. He studied relentlessly,day and night and between plays.Confident in his ability to suc¬ceed, Mad Dog acquired aVanity Fair diamond ringcatalog. The entire footballteam helped him select a mostexquisite diamond engagementring for Cynthia. (And nofootball-shaped diamond likeyou’re thinking.) Mad Dogmanaged to afford the ring onhis scholarship money becauseVanity Fair diamonds are 50%less than any comparable dia¬mond he could have purchasedelsewhere. Mad Dog was alsoappreciative of Vanity Fair’s money-back guar¬antee in 30 days if he wasn’t fully satisfied. I am tryingto bribe youwithuncertainty,withdanger,withdefeat.• • ...jorge77 luisborgesThat's mostly what you'llfind if you commit yourlife to the millions in theThird World who cry outin the hunger of theirhearts. That...and fulfill¬ment too...with theCOLUMBANFATHERSOver 1,000 Catholic mission¬ary nriests at work mainly inthe developing nations.We've been called by manynames - “foreign dogs" ...“hope-makers" . . . "capital¬ist criminals"... "hard-nosedrealists"...Read the whole story in ournew16-PAGEBOOKLETL Well, Mad Dog never quite made it to number onein the class, but Cynthia, nevertheless, was en¬thralled by his spunk and the beautiful VanityFair diamond engagement ring he gave her. Theywere married by Mad Dog’s coach in a spectacularhalf-time ceremony and spent the rest of the gamein the locker room.If you’d like somethingto read in the locker roomor the library send foryour own personal copy ofthe Vanity Fair Diamondcatalog.Use the coupon below.yfatUyfturiyUutHmdsImporters & Manufacturers since 192155 East Washington St..Chicago, Illinois 60602NameAddressCity State ZipSchool 'Friday, April j Columban Fathers CM jj St. Columbans, Neb. 6805^I Please send me a copy of you{■ 1 hAftklfit ctrinorc flI booklet. No stringsII| NameII| J AddressI CityState Zipi: *College Class t13,1973-The Chicago .\*.crcc~ ~LETTERS TO THE EDITORcontinued from page fiveAdvisory Committee included the heavyresponsibility of representing the majority ofstudents, and we would like to be informedwhen we are being representedCreating a process by which to select asatisfactory speaker does not seem impor¬tant in this letter. The issue at this time iswhether or not students will have some rolein selecting that speakerWe are circulating a petition to support theoriginal move to obtain student voice in theselection of a convocation speaker. We hopethat the administration will respond to thisexpression of student dissatisfaction witn tnepresent selection process by establishingwith us a formal process in which studentsparticipate actively in the choice of speaker.We want a meaningful convocationceremonyThe Defense Committee for the“Reynold’sClub6” (5?)Emily BachmanEliza MigdalMonica SmithConvocationIn my freshman year at this University, inaively wasted much time in an attempt tcget three student observers on the FacultyCouncil. Having been told then that thataugust body was quite capable of perceivingthe interests of the whole University com¬munity without directly consultingstudents. I correctly inferred that studentswould never be given much of a voice inmatters of direct concern to them, andsettled back to mind my own business andpluck the fruits the University has to offer.Thus when my friends Janda. Koblitz,Scotch, Grear et al. attempted to achieve forstudents some voice in their graduationceremony, I allowed myself neither tobecome too excited about their chances ofsuccess nor too angered by their inevitablefailure. Only the fear that I shall suffer somepermanent stomach disorder if some recentletters by Mssrs Glass and Wegener gounanswered has led me to once again take upmy cudgel.One question comes immediately to mind:who is Mitchell K Glass? Having posed thequestion let me then essay an answer MrGlass is a likeable enough fellow who hasdwelt too long in the realms of a certain formof debate which rewards facility infatuousness. But he is more insidious thanthat, for he is an administration stooge (MrGlass correctly anticipates the charge.)Mssrs Levi and Hildebrand must sleeppeacefully at night knowing that they havethe head of the Student College CurriculumCommittee- an organization of whoseexistence ! vouchsafe not ten students know-to trot out whenever they wish to provethat their machinations have studentsupport Mitchell, who fancies himselfsomething of an aristocrat, is one of thatbreed which finds more satisfaction in beingallowed to kowtow to the “illustrious”, thanin consorting with lowly students. Only oncein his letter does he drop the air of noblesseoblige and become a trifle pettish. Herecovers, however, in time to conclude, in atone which combines equal parts of BishopBossuet and Marie Antoinette, that all isright in heaven as long as Ed Levi is makingthe decisions on earthSometimes the ruling class eschewslackeys and speaks for itself-which bringsme to Mr Wegener’s letter Mr Wegener isappalled by the idea that anyone couldconceive of this University as composed of“estates.” Either he is consciouslydissembling or else is too infected by theideology he espouses to know what he thinks.Anyone who has had the pleasure of beingasked by Mr Wegener to beg to get into theNCI) will find it hard to believe that he doesnot see the University as composed efclasses. Throughout history it has been thenature of ruling classes to attempt touniversalize their particular interest andclaim it as the general interest. MrWegener’s letter beautifully illustrates thepoint If, as he claims, no interests separatestudents, faculty, and administration, thenhow silly become students’ protests that inmatters which affect them directly, theadministration calls the shots. Obviously theand acts upon those interests.fc pvervbndy hapnv‘; Jonathan Rosenblum More convocationIn order to clarify the record we would liketo submit selections from letters we wrote toDean Hildebrand and President Levi inJahuary and February of this year.31 January 1973Dear Dean Hildebrand:“Spring Convocation not only symbolizes acoming together of the University com¬munity, but marks a transition in many ofour lives from an academic to a non-academic environment, or at least from aliberal education to more specialized orprofessional training. In order to lend fullermeaning to this transition, we hoped that thisyear, instead of choosing a speaker from theUniversity of Chicago, we might choose onewho is not only acquainted with a fineacademic community but has the expandedperspective of working outside of the par¬ticular envoronment in which we have spentour College years. This person could thenrelate our undergraduate concerns to theissues we will be facing in the near future inone of two general ways. One, he or she couldcomment on our college experiences interms of significant questions current out¬side of academia, or discuss the outsideexperience as it relates to issues importantin the University environment. We offer thefollowing suggestions of people who fit thesecriteria: Bella Abzug, Shirley Chiskolm,James Dickey, Fred Friendly, GermaineGreer, Herbert Marcus, Linus Pauling, MikeRoyko, Nick Von Hoffman, Eleanor HolmesNorton ”26 February 1973Dear President Levi:“As you may know, we are a group ofgraduating College students concerned withthe format of this year's Spring Convocation.We have submitted suggestions to and haddiscussions with Roger Hildebrand andRobert Ashenhurst about the ceremony,particularly in reference to the principalspeaker We would like to bring to your at¬tention our desire for a student speaker.Whoever the main speaker may be, we feelthat an additional speaker from thegraduating class would highlight the studentperspective at the time of our graduation.Education in the College has produced manythoughtful and articulate people capable ofdelivering a stimulating address.”Mary GrearBonnie JandaEllen KoblitzRich ScotchD A UngerCircus or side show?Has anyone ever noticed that decentstudent suggestions for changing dismalUniversity institutions are rarely put to atest of the idea’s merits?Witness the current battle over con¬vocation All supporters of the status quohave spent most of their wind and columninches questioning the legitimacy of thegroup of undergraduates asking for achange. A primary argument seems to bethat because the College is but flotsam in asea of research, a request from collegians toalter a University-wide ceremony has novalidity. Apparently clout will out, and goodideas born of this campus can be publishedbu not pursued.I understand that Mr Levi likened thepolitical convocation at Harvard to a circus.Better Barnum and Bailey thanI understand that Mr Levi likened thepolitical convocation at Harvard to a circus.Better Barnum and Bailey than boredom andbad taste. Does Mr Levi really want topreside over a repeat of last year’s con¬vocation, in which a clear majority of thegraduating classes registered theirdispleasure with Mr Friedman by remainingsilent at the close of his shallow little piece?Mitchell Glass, there’s no way of escapingthat majority!At the time, I thought that the children ofthe Sit-In had demonstrated just how muchthey had learned since 1969 The bitterrestraint of the ’72 graduates speaks of aresentment that will last a long time. Anyonewho offers a circus to avoid a sideshowshould be listened to.— David Affeider '728-The Chicago Maroon-Friday, April 13, 1973 Dig Israel ;onyour next vacation.$381*round-trip.With a shovel. At an archaeo¬logical site. On a new EL AL Col¬lege Vacation.There is more in Israel that’sexciting, surprising and profoundlymoving than you can begin toimagine.You’ll dig sunny,fascinating Israel.Go to the Negev.Scale Massada.Explore Jerusalem.See 4 seas. Tan atTiberias on the Sea ofGalilee.Water-ski the coralbottomed Red Sea. Fraternize at an oasis on theDead Sea.Poke through our Roman pastat Caesarea (Mediterranean Sea).Beach-hop. Bible-hop. Live.Learn. Enjoy.You can renew yourself andwear yourself out.You can fly to Israel for $381)*(from New York) andon the way homewe’ll give you one Eu¬ropean stop-over free.Add $57* during June,July and August de¬partures.Call us.swinging,the under 30 airlineAtlanta 522-3535Baltimore 685-4321Boston 267-9220Chicago 236-3745Cleveland 621-6607 Detroit 557-5737Houston 227-7201Los Angeles 553-5555Miami Beach 532-5441New York 751-7500 Philadelphia ..... 563-8011Pittsburgh 471-4433San Francisco ... .986-4313St. Louis 862-2100Washington, D.C. 296-5440Check your local yellow pages for direct lines from other cities.Based on 1972 (are level. It is anticipated that as a result ot monetary fluctuation,fares will be increased by 6% when government approvals are obtainedAPRIL isCAUUS AT927-8000 Month atBRIGHTONFOREIGN AUTO SERVICE3967 So. Archer Ave.(2 BLOCKS EAST OF CALIFORNIA AVE.)SPRING TIRE SALEC<3K.T.LNEN.IAl.JSjAUIIA*.l!S..TlRES. JJ2I.ALL-.FiU.H9X.CaJUSIZE L TYPE PRICE FET600 - - 12 STD. W/BTU. 20.50 1.35600 - - 13 STD. W/BTU. 21.50 1.51615 - - 13 STD. W/BTU. 21.50 1.31560 - - 15 STD. W/BTU. 20.50 1.50560 - - 15 STD. BL.TU. 19.50 1.52600 - - 15 STD. W/B.TU. 22.50 1.71600 - - 15 STD. BL.TU. 20.50 1.69 LOADRANGEEBBBBBBCQKIJUiEtDAL.RAWAJLl_ ALL—FjOHEieX .C AJLSSIZE i L TYPE PRICE FET LOADRANGE16 5 HR 15 TT714 BL.TU. 32.50 2.03 B165 SR 13 TT714 W/BTU. 30.50 1.74 B185/70 SR 13 TT714 BL.TU. 34.50 1.83 B185/70 SR 13 TT714 W/BTU. 37-50 1.88 B165 SR 15 TT715 BL.TU. 31.50 2.03 B155 SR 15 TT715 BL.TU. 30.50 1.77 B165 SR 14 TT715 BL.TU. 30.50 1.77 B165 SR 13 TT715 BL.TU. 29.50 1.71 B155 SR 13 TT715 BL.TU. 29.50 1.49 BB.LLli..6ltUi.. Bint2 TIRES560 - 15 GOODYEAR BL.TU. 28.00 3.48 BAPRIL SPECIAL. — .QvANIiliEi JLiM.lT.EP__(SR) FOR SPEEDS UP TO 113 MPH(HR) FOR SPEEDS UP TO 130 MPHCMl927-8000 (dnlinentallENTERTAINMENT AND THE ARTS* ★ Alice in WonderlandBy ELIZABETH RUSSOTHE FIRST AFTERNOONMy fucking car wouldn’t start. An hour and a halffrom a press conference with the amazing AliceCooper and the pride of the Trollhattan sat on 57thStreet with no signs of life. An hour went by, filled withmoaning, cursing, and suggestions and pushes from aMaroon football player and sympathetic passers-by.Wretched of Wretcheds! At twenty minute to A-Day, acruising Chevy pickup from a capitalistic neigh¬borhood gas station charged the battery for anoutrageous fee which I gladly paid without putting iton the Maroon chit, and I limped off to WoodwardCourt to pick up a steamed photographer.Ten seconds into the CU, twenty seconds for adouble buzz, one minute and ten seconds to get therecluse down from the third floor of Rickert, tenseconds out the door — zip from the four-strokeengine. Another push — “Pop that mother-fuckingclutch!” — a few normal stalls at awkwardly-placedstop signs, driving tactics to invite citations fromChicago’s Finest, out to Lake Shore Drive. A-Day plusten. SHIT!!Looking back on it, it was a fitting prelude for thehigh point of the afternoon. We raced into the LakeShore Room of the world’s largest Holiday Inn —klieglights, cameras, semi-comatose carcasses — A-day plus thirty minutes and minus A. FabianBacharach plays with his airbrush lens cleaner and Ihead for the bar. “Uh, where’s Alice?” Sheepish grinsfrom discomfitted Warner Brothers executives.“He’s, uh, not here.”Forty minutes after the scheduled start of the pressconference, with lukluster fanfare, Alice walks in,hidding the inevitable bottle of beer. “I don’t feelgood! I’m ill! What does it mean when your pee turnsblue?” Al super suave Reporter-on-the-Way-Up,dressed by Gentlemen’s quarterly, begins firingquestions. “How do you like Chicago, Alice?” But theBig A won’t play. “No, I’d rather talk about baseball.We have a day off here, right? Is there a game heretomorrow? The Cubs or the White Sox?” “It wasrained out.” “Rained out?” (Nature dares to defy theBillion Dollar Babies?) William Randolph Hearst plods on. “Let me ask youthis, Alice. Don’t you get a little depressed singingabout pain and death and sex with the dead and thingslike that?” Titters. Did this dude wander in from theinsurance commissioners’ meeting down the hall?“NO! I really get off on it. With a little Vaseline, fivefingers....”Before the level of coherency can slope any furtherdownward, Ashley Pandel, head of promotion for TheAlice Cooper Show, steers the conversation toward thehologram of Alice’s head which Salvador Dali hascreated. Alice, semi-awake by now, is enthusiasticabout discussing Dali and the work: “He approachedus... because he considered us the most confusingpeople in the world... I went to dinner with him, and hewalked into the cocktail lounge... First, he toldeverybody to leave. The whole hotel had to leave - youknow, in the lobby and everything. He had a giraffe-skin coat on a little pin curls for his sideburns. And hiswife — she’s 80 years old — (named) Galla — .... shewas wearing a tuxedo. And he orders a glass of hotwater and I said, “Woowwww”, right?” (Reporter’snote: It’s hard to imagine Alice being fazed byanything.) “He puts the glass of water down and hepulls a jar of honey out of his pocket and he startspouring it in and I’m watching — he hasn’t said a wordto me so far — he’s pouring it in and he pulls a pair ofscissors out and snip! He says, “Ah!MAGNIFICENT!” And I’m goin’,‘Aowwwwwwww This is going to be a little gamey.I can tell already.’ He’s really strange.”The hologram has already been sold to the Am¬bassador of Portugal and is currently on display inNew York. Eventually, those of us in the boondockswill be able to see it, too. The creation is the world’sfirst 360-degree hologram and Alice explains thestructure of the made this way:, “ if you want to seeUrsula Andress’s boobs from this side and she’sstanding with her back to you, you can go around andsee them.” (Who says art is stagnating?)Flo and Eddie, whom Alice has promised will savethe press conference, stride in. Alice’s enthusiasmmeter reading skyrockets. Ashley introduces MarkVolman (Flo) and Howard Kayland (Eddie). Standingbefore us, Flo wearing a helmet with a plasticflamingo tied to the top and Eddie wearing Playboybunny ears, they introduce themselves as HughHefner and Barbie. Alice introduces them with,“These are my best two friends.” Mark seems to bethe most articulate of the group, but his attempts totalk are pretty well squelched by Howard, who hasdecided that the afternoon should not be a serious one.It’s okay — there’s enough material in simply ob-The three reminisce about old times, when Flo andEddie were the Turtles and Alice used to open theirshows with the Spiders. Now the roles are reversedand the Flourescent Leech and Edde are the openingact for The Alice Cooper Show. “You meet the samepeople on the way down as you did on the way up.”Howard philosophizes. “None of us can tell which waywe’re going. We worked with John Lennon once. I ★ ★looked up Yoko’s dress. Approximately infinite vulva.She gave me a new slant on life!... No more Yokojokes. She’s getting killed...She’s gotta stay in thebusiness. Everytime she releases an album it makesus look better.”Following in the reminiscent vein, someone askswhat they think of Frank Zappa, Flo and Eddie’s oldboss. The triumverate is enraged! “Throw that bumout!” roars Alice. “Frank Zappa ... is a genius.”replies Howard upon consideration. “He’s managed tosurvive us and live.” Flo agrees. “He’s managed tomake a lot of money telling the society to get fucked.”One last question. A girl who has sat silentlythroughout the entire proceedings come to life longenough to ask, “How come you have a new snake,Alice?” (She is obviously in league with the gentlemenwho wanted to know if the Alice liked Chicago, and Iam sure that if she asks another question, it will be ofthe “Where were you born?” genre.)“Oh, she died of boredom in Mark Volman’s house.”Alice replies artlessly. “Yeah, next to your records,”returns Howard. But this is only aimless chatter. Floand Eddie and Alice are tight. “I’d lick RichardSpeck’s knife for you,” Alice tells them. It’s a raremoment these days when you witness true friendship.AND THE SECOND NIGHTWhat can you say about a concert that died? Justthat it grossed more than enough to pay for a TajMahal-type burial. The ripoff started in the parking lotof the Amphitheater. After I’d driven too far in to getout, and had miles of cars before and after meanyway, I was brusquely informed that four dollarswas due to the Meter Maid Mafia. Now I swear to youthat you can park indoors at the Waldorf Astoria inManhattan and it won’t cost you four dollars for threehours, and New York City it without doubt the mostexpensive metripolis in the Western Hemisphere.Figure it this way: If you’re a high school senior whomakes $30.00 a week working parttime at Playback,and you take the old lady of the moment to see Alice(there are still such old-fashioned scenes where theguy takes the girl, right?) and you play $6.50 for eachticket and $4.00 for parking, you’re out $17.00 beforeyou hear one single supercharged chord.You’re also paying for the priviledge of walking intothe hall with your coat open to be searched by AndyFrain ushers. I express surprise at the practice andam advised that this is a standard procedure for rockconcerts these days. People ahead of me have variousflasks confiscated; no one, apparently, is stupidenough to walk in with dope in sight. My companion isabout 6’4” with well-groomed hair. I carry a brownleather notepade heavy with profundity and amwearing the jumper I used to appear in high school(Continued on page 10)“Tne worst audience you can get is an intellectualaudience. I want an audience that’s 14 years old, that’sreally thinking on a dirty sex level.” Photo by JohnVail. ★★★★★★★★★★★★★★★★★★★★“Did you really work the White House? Does it stillburn when you piss/ Photo t>y John Vail. “Howard and I have a lot of money. We’ve investedwisely. Have you ever heard of sea monkeys? Cupid’sArrow Mating Solution/ Photo by John vail.Friday, April 13,1973-The Chicago tyqroon-9jlick Richard Speck’s Knife for you” ★★them), a little bop-bop-de-wop to leave one thinking ofthe Beach Boys and lots of that dance-to-it, drink-to-it,drink-to-it, stomp-to-it, sing-to-it Sixties stuff. Thealbum reflects competent, spirited musicianship onthe parts of Jim Pons, Aynsley Dunbar and GarryRowles, There’s even a comedy cut, “The SanziniBrothers’’, that could’ve been done by the MarxBrothers in their prime if the American public hadbeen ready for rauncy in those days.Very little of this comes across in the Amphitheater.Only drummer Aynsley Dunbar can show off histalents— a fact commensurate with the piss-poorAmphitheater acoustics. Mark Volman makes up formediocre lead guitar-playing with remarkable stagepresence. Howard Kaylan’s humor is okay but can’thold the attention of the Cooper-hungry crowd.I find myself resenting the fact that WarnerBrothers has launched such a massive publicitycampaign for what is the best new group I’ve seen,only to bring them to play in the Amphitheater. I knowthis audience will go home and pay little future at¬tention to Flo and Eddie, a situation for which a faultytechnical setup is responsible. With this kind ofstaging the resultant audience response, these guyswill probably never picked up by CFL and LS (like itaesthetically or not, play on AM radio is what makesrecords sell). And we lose a truly creative musicalforce while the antics of Alice Cooper get top billing.I find my attention wandering with the rest of thecrowd’s subjected to a million-decibel mash in theconverted cow palace. Most of the rest of the set isaimless histrionics except for a snappy, amplified andsemi-audible rendition of “Eleanor” to bring back theTurtle days. I amuse myself by wondering, as I sit inthe dark, what caused the happy rock sound of theSixties to give way to chaotic rock spectacles of theSeventies. At odd moments, I realize that I could behome doing my Russian Civ.Just as I am ready to try and figure out how to getmy car (which is surrounded by other cars) out of theparking lot before anyone else leaves, the group doesthe standard planned encore. The crowd leaps ontotheir chairs. (Why ? They haven’t shown this muchenthusiasm since an innocuous emcee opened theshow.) Flo and Eddie put forth their best effort, anumber called “Do You Wanna Bogey? “ which I, as aveteran of much stomping on many discothequefloors, truly appreicate. They say “good night” andthere is mindless applause, yelling and screaming. Mycompanion yawns out a half-hearted ‘Boo.”“Careful,” I warn him. “This crowd may castrate youfor that.”Intermission: More mingling absurdly lyricalMuzak — so much meat parades about — the BillionDollar Babies that Alice dedicated his album to, the over-fed children of an over-affluent society. I begin tothink twice about capitalism. Sunk in reverie, I spot aWarner Brothers exec. “Ashley! I can’t see a fuckingthing from here! ” Sincere apologies for the seats thatHoward Stein allocated to the record company and afew seconds later, I’m on my way backstage.Before leaving, I scribble a note for my companionand deposit it with the teenybopper in the adjacentseat. “What does he look like?” she asks. “Just asemi-clean-cut college kid,” I shrug. “Ohh!” Eyescaked in heavy black lines light up. “Where?”University of Chicago.” A blank look. She nudges hergirlfriend and whispers, “Circle.”It’s definitely a different view from behind. Not agood one of what will be going on on stage, but at thispoint I prefer to watch the machinations of the mostextravagant show in rock history. The set, designed byveteran Broadway producer Joe Gannon, isaesthetically pleasant but hardly worth a quarter of amillion dollars. Various platform levels and con¬necting risers topped by twenty-foot high twin chrometowers are the showcase for 125,000 watts of lightninga fog machine, a bubble machine, a confetti machine,mannequins, neon tubing, and of course the guillotine.I wander about, taking it all in. The WarnerBrothers people and The Alice Copper Show roadiesare competent cool and courteous. Most of the peopleare press, promoters and families of Warner’s execs.There is the inevitable complement of groupies, someof whom apparently travel with the show and otherswho are picked up from city to city. Gonorrhea Per¬sonified.I talk with Jim Crill of the Artists Service Cor¬poration, which is working with Howard Stein toproduce the show in Chicago. It’s all tension andrelease,” he tells me. “You build up anticipation in thecrowd keep them waiting for the big act, tell themabout it, promise them, work them up to a really highpitch, and then you give them what they want. A goodperformer can take that tension and bring them down.Alice Cooper can give those kids release better thananyone. That’s why he’s the rock star he is.”It’s catching. Even I feel a twist of anticipation inmy stomach when the group lines up backstage tomake their entrance. “Billion Dollar Babies” opensthe show, with Alice in torn purple tights and thigh-high reptile boots. His stage makeup has been affixedand 1 swear that mint green foundation does wondersfor his complextion. The crowd throws presents. Theacoustics are much better backstage and it is anadmirable rendition of the sexual exploitation songthat comprises the theme of the tour. Alice teases thecrowd and struts about with a four-foot phallically-(Continued on page 13)■535*“I’m bringin’ back the Sixties. I’ve got to. It’s the onlyway to stay alive.” Photo by John Vail “It’s lonely up here at the top.’’ Photo by John Vail.(Continued from page 9)debates. We get in scot-free.Looking around me, I feel distinctly like the VirginMary. The crowd is a typical Alice one, high schoolersof predominately the freshman and sophomorevariety. Padded shoulders, wide-legged pants, boots— the sloppy pseudo-forties look is everywhere.Several of the crowd are heavily into the bizarre,theatrical makeup number.We find our seats, in the last section, on the mainfloor, where you have to trip over the remnants of anice rink to get to them. For $6.50 you have the privilegeof sitting on a folding chair approximately 18 inches inwidth. Would that my hips were that small! Luckily,the two seats next to us are not taken and we canspread out. Somewhere ahead of me rumor has it isthe stage. For the first time, I silently curse WarnerBrothers, source of seats 11 and 12, Row 4, Section 16.We’ve timed it well. No sooner have we realized theawful truth and fantasized the possibility of leavingbefore it begins then the lights dim. The opening act,Flo and Eddie, are introduced. Flash bulbs explode allover the stadium; have these people not yet learnedthat an instamatic doesn’t function in the dark at morethan 12 feet? The usual Amphitheater shit is going on.Eddie tells the crowd that if they’re going to smokedon't get caught. The Men in Blue, legitimizedbouncers for the occasion, abound. Jays light up as thelight go down. The crowd is milling and there is adistinct buzz of chatter that can be heard above theroar of the amps. I think of the story I heard aboutGeorg Solti and his once-and-for-all reprimand ofnoisy Chicago audiences, but that was another timeand another place. The crowd has a short attentionspan, which wavers after ten minutes or so. But it’stoo dark to observe much so I snatch a pause thatrefreshes, and light up. (Only a Marlboro; I can’tafford to be hauled off to jail with a wounded car tosupport.)Aha! Some action' Flo and Eddie are plugging theirnew album. I had received a copy of Flo and Eddie, onthe Reprise label, at yesterday’s press conference.Listening to it concurrently with Billion Dollar Babies,l found myself soon waiting patiently through Alice’sstuff until Flo and Eddie dropped myself soon waitingpatiently through Alice’s stuff until Flo and Eddiedropped onto by Dual turnable.Their music is exactly as Howard Eddie Kaylan hadexplained it to me — a fun thing for them and a pot¬pourri of several styles — remants of the harmoniclyricism that characterized their days as the Turtles,solid rock and a driving beat to bring back the Zappagigs, subdued staged antics bearing the influence ofAlice Cooper (actually, Mark (Fluorescent Leech)Volman claims that Alice stole 90% of his show fromJohn Vail. ve the clap on this tour. ” Photo byVOLKSWAGEN SOUTH SHOREAuMionicd VW O*ol*«/ Op*n Doily—Clot*d Sunday Phon#-7234 S. Stony Island BU 8-4900 TAKCAM-YfcN EYE EXAMINATIONSFASHION EYEWEARCONTACT LENSESCHINESE-AMERICANRESTAURANTSpecializing inCANTONESE ANDAMERICAN DISHES DR. KURT ROSENBAUMOptometristOPEN DAILY11 AM. TO 8:30 PM.SUNDAYS AND HOLIDAYS12 TO 8:30 P.M.Orders to toko out (53 Kimbark Plaza)1200 East 53rd StreetHYde-Park 3-83721318 East 83rd MU 4-1062 PASSOVER AT HILLELServices 4/17, 4/18 9:00 a.m.Haggadot for loan, saleLunches 11:15-1:304/17-4/24Suppers 6:00 p.m.4/18-4/23by advance reservation5715 Woodlawn752-112710-Tho Chicago Maroon-Friday, April 13, 1973i«< <v,o VI «jA yob; .*»Building Blocks for Generation ThreeBy THEODORE SHENThird Generation: The ChangingMeaning of ArchitecturePhilip DrewPraeger Publishers, Inc., $25.Philip Drew’s “third generation”refers to architects such as MosheSafdie (Habitat, Expo ’67), Kevin Roche(Ford Foundation Building), Frei Otto(Olympic Stadia, Munich), and theJapanese Metabolists (Expo ’70); ar¬chitects who were born between theWorld Wars and became a major in¬fluence in architecture in the 60’s. Theydiffer from their predecessors in thatthey do not present a monolithic, self-consistent architectural programmeRather, they recognize and tolerate thecomplex contradictions of life.Consequently, there is no deliberateattempt on their part at any “In¬ternational Style.” They regard theirdifferences as aspects of pluralism to beexpressed in the creative processwithout inhibition. But, despite theirdifferences in approach, the majorproblems they face are the same. Whatare the problems? And, what is thirdgeneration architecture? These are thetopics Drew discusses in his book whichis “intended as an introduction to theideas and architecture of a electedgroup of architects representing thethird generation.”What are the problems facing thirdgeneration architects? Some of themare universal: problems such aspopulation explosion, rapid depletion ofnatural resources, and individual’sneed for privacy. Some are particularlyarchitectural: the making of a patternlanguage which would be in equilibriumwith the present cultural reality.Concerning the former set of problems,the various solutions suggested andused range from use of humblematerials such as industrial waste andrubbish to planned obsolescence. TheJapanese Metabolists, for instance,“postulated a concept of architecture inwhich the durable components wereisolated from others more susceptible to the pressures of change.” Their conceptof building as an organism which canrenew its cells while still maintainingcontinuity of life provides an idealaccommodation between the demandsof change and economy. Several of thenew laboratory buildings, such as LouisKahn’s Richards Laboratory atUniversity of Pennsylvania (and Hindsright on this campus), make use of thisconcept.To alleviate the stress of crowding,some of the third generation architectshave proposed the separation of com¬munal and private responsibilities.They, according to Drew, reasoned that“the individual dweller could regain thefreedom to decide on the arrangementof his dwelling if mass housing wasarticulated into two distinct entities,supports and detachable units.” Sup¬ports would be permanent servicestructures, constructed and maintainedby the community. And the individualdweller can select from an array ofmass-produced, standardizeddetachable units, a set which mostclosely fits his needs. A prototype of thistype of housing arrangement wasexhibited at Expo ’70 and proved to bepopular.The pollution problem has given riseto two third-generation buildings whichserve as ‘islands of health and well¬being, surrounded by an ill-temperedenvironment.’ One of them is Roche’sFord Foundation Building which has asmall forest inside the building skinsupplying the building with fresh air.Both Drew and the third-generationarchitects see those problems asultimately involving the reshaping ofpolitical and economic institutions,although they may require a re¬orientation of design priorities. But theproblem of finding a pattern languagewhich fits the requirements of thepresent cultural context is peculiar tothe third-generation architects and,more inclusively, designers.Every culture has its own patternlanguage. And all pattern languages areeither unself conscious or self conscious. The distinction between unselfconsciousand selfconscious cultures depends onwhether forms are designed byspecialists or created by the people whouse them. In unselfconscious culturesthe forms are saturated with meaning.The village form is a symbol systemwhich mirrors man’s image of himselfand the universe. The pattern of formsis a picture of the culture, embodying away of life which is coherent and whole.In selfconscious situations, on the otherhand, pattern languages become theprovince of the specialists. Patterninstability frequently occurs as theresult of pattern language failing tocatch up with cultural change. The jobof the specialist is to experiment withnew and borrowed forms.Drew cites the modern movement inarchitecture as the result of its patternlanguage catching up with moderntechnology. But the machine aestheticof the 20’s, while it satisfied the specialconditions of its time, is no longer validtoday. The third-generation architectsrecognize the narrowness and ex¬clusiveness of modern architecture.They, according to Drew, are looking tothe unselfconscious cultures for a morepermanent pattern language. They areeven anti-architecture in that they favorspontaneity and dis-order.Drew’s discussion on patternlanguages and forms is interesting, butit is also confused and incomplete. Heseems unable to differentiate betweenthe Archigram group and theMetabolists in their attempts atcreating a new pattern language,although they are from differentcultures. He neglects to relate therelative durability of buildings to raoidcultural changes, ie—a Regenstein canco-exist with a Cobb Hall. However, hedoes say that the reader can form hisown conclusions by looking at the worksof the representative architects.The architects included in the bookare Utzon, Safdie, Otto, Andrews,Stirling, Venturi, Roche, the Archigramgroup, and the Japanese Metabolists.Their ideas are very interesting, and most of their works are strikingly in¬novative. Drew traces a number of theirthemes to Le Corbusier’s masterpiece,the church at Rondchamp. He liststhem as “the strengthening of a sculp¬tural tendency, and the reassertion offeeling in architecture and sensitivityto anonymous vernacular building.”The buildings of Utzon and Andrewsare particularly Corbuesque. The Ar¬chigram proposal for instant ar¬chitecture will probably become in¬fluential in the next few decades. Theonly architect in the group I cannotempathize with is Venturi. His in¬sistence on injecting Las Vegasvulgarity into the mainstream of ar¬chitectural thought is a bit too much.Drew also touches upon the politicalopposition some of the architects en¬countered. For example, Sadfie’s greatdesign for San Francisco State CollegeUnion was rejected by the board oftrustees because it includes studentinvolvement.All in all, Drew’s book succeeds inwhat he purports it to be: an in¬troduction to the ideas and architectureof third-generation architects. The onlyobjection I have is his turgid, academicstyle which sometimes manages tomake simple points sound complicated.Yet, if you can afford the exorbitantprice of $25, I urge you to buy the book.If not, check it out of the library andlearn something about what the future -looks like.Would you do as Rosalie did?The film becomes a fine dance sexual in whichthe three move around each other in instinct,until a resolution one can only describe as Gallic.Boston La'ot>«*A warm, involving film.-Los Angeles T.mesJust about everything a good movie should be —a source of both immediate and lasting pleasure.P. »l...A beautiful film. It s what love is all about.Jwd.tfc C’*stCinema 5 presentsrftorn • .non. M4MM Factory AuthorizedDealerSAABVolkswagenSouth-Shore Inc.7234 S. Stony IslandBU 8-4900HEALTH FOODSPlus theseVitamin E100 l.u.2001 U400 I.U.Vitamin C100 teU250 tabs everyday prices.d’aipha250 caps150 caps100 caps250 ups1000 mgsSI 95$4.40S3 25$3.75$4.95$11.15Vitamin C crystals5000 mgs per top.1 kilo1 pound $7 50$4.005210 5. Harper in Harper Court3631600Friday, April 13, 1973-The Chicago Maroon-11African Speaks on Third World DanceBy HENRY POST“An Interview with Hamidou Sam fromLes Ballets Africains”“We have a mission,” beganHamidou Sam, the general director ofLes Ballets Africains, “It has becomevery important to show the world ourculture. Because, you see, before now,during the colonial times, there werethose that said the African or the Blackhad no culture. Our mission is to showthat the black man not only has aculture, but that his culture is strong,dynamic and powerful.”Created 24 years ago, this Ensembleartistique et culturel de la Republiquede Guinee offers the traditional ex¬pression of the cultural value of theGuinean. Through the use of folklore,traditional songs, poems, dances andpopular legends, the troupe hastraveled throughout the world, “makingcontact with all the peoples of the world and bringing them the richness of ourways.”“We do not dance for money. We donot dance for dance. We dance our wayof life.”“How do your audiences react?”“Very well. They like the authenticityand the dynamism. And the variety.There has always been a strong appealto the American Black. They like thedance, the strength and the beauty ofthe black body in motion. Now the whiteaudience likes the stories, the costumesand the more literary elements of theballet. But the American Black enjoysthe naturalness of the movement. Theyfeel, I think, as if they were themselveson the stage. It’s almost as if the balletserves as a way for them to be trans¬ported to Africa. I think the Black iscoming back to his roots. They want tocapture their African being. And heballet does this through its strength andmanner of feeling.”“How is the African sensibility dif¬ ferent from the sensibility exemplifiedin traditional Western dance andculture?”“Oh, it’s a question of temperament.The English, so reserved and polite,never reveal their anger. Everything isunder the surface. The French are moreemotional. You know when a French¬man is angry, just. But the African hashis own way. His blood is strong andimpulsive. He feels something and hesays it. They are direct feelings and thisis reflected in the dance.”“How are the pieces themselvesborn?”“Yes, well, each piece is meant to tella story or a legend. For example, youwill see the story of the “Lion King,”Sundiata Keita. This is based on thestory of Mali, because, you know, Africawas once very close to being unified inthe fourteenth century. Sundiata wasthe king and this ballet shows the storyof how he became king, with the obvious theme of the unification of Africa. Allthe dancing is authentic and there areno modern additions. Everything istaken right from the dance of thevillages.”“Yet the ballet is taken out of itsnatural context?”“Yes, that’s true. It is not the samething as seeing the dance in the village.But how could it be? We must makecertain changes. We must fix a form inwhich the dance works and this doeschange the naturalness. But these aresmall differences, little changes. Thefundamental thing is the authenticity.The presentation of the authenticity isonly the necessary effort to make thematerial understandable.”There will be five performances at theOpera House; Friday, Saturday andSunday at 8 pm, and Saturday andSunday at 2 pm. Tickets range from$3.50 to $7.50, on sale at the box office orat all Sears Stores.Catholic Camp- A Light for the DarknessBy HENRY POSTSteaming with agitation, the fireytremolo of the violins feverishly boiledand swelled. The curtain rose,dramatically, to reveal the darkenedstage, inflamed with the mysteriousvoid of pregnant emptyness. Onehundred seething voices burst intoimpassioned song. A staggeringcrescendo—“And God said. . . ” Athrilling silence The ominous timpanirolled and the ever-present voice of Godboomed through the loud speakers, “Letthere be light.” And hen. . . the blin¬ding miracle. . . LIGHT!Out came the dancers and so began ALight for the Darkness, performed atthe Auditorium Theatre last Saturdaynight as a benefit for IllinoisBenedictine College in Lisle. Thisballetorio (“a new form of art”) mixedmodern dance, narration, a hundredvoice chorus, an orchestra and “im¬pressionistic” lighting in the in¬terpretation of the emotions of theChristian religious events from theCreation through the Resurrection.Of course, the intentions of theevening were wholly serious. Yet thatwas one of its many charms. Even acursory reflection on the history of thearts shows that the Christian mythshave often served as the aestheticspring boards for ome of our greatestartistic creations. But to treat everything—the Creation, Adam andEve in Paradise, the temptation, theFall, Noah and the Flood, Abraham, theAnnunciation, the Visitation, theNativity, the Last Supper, Judas’Betrayal, the Resurrection andmore—is astoundingly naive. Suchinnocent ambition, however, only drawsa smile, being rather like a third gradeChristmas pageant. This corny flam¬boyance and theatricality emphasizedthe disparity between the intentions andthe reality.From a serious critical perspective,the outlandish sweep of the material,the literal (i.e. uninspired) treatmentthe constant (i.e. boring) level of epicand heroic tone, and the at best tenuousconnection between the dance and theBiblical “content” could lead one tofume about banal artistic failures. Theoffended serious viewer, with adisdainful gritting of the teeth, wouldremark, ‘The Church has vulgarizedLatin, but it crucifies art.’Yet the far more generous and tenderreaction to this human “artistic” effortis to relish and bask in the trulydelightful moments of A Light for theDarkness. A contributing factor to itsenchantment was the theatricaldemode. Given the state of the arts,particularly dance, the rather self-conscious effort to “be with it” and use“modern” dance with “im¬ pressionistic” lighting (which includeda strobe light — how very sixties!) onlyexemplified how innocently “out of it”the whole evening really was. As OscarWilde once said, “Nothing is sodangerous as being too modern; one isapt to grow old-fashioned quite sud¬denly.”The lighting was, according to theprogram, “used to psychologicallyevoke the emotions through the im¬pressionistic use of colbrs.” Yet as mycompanion noted, the lighting lookedmore like kids playing with coloredflash lights.Another charming quality was theacoustical feedback in God’smicrophone — it was turned up too high.Still another delight was the in¬dependence of the group movements,often with one or two members of thetroupe a full move or two ahead orbehind the others. But isn’t variety thespice of life?On a serious individual level, many ofthe performances were quite good. Yetlike many a committee creation, thelack of creative cement makes it -impossible for even the best of in¬dividual performances to dent a zanyawfulness.Now the audience itself deservesspecial mention. In general, theChristian religious events themselvesprovoke deadly serious reactions. Andthis crowd wss just right for that — deadly. Never have there been soconcentrated a collection of outfits withsuch nostalgic appeal to those whorelish the couture of the mid-sixties.The usually dependable crowd of gaydance buffs and strikingly slim andsinuous female dancers come-to-see-so-and-so were totally lacking. Hence theguaranteed high point of an otherwisedull night at he ballet — the in¬termission — took on a new cast. I sawonly one cigarette holder although I didcatch up on what priests and nuns arewearing this season.But the high point of the evening cameafter the curtain calls. Two speecheswere given, one of which praised theman, Mathais Kucera, to whom theentire performance was dedicated.Father Mathais “was able to pulltogether even the most motleycrew. . . .’’At which many a dancer’sface betrayed a knowing smile. Anotherpost-curtain call address called for astanding ovation for all those involved.To the following, then, I offer myapplause for transforming an otherwiseboring evening into a rich treasure ofmemories of the sweet charms of thenaive: Alban Hrebic, conductor-compo¬ser; Loretto Rozak, choreographer;Jane Petrek, lighting designer; theIllinois Benedictine College Symphonyand Chorus; Dolores Lipinski, Eve; andRichard Schreiber, God.Tonight, tomorrow,and Sunday nightUNIVERSITY THEATREEXPERIMENTAL WEEKENDBY EDWARD ALBEEReynolds Club 8:30 p.mApril 12,13,14,15 *1°°12-The Chicago Maroon-Friday, April 13, 1973★ ★ ★ ★ ★“They called us emotional vacuums in Fayetteville”(Continued from page 10)shaped balloon between his legs, a la Ian Anderson.(Dig it, Hef.)