Autumn, 1975A Special Tenth Week IssueBy Jeff JacksonA disturbing perplexity surrounding anyBeatles' story is the lack of airplay of thegroup's older songs. With the exception of"Help," ' "A Hard Days' Night,""Revolution," and "Hey Jude," few oldBeatle numbers are heard on the radiotoday. In a time when the Big Groups (LedZeppelin, the Who, and the Stones) receiveconstant airplay it is incredible that theBeatles, as a band, are dead despite theenormous following they continue tomaintain. If the Beatles were the greatestrock and roll band the world has ever knownwhy haven't their records remained on theDJ' s turntables?One might argue that those early classicsrepresented a specific sfyleof rock, peculiarto the variegated sounds that have surfacedsince 1970. There are few guitar solos on theearly songs; the lyrics dominate them. Ifrock and roll fanatics' tastes have changed,it is understandable why the old Beatles areleft out of rock polls and shows. However,this argument does not account for theRolling Stones'success; "Satisfaction,""Last Time," "Under My Thumb," "Paint(continued on page 3) The Beatles Are DeadTears Of Rage A Decade of Devotion to the Art and Artifice of Bob DylanBy Mark BushmanAuthor's Note: For slightly more than adecade, I have been a fan of Bob Dylan; oneof those whom the singer once denigrated bysaying, 'They want me to be their friend,they want to take me home and talk to me.But they can't, so they buy my records andplay 'em. Relating to a piece of plastic;imagine that.'I would be reluctant to add to the mass ofverbiage on Dylan were it not for the factthat, to my knowledge, very little has beenwritten from the point of view of hisdedicated followers: those of us who haverelated quite intensely to his pieces ofplastic' over the years.Since I became a fan with Dylan's move torock and roll in 1965, it should be pointed outthat the first four years of Dylan's careerare not dealt with here, although those fouryears saw him become the most influentialvoice in popular music.(continued on page 6)Just AnotherBy Barry J. KaplovitzWell, the Band's Onstageand it's One of Those NightsThe stage is absolutely everything youhave read or imagined it to be. Constructedof steel, aluminum, plexiglass, and wood, itrivets all eyes to the west end of ChicagoStadium in fascination. No matter whereyou are sitting, no matter how many timesyou look over the crowd, start a conversation with someone nearby, or try topay attention to a moderately enjoyable setof jazz by The Crusaders on the platformdown in front of it, you cannot keep youreyes off the stage itself for more than a fewseconds.Six large triangles that will form the sixstar points of the stage are folded up like thepetals of a flower before morning's glory.For now, the crowd can only see theiraluminum mirrored bottoms Techniciansand security men mill around the perimeter.A conical white satin tent, bathed in violetlight, rises sixty feet from inside of theupright star points, obscuring the stage floorfrom those in the mezzanine and balconies.(continued on page 19) Moonlight Mile On Down The RoadHEWLETT Im PACKARDThe HP-22 Business Manage* The HP-25 Scientific Program-ment Pocket Calculator. *165. mabie Pocket Calculator. *195.An indispensible new management 72 built-in functions and operations.t00^ Keystroke programmability.Puts an ideal combination of financial, Th automatic answer t0 reDetiHve nrob-mathematical and statistical functionsSSSSSSESS"simple arithmetic to complex time*value-of-money problems to planning, Pull editing capability,forecasting and decision analysis. you can easily review and quickly addProcedures for more than 50 or change steps at will,different calculations Branchingand conditional testin the remarkable owner’s handbook. capability.Kasassar1*’-displayed m seconds. 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MoKkDramatically lower prices on these fine ffjAkdrHewlett Packard pocket calculators makethere extraordinary values See them today University of ChicagoBookstoreOPENThis year give a gift for a lifetime-give the best with a Hewlett-PackardBeatles(continued from page 1)It Black," and "Ruby Tuesday" areconstantly heard on AM radio.I remember reading a review inNewsweek in 1969 that compared the RollingStones with the Beatles. The Stones had justreleased Beggars' Banquet, The Beatles,The Beatles (the White album). Both groupshad had difficulties releasing the albumsdue to the obscene album covers whichdepicted toilets, graffiti and otheropprobrious expressions which therecording industry felt were unfit to print.The Stones, the article concluded, were themore consistent band, perhaps the greatestrock and roll band in the world. Beggars'Banquet was a solid album, well producedand flawlessly performed. The Beatles, onthe other hand, was poorly produced andsurprisingly boring, filled with material thatcould not have been tolerated by theindustry had the artists not had such apopular name.The article failed to include anydiscussion pertinent to the impendingbreakup of the Beatles. The group, by thetime the album was released, was finished,having had enough of one another's problems. Beggars' Banquet was a betteralbum. More important, the Stones decidedto tour the States in 1969, their first tour intwo years. Many knew the Beatles werefinished, thus the resurgence of the RollingStones gave people something to cherish inthe following years.The significance of these events can beillustrated with a few examples. OtisRedding, the unfortunate victim of anairplane crash in 1967, could have been assuccessful as Stevie Wonder. During thatyear, Melody Maker, which had voted Elvistop male vocalist for eight straight years,named Otis number one. Regrettably, it isdifficult to follow someone's music after theartist is dead.Jimi Hendrix, another big name in rockmusic, had a surprisingly large followinguntil his death. The insolent Hendrix, doingthings to his guitar so passionate, so intensethat anyone with any manners had tc turnhis head, was a very good writer and acrafty musician who could play seriousblues; good enough to make othermusicians' voices drop with respect at themention of his name. The post-mortemalbums released by Reprise did not sell aswell as Axis: Bold as Love and ElectricLadyland, albums released while Jimi wasalive. Other musicians and groups who^eHYDE PARKSHOE REBUILDERS1451 E. 57th HY 3-1247Serving U of C for 45 yearsShoe repairingWe sell genuine leather men's shoesGood quality, all leather hiking bootsConverse shoes for $7.50HOURSTUES-SAT. 8-6SUN. 9-12CLOSED MONDAYS TAhSA,M-\&NCHINESE-AMERICANRESTAURANTSpecializing inCANTONESE ANDAMERICAN DISHESOPEN DAILY11 A.M. 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Rock, unlike other forms ofmusic, is dynamic; rarely, does a particularsound maintain dominance.If one rejects this hypothesis, that once anartist or group disappears, his or itspopularity significantly diminishes, he isleft with an inexplicable phenomenon thatmay never be understood. The Beatles werea spectacular success in the early Sixties. Itwas not unusual to see four of fheir songs,simultaneously, in the top ten in the U.S. andthe UK. Teenagers in the Beatle heydayidolized the band, patronized their moviesand records, and refused to compare themwith any other band. Today, a debate hasensued with the breakup of the Beatlesbetween the new and old generations of rockand rollers. The former list the Stones, Who,and Pink Floyd as the best rock bands of thecentury. The latter remain entrenched intheir Beatle-worship; "they were the best."Obviously, the DJ's favor the former viewbecause they do not play Beatle songs asfrequently as they could. And why shouldthey? The Beatles are dead. Rock" (Chubby Checker's number one hit in1963). At the beginning of 1964, the Beatlescame to America. The rest is history.John's first solo album was assailed bycritics and DJ's; the former feeling it didnot meet the Beatles' standard, the latterdisgruntled by the abundance of profanityon the album. The opprobrious lyrics wereincredibly simple. John, fully dilacerated bythe ten year experience with the Beatles,told us the miserable story of a lonelychildhood and how the isolation made him aworking class hero who did not believe inHitler, Jesus, Kennedy, Yoga, Elvis,Zimmerman, or the Beatles! "I just believein me. Yoko and me and that's reality."John even told us that he was the walrus.The dream was over."So Sergeant Pepper took you by surprise.YouBetter see right thru that mother's eyes.ThoseFreaks was right when they said you wasdead. TheOne mistake you made was in your head.How do you sleep?"Imagine John a StarCirca 1968, John married Japanesefilmmaker Yoko Ono (with a lie-in here anda peace crusade there) and ceased lookingfor something to believe in. Palpably, therewere thousands of thigh-torn Beatle fanslonging for Lennon Profundity. Lennon,having ruptured ties with his fellowmillionaires, decided to enllighten themwith an autobiographical album, whichsomehow got placed with many recordsellers' discount albums, accumulating dustas months passed before anyone realizedthis was John Lennon's music.Circa 1955, John, fifteen and still in school,organized his own group, the Quarrymen.On June 15,1956, he met Paul McCartney. In1957, the two collaborated to write "Love MeDo," which five years later would be theirfirst English release. Everyone was Elvis-happy at the time and, of course, rockhappy. George joined the Quarrymen in 1958four years before Ringo discovered the dry-look and joined the band. The beginning of1963 was the beginning of Beatlemania inEngland. The "Please Please Me" albumwas number one on the charts for sixmonths. America, lagging behind as usual,did not know "She Loves You" from "Limbo In 1971, life could have been morecomfortable. The Vietnam War wasanathema to Government bureaucrats;Nixon's quasi-attempt to curb inflationresulted in abused controls, and theDemocrats could not find anyone butMcGovern to represent democracy. John,always attuned to what US leaders were notdoing, made waves with Yoko and hismusic. Imagine was a big album for John.His first solo album, having brought criticstogether, was forgotten when Imagineappeared in the record stores The pictureof a jaded Lennon staring into space madethe album's cover an obrrusion to even massretailers. The public's hesitancy topurchase the LP was understandable. Afterall, Lennon's earlier denial of all thosesaintly things (the Beatles!) left many waryof the man's music, let alone his sanity. Inhindsight, the returns to Imagine werespectacular. The album was a big hit withthe anarchists. "Gimme Some Truth"synthesized this group's discontent withdemocracy. Even the reporters liked thealbum. "How Do You Sleep?" fueledgrowing rumors that Lennon andMcCartney were at odds over the Appleconcessions.Apparently, Paul's efforts to sue Appleresulted from the contract the group hadsigned with Allen Klein upon its dissolution.Each was to receive an equal slice of theApple pie. This meant that George, forexample, would receive as much as Pauleven if Paul's albums turned gold andGeorge's did not. George's album, AllThings Must Pass, did turn gold but Paul'salbums sold more. In fact, Paul has the besttrack record of the group. Therefore, it isnot surprising that Paul wanted aredistribution of Apple's income.Despite the Apple jam, John continued tostate publicly his liking for Paul. He hadthus reversed the views he stated in aRolling Stone interview in 1970. In the(continued on page 4)University of ChicagoChamber OrchestraConducted by Jeanne SchaeferSibelias Romanze in CElgar SerenadeBach D Minor Harpsichord ConcertoBartok DivertimentoRoger Solie, Guest ConductorMitzie Meyerson, Harpsichord SoloistSunday, December 77:30 P.M. Hutchinson CommonsFree \ / errxj Ch ristm as—and remember:"It 's Sice To BeImportant.Bat It's MoreImportantTo Be Sice."U.C. Theatre presentsWHO’S AFRAID OF VIRGINIA WOOLF?Last Weekend Dec. 5-7 $2.50, *1.50 Students Limited SeatingCoil753-3581 forReservationsFriday, December 5, 1975 - The Chicago Maroon-3 TheGreyCityJournaluoL.omJt John(continued from page 3)interview, John blamed the group'sproblems on Paul: Paul's intolerance ofYoko, his dissatisfaction with the group'sexperiences with drugs, and his dominanceof the groups public relations activitiessoured everyone's feelings, thus thebreakup.Imagine, like its predecessor, was anautobiography, John's dependence on Yokedominated the tracks ("Oh My Love," "OhYoko"). Unlike the first album, however.Imagine was performed by first-ratemusicians—Alan White, George Harrison,Nicky Hopkins, and Jim Keltner. John neverwas accomplished on lead guitar (althoughhis rough style of plucking strings hasenhanced the sound of the sono he pennedfor David Bowie, "Fame."After I magine, Lennon released Sometime in New York City a double albumcomposed of Yoko inspired tunes ("Womanis the Nigger of the World") and aperformance with the Mothers of Invention,The only 'song' to materialize from the liveperformance was a rehashed version of"Cold Turkey."The withdrawal of US troops fromVietnam and the departure of Yoko from theNutopian Embassy on White Street mayhave affected John's thinking. Uncle