VOL. 85 NO. 21 TheChicagoFRIDAY, NOVEMBER 7, 1975Regenstein Library BookDamage Exceeds $25,000The Robie House, a national historic landmark, ispresently undergoing restoration and renovation before theOffice of Development moves in.Robie House Restoration ToBegin, Tenants Come And GoThis display of damaged books is just one example ofmisuse of Regenstein.By Michael SherbergSeveral important officemoves have been announcedin recent weeks concerningRobie House, Frank LloydWright’s National HistoricLandmark No plans existfor a restoration of thestructure to its originalformThe Adlai StevensonInstitute for InternationAffairs, which has occupiedRobie House for the pastseveral years, has vacatedthe premised, along with twoother offices. The AdlaiStevenson Center hasrelocated in Albert PickHall.The Development Office,currently located in theAdministration Building,will occupy Robie Housearound Thanksgiving.The decision to move theDevelopment Office to RobieHouse grew from a desire toconsolidate the downtownoffice with the campusoffice, according to HerbertNewman. Director ofDevelopment. At the timethe move was planned, theUniversity offered theDevelopment Office fourchoices for new space: theShoreland Hotel, HaskellHall, one of the chemistrybuildings or Robie House.Robie House was selectedas the new office sitebecause of its spatialadequacy, its location on aground level, and because itwill be “an excellent placefor donors and prospectivedonors to come,” Mr.Newman has stated.Cal Audrain, architect forthe University, is workingwith the Development Officein coordinating all structuralchanges for the move. Thearchitect’s office hasimposed certain rulesregarding the renovationwhich will supposedlyguarantee its integrity as anational landmark Theessential alterations plannedat this time are theinstallation of partitionsalong with certain repairsand refurbishments. The University assumedresponsibility for RobieHouse in 1963, when it wasthreatened with destructionbecause of the generallydeteriorated condition.Renovations during the1960’s included the removalof certain of the windows forair conditioners and theconversion of the garage intooffices. Also, the originaldesign of the buildingincluded recessed mortarbetween the bricks. Therecesses have been filled inas a reinforcement measure,thus eliminating the shadow-effect which Wright hadintendedThe University also ownswhat remains of the originalfurniture which Frank LloydWright designed for RobieHouse. Donated by thebuilding's prior owner, theChicago TheologicalSeminary, the remnants areon display in storage at theDavid and Alfred SmartGallery. The DevelopmentOffice is investigating thepossibility of moving some ofthe furniture back into thehouse's second floor displayareas. Mr. Newman hasstated that certain actionswill be taken to try and makeit like it was. These includethe removal of a large coatrack in the second floorliving room and thereplacement of some of theoriginal bookcasesNo attempt will be made,however, to restore any ofthe presently-intended officespace, as that wouldinterfere with the funcstionsof the Development Office.Among the latestdeteriorations which willpresumably be correctedduring this renovation arethe deterioration of some ofthe radiator grills and thefalling off of wood stripsfrom the walls.Ms. Katnerine L Keefe,Curator of the SmartGallery, says that “It is myhope and the hope of peopleinterested in his art andarchitecture that the housewill someday be restored tosomething resemblingWright’s original idea ” By Mike JonesDamage to books inRegenstein Library exceeds$25,000 a year, according tothe Director of Libraries.The problem of damage is sowide-spread in UniversityLibrary systems that at leastone library, the LawLibrary, does not have thefunds in its budget tocompletely replace itsyearly losses.The total extent of thedamage cannot bedetermined without aninventory of the stacks, butestimates range into thethousands of dollars* StanleyMcElderry, Director ofLibraties, said that the mostrecent allocation forreplacement of damagedbooks in Regenstein wasapproximately $25,000.A display of damaged andmutilated books in the lobbyof Regenstein has recentlybeen set up to emphasize theextent of damage.According to Mr.McElderry. the LibrarySystem doesn't have “adirect count (of the losses asthat would require acomplete inventory, whichwe don't do.’’ He guessedthat the figure would be“pretty substantial.”He also stated that therewere no plans to tightensecurity aside from thealready present guards thatcheck all packages leavingthe Library.Mr. McElderry said thatthe Committee on theQuality of Life in RegensteinLibrary (CQLRL), at thetime chaired by W'ayneBooth, concluded that oneBy John VailThe Hyde-Park KenwoodCommunity Conference(HPKCC) is sponsoring apublic forum ondevelopment proposals forthe local lakefront and theJackson Park area. Theforum is scheduled for 7:30pm Monday at theauditorium of the LutheranSchool of TheologyThe purpose of the event isto inform concerned citizensof the processes throughwhich proposed developmentplans must go before theymay be implemented and ofthe rights of individualcitizens and groups to haveinputs into these processes.The forum is being held inresponse to reports that theCity of Chicago is way to deal with thevandalism problem was toencourage the concern of theUnviersity community.While pointing out thatCQLRL originally studieda maintainence problems,Mr McElderry stated thatCQLRL hoped that , “bypublic appeal, the studentswould be inclined to co¬operate if they knew the costof replacement out ofconsideration for their fellowstudents.”Sid Huttner, AssistantHead of Special Collectionsin Regenstein, stated thatthe problem of damage waswide-spread. “Damagehappens in most librariesand it happens here,” hestated. “It is certainly aproblem that I neverunderstood.”The Special Collections,containing some of theUniversity’s more valuablebooks, has not suffereddamage to the degree thatthe rest of Regenstein hasbecause most parts of thecollection are in closedstacks and the libraryofficials have more controlover who has access to thematerial.Some damage does occurin Special Collections and “itputs the Library to greatexpense It looks to me that itis thoughtless,” stated MrHuttner.Ray Gadke in charge of theMicroforms Division relatedthat damaged materials arenot a problem in his divisionsince “you can't cut pagesfrom microfilm“When they are using thematerial ten feet away fromme. I can keep my eye onaccelerating plans todevelop the area andspeculation that the plansinclude provisions forconstruction which wouldincrease traffic flowSpeakers who haveconfirmed appearances atthe forum include StateRepresentative Bob Mann.Alderman Ross Lathrop. andformer Alderman LeonDespres.The HPKCC has invitedofficials from the City ofChicago Departments ofPlanning and Parks but hasnot vet received repliesHPKCC President KaleWilliams will moderate theforumAccording to Sue Allender.Program Director of theHPKCC, “the forum is not topresent a pre-sstablished them.”Jean McClelland, librarianof Harper Library, wheremost of the undergraduatecourse books are kept,reports that the problemdoes not seem to be as severeas it is in Regenstein Part ofthe reason, she believes,could be that since theHarper collection is smallerthan Regenstein's, the fullimpact of the problem is notrealizedShe stated that she“cannot cite the frequency ofthat kind of damage It doesoccur from time to time andis a serious problem” Shecontinued to state that mostof the damage consists ofpages being torn out ofbooks, which are replacedwith Xerox's of the material,and underlining of passages,which are not replacedunless the material becomescompletely illegibleOne graduate library andposition, but to offer anopportunity for people tolearn the process the citymust go through in order tomeet state and Federal lawsThat process is different nowthan it was ten years agowhen people tied themselvesto trees“The city is currentlymulling over severalalternative plans. We haverequested by letter, by phoneand in person to see theseplans, without results thusfar. They have no legalobligation to show them tous. but we d like to see themMs Allendercharacterized the issue asbeing “not just a Hyde Parkissue, but a national issuePeople everywhere want toget involved earlier in theplanning process .’’ one departmental librarywere contacted by theMaroon about the problemRichard Bowler of the LawSchool Library and ScottStapleton of the Art Libraryeach presented differentviews of the extent of thedamage to their respectivelibrariesMr. Bowler stated that hislosses ”in terms ofreplacement of volumnstotal two to three thousanddollars” per year Heindicated that mutilationswere a great problem asthere was no check-outcontrol He said that itwould be very difficult todevise an effective method ofcontrol because of the waythe facility is designed TheLaw School is contained in asingle physical plant so that,explained Mr. Bowler, it isvery easy for students tomove from classes throughthe library and very difficultfor library personnel to keeptrack of students.The losses, he commented,“concern us greatly. Wedon't have the funds in mybudget to replace all thelosses during the year Wereplace the more importantitems in the collection, andadd to the growing backlogof material that I can'treplace ”Mr Stapleton ot the ArtLibrary offered the only-encouraging report. Hestated that he was asked tocontributedamaged materialfor the Regenstein display,but was unable to findanything for it He estimatedthe total cost of replacementeach year at around $200 andindicated that usually,unless an extremelyexpensive book wasdamaged, there were fundsin the budget to make thereplacement“The worst damage thatwe suffer would be picturesripped out of a color platebook of an artist thateverybody likes “Theselosses can be replaced byanother copy of the print,according to Mr StapletonDespres, Lathrop To SpeakOn Lake Front ProposalsBy Meredith Stead*,, + <CAlfNDARENAMEL4.?5 AUTOMOTIVEper gallon3-99 Latex Ext.per gallon2.99 Latex Wallper gallonper- Gal. You can eas nr rcl'l it, brush it,spray it, on anything. We have any color youmay need, just name It, or mail us samples withyour check.ONLY $ 4.75 per Gallon if you order rightnow. Flus,one free gallon with yeur firstorder,, FLUS, order 4 Gallons of one colorand get the 5th gallon FREE.MAIL YOUR ORDER TODAY, WHILE WE STILLHAVE MORE THAN 3OO DIFFERENT COLORS !’!!For incredible prices or, wholesale lotscf 50 gallons or more, call us 1 •$&*/}$?-JQSJ( All shipments F.Q.B. New Orleans)It we have have sections on Italianpsychology, philosophy, Dutch languageGermany in Africa, agriculture, Russiar AKRILEX resin1 pkg. makes10 Gal. latexpaint•.•.»@ $8*99 PKG.anguagesYou Cannot Buy Better Paint For Less MoneyYOUR ORDER FORMTO Mail Order Paint Co*83 Fifth Street1020 S. Wabash8th Floor341 07489-5 Mon.-Sat.1501 t. 5;upmenti F.O..B New Orleifeifo955-7780 9 A.M.-l 1 P.M fever < FSACCSL ) > uht erda-y.Janel Mueller presentChairperson of the CQLRLland Associate Professor inthe Department of.Englishand the College, was theguest speaker.The CQLRL, appointedlast spring by ActingPresident Wilson, consistedof five faculty members andfive students. The originalChairperson of the CQLRL.Wayne Booth, is on leave thisyear. The other facultymembers are Mr Edwin’ The Committee on Quality ■of Life in Regenstein Library b(CQLRL' has submitted atentative report •President John T Wilsonsuggesting drastic changes•report and the work ot theCQLRL were discussed at a"bring \our own lunch”meeting of the Faculty-Student Action Committeeon Campus and Student LifeFRIDAYFOLKDANCING AH levels JeacHingfoe one nour 7 30 pm Ida NoyesHiLLEL HOUSE TVor-sh pserv ces Ortnodo* at 6 30pm andCreative at 7 30 pm Adaf Shalomdinner, 6 00 pm,INTERNATIONAL POTLUCK Cometp dioner and brmg a dish to Share wi-th .others Crossroads Studetn Center,7 00 pmCOMPUTER ENTHUSIASTS Meet ati X • be.,”' Reynolds Club Loungeto disc-uss computer programming,hardware and applicationsCOUNTRY Hear 'live recording ofLester ' R-oadhog'' Moran and hisCadillac Cowboys from 3 '00 to 6 00 pmon Down Home WH>PK 88 3FMDOC FILM Badlands, 7 15 8. 9 30,Cobb, $1 00mus'C un j cnamber cnorus &■^' 8 ’ 5 p mM.CRlBIOLOTY 3aroara Brsr*re'Pof Yeshiva Uinv will speak on"Cellular and Structural Studies onMyeloma Mutants" a* 4 00 pm, CLSC101K.UNDALINt YOGA At, BlueGargoyle, from 12 00 to 1 00 pm By donation .Call 288 2235 for intoGEOPHYSICS Peter O . Vandervoortaddresses the question "Are SpiralGalaxies Possible", 3 30 pm, HenryHinds LabACOUSTIC MUSIC 6-00 pm is TimeAHPk 88 3 FM through Dec 3REYNOLDS CLUG Now open onSaturdays from 1 00 to 5 00 pm Comeplay pool and footballREYNOLDS CLUB Now open onSaturdays from 1 00 to S 00 pm. Comeplay pool and foosbaliSATURDAYDINNER: $1 50 a plate at CrossroadsStudent Center, 5811 Blackstone, 6 00pm Students welcomeKI-AIKIDO Practice meditation andaction with the U C Ki Ai-kido Club,3 00 to 4 00 pm, Bartlett GymHILLEL HOUSE Shabbat WorshipServices, Yavneh, 9 15 am/ UpstairsMinyan, 9 30 am,FOOTBALL. U C vs Loras College,St.agg, 1 30 pmCEF FILM: ' Patton," at 7 00 and10 00 pm , Cobb, $1 00MUSIC: Univ. Chamber Chorus &Instruments, Bond Chapel Free, 8 15pmIN CELEBRATION OF BOCCACCIO:An exhibition of books 8. manuscriptsand selected prints from the SpeculumRomanae Magnificentiae, Dept ofSpecial Collections, Regenstein, SUNDAYFOLKDANCING General Level,teaching for 1 1 2 hours, 8 00 pm, IdaNoyes, I 50/BRIDGE Beginner class, 2 00 pm.Duplicate, 3 00 pm, CrossroadsStudetnt Center, 5621 BlackstoneHILLEL HOUSE Lox and BagelBrunch, 11 00 am, $175; JewishWomen's Group, 7 30 pmDOC FILM El" (This StrangePassion) at 7 15 and 9 30 pm, Cobb,$1,00BAHA'I FAITH FIRESIDE Informaldiscussion of spiritual questions. 3 00pm, East Lounge, Ida NoyesCHANGES; Presents''Communication Skills inRelationships" at the Blue GargoyleCall for timeROCKEFELLER CHAPEL ReligiousService at II 00 am with E Spencer2000,000 Books, 40-50% DiscountMore titles than anyone else, ofof better quality, at lower prices. Parsons, Dean of the ChapelSEMINAR Mahatma Gandhi, hisrelevance for our time, at 9:45 am,Rockefeller ChapelFOLKLORE SOCIETY. Presents anevening of traditional English musicwith Hohn Roberts and Tony Barrand,Cloister Club, 8 00 pm, Students $1 00,o*hers $2 00MONDAYCHESS. U C Chess Club, 7 00 pm, IdaNoyes, everyone welcome,HILLEL HOUSE : Beqinners' Yiddish,7 00 pm. Beginners' ConversationalHebrew, 8 30pm, Advanced Readingin Yiddish 8 30 pmKARATE: U C Karate Club meets inIda Noyes, 6 30 pm 8 30 pmSTUDENTS FOR ISRAEL: Bring abag lunch, 11 45 am, Hillel Mouse Gfrow Frank L SulzbergerProfessor of (’iviliaztions mthe College and Professor inthe Deaprtment of SouthAsian Languages andIriye, Professor in the:■ ■■ ■ "the College HistoryProgram; and Mr. AnthonyTurkevich. Janes Franck1)1.st 1 rig m shed ServiceProfessor m tfit* Departmentof Chemistry, Enrico FermiInstitute, and the College.The students are GerryForney, Jessie McClennon,Phillip Remler. and CliffordTabin.The Committee has metfive times and hasformulated some basicproblems and possiblesolutions. One problem isthat students and faculty areabusing Regenstein byignoring (deliberately or outof ignorance) food, smoking,and litter policies. This isdue to three factors:Regenstein’s popularity as asocial center, the design ofthe library canteen, and aneed for greater main*te nance. Regenstein wasintended to be an attractiveplace lor research, but manystudents are using it simply as a study area, not forresearch Harper Library,on the other hand, is underused.The Regenstein canteen istoo small to contain thenumber of people it attractsand there is no real barrierbetween it and the bookareas. An unexpectedproblem discovered by theCommittee was the hostilityof many students and facultytowards library policies andstaff. Many complaints havebeen registered about suchmatters as the fining systemand rudeness on the part ofstaff members.The CQLRL recommendsfirst a more in-depth studyof the public relations aspectof the problem. Some sort ofharrier between foodservices and book areas isalso suggested. There areseveral alternatives,including poss sib1eexpansion of services atHutchinson Commonsand/ or t he C-Shop.Consistent enforcement ofthe food policy including, ifnecessary, posting a guardto check entering personneland those leaving thecanteen area plus improvedmaintencnce are proposed toclear up the litter problem.Gretna, La. 70053Enclosed find $ . forGallons of vour paint.Name(?!«••« print) .-. ;.!•:••• : \ /-7Address 7" ; ■■■" . ...• ;. ' : ' **v' ' 7 "~f!- -Citv .... 1 ,am'. / ■ . ;State - ... i -Ip - /.-The Chicago Maroon - Friday, Novemberv7, ,1975 ' 2 .89 t AKRILEX Resin (Make § In your own Latex paint) m fJDetroit has cut back on auto production, ifWe made a huge purchase of paint they can’t use 5I. —w*! right now. This paint is the very same original ■paint on vour own car or truck, Worth $14.-116'. HNEWS BRIEFS Staff Cuts Effect Library ServicesSimon SaysSecretary of the TreasuryWilliam Simon is the proudowner of a Milton Friedmant-shirt.“I forgot to wear it today,”Mr. Simon said to aNorthwestern Universityaudience Wednesday,responding to a question onthe involvement ofUniversity of Chicagofaculty in the Chileaneconomy.“I don’t know anythingabout it, but if they wereinvolved they’d really turnthe country around,” saidMr. Simon.He added that though not aUniversity of Chicagoalumnus, he was “under theinfluence’’ of theUniversity’s prestigouseconomics department.Mr. Simon noted that hehas now' survived both “theSaturday and the Sundaynight masacres.”