“I Wanna Be Elected” and ”18” follow. I keepgetting a magenta spotlight in my eyes. I can see partof the crowd, those lucky few who have pushed andshoved their way to the front, right at the foot of thestage. They are still throwing presents, which havebeen chosen with signs of discrimination. Alice selectswhat he can use to further the act— pulling on astarred-and-stripped t-shirt while he rhapsodizesabout being elected President, for instance. There israpt attention from the teenyboppers, and muchevidence of the “Oh, God, he looked at me!” syn¬drome. Backstage, no one says much, trying to appearcool.Rapt attention, yes, but I’m not sure that I see thesigns of impending catharsis that Jim Crill haspromised me. More songs follow from the album thatsparked the tour — “Raped and Freezin’ ”, a dittybased on a Tennesse Williams story about a guy who’spicked up hitch-hiking by an Anne Bancroft type(that’s Alice’s explanation, Graduate fans, don’t comedown on me for it. Raped and left naked to the world inChihuahua, Mexico. “No More Mr. Nice Guy” is anode to a nice young rock star who is mentally andmorally destroyed by a virulent press. Alice saysthere’s no autobiographical material in it.And so it goes. Musicially, the group is better inperson than on their album, the opposite of Flo andEddie, and a rare occurrence in rock in general. Iremember an exchange with Alice on this pointyesterday. I voiced the contention that the hype was95% of The Alice Cooper Show with the music beingincidental at best. “That’s a very limited thought, ” hecontinued. “Our records sell two or three millionrecords at a time and they’re (the buyers) not gettingtheater with the records.”Nevertheless, I wonder how many albums Alicewould sell if people hadn’t heard about dead chickensand smoke bombs and hangings before they walkedinto the record store. I don’t hear people listening toSchool's Out or Billion Dollar Babies and talking aboutthe lyrics or the beat or the melodies; I see themnudge each other slyly and say, “Hey, I bet this iswhere he fucks the dummy.” But if Alice is as far intofantasy as he says he is, I suppose he can think that hismusic will stand alone, too.Enough blatant editorializing! Things are hap¬pening on the stage. Strobe lights flash, roadies scuttleabout behind the platforms, Ashley is taking pictures,the band plays an instrumenttal, Alice thrusts hispelvis at the audience and plays with his boa con¬strictor. Three silent groupies sit in the dark on theback edge of the stage with a bouquet of plastic redroses. The Tooth number is next. This involves a Dr.Jek-yll dentist with a giant dental X-ray cone covered inmulti-colored lights who works over Alice as heallegedly writhes with sexual delight. This is followedby a scenario with a life-sixe tooth (with excellentlegs) and a giant toothbrush, all done to strains of“Unfinished Sweet” the album cut scored to Alice’sdental fantasies.Alice runs offstage holding his toooth and reallylooking into the whole thing. As soon as he turns thecorner backstage, he straightens up with a seriousexpression and briskly trots to a booth for a costumechange. He’s all pro, that Alice Cooper. And it’s hardnot admire him for packaging and selling a product soeffectively. Whether he’s still running it or it’s runninghim now is another question, but here in this hardcorecapitalism, the spirit of America lives.The whole group has changed into black, sequinedgarb (what else?) in preparation for those sequenceswith the dead and dying that Alice swears he needssexually. But the act is wearing a bit thin. Alice rollsaround the stage, humping a mannequin and trying tothink of seven ways to do it. He is bored and the bit iscontrived. Even the audience seems to sense it. Theylook on but do not respond. All the electricity comesstrictly from the stage lights. A babydoll is impaled ona sword which Alice waves over his head. The crowdexpresses approval. Not unconfined ecstasy, justapproval. Kind of like Good Housekeeping if youadvertise with them.When the guillotine is rolled out to strains fromMoussorgsky’s Night on Bald Mountain, there is aripple of anticipation in the audience. I am remindedof another anecdote from Alice. Relating an incidentwhere the hanging backfired and he fell to the floor ofthe stage and was knocked out, he sums it up with,“Audiences love it when you blow it.” Theteenyboppers crowd as close to the guillotine aspossible, primed and ready. The Amazing Randireleases the blade, the safety device gives service thatRalph Nader would be proud of. Do I sense the smell ofdisappointment in the air?The act is winding down and “normalcy” returns.The much-heralded giveaway begins — posters, drumsticks and “Play Dough” (not real money as the ad¬vance p.r. stated) is strewn to the crowd. They returnthe affection — someone returns it with a breakablethat hits the stage with a crash. Instantly, roadies andexecs become Secret Service men. Fake gore is onething but a capital investment can’t bleed for real.The audience is relatively quiet by the time of theplanned encore. The American flag and Kate Smith’s“God Bless America” over the sound system arethings to be endured until the house lights go up and14,000 bodies, tagged with confetti and clutchingprograms and half-smoked reefers, can file out. Theroadies work fast once it’s over. Mannequin halves and dolls are swept into packing cases. Promoters andexecs congratulate each other. A drunken groupieleans on her old man roadie, clutching the plasticflowers. A few members of the audience are carriedout by friends. Mothers of America, do you knowwhere your children are tonight?Rock CalendarTake advantage of today being a university pay day,and treat yourself to some of the finest jazz guitararound: GEORGE BENSON plays at the Modern JazzShowcase at 901 N. Rush. Shows are every two hours,late into the night, through Sunday.Another musician who is rapidly building a strong cultfollowing is BRIAN BOWERS, the autoharp sensationof the ’73 Folk Festival. At the Amazing Grace, 2031 N.Sheridan in Evanston. Call ahead about showtimesand tickets: 492-7255. Ends Sunday.The rock-pick-hit-concert-of-the-week is PROCULHARUM (without the London Symphony) at theKinetic Playground tonight. Will Gentle Giant havefinally settled for a live dwarf?Finally, two to aim ahead for. SUN RA and ALICECOLTRANE will be in town April 21 at theAuditorium; and ROD STEWART, the FACES, andJO JO GUMME will be at Northwestern the 26.mms/ry theatre presents,FESTIVAL OF FANTASYA theatre series for children ages four to ten co-sponsored by the Schools and SpecialEvents Committees of the Hyde Park Kenwood Community ConferenceApril 14th YENTA BABUSKA’S GARGANTUAN MAGIC CIRCUS...a puppet circusfilled with theatrical magic and fun performed by the puppeteers from Puppet Place.May 12th IT CERTAINLY ISN’T BAKED BEANS a new theatrical presentationby the Goodman Theatre Touring Company starring Bob Gibson with selections from"Peter Pan," "Pinnochio," "Alice in Wonderland," and Shakespeare.May 19th* THE PHANTOM TOLL BOOTH ... ...a young boy named Milo drives his toycar through a toll booth into fantasy land, performed by University Theatre.•In Hutch Ct. adjacent to Mandel, May 20th in case of rain.June 16th COMEDIA ... . .a series of skits about animals and man with audienceparticipation, performed by the Players Workshop from Second City in Chicago^w-i 7 .SERIES TICKET 3.25 (includes all four shows) Individual Tickets 1.25AH performances at Mendel Hell 5706 S. University at 11 AMTickets available at the Reynolds Club desk and the HPKCC at the 53rd St. YMCA. For information call 753-3581 or 288-8343 JAMESSCHULTZCLEANERSCUSTOM QUALITYCLEANING10% student discount1363 E. 53rd St.753-6933StudentDiscountModelCamera1342 E. 55th493-6700 ’Most complete photoshop on South Side.Friday, April 13, 1973-The Chicago Maroon-13UI Triumph- Dreams and CowboysBy DEBORAH DAVISONOne of the social conventions involvedin previewing a show is, you can talkabout the scripts, the dramatists, thehistory, the company, but you don’t talkabout the actual production, logicallybecause you’re only seeing a DressRehearsal. It’s essentially the sametaboo as the one that keeps a blind datewaiting downstairs, perusing theheirlooms and family photographs overthe mantelpiece, while the lady dolls upfor a night on the town. But if you get alook into the lady’s boudoir, and you likewhat you see, who’s to say that youcan't talk it around a little—the higherprinciple is, always, share the wealth.Monday night I slipped into a dressrehearsal of American Dream andCowboys U2, two one-acts which areopening University Theatre’s springseason this weekend as the quarter’sExperimental Weekend. And like I said,I’m proscribed to keep shush aboutwhat I saw. And I’m not going tobecause even at that stage the showswere really exciting, funny and fast-paced, and acted with the kind ofaplomb that speaks well for the newprofessionalism in training and at¬mosphere that has been the professedaim of UT this year. So theatre buffswould really be missing a treat if theylet this weekend slip by.Cowboys #2, written in 1968 by theChicago born-and-bred dramatist, SamShepard, is a tight and well-writtenabsurdist play with a highly con¬temporary feel. The play was chosen inpart because so little of Shepard’s workhas opened in Chicago despite hisconsiderable success off-off-Broadwayin New York: he won an Obie from theVillage Voice in 1966 for his one-acts,Chicago, Red Cross, and Icarus’ he is probably best-known for his work incollaboration with Antonioni on Za-briski Point, which fact should givethose who’ve seen the movie a good feelfor his style and perspective. Shepard isyoung —29 or 30—and his plays aremarked clearly, indelibly, and purelywith the young generation’s (ourgeneration’s) feelings for and aboutthese times.The production itself grew out of afinal project assignment for DianeRudall’s and Lucille Strauss’ acting workshop. The cowboys, played byDavid Bintinger and Douglas Gens, arehighly manipulatable and elusivecharacters, and as such are fine choicesfor the kind of in-depth character-analysis which the workshop aimed for.Bintinger and Gens pretty muchdirected themselves, seeking help fromthe resident professional staff when theproblems of combining theory andpractice required it; the result is apredictable well-wrought and subtleproduction. Both Bintinger and Gens have beenseen in a number of UT productions,notable Peer Gynt, Lysistrata, andProfessor Taranne, and Good Woman ofSetzuan, respectively. David alsodirected last year’s production of TheKid.American Dream, written in 1961,was Edward Albee’s second play, and inits time it was considered highly con¬troversial for its black-comic view ofthe American middle class. The‘Dream’ is ‘the hulk’, the ‘what-a-man’-type man, and the play revolves aroundwhat happens when the AmericanDream walks into the lives of an old-time gramma and a pair of uptight butwilling society ladies. The play is veryfunny, heavily farcical and laden withsexual innuendo, etc., and the cast digsinto the script with a vengeance. BonnieEverts is Mommy, Bob Hoover isDaddy, and Melody Page plays thescheming, fleet-footed Gramma; LaniGranum pldys the worker of goodworks, Ms. Barker, while VytoBaltrukenas is the muscle-flexing‘Dream’. All the actors have workedwith UT before, and are ably directedby Michael Hildebrand, a professionalactor whose interest in the play wasprimarily to give his budding cast achance at some meaty comic parts.The weekend is called ‘Experi¬mental’, and for the actors itcertainly is; the nice part about it for wethe audience is that, not only are theplays first-rate contemporary drama,worth seeing in their own right, but theproductions themselves promis to belively and successful renditions of thesame. Curtain-time is 8:30 PM Friday,Saturday, and Sunday, tickets are $1.,at Reynolds Club Theatre, 3rd floorReynolds Club. You should catch themif you can.David Bintinger (left) and Doug Gens (right) of Cowboys #2. Photo by RJN.MASS MEDIA/73THE URBAN JOURNALISM FELLOWSHIP PROGRAM OFTHE CENTER FOR POLICY STUDYPRESENTS A PUBLIC LECTURE BYRobert Northshield and Jack Fernof NBC television news, Monday, April 16, 1973,8 PM.Law School Auditorium No tickets required1111 E. 60th St. No admission chargedRobert "Shad" Northshield, NBC News Producer for twelve years now in New York City, hasproduced several award-winning documentaries, including "The American Revolution of 63," athree hour news special on the Civil Rights movement in tne United States. His other projects in¬clude documentaries about education, sports, Adolf Eichmann, cancer, racial issues ana the Emmyaward-winning "Solar Eclipse; A Darkness at Noon." He also produced a weekly ecology series, "InWhich We Live."Mr. Northshield was in charge of the "Huntley-Brinkley Report" for almost four years and hastraveled from Africa to islands in the Pacific in his career with NBC. As General Manager of NBCNews in 1964, he supervised primary, convention and election coverage.Mr. Jack Fern is the Chicago-based Director of News for NBC in the Midwest. He has been a FieldProducer for the "Huntley-Brinkley Report" in the United States and was also Far East Producer forthis show in 1963, when he spent much of his time in Viet Nam. Mr. Fern also served as Director ofNews for the Far East for NBC.He spent three years in the Pacific during World War II, where he had a combat reporting team.He later worked for CBS TV News as a reporter, producer and National Assignment Editor.Mr. Northshield and Mr. Fern are third to appear in the Mass Media lecture series sponsored bythe Urban Journalism Fellowship Program of the Center for Policy Study, University of Chicago. Theseries is made possible by grants from the John and Mary R. Markle Foundation and S & H Foun¬dation. The final speaker in the series will be:Tuesday, May 8, 1973: Joseph Kraft, syndicated columnist.alsoGUILTY BY REASON OF RACEa documentary by Robert Northshield of NBC4s00 p.m.f Friday, April 13 and 4:00 p.m. Monday, April 16Quantrell Auditorium, Cobb HallNo admission charge No ticket required14-The Chicago Maroon-Friday, April 13, 1973If you think Kodak is justpretty pictures,you ought to haveyour chest examined.When a chest x-ray shows that you have a potentialkiller like TB or cancer, it’s not a pretty picture. But it’s animportant picture because it can help the doctor detect andcatch the killer in time.When doctors are out to catch these potential killers,they want the sharpest, clearest x-ray films they can get. Andthat’s why people at Kodak spend so many hours creatingnew and better x-ray film equipment. Already, the results in¬ clude convenience for the patient, economy for the hospital,an even more useful tool for the radiologist—and, most impor¬tant, reduced radiation exposure.Researching and creating better x-ray films is goodfor our business, which is why we went into them in the firstplace. But it does our society good, too — which isn’t a badfeeling. After all, our business depends on our society—so wecare what happens to it.KodakMore than a business.Friday, April 13, 1973-The Chicago Maroon-15; Jiv^A 'n'hivK-ivjiVicM ogo\;i■*'.* *riT-* !BHBm—mThe Discreet Charm of BlacksnakeBy DAVE KEHRI was hoping that Russ Meyer’s newfilm, Blacksnake, would give me achance to indulge in a little polemic onRuss’ behalf, since I’ve always beensurprised that most people don’t agreewith me in my passion for his work.Blacksnake, through, is not the MeyerI’d drag unbelievers to in order todemonstrate his own peculiar genius.Meyer’s films run the gamut from theundeniably brilliant (Lorna) to theunmistakably mediocre (Beyond theValley of the Dolls), and it saddens meto report that Blacksnake falls a littletoo closely to the lower end of the scale.Blacksnake seems to be Meyer’s at¬tempt to make a film that could bebroadly defined as serious, and he justcan't bring himself to do it. The filmcomes across as a curious mixture ofMeyer's very personal kind of sex-tual/political burlesque and a fairlytypical action film geared for the drive-in market (where I’m sure it will cleanup). Russ really should have knownbetter than to try to make a film likethis, and he’s got to try like hell to keepa straight face through it. But theMeyer afficionado can take a lot ofpleasure in those moments when he justcan’t hold it back, and blows his coverby letting fly with some marvelouslyoutrageous bit of business. Blacksnake marks Meyer’s return toindependant production after a coupleof unfortunate years as a contractdirector at Fox. The two films he madethere (Beyond the Valley of the Dollsand The Seven Minutes) are almostcompletely worthless, probablybecause Meyer was uncomfortableworking with a big budget and thestudio bureaucrocy; not to mentionRoger Ebert, whose screenplay forBVD certainly destroyed any chancesthat one had of getting off the ground.Blacksnake looks like Russ was tryingto set himself back up as an in¬dependent without taking any unec-essary chances, and so he chose aproject with a heavy black angle and alot of violence, elements which prac¬tically guarantee success. It’s a tributeto Meyer’s abilities as a producer thathe was able to make a film as slick asthis (in color and Panavision) for$200,000, about a fifth of the usual cost,and, I suppose, we can take someconsolation in knowing that this willprovide him with a big enough bank rollto make some more personal projects inthe future: provided that Ebert hasn’truined him.The plot hangs loosely around theshoulders of a dashing young English¬man who comes to a slave island in theBarbados to find some trace of his longlost brother. The island is ruled by one Lady Susan, whose relatively normalbust line should have warned me thatRuss wasn’t feeling up to par, and herlieutenant, a Black homosexual whocommands the local cossacks. LadySusan, it seems, was originally aprostitute from Liverpool who acquiredher position from a