Sam,however, continued to press him on themarijuana conviction he had received inEngland during the Beatle years. In anycase, Mind Games was■ released in Fall,1973, the title song hitting number one on AMcharts shortly thereafter. Mind Gamesrevealed a reflective Lennon. Gone were thethree beat rhythms that characterized hisearlier works. The 'Wall of Sound' that PhilSpector and Lennon had rcreated with "ADay in the Life" was never more evident.The orchestrations surfacing on this album added an extra dimension to John's songs.In short, the album was blessed with aLennon soft-touch, something few had heardsince "Ballad of John and Yoko" in 1969.Yoko's physical absence from John'sabode and recording studio pleased many ofthe Lennon cult; a cult despising thesaccharine things in life that McCartneysang about. This group preferred"Revolution," "Working Class Hero,""Gimme Some Truth," and "Isolation" to"Oh Yoko," "Oh My Love, " and "Woman isthe Nigger of the World." The fallacy in thecult's thinking was the presumption thatYoko's absence would harden Lennon, thusinspiring the pain oriented songs it ferventlyenjoyed. Actually, Mind Games was John'ssoftest album to date. Most of the songs hadYoko overtones and, consequently, tell shortof the hard rock, characteristic of Lennon'sfirst solo LP.The release of Walls and Bridgessurprised everyone. The cult rejoiced at "Going Down on Love," "What You Got,"and "Steel and Glass." The press comparedthe album to McCartney's Band on the Runthinking Walls and Bridges was John at hisbest. And, without exception, retailersappreciated the album because it sold. Thisalbum would not make It to the discountracks. In an interview on syndicated radio,John expressed his pleasure with the album.After "Whatever Gets You Thru the Night"was recorded, he stated, the music justflowed.The Lennon interviewed in 1975 was wiserand happier than the Lennon interviewed in1970, The years away from Beatlemaniawere valuable to John; he needed anidentity. The Beatles played fine music andJohn played fine songs—"A Hard Day'sNight," "Ticket to Ride," "Help," and"Revolution"—but the Beaties were too big.Personally, John seems afraid to grow up,"t have this great fear of this normal thing.(continued on page 5)9 AM - 9 PM 7 Days A WeekHYDE PARK PIPE AND TOBACCO SHOP,1552 E. 53rd - under 1C tracksAll students get 10% off,ask for "Big Jim"PipesPipe Tobaccos HAPPYBIRTHDAYJIMImported CigarettesCigarsImagine an order of 22.000 priests and brothers in 73countries around the world. (That’s a pretty big family.)But that’s what the Salesians of St. John Bosco are allabout — a large family of community-minded men dedicatedto the service of youth. (And no one gets lost.)in the 1800's a chance meeting between a poorpriest and a street urchin served to create a movement of suchsuccess that it is still growing today. Don Bosco became thepriest who brought youth back from the streets — andback to God.He reasoned that a program of play, learn and pray wouldmake useful citizens of the world He crowded out evil withreason, religion and kindness in a (what was then unheard of)atmosphere of family spirit.The ideals of St. John Bosco are still with us today. Hiswork goes on in boys clubs, technical and academic schools,guidance centers, summer camps and missions. And his veryhuman approach is very evident in the family spirit of theSalesians. This is the way he wanted it. This is the way it is.The Salesian experience isn’t learned — it’s fived.For more Information about Salesian Priests andBrothers, mail this coupon to:Father Joseph, S.D.B. Room A-120Salesians OF ST. JOHN BOSCOPliers Lane, West Haverstraw, N Y. T0993Name. I am interested in the Priesthood Q Brotherhood QAgo.State. ZIP-Collage Attending.Class at The DobsonDouble BreastedBelt ed T ren ch Co atWith Zip Out Warmerof 100% Orion PileSafin Yoke and Sleeve LiningbyLonoonFOG'available in British tan& Navy$85.00otherk LOTVDOnForCoats from $65.0055TH & LAKE PARKHYDE PARK SHOPPING CENTERJohn(continued from page 4)You know the ones that didn't become rock'n' rollers, the ones who settled for it, theDeal." Artistry was and remains John's life.He cannot understand conformity andpackaging albeit he was responsible formuch of it as a Beatle. John does notunderstand nor like straight society but hedoes make a television appearance withHoward Cosell on such an innocuous showlike Monday Night Football. If one reads hisstatements from 1971-75, one finds incrediblecontradictions. However, the pain andintensity ot a rock genius trapped in a rockintellectual nightmare manages to supp. essthem. John cannot 'play' instruments but hecan adapt what arrangement abilities hepossesses to his rough rock style. GivenJohn and Yoko’s reunion, their baby, Sean,and Uncle Sam's decision to drop thedeportation charges, John may, at last,settle down and perform consistent rock androll tunes. His greatest hits album, probablya Christmas release, concludes animportant chapter in his life as an ex-Beatle.Chapter two should be just as important ifnot more exciting.i In Love With Linda and WingsThe walk from Hammersmith station tothe Odeon, the site of a McCartney andWings concert, took ten minutes. Londonershad not seen the cherubic leader of theBeatles perform since the mid-Sixties; I hadonly seen him on Ed Sullivan in black andwhite. Inside, the air was heavy, in part, aresult of ' hat was being smoked, in part,an anticipation of who was going toperform. The audience sat spell bound as itawaited the conclusion of the opening act."Ladies and gentlemen (screaming teensleap from their seats) Paul McCartney andWings!" The tumultuous response to theintroduction was more deafening than thethirty decibel sounds heard at a Deep Purpleconcert. Paul wriggled out from behind thecurtain and bowed to the chirping birdsprancing in the front section on the mainfloor. One lassie managed to break throughthe man to man protective wall and huggedthe lovable Paul. She was lucky. Her cohortsmet swift forearm blocks from theprotectors that sent them reeling to thefloor.Following the tune-up, Paul led Wings intoa song from their Red-Rose Speedwayalbum. The audience would not listen. Fanscontinued to express their love for the manwho sang "Yesterday." Moreover, he was aBeatle. Song after song, Wings poured it on.Paul's "yeah, yeah, yeah" climaxed eachchorus. The Elvis swivel and the McCartneysmile never left the stage.Paul was the Beatle who wrote the lovesongs that millions could adore. He was theone who always groaned "yeah, yeah,yeah." Paul McCartney was one-half of thefamous songwriting team. The 'sweet'image he managed to build over the years asa Beatle remained intact; this concertproved that.As most remember, Paul wrote "SheLoves You," "All My Loving," "Can't BuyMe Love," "Hey Jude" and many moreBeatle hits that continue to receive airplayon a few radio stations across the nationmajority of his songs concerned love; boymeets girl, etc.. Maybe this explains how hegot the lovable image. Paul's songs gave thelistener the opportunity to sing along and topretend that there was a lonely Julietawaiting her Romeo.The dissolution of the Beatles paralyzed,at least temporarily, the writing ability ofthe group's members, the exception beingPaul. He released McCartney in 1970immediately following the news of thebreakup. "Maybe I’m Amazed" was theclassic cut on the album. (Critics continue touse the song as a benchmark from which tojudge his new releases.) It was clear to many that Paul was far from dead. TheBeatles could not survive but Paul'spenchant for writing love songs would nevercease.Paul was the PR man during the Beatleyears, moreso after Brian Epstein, theBeatles' manager, passed away. It was Paulwho decided the Paul is dead prank couldhelp album sales even after the group brokeup (It was John who possessed theTecnnical ability to implement the plan.Certainly, Paul was not capable ofmastering and mixing the "Paul is dead"and "Turn me on dead man" verses thatwere interwoven throughout several of thegroup's later songs). Only Paul's deathwould shock the millions who loved theBeatles' John, George, and Ringo wereancillary members of the band.The speculation of Paul's death was notunwarranted. Beginning with MagicalMystery Tour, the clues were obvious tomany listeners. The photos inside the albumdepicted a Paul with no shoes (ready forburial?). Paul's phone number, supposedlyin the stars of the title on the cover, and theinfamous picture of the group dressed intuxedos with Paul wearing a black carnation(the rest have red ones) were more 'clues'.And on "Strawberry Fields," John declaredhe would bury Paul. Sgt. Pepper onlyserved as fuel to ignite the flamessurrounding Paul's death. The album'scover presented famous celebrities and astrange looking fellow standing behind Paulwith his hand hovering over Paul's head (Adeath symbol?). Inside, Paul was dressed ina uniform which sported a patch bearing theinitials "OPD" (officially pronounceddead?). "A Day in the Lite," sung by John,told the story of someone dying in anautomobile accident (Was it Paul?). As ifthis was not enough, the winner of the Paullook alike contest, held in 1965, whenBeatlemania had reached its peak, wasnever announced. The White album was themost bizarre, with its "Turn me on deadman" verse, barely audible after "Piggies"only if the record was played backwards.And Abbey Road, which brought the hoax toa climax, presented a cover with Pauldressed to be buried by George, mourned byRingo and remembered by John.Fortunately or unfortunately, dependingon your preference, Paul was not dead, atleast not physically. (It was not until Liferan a cover story on Paul that Beatle fanscould sleep in peace, knowing Mr.McCartney was alive and well.) WhileRingo pursued an acting career, Johnpursued Yoko, and George pursued SriKrishna, Paul pursued the teen market aswitnessed by his release of two unctuousalbums, Wild Life and Ram. Neithermatched the quality of the first althoughboth sold well. "Uncle Albert" and "SomePeople Never Know" were downright corny.Certain Wings' personnel were dissatisfiedwith the direction Paul was taking diringthese years. Henry McCulloch, leadguitarist, left Paul and his wife, Linda,shortly after the 1973 release of Red-RoseSpeedway ("My Love" was the big lovesingle off this album.).Not one to give up, Paul took Linda andDenny Laine to Lagos to learn reggae. Whatevolved from the Lagos trip was Band onthe Run. Finally, Paul had found a style ofmusic to his group's liking and to hislistener's approval. The album turned goldas did three singles taken from it (the titlesong, "Jet," and "Helen on Wheels").Comprising three people (two musiciansand one songwriter) Wings had producedwhat many critics believe its best album.The songs on Band on the Run, as bouncyand simple as those on earlier albums,sound richer, a result of improvedproduction techniques. Paul had finallymastered the recording studio on his ownthus producing an album that even 'anti-Paul' people enjoyed.A recluse after Band on the Run,McCartney spent the months at home withLinda and the kids. With the exception of aRolling Stone interview, Paul might as wellhave been dead. All things must pass;consequently, Paul released Venue andMars in the Spring of 1975. A new album anda new sound, Venus and Mars disappointedthose who had given Paul a second chanceafter Band on the Rin. The dissatisfactioncan be atributed to over production. Paulbegan his solo career as novice producte.With the release of each album, he began toimplement more effectively, the Lennon-Spector 'Wall of Sound.' This techniqueallowed Paul to play rock and roll with aminimum of backup musicians. Venus andMars fails because its songs are distorted bytoo much production; what is real canhardly be distinguished from what is mixed. Nevertheless, "Listen to What the ManSaid" managed to reach the top of the chartsin a relatively short period of time after itsrelease.Unlike all the other Beatles, Paul's songshave changed little over the years. He has-experimented with musical styles—reggaeand Jazz—but he has not left the simplesongs of love. One cannot fault him for thisbecause love songs are his specialty. Fanscan buy his records knowing what to expect.Paul's strength lies in his businessacumen. For this reason, he has remainedaware of various trends in rock music andhas adapted each album to the sounds of thetimes. Paul is not an end in himself, likeHoward Roark of Ayn Rand's TheFountainhead. He is a businessman-artistwho will continue to produce successfulalbums for a wanting teen market. Oneshould not be surprised to hear Paul singingeasy listening tunes in ten years. Perhaps,Paul's fans will then cease fainting andscreaming whenever he walks on a stage.The Dark HorseWho would have thought the lanky,mysterious kid-leader of the Rebels in 1958would develop into a master guitarist somefifteen years later. John and Paul, in need ofa guitarist in that year, persuaded George tojoin them in hopes of forming the mostsuccessful rock and roll band the world hadever known. At that time George was anefficient although not sensational guitaristwho disliked the glittery world of success.Today, one could say George still dislikessuccess