“I’ll let you know if mydesk is there when I get back to Washington. Earl Butzand I will probably go onMonday,” Mr. Simon said.Grads WorkIn ChicagolandIn keeping with theUniversity tradition thatgraduate studentsexperience an actualworking situation in theirfield of study, over 300students from the School ofSocial ServiceAdministration have beenplaced with over 100 social,medical and educationalagencies in Chicago.These students will beworking under the guidanceof professionals who willteach theory and practice injob situations.The various publicagencies in which thesestudents will work includepublic aid, child care anddrug abuse centers; medicalcenters and psychiatricservices. Music AndDanceSingers, composers,musicians and members ofthe University’s DanceGroup will present “AProgram of Music andDance". The program isdirected by Elvi Moore,Associate Professor inWomen’s P h y s i c a 1Education and in theHumanities CollegiateDivision at the University.Diane McCullough, amusic teacher in the LabSchools, will sing severalselections accompanied bypianist Michael Cullen.Divinity School PhDcandidate Franck BlalockBrown will play several ofhis compositions, assisted byjazz percussionist KimConcerc. Mr. Brown is alsoMusic Director andComposer-in-Residents atthe University Church of theDisciples of Christ.The program will be heldin the chancel of Rockefeller A survey of librarydepartments conductedduring the latter part ofOctober has revealedsizable cuts in levels ofstaffing compared to thesame period twelve monthsago. These seem to be theMemorial Chapel on Sunday,November 9 at 4 p m., and isopen to the public withoutreservations and withoutcharge.Eat CheapStudents, faculty and UCemployees sporting positiveUC identification maypurchase “RestaurantMoney” through a new-discount program beingoffered by Billings. If youare interested in eating atreduced rates give theHospitals and ClinicsPersonnel Office a call at947-5271 and get moreinformation.These certificates do notapply to the taxes or tips andare not redeemable for cash. result of decisions to leavelibrary positions unfilledwhen they have beenvacated and to reduce part-time staffing In addition, atleast one full-time positionwas reduced to a part-timejob.The survey investigatedseven departmentallibraries and ten majordepartments in RegensteinLibrary. Compared to lastfall, there is a difference ofat least 76 part-time hours-per-week and 140 hours-per-week for full-time positionsor positions with paidbenefits. The staff cutsranged from 2.5 hours-per-week to 40 hours-per- weekThese figures do not includevacated positions where itwas reported that candidateswould be or were beingsought it fill them They alsodo not reflect decreases instaffing because of com¬pletion of labeling projectsin preparation for libraryautomation. Similarly, itdoes not reflect staffing leveladditions which weredirectly a result of adepartment assuming newresponsibilities and tasks.About half of thedepartments and librariessurveyed experienced cuts inlevels of staffing Severalothers reported staffinglosses within the last twoyears One other departmentwas able to reorganize workroutines and assignments sothat even with a decrease inthe amount of staff hours thesame amount of work wasaccomplished• Eye ExM«at*Bs• Cofltxt Letses (Sofi & Hard• Prescripts; FilledDU. MORTON R. MASLOVOPTWmtISTSHyde Park Sfcoppug Ceiter1510 E 55tti363-6353PIZZAPLATTER1460 E. 53rdMl 3-2800FAST DELIVERYAND PICKUPEYE EXAMINATIONSFASHION EYEWEARCONTACT LENSESDR. KURTROSENBAUMOptometrist(53 Kimbork Plaza)1200 East 53rd StreetHYde Park 3-8372 The decreases in staffingseems to have affected boththe work environment andthe quality of libraryoperations and services.Employees reported thattheir work situation feltmore tense and hurried, thatthey felt morepressured .and that in someinstances morale was poorSome stated that they weremore exhausted after a day’swork than previously.Several departmentsreported that staff normally-assigned to specializedoperations and positionswere required to “fill in" atjobs others had previouslydone One employeedescrived his situation asmoving from section tosection in the departmentwhere he worked “pluggingthe holes” where workbacklogs had becomeintolerable. Oneconsequence of this has beenthe delay of work thatnormally would be done by-staff in these positions.Another consequence is a‘‘more pessimisticapproach” for estimatingthe completion of specialprojects. Another symptomof the staffing losses isreflected in several publicservices departments wherefewer employees havenecessitated longer waitingperiods for library users andcutbacks from previouslyoffered servicesIn general, library-departments have attemptedto cope with staff losses by-altering work routines,cutting back operations andservices, and toleratingincreases work backlogsSeveral departmentsreported that even if stafflevels were what they hadbeen a year ago. that theywould still be understaffedand overworkedSellWe RentI RepairTYPEWRITERSADDERSELECTRONIC CALCULATORSDICTATORSU. of C Bookstore5750 S. EllisHours: M-F 8-5 S 9-1753-3303CARPET CITY6740 STONY ISLAND324-7998Has what you need from aS10 used room size Rug to a,custom carpe* Specializingiin Remnants & Mill returns at ia fraction of the original IcostDecoration Colors and|Qualities Additional 10*Discount with this adFREE DELIVERYINTERNATIONAL HOUSE FILMS PRESENTS:Woody Allen'sBANANASWed. Nov. 12, 8 P.M.1414 East 59th Marlon Brando inON THEWATERFRONTWed. Nov. 19, 8 P.M. Alan Bates inKING OF HEARTSWed. Dec. 3. 8 P.M.Admission $1.00Friday November 7 1975 - The Chicaao Maroon-3EDITORIALSRegenstein Library is the acknowledged social andstudy center of the University. In both capacities, thelibrary is a failure.Regenstein was built five years ago, and was im¬mediately lauded by the University administration asone of the finest research facilities in the country.Admittedly, the library has a large monographcollection; the studv spaces were designed for use bylarge numbers of people; and the library is centrallylocated on campus. However, the library has becomeovercrowded, understaffed, and incapable ofresponding to the needs and complaints of the com¬munity. The overcrowding is undoubtedly due to thearchitect's unfamiliarity with the unique University ofChicago academic mentality, which urges students tothe library like lemmings to the sea. Students know’that most of their peers will be there, thus Regensteinhas become a meeting place for people. Un¬fortunately. the open design of the study areas and theextreme space limitations of the canteen areinadequate to cope with the gregarious, social-mindedthrongs. Entire floors are disrupted by con¬versations, partying, and easygomg horseplay.)Students have a resoundingly egocentric view of thelibrary. They fight fiercely to maintain their ownpersonalized study carrels; the incidence of booktheft and mutilation is a serious problem; and littlesympathy or awareness exists for the problems of thestaff.The library staff has been decreasing by attritionfor the last few years; many departments which wereoriginally understaffed are now hopelessly over¬worked. The introduction of a computer into thelibrary system has been an expensive and thusfarfruitless snafu. The introduction date for the computerhas been pushed back consistently; large quantities ofalready overcommitted staff time have been tied up incomputer training; yet the computerization programhas produced few visible results beyond the re¬designing of the University ID cards. The balancingof future prestige and utility against present operationhas been too heavily weighed to the former side.The problems of the library are major and. to befair, were not predictable. However, the library’sutility as an academic resource has been sharplycurtailed, and we feel that the statement that“Regenstein is the social center of the University”speaks for itself.Two committees have begun consideration of thelibrary problems. The Faculty Student AdvisoryCommittee on Campus Student Life and a specialcommittee appointed by President Wilson arestudying the problems. Neither measure strikes us asrecognition of the seriousness of the problems, nor dothese steps seem to be forerunners of a major com¬mitment to solving the problems. We urge studentsand faculty to contact the committees and mtormthem of the problems, and to suggest solutions. Onlythrough campus pressure will the administration beurged to make the library a higher priority issue thanit already is.EDITORIAL STAFF:Editor Gage AndrewsNews editor John VailManaging editor Peter CohnAssociate editorsChip Forrester Sally PetersonKurt Hanson Maria Crawford ScottMike Jones Jan RhodesFrank Fox Ellen ClementsContributing editorsDavid Axelrod David BlumLisa Vogel BUSINESS STAFF:Manager Mike KlingensmithAd Sales B G YovovichAssistant Karol KennedyDavid Kuperstock, JohnMilkovich, Tom Meigs, LandyCarien, David Horowitz, DanWise, Deborah Harrold, JeanTobin, Jim Kaplan, David Reiser,Bob Zivin, Gwen Cates, PeterEng, Martha Conger, JohnDocherty, Chuck Schilke, MaryMarfise, Mike SherbergThe CHICAGO MAROON is thestudent run newspaper serving theUniversity of Chicago and HydePark The PUBLICATIONSCHEDULE is twice weekly, onTuesdays and Fridays, during theregular academic yearOpinions expressed in the ChicagoMaroon are not necessarily those ofthe University of Chicago students,faculty or administration.EDITORIALS state the policy of thepaper, and unless otnerwise noted,represent the positions of theeditors All dessenfing opinion —LETTERS, COMMENTARY, andGADFLIES must be submitted tothe paper no later than two daysprior to the next issue, and must besigned The Maroon reserves the right to edit all submissions forpublicationCORRECTIONS may be broughtto the attention of the editors bywriting care of the Maroon office, orby calling the news office. Allcorrections will appear in thesoonest issue after the error isbrought to lightThe OFFICES of the ChicagoMaroon are located at 1212 E 59thSt., Chicago, Illinois 60637 SUBSCRIPTIONS cover the threeregular academic quarters, and areS9 for the year, payable in advanceTELEPHONES of the ChicagoMaroon are editorial office, 7533264, business office, 753 3266The OFFICE HOURS Of the paperare 8 30 1 and 1 30 4 30 weekedays4-THe Chicago Maroon - Friday, November 7, 1975* * r .*) i/nni-|s Editor:Anyone have some extrablood they’d like to giveaway? A friend of mine,Jeanne Stewart, has just hadmajor surgery involvingquantities of the stuff, forwhich her family owes thehospital. It is possible todonate blood (any type,including blue) in her nameto help reduce the bill andreplace the supplies. Onegoes to the blood bank atBillings, first floor, or call tomake an appointment (947-5579), and give Jeannie’sname. It can also be done atRed Cross, givinginstructions to have yourcorpuscles credited to heraccount at Billings.Jeannie’s a mongoloid childwith a bigger chance to go onbeing useful, charming andhappy as a result of hersurgery. On behalf of herpeople—thanks!Martha SchmiererCommittee on SocialThoughtAdvisor in the CollegeEditor:There seems to beconsiderable confusionregarding the establishmentof the Student GovernmentCommission of Inquiry onthe Friedman/ Harbergerissue and perhaps thefollowing can clarify thesituation.The motive forestablishing the commissionwas not to instigate a witchhunt or pry into the privateaffairs of these professorsbut rather to tacilitaterational discussion of theissues relevant to thissituation.In the first place, animpartial commissionhandling this problem wouldremove the discussion of theChilean question from therealm of inflammatory,radical rhetoric and bring itback into the realm ofrational discussion, where itbelongs.Secondly, there is a greatdeal of interest and few hardfacts on this campusconcerning the relationshipbetween the economic viewsof these professors and thestate of the Chileaneconomy. Was their advicefollowed? Have laissez-fairepolicies, if instituted, beenadverse or beneficial to theChilean economy? What isthe outlook for the future forChile?Finally, it must be pointedout that establishing thiscommission was not meantto imply any right to demandinformation from Mr.Friedman or Mr. Harberger,although one might easilyinterpret it this way. Ratherit was hoped that they wouldsee a need to remedy thepresent state of affairs andvoluntarily contributeinformation that couldclarify the above problems.Therefore, on StudentGovernment’s behalf, Iwould like to invite Mr.Friedman and Mr.Harberger to present theirviews on the Chileansituation under anyconditions they deemappropriate to the serious,rational discussion of theabove issues.Bob TomchikExecutive CouncilStudent Government Editor:In their quest for ameaningful endeavor, ourrepresentatives in SG haveforgotten that they have beenelected to serve the interestsof the student body. Instead,they have taken it uponthemselves to harass (underthe guise of an “inquiry”)Milton Friedman and ArnoldHarberger for giving adviceas free agent:; to a strugglingcountry.And when the “inquiry”finishes collectingscandalous information,what then? SG, or anybody,does not have the right ormeans to chastise aprofessor for his actionsoutside the University, or forholding economic viewscurrently unpopular withthose students who are mostvocal.The SG representatives, intheir need to feel important,have not, then, undertaken atruly constructive project,but have merely jumped onthe bandwagon of the latest“scandal”. Even if they canfind nothing better to do, letthem be reminded that anindividual’s freedom ofopinion can not be made aplaything.Lauren NaslundRebecca German most diligent in informingthemselves of the opinionsand arguments of their“adversaries”, if the presentdiscussion is dealing simplyin matters of ideas andbeliefs, then why haven’tsimilar Commissions ofInquiry been established inthe past to censure familiardocumentations ot thosesame ideas and beliefsostensibly in question?This brings us to thespecific actions heretoforereferred and in this regardMessrs. Friedman andHarberger’s own wordsperhaps implicate thembest. At the close of the firstletter they write,“Accordingly, we shall notcooperate with any so-calledcommission that may beestablished. To do so wouldbe to accord it a legitimacy itcannot possess.”The irony of this is that itexpresses precisely the lineof reasoning that has ledsome thoughtful persons toobject to involvements withthe Junta. By cooperationwith it, Messrs. Friedman,Harberger et. al. accordlegitimacy to a clique thatusurps and continues toexercise power withoutpopular sanction. Thesescholars are not likely todeny the illegitimacy of theLETTERSDear Sirs:A few critical points needto be raised out of thestatements submitted byMessrs. Harberger,Friedman, and Stigler to theMaroon issue of Tuesday,Nov. 4: i. In the beginning ofthe first letter Messrs.Harberger and Friedmanwrite, “We were under theimpression, ... that StudentGovernment had shown aproper understanding of theserious issues involved whenit decisively voted down aresolution condemning us....” etc.My own impression is thatone of the crucial reasonswhy S.G. originally voteddown that resolution wasthat by their own admissionmembers of that body hadnot yet fully understood thevarious facts, allegations,and implications of theissues involved, under thewelter of many conflictingimpressions received.Evidently the new resolutionhas been drawn only aftersome serious thinking,perhaps in the light of newarguments and / orinformation, has establishedthe need for new channels ofinquiry. Whether or notMessrs. Harberger andFriedman happen to approveof these decisions has verylittle to do with S.G.’sunderstanding of the issues.Throughout these letters,and in the debates at large,various allegations havebeen made to the effect thatMessrs. Harberger andFriedman are beingcensured on account of theirbeliefs, as opposed to theimplications of specificactions. This really doesn’tseem to be the case, for,knowning as we do thatmembers of the SYL andsimilar groups have been Junta rule, for reasons thatshould be apparent. Theywould be more likely to denythat “discussion andconsultation” constitute therequisite “cooperation”.This, I think, would be arather silly argument — butsuppose we accept for amoment its plausibility.Then, for these men to beconsistent with their ownproclamation, they mustadmit that they haveestablished no cause whythey can’t freely discuss andconsult with the commissionon this matter. After all,discussion and consultationis the only kind ofcooperation being solicitedat this point anyway. Thecommission is to be one ofrational inquiry, not an auto-da-fe. Cordially,Thomas KeenanEditor:I have just finishedreading Friedman andHarberger’s recent eloquentand incisive letter about thenewly- appointed SGcommission of inquiry. It isvery thought-provoking,although its exaltedlanguage makes it, in places,a bit obscure. For example:“If,” they say, “civil libertydoes not mean fieedom fromsuch collective control overindividual action, it meansnothing.” But what can thatmean? The phrase “suchcollective control of thisparticular kind.’’ IfFriedman and Harbergerintended the first reading,we can only marvel at theirboldness and originality inreconciling theoreticalanarchism and practicalcorporate-statism. However,their position is unlikely tohaveimuch intellectualimpact outside the restricted circle of “libertarian”zealots, since few of us aresuch awesomely ruggedindividualists as to maintainthat individuals have noresponsibilities to thesocieties of which they aremembers.If, on the other hand,Friederberger intend thesecond reading of theirimposing phrase, it remainsto ask, just what is it aboutthe type of “collectivecontrol” represented bypublic revelation of theirlabors for freedom andprogress in Chile that theyfind objectionable? It seemsto have something to do withthe fact that what is beinginvestigated is “non-University activity,” orrather, to do justice to theirstately and mellifluousplenitude of language, “thecontent of (their) non-University activities” (asdistinguished, presumably,from their form). But surely,if Friederberger possess anyintellectual integrity at all,their “non-Universityactivities” in the realm ofeconomic planning are thecarrying into action of thedoctrine they proclaim froma platform which we, the Uof C community, providethem.It is always interesting tothe theoretical investigatorto see how things work out inpractice. It is doublyinteresting when a manwhom we are paying todevelop his theoreticalsophistication and scholarlyexpertise, in furthering thepurposes of this community,goes off and uses the skills soacquired in the service of abrutal, bloodstained gang ofthugs like the present bossesin Chile. The support andencouragement of ascholarly community is theunacknowledged sustenanceeven of “libertarian”scholars. Do we really wantto continue providing it formen who have disgraced usso deeply as it is claimedthese men have done?The legal University ofChicago, as distinguishedfrom the real one — theformer is a “ballet ofbloodless categories” andthe latter a society of people— the legal University seemsto provide no mechanism forconsidering this question: somuch the worse for it.Friederberger’s contractsprovide guarantees againstthe interruption of theirsalaries, yes, but not againstwithdrawal of the“intangible” amenities ofsocial association, againstexposure, ostracism, andcontempt. We canlegitimately — and in facewe must — cease givingcountenance to people whenthey turn accomplices inmurder.To close on a moreharmonious note, however. Imust admit that on one point,at least, I am entirely inagreement withFriederberger’s letter: thestatement that their“...impression that StudentGovernment had shown aproper understanding of theserious issues involved whenit decisively voted down aresolution condemning us ...was not warranted.” Indeedit was not, gentlemen; theiraction showed nounderstanding at all!Michael J. SmithThe Chicago Maroon's Weekly Magazine of Criticism and the ArtsA Special Issue On . . .Such blowing! Such banging! Such beating thumping pound¬ing tooting honking squealing and screeching! So cool and sohot! So hot and so cool! Resulting in sucn digging and Oh maningand wowing and inhaling and exhaling of breath! Such jam¬ming! Such giging! Such Rhythm and Complexity! What is allthis stuff?! And who are these characters who go aroundthinking about it, even living it? Well, somebody had to ask, sowe volunteered our services. We walked up to a few of theseindividuals and asked them, “What is all this stuff?” You knowwhat we got: “If you have to ask, you'll never know.” Did weflinch? Did our knees buckle? No siree. In fact (let it be known)we had anticipated that response. We didn’t back down, we stood our ground. V\e knew these were tough cookies that we weredealing with. We expected that the going would be tough. We'dcajole if we had to. We would not be denied. We asked again,opting for a more adamant approach: “What is all this stuff?”(That’s all it took.) Boy did we get answers! Such blowing! Suchbanging! Such beating thumping pound you get the picture.Herein, several individuals who are involved in jazz on anumber of levels — from fan to musician to record companypresident — describe their involvement. What did we get? Weli.we got to know a little about some people who are involved inmaking life more vital for themselves and for other people. Andif that’s jazz, we’ll take all we can get.Friday, November 7, 1975 - The Chicago Maroon-5TheGreyCityJourno A Fan's Notes on jazzWhat was it like the first time? Did the earth shake?By Lukacs LeBagYou have to stand up as an individual to be^ a jazz fan. Take myself—it took the night ofthe Senior Prom, when I, a senior anddateless, first listened to Miles Davis' "SoWhat" on Live at Carnegie Hall and gotsomething that nobody who went to theWellesley Country Club to hear the ElSchlocko quartet and have a wonderful timecould possibly have found. My depressedsenses were enlivened, and, to this daylistening to jazz has been a better stimulantthan any concoction or any other product ofour culture, musical, literary or other wise.In a time when our sense have beenmarketed into numbness and our emotionsrepressed, expressed, TM'd, SAT'd,psychoanalyzed, and psychedelicized, jazzcontinues to stand out as a CompletelyUnique Experience.Nobody will ever ram jazz down yourthroat, and you'll never get into jazz to keepup with your crowd. It's just not thataccessible, on account of obvious injustices,economic and social, that have beenperpetrated. Moreover, it's just not thateasy a music to figure out what's going onin. Standards we're used to, likeperfectibility, don't really enter into thequestion in jazz. This is the only art formwhere one of the great practitioners, Mr.Thelonius Sphere Monk, couldposit: "There are two kinds ofmistakes—regular mistakes and mistakesthat don't sound so good."Sure, there's good jazz and bad jazz, andthere's such a thing as right and wrong, butnobody has ever been able to come up withan aesthetic that could be accepted over anylength of time. Historically, any time a lot ofpeople have started to think that they couldsettle back and say, "There, that's jazz andthat's not" have soon found that their ideashad been literally blown away by somemusicians who saw the inadequacy of whatthey had done before and had gone on toSomething Completly Different. And usually that Something is as weird and distasteful asanything Monty Python could dream up.You have to understand, though that theAfro American tradition, out of which jazzcomes, has, as a kind of driving force, thethesis/ antithesis of the sacred and theprofane. You can look at periods of jazz asdifferent syntheses of this opposition—apretty heavy one, and one that's pretty closeto the surface in all jazz. Jazz is never verygenteel: the folks who saw Dave Brubeck'spicture on the cover of Time and boughtTake Five never could expand theircollection much beyond that, and I suspectthat today's fans of such "listenable"jazzmen as Herbie Hancock and DonaldByrd (who weren't always that way) will beturned off it they venture much farhter. Thesouls of jazz people—musicians, critics, andlisteners alike—are often tried. You find alot of reactionary thought, for example, inDown Beat magazine in the early free jazzperiod of the 60's by people who hadconsidered themselves the revolutionariesnot twenty years before. So, just as a jazzmusician must learn to "play changes," somust the fan, if he stays with jazz for anylength of time, be able to deal withchanges—generated, mostly, within the jazzcommunity.And yet there is great continuity in jazz.While musicians seem often to tear up thepast, they have great respect for it. Youmiss a great deal if you try to be a "purist"and limit your interest to one style or period,or just to the "superstars." The ultimatecompliment in jazz is to say, "He can play."No qualification, no comparison, just "hecan play." That standard puts theevaluation of the music down to a veryintense, personal level. There are a fewhints—I would say for example, that, if youlisten to a player's rhythmic sense and hisintonation, you'll know a lot more than if youlisten for the correctness of his harmonicand melodic improvisations. But you've gotto decide whether this player, or this group,has it or not. There is a kind of of personal "leap of faith" involved. And you've got tobe open minded—the history of jazz hasshown that you can't say too readily that "hecan't play," just because his music soundsweird.The jazzman has always been afascinating figure. International figures,like Louis Armstrong and Duke Ellington.Wild, free-living, angry, like Charlie Parkerand Miles Davis. And yet celebrity andstardom, as we know them in this culture,have remained pretty foreign to jazz. Jazz isperhaps the most personal music beingmade. It is a very direct form of expression,set in the present. The musical experiencehas always been paramount. However, jazzhas often been treated as entertainment.Jazz musicians often have to serve up theirvery serious endeavors under the guise of anact that will sell more drinks. The realdrama of the jazz musician is carried out ona subtle level—that of dealing, one, with thejazz tradition, and, two, with his dual role asentertain artist. That's pretty trying initself, and, by and large, most jazzmenhaven't got the time or energy to act likecelebrities.Now, there are those who have also notedthe lack of charisma and celebrity in jazz,and who have asserted that jazz musicianscan be stars, too—it's all the system's faultthat Betty Carter can't replace Cher on thetube, and Sun Ra can't move Elton John offthe top of the pops. Why not? Sure, love tosee it happen, but the problem with jazzmusicians becoming stars is that therelationship between the real event (themaking of music) and the psuedo eventssurrounding it is upset in the star setting. Ashas been noted by a number of people, thetrappings surrounding Sinatra, or a lot ofrock stars, or classical performers for thatmatter, far outweight the actual importanceof the notes played. That's the curse of beinga star—you know what you're going to do,you go through your set, the audienceresponds on cue, and you take your money."Oh, it's lonely at the top." In jazz, though,you can't plan out what you want to play tothat degree. Jazz is at its best when thedemands of the performance are not sogreat. I think that a lot of fans have beenturne 1 off somewhat by the "Newport"concept of a big festiv. I. Frankly, most ofthe performances aren't that great. True,some performers rise to the occasion, and the exposure is great, but that's not reallywhere jazz is at, as far as I am concerned.On the other hand, if it weren't forNewport, or for the Herbie Hancocks, ChickCoreas, and Donald Byrds making fairlyinsipid but popular jazz/ R & B/ rock, theremight not be much of an alternative for jazzmusicians to playing in situations that willprobably never accord them a comfortablelife. It doesn't pay to be largelyunrecognized and unappreciated except bythe few initiates. Clearly, the continuation ofthis smacks somewhat of culturalimperialism, but there are no liberalutopian solutions like subsidies anduniversity shelting around in 1975. Andthat's a bummer for this liberal to thinkabout.Jazz is a music that never panders. If youwant to heard exactly what you think youwant to hear, then listen to Barry Manilow.Or watch TV. Those people have it allfigured out. There are twists and turns injazz, and, as I say, some rude awakeningsare in store if you listen for any length oftime. But it's always music in the making,made by real people who have something tosay. And when you're tired of gettingprocessed everything, it can be somethingreally good to hear.This special issue of the Grey City Journalwas designed and edited by Barry J.Kaplovitz and Paul M. Miller, two veryjazzy fellows.Author of the definitive texts on thesociology of jazz criticism and Frenchexistentialist pornography, Lukacs LeBagrecently spurned a promising academiccareer to head the Chicago franchise of theWorld Box Lacrosse League.Mark Bushman has been there and backseveral times. He is currently writing a bookabout his adventures.William D. Simms, better known as"Coach," is the eminently likable gymnasties coach at the U. of C. Jazz musicianand devotee, he plays drums in a jazzquintet.Bob Koester is the President of DelmarkRecords and the owner of the Jazz RecordMart in Chicago.Carmel Hubbell is a free lance writer andartist, and a sometime music promotee.Joseph Jarman is a member of fhe AACMherbie hancockman-childincludingHeartbeat The Traitor SunTouchSteppin In It Hang Up Your Hang Ups BARENBOIM conducts ELGARCARISSIMAINGUSH CHAMBER ORCHESTRACOPLAND CONDUCTS COPLAND> SUITE FROM THE FILMTHE RED PONYMUSIC FOR MOVIESMUST RECORDINGS OfLETTER FROM HOME JOHN HENRYOOWN A COUNTRY LANENEW PHILHARMONIA ORCHESTRA SERENADElGR STRINGSCm ANSONDE NUl!CHANSONDE MATINSALUTD AMOURSOSRlR1Paul ScmOH.S>tM cAc/^if CvjleA cJJ. tb&ie yzaAAElEGTROMANCEfOkBAhOONANDORCHESTRAROSEmaRv.includingMy Little TownGone At Last Have A Good TimeSilent Eyes I Do It For Your LoveHill I I if hers\tuk ini’ Mil siiincludingPaint Your Pretty PictureMake Love To Your Mind Hello Like BeforeSometimes A Song I Love You Dawn4 4 $Jon LueienSorn; lor \1y LadyincludingSoul Mate Motherland Maiden VoyageCreole Lady You Are My Love*Dan Fofselherg( uptured Anxelincluding:Next Time Below The Surface Otd TennesseeComes And Goes These Days Man In The Mirror SPIN-IT RECORDSThe Best Record Store in Hyde Park now has (even)lower prices to match. AM prices in the store are hen¬ceforth reduced. All $6.98 list price, former price $5.49,are now $4.69....And this week we have a special sale. All $6.98 listColumbia L.P.'s are $4.19. Similar reductions on other listprices.Columbia sale ends Nov. 14, 1975SPIN-IT RECORDS1444 E. 57th St.684-1505Open Mon.-Sat^ 10:30-7:30Sun. 12:00-5:30 Logins X Messina“So Fine ”includingI Like It LikeThat Splish SplashWake Up Little SusieHello Mary Lou A Lover s QuestionPINK FLOYDWISH YOU WERE HEREincluding:Shine On You Crazy DiamondWelcome To The MachineHave A Cigar Wish You Were HereART GARFUNKELBREAKAWAYincludingMy Little TownI Only Have E yes For You 99 Miles From L ALooking For The Right OneI Believe (When I Fall In Love It Will Be Forever)6-The Chicago Maroon - Friday, November 7, 1975"African Music Arrives in America," is achapter excerpted from William Simms'M.A. thesis, The Suppression of BlackCreative Music. The thesis deals with theevolution of Black creative music inAmerica and the prejudice against it inAmerica.Bv William D. SimmsOne of the earliest aims of NorthAmerican slavery was to obi iterate the rootsof Black culture. Whites endeavored to stripAfricans of their past by erasing memoriesof their motherland. All forms of creativitywere denied them. It was against the law toteach a slave to read and write. Visual artssuch as painting and sculpture were alsoforbidden. Later, when it was discoveredthat Blacks had great skills for such crafts,they were encouraged to pursue them, aslong as the styles were in the Europeantradition.The American condition could not crushthe African creative genius which has a longtradition that began thousands of yearsbefore the birth of Christ. Music became theonly artistic avenue through which BlackAmericans could express their creativeenergies. The principles of music areacquired at an early age by Africans, musicbeing an integral part of the total Africanculture.During the brutal, inhumane journey toAmerica musical activities were used by theship captains to increase morale. Slaveswere often allowed to sing and dance inhopes that the music would cause them tomomentarily forget their cruel condition.However, from the beginning, the playing ofdrums was generally forbidden. In thosesituations where drums were allowed onboard, they were destroyed upon the ship'sarrival at it's destination. Europeans hadextreme difficulty in understanding thecomplex rhythms and the meanings ofvarious other percussion instruments, all ofwhich were quite menacing to them. I willclarify the psychological impact of Africandrums on European forms of oppression.Although Africans were not allowed toconstruct or play instruments in the Africantradition, it would not have been especiallyhard for them to do so. The African had atradition of making drums from the trunksof trees and the horns of animals, rattlesfrom goards, etc. Various types of flutes andother instruments were available fromnature. One of the earliest African in¬struments made in America was theBanjar, which later became knownas the banjo.Like the ship captains, the slaveownerswere tolerant of the music created byBlacks as long as it didn't interfere withwork. If one's songs increased one's output,all the better. However, the making ofdrums was generally discouraged and inmost cases outlawed. It was known thatmessages could be sent for some distance bythe "talking"drums. Slave owners wereconstantly in fear of possible slave revolts;they feared the drums would be used tosignal slaves on other plantations and inciteinsurrections. However, drum substituteswere used when creating music. Theclapping of hands, the stamping of feet andmakeshift drums improvised out of boxes,kegs, or kettles were employed. These,together with the voice, used bothmelodically and rhythmically, reinforcedBlacks' creative musical efforts.Despite the efforts of the European toerase them, the traditions of Africaremained in the Blacks that were new toAmerica. Music, dance and religiouspractices, although changed by necessitydue to the conditions brought about byslavery, persisted.To African peoples, the song is fundamental to their music. There are songs forevery occasion: for marriages and funerals,for ceremonies and festivals, for love andfor war, for work and worship. Songs wereand are still used to express all of the emtions of Blacks. African dances are usuallyaccompanied by singing; this also holds truefor contemporary American Blacks as it didfor those in the days of slavery. The alternating between the solo singer and thechorus is a characteristic of African musicand Afro American music. For thousands ofyears African drums providing complexrhythms and strong pulses have blendedtogether with voices to develop a rhythmicfoundation of song.The African conception of rhythm is morecomplex than the Europeans'. In Europeanmusic different rhythms may be employedsuccessively, but not simultaneously.However, in African music if is the rulerather than the exception that severalrhythms go on simultaneously. In Africanmusic at least two or three rhythms, and