string of highlyplaced husbands (including theaforementioned brother), all of whomleft this vale of tears prematurely. Inorder to cope with her humdrumexistence, Lady Susan has become anymphomaniac, and also enjoysbeating her slaves with Blacksnake, arevoltingly large whip, while mutteringracial epithets and quivering. Even¬tually, the missing brother turns up,some what the worse for wear, just intime to participate in the incrediblyviolent slave revolt which concludes thefilm. Actually, it sounds a lot morepromising than it turns out to be, butRuss is playing his cards close to hischest, and seems to be happy withkeeping things moving quickly,throwing in quite a few shots that arevery nice in themselves, and dependingon his unmatched editing talents todisguise the fact that nothing is reallygoing on. As Meyer fades out on thestake where the slaves have burnedLady Susan alive, the familiar voice ofthe Russ Meyer patented MoralizingNarrator bathes the audience withreassuring remarks about racial har¬ mony, while nude interracial couplesfrolic in beatific slow motion throughthe sugar cane fields. With a sudden cutto a steamshovel, Meyer changescourse again, and we’re in the middle ofa travelogue about the beautiful Bar¬bados of today, where the tourist tradeis helping to build even more modernsupermarkets for the grinningpopulace.As if that weren’t enough, EdyWilliams (Russ’ wife) rises from aswimming pool in the althogether,looking even hornier than she did inBeyond the Valley of the Dolls, if such athing is possible, and we get a fiveminute trailer for Russ’s next picture,Foxy (“My old man Russ, he’s reallygot it all together,” murmurs Edy, andyou want to believe it.) By the time theend title appeared, at least fifteenminutes after the picture was over, Iwas sprawled rather awkwardly on theunsanitary floor of the Woods theater,gasping for breath between fits oflaughter, and being trampled by theaudience in their mad dash to thelobby. I don’t know if it was out of reliefthat Russ hadn’t lost his sense of humorentirely but those last fifteen minutesvindicated all that went before, and Iwould have sat through it again if mycompanion hadn’t brought me out of itwith a couple of hard slaps. Better lucknext time, Russ. We await Foxy withbaited breath.ON THE PARK (HYDE AND JEKYLL)One notices, with one-half eyebrowraised in the dry-witty manner worthyof the University of Chicago mein anddemeanor, that some of our localestablishments have deemed to puttheir name and address on the mat¬chbooks they have recently beenproviding — retaining suspiciouslyhowever above the brimming carton ofpotential pyrotechnics an insipid in¬scription purporting to provide such for“Our Matchless Friends!” or somesimilar drivel. One must welcome thisbudding capitalism in a neighborhoodwhose merchants et al have taken apeculiar, and rather monopolistic, viewof the local captivity and immobility oftheir customers, pricing their wares atlevels worthy of something betweenridicule and derision; now, they are providing yet another in their long lineof investments to “serve the customerbetter” (No, of course, the matches donot light any better with the name abovethem, but the Hyde Park “Co-op” hasyet to shorten their lines by openingthose three new checkout counters theybuilt for “YOU”).We suppose the merchant’s insigniaon ye olde matchbook signals thedemise of advertisements that, witha banality of astronomical (and nearlygastronomical) proportions, offer oursmoker the opportunity to “makethousands of dollars” in his spare timeor learn a skill through CDI that couldbe garnered nearly for free at a localjunior college. The respect thesecompanies have for the intelligence ofsomeone who would waste an eight- cent stamp, possibly more, on their“absolutely-no-obligation” opportunityis perhaps indicated by the ubiquitousand solemn warning: “Do Not SendMatches With Coupon” (One wondershow many eight-year olds neglect toseparate the comic book from thecoupon ior tne “authentic” toy soldiersor space gun.).Implicitly representing our almamater is a store that, if one did not haveto shop there for assigned books (whichoften aren’t there either), one surelywouldn’t and would have no reason to.Not only is their selection dismal, but ifthe one or two copies they do have(doubtful), it will be three or four weeksbefore they receive the one or two morecopies of one of Freud’s perennialclassics that they ordered — making the store about as prepared for a run ontheir stock (or normal student buying)as a 1929 bank, or a Hyde Park grocerystore. The bookstore, however lousytheir stock in literature may be, doesposess a selection of faddish and radicalchic paperbacks (which these days cost$l-$2, easily more expensive per ouncethan meat) equalling the selection onecan find at a medium sized drugstore.It seems local monopolies lead to thedevelopment of all the automated ef¬ficiency and care for the customer of,say, the Illinois Central. We wouldrecommend that, before Hyde Parkforms a giant carpool to shopelsewhere, local merchants put oflprinting matchbooks until they developenough service to have the loyalty of thecustomers on whom they depend.LAST ANNOUNCEMENTRUN NOW OR FOREVER HOLD YOUR TONGUE!All S.G. seats are up for election; Undergrads runfrom houses, frats, and "other-college"; grads runfrom Division or School. Pick up forms in Ida NoyesS.G. office or Student Activities Office.10 signatures puts YOU on the ballot!Election: April 19,20.Also, selection of NSA delegatesand a REFERENDUM on:Popular Election of S.G. OfficersPopular Election of CORSODisassociatlon from NSA. BRENT HOUSE5540 Woodlawn Ave.Sunday Evening6 p.m. Supper-DiscussionCONTEMPORARY AMERICAN SPIRITUALITYSpeaker: Fr. Matthew FoxAuthor of On Becoming A MusicalMystical Bear'BOND CHAPELTuesday, 5 p.m. EvensongMounday Thursday, 1 2 noonholy Communion and Meditationerf ees&tyAtyoan&rfcfocov&terfI couldn't get King Kong to give mea whirl. But when I turned on toAKadamaPlum(thelip-smackinggrapewine with the natural plum flavor) allthe College Men started turning on tome. Thank you. Akadama Plum, forturning the prom glom into the beesknees Akadama PlumThe toast ofthe campus.imported by Suntory International. Los Angers. Calif\ 6-The Chicago Maroon-Friday, April 13,1973\ . • ijm Uf 4 * /i Jim • . » 1 iIs Glitter Rock a Drag??By JUICE AND THE STAR“Glitter rock” arrived in ChicagoSunday evening, with a performance bythe sinister Lou Reed, and his newlyformed back-up band, “The Tots”. LouReed, who considers the title ‘the kingof faggot rock’ to be a compliment,attracted a sparse Auditorium theatreaudience that was sprinkle with fansclad in silks and satins, glitter andmake-up, cigarette holders and spikedheels. These individuals seemed tocongregate in the lobby before theconcert and during the intermission,apparently to demonstrate thesolidarity of the glitter rock movement.Yet, it was somewhat ironical, thatwhen the show began twenty-fiveminutes late, the Auditorium theatrewas less than one third filled.Chicago’s own Siegal-Schwall Bandopened the concert with a miserablefour song set, which was performedwithout their usual deft handling ofblues material. “Hey, Billy Jean, WhatAre Ya Doing Tonight”, “Corina,Corina”, and “Hush, Hush” wereperformed, as if the members of thegroup had been unfortunately coercedinto entertaining their audience. Theirlast number, “Hush, Hush”, was in-terupted with an abominable bass solo,and ended abruptly. The crowd didn’tbut it, and hopefully, neither did Siegal-Schwall.Lou Reed and the Tots arrived afterintermission, as one of the Tots daintilytip toed out on stage. The eighty minuteshow proved to be a first rate collection of Lou Reed’s material, spanning hisearliest days with the Velvet Un¬derground to his most recent solorelease, “Transformer”. His earliersongs, recorded with the Underground,ranged from “Sweet Jane”, “WhiteLight, White Heat”, and “Heroin” -dark, decadent songs of drugs andperversion-to “Rock and Roll”, a song of a five year old, gum chewing girl,turned on by the sensual chords of rockmusic: “Jenny said when she was justfive years old, you know there’s nothinghappenin' at all/ Then one fine morningshe turned on the radio station anddidn’t believe what she heard at all/ Shestarted dancing to that fast, fast music/Her life was saved by rock and roll...” Inspired by the tune, the potentialJennys sprang from their seats, anddanced in the aisles.The tunes from “Transformer”seemed to be distinctly moresexual—“Vicious” and “Walk On theWild Side” effectively dealt withhomosexuality, transvestites andperversion, but were tinged with Reed’sown brand of humor. Lou’s bi-sexualitywas accentuated by hip swaying, handmovements and vocal in¬terpretations—but somehow perfectlycoordinated with his music.Although his songs are built aroundsimple chord progressions andmonotone type vocals, Reed was able togenerate the excitement necessary tobreak any conceivable monotony.“Wagon Wheel” and “Sateilie of Love”,two songs from “Transformer”, wereaided by Lou’s live rendition, as he isoften able to mesmerize the audiencewith his subtle bisexual pitch. The Tots,although not the Velvet Underground inany sense, consistently gave Reed theblows he needed.Lou encored with the obscene “SisterRay”—and one can not help but wonderif it is not Lou’s wildest fantasies, ratherthan his actual experiences, that arewaxed on record. The sensual songended, the lights went up, and theaudience slowly left the theatrePerhaps some were even inspired totake Lou’s earlier suggestion, andembarked on a proverbial wild walk oftheir own. The rest of us went home,with the realization that glitter rock'might be more than mere reflections.The king of faggot rock.Sassy is Still the Divine OneBy LARRY FRISKEIncomparable is the only word for agenius of song such as Sarah LoisVaughan. Seeing her in a club such asMr. Kelly’s brings her unique talents tothe fore because she has the opportunityto unleash her talents of phrasing to adegree which is lacking, for example,on her latest album, A Time In My Life.Sarah has a majestic vocal range,especially rich in the lower register,and a superb timbre which envelopedand captivated the audience Mondayevening.Sarah Vaughan began singing andplaying piano and organ with the churchchoir in her hometown of Newark, NewJersey. She originally had ambitions forthe opera (Marian Anderson being oneof her first idols) and still employs someoperatic touches, such as an obbligatoat the close of “Wave,” but settled onsinging Jazz. She began herprofessional career with the Earl Hines Band as a vocalist and 2nd pianist, aband that included greats like DizzyGillespie and Charlie Parker. Chicagohas been fortunate to have been en¬tertained by Sarah Vaughan since the1940’s when, for those of you who canremember that far back, she sang at theClub Blue Note on Dearborn, and laterClark Street. That was when DaveGarroway, then a Chicago disc jockey,coined the memorable billing for her,“The Divine One.” Roy Haynes, herdrummer for five years, proclaimed her“The Voice,” and, of course, everyoneknows her as Sassy. Sarah feels at homeat Mr. Kelly’s, appearing therenumerous times since her opener in1957, but, as is her occasional in¬clination, is still sometimes irritated bythe bright lights and the temperature.For the last six years, Sassy hasturned to a more popular, melodic emphasis in her singing, relegating herjazz style to the background. She likesdoing all types of material, “as long asit’s good,” and doesn’t like to be con¬fined to a particular singing category.Although she hasn’t recorded a greatdeal recently, her two main lovesremain the recording studio andnightclubs. Even for a mature singersuch as Sarah, the response of theaudience to her performance remains aconstant challenge to her. Speaking ofeach new audience, “I always have thefeeling that I hope I’ll get them.”Get them she did at Monday’s showwith a beautifully paced vocal eveningfiring off “Tonight” and “On A ClearDay You Can See Forever” to openthings up. Sarah seems to be especiallyeffective on ballads where she has thechance to work a phrase morethoroughly into her own inimitableimprint. This was particularly true on“Misty” and “Rainy Days and Mon¬ days,” with her voice turning to aprobing whisper for “I RememberYou.” Sarah's rich timbre illuminatedalso such standards as “SomewhereOver the Rainbow,” “Broken HeartedMelody,” and “There Will Never BeAnother You.” Sassy also inserted anumber done in the old scat style for acompletely enjoyable change of pace.The trio of Carl Schroder, piano, JimmyCobb, drums, and Doug McClure, bass,provided an appropriately fine rhythmthroughout the evening. McClureespecially seemed to be a delightfulpresence and uncommonly allied toSarah’s phrasing.The British percussionist, EricDelaney, opened the show with asomewhat unique rhythmic demon¬stration of an assortment of percussiveinstruments including the kettle drums,a rack of symphonic chimes, a gong,marimbas and other drums.THIS COUPON CAN SAVE TOPDOLLARS IN EUROPE!Our dinar and yourdollar have kept theirbuying parity since 1970!So your vacation inYugoslavia this Summerwon’t cost more than ourAmerican guests spentin 1971.And we’ve raised the dollar's pleasure power Moreattractions, festivals, low-cost tours and car-hire plans. Widerchoice of accommodations. Credit cards good everywhereYour chance to enjoy 22 days in Yugoslavia and the easternMediterranean from $699 including airfare from New York I JUST PUBLISHED THEVONNEGUTSTATEMENTYUGOSLAV STATE TOURIST OFFICEP.O.Box 1120 Bohemia, NY. 11716To save money in Europe, take this coupon to any travel agent, or sendit to us, for brochures.Nam*AddressCity Edited by JEROME KLiNKOWITZand JOHN SOMER-State-ZipMy travel agent is_ i A Fourteen original essays on thelife and work of Kurt Vonnegut, Jr.With a bibliography.C® Delacorte Press/Seymour LawrenceA Delta BookS? 