especially if the term connoteswealth and idol worship.In 1965, a time when Dylan's folk wentrock, the Beatles rock went folk. DavidCrosby, then of the Byrds, had introducedGeorge to the sitar, thus giving the Beatlesthe opportunity to experiment with differentforms of rock music. By 1967, it was evidentthat the group was not collaborating to writesongs, at least not to the extent of co-writinglyrics. Nowhere was this more obvious thanwith George. Most of 'George's songs' dealtwith Eastern themes. Even today, George'smusic is dominated by the Eastern culture.After the dissolution of the Beatles, fewbelieved George had much of a musicalcareer ahead of him. One can imagine howcritics reacted to All Things Must Pass,George's first album, given the lowexpectations they had of the man. Conceivedbefore the breakup, All Things Must Passhad something for everyone. "My SweetLord," an overnight success, was the AMlistener's favorite; "Apple Jam" providedguitar lovers with an earful of classy riffsproduced by George, Eric Clapton, andDave Mason; and "What is Life" pleased thesmall group of Eastern worshippers whohad chosen George as its spokesman. Thesuccess of the album can be attributed tometiculous production (thanks to PhilSpector) and well rehearsed material;rarely has a Beatle spent so much timerecording an album. The two years thatwent into All Things Must Pass gave Georgethe time to develop the songs to such adegree that they could be p'ayed flawlessly.While Paul mixed Ram, John mixedImagine, and George organized what was tobe the biggest affair in rock music sinceElvis first swiveled onstage. George hadassembled such illuminaries as Bob Dylan,Eric Clapton, and Leon Russel to play abenefit for the suffering people of BanglaDesh. In 1971, George appeared in MadisonSquare Garden, the fist concert he hadplayed in the States since 1966. He must haveenjoyed playing to an older, wiser audiencemore than the screaming fanatics of theShea Stadium days. However, despite thecalm that filled the arena, George remainedthe shy, mysterious man who alwaysprefered to stand behind John and Paul asa Beatle. At times, he was barely visible, letalone audible. Nevertheless, those inattendance swore he was the Beatles...who played guitar like that in the Sixties?Certainly not John or Paul (Listen to "GoodMorning" and the reprise on Sgt. Pepper).After his Banqla Desh success, Georgereverted to the shadows until finishingLiving in the Material World in 1973. Manywould have been better off not buying thealbum. George had assembled a collectionof religious songs and decided to fecture hisfollowers on the correct path. We were torebuke the material world for its inability toprovide spiritual guidance. The album,somewhat self-righteous, even esoteric, wasenough to send Harrison listeners to theirBibles. There was, however, an explanationfor the Beatles' bitter clashes in the earlySeventies on one of the songs—"Sue Me SueYou Blues"—that gave George somecredibility. Unfortunately, the critics lookedat the album as a musical failure and quietlyput George to rest, thinking him a lunatic.If George was disappointed with thecritic's response ho Living in the MaterialWorld, it did not show. In 1974, in connectionwith a U.S. tour de farce, George releasedDark Horse An attempt to redefinesimplicity in rock, Dark Horse was simplyempty and flat. The tour was worse As onefan remarked after seeing George inChicago:"It was disappointing, not because hedidn't do Beatle songs (which was thecommon and unfair complaint of thoseattending) but, as Rolling Stone remarked,his voice was terrible. George tried to do toomuch in too little time. He had to rehearsehis band in three weeks. Consequently, hisvoice gave out. His choice of songs left muchto be desired He played new songs fromDark Horse the Material Wold A vastmajority of the audience was apathetic,giving polite, yet unenthusiastic, applause.George at least looked fantastic."So much for Dark Horse and the '74 tour.What can one say about George other thanhe has rejected the material world for SriKrishna? Like all the Beatles, George issensitive to criticism. One can sense achange of direction with Extra Texture, hiscurrent release. He had recorded "I Can'tKeep This Guitar From Crying" to remindpeople of the fact that he can write solidsongs like "While My Guitar Gently Weeps"(he says the song "is a cheap excuse toplay a bit of guitar").George seems out of place using a rockformat to write and play his music. His styleand lyrics are just too subltle for rock.Unfortunately, they will be judged on rockstandards because George was a Beatle.One might visualize his songs as 'littlesymphonies'. Frequently, he will write thewords first, adapting the instrumentation tofit them. In an age when rock lyrics havebecome so banal that about all one hears is"Let's Screw," George has to be a misfit.However, like John, George has aturbulence within himself which continuesto drive him to achieve. Palpably, hisproduction and PR work for friends (BillyPreston for example) has taken away fromhis work as an artist, but this will not lastforever. George is difficult to discussbecause he is so quiet (Maybe this explainswhy his wife lives with Eric Clapton).Certainly, he has an artist's ego in additionto musical and production talent. Thesubtlety of his music makes him less of apowerhouse in rock than John and Paul. ButGeorge will be around music for years tocome. As he grows, so will his music; themore he grows the better it will become.One has to think of George—John, Paul,and Ringo for that matter—as a differentaspect of the same whole that made theBeatles so phenomenal. John had amazingdrive, ambition, and ego but only minimalmusical ability. George had little ambitionto be a rock star, and he allowed himself tobe kept in the background. His ego did not,and still does not, compare to that of John orPaul. But he has more musical andinstrumental talent than either of them.(Listen to "The End" on Abbey Road )George, Paul, and John, in thatorder, trade guitar solos thus allowing thelistener to compare their styles).Consequently, he can go beyond basicpounding rock and roll. John and Paul areflamboyant and pervasive while George isaustere and intensive. If one puts John,Georqe, Paul, and Rinqo together, he canvisualize one phenomenon, the Beatles.Apart, all manifest intense characteristicsdivorced from any well-roundedpersonality. Maybe this is what made theBeatles such a powerful phenomenon.Certainly, it explains why, single-handedly,none will acquire the admiration nor theidolization comparable to that received bythe Beatles.(continued on page 6)December 5, 1975 - The Chicago Maroon*5Friday, TheGreyCityJournalTheGreyCityJournal Dylan(continued from page 1)* Prologue: EverybodyWants Me To BeJust Like ThemJohn and Paul went to see AmericanSinger Bob Dylan in a recent concertappearance here. John, especially is abig fan of Bob Dylan's I can't say that Ishare the boys' enthusiasm for Dylan;but then I guess it takes all kinds to makeup a world.- Louise 'Harrison' Caldwellin her syndicated Beatlesradio coverage; June 1964In 1964, I listened to Louise 'Harrison'Caldwell's broadcasts assiduously. In thatyear, at age twelve anJ later thirteen, I washeld in a hammerlock along with most of mypeers by the phenomenon then labelled'Beatlemania.' Mrs. Caldwell, GeorgeHarrison's older sister, served up insightsinto the lives of the Fab Four which onlyconsanguinity could bring. Three timesdaily, on radio station WDGY, Minneapolis-St. Paul, Louise briefed us on Beatleclothing, Beatle breakfasts, and Beatlerecording sessions. Her brief mention ofBob Dylan was unusually subjective: unlikeeveryone else Mrs. Caldwell reported on,Dylan was apparently not 'gear.' In fact,coming from Louise's carefully temperedtongue, the above-quoted report madeDylan sound like next of kin to the Wild Manof Borneo.By the time this report reached the air¬waves, my fondness for the Beatles hadpaled considerable. My initial attraction tothe Beatles was largely due to the out¬rageousness of their appearance and theirmusic in an early 1964 context. AlthoughI had been selected by my public school(continued from page 5)It All Comes EasyOf all the Beatles, the least likely toproselytize an audience was Ringo, themagic Christian. A replacement for PeteBest in 1962, Ringo failed to win an awardfor best drummer. However, he continues tobe listed as one of the best in rock music inPlayboy's jazz and pop poll. Of all theBeatles, the least endowed with musicaltalent was Ringo. His drumming neverapproached the intensity generated by suchrock drummers as Keith Moon and GingerBaker. Fortunately, Brian Epstein was notinterested in Ringo's musical disabilitywhen he formed the Beatles in the Sixties;he was looking for a character to complement John, Paul, and George. And Ringowas a character. The obtrusive nose, thefocal point of many wisecracks, became histrademark. Only Peter Townshend of theWho shares the distinction of possessing aproboscis that makes even the most homelylaugh affectionately.Ringo never wrote "big" songs with theBeatles, but he sang them: "Honey Don't""Boys," and "With a Little Help From MyFriends." "Octopus' Garden" was one ofthe few Ringo penned songs; his bestcompositions having been released since thedissolution of the Beatles (It Don't ComeEasy," "Back Off Boogaloo").An important element in the Beetle'scomposition, Ringo prevented John and superiors as one of tomorrow's leaders, Iidentified more closely with MarlonBrando in The Wild One; or for that matter,with the Creature from the Black Lagoon.Like Sal Mineo's Plato in Rebel Without aCause, I needed a standard-bearer in myrage at the Real World. As Beatle haircutsand Beatle boots became the norm amongmy red blooded peers, I cast about a newfigurehead to set myself apart from thesepeers. Seeing Dylan's Bringing It All BackHome on the wall of a record shop, I realizedthat my search was over: a James Dean ofthe Sixties has been found.I: Jump Down a ManholeLight Yourself a CandleThe above is not completely pointlessexaggeration: although my conscriptioninto the ranks of Dylan devotees was yet tocome, I'm sure that my first encounter withthe plastic encased jacket of Bringing It AllBack Home was instrumental in producingthe combination of intimidation and at¬traction so crucial to any charismaticleader. The trim, understated lettering andthe oversized white border gave the albuman appearance of artistic gravity which aDave Clark Five or Bill J. Kramer and theDakotas album jacket somehow failed foconvey. The cover photo depicted Dylansitting in a room cluttered with talismans oftwentieth century culture, ranging from aframed photo of Mario Lanza to the Im¬pressions' Keep on Pushin' LP. From thebackground, a stylishly posed young ladybearing a facial resemblance to Dylan gazescooly at the viewer. Dylan himself is in theforeground, wearing a countenance not somuch older than his twenty-three years as itis prematurely settled and marked withcharacter; much like that of James Deanbefore him. With loosely-curled hair piled onhis head and a Jean Harlow fan magazinedraped over his knee, Dylan wore thecostume which became his trademark inPaul's intense egomania from suppressingthe group's music. Always deprecatinghimself at his own expense, Ringo was lovedby most and enjoyed by all who followed thegroup's progress from 1962. Even with thebreakup, Ringo continued to manifest theself- deprecation as witnessed in hischaracter portrayals in the Magic Christianand Stardust.Why Ringo continues to release albums isbeyond many pop critics' imagination.Certainly, his Beaucoup of Blues albumencompassed a wide spectrum of music,drawing country music lovers into the popparadigm. His best solo effort, Ringo issimple and listenable. It does not describethe pains of loneliness (Lennon's trip), thesearch for truth (George's preoccupation),or the need for love (McCartney's distinc¬tion). It is pure pop, stripped of over¬dubbing and master-mixing.Any analysis of Ringo's role in rock in¬duces chuckles from the sober-mindedfollowers of the Beatles' music. Ringo was afixture, never asking for applause. Hesmartly abstained from the John and Paulfeuds that characterized most Beatlegatherings after 1968. Consequently, hissongs never left a mark on the Beatle tabloidof hits. Unfettered, Ringo has produced astring of AM Hits since 1970 which are ineluded on Blast From Your Past, his latestrelease. Only one approaches the "greatness" of old Beatle hits, "It Don't ComeEasy."Got to pay your duesIf you want to sing the bluesAnd you know it don't come easyYou don't have to shoutOr leap aboutYou can even play them easyForget about the past and all your sorrowThe future won't lastIt will soon be over tomorrowPerhaps a post Beatle anthem, 'It Don'tCome Easy" stoically sums up Ringo'sphilosophy, something Paul, John, andGeorge have been aspiring to since leavingthe Beatles. those years: tight black sport coat andtieless but buttoned-down white shirt, withhuge turquoise cuff-links.The single from this album, 'Sub¬terranean Homesick Blues,' had receivedconsiderable airplay on the local Top 40stations; but only in the context of the albumdid I realize