African MusicArrives in AmericaTo a miserable reception.sometimes four or five or more, are used ina single piece of music. Often, combinationsof percussion parts, one of which may be theuse of slapping hands or knocking of stickstogether, and one vocal part with its ownmetrical pattern are employed. Severalmetrical patterns in the percussion, playedby different drums of different sizes, arealso used. Confusion is avoided by thepresence of a fundamental underlying beatusually played by the largest drum. Nomatter how many rhythms are played bythe other musicians, all instruments usuallycoincide on the first beat of the fundamentalrhythm.The basic elements described above havesurvived three centuries of oppression andstill compose the foundation of contemporary Afro-American music, both the"Pop" and the artistic forms. The basicconcepts of Black music have not changed.However, the degree to which theseelements have been used has determinedhow close the music has returned to theAfrican source.Without the use of the baicelements of African music, even though therhythmic patterns may be unique, the musiccannot be considered Black, even though itmight be composed by a Black musician.The suppression of the Black artistic musichas been connected directly with thepresence of the African concepts beingpresent in the music.African Music Survives SlaveryThe efforts of white America to erase alltraces of African culture never had a chanceof fulfillment. Slaves who had been luckyenough to acquire musical skills withEuropean musical instruments increasedtheir value'as slaves. As long as the musicthe slaves played was European and carriedno African overtones, the slave's mastery ofthe various European instruments wasadmired. However, Black slaves adaptedthe new musical experiences they en¬countered, took from them whatever suitedthem, and made what they took and whatthey already had into something of theirown.Vocal music dominated early Colonialsocieties. In the Colonies dancing was verypopular on all levels of society. Althoughvocal music remained dominant throughoutmost of the eighteenth century, thedevelopment of urban living brought about astimulation of a wider variety of music.Institutions for the teaching of music anddance were established in the towns andsemi-professional institutions were notreadily made available to the slavepopulation. Needless to say there was strongopposition to slaves acquiring anykbowledge or skill that did not relatedirectly to his value as a servant. Con¬sequently the American Black wasgenerally left to fend for himself, especiallyin North America.It is apparent that the musical aspects ofBlack culture and the innate talent thatAfrican people possess could not be completely suppressed. The African musicalheritage was preserved and passed on to thedescendants of the original Black arrivals.This heritage was developed and influencedby the musical experiences they encountered. Being a highly creative people,they used whatever aspects of the musicthey encountered in the new land that theyfelt was useful and arrived at a music thatwas uniquely theirs.Slavery in the Spanish and Portuguesecolonies of South and Central America wasgenerally considered a milder and morehumane form than that which was practicedin the Anglo Saxon colonies and later in theUnited States. The Catholic church took anactive interest in the lives of the slaves andeffectively modified some of the fundamental cruelty of the institution. AllAfricans destined to toil in the Spanish and Portuguese Colonies were baptized andadmitted to the church. Marriage amongslaves was recognized by both church andstate and was held inviolate, as wa thefamily. In these colonies it was illegal tobreak up a family through sale, as happenedregularly in the British colonies and in theUnited States after independence. In addition, in the Catholic colonies, there wasoften a department in the government thatwas designed to look after the rights andwelfare of the slaves.Most important, however, were the lawsof manumission institutionalizedprocedures by which a slave might gain hisfreedom, independent of the whim of amaster. Thus, any slave had the right topurchase his freedom. If he could earn hispurchase price, his master had to acceptpayment, and the slave by law was free. If aslave had ten children in Hispanic America,the entire family went free. And once a slavegained his freedom, he assumed all therights and privileges of any other citizen. Asa result, the life of a slave in the colonieswas less hopeless and less dehumanizingthan the life of a slave in the United Stateswhere the Supreme Court ruled that"Blacks had no rights that whites werebound to respect." This may be the reasonwhy the "sorrow" songs, the melancholyspirituals, and the Blues did not come fromthe Hispanic colonies.The deep interest the Portuguese andSpanish took in the spiritual welfare of theslaves included teaching them churchmusic. In Brazil, the Jesuits by the earlyseventeenth century had set up a school forthe musical instruction of slaves, whichlater became known as the Conservatoriodos Negros.As the concept of Black servitude becameinstitutionalized by law in the United States,the sanctity of the family was ignored andchildren were sold from their parents.Fatherhood in effect was ruled out forBlacks by law. A Virginia court ruled that,"The father of a slave is unknown to ourlaw." A Mississippi court sad that, "Therape of a slave woman is an offenseunknown to common or civil law."Severely restricted by a cruel and im¬moral Social institution, Blacks createdtheir own society within the confines ofslavery. Slaves were not permitted to paint,learn to read, or engage in any Africanoriented cultural activities. Music was theonly outlet left him. Thus the slavesborrowed from the music around them,from secular songs and dances as well asProtestant hymns and psalms. However,African traditions were not abandoned;instead focus was put on the intrinsic valueof the music the slaves heardTalents of Black MusiciansRecognized and RejectedThe survival of West African musicalpractices among plantation Blacks was acause of concern among plantation owners.They were apprehensive of the excitementthe slave's religious and dance musicseemed to arouse, and they discouragedtheir slaves from indulging in it. Overseers,however, did not discourage the chanting ofwork songs, which helped get the work done.Eventually, many slave owners encouragedmusic making (except for the dreadedmusic of the drums), especially the playingof white oriental music. Slave owners occasionally went so far as to supply fiddlesand other instruments. It did not take theAmerican slaveowner long to recognize the COmusical genius of their slaves and turn it totheir own purposes. The Black fiddler was afamiliar figure at dancing parties from theseventeenth into the nineteenth century, inplantation houses, in frontier settlements,and even in the North. Much of his musicalaccent crept into the Black man's performance of the European minuets, reels,and jigs.In using white authors for referencesabout Black music, one must be constantlyon the alert for the omission of evidenceconcerning the oppression of Black artists.In John Rublowsky's Black Music inAmerica, he gives Thomas Jefferson creditfor having a "remarkable aptitude formusic," because Jefferson and others observed how easily Black musicians learnedto play European instruments. Furtherplaudits were given Jefferson for hisrecognition of the abilities of Blackmusicians and their music:"Thomas Jefferson in his Notes on theState of Virginia (1784) stated that, "Inmusic they (Blacks) are more generallygifted than whites, with accurate ears fortune and time, and they have been foundcapable of imagining a small catch."Rublowsky conveniently omitted thereamoning part of Jefferson's statement:"Whether they will be equal to composition of a more extensive run of melody,or of complicated harmony, is yet to beproven."The noted Black professor of music, DavidBaker, in his statements concerning racismand Black art music stated. "Because jazzhad its origin in a tradition outside theperameters of Western art, its lack of ac¬ceptance was virtually assured. Any musicwhich deviated from European models wasviewed condescendingly. When this attitudewas coupled with the hostility displayedtowards anything construed to be part of aBlack culture, then the picture for jazz vis avis 'respectability' was bleak."The patronizing attitude of Jeffersontoward the ability of Blacks to crea+e art isan early example of a white critic unsuccessfully attempting to interpret Blackart:"They astonish you with strokes of themost sublime oratory, such as prove theirreason and sentiment strong, theirimagination glowing and elevated Butnever yet could I find that a black had ut¬tered a thought above the level of plainnarration; never saw even an elementarytrait of painting of sculpture Misery is oftenthe parent of the most affecting touches inpoetry. Love is the peculiar oestrum of thepoet. Their love is ardent, but it kindles thesenses only, not the imagination. Religion,indeed, has produced a Phyllis Wheatley,but it could not produce a poet. The compositions published under her name arebelow the dignity of criticism. (ThomasJefferson, "On Negro Ability," in LouisRuchmane's Racial Thought in America, p.165—It is apparent that Jetterson's opinion ofPhyllis Wheatley was not shared by manypeople The poems of the African born poetwere the vogue and were read everywherein America during the last part of theeighteenth century. Her poems were thefirst published work by a Black woman andthe second by an American woman in theNew World.It is indeed strange that a man as intelligent as Jefferson was supposed to have(continued on page 7)Friday, November 7, 1975 - The Chicago Maroon-7 TheGreyCityJournalTheGreyCityJournal The Jazz/Rock HybridCan Mahavishnu Johnny B. Goode?An examination of the most pressing musical question of the day.Bv Mark BushmanBacked up by a jazz band, lay it on thewood mixin' Ahmad Jamal in my 'Johnny B.Goode'.Sneakin' Earl GarnerSixteen' now they tell mecuttin' 'Maybelline." in my 'SweetStank Kenton's—Chuck Berry,'Go Go Go,' 1961It the names and song titles wereditferent, the above lines could just as wellhave been written in 1975. Although the sightof jazz men playing rock and roll waslargely a product of Berry's wryimagination in 1961, it's a cold, hard facttoday. Herbie Mann now cuts cover versionsof AM radio and disco hits. Herbie Hancockinjects his music with large doses of SlyStone's trademark riffs, acknowledging hisdebt by titling a piece ''Sly.'' No less a figurethan Miles Davis now speaks of that sameSly Stone with a reverence which jazzplayers only a few years ago wouldgenerally have reserved for the likes ofCharlie Parker or John Coltrane. Thefeeling, it appears, is mutual: StevieWonder gave his Grammy award to the sonof the late Duke Ellington, and dedicated hisRocky award to the memory of CannonballAdderly.The rock-jazz love affair has doubtlesshelped introduce young, middle classaudiences to fine players and composerssuch as Ornette Coleman, Pharoah Sanders,Gato Barbieri, and Keith Jarrett. Even themore esoteric figures, including CecilTaylor, Gunter Hampel, and AnthonyBraxton, are sure to enjoy many times therecord sales they would have six or sevenyears ago. Ironically but predictably, therock mainstream through which this newaudience became acquainted with jazz hassuffered a concurrent decrease in sales.The most puzzling feature of this audience exodus from rock to jazz lies in the fact thatso many refugees have been able to cross soflimsy a bridge as that provided by thehybrid genre occasionally referred to as"jazz/ rock." Depending on the definition ofterms, the label can be applied to a vastarray of stylists. As used here, it includeseveryone whose music usually incorporateselements of both idioms into a single piece ofmusic. This includes the recent work ofHerbie Hancock, Chick Corea, Miles Davisand Larry Coryell; and the total output ofthe Mahavishnu Orchestra. It includessomething like half of the music made byWeather Report; and a rather smallerfraction of the product of bands like Blood,Sweat, and Tears and Chicago.As suggested above, the enormouspopularity of jazz/ rock is intriguing in lightof its frequent artistic failure. Only an elitistwould deny that most record sales are due tothe ability of a record to effectively movethe listener; whether it moves him to stamp location, audience, and performer: aninteraction which by definition varies witheach performance. To 'compose' and'arrange' jazz usually serves only to providea starting point for an evolutionary process.Secondly, despite the addition of strings,horns and synthesizers, rock is a simple,even crude form of music. The climax of arock and roll record is not reached throughexploration and resolution of variations on atheme; rather, it consists of ramming a fewbasic musical ideas into the listener's headwith increasing force. As the tune reachesits climax, the drummer will probably ridethe cymbals, the guitarist might double upon the time signature, and the lead singermay commence to babble and/ or howl witha Neandrethal savagery. The rock and rollclimax is almost universally one ofincreased urgency, rather than oneachieved through increased complexity.The power and dignity of rock derives fromthis very crudeness, from the abilityof theartist to express himself eloquently withinthe confines of a severely limited musical(and usually lyrical) vocabulary.In jazz, on the contrary, the musicalvocabulary is limited only by thecapabilities and the emotional state of theparticipating musicians. The jazz playertries any way he can to convey a spiritualstate. Unlike rock, jazz does not succeed by"Listening to the recent Miles Davis or Herbie Hancock albums is like witnessing aneloquent man struggling to write a novel using only monosyllables."his feet, hum along, smile, or cry.Jazz/ rock often seems incapable ofproducing any such emotional reaction. Thereason lies in the fact that jazz/ rock is anattempted synthesis of two inherentlyincompatible forms of music.A comparison of the respective structuresof rock and jazz makes that incompatibilityreadily apparent. First, rock in its pureform is music which is arranged, rehearsed,and then remains relatively static from oneperformance to the next. Aside frominsignificant variations, the Rolling Stonesplay "Honky Tonk Women" the same in 1975as they did in 1969, right down to the guitarbreak. On the other hand, spontaneouscreation is the essence of jazz. Keith Jarrett,for example, views his work as the productof an interaction between geographic stepping up the energy level: JohnColtrane's classic Meditations exudes moreenergy in its first thirty seconds than mostmortals expend in a life time. Rather, jazzsucceeds when it defines the boundaries ofthe artist's spirit with a graduallyincreasing complexity; and hence, withincreasing precision.The jazz/ rock musician is thus leftstraddling an unbridgeable chasm.Listening to the recent Miles Davis orHerbie Hancock albums is like witnessingan eloquent man struggling to write a novelusing only monosyllables. The restrictive'rock' chord patterns and rigid rhythmsoften deprive the jazz/ rock player of thefreedom necessary to express himself, andthereby reduce him to 'doodling.' From BSand T to Hancock, many have attempted to remedy the situation by employingdiffering key and time signatures forensemble and solo playing; producing a'rock' arrangement with a 'jazz' solo, orvice-versa. Needless to say, this oftenresults In disjointed, 'cut and paste' music.In its early phases, the MahavishnuOrchestra attempted to solve the dilemmaby sacrificing eloquence for energy, and inits later incarnation the band seems to bereversing that formula. Unfortunately, thefinished product has often been monolithicenergy in the first case and aimlesswanderings in the second.In light of jazz/ rock's serious aestheticshortcomings, the basis of its commercialsuccess is wide-open to speculation. Thepossible explanations which follow are stabsin the dark: they may contribute to thepopularity of the genre; and then again theymay be irrelevant to it.The first of these hypotheses may becalled the 'relative expansion of the elitelisteners' circle.' This hypothesis is based onthe assumption that a larger proportion ofpop record buyers today are motivated bystatus considerations than was the case,say, six years ago. Unlike the typical rock orsoul listener, the 'elite listener' does notview his music as a background for dancing,driving, and smoking dope. On the contrary,he views pop music in a scholarly fashion;reading the rock and jazz publicationsregularly. Jazz has for years enjoyed agreater artistic legitimacy than has rock;and consequently, devotion to jazz/ rocksets the 'elite listener' apart from his moreboogie-minded peers. It labels him as being'really into music.' Furthermore, thekaleidoscopic recombinations of therelatively small corps of jazz/ rock playersprovides a source of endless conversationumong the 'elite listeners': "Hey, man, Igot this new record by Billy Cobham andAlphonse Mouzon. It's called Air Hammer."Another possible explanation for thepopularity of jazz/ rock is 'the rise of thetechnocratic listener.' Starting with theMichael Bloomfield/ Paul Butterfield teamand Cream's rise to prominence, many rockdevotees developed a near-obsession withthe technical proficiency of various rockmusicians. Eager novitiate guitarists viedfor front-row seats to view Eric Clapton,Jimi Hendrix, Jeff Beck, Alvin Lee and(continued on page 8)A RARE OPPORTUNITYto reflect with six distinguished psychoanalysts on themeaning of their life's work in the context of human valuesA special lecture series:"REFLECTIONS ON A HUMANISTIC PSYCHOLOGY"Nov. 19, 1975 E. James Anthony, M.D., Ittelson Professor ofChild Psychiatry, Washington University Sch. ofMedicine The Self-regarding Self: Odyssey of aConceptJan. 