65 w hardbound edition $7 95ueii Publishing Co Inc 1 Dag Hammar shjotd Pia/a • 24b Last 47th Street New York NY 10017 KIMBARKLIQUORSWINE MERCHANTSOF THE FINESTIMPORTED ANDDOMESTIC WINESFeaturing our direct imports,bringing better value to you!THE ONLY TRUE WINE SHOP IN H YDE PARK53RD KIMBARK LIQUORS, INC.1214 E. 53rd St.53-Kimbark Pina NY 3-3355Friday, April 13, 1973-The Chicago Maroon-17Class Action from Dance GroupBy MELINDA KANNER ANDKAREN ROOTHANExpecting amateur performancesfrom the U.C. Dance Group concerts lastweekend, we were pleasantly surprisedby the high caliber of the program andthe technical proficiency of the dancers.The costuming by Malu Alberro andlighting by Robert James were ex¬cellent. At 75 cents for an advancestudent ticket, one could easily gotwice—and it was definitely worth it.The U.C. Dance Group is headed byElvi Moore, assistant professor ofphysical education. Four of the sevendances in the concert werechoreographed by her. Sinbad theSailor, Vicissitudes and Espiritu delFlorin were choreographed by studentsin the U.C. Choreography Workshop,directed by Ms. Moore.Members of the Dance Group worktogether quite nicely, each playing offthe movements of the other. JohnOsbon, Gwynne Lewis and JudithBrophy displayed agility and well-coordinated interaction with the otherdancers. There is, however, anoticeable absence of such developmentin some of the other members of thecompany.John Osbon is blatantly the sexiestmember of the company. Being the onlymale dancer of any major significance,he was extremely overworked duringthe concert, appearing in all but twonumbers. The physical strain he en¬dured—carting nearly the entire femalecast offstage—was in itself Herculean.Gwynne Lewis did everything quite abit better than everyone else when shewas on stage. Her grace and flexibilitystood out. We wish that she had beengiven a solo to do. Another obviouslywell-trained and experienced dancerwas Judith Brophy. Even herdiscreditable role as the Tinsel Lady ofEphemeron was danced seriously andartistically.The first number of the concert,Random Movements, proved to be afine introduction to the company’s style. It opens with Lizbeth Brown dancing toa Bach violin concerto. The otherdancers enter, their movement patternssimilar to Ms. Brown’s. Periodicallythey congregate as the music stops andeach blurts out something like, “Evealways wanted to go to Jamaica” or,“Boy, did I have a date last night!” Thisfusion of bodies amoebas around thestage, flailing its arms, kicking its legsand jerking its heads—the randommovements reflective of the verbalthoughts. Finally the writhing groupcollapses on the stage as the lights godown.Although this piece deals with ran¬dom expressions, it does possesssmoothness and continuity. One dancermay initiate a movement and the otherswill repeat it with variations. In parallelto the dance is the contrapuntaldevelopment of the Bach concerto. Astrong sense of group dynamics createdan imposing presence on stage.Vicissitudes, choreographed by itsfour dancers, was creatively conceivedand well-executed. Victoria Baylissmolded the pliable Ms. Brown intoround clay shapes. In a gentle satire oftypical male-female roles, Janet Graybecame a rigid lump of Silly Putty in themasterful hands of the archtypicalpremier danseur—Mr. Osbon. At onepoint a power struggle developedbetween them, each trying to climb upthe body of the other. Ms. Gray almostwon by straddling Osbon’s shoulders.But then they tumbled to the ground, heto triumph—his pointed toe plantedvictoriously on her curled spine. Theonly fault of the performance was Ms.Gray’s exaggerated mugging.Espiritu del Florin was at once themost ambitious and least successfuldance of the program. As Doug Unger’sfirst experiment in choreography it didexcel in shape, if not in communication.The sudden introduction of MaluAlberro’s striking masks at thebeginning intensified visual excitementthroughout the dance. We also liked arecurring hand gesture in which the dancers curled their fingers tightly,palms flat, knuckles protruding.The scenery—a hoaky chartreuse sunspotlighted against a phony redsky—served only to detract from thedancing. Presumably its movementfrom one side of the stage to the otherwas designed to create the impressionof a day’s passage.As the dance began we saw eightdancers, dressed in black leotards,crouched in a low semi circle. Haitiandrumming lifted the dancer’smysterious heads. Each wore a maskwith black ovals for mouth and eyes. Itlooked like the beginning of an excitingdance ritual. But the dancers were notin unison or in sync with the music.They failed to generate the tension andrhythmic frenzy of the drums.Another problem with this dance wasits inadequate translation of a storyidea into movement. Props and pan¬tomime flourished where dance did not.The action held a vague semblance tosome sort of fertility rite centeredaround an object which we assumed tobe a baby, (although it was highlyreminiscent of an Electrolux bag tiedwith a blue bandanna.) The assumedmother of this ‘baby’ thrust itheavenward, clutched it desperately toher breast, then thrust it out again.During an ensuing tug-of-war with thebaby, each pilvering body formed astrange, low-slung black arrow againstthe red sky. The dance concluded witheveryone staggering off under heavyloads—toting that barge, lifting thatbale. . .Sinbad the Sailor, choreographed byMs. Bayliss, was a delightfullyludicrous voyage. Dressed in brightcolored leotards with rouge plumpingtheir cheeks, Bayliss, Gray and Osbonleap, roll and undulate while chanting“Sinbad the Sailor, Jinbad the Jailor,Tinbad the Tailor, Yinbad theYailor. . .” The fun culminates in akick-step-turn Rockette line danced intime to “Sinbad, Sinbad, sin-sin-Sinbad.” Unlike preceding works, this piece managed to arouse the audienceIn Elvi Moore’s Ephemeron, JudithBrophy was a dripping tinsel goddess,her costume bearing a strikingresemblance to last year’s Christmastree. As unruly strands flew from hersides, she bewitched the other dancersby encircling them with her glitteringappendages A beautiful dancer, sheexcelled in slow', deep plies, prolongedleg extensions and quick, precisepirouettes.Nightwinds, danced by Ms. Mooreand Mr. Osbon, was an over-sustainedwork of dance and drama, skillfullydone. It provided a refreshing breakfrom the group dances. Along withRandom Movements, Nightwindspresented Ms. Moore’s choreography atits best, giving the audience an op¬portunity to see her dancing ability too.Dancers, Buildings, and Peoples inthe Street, along with Ephemeron, weremade with the help of two choreographygrants to Ms. Moore from the NationalEndowment for the Arts. The firstbegins with a hunched-over Mr. Osboncrossing the stage as Ms. Gray sprawlson his back. They approach SusanMargitic, Osbon grabbing her legs, andreel about like a multicoloredwheelbarrow. After some stop-go, Go-go dancing, Osbon carries the stiffbodies of the other dancers offstage andresumes his gyrating in self-centeredsolitude.The second part of this work openedon a filmed backdrop by Sue Davenportof cars plunging down Lake Shore Drivedirectly into the audience. Runningrapidly across the stage, the dancersdodge oncoming cars. When the filmshifts to views of Chicago architecture,the dancers mimic its curves andlengths. The dance ends with everyoneslowly pulling themsejves across thestage to form a heap at the base of thescreen. Although Ms. Moore’schoreography fit with the film quitewell, the dance was flawed by thefailure of each part to have anything todo with the other.Wb’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 with 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.Na meAddressCity State ZipSee India. It’s another world.219 B ROCKEFELLER MEMORIAL CHAPELJ^olg CUeek ScroicesPalm jSundagAPRIL 15, 1973-11:00 A.M.PREACHERE. SPENCER PARSONSDean of the ChapelB MINOR MASSJ. S. Bach3:30 P.M.ROCKEFELLER CHAPEL CHOIR AND ORCHESTRATickets: R+vn»ld* Clot D«*k ; Woodworth'sJVIaundg Thursday CommunionAPRIL 19, 8:00 P.M.©ood Fridag ecumenical PatriceAPRIL 20, 12:00-12:50 P.M.©aster ©oc VigilAPRIL 21, 11:00 P.M-12:30 A.M.Easter breakfast following the service in Chapel undercroft.©asterAPRIL 22, 11:00 A.M.PREACHERE. SPENCER PARSONSDean of the Chapel18-The Chicago Maroon-Friday, April 13 1973By TOBY LOU HOFSLUND Music to Garden ByTo many music lovers Haydn'sCreation means the popular chorus“The Heavens Are Telling”. To others,and especially sopranos, it’s that ariapractically every singer learnssometime in her career. “With VerdureClad.”To this reviewer it is a dramaticmasterpiece-- complete and direct.Where else in music has any composerso brilliantly portrayed chaos withunresolved dissonances and suspen¬sions, and then a short time laterresolved it so triumphantly in a simpleC major chord?Also, consider what Haydn does todepict nature. Where else in Classicalmusic do you hear the rain falling, seethe sun rising, and listen to the cooing dove? Not even Camille Saint-Saensalmost a hundred years later in hisfamous Carnival of the Animals couldgive up a more complete picture of oneof Mother Nature’s wonderments, thecreeping worm. With so much to hear,see, and feel in the music, it is essentialthat each one be presented as clearly aspossible.At the Auditorium Theatre on April1st such was the case. The occasion—-aperformance of The Creation by theBerlin Concert Choir and Orchestraunder the direction of Fritz Weisse.Weisses clipped, controlled directionof the chorus, orchestra, and fivesoloists permitted us to enjoy the subtlebeauty of Haydn's masterful oratorio.Every contrasting mood wasthere—darkness and light, storm andcalm, the boisterous sea and coolFritz Weisse, conductor.The Berlin Concert Choir and Orchestra in full drag.vaulted groves—interpreted with ap¬propriate care and expression.The orchestra, augmented by halfdozen Chicago Symphony Orchestraplayers, responded to Weisse’s slightestnod with polish and precision. Thechorus moved together as one andproduced a blended sound whetherexpressing an inner reflection or anoutgoing song of praise. At times,however, the men’s voices lackedfullness and the sopranos dominated,impairing the balance.The soloists—sopranos VeronicaTyler and Ursala Farr, tenor SidneyJohnson, baritone Marco Bekker, andbass-bar i t one RaymondMichalski—sang with technical andexpressive artistry whether inrecitative, aria or ensemble. The controlled lightness of Ms. Tyler's“With verdure clad” was her finestachievement. Equally convincing werethe tenor, expecially in his lyricalpassages, and the bass-baritone for thepower and vibrancy he brought toeverything he sang. And the trio “Howmany are thy works” featured anespecially high degree of ensemble,polish and beauty.When many concert managementsshy away from the expensive imports,the Auditorium Theatre Council con¬tinues to offer Chicagoans major in¬strumental groups from around theworld such as the Royal PhilharmonicOrchestra of London, the MozarteumOrchestra of Salzburg, and this veryfine Berlin Concert Choir and Or¬chestra. Bravo!English Dawes, Falcon, Raleigh, Royal ScotFrench: Anquetil, G'tane. Jeunet. LaPierre,Merciei, Moto6.cn., Roold, UnicsbortGerman KalkhoffItalian Bianchi. Bottecchia. Corse. Frejus,Mirella, OlmoJapanese' Aiuki, Crystal, Fuji, Niihiki, SeklneAmerican: Ross. VistaTWO LOCATIONS TO SERVE YOU743 Chicago Ave. 760 WauktganEvanston864-5775 Deerfield945-9630 OPERA HOUSESAT.( MAY 5 — 8 P.M.TICKETS: $5.50 — $6.50 — $7.50Available at all TICKETRON Outlets NOWAt Box Office beginning Mon., Apr. 23Mail Orders to Opera House, 20 N. Wacker, Chgo. 60606Enclose Stamped Self-Addressed Envelope. mblack & whiteand colorCall MU 4-7424 nowfor an appointmentCorona Studios1314 E. 53RD that is safelegal &inexpensivecan t><? set up on anoutpatient basis by callingThe Problem PregnancyEducational Service, Inc.215-722-536024 hours-7 daysfor professio.ral, confidentialand caring help.Joe Louis Milk£/ * * •% V**/A'V'C'VPRIDE YOU 'CAN POUR. C vV.V o. * W TRY SOMETHING NEW THIS SUMMERNew College Summer SessionSarasota. Floridaitme 11 — August 3. 1973Earn up to a year's course credit at a college with a nationalo reputation tor its academic innovations (three year B A pass failgrading, open curriculum independent and off campus studyprograms) and the quality ot its students and facultyCourses in natural sciences, humanities, social sciencesEarly application advisableWrite Dr Ronald A CarsonNew College Sarasota Florida 33578Fr iday, April 13, 1973 Thc Chicago Moroon-lQi. tDooboling SousaphonesBy GAGE ANDREWSEllen Mcllwaine should have, by allrights, knocked ’em dead at theAmazing Grace last weekend. Instead,her innovative and highly experimentalsongs were given a fond farewell by themany persons who left in the middle ofher set, and the show was stolen by thefast-pickin’ Pleasant Street String Bandfrom Hibbing, Ill (a suburb of Rock¬ford).The PSSB is exactly the kind of group that you want to find as an opening act— no pretensions, really honest goodtime music, lots of flashy flash (most ofwhich sounded good too), lots of com¬munication with the audience. My notesread something like “Woof! Dobros.guitars, banjo-finger-blisters. ‘Doo¬boling sousaphones’ from the hitfilm ‘Belligerence’. ... If they don’tcompletely steal the show from Ellen,she is really fine.” Ellen was not really fine. She wasaggressive (broke four strings beforethe first song ended); she plays a trulygreat slide guitar, but only played twoslide pieces. Her strum/pick has anutterly unique sine-wave motion, andshe managed to be sufficiently ex¬perimental (and close enough to suc¬cessful) that I felt she had the right toplay Hendrix songs. Unfortunately, hersinging and her amplification over¬ whelmed the hall, rising to an almostpainful loudness; and worst of all, shedid not pace her act at all. It was as ifshe could not be gentle enough to sing -ballads. Perhaps the best thing to besaid for her set was that the troublemakers (several exceptionally ob¬noxious people, who broke a fewglasses, etc.) left during her third song.Their departure got a vigorous ovation,she did not.Turkish Cuisine in Hyde ParkBy LESLIE KOHNIn the rush to leave Hyde Park fordinner and entertainment, one oftenforgets that there are indeed some quitegood restaurants here, right alongsidethe numerous “greasy spoons.” One ofthese is the “Efendi”, located at the topof the Hyde Park Bank building, 1525 E.53 St., serving Turkish cuisine.Removed from the squalor of the citystreets, the “Efendi” provides both apleasant, relaxing, ambience and well-prepared food. The dining room with itshigh ceiling and dim lighting is quiteintimate, without being claustrophobic.If you think of it, take a good look at theceiling and enjoy the artwork.The dinner menu is basically dividedinto selections of seafood, broiled dishes, and Turkish specialties, about15-20 selections in all. Dinner consists ofselected appetizers, salad, main course,and a beverage. Dessert is 75C extra.When we visited the “Efendi”, wewere served two appetizers; one con¬sisted of cucumbers in yogurt and theother was a sort of cracked wheat,marinated with spices. Both weredelicious. They were followed by a saladof greens, tomatoes, olives and fetacheese. From the choice of main dishes,we selected “Patlijan Kami Varik”(eggplant stuffed with ground beef andlamb) and “Talas Kebab” (smallpieces of lamb sauteed with onions,wrapped in strudel-filo dough andbaked). They wrere served with rice pilaf and a garnish. Both dishes wereprepared well; the meat was nicelyseasoned and tender, and the strudeldough was excellent. The only objectionone might have is with reference to theway the main course was served; itappeared rather sparse, even though itwas quite satisfying.The desserts are all Turkish pastries;I strongly recommend “Shakir Pare”,when it is available. Ask for it, it’s notlisted on the menu.Prices range from $3.75-$6.75 for thedinners, including everything exceptdessert. The management is planning toadd several “weekday eveningspecials” to the menu, including such dishes as “Baked Chicken withEggplant”, “Beef Saute”, and anunusual variation of “Liver andOnions”. They will cost about $3.-$3.50for a complete dinner. The “Efendi”also offers a weekday night studentdiscount of 15% on dinner and drinks,which increases to 20% for a party of sixor more. There is also a lunch menu,which is Americanized in nature.The service is friendly and ratherattentive, if you wish to relax awhileover your coffee, your cup will berefilled continuously. This is a niceplace to take a date, or to be taken to byparents. However, I get the impressionthat little brother and sisters may findthemselves bored stiff.A Cake RecipeHere is a recipe which represents thecomplete triumph of body over mind.For the senses it is pure joy, for themind, easy as pie. Only it happen* to bea cake. Rich0...You couldn’t ask. Let’sput it this way—never in his wildestflight of fancy did Duncan Hines everenvision anything as tempting as— FRENCH POUND CAKEWhat you need are 4 eggs, 1/2 pint ofheavy cream, 1 1/2 cups of sugar, 1 1/2cups of self-rising cake flour, and 1teaspoon of vanilla extract. Crack theeggs into a mixing bowl and beat well.Follow the same procedure, in order,with the cream, sugar, flour, and vanilla extract. Nowt pour the batterinto a tubular cake pan and set in anoven pre heated to 350 degrees. Bake foran hour or until a clean knife comes outas it went in. Let it cool before youremove it from the pan.This is so luscious that you can serveit plain, however you might like to top it with powdered sugar. The calorie countshould already be astronomical, but youcan always go whole hog (!) and serve itwith a scoop of coffee ice-cream. Followwith coffee and a controlled regimen ofparticularly violent exercise for thenext week.