the subtle power of that cut.Dylan sang in a thin but determined cityvoice, modeled in large part after ChuckBerry; while three guitars and a rhythmsection rolled out every back beat theycould find. Given the subject matter ofBringing It All Back Home, Dylan'sexhortation in 'Subterranean HomesickBlues' to jump down a manhole, lightyourself a candle' now seemed only half injest. Much later, I came to regard that songas a grim updating of Chuck Berry's 'TooMuch Monkey Business.' In 1956, Berry's'botheration' had consisted of high schooland thankless job in a filling station. Nineyears later, Dylan smelled a mixture of paranoia and oppression sufficiently potentto drive him under a manhole cover.As I interpreted him, the Dylan ofBringing It All Back Home understood thefutility, boredom, and terror which I feltbetter than any of my friends did. Heprovided targets for my rage in hiscaricatures of the Mighty and the powerful:Maggie's pa who 'puts his cigar out in yourface, just for kicks' and the brother in 'Onthe Road Again' who wears a 'NapoleanBonaparte mask.' Dyaln warned againsttrying to join those Mighty and powerfulC'-'<as: 'Twenty years of schooling and theyput you on the day shift.' As an alternative,he offered a creed of alienation. The par¬ticular virtue of occupying a position at rockbottom is that you 'never stumble,' becauseyou've ' got no place to fall.'But beyond the words themselves, itwas the persona which Dylan was creatingvhich made him such an attractive symbolfor, and imaginary partner in, my alienation.The lean bluesy rock which made up muchof Bringing It All Back Home branded Dylanas something less than respectable. Surely,there would be no invitations to speak beforethe Society of Friends or ACLU chapters, asBob Dylan the 'folk singer' could have done.Now, dressed in black, in high-heeled bootsand shades; this scrawny, haggard-lookingman was living out fantasies as a drifter, abluesman, an outlaw at a pudgy thirteenyears, I didn't look the part, but I wassharing those fantasies; as I Know manylike me were. There was no need to looklike an outlaw to join Dylan's army ofmisfits; the only prerequisite was a psycheout of synch with Lyndon Johnson's GreatSociety. As the master himself said in"Outlaw Blues":Ain't gonna hang no picture,Ain't gonna hang no picture frame.Well, I might look like Robert Ford, butI feel just like Jesse James.II: Sniffing Drainpipesand Reciting the AlphabetI was certainly the most fortunate guy inthe seventh grade class of Mounds ParkJunior High. Not even in high school yet,and I had founda mentor who had alerted metn *11 the Fatal Mistakes. Thanks to Dylan,wasn't going to waste my life the way my(continued on page 7)DOROTHY SMITHBEAUTY SALON5841S. BLACKSTONE AVEHY 3-1069Permanents that aremanageable short ones — andlong ones. Tints — bleachesstreaks. Hair shaping as youwish it. Children s hair cutsalso. Call for appt. Mondaythrough Friday.8 a.m. to 8 p.m.No Saturdays. We SellRentRepairTYPEWRITERSADDERSELECTRONIC CALCULATORSDICTATORSU. of C. Bookstore5790 S. EIIUHours: M-F B-5 S 9-1753-3303 JAM ESSCHULTZCLEANERSCUSTOM QUALITYCLEANING10%student discount1363 E. 53rd St.752-69336-The Chicago Maroon - Friday, December 5, 1975 FLATIGNLIM ITALIC SETContains a fountain pc>t five\ italic rubs, and instructionu manual a(i for only $<r.00...At art material<5-yen shopscollege book. 5 tores ...or sendcheck to Ventahc Corp. i$2ivesr 22 5r„ N.y.N.y. iconAdd co ccnr< for handlingA Man ForOthers—A ForeignMissionaryPriestThat s what a Columban Fatheris He s a man who cares anda man who shares a man whoreaches out to missions in Asiaand Latin America to share theGood News that Jesus trulycares tor them He s a man whocommits his life totally to othersso they can live their lives aspod intended Being aCOLUMBAN FATHERis a tough challenge but if youthink you have what it takes andare a Catholic young man, 17 to26 write today for ourFREE 16-Page BookletCMColumban FatharaSt. Columbana, HE 6*056I am interested in becoming aCatholic Missionary PriestPlease send me your bookletI c.ty tit omr maySKI Downhill Wilmof Dec. 20Upper Peninsula 1 2/30 to 1 /4Xcountry 1 day trips Dec. 21,27 Jan. 1,18HIKE Museum Safari #1 Dec. 21La Bagh Woods Dec. 28BACKPACK North Kettle Moraine Dec. 13-14CYCLE Frost bike rides every SundayCall Maryweekday afternoons327-8114^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^* GOLD CITY INN !*****£* New Hours: Open Daily£ From 11:30 a.m.to 9:00 p.m.given * * * *by the MaroonIlSlit. |I *#************ "A Gold Mine Of Good Food"Student Discount:10% for table service5% for take homeHyde Park's Best Cantonese Food5228 Harper 493-2559(near Harper Court)Eat more for less. ************************p , *(Try our convenient take-out orders.)t^TC3|C3|e3|C3tC3fC9te3|C3|C9|C39C9fC3|e9|C3|(9tC3tC9|catC3iC3|C9tcatC3|C *Dylan(continued from page 6)less fortunate classmates would. Twentyyears of schooling, jost to land a job on theday shift? Forget it. Now that I was aware ofit, I would be sure to avoid Maggie's Farm,too; where they tell you to 'sing while yousave,' but you just get bored.Now that I knew what I wasn't goingto do with my life, what options wereopen to me? I wondered where theadventure and the romance could be. Ididn't doubt for a minute that Dylan knew; Ijust had to wait for him to tell me. And, sureenough, he published the itinerary for a tripthrough the cultural centers that verysummer, labelling it Highway 61 Revisited.In answer to my pleas for a genuinealternative to the mundane options con¬fronting me in the Real World of Junior HighSchool (Wood Shop or Metal; Shop as myIndustrial Arts elective?) Highway 61presented a fantasy world of grotesqueries;the seamier aspects of life exhibited in theworst possible light. Like being lost in therain in Juarez, contracting a disease whichknots up your fingers; and being deserted byyour friends and your doctor just when youneed them most. Like meeting AlbertEinstein, disguised as Robin Hood, passingthrough Desolation Row with a monk whosniffs drain pipes while reciting thealphabet.The music compounds these visions ofcorruption and decay. The occasionalSpanish linges are sweet yet sinister likerotting fruit. Michael Bloomfield's guitar ismore often plain scary than it is bluesy; andAl Kooper doesn't embellish so much asdeface the music with his spectacular burstof organ notes-like obscenities hastilyscrawled on the side of a subway car.Dylan had pointed to the Mean Streets, inthe cities. I joined him railing at those who,like Mr. Jones, were 'Very well read' butcouldn't feel the attraction and thechallenge of those streets.The following summer, ! was laying planswith friends to take off for New York City,carrying only our stolen collection of Gin¬sberg and Gerlinghetti. Ultimately, wesettled for a low-life section of Sf. Paul,where we recruited a cast of derelicts to starin a film we were shootinq with a borrowedhome movie camera. We bribed them withcigarettes, which they politely accepted.However, when we aimed the camera, ouractors told us to fuck off, took theircigarettes and split. With knowing smiles,we assured each other that this was, indeed,Desolation Row.Ill: You've Got ALof Of Nerve,To Say YouAre My FriendThe term "charisma" will be appliedto a certain quality of an individualpersonality by virtue of which he is setapart from ordinary men and treated asendowed with supernatural,superhuman, or at least specificallyexceptional powers or qualities. Theseare such as are not accessible to theordinary person, but are regarded as ofdivine origin or an exemplary, and on thebasis of them the individual concerned istreated as a leader.—Max Weber, The Theory of Social andEconomic Organization (TalcottParsons,tr.)I believe...that there are people trainedfor this job that you're talkingabout..."youth leader" type of fhing, youknow? I mean, there must be peopletrained to do this type of work. And I'mjust one person, doing what I do. Tryingto get along....staying out of people'shair, that's all.— Bob DylanIn the solipsism of my alienation, I wassurprised and even a little frightened at theprospect of Bob Dylan as a rock star. Couldit be that I was only one of thousands, evenmillions, who didn't want to grow up to beHubert Humphrey? I had initially suspectedthat Dylan's desperados were a scatteredaggregation of mutants, scant enough tohold a yearly convention in Duluth. On thecontrary: with the release of "Like ARolling Stone" in the summer of 1965, thisdisease seemed to be reaching epidemicproportions.The summer of 1965 was a turning point inthe history of rock. Top 40 records hadalways provided catch words for adolescentromances, but a few of that summer's hitrecords gave evidence that teen aged recordbuyers were concerned with other, far-reaching matters. The Rolling Stones' "Satisfaction" criticized TV/ radio hardsell and dealt with sexual frustration in acomparatively open fashion. With "A WellRespected Man," Ray Davies of the Kinkscaricatured the moral lassitude of thewealthy. But more than either of theserecords, Dylan's "Like A Rolling Stone"seemed to echo and reinforce the beginningsof a new moral order.Musically, the record sounds like PhilSpector on a tight budget: in lieu of Spec-tor's string sections and choruses, a noisypiano and electric organ stride up and downchromatic scales. Dylan hollers his songover the din of the band, heaping abuse on awoman who could once afford to be haughty,having 'gone to the finest schools,' but whohas since fallen to the hand-to mouth life ofthe streets. With a now famous sneer Dylantaunts her: 'How does it feel?/ To be withouta home/ Like a complete unknown/ Like arolling stone?The perfect frontispiece for the albumHighway 61 Revisited, "Like A RollingStone" dares the listener to come down onthe streets and try to survive from outside ofsociety. Kids around the world bought therecord; and within two years, many of themtook its dare. In this country alone,alienation for a time seemed to havereplaced baseball as the national pastime.By the end of that summer, with the hitsingle and the best-selling Highway 61behind him, my 'private' hero was rock'sHottest Newcomer. Dylan was rock's firstgenuine charismatic leader, in that hemotivated and reflected his audience'srejection of dominant values. Spurning thefacades and the amenities. Dylan'srecorded universe was an ugly butfascinating one, where survival is thehighest attainable goal. The 'advantages' ofa refined culture only divert one from thatsingle goal, burgundy only leads to 'theharder stuff.' There is no place for ten¬derness and compassion in such a universe:Dylan replaced these traditional values inthis period with distrust and vengeance.Appropriately, the follow-up single to "LikeA Rolling Stone," "Positively FourthStreet," stood as a monument to theseSpartan ideals. Despite his new foundsuccess, Dylan cannot afford to forgive anold acquaintance, lest history repeat itself :'You've got a lot of nerve, to say you are myfriend/ When I was down, you just stoodthere grinning.'In mid-October, 1965, after nearly a yearof Dylan devotion, came the day of which Ihad barely dared to dream: the Sundaypaper announced 'An Evening with BobDylan' at the Minneapolis Auditorium.Given the budget of the average unemployed thirteen year-old, only the cheapestseats seemed conscionably within themeans of myself and my two fellowdisciples.To savor this night to the maximum, wearrived at the auditorium hours early andwaited for the doors to open. It was acavernous, drafty old structure with peelingbeige paint on the walls and ceiling: theperfect state of decay for an evening withDylan, I thought. Particularly given the Top40 success of "Rolling Stone" and at thattime "Fourth Street," we expected thecrowd to be composed primarily of acned,teen aged capsules of quiet rage like ourselves. As the crowd streamed in, most ofthem appeared to be ten years our senior. Iknew that we would have to adopt an air ofmaturity in order to gain the respect of theother delegates at this convention. I doubtthat the family size bag of Old Dutch Cheese Puffs from which we were munching inanticipation helped our chances.Nearly an hour late, Dylan strode on stagewith the house lights still up. It was im¬possible to discern facial characteristicsfrom the distant stage, but the tangled hair,white shirt and black coat demonstrated tomy satisfaction that the circus was, indeed,in town. As the house lights dimmed, Dylanand his acoustic guitar ambled into "SheBelongs To Me." Beside him was a highstool bearing harmonicas of various keysand a glass of water, or some such clearfluid.The audience, mindful of the ceremoniousbehavior demanded by this event, sat in asilence which was more meditative thanmerely attentive. I suspect that most weredoing as I was: absorbing every movement,every word and gesture of our Messiah.Dylan provided precious little for our absorption: he spoke not a single word in thefirst, self-accompanied half of the concert,smiled little, and stood nearly frozen as hesang. He used a variety of tunings but onlyone guitar, thus subjecting us to frequent,lenghty tune ups between songs. The raptattention of his listeners remained nearlyunbroken even at those