14, 1976 John P. Spiegel; M.D., Professor of SocialPsychiatry, Brandeis University. "Cultural Strainand Family Dynamics of Aggression"Feb. 25, 1976 Rudolf Ekstein, Ph.D., Director Qf ChildhoodPsychosis Project, Reiss-Davis Child Study Cen¬ter, Los Angeles Emmanuel Kant's The Strife ofthe Faculties (1798) Revisited by aPsychoanalyst"Mar. 3, 1976 Therese Benedek, M.D., Senior Supervisor andTraining Analyst, Chicago Institute ofPsychoanalysis (Paper will be read by HelenBeiser, M.D.) The Polarity of the Sexes and ItsDecline "Apr. 7, 1976 Roy R. Grinker, Sr.. M.D., Director, Institute forPsychosomatic and Psychiatric Research andTraining, Michael Reese Hospital "Humanisticand Other Approaches to Schizophrenia"May 5, 1976 Bruno Bettelheim, Ph.D., Stella M. RowleyEducation, Psychology, and Psychiatry; Or¬thogenic School, University of Chicago. "TheMeaning of Fairy Tales 'Wednesdays, 7:30 PM - Law School AuditoriumFor information, call 753-3137Sponsored by University of Chicago Extension, in cooperation withThe Chicago Institute for Psychoanalysis8-The Chicago Maroon - Friday, November 7, 1975By Bob KoesterBecause I like the music, am not amusician, and was not satisfied just tocollect records and live listeningexperiences. It's as simple as that.I collected jazz records in grade school. InWichita, Kansas, it was hard to find jazzrecords, as no great audience for fhe musicexisted there at the time. (Now they have anannual jazz festival.) I couldn't afford newrecords so I bought from juke box operatorsand, eventually, from second-hand stores,the Salvation Army, etc. I liked everythingthat sounded what we now know to be"black" and picked up anything with thewords Boogie, Blues, Stomp, Swing or Jumpin the title, unless it looked like it miqht behillbilly. Sometimes it was hard to tell since was big at that time. So mytastes were more catholic than critical —and still are.I went to St. Louis University to take somebusiness courses preparatory to film schoolat UCLA or USC. My master plan was tobecome a good cinematographer, makeenough money to retire early and open ajazz record shop and perhaps a small jazzlabel. I picked St. Louis U. over a college inChicago, NYC or New Orleans because Iwas sure that the jazz scenes at those othercities would seduce me from my studies. Ihad underestimated the jazz scene in St.Louis. The whole panorama of jazz could beheard there at that time. Ragtime pianist-composer Charles Thompson had a tavernwhich was a short walk from the SLUcampus. A good traditional jazz group, theTHE MUSIC OF THE AACMON DELMARK RECORDS.recent...classic.at better record stores,send for complete cataloguedelmarWdebnark records4243 n. lincoln, Chicago ill. Why Did I Get Into theJazz Record Business?Windy City Six, played a block away. TheGlass Bar brought in modern jazz giantsdown the street from Charlie-Thompson'sbar, and the Hurricane Lounge featured TabSmith, Chris Woods, etc. Out on DelmarBlvd.'s nightery strip were Miles Davisand more dixieland plus the marvelousmainstream bands of Joe Smith and BillMartin. I generally opted for traditionaljazz, but I did manage to hear most of thegood modernists including a kid namedOliver Nelson and the marvelous altoistPeanuts Whalum.A jazz club was formed in Sf. Louis thatfirst year and I became quite active. Ihelped plan the programs, met othercollectors and started selling scarce recordsat the meetings. I met another collector andwe decided to pool our talents when"junking" for old discs; he mainly collectedthe sweet bands and pop vocalists of the late30's. We eventually rented a tiny storefrontnear the campus for $40/month and openeda small shop. That did it. My grades wentdownhill—and my life style. I worked asbusboy, beer waiter, stock clerk, inventoryclerk, parking lot attendant to augment thepithy income from a shop that was damnedif it would sell "commercial" music. Mycounter-community attitude estranged mefrom just about everyone but was probablygood for my soul. Before the end of my firstyear at SLU I decided that the "art" of theWindy City Six had to be preserved forposterity. It was a good rollicking band butmuch less so by the time we got up the breadto record them. I recorded other reallyunimportant revivalist groups in the nextfew years and this got me into the business,if not really into the trade.One day dixieland enthusiast CharlieO'Brien of the St. Louis Police Dept, askedme if I would make up a list of musiciansknown to be in the St. Louis area in the 20'sand 30's so that he could look them up. Mostof the jazzmen were known but I was by nowvery much into the blues and I listed MaryJohnson, Henry Brown, Edith Johnson, Henry Townsend, Stump Johnson — all ofwhom he located.Our activity resulted in a couple ofsurprises when Speckled Red wasdiscovered by Charlie and Bob Koester wasdiscovered by Big Joe Williams, who turnedus onto the remarkable J.D. Short andothers. No one was recording blues at thattime for LP and I couldn'f afford to recordthe better jazzmen (Scale for one person vs.scale for six or seven) and I felt that sooneror later people would get interested in blues— most jazz fans at the time eitherworshipped only the newest names in bop orwere working their way back thru theevolution of the music. Blues would be cheapto record with semi-pro equipment, in livingrooms, etc., and there would be littlecompetition, whereas studios had to berented for bands and all those sidemen paid$100 ea;— heavy money in those days whenmy total monthly gross would be well under$1,000.Delmar (named after the street thatseemed to represent my musicalpreferences because if ran through theblack neighborhood, the dixieland-bopareas, etc.) Records thus switched, fromsome valuable George Lewis and someindifferent local dixieland, to the blues. Ieven recorded jazz tenorman Bob Graf asthe start of a modern jazz series. Release ofthe blues albums was delayed by the suddendeath of fhe 10" LP in 1956. My entirecatalog was unsalable in the tradeovernight! Covers printed for severalalbums were scrapped. But I wound uprecouping (and better) by buying up 10"LP's of trade jazz and selling them via mymail-order business at a tidy profit, first asbargain merchandise and later ascollector's items. Discounting of records inSt. Louis stores began and I decided to moveto Chicago in order to be in better touch withthe trade and not be left high and dry thenext time a technological obsolesenceoccurred. So I packed up tapes and records,(continued on page 8)What makesDaddy run? Most movies have a predictablelife span. A couple of weeks, ormaybe a month or two, and they’reout of the theatres and outof every body’s mind.A movie called “The Apprenticeship of Duddy Kravitz’’ could havegone that route. It’s a film about an 18-year-old kid who plans to be areal estate tycoon, movie mogul, sex symbol, and world’s greatest conartist-all before he’s twenty.But a funny thing happened to Duddy when he started to run in moviehouses. He ran, and ran, and ran. People kept coming to see him, theytalked about him, they came back again.And the film critics did something rare. They agreed. Duddy madethe“10 best” list of just about every prominent reviewer.When those things happen,a movie has struck a responsivechord And that’s the case withDuddy. Audiences laugh withhim, cry with him, love with him.And they keep him running.Judging by his popularity,there seems to be a bit ofDuddy in all of us.A hyonxx>r>*a no KOTewtrr imStoring Storof AMERICAN GRAFFITI ond JAWSWKXEllNE lANCTOT RANDY QUAID JOSEF*-* WISEMANDENHOLM ELLIOTT JOE SILVER one) JACK W4IIOPi "HRAAX**0*r«*db* TEDKOTCMCFF ^.JONNKIMOfY ^ vMOM, UOWH CHtTWYMO GERALD SCHNEIDER iNCCXC#ig—i wnw ■imwnmamvu wj imaPG sv PBlNTiB* MCVIflABA PARAMOUNT «UASESTARTING FRIDAY NOVEMDER 7Exclusivelyat: ®OlD ORCHARD 2,Showtimes: Mon -Fri.: 5:30 7 45 & 10 PM 9400 SkokieSat & Sun : 1, 3:15. 5 30. 7 45 & 10 P MFriday, November 7, 1975 - The Chicago Maroon-9 a*TheGreyCityJournalTheGreyCityJournal Love, Survival, andThese MusicsA report from within a musical psyche.Now, we come onto the scene and we get1 educated and we are told to be happy cause10 we live in the heaven of the earth.AMERICA, and i am happy; though notcause i live in the heart ot our love land,rather cause i'm alive to speak to you.LOVE aaahhhh.We SURVIVE tor the spirit ot GREATBLACK MUSIC and tor the spirit ot GREATBLACK MUSIC alone. Otherwise the greatgray haze would over take us (all humanity)and we would vanish, into what we arealready-Light. To make it in the materialworld becomes an old trick after these yearsof wandering over the earth, alwaysremembering America, the love of the neworder. God comes to us in the sound of musicand in the feeling of warm hearts bodiesclose together. Love what you are thoughthe man (what a sickness) will tell you thatthis is jazz and that is jazz and the hero isgone into the maze of some "holy" order likeCaine, no win no lose. Know Win NO Lose.God comes to us through the Sun light andthrough the FEELING we feel for all thatwe love, take the open air, even inwinter/ how the body comes unto itself, thatfeeling, or how you may feel alone in aroom/ your room (please) God, Creatortouches you. no (know) one knows exceptyou. and you may even cry. or laugh. This isMagic/ the love of GOD. inside of you. now."THE MIND THAT SEEKS TRUTH"We call the mind that wants to make theA.A.C.M.— way of the universe clear and to put it intopractice the mind that seeks truth. Howeverclever a dog or monkey may be, they cannotrealize the Universal Mind. Only humanbeings have the privilege and capacity torealize it. If you have the mind that seekstruth, you are happy because this is proofthat you are a human being."Koichi Tohei-We are priest, doctors and warriors.Priest, to give the history of our peoples, toour peoples, to our peoples and priest, towork toward positive action of the spiritactive spirit agents for the creator to workthrough/ giving the vibration of universalhealing, the music, the drum - the silence.Doctors learning the healings of arts,healing the spirit and the body of the peopleand the body of ourselves fhrough the musicthrough its practice. All music of positivevibration is meditation and healingmedicine given from God when we heal, feeland taste it, we are overwhelmed by itspower, just as we are overwhelmed by allother elements that are natural-of themaker-of the cosmos. We are trying to tellour peoples to eat right, think positive, lovethe positive being in you and work to purifyyour body, heart and mind; to begin to SelfRealize instead of Self Desfrucf. "What itmeans is simply this: that men who realizetheir worth and capabilities can no longer beexploited by forces or intimidation, nor cantheir aspirations be denied. " -Robert Taber(the war of the flea read it). With thisA Tribute to reality comes the possibility of creating notonly a new person for oneself, but ofcreating a new world for the people tobreathe in and not strangle as many of usare doing now at the foot of the sick greatgoodness of the Amerikan nightmare. Weare warriors training our bodies, spirit, andminds to defend our people and thewonderful way that is Great Black Music.Take a close look at the masters and you willsee that all through our history, the historyof Great Black Music, the masters have hadways about them, not only to "play"fantastic Soundmovement, but were able toreach many people through their work; thisis because the people knew WHAT themaster were doing for them—givingknowledge and blessings, healing.Often, people who make themselvescritics forget the responsibility that theyhave to the music and they get of into tryingto create destruction among the musiciansby creating non Black Music images andfalse mask to put over the realities of theSoundmovement. These people, many ofthem, have no real value in their own livesand seek to destroy the unity of themovement by creating hero face and blackface fakes who become lost in the flow of thepower of the music. BLACK MUSIC ISBLACK MUSIC and always will be.Along with these self created criticscomes the white fake overtake that many ofthem see as the real music and the whitefake overtakers as the real musicians, wemust be careful of these kind of blind soulsbecause they believe they are right to say"these people all follow in the footsteps ofthe western world heros who inventedeverything in music." The white fakeovertake allowed non Black Music to coverup the realities of the true Soundmovementand not only take needed work from thecreators of this BLACK MUSIC but forcemany of the brothers to turn their coats and become Black white fake overtakers,thinking that this was a way for them tomake it (meaning get lots of American lootand fame to boot and lame gigs "teaching"the "secrets" of the arts to goons and thelike) but many of the brothers found outwhat was happening before it was too late.Again no matter what these people try theywill not succeed in their folly, theoutrageous strength of Great Black Musicwill blow them away into the dust. Perhapsyou have noticed more fake and real spiritBlack Music coming through the radio. Thisis because the white fake overtake thinks itsgetting stronger and will allow expansion,but the power of the true music will alwaysovershadow tailing fakery even as thegovernment begins to help with grants andother tokens the true music will not bewashed away by this tide of sudden concern,but will pass through it as it has passedthrough many a period of repression andviolent acts both mental and of the bodyagainst it. The people are awakening tothese facts and are quietly makingrevolution within themselves aganist it.Healing.Martial Arts and other joys of mind bodycoordination are rapid means to aid in Selfawareness realization; they help us tolearn how our bodies and minds worktogether as nature intended for them to do,also they help us to train ourselves to facelife in a positive manner and understand theGod element inside us all. Control of bodyleads to control of spirit to control of self andto the realization that the small self has apart in the great Self of UNIVERSALONENESS, do nof fight life, rather live itfreely/this is the message of GREATBLACK MUSIC embrace it and sing you willfeel better and you will learn through yourown life to praise GOD.As Salaikum SalaamJoseph Jarmanthe Hard CoreAnd all the little instruments, too.By Carmel HubbellThe last ten years are generallyrecognized to have been a time of socialupheaval, political protest, drug-crazedtrenzy and free sex. There has been ex¬perimentation with alternate lifestyles,gropings at higher consciousness,cooperatives, communes, the WoodstockNation, et al. As is the way with most fads,the white adolescent majority of Americahad their fill of these particular forms ofamusement and went on to ad agencies,Wall Street and the like with little more toshow for their eftorts than somewhat loosersexual mores and a pronounced taste formarijuana and blue jeans. Thecooperatives, the communes, the radicalpolitical groups have for the most partfolded or sold out and only the hard coreremains.Meanwhile, in 1975, the Association for theAdvancement of Creative Musicians beganin May a year long celebration of its 10thAnniversary. Radical even in these times,the AACM was the first organization of itskind: a co-operative, non-profit coalition ofmusicians who banded together in order tofurther and showcase their own music and that ot other creative artists. Begun in 1965by a handful of Chicago musicians, mostlymembers of Muhal Richard Abrams'sEXPERIMENTAL BAND, their membership roster now reads like a Who's Whoin Great Black Music. Muhal RichardAbrams, Fred Anderson, Joseph Jarman,Roscoe Mitchell, Steve McCall, HenryThreadgill, Anthony Braxton, MalachiFavors, Lester Bowie, Leo Smith and DonMoye have all passed through the AACM.Most are still active within it. The AACMhas also spawned another generation ofcreative musicians, Douglas Ewart, GeorgeLewis, Adegoke, Iqua and others; and hasserved as a catalyst for groups of its kind inother cities, the Black Artists Group (BAG)in St. Louis, the Creative Arts Collective inMichigan, and the Human Arts Group inNew York to name a fewDuring its tenure in Chicago the AACMhas not only produced and funded its ownconcerts and provided a mutually supportive cooperative framework for theexchange of musical ideas, it has also operated a free music school for South Sideyoungsters and actively worked to promotebetter relations between musical tradesmenand artists.Their accomplishments are many, butPresident Muhal Richard Abrams finds theAACM's real strength in its idea:Because if the AACM is anything, it's a veryexcellent idea. It's not so much what is orisn't done, it's the idea and what it couldmean to different groups, depending on theirenergy. The idea: to pool our energies to acommon cause." (Interview with MuhalRichard Abrams by J. Litweiler, Reader,5/ 9/ 75.)About now, you should be asking yourself,why haven't I ever heard of these people?Well there are a lot of reasons for that. Mostare to be found in the preceedingparagraphs. But we'll come back to that.Now in addition to being a group of artistswho are dedicated to doing their own thingin their own way, these men and womenplay some of the most celebrated, technically complex, highly innovativespiritual music, black or otherwise, beingheard today. They are responsible for thedevelopment of many of the post OrnetteColeman innovations in "jazz," atonalstructures, complex melodic modalities, theuse of little instruments (gongs, bells,sirens, bellaphone, etc.) yet continue todraw on the almost inexhaustible 1000 yearblack musical tradition as well as their ownhearts and minds. As a matter of fact, most,if nof all, popular American music since 1920is black music, imitated, simplified, oroutright stolen to meet the needs of the mass(white) American public.Perhaps the dilution of the finest of blackmusic over such a long period (to saynothing of the concerted racism andbusiness promotion involved in that effort)is one reason that, in spite of theiracknowledged excellence, AACM musiciansas well as other Great Black Musiciansbefore them have had such difficulty gettingtheir music played, much less obtaining(continued on page 8)TAl-2AM-\fchCHINESE-AMERICANRESTAURANTSpecializing inCANTONESE ANDAMERICAN DISHESOPEN DAILY11 A.M. TO 8:30 P.M.SUNDAYS AND HOLIDAYS12 TO 8:30 P.M.Orders to take out1318 Eost 63rd MU 4-1062 JAMESSCHULTZCLE AIMERSCUSTOM QUALITYCLEANING10%student discount1363 E. 53rd St.752-6933 9 AM -9 PM 7 Days A WeekHYDE PARK PIPE AND TOBACCO SHOP.1552 E. 53rd - under 1C tracksAll students get 10% offask for "Big Jim''PipesPipe Tobaccos racks //'&Imported CigarettesCigars OAK FURNITURE-ANTIQUESREFINISHED F AS is Desks1649 e. 55th fAT xA Tables667-4380 — ~JJSl Jr ChairsDressers1-6:00 PMTUES.