—Howard M. Isaacs20-The Chicago Maroon-Friday, April 13, 1973PICASSO DIESlMIPost-Mondrian Abstraction and Diane ArbusThe two current shows at The Museum of Con¬temporary Art may startle the viewer with theirsimplicity. Yet it is this apparent quality of the twoexhibitions— The Photographs of Diane Arbus andPost-Mondrian Abstraction in America— thatchallenges the viewer’s sense of taste and invitesuncertainty. What makes these things art? Theelemental abstraction in the Post-Mondrian paintingsand sculpture and the candid, personal focus of theDiane Arbus character glimpses are both compellingyet unencumbered. It tested my judgement to un¬derstand the real nature of their artistic magnetism.Images so bold and clearly defined demand onesattention since their lack of ambiguous visualelements implies a certain self-assurance. The un¬fogged sense that a painting composed of varioussquares and rectangles suggests is not the only varietyof self - assured, aggressive statement that theseshows offer, however. For Diane Arbus positions herphotography so that her portraits of unabased circusfreaks, East coast nudists, or intriguing faces of highand low class New Yorkers are all face-to-face withthe camera, proud in the simple fact of theirexistence. They too attempt to fog no visual boundarythat may face the photographer’s lens and the imagesof the world before it. The easy and obvious questionthe viewer of these art works will ask himself iswhether such seemingly minimal use of visualpossibilities is in fact art.Is the elemental geometry that Mondrian beganemploying decades ago a successful manner of ex¬pression? Or is it more an intellectual conceptnotated? Of the five original Mondrians in thisexhibition we can get a taste of his sensibility atleast—rigid, at first seemingly detached, cold andhighly patterned architechture composed of heavyblack lines, and a minimal use of color, usually ap¬pearing in one small rectangal or square to thepaintings’ outside edge. These paintings may seem toointellectual, too formal, too contrived without beingbalanced by some spontaneity unless the viewer holdsback judgement momentarily and observes the rest ofthe exhibition. A comparision with the American“Post-Mondrian” artists allows a expanded per¬spective and fairer judgement—it might be best tosearch our what appears as obvious spontaneity inthese works (if there is any).Mondrian’s use of color is much more subtle, lessforced than the other later artists in this exhibition.His paintings do not push their color into theforefront—the viewer needs to seek the color out, tofind its place within the solid black lines that structureeach work. Mondrian seems not to care whether onenotices the areas of color or not, yet, one cannot helpnoticing it. The color is an integral element to eachpicture yet it does not stand out and speak first “I amyellow.” Instead it lounges within the fierce geometry,the black linier criss-crossing, and murmurs “I amyellow AMID these black lines.”Gonmotrir Painting HI. Spiral Movement by AlbertSwinden. Young Girl, nudist camp, Pa., 1965 by Diane Arbus.The later American artists in this show use color asa more fundamental structuring principle. It seemsthese paintings and sculpture could not exist without itwhereas Mondrian is on the verge of discarding it.Painters Fritz Glarner, Burgoyne Diller, AlbertSwinden, and Ilya Bolotowsky all use non-roundshapes as the building principle for their creations.But their color has not the distinct role, the pre¬conceived function that Mondrian’s paintings suggest.His art was founded on a rigorous philosophy ofelemental form and design. These later artists whofelt his influence only assimilated what his art ap¬peared to be outwardly, i.e. an utmost reduction of lineand color. They failed to recognize, or at least use, thisquality of drawing that Mondrian’s paintings imply.His paintings are less an arrangement of paints lyingjuxtaposed puzzle-fashion to one another. In betweenthe dark black lines are areas of white that, althoughindeed painted, nevertheless function outside thepainterly realm and serve more as simply pure space,like paper left blank. These paintings breath morethan the “Post-Mondrian” American artists. Theyseem to be imprints, finely conceived and executedletters in a visual language Mondrian has created,written more seemingly on an controlled impulse thana desire to fill a canvas from edge to edge with paint.This is the quality of spontaneity I at first found dif¬ficult to discover. Do the “Post-Mondrian” Americanartists have spontaneity of a different sort, someevolution from the original Mondrian “painteddrawings”?My observation is that the Americans represent lessintellect of the literary, philosophical conception of artthat Mondrian himself found so important. Theseartists took what appeared to be the outward essenceof Mondrian’s style and set themselves on furtherinvention, visual imaginings, and divergences fromthe aesthetic norm then accepted. Hence the viewerfinds in this exhibition round canvases, and a numberof large canvases with limited areas of actual paintedimage, and one artist who built his canvas to suggestthe rugged geometric skyline of a cities’ buildings. Allthese exist in the context of fundamental line anddistinct demarcations of form. One particularly in¬ventive sculpture is a “column’’ by Harry Holtzmanthat uses blocks of simple colors and sections of line asa kind of complex ladder into three difriensional space.All these American works are attempts at theminimal—or more correctly elemental—roots thatbase the language of vision and seem to eminate fromMondrian’s influence. The success of these works isdecidedly different, however, than the name of theexhibition—“Post-Mondrian Abstraction inAmerica”—may imply. For the results of Mondrian’sinfluence seem far-removed from the essence of hisphilosophy and art. The abstract aesthetic he proclaimed could not be upheld without furtherphilosophical argument, at least if we desired adistinct and logical evolution of his concept. Theresults that did evolve, however, are more spon¬taneous in their own right because they rely on simpleinvention rather than contrived theory. For anoriginal like Mondrian the theory and spontaneityevolved together and successfully live in his paintings.For “Post-Mondrian” abstractionists this authenticcreation would never flower so naturally if taken onlyfrom his intellectual precendent. What did happen andwhat may be witnessed at this exhibition is sincereand trully valid peesonalities who oivergesignificantly, not initating but recalling the master.The second part of this exhibition—Diane Ar¬bus—takes another twist from the meaning Mon¬drian’s show implies: the elemental, the basic. Withblack and white photography Arbus searches outencounters with the seemingly strange, wierdcharacters of society. Circus freaks and a high societycostume ball are just examples of the personalitiesshe captures on film. Easily the viewer could dismissthese photos as exploitive and sensational in subjectmatter within a valid visual counterpart. To an extentthis argument has a sound basis. Arbus does not gomany places visually in her manner of presenting theportraits. All are face-to-face with the lens. Whatsaves Arbus, however, is her uncandid approach. Shedoes not pretend spontaneous images of everydaypeople in the midst of their lives. Instead theexhibition has an air of a family photograph album.Each portrait is obviously being posed for—as if Arbusis on vacation and with her tourist camera discoverspeople of interest and asks them if she might taketheir picture. The success of this collection resides inour ability to piece together some world from thedistinct eye that Arbus has. For although her subjectsare diverse and without apparent connection in actuallife, Arbus has a continuous view of them all thatsomehow links them together. Her eye looked from acertain mood in each of these subjects that theexhibition as a whole conveys. Since she is now dead itis up to the viewer to imagine the coherence of hervision, and to conclude as to why her photographspresent the world’s people in all their idiosyncrasiessomehow as one—simple as PEOPLE.These exhibitions run through May 13.Once again, the University community is invited tovisit the Oak Park home of Joseph R. Shapiro (ofMuseum of Contemporary Art and “Shapiro Collec¬tion” fame). Mr. and Mrs. Shapiro own one of thefinest collections in the country of contemporary artand are pleased to have us come and view it, discusstheir collection and collecting in general. There will bea bus leaving Ida Noyes at 7:00 p.m. on Tuesday, April17, and returning about 10:15. This is an opportunitynot to be missed by anyone interested in con¬temporary art. Sign up for bus in the Student Ac¬tivities Office, Ida Noyes 209.This is an opportunity not to be missed by anyoneinterested in contemporary art. Sign up for bus in theStudent Activities Office, Ida Noyes 209.Composition in Yellow, Blue, and White, 1.1937 by PietMondrian.Friday, April 13, 1973 - The Chicago Maroon - 21RECORDSOfferingLarry CoryellVanguard VSD 89319I first saw Larry Coryell and hisingeniously titled quintet (Foreplay) atthe Quiet Knight recently. This greatguitarist and composer is on the vergeof wide public acclaim so it was aspecial treat to see him in a small clubsetting. The group’s energy level is highbut many of its most effective momentscome during unaccompanied solos andduets.Coryell’s improvisational momentsare sophisticated and technicallysuperb even though he can playmaterial extremely fast and seeminglywith ease. He counts John McLaughlinand Jimi Hendrix, who was going in thesame musical direction in the early 60’s,as among his influences, and heespecially singles out the musicians inWeather Report as having a profoundeffect on his music. To this listener, thegroup is also rhythmically related tomuch of the music done recently byMiles Davis. Coryell is finishing a newalbum, his eighth, which will besomewhat more rock - oriented than hisothers and he also will release his firstsingle, a vocal, at the same time as thealbum.Coryell’s latest album, Offering, is hisbest yet and features what Larry callsthe greatest piece of music he haswritten: “The Meditation of November8th,’’ a mellow and peaceful work of art.It begins with a delicate and yearningSteve Marcus soprano interacting withLarry, who is also in a longing, tendermood. Marcus is a remarkablesaxophonist who really complementsthis group in a fine fashion. Larry callshim, “the greatest living reed player,’’but at the Quiet Knight, he was un¬fortunately drowned out by the group’sloud rhythm. Only in a beautifullystructured duet with Larry, tentativelyentitled, “Lolita,” was Marcus able tobe fully appreciated.A long - time friend of Larry’s, Mike Mandel on electric keyboard, is aninspiration to the group and is therhythmic mainstay while being ablysupported by Mervin Bronson, bass andHarry Wilkinson, drums. Mandel’s bestsolo is on “Beggar’s Chant,” where heopens up with some fuzz-wah action andinteracts very well with Larry, as theydo throughout the album.The other interesting cuts are bothCoryell compositions. After thethematic statement by Coryell andMarcus on “Foreplay,” the latterascends into an expansive and flightysolo with Larry returning with a spotaccentuated by short, quick strokesemphasizing the higher register.Following a somewhat subdued Mandelsegment, everyone returns to concludean interesting and well - done number.Marcus carries the group through“Scotland Part One,” which they alsoplayed at the Quiet Knight. He openswith a delicate, free form statementand, after a pause, everyone rushes intothe core of the composition, firstreplying to Larry’s eight note ascendingtheme and then Marcus taking the leadand blowing over, into and between hisrhythmic background in an excellentdisplay of his great inventiveness.Coryell and Marcus are two of thefinest young musicians working today.Larry can be heard on a fine album(with John McLaughlin) called Spaces,or on an earlier album called BarefootBoy, but until Coryell and Foreplayreturn to Chicago, Offering is your bestbet for some challenging music.—Larry FriskeBill QuatemanBill QuatemanColumbia KC31761Bill Quateman’s first album leavesme with a disquieting ambivalence.While most recordings tend to glorifythe artist’s abilities, the engineers atTrident Studios in England have suc¬ceeded in creating the opposite effectthrough a thoroughly abysmal mix.LUMBiA PICTURES PRESENTS A LANS8URY/DUNCAN/BERUH PRODUCTION • GODSPELL • SCREENPLAY By G/ID GREENE and JOHN MICHAEL TEBELAK • MUSIC AND LYRICS BY STEPHEN SCHWARTZ »• sr.r^-rG*' • produced by edgar lansbury • directed by david greene j ^QSjA WALTER READE THEATRE™ ^squire58 E OAK STREET • 337-1117 See Daily Newspaper Ads for Performance Times Audiophiles would gag on the “highfidelity” music which emanates fromthis disc. The sound is equal in quality toa telphone receiver.In his live performances, Quateman’smagnificently expressive voice andguitar ring decisively in every ear.Although his lyrics do not compare withCat Stevens’ poignancy, they arenonetheless refershingly original.Quateman sings in blank verse aboutthe pain of unrequited love in “Circles”and “Your Love Can Make It Real”.Quatema’Quateman’s virtuosity is com¬plimented by competent ac¬companiment. Sid Sims plays bassstoically and adds an occasional vocalharmony. Tom Radtke flailsmelodramatically on his skins.Bill Quateman will have a long andglorious career as a recording artist iftwo conditions are met. First, he mustcontinue to give superb concerts oncollege campuses for the sake ofpromotion. Second, he must find anengineer who ignores the VU metersand who knows that a trained ear is thebest determinant for a good mix.—David JeremiasGarden PartyRick Nelson(Decca DL 7-5391)Rick Nelson writes good songs; thesix he authored on his new album,Garden Party, are each excellent, and afew are real knockouts. He has put his’50s history behind him (it shows when,for some reason, he tried Chuck Berry’s“I’m Talking ’Bout You”; the Stonesdid it much better, not to mention Berryhimself.)Nelson now writes mostly “ballads” -at least songs that have good lyrics andan intelligent or interesting storybehind them. “Garden Party” is oneexample; and then there is “So LongMama,” which has this memorablewarning: “You strut around town withyour nose up in the air/ I bet you never seen the ground/ You better learn tobreathe through your ears,Mama/ ’Cause if it rained right now,you’d drown.”A lot of credit goes to the StoneCanyon Band, who gives Nelson ex¬cellent backup in the dictionary senseof the word. Tom Brumley on steelguitar lends a perfect country touch tosome of the material, and they allmanage to keep extraneous lines fromcluttering up the songs. So with six goodfolk-rock songs by Nelson, a few goodother choices, good singing (Nelson hascut down on the echo chamber), andfine playing - this record rates as one ofthe best of the month. You will probablypass it by because of the Nelson logo,but it will be your loss.