times, however.After all, one doesn't get the opportunity towatch Dylan tune every day.What Dylan did provide in this firstportion of the concert was a quite con¬servative reading of some ballads andbiggies: "It's All Over Now, Baby Blue,""To Ramona," "It's Alright, Ma," even theold, anthemic "The Times They areA'Changin'." "Desolation Row" providedthe communal event of the evening. Theaudience rose in cynical laughter as each ofthe song's wretched creatures was paradedbefore them. Cynical laughter was themating call and the rallying cry of Dylan'sDisaffiliated.Near ten o'clock, the singer completed"Mr. Tambourine Man" and walked offstage, with the entree yet to come. We threewent into the lobby, smoked cigarettes andtried to look cool. When we returned, thestage had been lined with the artillery of theYouth Uprising: Fender amplifiers. Thehall soon darkened again, and Dylan led outfive clean-cut young men in sports coats. Inplace of his big acoustic guitar, Dylan nowheld a thin, red and white electric weapon; aFender Telecaster. The five clean-cu-1young men remained unintroduced; but, asI later learned, they were Robbie Robertson, Richard Manuel, Rick Danko, GarthHudson and Bobby Gregg.Dylan stoked up his rock and roll machinewith some jangly strumming. The band fellin behind him at a thunderous volume. Asthe singer stepped forward and sang thefirst line of "Tombstone Blues," thecrashing of the band remained un¬challenged: the mike was stone dead. Nomatter, we knew the words anyway. ButDylan ground the band to a halt, and as astage hand replaced the mike, Dylan lookedoi Lit new piece of equipment and spoke hisonly words of the evening: "Oh, God!" Mycohorts and I explored the significance ofthat utterance for weeks.Starting again, the electricity of the bandtransformed Dylan. Where he had stoodstiffly through the earlier set, the singer nowleaned in and out of the mike's range,rocking on his boot heels. As he reachedeach chorus of "Tombstone Blues," hestiffened his spine and shot straight into theair, like a frog receiving a jolt from a drycell. He rolled easily through the older "IDon't Believe You," and leapt and bounced through "Maggie's Farm." Com¬mandeering the piano, Dylan sang the songfrom Highway 61 which most closelyrivalled "Like A Rolling Stone" as an an¬them among his followers: "Ballad of a ThinMan." After strolling the stage with a bandheld mike and harmonica while singing thetraditional "Corinna, Corinna;'j. he led theband through "Positively Fourth Street"and "It Ain't Me, Babe." As the audiencecheered and some rose to their feet, BobbyGregg kicked off the familiar opening barswith a thud, and Dylan placed his signatureon the evening with "Like A Rolling Stone."IV: The accident:Time Will Tell,Just Who Has FellIn the months following the Minneapolisconcert, into 1966, Dylan's face peered outfrom numerous papers and periodicals as hetook his circus around the world. The St.Paul Dispatch carried a tear-jerking ac¬count of Dylan's parents travelling to theTwin Cities the night of the concert to seetheir boy; only to have an ungrateful sonrefuse to speak to them, returning instead tothe plush seclusion of his chartered silverbird. The veracity of the story may bedoubted; but it is representative of the stuffupon which adolescent fantasies, parentalanimosity, and the Dylan mystique fed.It was also becoming clear, however, thatDylan's audience was largely composed oflate teens and early adults; he was not tobecome the Top 40 teen idol which "Like ARolling Stone" suggested he might. "CanYou Please Crawl Out Your Window,"released in late '65 or early '66, was a great,searing piece of rock and roll with a 'getdown off your high horse, woman' themeakin to "Rolling Stone," but it met with onlymediocre success. "Sooner or later,"released in the spring of '66, seemingly gotless airplay than the Canadian nationalanthem, and flopped miserably. Besidesbeing a fine record, it was a significant one,in that it presaged the change to come withthe next album, Blonde on Blonde.With Blonde on Blonde, Dylan modifiedwithout abandoning his vengeful, streetwise persons. For the most part, the musichere is less savage, more complex in bothconception and execution than that of thepreceding album. The landscape fromwhich the songs are fashioned has shiftedfrom the struggle for survival in thebackwashes of society to the struggle forpride on the battle field of romanticinvolvement. Since the theme is often thatof saving face after romantic failure ratherthan consummation of romanticinvolvement, the retributive sneer ofHighway 61, the 'how does it feel' attitude, isstill present in Blonde on Blonde. However,this vengeance and rage is now tempered bya willingness to compromise, to try andunderstand. Whereas the Dylan of Highway61 is not satisfied until he has dragged thelofty down to rock bottom and forced themto see through his eyes, the Dylan of Blondeon Blonde is willing to admit that he 'reallydid try to get close' to someone ("Sooner orLater"). To save face, he asks a departinglove not to divulge that she knew him'When I was hungry, and it was yourworld '("Just Like a Woman"). He bargainsfor compassion with a woman who has justended their affair by throwing him out in'the dirt, where everyone walks;reminding her, 'I never asked for yourcrutch, now don't ask for mine.' ("FourthTime Around"). And when it is Dylanhimself who ends the affair, he is willing toadmit that he may be the loser; speculatingthat 'time will tell, just who has fell...whenyou go your way and I go mine.'A slapdash throwaway from the Blonde onBlonde sessions entitled "Rainy DayWomen #12 & 35" preceded the album itselfin climbing the charts. With a boozy,uncharacteristically lightheartedarrangement, "Rainy Day Women"became Dylan's most popular single since"Like A Rolling Stone." Although manyspeculated that the song's chorus of 'Youshould not feel so all alone Everybody mustget stoned' was a Reference To Drugs; Ipreferred to believe, given my image ofDylan at that time, that the singer referredto a literal stoning of the righteous, as in theBiblical case of StephenThis image of Dylan as a champion of theoutcast was, of course, the one I had heldsince my initial encounter with him. By 1966,however, veneration of the outcast and ageneral alienation were becomingincreasingly fashionable, decreasing myneed for an individual spokesman such asDylan on these subjects. With the release ofBlonde on Blonde Dylan's role in my world(continued on page 8)Friday, December 5, 1975 - The Chicago Maroon-7 TheGreyCityJournalTheGreyCityJournalif yc , -«r, ivi" r*rt• i *•> . ]pi ., • i p«cr sample? cf -c.cra yc■art .He urdersta^ all your■> - - *• • • (Ail shipment* F O B. New Orleans)With This Ad OnlyUsed Desks * 25 and upUsed Chairs *10 and upNew Chairs *25 and up"cash and carry"EQUIPMENT&SUPPLY CO.8600 Commercial Ave.Open Mon.-Sat. 8:30-5:00RE 4-2111Dylan(continued from page.7)shifted. He became my mentor in a newer• .2 2.22.C; ' 2; " 2 ,?* ’ - ■ ' . - ■ - - <•*1■ - : •.. i"• 2 ;■ * ‘ ' ' ' ' ■ ■" . ^ v- '■ -I ' •Shore .up an ego battered by affairs of anadolescent heart. I would compare the latest• - t0 Dylan s "Sad-EyedLady of the Lowlands,” or console myself• • -.of "Sooner or Later." I adopted Dylan as anolder brother from whose experience I couldbenefit. He had clawed and scratched forlove, but lived on with dignity despite hiswounds.♦ ' * *Early that summer, I took a typicalMidwestern sight seeing trip to New YorkCity with my parents. I walked the streets ofGreenwich Village and made the pilgrimageto Gerde's Folk City, hoping in vain to findDylan sitting alone on some park bench orhuddled in the corner of some bar behind abottle of cheap red wine.At the very same time, Dylan himself wasvacationing in upstate New York, takingadvantage of a brief respite from touring toride his Triumph 500. The rear wheel of thebike froze on the highway, throwing Dylanheadlong onto the pavement and breaking aneck vertebra. The initial reports had Dylanclose to death, and I expected it. I reasonedthat the only logical end to the James Deanof the Sixties would be that of hispredecessor: death on the highway.V: Pity for the Immigrantand Anguish for St. Augustine;or The Hills of Old Duluthand Long-Forgotten TruthsAlthough Bob Dylan survived, the JamesDean of the Sixties did meet his end in thataccident. The imminent publication ofTarantula, a collection of Dylan prose andpoetry, was suspended indefinitely. Aproposed television special for ABC's Stage67 was never aired. For the AM radio ‘- : A i11 *B i .. 3 idc was followed■’ ' •' ■ • ’ • 2 • ■, * '' • ■ ’ - - ■ : " : ■- . ■ •' ■' * .Hat" and "Just Like A Woman.” No newmusic surfaced, only a 'greatest hits'package. Dylan's rock and roll circus hadapparently ground to a halt.A year-and-a-half passed before the singer'officially' resumed his career with a performance at a New York benefit for Hun¬tington's chorea. At first, Dylan followers’ong themselves;claiming alternatively that Dylan was inreality dead, or insane, or seriouslydisfigured; or even that he was perfectlyhealthy, having staged the accident as apublicity stunt. The proliferation of rumorsdeclined as the months passed, however;and by the following summer, I had joinedother Dylan disciples in putting our leaderat least temporarily out of mind and Seekingout other heroes.Meanwhile, Dylan spent the summer of1967 in the relative seclusion of the Woodstock-West Saugerties area, making musicwith his touring band. Dylan was writingnew songs again, some of them incollaboration with members of his band;and they were working together to get thesongs on tape for publication purposes.About a year later many of these tapesbecame available in bootleg album form;and many have been released by Dylan'srecord company this summer under the titleThe Basement Tapes. All cf these tapesshow Dylan to be writing music more in¬timately connected with Anglo-Saxontraditions; perhaps in part through theinfluence of his band, who were soon toembark on a career of their own drawingheavily on those traditions.The tapes also reveal a more fundamentalchange in Dylan since the accident. Whilesome of the songs are quickly written piecesof non-sequiter humor, no more than roughsketches; others are fully realized:economically written, arranged, piayed andsung with a care and passion which isusually reserved for the crowning momentof an act of creation. This latter group ofsongs are the work of an immensely • V ■ ' ' ■ . - ' 2 2 ' ’ ■ 2 ' ■ ’mine the causes of fhis seemingly abruptmaturation; but one can point in conjectureto the recent brush with death, an end to the‘-f- ■ ' ’'presumption that Dylan spent a good deal ofhis convalescent period close to his newbride. Whatever the cause, the best songsfrom the West Saugerties taping sessionsshow a greater compassion and un¬derstanding on the part of Dylan and hismusic of the preceding two years. The musicis tranquil; propelled more by a dignifiedacceptance of humanity than by the old rageat it. The sneering, half-talking delivery ofthe older songs gives way here to clear,strong singing. And the humor here ishearty, at worst self-deprecating; replacingthe former haughtiness and cynicism.This group of songs; "I Shall BeReleased,” "Goin' to Acapulco," "Tears ofRage,” "This Wheel's on Fire,” "Too Muchof Nothing,” and to a lesser degree "Openthe Door, Richard,” exhibit a remarkablewisdom and timelessness. It's impossible toassign these songs to a genre or to pinpointtheir 'theme;' they are simply musicreflecting life. There is the eternal optimismof our dreams of independence, ourreconciliation to the few pleasures our livesoffer, and, as Jonathan Cott has pointed out,King Lear's theme of ingratitude. But surelythese words could as well have preceededKing Lear as followed it:We carried you in our arms, on In¬dependence DayNow you throw us all aside, and put us allawayWhat dear daughter, 'neath the sun,could treat a father soTo wait upon him, hand and foot, yetalways answer 'No'?—''Tears of Rage”Dylan's first post-acccident albumrelease, John Wesley Harding, entered inearly 1969 a pop music world which was vastly changed from that which the singerhad left two summers before. The 'Summerof Love' had just ended, thus marking theostentatious beginnings of a new 'youthsubculture' in which the exemplaryexistence seemed to be a hedonistic withdrawal from the time-honored pursuit ofone's 'calling.' Drugs and rock music werethe essential elements of this alienatedcommunity's religious ceremonies. Inconcert halls across the country, high schoolstudents like myself gathered with thecollege-aged to alter our consciences and tryto reach a state of brotherhood through thehigh-decibel purification of bands likeJefferson Airplane and the Grateful Dead.As befits religious ceremony, pop music wasmet with a greater degree of seriousnessthan previously. The Beatles' Sgt. Pepperwas doted upon as if it were the most sacredcommunication since Moses' burning bush.English guitarist Eric Clapton moved oneyouth to scrawl the slogan, 'Clapton is God'across a park statue.Amidst all this wailing and thunder, fhereturn of the original high priest ofalienation to his children was remarkablyinauspicious. Dylan's pre-accident rockwould have now found a much-broadenedcaptive audience; but the singer chose in¬stead to record an album of quiet, melodicsongs; accompanied only by his own guitarand piano, a drummer and bassist, and anoccasional country-style steel guitar. Thesinger later admitted that he was trying tocapture the sound of Gordon Lightfoot'srecordings; and Lightfoot was at that time adecidedly unfashionable figure among thosewhom one would assume to be Dylan'saudience.The songs of John Wesley Harding were thegeneral public's first evidence of the changewhich these eighteen months had wrought inDylan. As was the case with the best of fhedemo tapes made that summer, these songsexpress a far broader sample from thespectrum of human emotions than anything(continued on page 17)PAINTLATEX$1 GALLON00 Perand bondedby the city of ChicagoLuxurious Chauffeured jLimousines Available ForAll OccasionsAdvance reservations appreciatedCALL US ANYTIMEPAYOR NIGHT. $ 4.?5 AUTOMOTIVE ENAMELper gallon3.99 Latex Ext. House Paintper gallon2.99 Latex Wall Paintper gallon.89 t AKRILEX Resin (Makeyour own Latex paint )AKRILEX resin1 pkg. makes10 Gal. latexpaint.....