-SAT BookcasesMuchMoreWe Also DoRefinishing52/0 S Harper*in Harper Court'N01-/060 FREE!A year’s supply of stringswith each new guitar pur¬chase in November.Many new and usedinstruments in stockplus books, repairs,instructions With This Ad OnlyUsed Desks *25 and upUsed Chairs *10 and upNew Chairs *25 and up“cash and carry”EQUIPMENTBRAND 1 1^SUPPLY CO.8600 Commercial Ave.Open Mon.-Sat. 8:30-5:00RE 4-2111 LAKE PARK RENTALS6633 S. Cottage GroveRentTOOLSBuffersCarpet StretchersDolliesDrillsElectric SawsRug ScrubbersSandersTile CuttersVacuumsWallpaper Steamers TrailersTrucksCALL667-8700DAILY7 AM to 6 PMSUN.8 AM to 3 PM10-The Chicago Maroon - Friday, November 7, 1975Jazz a PareeAimons-nous Musique American? Oui!!By Lukacs LeBagParis: Home in exile for a veritablePantheon of 20th Century Americanartists—the Hemingways, the GertrudeSteins, the Richard Wrights, the JamesBaldwins. Also a haven for Americanjazz—a place where great talent wouldreceive adulation instead of indifference, aplace where they played concert hallsinstead of stinking clubs, a place that lovesthe music America hesitates to call its own.Or so goes the myth about jazz in Paris. Themusic is pretty much the same as you'd findin Chicago—which is remarkable in itself,although not up to the expectations somepeople have in arriving in the City of Light,who expect to find Bird recincarnated. Whatis really interesting, for my money, is theway the French approach jazz. There havebeen some strange things going on thereover the last forty years.If you stick around in Paris for awhile,you'll hear some good jazz, but probablynothing astounding, at least as of myrecollections, which are vintage 1972. To runthrough some names and places: It's nice tohear Ella and the Count at one of the bigconcert halls twice a year. There are a fewfirst-rate American musicians who have setdown there, notably a couple of marveloussaxophonists named Steve Lacy and PhilWoods. I think that Memphis Slim still playsand sings at his Latin Quarter cave. Thereare some Frenchmen who "can play" instyles from New Orleans through free jazz(which is to say that they play quite well).There was, in '72, a dwindling colony of freejazzmen, led mostly by youngerAmericans—a thing akin to the AACM inthis town. Its inadequate numbers arecomplemented by a free-floating band ofAfrican Music Arrives(continued from page 3)been would state that he "Never saw evenan elementary trait of painting or sculpture," created by a Black. He was wellaware of the colonial law which forbade thepainting of pictures and other artistic en¬deavors. It is also apparent that if Jeffersonhad seen any Black art before he died heprobably would not have recognized it asart.The basic nature of Black Americanmusic surfaced in the form of slave worksongs. Performance of these songs wasencouraged by the overseers because theyencouraged the slaves to work more efficiently. However, it was natural for Blacksto sing while working. The difference lies inthe fact that in Africa, the singing wasusually accompanied by drummers. Due tothe outlawing of the drum and the restric¬tion placed on the worker (the hands andfeet could not be used to promote variousrhythms), work songs generally lacked thecomplex rhythmic patterns characteristic bizarre Frenchmen, Englishmen,Nigerians, Yugoslavs, Vietnamese, andunidentiftables—mystics and Maoists,students and jive artists. There is definitelytalent here, but mostly it hasn't had achance to develop because the ultimate factof the matter of jazz in Paris is that it's justnot that big a deal, economically. A numberof musicians have gotten "breaks," to thepoint of playing before large audiences oreven on television, but there's rarely muchwork to follow these things up. Given thissituation, plus the undeniable facts thatParis is, one, about the most expensivepiace to live, and two, not the friendliest,there is not really much of a developing jazzscene in Paris—which is unfortunate, sinceEuropean musicians are on the verge ofgetting it together on their own, and nothaving to follow the lead of what goes on inNew York. Now, there are Europeans whoare playing very original stuff, and some ofit could well have an impact over here.Listen to some of the German ECM records,now available here, to find out. Mostly, it'sexcellent in both musical quality andrecording quality, and, by and large, theAmerican musicians who appear on thesessions don't dominate. By contrast, theFrench "Actuel" series of recordings is arip off: many badly-planned sessions,poorly recorded. Plus many of themusicians never got paid for their work.Even though jazz in Paris has never been,nor probably will ever be, a major factoreither in French culture or in the world widejazz scene, the scene there has reallyfascinated me, at least. What it seems tocome down to is this: the followers of jazz inFrance take a relentlessly serious view oftheir task. Of course, the French, especiallyof African work songs. However, thetradition (African) call-response techniquewas characteristic in these songs. The lackof rhythmic freedom in the work songs wasdue to the lack of social freedom available tothe slaves. However, it did allow the slavesan opportunity to engage in group activity,which was generally forbidden.A technique of communication employedby the slaves in early work songs were songsgenerally known as "Field Hollers orCries." Since the Blacks were not allowed tocommunicate with one another in the fields,they devised a means of communicating bysinging sounds that were not generallyunderstood by their masters. The blendingof various notes or the exaggerated slide orslur were important elements used later inthe "Blues" and "Jazz." Other techniquesevolved from this early beginning such asthe bending and blending of tones upward ofdownward to achieve a desired effect.Noted Black musical historian, EileenSouthern, points out that despite thepressures exerted upon them by the slaveryexperience, Blacks in the English colonies Parisians, have had a penchant for takingthings seriously for centuries. Rememberthat this is where the whole "noble savage"idea got started—precisely, that that crazy,half naked guy may have something goingfor him and must be taken seriously. Andthat's how jazz first caught on. The lateHugues Panassie, who did much to spreadjazz in France in the 1930's, put it on the lineand wrote that "in music, primitive mangenerally has greater talent than civilizedman." But Panassie became a wacko oldman himself, who in the last years of his lifehad candlelight seances to Bix Beiderbekerecords.Jazz grew up, and in the processFrenchmen no longer regarded it as a"primitive" music, but still as somethingdifferent that they had to try very hard tounderstand. Americans can often pass offjazz as "American" music, and thereforetheir own, but the qualification "BlackAmerican" has always entered into theFrench definition. A French jazzmusician—a passionate player, blessed withexceptional technique—decries his not being"oppressed" enough to make ar e v o I u t i o n a r y statement like theBlacks: "Our folklore is pitiable—comparea bouree to a blues. And then try to do arevolutionary music in France??"Just writing about jazz in France hastaken on the characteristic of a greatpersonal struggle. In this country, jazzcriticism is one of the lowest forms ofjournalism, but even a single record reviewbecomes a painful experience for aFrenchman. There's no one to-five starranking like in Down Beat: you have to readthe review three times to figure out what theguy thought of the album. In general, jazzclung to their African heritage:"Black men in the English colonies foundways to carry on some of the traditionalAfrican practices despite the bonds ofslavery. Perhaps the most spectacular ofthese practices occurred in the slavegatherings and festivals that took place inthe northern cities where there were largeconcentrations of Blacks. Although theslaves came from a wide area of WestAfrica (and parts of East Africa) andrepresented many different tribes, theyshared enough traditions of music anddancing to common to enable them toparticipate in collective dances with ease.'It did not take slave musicians long tolearn to play whatever European instrument they came in contact with. By the endof the eighteeenth century, wherever therewas dancing and music, there was apt to bea slave musician playing the fiddle or fluteor French horn for the dancers, whether inthe town or on the plantation. Blackmusicians were used for such functions asfancy balls and played in the palaces of thecolonial governors as well as in the tavernsand inns.Emergence of the BlackProfessional MusicianBy the nineteenth century, Blackmusicians had established the tradition ofproviding dance music for white America,and it was not until the 1930's that they weretemporarily challenged in that field Blacks criticism aims for a much higherintellectual plane. The only recent bit of jazzcriticism available in English, AndreHodeir's The Worlds of Jazz, is a series ofessays, skits, short stories, and scenarios ofalmost Joycean complexity. And that'ssimple compared to some of the writing thatmakes full use of the Marxist existentialist/ phenomenologist/ structuralist"new Criticism" that's written.Jazz and politics are related in France,and it goes beyond a form of liberal guilt. ^Five thousand people rioted at a Sun Raconcert a few years back. Clifford Thornton,a marvelous trumpeter, an academic, andan articulate, committed man—hardlyField Marshal Cinque—has been bannedfrom France for alleged "Black Panther"connections. It can get heavy, but it goes onat a more civilized level as well. TheNational Radio and TV recognizes jazz asone part of its programming. The concertsthey present are like, and a lot hipper than,"Soundstage." Plus jazz is not programmedlike it was quarantined. You might see theArt Ensemble of Chicago on the Frenchequivalent of "American Bandstand," orhear Coleman Hawkins' original "Body andSoul" on what passes for Muzak on FM.Little things, like hearing real jazz inspots in the media normally reserved forschlock, shouldn't send you down to the AirFrance reservation office the next time youget upset over the state of jazz in Chicago.But they make you wonder, "why nothere?" And I suppose that the reason isthis: Americans take jazz too much forgranted It's part of the popular musicmarketplace, where it's survival of the mostsaleable. And jazz isn't thatsaleable—anywhere. In Paris, there is somesense of jazz's uniqueness and differencefrom other pop music. Thee are good peopleplaying, good people listening, good peoplewriting, and even good people promoting it.Unfortunately, there aren't that many ofthem. The exiled music doesn't really havea home there.continued to create their own types of musicfor themselves. They developed songs abouttheir work, their homes, their loves, theirjubilees, their religion, and other aspects oftheir culture. The professional Blackmusician was also emerging from a numberof free Black men. Here the beginning of theoppression of the Black professional began:"European musicians were in firmcontrol of music making in America Theyfilled all the important posts in the theatersand churches; they gave the concerts anddirected the musical institutions which they,for the most part, had organized.The control of +he white man overAmerican musicians has not been altered tothis day. He is today the overseer of a musiche did not create. However, Black efforts tocreate and control their own music he didnot create However, Black efforts to createand control their own music is not new.From 1821 to 1828, Blacks maintained theirown theater, the African Grove, in NewYork. Various productions including balletsand plays were presented. The AfricanGrove is said to have had a special galleryreserved for white spectators. The Grovewas closed Py city authorities in 1828. It wasthe "inroad of whites coming for a lark andbringing disorder and wanton mischief thatled to the closing.'' More than seventy yearswere to elapse before Blacks again appeared on a stage in New York City in ashow produced, directed and performed bythemselves.Phone:752-4381 Member of ABASEMINARY CO-OPERATIVE BOOKSTORE. INC.5757 University Ave., Chicago Illinois 60637JOIN US!By purchasing a share of stock for $10.00, YOU can join the Co-opand get the following benefits—1. Charge books2. Order books from anywhere (no extra charges)3. Get some of your money back in the form of ayearly rebate4. Get a dividend paid on your stock.All YOU have to do is pay your monthly bill on time.And you can sell your share of stock back to us anytime for the full$10.00.Come in to the store between 9:30 and 4,Monday through Friday, and check it out.Friday, November 7, 1975 - The Chicago Maroon-1 1 TheGreyCityJournalTheGreyCityJournalVJazz/ Rock(continued from page 4)Jimmy Page. Not so much listening to aswatching the fretwork of these masters, theyoung guitarists dreamed of the day whentheir fingers would dance as effortlesslyacross the neck of a Gibson Les Paul as didClapton's.While the heyday of the rock guitar00 virtuoso seems to have reached its absurdculmination in the gymnastics of RoyBuchanan, jazz/ rock may be viewed as asanctuary for the bearers of the'technocratic' tradition. Perhaps many ofMahavishnu John McLaughlin's disciplesderive their greatest pleasure from seeinghim play several notes in rapid successionwithout a mistake, and not from his musicas such. Similarly, there are HerbieHancock and Weather Report fans for whomappreciation of the music seems to take aback seat to a sophisticated understandingof the electronic gadgetry with which thatAACM(continued from paqe 6)anything like commercial success in thiscountry. Other peoples consistently pervaya greater appreciation for the music thantheir American counterparts. For instance,the Japanese jazz magazine, Swing Journal,sent two correspondents to cover the AACMFestival here in May, whereas the Tribunedid not. AACM musicians enjoy tremendousacclaim abroad. The Art Ensemble ofChicago tours regularly at the invitation ofEuropean and Asian governments; a MuhalRichard Abrams Sextet, in their firstEuropean appearance, brought down thehouse at the prestigious German festival inBerlin three years aao.This is not to suggest that the AACM doesnot regularly give concerts in Chicago orthat there music is inherently unlistenable,except by an avant-garde elite. The Art ofEnsemble of Chicago played in Mandel Halllast April to a full house as part of theFestival of the Arts. The AACM has alwayshad a following in Hyde Park, but it has not music is made.One final interpretation of the jazz/ rockmovement is perhaps the most tenuousoffered here; but is at the same time themost intriguing. In our culture, jazzconnotes the triumph of individual self-expression against the forces of oppression.The figures of Louis Armstrong or DukeEllington can be counted among our manyrevered symbols of 'rugged individualism,'of 'poor boys made good.' Perhaps theattraction of jazz/ rock is at this symboliclevel. Its youthful audience may beexpressing an inchoate respect for the voiceof the individual through their attraction tojazz/ rock: the concept of jazz, couched inthe familiar context of rock, may explainthe popularity of the genre. In these years ofgrim conformity, jazz/ rock listeners maybe experiencing the beginnings ofcommunication with the spirit of anotherthrough the medium of music. If so, I canonly urge the jazz/ rockers to play on, andhope that their audiences will be encouragedto ultimately seek out more effective formsof musical expression.always has a showcase. The University hasa spotty record in this regard. AACM groupshave played at UC over the years; in 1967Joseph Jarman premiered his theatrecomposition, "Bridge Piece," at theUniversity, and there are were famous butshore lived series in both Mandel Hall andIda Noyes in the late 60's and early 70's.Recently, and after several years ofdrought, there has been something of arevival of AACM music here. The University has, historically, offered resistance torecognized student groups attempting tobring the music to campus, despite obviousstudent interest. In 1955 you could haveheard Charlie Parker play a block down thestreet from Jimmy's. The University was astrong supporter of the urban renewal planthat closed all the clubs once lining 55thStreet, and today it still encourages anunreasonable paranoia