—Gage AndrewsThe History of the Grateful DeadGrateful DeadPride PRD 0016Unfortunately this album is not ahistory of the Grateful Dead; instead, itis a re-release of a very old album,seven years old to be exact.The technical aspect of this album isvery poor. That is in part due to the factthat the album was recorded live at theAvalon using a make-shift operation.There is a large amount of echo anddistortion.The Dead, of course, have improvedsince the San Francisco days of thisalbum. The intricate rhythms thatapproach beauty are yet to bedeveloped here. In fact, the rhythmwork is a joke when compared to theircontemporary material.What can be heard is the beginning ofthe Dead’s style and the fine guitarwork of Jerry Garcia. The country-acid-rock was slowly being defined. Theguttural vocal and semitwang arethere. It was Garcia’s brilliant but notyet polished style that made it all worthwhile.—Michael FranzenAPRILORIGINAL SPECIALEQUIPMENTDOUBLE BELTED PRICES ARE FOR WHITE WALLF 7814 W/W 4 For 110.00G 7814 ft 110.00H 7814 ft 120.00G 7815 ft 110.00H 7815 tr 120.00J 7815 ft 120.00L 7815 ft 130.00The Only GOOD YEARWholesale Tire Center On The South SideInquire about other size prices.3967 SO. ARCHER AVE.PHONE927-800022 - The Chicago Maroon - Friday, April 13, 1973I'MAROON CLASSIFIED ADSSCENESSemi annual tour to see the "real"Shapiro Art Collection. Tures. April 17sign up for bus ($1) Ida Noyes 209,x3591.Film: "Siege" continues UC Hillel &Rodfei Zedek film series Saturday4/ 14, 8:00p.m. at 5200 Hyde Park.Admission $1.00, Hillel affiliates only50c.Unitarian Gay Caucus mtg. tonite callClark House 241 7780 for info.What is FSACCSL? not the FutureSavants Angry Concerning City StreetLights.History Sherry Hour: This Friday,April 13, in the Social Science TeaRoom (2nd floor) at 4:00.SPACEWoman wants room in apt w/ 1 2 otherwomen in Hyde Pk or North Side forMay 1. To $80. Call 241 5917 late pm.Lovely home near lake MichianaShores Ind. summer $300/mo(219)879 8628.Co op apartment for sale So. Shore onlake, 5 rooms, wood burning fireplace,modern kitchen, U of C neighbors, aircond. private parking $6 mo. monthlyasses. $98, $9500 will finance, 768 7299eves.FOR RENT: 12 to 14 months CoopTownhouse: 3 bdrm, all appliances,finished playroom family room 1/ 2block from coop and 1C, commoncourtyard and play facilities,Magnificent opportunity for ternporary home rental.SUMMER SUBLET FALL OPTIONSunny 2-1/ 2 rm w/ Murphy bed$120/ mo. 241 7621.COACHHOUSE IN SOUTH SHORE,near 1C and Campus Bus. Four roomsplus an attached Garage, EnclosedYard for Children, Pets allowedAvailable May 25, Pay from June 1.$165/ mo. Call 374 0186 Friday orMondayFACULTY GOING ON SABBATICAL? Responsible Law Studentswill rent 8. care for your home or aptnext school year. Currently rentingfrom Prof. Ref. avail. Jeff 955 5834ON THE LAKE: 1 bedroom apt May1st 7425 S. Shore Dr. clean quiet bldgon lake with private beach. 1/ 2 blockj PIZZA*i PLATTER1460 E. 53rdMl 3-2800FAST DELIVERYAND PICKUP40% OFFTIE MOK NOOKAcross from tko Co-Op?THIS WEEK!New Jackson FiveThe New Led ZeppelinNew Nancy WilsonTHE VERSAILLES5254 S. DORCHESTERMAY 1STLEASINGW*ll maintained, sacurabuilding. Attractive IV*and 2% room studio*;furnished and un¬furnished; $117 to $169utilities included. Atcampus bus stop.Mrs. GroakFA-4-0200Flying ClubThere will be an informalmeeting for those interestedin the formation of a flyingclub this Wednesday, April 18,8 P.M. in the Ida Noyes Library- 1212 E. 59th st. The meetingwill describe what it takes tofly, how much it costs, and thereductions that a club canreceive in lessons and in¬struction. All those whoresponded to last Friday's Mid¬way please attend. to campus bus 11/2 blk »o 1C $142, 1yr sublet Bob: 768 1588; day 753 4371.CHICAGO BEACH HOTELBEAUTIFUL FURNISHED APARTMENTS Near beach, parks, I.C. trains11 mins, to loop U of C and downtwonloop buses at door. Modest dailyweekly monthly rates. 24 hr. desk.Complete hotel services. 5000 SCornell. DO 3 2400SUBLET large sunny apt 2 bedroom 54& Univ June thru Sept $148; 493 4071.Room for fm on 57th 8. Woodlawn Aveavail now. Call Barb at 363 9620 or 6674008.Sublet 6 1 to 8 31 1-1/ 2 rm furn apt util^linens maid serv 947 0757,Unfurn 2 rm apt at 5847 Blackstone Igbalcony rent $133. Avail May 1. CallParker Holsman, HY 3 2525.Rmmte or couple needed 6/ 1 to 9/ )Furnished twnhse with AC andparkng. 55th and Dorchester. 947 0358.Lrg airy 2 bdrm apt New kit end porch5338 S. Harper avail June 1 $213/ mocall 947 9716 after 6 pm.Fern, grad needs room 8. rmmtes fromMay 1st or after 241 7796.TO SUBLET Spacious 2 bdrm 2 bathapt, AIR COND 51 8. Blckstn, Furn SecBldg. $180/ mo July Aug 947 9152 eves.Summer sublet entire air conditionedLittle Pierce apt. Call 288 0659.Sublet: June I Sept 1 E 1 townhouse 8rms AC furnished, large enclosed playarea ideal for family Call 493 7440 orx3 3636 CLASSIFIEDSClassified deadlines are 3:30 Friday for Tuesday s paper and3:30 Wednesday for Friday's paper. The cost is 50V line the firstissue and 40V line for repeated insertions for UC people. NonUC people - 60V line, 40‘/fine repeat. All Ads paid in advance sobring them to our office, Rm 304 INH or mail them with a check.exchange babysitting two little girlsand some housework. Lots ofbeaching Call 624 8363SURVEY COORDINATOR-Detailoriented person to process surveyreports—must be able to learn quicklyand handle customer contact. Sometyping needed—computer skillshelpful—some travel—advancementpossibilities—good salary—Call 7532067.L. League volunteer coaches thissummer—call 493 7980 eve/ wknds.WANTED: Someone to coach me inprogramming PLATO IV (Plaza 28377)to live atTHE FLAMINGOON THE LAKE5500South Shore DriveStudios from $154One bedroom from $170Furnished or unfurnishedShort term leasesSwimming pool-no fee752-3800Mrs. AdelmanFOR SALEFern rmmte wanted.$50/ mo. Call 684 7927. 54th & Univ.Roommate wanted to share house orco op and campus. Call 643 8184.Two bdrm. apt. on campus for subletSummer qtr. $130/ mo. Call 947 0079after 7:30 p.m.Lge mod studio, kit., AC, Ige, closets.Avail 6/ 15. E 55th PI. 955 2699Fm. rmmte to share huge beautiful EHyde Pk. apt. w/ 3bdrm w/ bathAvail May 1. $80 8. utils. Call 684 0860Apt. to sublet for summer: 2-1/ 2rooms furnished air con., parking, InFaculty Apartments across fromBillings. $153.50. Call M Murrin at 4935357 after 7 p.m. on most weekdaysKitchenet apt. w/ fireplace: for quietperson only. $144/ mo. Call 643 0741Sublet May 1. Sunny 2 bdrm. apt. EastHyde Pk $172.50 new lease 493 6940.Summer house in Ogden Dunes June toSept. 536 4354 after 6Live in Federika's famous bldg.Nearby furn. or unfurn 2 & 3 rm. aptsfor 1, 2, 3 people. Refrig., stove, pvt.bath, stm. heat. Quiet, Sunny, view.Parking, trans. $120.00 up Free Utils.Robinson, 6043 Woodlawn 955 9209 or427 2583. Short term lease or longer.FOR SALE: Jackson Park Highlands.Luxury 10 room brick room on 50' x135' lot with 2 car detached garage. Sixbedrooms (one shelved for library)den on first, ultramodern kitchen,pan., rec. rm. with par, 3 fireplaces.Excellent cond. Owner 947 5509DO YOU DESIRE A SUPERBHOME?Houses for Sale. Jackson ParkHighlands. 67th Street to 71st Street.Cregier to Euclid. Quite excellent foruniversity or college professors. Aunique community of professionalpeople, business people, and goodstaunch community minded people,contactJACKSON PARK HIGHLANDSASSOCIATION6907 South Constance Ave.Ml 3 8237 All kinds of stuff: refrigerator, clotheswasher, rocking chair, toys, strollerchair, dishes, linens, complete candlefactory, etc. Sat 8. Sun. (April 14 8. 15)10 am to 3 pm 5525 S. Blackstone.Must sell '72 encyclopedia Britannica$380; 324 3151.Leaving town, several pieces of furn.avail, including 2 sectional couch $45;portable RCA TV $40, 9x12' rugs at$10, bookcase, tables, chests, kitchenutensils. Sat. Apr. 14, 12 noon to 5 pm;5000 Cornell apt 15 C. Good Buys!SHAKE YOUR FAMILY TREE withthis little electric massager that isstimulating to both sexes. Send $24 85to J8.S DISTRIBUTORS, 12409 JustineSt Calumet Park, II. 60643 for prepaidshipment within 24 hrs or send $5 withorder, balance COD.1965 Falcon for sale Call 753 4642Arm and kitchen chairs, 2 smalltables. 241 7796.COOP APARTMENT FOR SALE 4rooms lots of sunlight, and comfortably arranged. 11/ 2 blocks fromUC campus. Low monthly assessment.Must sell! Located at S.W. corner or61st and Kimbark. Phone 374 3543.Up to 26 acres of untouched grasslandin Park County, Col Near skiing andNat'l Forest. Asking $350/ acre. Wm,Myers, 115 Western Ave. N., St. Paul,Minn. 612 224 8301Mozart trios Haydn trios & quartetsscores 8. parts. 6 Mexican chairs,Olivetti typewriter 536 4354 aft. 6.Stereo Components; 20%40% OFFLIST. All Major Brands Available.100% Guaranteed. Call Danny.. 2415037 after 6 p.m.PASSOVERThe Hillel office will be closed Tues 8.Wed April 17 8. 18. Passover lunchserved both days 11:15-1:30. Orthodox8, Conservative services at 9:00amboth days.Hillel still has some haggadot for loanand for sale. Also a few places formeals. Reserve in person at 5715Woodlawn.KITTEN WANTEDBrown tiger MALE. Call 548 4774.FRISBEE! U-HIGHPEOPLE FOR SALE CHALLENGES UC!!Exp. typist—all kinds of papers—9470u33.Spanish English Translations. Artides, papers, letters, books.Reasonable. Phone 241 6930 evenings.Cello instruction by experiencedteacher. Will accept adults orchildren. Call Van Bistrow 753 8339afternoons or 752 6151 evenings.Hefty Hauling Lts. Light wt. haulsrates adjust.; Sherwin 493 8451.Experienced manuscript typing onIBM Selectric. 378 5774.Like Julian Bream's music? ForCLASSIC GUITAR STUDY 262 4689.Tax consultant will help prepare yourtax return. Call 731 9636.Portraits 4 for $4 00 and up. MaynardStudio. 1459 E 53 2nd floor 663 4083.PEOPLE WANTEDBabysitter for days beginning in JuneReferences and experience with infants necessary. Call 493 3685.HELP NEW MOM FINISH Ph D Carefor twins in my home. STUDENTWIFE IDEAL. 10 15 hrs/week. 2416269Tutor needed Lit. Hisl. and Criticismof Renaissance, esp The Untuning ofthe Sky by John Hollander 842 0923.Spend August on Martha's Vineyard’!’Transport room Fw»rH tIS/ va/ppW in U HIGH challenges U of C fo a game ofFrisbee Football. For details call Rich538 1399, 5 10 pm-.LAB SCHOOLFRISBEECHALLENGEAny UC student interested in accepting the challenge and in formationof an intercollegiate Frisbee Club orTeam call John at 753-2249 room 2403.LOST.-ost: Lady's watch. Gold Longines.Large reward Cottage GroveUniversity area. Call 947 9678 after 5pm.SLEEP LABSUBJECTS WANTED FOR STUDIESOF INSOMNIA FEMALES ONLY,AGE 18 28, WITH PROBLEMS OFINSOMNIA $10 per NIGHT. APPLYIN PERSON TO 5741DREXEL—ROOM 302, M F, 9 5.SOFTBALLOFFICIALSStop complaining: Be a softball official, top salary, easy work, previousexperience not necessary but will berewarded. Apply IM office BartlettGym.TO HAVE &HAVE NOTBecause of the large turnout at theApril 3 show DOC films will be runningTO HAVE 8. HAVE NOT again thisTuesday at 9:00 after the 7:30 showing Of TWENTIETH CENTURY. We'rehard to get, all you've got to do is askus.NO LOX & BAGELSNO brunch on the 15th 8> 22nd.CHICAGOARCHITECTUREDOC films will have a free showing of'its latest production, CHICAGOARCHITECTURE, Wednesday nightat 7:30 in Cobb, followed by VIGO'SL'ATALANTE at 8 45. WANTEDWanted: ironing boardFlea Market, May 19 Bring to thePat S.Art Buffs to view the Shapiro ArtCollection in its natural setting theShapiro residence Tues , April 17 Bussign up in Ida Noyes 209Stamp colleclors corner at flea marketcontact Paul x3561 Does anyone have a free long hairedcalico kitten with a fluffy tail? CallMartha at 753 4391KITTEN GIVEAWAY 947 9262 2Parakeets 8. cage FREE 947 9262WRITER'S WORKSHOP (PL 2 8377).We need people to play in the CoffeeHouse Call Debbie 753 3444 (DU)BACK ROWDon't let the Backrow do it again Be asoftball official, easy work, goodhours, plenty of fringe benefits, topwages. App ■ in person to IM officeBartlett Gym.INDIAN MOVIEANAND—subtitled- Sunday, April 15at 7:30 pm in MANDEl. HALL 752 8083info Potters wheel: Call 643 8384 after 6GAY LIBERATIONCONSCIOUSNESS GROUPS ONSEXUAL IDENTITY are being formed especially for those who areconfused or uncertain as well as forgays, bisexuals, and straights. Cometo Ida Noyes Hall every Thursday at7:30 pmBRIDGE MAGAZINE COLOR BLINDThe new Bridge Mag is out. Now onsale in UC Bookstore. Read about theAdhesive Tape Orientals, PekingOpera, the Chin and Ching controversy, a review of "Chink!" adocumentary of ethnic prejudice inAmerica. COLOR BLIND PEOPLE wanted forvision research. $2 per hr for 10 to 15hrs work. 947 6039.PLAY TENNIS6 indoor courts, 3 outdoor courtsRUN FOR OFFICE South Side Racket Club, 1401 EVI 9 1235. 'd i lable.Sibley.Last chance to rile for SG and NSAelections! Any student may run;undergrads from fheir dorm, frat, or"other college"; grads from divisionor school. Ten signatures are all thatare needed; forty for a party of candidates. Pick up a form at SG orStudent Activities Office in Ida NoyesHall. LAND FOR SALEWild lands in Maine Parcels 1 acre to1000 acres. Much under $100/ acreSome near skiing 8. near oceanAcadia Agency, Milbridge, Maine,04658 (207) 546 7272FOLK DANCING TRAVEL Find us...(CERMAK) |A?2n'C> Sf REEt—SHYOU'LL BEGLADYOU DID ...EMIL MARESPONTIAC2232 BLUE ISLANDAVENUEIN CHICAGO254-29008 p.m. at Ida Noyes Hall: Sunday(general), Monday (beginners),Friday (requests) 50 c donation Forinfo, call Janet 955 8184.BALLET CLASSESWednesday 10:30 a m. for adults atLehnoff Studios 1438 E 57th St Taughtby Fredda Hyman, formerly withAmerican Ballet Theater Call 288 3500after 2 p.m.RIDE NEEDED ~I need a ride to and from work Mondaythru Friday. I work at the U of CBookstore from 8 to 5. My name is GertKwasny 8. I live in Calumet City onMackinaw Please contact me at thesnackbar in the bookstore or call 7534183 SPECIAL DISCOUNT FARES TOAND WITHIN EUROPE TravelCenter, 544 State, Madison, Wisconsin53703.PERSONALSIt ain’t Foreign Service AgencyCommission on Civil Strife LitigationsHave you seen Joseph R Shapiro'setchings? Here's your chance TuesApr. 17. Bus sign up in Ida Noyes 209$1.00 fareDid Hillel place you at a Seder? Besure to call your host 8. confirm time,address, etc. J (foutelt 'pianiAt IJ 1645 E. 55TH STREET J{CHICAGO, ILL. 60615 J* Phone: FA 4-1651 £ELIZABETH GORDONHAIR DESIGNERS1620 E. 53rd St.288-2900THE UNIVERSITY OF CHICAGOCHARTER FLIGHT PROGRAMHas Seats Available On ItsSUMMER IN EUROPE FLIGHTSChartersAug. 4 - Sept. 1 Chicago-Paris-Chicago $234Sept. 1 - Sept. 29 Chicago - London - Chicago $193Group FlightsJune 20 - Sept. 5 Chicago - London - ChicagoJuno 17 - July 22 Chicago - London - Chicago$380 adults, $324 youths 12-23,Vi fare children 10% infantsU of C students, staff, faculty (spouses & children)eligible. $50 deposit per seat required. Come to IdaNoyes Hall room 306 weekdays 1:30 to 5:30. Call 753-3598.Get your International Student ID here too.A valid ICf small picture, and $2 will do it.Friday, April 13, 1973 - The Chicago Maroon - 23l iVT liu,* .«»»r i “: i - io:-n*A :ik:» 0*.m '• $SAY THANK YOUTo your host and hostess for your holiday diningwith one of these Party Mart wine suggestions.FOR KOSHER MEALS WE SUGGESTCarmel Israeli WinesAdom AtiC Israel’s answer to Burgundy. $1.59 fifthChateau Richon Red a lighter dry red. $1.59 fifthChateau Richon White semi-dry white $1.59 fifthRose of Carmel semi-dry pink $1.59 fifthAvdat dry white Carmel’s Better Quality $1.98 fifthAvdat dry red better qualityHadar Liquer-like sweetness made from figs, dates,grapes and almonds from a formula that datesback to the early Hebrew king $4.19 fifthPUT A SPARKLE INTO YOUR HOLIDAY MEAL WITH THESESPARKLING WINES FROM FRANCE$3.99 fifth$2.99 fifthGrandin Brut blancdeblancand dryParty Brut Dry and costs lessthan American winesSPARKLING AND YET NOT TOO DRYGrandin DemisecParty Demisec $3.79 fifth$2.99 fifthFRANCE’S FINEST VINTAGE CHAMPAGNEPerfection available inbrut (very dry), extra dry, (moderately dry),and demisec (slightly sweet) $6.99 fifthComplete PartyService From242? East 72nd StreetBA 1-9210Daily: 10am-ll pm Sunday: Noon-9 pm V-Appetizers to Zinfandel351 East 103rd Street508-1811Daily: 9am-10pm Sunday: Noon-9 pm24 - The Chicago Maroon - Friday, April 13, 1973