@ $8.90 PKG. 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MjYOUR ORDER*FORM™ ™ VYOUR ORDER FORMTO,Mail Order Paint Co.83 Fifth StreetGr e t na, La * 7 005 3Enclosed find $ DeptC—33 7for.Gallons of your paint.Nawvt.(Pl.tMAddress,, *•»»,. ’,r,sra. ■ r 1 ptcf -c.cr* yc Slat*.The new feministsourcebook‘Based on all-new research, • ■ ■ ■ / • . . ■: ' .2\2 2 ’ 2 "■ .. • . -2}2; 2- .;;)2 . 22 2,2 S' ■ 2 ... 2■- -. : . ... 2 .2 •1 -- .. ; - - ■, /^ ^says Oi HM dm•. . . .■ • ‘ - ■ •• - 2 \ 2' ' .2' 2 ..2 2' 2.... S * 2 2 22'22 22 2.2 .2 2 2 22 22' -22 2 .2.Liberation and much moreA»d 190 jraphiM he Mf■' ■ •. ■ • ■ ’ 2.- 2 • < • -12) $5 at bookstores.' Knopf 10% off with UC ID tillthe end of the quarter 12/14onSHERMAN'S VIRGINIACIRCLES CARTONSpipe1523 E. 53rdin the Hyde Park Bank LobbyImported C igar ettesFine TobaccosQuality PipesTH£ CHIOIGOPropagandistor Writer? Portrait of aGentlemanUpton Sinclair, \merican RebelLeon HarrisThomas V. Crowell Co. ($12.95)Reviewed by Linda S. KergmannLeon Harris opens his biography of CptonSinclair with a large claim: that UptonSinclair is the most important writer in thehistory of the United States. “I have not saidthat he was America’s best writer, in thesense of having created the most enduringliterature, although he was a better writerthan he is presently taken to be. but the mostimportant. By that I mean that the effects ofhis writing have been and still are moreimportant than those of any other Americanprofessional writer.” If the importance ofthose effects can be determined by sheerquantity of output, it may be argued thatUpton Sinclair’s effects were massive; butthat his effects were in any way coherent, oreven definable, does not necessarily follow.Harris argues Sinclair’s breadth ofinfluence by offering testimonials from suchdiverse worthies as Eric Sevareid, Dr. KarlMenninger, Robert McNamara, AllenGinsberg, Daniel Patrick Moynihan, andNorman Mailer I can only wonder whether,given such breadth, there was much depthBut Harris, unfortunately, does not sharemy wonder Unfortunately, because, whileprospects for raising Upton Sinclair'sliterary reputation are limited, he isnonetheless an immensely interestingexample of a common American type thecrank—who was part of a movement thatmost younger Americans know littleabout—American socialism in the first halfof the twentieth century. “Upton the crankemerges, as he must, in this biography. Wesee his enormous flair for publicizinghimself; his ventures in communal living; his periodic “dietary discoveries;” hisattempts to make his fortune in Hollywood;his discomfort with humour and sexuality.We see him living a personal liferemarkable for its chaos, and an energeticliterary life plagued by irresolvableaspirations.Sinclair’s quarrel with the establishmentbegan with his early inability to publish hisearly fiction Convinced that publisherswere more interested in making money thanin encouraging art, he became a socialistand set out to change the system. Not a badidea, particularly since his books exposingsocial ills and demanding social changewere a definite improvement over his earlyartistic attempts. Less fortunate, however,was his constant aspiration to be consideredan artist even though he used the form of thenovel as a means of bringing his socialconcerns before the widest possible public,and was admittedly much more interestedin breeding social change than in stretchingthe limits of the form Leon Harris falls intothe trap of trying to uphold Sinclair’s claimthat his critics denied him literary praisebecause of his ideas. While it is true thatmany of his critics objected to his socialismand fo his attacks on American institutions,it is also true that compared to otherideologues—Shaw, Brecht. Dos Passos,Dreiser. Sinclair Lewis—he was a literaryfailure. It would be much kinder, and muchmore illuminating, to judge him as apropagandist and a social force But thevalue and permanence of this contribution isonly stated—not analyzed —by hisbiographerAny clear sense of Sinclair as a socialist(continued to page 15) Henry James: The I.essons of the MasterPopular Fiction and Personal Style in theNineteenth Centuryby William VeederUniversity of Chicago Press, $16 00reviewed by George KaplanHenry James and popular culture, formany people two easy targets HenryJames, for the presumed affectations of hisstyle. “The Prince had always liked hisLondon, when it had come to him ” Andpopular culture, for its manipulativeexcesses of sentiment, from little Eva onthe ice flow to the final confrontation inJaws. Vet it would seem that Henry James,the apparent definition of an elitist writer,and popular culture, by definition the leastdiscriminating mode of artistic expression,have little else in common than beingtargets. What William Veeder does in hisfirst book. Henry James: the I.essons of theMaster, is show how and why Jamesdeveloped his style and how the resources ofpopular fiction can illuminate James'grow th to greatness By studying the decade1871-1881. “from James first novel to hisfirst major masterpiece, from Watch andWard to The Portrait of a Lady," hedemonstrates “how conventional materials,received and gradually transformed,contribute to the meaning of James'novels.”The logical demonstration of Veeder’sargument and evidence is tight, just as tightas his prose is licid and readable. Beginningby establishing the biographical evidencefor James’ knowledge of the nineteenthcentury popular narrative traditions(James' father called him a “devourer oflibraries”), he then chronicles in amazingFriday, detail many of the much maligned“conventional materials” of popular fictionHere the breadth and depth of Yeeder'sknowledge is not merely impressive: it isvirtually intimidatingHe shows, for example, how, time aftertime, the “themes” and “techniques”associated with the great novelists are found(and often found first) in the works of theirpopular peers. The difference between the“great” and the “popular,” Veeder argues,is not in any necessarily radical differencein elements, but in the capacity of the“great” to sustain what the “popular”locally invent but ultimately suppressAt every point the argument is bolsteredby the contention that by “conventionalmaterials" we must mean style, “thecommon fund of dictional and syntacticusages.” as well as plot and character, “thecommon fund of types and gestures ” By socarefully defining where James beganVeeder has the geographical sense toestimate accurately where he went Thus, inthe second half of the book, his lengthytreatments of Washington Square and ThePortraits of a Lady are probably the bestreadings thus far of works which havecertainly received their share of readingsAs if the critical blessings of this bookwere not enough, it has visual ones as wellVeeder has uncovered a set of AlvinLangdon Coburn's remarkable “lost”photographs of Henry James, his seacoastresidence Lamb House, and Paris, ten ofwhich are magnificently reproduced in thecenter of the book While the critical textshows how far away artistically Jamesmoved from his peers, in their beauty thesephotographs illustrate how far away wehave moved from the elegance of James'world>c ember 5, 1975 - The Chicago Maroon-9SuggestionsBook giving is always a possibility,especially during the holiday season. Thebooks listed below are among the booksreviewed in the CLR during the past yearthat deserved special recommendation.Included are excerpts from the originalreviews.Sir Gawain and the Green Knight:A Comedy for ChristmasTranslated by Theodore SilversteinIllustrated by Virgil BurnettUniversity of Chicago Press$10.00“Silverstein is obviously aiming for is arendering that will appeal not to students oracademicians, but to ordinary literatepeople who care about the traditions ofEnglish poetry but find scholarly trappingstiresome and linguistic barriers forbidding.The stories are supported by soundscholarshipbut uncluttered by its trappings."(John Boots)Something HappenedBy Joseph HellerAlfred A Knopf$10.00“The book is a series of monologues . RobertSlocum ... who is haunted by the certainknowledge that ‘something must havehappened to me sometime .something didhappen to me somehwere that robbed me ofconfidence and courage and left me with afear of discovery and change and a positivedread of everything that may occur "bigger, more ambitious, and morecomplex than his Catch 22."(Pat Checchini) Zen and the Art of Motorcycle MaintenanceBy Robert PirsigBantam$2.25“It is about an ambitious genius who came tothe University of Chicago as a graduatestudent in Ideas and Methods prepared todynamite the bastions of traditionalphilosophy. ‘No one,’ Pirsig writes inretrospect oi his other ‘self,’‘was reallyaccepted in Chicago until he'd rubbedsomeone out. It was time Aristotle got his.’This is a curious and engaging book whichwould be almost disgusting in its egotismand near self-loathing were it not for theauthor's delicate sense of satire anddetermined self-revelation”(Martin E. Northway)The Memoirs of a SurvivorBy Doris LessingAlfred A. Knopf“Those who can’t bear to miss a piece ofLessing virtuosity take a chance of seeingtheir most haunting fears reflected on theprinted page."(Shirley Kistler Baker)Midway StudiosCERAMICS SALEmugs, platesbowls,etc. CRAFT FAIRleather, jewelry, graphics,macrameFri., DEC. 5, Sat., DEC. 612 noon - 5 pmIda Noyes Cloister Clubsponsored by Student ActivitiesPhone: 752-4381 Member of ABASEMINARY CO-OPERATIVE BOOKSTORE, INC.5757 University Ave., Chicago, Illinois 60637JOIN US!By purchasing a share of stock for SIO.OO, 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. —Tis the seasonfor paperbacksChicago: Growth of a MetropolisHarold M. Mayer and Richard C. Wadean incredible book. Like its subject it is excessive, and nothingsucceeds like excess a dimensionalism comes through that no othercity has."—The New Republic1969 x, 512 pages Ulus. $8.95The Autobiography of Johann Wolfgang von GoetheTranslated by John OxenfordWith an Introduction by Karl J. WeintraubGoethe explores the formation and education of his personality as a poet.Volume 1 describes the gradual development of interplay between the selfand the world, while Volume 2 focuses on the beginnings of his career.1975 Volume 1, 467pages; Volume 2, 447pages; $5.25 eachFlorence in the Forgotten Centuries, 1527-1800Eric Cochrane"Brilliant is the only way to describe this book, so wide-ranging, so soundin judgment, so original in conception and as readable as a novel.’’—NewYork Times Book Review Winner of the Gordon J, Laing Prize, 19751973 xiv, 594 pages Ulus. $7.95A Rhetoric of IronyWayne C. Booth"This book will serve for years to come as a point of departure fordiscussions of genre and rhetorical devices. ”—Library Journal1974 xiv, 292 pages $4.50Introduction to AristotleSecond Edition, Revised and EnlargedEdited by Richard McKeonFor this special hardcover revised and enlarged edition, Professor McKeonhas completely rewritten his General Introduction and his introductions tothe particular works.1973 698 pages $4.95The Guide of the PerplexedMoses MaimonidesTranslated and with an Introduction and Notes byShlomo PinesIntroductory Essay by Leo Strauss"This work by Pines and Strauss must be recognized as one of the mostimportant contributions to the study of Maimonides in the present century.The translation is of a quality unequalled in a modern language."—Journalof the History of Philosophy1963 Volume 1, 368 pages, $7.25; Volume 2, 432 pages, $7.95Personal KnowledgeTowards a Post-Critical PhilosophyMichael Polanyia passionate and profound attack upon empiricism in its stronghold—the theory of scientific enquiry brilliantly imagined and expressed insentences of uninflated eloquence."—Encounter1958 xiv, 428 pages $5.25The Chicago School of ArchitectureA History of Commercial and Public Building in theChicago Area, 1875-1925Carl W. Condita major contribution by one of the world's master-historians ofbuilding technique.’’