among the studentsabout the community.Havinq ventured to most of these"dangerous places" myself, I find all thisfracas unwarranted. Don't act the fool butconduct yourself as a human being and you "Today, All A Man Can Do Is Just SitAbout."One afternoon last summer one of thepainters who were painting the outside ofmy apartment building knocked on mybasement apartment window. If I wouldopen my windows he would paint my win¬dow sills. I opened them, and a few minuteslater heard him whistling a tune Irecognized-- Gene Ammon's "CanadianSunset." I wanted him to know that 1recognized it, so I played the cut on myrecord player. I wondered if he knew moreJug. I played an uptempo tune called "Hittinthe Jug." I heard him whistling with therecord. I was excited now, walking aroundinside my apartment, in a hurry to play anintense, beautiful ballad that I loved. I put iton, Ammon's horn began to whisper, and mypainter said out loud "My Romance."I put on a whole record and went outside tomeet him. "You know Jug, huh," I said to asturdy black man in his mid-50's, wearingwhite painter's clothes. "Do I know Jug?You're talking to a jazz man." For the nexttwo hours we talked jazz while he painted,and I changed the records. He had "inched"his way all over Chicago listening to Jugplay with Dexter Gordon, Sonny Stitt, 'Lockjaw' Davis, back before Ammons had beensent to prison in the early 1960's on a nar¬cotics charge. Ammons served severalyears in prison, got out, played wonderfullyagain until 2 years aqo when he died ofcancer. "I wish he were alive today, but Iexpect that the music in heaven is going tobe Jug blowing that tenor."can make it and enjoy yourself at any of theAACM concerts listed regularly in theReader. The AACM also maintains amailing list, so if you attend one concert youwill be able to hear about the others.Currently, several on campusorganizations are making efforts to bookAACM groups and others in their idiom suchas the Revolutional Ensemble. If you areinterested in hearing more Great BlackMusic on campus, contact WHPK radio, theChicago Front for Jazz, FOTA'76, or theStudent Government and offer them yoursupport. They need it and so do you. There and Wonder What It Was AllIn the early 1930's, as a young teenager, hehad heard his first saxophone, played on theradio by a white dance band leader namedWayne King, and kept after his mother untilshe bought him a C Melody Saxophone. Thenhe heard the great alto player. "Do youknow who that was?" I did. Johnny Hodges.That impressed him, and when I asked himif he wanted to hear Ben Webster andJohnny Hodges blow together on "Let's Fallin Love," I had his respect. When I cameback outside after going through my recordsto find that album I asked him how hearranged his record collection. He keptthem by instrument. There were days whenhe just wanted to hear brass, but most ofthe time he wanted to hear the saxophone:Johnny Hodges, Lester Young, Illinois Jac(quet), Bird. Bird loved those swing reed-men, he reminded me. "A lot of people thinkthat he didn't, but they're wrong." He wasgoing to talk about Charlie Parker. "Let mego inside and put on the greatest recordanybody ever made—Bird's "Koko." Welistened. Then he told me that in the late 40'sin Chicago he had heard Parker at thePershing Hotel, amonq other places, manynights. "Sometimes Bird was so high hecould hardly get to his feet, but he did andthen you never heard anything like it in yourlife. In those days you could go to a club,Bird would be blowing, and they'd all becornin' by—Pres, Dexter, Sonny Stitts.That's the difterence. Twenty five years agoyou could go out and hear Bird and all thosecats playing music all night long. Today alla man can do is gather his records and tapesaround him, listen to them, and just sit thereand wonder what it was all about."Known as "Captain Hook" on theplaygrounds of Phoenix, Arizona, CurtisBeckman is reputed to have the bestbaseline moves to the basket in all of HydePark. That makes him pretty formidable inour book.Jazz Record Business(continued from page 5)rented a trailer and moved here. I managedto leave with most of my old bills paid buthad about $10.00 in my pocket and a month'srent paid when I unloaded at 42 EastChicago. It was pretty grim until I wasencouraged to borrow some money from abenefactor and buy Semour's Record Martin the Auditorium Bldg. (Several monthslater I exhibited my stubborn refusal to be agood businessman by refusing an offer forthree times what S.R.M. cost me. I didn'tbelieve I would be able to do as well if Iopened at another location as I did atSeymour's. Two years later they booted meout of Semours to make room for theauditorium's renovation program but bythen I had gone on a recording binge (Hodes,Nicholas, Ira Sullivan, John Young in 1959(Big Joe Williams and Sleepy John Estesagain in 1961) and built up a catalog of ahalf-dozen 12" LP's.Meanwhile, Sam Charters had writtenThe Country Blues, Sonny Terry & BrownieMcGhee had become popular with whitefolkies, and the release of our Big JoeWilliams album, Piney Woods Blues, soldfar beyond my wildest dreams — 650 copiesthe first year — a bonanza for the Delmar ofthat time! Then, after moving to 7 WestGrand in 1961, the Legend of Sleepy JohnEstes doubled that figure. Delmar gave wayto Delmark because of a trade mark hassle(which was probably a favor — our olderpackages were pretty dismal and the newidentity was a vast improvement). Pianistswere "out" with the "folkies" but I recordedSykes and Curtis Jones anyway. We gaveaway more samples than we sold, gotpanned by Down Beat, Sing Out, andeveryone on those albums. No oneunderstood that blues pianists werevocalists first and pianists second — not jazzpianists who sang. In those days even OtisSpann was put down for not sounding likeJelly Roll Morton, Art Tatum, or ErrolGarner, though for some reason theslickness of Memphis Slim and theinescapable (and instrumental) fervor ofJimmy Yancey were accepted. The re-issueof Sykes' Hard Driving Blues last yearvirtually outsold the entire ten year historyof the original package, and I expect we'll do as well with Lonesome Bedroom Blues whenit appears in a few months.I always spent quite a bit of time in theblues clubs on Chicago's South and WestSides, having gone to similar spots in EastSt. Louis. At first, I only grudginglyaccepted the electric guitars and amplifiersas necessary devices to overcome the noisycrowds. But it gradually dawned on me thata basic transformation had taken place.(Also, I think some of the bluesmen learnedhow to use the wide dynamic rangeeffectively.) By 1965 I was hooked onmodern blues and, again, feeling thatsomeone had to do it, decided to record thesound as it existed in the clubs. Muddy hadcut a band album at Newport and a studiosession in tribute to Big Bill Broonzy, andseveral labels had compiled blues hits(Jimmy Reed, Little Walter, Howling Wolf)for the R 'n' B market, but most A&R men(now called producers, for no goodreason)either never heard the club sound orfelt they could "impove" on it when they gotthe artists in studio — often with unfamiliarsidemen. We recorded Junior Wells and theBuddy Guy Band that worked with him atTheresa's. The Hoodoo Man Blues albumoutsold any previous Delmark album, butonly by a few hundred more than Estes'Legend; and yet it has continued to sell aswell in every year of the intervening decade.Albums such as Piney Woods, Legend,and Hoodoo Man Blues keep a small labelalive not only through their own sales (afterall, no one gets well on an album with a 1500sale) but because they keep the label namealive, attract new eyes to the catalog, andprovide the record dealer with assurancewhen he buys the slower-selling items, (i.e.,if he can't sell a George Lewis or a BudPowell LP he can always exchange it for anEstes, a Wells or a Braxton, which he cansell). Today, a "good-seller" will go 2,0006,000.So, having done well with Chicago blues,we paid heed to the critical demand foralbums by some of the members of theAssociation for Advancement of CreativeMusicians (AACM). We signed RoscoeMitchell, Joseph Jarman and RichardAbrams to term contracts and eventuallyreleased Sound by Roscoe. It was well-received by the critics (or totally ignored)and shipments were pretty heavy, about1500 for the first year. Even when 500 monoseventually came back (anothertechnological revolution — really a panic) itlooked good. But the Jarman and rams albums sold poorly. So naturally wesigned Anthony Braxton ana MauriceMcIntyre (Kaiaparusha), which also soldpoorly. Now I am still basically atraditionalist at heart, but Monk and Birdare now "traditional" just as Muhal andBraxton will be someday. I knew the AACMartists were the important creative artistsof their generation and not the dixielandrevivalists — however sincere andcapable—just as Jelly, Armstrong, etc.were in their time. No one else wasrecording Chicago's new music so Delmarkhad to. We continued to record importantartists of the other eras (Art Hodes, ClancyHyaes, Barney Bigard, etc.) whose outputsold poorly but steadily. But I am proudestof the AACM albums. Any one can record anartist, but deciding who is creative in anidiom one isn't fond of — that's a pretty goodtrick. The series had a sort of panel ofconsultants: Jerry Figi, John Litweiller,Chuck Nessa, Pete Welding, Terry Martin,etc. who — with the artists — deserve thecredit for the series. Eventually, all thesealbums will bring back their investmentsand the interest in them has enabled us towork out some foreign leasingarrangements which have saved our baconand enabled us to acquire blocks of masters.Delmark could not exist in today's recordbusiness without European and Japanesesupport.There is one part of Delmark that alwaysmakes money, though. If you think that youcan get rich with a jazz label, go ahead andgive it a try, but you won't be encouraged bymy winning bids for the following masters:$250 for Sun Ra, $200 for Donald Byrd, $275for George Lewis. That's what I paid per LPand I'll take all the good masters I can get atthese prices. Today's equivalent bids mightbe double, but it doesn't make one feel verysecure to know that after investing a fewgrand in an album it can be sold for a fewhundred. (Of course, we have alsopurchased unissued albums for thousandseach from artists and producers, the aboveprices reflecting usually — but not always —older an| previously released material.)Four years ago Delmark still operated in400 sq. ft. of space in the basement of theJazz Record Mart at 7 W. Grand. It was ahassle: myself, my wife Susan, and packerBruce Iglauer working in such constrictedquarters. When somebody came to call oneof us had to go to lunch. We still pay a"penalty" to operate in Chicago. Whereasmost record companies can ship )h^jr product directly from the pressing plant thatoress.es it, we were never able to do thisbecause the plants in this part of the countrydo not offer this service — or do not press forindependents — so we have had to ship inpressings from Wakefield Mfg. Co. inPhoenix, Arizona, get jackets made here,collate them and shrinkwrap them, packthem and ship them from our ownwarehouse. This drives us up the wall andadds greatly to the logistics of the operation,taking up time we'd rather devote torecording, editing, packaging, etc. It costsDelmark about 20c extra per album toooerate this way and impelled me tosidetrack a great deal of capital so we couldbuy a building at 4243 N. Lincoln Avenue.After four years we are settled in and havebeen able to get capital moving back intoproduction and recording again. Theaddition of Steve Tomashefsky has beeninvaluable and his idea of getting into talentbooking has greatly aided our promotionaleffort.Over the years we've worked with a lot ofgood people here at Delmark. Joe Segalshould need no introduction nor shouldCharlie Musselwhite, but the roll callincludes Chuck Nessa (who now has a labelof that name), Don Kent (Mamlish Records-blues re-issues), Bruce Iglauer (AlligatorRecords proved that you don't have to sellout to be a commercial success), and RayTownlev.Looking back on twenty-two years in therecord business I have to admit it has beenfun and that I wouldn't have wanted tofollow through with my original plans. Iwish I had worked in the industry (perhapsas a packer) before going on my own, butmaybe I would have been discouraged. I'dsure like to have a second crack at my pastmistakes. My original love of film expressesitself in the hobby of collecting prints ofclassics and vicarilusly in the activities ofmy two cinematographer brothers Tom 8.John who work on everything from skinflicks, through industrials and TV shows, tooccasional features...they're probablybetter than I would have been. (I don't thinkI could ever have completed a film — tooexpensive and too much patience required.)I've had an excuse to listen to thousands ofhours of live music (which, although Iprobably shouldn't admit it, I preferimmensely to records). And I expect to be atthis for many more years: I'm only 42 andthere's no end to the amount of music that isworth recording.12-The Chicago Maroon - Friday, November 7, 1975 *$33,500,000UNCLAIMED SCHOLARSHIPSOver $33,500,000 unclaimed scholarships, grants, aids, andfellowships ranging from $50 to $10,000. Current list of thesesources researched and compiled as of September 5, 1975.UNCLAIMED SCHOLARSHIPS369 Allen Avenue, Portland, Maine 04103C I am enclosing $12.95 plus $1.00 for postage and handling(Check or money order — no cash, please.)f you wish to use your charge card,please fill out appropriate boxes below1 Uwtouiwi IE>piratlon DaisMonth/YaarMgjter ChargeInterbank NoCredit ICard No IName PLEASE RUSH YOURCURRENT LIST OFUNCLAIMED SCHOLARSHIPSSOURCES TO:AddressCity State ZipMaine residents please add 5% sales tax. Field Flockey Dribbles OnThe University of ChicagoWomen’s field hockey team,which has been sloggingaway, unnoticed in thedepths of the midway, isplaying in the CollegeCentral Field HockeyTournament this weekend atMadison, Wisconsin.Inexperience accountedfor the young teams 0-4-2season, much of the teambeing 1st year students.Even so there have beensome fine performances.Dudely scholar TammyPfantz played superbly inher first year of field hockeyand 2nd year student ColleenCacie filled in admirably inher first year of goaltending.The team has been furtherbolstered by the fine play ofall-star Helen Harrison,third year veteran.COMPONENT SYSTEM(priced for people whose taste exceeds their budget!)An economical starter systemthat speaks quality from theinside out Realistic STA-47AM-FM stereo receiver, twoMC-1000 walnut veneerbookshelf speaker systemsand Realistic LAB-34 changerwith base and $ 1 7.95 valueelliptical cartridge There sonly one place you can findit Radio ShackComponents SoldSeparatelyAt Radio Shack^ A TANDY CORPORATION COMPANY 8612 South Cottage Grove9137 South Commercial1453 East 53rd St. Participating in themidwest tourney will beWheaton, NIU, Concordia,and Lake Forest. TheMaroons will begin thetourney playing Lake Forestand Concordia: the team hasalready lost to the ForestersJV, but picked up somechoice bruisfes in their firstConcordia match and doesn’tplan to lose again.The tourney this weekendwill not involve a teamchampionship but choosingof a college all-star teamwhich will then go on to playthe Midwest Field HockeyClub All-Stars. The All-Starsdistilled from this match willgc on to a national tourneyNovember 27 in Maryland.Ms. Harrison, a past All-Star, is again a primecontender for honors. Ms.Cacic is also considered.MAROONADS After a disappointing season, the women's field hockeyteam hopes to turn the tides in the Central College Tourneythis weekend. (Photo by Jaffe)Referees Needed For TourneyThe intramuraldepartment needs refs forthe pre-Xmas basketballseason. All officiallyinterested call 3-4693.The men’s and women'svarsity swim season beginsMonday, Nov. 9. Thoseinterested in tanking up report to Coaches Vend! orBenson at Bartlett of IdaNoyes pools Mondayafternoon. Astthis mightind,cate we desperately needsports reporters. It’s fun andeasy and you get free ticketsto all Maroon games soplease call the Maroon officeand leave word.UC VARSITYSCOREBOARDSoccer:Northwestern 4 Maroons* 2Volleyball:Maroons 15 Lewis JV 13Maroons 13 Lewis JV 15Maroons 15 Lewis JV 1Lewis 15 Maroons 5Maroons 15 Lewis 13Maroons 15 Lewis 12Chicago State 15 Maroons 12Chicago State 15 Maroons 9Field Hockey:Wheaton 5 Maroons 0THE NATION OF ISLAMKALIMAH LECTURE SERIESpresentsSHIRLEY GRAHAM DUBOISwife of the great scholar, humanitarianW.E.B. DUBOISSat.8 Nov. 19755 P.M. Nation of IsiamInformation Cen* »r7801 S. Cottage GroveChicago, IIISpecial lecture"W.E.B. DuBois,The Father of Pan Africanism”Refreshments servedAdmissionFree All areWelcome For info783-5270651-2741Friday, November 7, 1975 - The Chicago Maroon-1 biLandt Leaves To Join Psycho-Social StudiesBy John MilkovichFormer Assistant Dean ofStudents and Student Ac¬tivities Director Dan B“Skip" Landt has accepted anew appointment as anadministrative director foran institute working underthe aegis of formerUniversity president RobertM. Hutchins.Mrs. Landt. who resignedfrom his position as StudentActivities Director in Sep-tember, is now Ad¬ministrative Director for theChicago-based Center forPsycho-Social Studies, whichhe describes as "a non-profitresearch group interested inthe relationship betweenpsychoanalysis and thesocial sciences."Mr. Landt. currently aPh D candidate in theUniversity’s Englishdepartment, says hiscapacity is primarily ad¬ministrative. but maintainsthat just being close to theinstitute's research isstimulating.Dr. George Pollock headsthe center and its projects,which include research onchild abuse, treatment ofcriminal offenders, and astudy of different societies’treatment of the elderlycalled “The Second Half ofLife." The center alsopublishes a directory onpsycho-social researchers.The Center for Psycho-Social Studies sharesfacilities and cooperates insome projects with theCenter for the Study ofDemocratic Institutions,which is headed by formerUniversity President RobertHutchins, whose name Mr.Landt says was"synonymous with collegepresident" during his tenureat the University in the 30’sand 40’s. The two Centers areseparate organizationslocated at 2 Illinois CenterAlthough enjoying thechange of pace that ac¬companies his new job. MrLandt recollects that the"kinds of crazy ideas" hewas exposed to while at theUniversity are what"stamped it as place moreinteresting than any otherschool I've known " Mr.I.andt said that working withand around “some brilliantand creative people at theUniversity wasyoung Designs byELIZABETH GORDONHair Designees1620 E 53rd St.288-2900 ^ stimulating,” but adds, “Ifind my new workchallenging and rewarding."Acting on a student’ssuggestion, Mr. Landtmoved in 1969 to create thelargest marching kazoo bandin the world. Mr. Landtreacted to an idea from DeanO’Connell's wife bv com¬missioning a group of tin¬smiths to build a 15 foot longkazoo on wheels named “BigEd", and thus gave rise tothe world’s biggest kazoo.Along with other ac¬complishments, Mr. Landtalso helped bring two liveperformances of thetelevised rock concert,"Midnight Special", tocampus last year. He also played a significant role inthe birth of the Major Ac¬tivities Board, the campus’ event-making social ac¬tivities organization now inits first year. RIP-OFFAUTO REPAIRFOREIGN CAR SPECIALISTSSERVICE ON VW & AUDIWe Offer Top-Quality Mechanical ServiceTune-Ups * Electrical * Brake SystemExhaust System * Other RepairsConveniently Located at5508 S. Lake Park(Gateway Garage Bldg.