—Arts Magazine1964 xv/V, 238 pages 196 plates $5 95Old Chicago HousesJohn Drury"Readable in style and full of information, the volume is a distinct additionto the lore of our beloved city. Its fine illustrations add to its value. ”—Chicago Tribune1941 x/x, 518 pages Ulus. $6 95The University of Chicago PressThe University of Chicago Bookstore10-The Chicago Maroon - Friday, December 5, 1975Fadiman’s WinesTake a SpillThe Joys of WineBy Clifton Fadimanand Sam AaronHarry N. Abrams, Inc.$45.00Reviewed by Graham SnowdenThe Joys of Wine is a graceless, tastelessbook. In a field filled with flummery andnonsense, it out-Herods Herod. It is surelyone of the most unessential wine books everpublished.Let’s begin at the beginning. The designerof this book has given it a simple elegant all-white binding and then mucked it up with alurid cardboard cut-out of a cluster ofgrapes pasted onto the front cover and ahard-to-handle clear plastic dust jacket thatproclaims in large red letters the title. Whenthis cover is ripped and torn and thecardboard cut-out is scuffed, as they will beif the book receives only prefunctory use.this book will grace no one’s coffee table.And that—the adornment of coffeetables—is the only function that I can seethis book fulfilling.The title is revealing. I can’t imagine thatFadiman, with his pretensions toliterariness, agreed heartily to it. It smacksof a committee decision—a title generatedto maximize profits. What we have, in fact,is a committee book (or, rather, non-book):a series of less-than-perfect parts that don’teven make up a whole.Fadiman’s function, apparently, is to givethe book some class. Alas, he is reduced toreprinting an old essay on wine he’d writtenfor Holiday magazine in 1957 with a lengthyappendix in which he takes back most of thethings he said originally. It's all a sure signof a writer faced with a job of work wheninspiration has utterly failed him.Unfortunately, Fadiman has also turned into a bit of a crank: “The action of a goodcorkscrew on a sound cork that has kept lifewithin a sound bottle of wine furnishes realand constantly repeatable pleasure to thosewho care for such small matters. On thewhole I would prefer to experience such apleasure as against that of a journey to themoon, which is of doubtful benefit to thehuman race.”Fadiman has also added to the book aselection of stories, poems & squibs aboutwine; Dorothy Sayers, Longfellow, RussellBaker and a few others appear. If one isreally interested in reading stories aboutwine, I suggest that they peruse an earlieranthology also edited by Fadiman:Dionysus: A Vintage Case of Tales AboutWine. There’s no Russell Baker in thatcollection, which is an added bonus.Sam Aaron in his flat and utterlypredictable prose presents the only usefulinformation in the book: what the cover,with its pretentious inflated language, calls“All Needed Information, Instruction, &Wine Intelligence.” Actually, if one is onlyinterested in needed information, etc., Isuggest he go directly to Aaron’s chapter onwines and spirits in James Beard’s How toFat Better for Less Money, which isavailable from Pocket Books for a mere oneand one-half dollars. You’ll find thereenough guidance to keep you tipplinghappily far into the night. Aaron offersagain such information in The Joys of Wineand also adds a great deal of padding. TheBooks for the browser,scholar, gift-giver.Art Fine-bindingsReference Cook booksEncyclopediasChildren's LiteratureStop by during the holidaysWe will be open...1503 E. 57th St. 9-111020 S. Wabash, 8th FI. 9-5 Mon.-Sat.POWELL’S 375-1479 padding reminds me mostly of the type ofthing one reads on the back labels of winebottles. Why not read it there?Finally, one should mention the lavish,four-color spreads that the graphicsdepartment at Abrams has produced.Technically, they are beautifully done.Artistically, they are simply terrible. Theyall look like copy from an advertisingagency. Every cliche appears: the happypeasants of Europe during the wine harvest,the solemn winetasters—even, God help us,Brother Timothy of The Christian Brothers.It’s all an appalling waste of fine printingPoemsRobert FrostHe was a well-travelled spring—He covered miles with a continuity apparentto any.He had his gentle hand on the world we livein—The air he breathed was real air.His trees were really trees on Earth.New England’s torrential meltsFlooded his narrow and stony valley withmud and twigs and silver.And left, in sudden verdure, a memory oftheir magic. UntitledEternity is each second’s legacy,Measured by each sand grain.Squeezed by the hour glass.History is cluttered with moments.Many a Prince has left his castleFilling your vision,And his aristocratic mannersRotting cavities in the languageThe moment of the long swordHas outlined the aspirationsOf all the worms in milleniumThe kiss of Maid MarionHas left thousands alone with their passion.My hopes have often been turned intohorrors by other men s blundersMy vanity has made me ashamed of myfailures.But the insect does not understand the truckThat turns it into garbageI see its shadow.I am not exalted by the knowledgeBreathingTo feel the wind ruffle your failures,And know that flying was the reason.No tower, no accomplishments, nopermanent delusion,Just living...Still, it was barely possibleTo turn away from wordly troubles.To ignore the demons and the terrors,And allow his unhurried stanzasTo lay their wreath of rude and artlessmarvels.True, it could be pleasant;To ignore the twitch, the wrinkles.The traditionalized phrases,The glaring billboards of stereotypedwisdom.The hopeful looks, that meant so muchTo those that loved him.And touch those cold and feeble fingers Living its own reasonUntitled Poem on PoemsA poem is not read: it's madeA poem is both mead and radeBy Kenneth ZwiebelKenneth Zweibel graduated from theCollege of the University of Chicago in 1970.He now resides in Princeton, New Jersey.KAFFENIO RESTAURANTPhono 643-2240 7 - 11 Every Day <550 east 55 streetGOOD FOOD AT REASONABLE PRICESGYROS S 1.50 SOUVLAKI $3.00 GREEK STYLE BURGERS $145GREEK SALADS $1.30 GREEK PASTRIES $ 60 AND MOREPHOTOGRAPY EXIBITION BY JIM REEDFriday, December 5, 1975 - The Chicago Maroon-11HYDE PARKSHOPPING CENTER55th Street and Lake Park AvenueBiggest (Minas Ever!COME ANDHEAR CAROLSTalented singing groups from many schoolsand churches wilt offer many holiday songsto put and keep you in the holiday spirit■SiJUf- jUL*- ->>i> :'s4isf’ —W- If F W. 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AND WE WELCOME MASTER CHARGE AND BANK AMERlCARO<■> /■ • ,mdiCai awfhte'Sk. • wiRty? available m marrythe Shopping Center ApSwehmme f&r aft our SINCERE WISHES FOR THE HOLIDAY SEASONAND THE COMING YEARDr Morton R Maslov, Optometrist1510 E. 55th Street fin file Shopping Center mail!-!v ;■ ;>55th to,cc56th5/thf » 58 th59th ^m Hyde ParkShopping Center ^QCConflict of Interpretations:The Search for Changing PermanenceThe Classic:Literary Images of Permanence andChangeFrank KermodeVikingReviewed by Lindsay WatersMr. Kermode’s book is serious and im¬portant. When he delivered a portion of itbefore a University of Chicago audience ashort time ago, it was hard to guess thepurport of the whole of which his addresswas to be a part. With his full argument infront of us, we now can. Moreover, we nowcan see how ironic, if you will excuse theterm, it was that Wayne Booth of theUniversity introduced Kermode to theChicago audience, for Kermode’s book is anassertion of a critical position in sharpestcontrast to Booth’s.I give the wrong notion of Kermode’s bookif I suggest that he mounts a full scale at¬tack on Booth in it. In fact, the critic withwhom Kermode most often takes issue isE D. Hirsch, a man whose ideas might beclose to Booth’s but are not identical withthem In any case, Kermode’s book presentsno frontal attack on anyone, but rather aroundabout espousal of ideas which areopposed to Booth’s. Hirsch's, and others’.That Kermode was flirting with new, not tosay newfangled, critical notions has beenevinced in articles he has written for arecent English Institute Annual for theTLS. His article in the TLS revealed the favorin which he held ideas of Wolfgang Iser (theauthor of the book The Implied Reader, thetitle of which plays on the name Booth gaveto his important idea of “the impliedauthor”) which suggest the need forrevision of some of Booth's ideas. However,as I have said, no animosity marks this book.Kermode sets about the problems at handindirectly. His indirection enables him to avoid even the suggestion of animosity; thisindirection is, at the same time, the sourceof some problems for his arguments.By focusing on notions of one type ofliterature, the classic, Kermode traces what"Tie takes to be the history of a fundamentalchange in how we read literature in general.All of the book was given originally in lec¬ture form at the University of Kent as the T.S. Eliot Memorial Lectures. Whether indeference to the man the lecture serieshonors or for the purposes of indirectly-approaching his major issue, Kermodebegins his book with Eliot’s idea of theclassic. This is what I was referring to whenI said above that Kermode’s indirection is asource of problems for his argument.Kermode not only begins with Eliot’s notionof the classic, but he finds it acceptable forhis purposes (with the importantmodification of his idea of “ac¬commodation”). By choosing to work withEliot’s idea of the classic, Kermode limitshimself greatly because he does not useEliot’s idea critically enough. Eliot’s notionof the classic is hampered, as Fei-Pai Lu hasshown, because it is based on broaddichotomies: center vs. periphery, traditionvs. talent, metropolitan vs. provincial,orthodox vs. hertical, and the like. Ker¬mode brings all of these dichotomies into hisargument; and his argument, especiallythat of the first chapter, suffers as a result.One would have imagined that in a booktitled as is Kermode’s, there would be amore critical adaptation of such ideas,especially since Eliot’s idea of a classicauthor excludes such otherwise likelycandidates for the title as Goethe. I wouldsuggest that Kermode is not critical ofEliot’s notion of the classic because he ismore interested in other matters.Kermode is after something in Eliot’s description of the classic, and that is that theclassic is permanent. It always appeals tomen, and men know how to read it becausethey have methods of accommodating it totheir contexts, in some cases, even tocontexts radically different than that whichproduced the classic work. Therefore theimplied reader and the implied author reachcomplete agreement about the work's“meaning.” There is, in other words, no gapbetween the text and the reader. We shallhave to come back to these ideas later, but Imust add at this point that another reasonKermode may not be critical of Eliot'sdialetical procedure is that he uses such aprocedure himself. This procedure is thesource of another problem in Kermode’sargument for he is prone to makegeneralizations on the basis of broaddichotomies. Working on the level of con¬cern that Kermode has, considering thatwhich separates “Modern” from otherways of reading, is sticky business. Whycall, as Kermode does, Spenser a classicwriter and Marvell a Modern0 ThoughKermode gives reasons for doing so. onenevertheless gets the idea that he is tracinghistory from what Hume would call an“abstract” perspective. The danger forKermode is that his reader might feel thatKermode could make any writer fit hisschema. In practice Kermode seldomexercises such license; still, such procedureweakens his argument's rhetoric. What ismore, despite skillful management of hisdichotomies, he risks leaving his readerconfused If not confused, the reader is leftw ith what are now commonplaces—that theshift in how we read literature correspondsto the development of an historical methodor to the change from notions of a closed tothat of an open universe (*For change.”comments Kermode on Hawthorne's “Modern” novels, “is the law of the NewWorld”).I cannot go into Kermode's book in depth.While I have suggested some of its defects. Imust treat some of its virtues and go back tomatters I brought up initially. Indirection isa source not only of defects but also ofvirtues. The way Kermode uses hisdiscussions of Hawthorne and Emily Bronteto carry his main argument in the latter halfof his book, giving most particulardiscussions to their works, is a greatpleasure In fact, throughout the book heonly reveals his main argument bit by bit.although by the end he brings it to the fore.This is appropriate in terms of the structureof the book, since he is marking a changebetween modern ways of reading literatureand an older way. This makes the latterchapters which deal with modern literaturethe right place to bring out modern ways ofreading. And the change, according toKermode. is large (a conclusion befitting hisprocedure which I have briefly discussed'.At earlier times, during the Middle Ages andthe Renaissance (the subjects, along withEliot, of the first half of the book). Westernculture interpreted texts univocally. for ithad means, such as allegory, of ac¬commodating a classic text to its newperspective. Western culture was not soaware of historical perspectives and couldassume the permanence of a classic'ssignificance. They assumed the text spoketo them across the