—Downstairs)Monday-Saturday, 9am-9pmCALL:684-5166How about aRENAISSANCE WEDDINGat theFRENCH KITCHENCall 776-6715RESEARCH PAPERSTHOUSANDS ON FILESend for your up-to-date, 160-page, mail order catalog of5,500 topics. Enclose $1.00 to cover postage and handling.COLLEGIATE RESEARCH1720 PONTIUS AVE., SUITE 201LOS ANGELES, CALIF 900251NameAddressC'ty -State Zip1HERMESRESTAURANTLOUNGE AND BANQUET HALLGREEK AND AMERICANf CUISINEIncluding MousakaPastitsioGyro*Shishkabob^ And Also PizzasLIVE ENTERTAINMENTFRI., SAT., & SUN.withGREGORY JAMES EDITION(Recorded on Brunswick Records)Tele: 684-4900 Hours: 11:30 a.m. - 2:00 a.m.56th & Lake Shore DriveANTIOCH SCHOOL OF LAWWashington, D.C.is one of the most innovative law schools in the country in terms of ad¬missions criteria, student enrollment and clinical curricula. Work direc¬tly with the poor and the minorities in our Teaching Law Firm.Recruiters will be at the University of Chicago on November 10, 1975.For more information, contact:Anita Sandke 753-3282 The latest campus, dormBill’s Place and dininghall rage!Gene’s Place REAL FUNKY!! ANDYANTHONYARTHURBARRYBENBERNlEBILLBILLYBLAIRblakeBOBBOBBYBRADBRENTBRIANBRUCEBRYANCMn'i****‘Barbara’s PlaceJACKIEIANJANEiANETJANICEieanJEANNEJENN'FERJILLJOANJOANNEJOOYJOYJOYCEJUDYJULIEKARENKARlKARLAKATHLEENKATHYKATIEKAYKIMNANCYNATALIENICOLEPAVPATP ATT IEPAULAPEGGYLAURALAURENIAUR1EUNDALISALIZMARGARE TMARIAMARIEMARILYNMARSHAMARTHAMAR*MAUREENMElANiEmelinoaMEliSSAMiChEllEMISSYMOMMONICANANCYNATAl'ENICOLEPAT TiePAULAPEGGYREGINARENERENEERHONDARITAruthsallySANDRASANDYSARAHSARASHANNONSHARiSHARONSHEILASHELLYSHERISHERRYSHIRLEYSTACEYSTACYSUSANSTEPHANIESUSIESUZYSYLVIAf AMIrAMM<TERESATERITERRITHERJSA your ownnamefor yourownplacePLACEMATSWhy IS the college crowd snapping up dozens of these personalized placematsat our store7 Frankly, our market research department (actually our cashier)doesn t know But they're sure going fast Delightful illustrations old timeart combine to make a distinctively different placesetting, especially withyour own name right across the top Fully washable, tough yet satin-smoothvinyl Names and colors won t fade won't wash away Won t crack, chipdry out or stain You probably aren t afraid to tell people where you standwhy not tell them where you sit7 Great gift idea and great for sendinghome to the kid brother or sister How s about MOM S PLACE or DAD SPLACE" they'll love 'em1Several designs available for adults and children We guarantee suitabilitybut must reserve the right to pick designs Simply indicate name(s) you wantfrom list circle for adult underline for child and return list to us withcheck or M O plus your name address, zip Orders shipped same day asreceivedthe Sowe-Manse-m , EMPORIUM $ 3 (2 for $5)Postage PaidN J Residents add 5% sales taxam/ Country Store1053 Bloomfield Ave., Clifton, N J 07012SAVE POSTAGE AND HANDLING — ORDER 4 AT ONE TIMECHOICE OF NAMES — SHIPPED TO ONE ADDRESS ONLY $10 PPD. „ MMYJOEJOHNJOHN NTJONSCOTTSEANSHANESHAWNSTANSTEPHENSTEVESTEVENSTUARTkEiThkEllykENkENNyKERRYKEVINKiRK,ANCElARRYLEELESLIELOUMARLMARKMARTYMATTMichaelMickeyMIKEMITCHNEILNICKNORMANPATPAULPERRYPETERPHILRALPHRANDYRAYREEDRICHRichardrickRICH YR08ROBBIEROBERTROBINROGERRONRONNIEROSSROYRUSSRYANSCOTTSEANShANESHAWNSTANSTEPHENSTEVENSTUARTTIMTOODTOMTOMMYTONYTRACYTROYWADEWAi TERWARRENWAYNE14-The Chicago Maroon - Friday, November 7, 1975CLASSIFIED ADSSPACEGarage for rent between Kimbark andKenwood near 58th Call evenings 9479054.ROOMATES WANTED to share 5 1/ 2room apt located near campus. Rent$60 Call John Gent 288 6034Private Bedroom in Deiuxe 5 roomApt now avail to Male or FemaleMusic Lover. $92 50/ mo&util at 5340Woodlawn Nov Occ. Harry: 288 4884Beautifui bedroom 8 study nicelyfurnished, adjoining bath in luxuryapt, private entrance. Kitchen 8laundry available. Prefer malestudent, teacher or other clean neatreliable person. South Shore Dr nearctry club #1 bus, 1C or univ bus call 2216607 (a m. best)CHICAGO BEACH BEAUTIFULFURNISHED APARTMENTS. Nearbeach, parks, loop, UC and 1C trains;11 mins, to loop buses, door. Modestdaily, weekly, monthly rates 24 hr.desk, complete hotel services, 5100 S.Cornell. DO 3 2400 Miss Smith.SPACE WANTED Driver needed for woman inwheelchair. Call Nrs. Kaufman 6677751.Subjects wanted for sleep studies.Apply at sleep lab, 5741 Drexel, 3rdfloor, room 302, Mrs. Boike, Mon Fri,9 4 NO Phone Calls.Anyone interested in semi privatebeginning Persian lessons, contactSandy, 667 3780, evenings.Affectionate spayed female cat needsto be someone's only cat. Please giveher a home we can't keep her. Call947 0698Where else can you get free applejuice, insurance, a smile 8 help yourfellow human beings? BiUings BloodBank! Call for apt 947 5579Portraits, 4 for $5 and up MaynardStudio 1459 E 63rd, 2nd floor, 643 4083,Learn some psychology and earn $2 anhour Subjects needed for experimentsin cognitive psychology, psychology oflanguage, and visual perception. Forinformation call Mary Stockman 7534710ILLUSTRATIONSDone to your order. Call Noel Price947 0698Male wishes one room, under $100Hyde Park 241 6366Architect Grad, experienced ext, intpainter, it. carpentry, ref and wife,UC student, want residence apartmentin Hyde Park to rent, sublet, house sit.Phone FA4 6000 Rm 1220.SPACE FOR SALE6rm. condo East Hyde Park by apptonly after 6 p.m. 955 932254th and DORCHESTER Large 19thCent home, low 30's Modern Kitchen,Woodburning Fireplaces in LR, DR,and MBR, 3 baths, income potential.Close to schools, campus bus. Byowner, evenings and weekends 3634832Lovely CONDO in Kenwood (57th), 2bedroom, spacious living room, diningroom and newly furnished kitchen. Airconditioned Freshly decorated, fullycarpeted including bath 8. kitchenOwner asking $35,000, moving westlater this year. 374 4828 Iv. messagePEOPLE WANTEDNeed young man to be company 4 7 pmTues Sunday for aged mother in nearby nursing home 768 8778 after 7 pmDriver needed for woman inwheelchair. Call Mrs Kaufman 6677751 PEOPLE FOR SALETheses, Dissertations, etc. TypedDoris R Morgan 726 3914YOGA Nervous? Hard to concentrate?Or meditate? Can't quickly relax? CallSri Nerode, 88 year old Yogi Masterfor classes HY3 7454 or D03 0155CLASSIC GUITAR INSTRUCTION493 3949For exp piano teacher call 947 9746Need a math tutor? Call Mike at 9555932 for experienced helpFrench conversation, tutoring withexperienced native, call 354 0275.Will babysit Mon Fri 8 00 5:30 in myapt Prefer child over 18 mths Havemy own child; experienced teacherCall 493 387821 year old Latin American gradeschool teacher would like to babysit &light housework in exchange for room8. board plus $30 per week Call Mr.Diez 363 3736 (Med student)Thesis, disertations, term papers, genoffice corres typed on late IBMcorrective typewriters. Ratesreasonable Phone 239 4257, Mrs. Ross.MILES ARCHER MOVERSReasonable prices. Call 241 5830 or 9470698 or 752 4910 for information.VERSAILLES5254 S. OorchMt*rWELL MAINTAINEDBUILDINGATTRACTIVE 1 V* AND2 7> ROOM STUDIOSFURNISHED or UNFURNISHED$129,0 $209Based on AvailabilityAll Utilities IncludedAt Campus Bus StopFA 4-0200 Mrs. Grook LEARN TOSCUBA DIVEBecome a P.A.D.I. Cer¬tified Scuba Diver. Cour¬se Begins November8th. Deadline forRegistration is November 15th. For More In¬formation call 955-6485.10% Discounton pipes withU.C. IDuntil Nov. 30Js Dip©1523 E. 53rdin the Hyde Park Bank LobbyImported CigarettesFine TobaccosQuality Pipes 1 bakes and broils as regular oven Call241 7208 after 6 pm. $100GAY LIBERATIONGay coffee house, Friday, Nov. 14 8 0012 00, at the Blue Gargoyle Come joinusLearn Russian the best possible way:private lessons by native, experiencedteacher Very reasonable Trial lessonfree no obligation. Gregory Rocah472 1420Typist efficient, experienced,inexpensive You write it, I'll type itJulie: 324 4198 or 947 8652 OFFICE OPEN EVERY EVENING 810 pm, Ida Noyes 301 Come over to rapor call 753 3274CONSCIOUSNESS RAISING RAPGROUP ESPECIALLY FOR NEWPEOPLE Wednesday at 7 30 9 30 inIda Noyes, Sun Parlor, 3rd FloorLOU BOND ATCOURT HOUSESCENESLou Bond at Court House Fri & Sat10:30 $1 cover No minimum.ATTENTION NEWSTUDENTSWhile getting your head together atone of the best universities, you willalso want the best haircut you've everhad by Roger Bob Eve appt too At theRustic Continental Studio. 1375 1/ 2East 53rd Street 288 7080Computer club meetings. Reynolds6pm Friday all curious and interestedwomen and men soliciated to learnand contribute Can't make it?421 0244RECENT DEVELOPMENTS IN THEECONOMYUnion for Radical Political EconomicsMonday Night Workshop Nov 10 7 30PM Ida Noyes 3rd flLEICA DEMOMODEL CAMERAOn Friday November 14th 8Saturday November 15th WeWill HavetheLeitz DistrictRepresentative, Steve Smith inOur Store He Will Be on Handto Answer Questions & Demonstrafe This Outstanding Line ofFine Equipment There WillBe Special Prices on ThisEquipment During the Demo.THANK YOU1342 E 55th ST 493 6700OPEN SUNDAYS 12 4It's not as good on TV! Don't miss"Yellow Submarine" one show only at1:00 p m at the Hyde Park TheatreSat Nov 15. Also, on Nov. 22 "TheFurther Perils of Laurel and Hardy"Come, and bring the kids!FOR SALEWomen's 3 spd Raleigh bicycle, blue,good condition Has generator set,basket, chain, and lock Asking $40,but will consider other offers CallTom Quinlan, 753 2714, after 4pmFriday2 Dynaco A25 speakers 10" 2 wayexcellent cond $70 best offer warrantystill valid Call Ken 288 8734King size Sealy Posturpedic mattress,only 5 mo. old, 20 yr guar mustsacrifice Maff 241 5996 eves65 Peugeot 403, good cond, 955 8358VIVITAR SERIES I ZOOMSsee all the latestVivitar Zoom lenses here!MODEL CAMERA1342 E 55th St.LECIA IS COMINGFri & Sat. Nov. 14th & 15thMODEL CAMERA1342 E 55th St6 rm. condo East Hyde Park by apptonly after 6 p m. 955 932271 COMET 3 spd sfd trans. good gas48,000 mi. best offer David 493 5419Farberware Turbo Oven, 1 yr old, inexcellent condition. It's portable butFIREPLACEWOODQuality seasoned and split.Oak,maple,cherry, birch andash firewood.CALL HYDE PARK FIREWOODat 549-5071 or 947-0330 Fri 8. Sat 10 30 $1 cover no minimumOMNIAOMNIAHyde Park's best Christmas cards andornaments Coming soon to OMNIAOMNIA 1414 E 59th M Th 10 8, F 10 6,S S 115. The Internationa! Houseeverything shopTYPINGAccurate, reliable, fast. Call sunshinetyping service at 288 2235KUNDALINI YOGAClasses by donation only. Powerfultechniques, certified inst, 288 2235WANTEDSnowfires and Rims, size 14, for 1975AMC car. Sandy, 667 3780, evenings,KITTENSKITTENS only two left. Fully trained ,enjoy people, small apartment.FREE. Female black and calico. 9556079, SatRIGHT TO LIFEMeeting Tuesday, Nov 11, Ida NoyesSun Parlor, at 7:00 p.mREWARD$10 for return of red maroon floppyknit hat Lost on Oct 29, Wed between8 15 and 8 30 a m Near Regenstein, orpossibly between 56 and Harper andRegenstein Call Juan Luco at 7533470, daysCHRISTIANWORSHIP SERVICEBond Chapel, Sunday Nov 9, 3 5 PMInterdenominational praise, singingtestimony, sharing from John 15:12Rick Hansen, Darrell Hertz, and theGalilean Ministry You are welcome!FOUNDGreen leather wristband found atSaturday's "Amarcord" screening inCobb. Call Martha at 752 6238, eves, toretrievePRE-MED CLUBThe Pre Med Club Proudly PresentsPERSPECTIVES OF MEDICINE,"Monday November 10. at 7 00 P Minthe Resident Mater's Apartment atWoodward Court 5825 S WoodlawnDANCE FILMS"An Evening with the Royal Ballet"with Margaret Fonteyn and RudolfNurevev, Nov 10 8 00 p.m., Monday,ROCKEFELLER MEMORIAL CHAPELSUNDAY • NOVEMBER 9 • 11A.M.E. SPENCER PARSONSDean of the ChapelHUMAN CARING AND THETECHNOLOGY OF CURINGSUNDAY SEMINAR9:45 to 10:45 a.m. Chapel UndercroftLawrence M. Bouldin, United MethodistChaplain, leads a discussion of MAHATMAGANDHI: His relevance for our time.Sunday Afternoon at the Chapel4 0 ClockAN HOUR OF MUSIC AND DANCEElvi Moore, Director and ChoreographerFrank Blalock Brown, Composer-PianistDiane McCullough, Mezzo-SopranoMichael Cullen, PianistKim Coudern, PercussionThe University of Chicago Dance Group Cobb Hall $1 00 students $1 50 othersWOMEN'S MAGAZINEPrimavera, the women's literarymagazine, is on sale in all Hyde ParkbookstoresSECURITY GUARDSFull and part time All shiftsavailable Must be 21 years old Statecertified training provided North Sidecall 597 4400 South Side apply inperson Mon Fri 1 00 4 00 pm at 12606S Western Ave Blue Is., II.GULLIVERSPERIODICALBOOKSTORE, LTD.WE'RE GREAT, BUTNO ONE KNOWS ITDiscover Gulliver's! Whatever youare into, this is the most unusua!bookstore you'll ever visit. AtGulliver's you won't find gothicromances You will find foreign magsfrom 8 countries Marvel andunderground comix, new directionspoetry, and the best collection of thirdworld books in the city All in a cozyjammed little store where you won'tbe hurried or hassled Just lookingthrough our collection is a trip We willnot obiect, however, if you buy too.Now, please note address as we arehard to find 5309 South Kimbark Ave ,100 ft south of the 53rd St. card shop,Sun NYT 9 a.m. Sun. Daily 10 a.m.AMERICA'S BESTMAGAZINE STOREBOB'S NEWSSTANDYES1 1515 DIFFERENT TITLESEverything from ecology to hanggliding. Science fiction, to eroticaThousands of underground comixMarvel, C, as well British Press Daily,New York Times Daily, 6 a m. SUN 7am Cigarettes, candy, cold pop,lottery tickets. A great place to go andavoid reality Building looks like redbrick bunker corner of 5100 Lake ParkMon toFri7a.m. 6pm. Sat 7 am. 9p.m. Sun 6 a.m. 5 p m. Truly aperiodical freaks garden of earthydelightsLOSTArtie Jacket blue with orange liningand fur around hood at party at 4810Ellis on Sat Oct 18 Has keys and ID'Sin pockets. If found please call 3 3774,rm. 410 I believe you picked up mineand I have yoursBOOKS BOUGHTBooks bought 8 sold everyday, everynight 9 11 Powells 1501 E 57thCALCULATORSHewlett Packard and TexasInstruments calculators, theindustry's finest, available at lowestprices around 753 2240 rm 1916 a ft,241 5496 evesREFRIGERATORRENTAL STEP TUTORINGInterested in helping neighborhoodchildren? The Student TutoringElementary Project needs volunteersto tutor students in school work, suchas reading or math, or to help inspecial projects, such as art, music orscience For more information callRon Schwartz, 924 2664 or Rod Wing,753 3541PERSONALSWRITER'S WORKSHOP (PL 2 8377)PREGNANCY TESTS 10a.m. 2p m.Saturdays Southside Women's HealthServices Augustana Church 5500 S.Woodlawn Bring Is* morning urinesample $150 donation.MAROONClassifiedsare theway to reachHYDEPARKand theUNIVERSITYOFCHICAGOCommunitiesCall theMAROONbusiness office753-3266forinformationand ratesMmi frige Pennies a day Freedelivery Call Swan Rental 721 4400PAN PIZZADELIVERYThe Medici Delivers from 5 10 p.mweekdays, 5-11 Saturday, 667 7394Save 60 cents if you pick it up yourself < TiSoS t]134^49. 2 E 55 St Chicago IL 60<-6700 >15ot 'he univ J 'O specie'ore eo'i'led ^ysvioge;soy'°9 n paHs- ^ rvo'reov n::0 ™„ .9 ► *lit*000phon« ers»W °*ofd.^ernbers;.co9° Yn°eveT o''09 nries° tro^buy uFriday Nnvpmhpr 7 1 Q7S - Th«» CHicnno Maroon-l 5WHAT'S GOOD IS GOOD am,IF THE QUALITY IS GOOD THE PRICE MAY BETOO HIGH. HERE IS AN OPPORTUNITY TOTASTE GOOD WINE AT LOW PRICES. SO WEHAVE REDUCED THESE PRICES TO SHOW YOUWHAT CAN BE DONE WITH PRICE-OUR REGULAR SALELOW PRICE PRICELIEBFRAUMILCH, 2’8 fifthA flowery andBOUCHARD FLEURIE full bodied Beaujouais ^^ FIFTHANJOU ROSE Sweel or Dry 3" FIFTHTAVEL Very Dry Rose 3 FIFTH 1.984.491.982.99 3 for 800Cheeses vary in quality but the real thing is better thanthe other kind. Taste these before buying them.Tybo when it is as good as this sells for 249. We sell thefinest at only *14*. A special form of Danish Spiced Cheese thatis often sold for $279 a pound is available at only *159 perpound. Brie that is 40% Butterfat and fresh as well as tasty ison special at only *249. If that is not a bargain, then try ourspecial Cheddar, flavored with Brandy for only *1” a pound.We would even sell you some real Pipo Creme from France ifyou (continued next week).Daily: lOam-ll pm Sunday: Noon-9pm Daily: 9am-10pm Sunday: Noon-9pm16-The Chicogo Maroon - Friday, November 7, 1975