ages. We modernscannot. Kermode argues, make thatassumption for we know how considerablethe part we play as readers is in thereconstruction of the meaning of any text,ancient or modern We live with change,change that forever separates us from a• continued to page 15)CHECK OUR NEWEVERYDAY LOWMAGIC PRICESDAKOTA WHITE U.S.D.A. CHOICEVEAL ROAST 1 591 lb.1691 lb.198X Lb. COUNTRY DELIGHTPOTATOES-J 69hag 1 RUMPSIRLOINU.S.D.A. CHOICELOIN VEAL CHOPS HALF & HALFCREAM Cv. oS3SWANSON 3 COURSEFRIEDCHICKEN DINNER 7Qc15 oz. 1*1Reg. 99* I V U.S.D.A. CHOICERIB VEAL CHOPSU.S.D.A. CHOICESHOULDER VEAL CHOPSU.S.D.A. CHOICEBREAST OF VEALFRESHGROUND VEAL 1791 Lb.l4?b98^ BLACK LABEL BEER6 cans V 39Reg. 1.55 I(Warm Only)STORE HOURSMonday-Wednesday 9 a.m. to 7:30 p.m.Thursday and Friday 9 a.m. to 8 p.m.Saturday 9 a.m i. to 7 p.m.Sunday 9 a.m. to 3 p.m.HYDE PARK CO-OP SUPERMARKET1526 E. 55th STREET 667-1444Friday, December 5, 1975 - The Chicago Maroon-1 3I New Writing in the Great TraditionThe Realms of Goldby Margaret DrabbleAlfred Knopf, $8.95reviewed by Jerry W. CarlsonMargaret Drabble is that relatively rarebut constantly enviable thing: an intelligentliterary polymath. Born in Sheffield,England in 1939 and graduated fromNewnham College. Cambridge in 1960, shehas written admirably in numerous literarymodes. Her works include a play (producedin London in 1969), a screenplay (alsoproduced in 1969), a critical study ofWordsworth, a literary biography of ArnoldBennett, four short stories, and sevennovels. She has also received twoprestigious British literary awards: theRhys Memorial Prize (1966) and the BlackMemorial Prize (1968). What is more, inGreat Britain her literary stature ismatched by popularity. All of her novels areavailable in Penguin paperbacks.Yet. unlike her compatriots ElizabethBowen, Muriel Spark, and Iris Murdoch,with whom her work has been favorablycompared, her readership in Americaseems negligible. Only two of her novelshave found their way into paperback One,The Millstone, (1965), has been re-titledThank You All Very Much and packaged ason-the-bus-to-work reading. The other. TheNeedle's Eye (1972), is available in apopular Library edition which, sad to say, isbound in glue with an apparent one weeklifespan and which, even worse, hasreceived poor distribution. (Although it isavailable at the university bookstore, it tookfriends of mine elsewhere months to get it.)When one considers, even in generalterms, the virtues of Ms. Drabble’s art, theslim recognition which she has found in theUnited States seems astonishing. As for thetheory behind her fiction, it is conservative.Shunning the fictional modes of. say. Robbe-Grillet or Pynchon, she writes what she calls “a good traditional tale.” Still, herconservatism does not rule out innovation.Fluency and subtlety of language, aconvincing sense of plotting, an entertainingyet probing wit, and remarkable powers ofmotivational analysis: all these talentsconstantly enrich her art. By applyingtraditional techniques to new materials (hercharacteristic milieu being the intellectualand professional circles of contemporaryLondon), she creates new forms withoutsacrificing literary lineage. She alwaysspeaks in her own voice, but in that voiceone can hear the echoes of Jane Austen,George Eliot, Henry James., and VirginiaWoolf. In short, the Great Tradition.Her deference to tradition is apparent inthe title of her latest novel, The Realms of(iold. The quotation is, of course, from JohnKeats' “On First Looking into Chapman’sHomer: ”Much have I travelled in the realms ofgoldAnd many goodly states and kingdomsseen;Round many western islands have IbeenWhichs bards in fealty to Apollohold Like Keats’ narrator, Drabble’sprotagonist. Frances Wingate, is muchtravelled. A divorcee, mother of four,archaeologist, and frequent lecturer, she isalso the discoverer of at least one realm ofgold, a lost Saharna city. Her story is thenarrative working-out of the brunt of Keats’beautiful lyric: the finding of a realm of goldwhich transcends the material limits ofgeography. In more concrete terms, it is thestory of her reconciliation with her formerlover. Karel Schmidt, a Jewish survivor ofthe Nazi holocaust, history professor at apoly technical school, and habitualconfidante of the helpless and neurotic.The action, in simplified terms, can bedivided into roughly three stages: Frances’giving a lecture in the south of France,taking part in a conference in Africa, and attending to family business in theMidlands. The first stage sets the conditionsfor making Frances’ reconciliation withKarel desirable; the second exhibits, moreor less, the resolution of the internalconflicts which stand in the way of thereconciliation; and finally, the thirdchronicles the tangle of externalcircumstances which test the decision madein the isolation of Africa and which must beresolved for her reconciliation with Karel tobe successful.Although Ms. Drabble is a novelist of theupmost seriousness, one should not surmisefrom a summary of the action that she isconsistantly dry and sombre. To thecontrary, the novel is constantly puntuatedby the author’s comic touch.Taken on its own, this text is quite funny.Yet it is an integral part of the novel. A lot ofpeople in the work have on concern oranother with teeth. From such an unlikelymotif Ms. Drabble weaves an elaboratedesign of life’s pattern of loss, recovery, andsustenance.More impressive, though, than the use ofcomic motifs is the architecture of the novelTowards the end of the book, for instance,Frances is confronted with two unexpecteddeaths, one of a forgotten relative and theother of a close relative. At the funeral forthe first, she is sufficiently distanced fromthe experience to reflect upon itsimplications “She thought of death andDurkheim, thanked God for Karel’ssalavation (from the Nazis), and speculatedabout the origins of religious sentiment.Ritual does not solve, but, like tears, itassuages, she thought.” Yet several dayslater, at the second funeral, she thinks,“This was the place: this was death. Howcan one make a friend of death, how can oneaccept gratuitously the wicked deal9 It wasbetter not to pretend. All ritual is a bittermockery. The tears poured down herface...”The important point here is the discrepancy between her view and our view.She is calm about the first funeral andcaught up emotionally in the second. We, bycontrast, are distanced from both and,consequently, can see that, despite Frances’pronouncements otherwise, at the secondfuneral she is receiving the solace—small asit may be—which she prescribed at the first.Her tears assuage her grief The brillianceof this doubling of the funerals is that thoughexperience rendered in language Ms.Drabble expresses the limits of conceptsrendered in language. Thus, Frances’ initialformulation is valuable. But our experienceof how her concept is tested by herexperience is more valuable. Here, aselsewhere, Ms. Drabble recognizes whatD.H. Lawrence knew:“...every work of art adheres to somesystem of morality. But if it be really awork of art, it must contain the essentialcriticism of the morality to which itadheres . The degree to which thesystem of morality, or the metaphysic, issubmitted to criticism within the work ofart makes the lasting value andsatisfaction of that work...”Unfortunately, this fine novel i§ marredby Ms. Drabble's own lack of self-criticismabout her writing. At several points, it readslike a first draft and simply needs to becleaned up. Thus, when several pages fromthe end. the narrator announces, “So thereyou are. Invent a more suitable ending if youcan,” the intrusion grates.Throughout the work Drabble subtlelymoves and convinces us that, while, one theone hand, her novel orders and managesexperience, on the other, the orderingalways admits the unmanageable nature ofexperience. So why, at this late point thebook, such an obvious bit of grandstanding?Similarly, on the last two pages, she errorsby including two complex images whichsuggest the impenetrability of humannature. Each is striking, but ultimately theyare repetitive rather than complimentary.These faults and others like them bar thenovel from a place in the Great Traditionwhich Drabble so fervently admires.Nonetheless, her work is only getting better.At thirty-six, Margaret Drabble has time.This Christmas movies arebetter than ever...in paperback. The Film ClassicsLibraryedited byRichard J. AnobileBUSTER KEATON STHE GENERALThe 1927 silent filmclassic reconstructedthrough 2.100 sequentialframe blow-ups and titlecards. $5.95ROUBEN MAMOULIANSDR. 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Over 10 000entries in this revisedand updated edition.$6 95HORRORSFROM SCREENTO SCREAMby Ed NahaA treasury of thegreatest horror andfantasy films of all time—with hundreds ofstills. $4 95, Some stores put turkeys onsale for Christmas, but theSTUDENT CO-OPis putting itsENTIRE STOCK ON SALEtoday and tomorrow only.{9(9 SantaA WASSAIL PARTYFri., December 5th 4 P.M.Ida NoyesFreesn Carols9 Brass Choir9 All Students, Faculty, Staff Welcome9 Sponsored by SAOL ■14-The Chicago Maroon - Friday, December 5, 1975More Henry James LettersThe Letters of Henry James: Volume II,1875-188:1edited by Leon EdelHarvard University Press, $15.00reviewed by Roger (). ThornhillProfessor Leon Edel ended the firstvolume of his projected four-volume editionof the letters of Henry James with thefamous expatriate’s words upon arriving inLondon in 1875: “I take possession of the oldworld—I inhale it—I appropriate it.” Thenewly published second volume of letterschronicles the years 1875-1883, the years inwhich James took possession of the oldworld, the years in which in moved from thefragile perfection and popularity of DaisyMiller to the achieved complexity of ThePortrait of a Lady. Actually, upon arriving in Europe in 1875,James, the habitual Anglophile, only stayedin London long enough to get a newwardrobe. He then installed himself in Parisand went about pursuing his literary career:writing articles on European affairs for theNew York Tribune, continuing to serializefiction in American publications, andmixing in literary circles. Mix, he did. Soon,through the letters, we see him in thecompany of Ivan Turgenev—“a great, stout,handsome, simple, kindly, elderlyfellow”—and visiting with Flaubert,Daudet, Zola, and the Goncourt brothers.Yet, within a year, he decided that thegiants of French literature were“intellectually very remote” from hissympathies. In December 1876 he left“glittering Paris” and crossed the Channelfor London. There he found the intellectual and social—if not the physical—climatemore suitable to his sympathies: “As you sitin your room you seem to taste the very coalin the great clumsy fires, and when you openyour windows for fresh air you admit uponyour book, your linen and your skin, a rain ofsootflakes.” Despite the sootflakes, in thewinter of 1879 James managed to dine out109 nights. All the while, he workedprodiguously and fruitfully, producing suchmasterworks as “An InternationalEpisode” and Washington Square. By 1883London’s society and literary world werehis.Aside from their obvious biographicalvalue, these letters are a major literaryevent With the help of Leon Edel’s tactfulediting and footnoting, they read like a fineepistolary novel. “I find as I grow older,”wrote James in 1876, “that the only seriouswork I can do is story-spinning.” Happily,these letters show all the interest andvitality of his “serious work.”(continued from page 9)among socialists is lost in Harris’s attemptto present Sinclair through the impetus forand responses to his books. Sinclairemerged in what Alfred Kazin called “thathalcyon day when Marxists still soundedlike Methodists” and lived to be scorned bythe New Left. Although his life-longambition was to spread social justice, hisconception of socialism grew ever wider andvaguer until he finally left the party to runfor the governorship of California as aDemocrat in the thirties. Eager to justifySinclair by selecting from letters and bookreviews acknowledgements of his goodintentions, Harris evades the knottyquestions of means and ends that haveplagued the American left throughout thetwentieth century. Wary of analyzing thequality of Sinclair’s ideas. Harris falls backon his vague claims of influence. Instead ofassessing Sinclair's part in the changing (continued from page 13)work’s original context. We must live with apermanent gap between any author’s in¬tention and our reading of his text. What ismore, in the modern age, we have aliterature which corresponds to this theory.Authors hesitate to assert that the eventsthey narrate have a certain meaning; andtheir works are “overdetermined,”precluding the possibility of one, “ob¬jective” readingWe live in a time of “readerly” literatureas Barthes has put it. and we must be awareof the task of the reader which is implicit inthe work Reading is the proverbial picnicto which the author brings the words and thereaders the meanings Kermode takes hisstand, then, on the side of those who arguethe necessity of multiple interpretations ofliterary works and the impossibility of exactagreement between reader and authorabout the work. In this, of course, he placeshimself square in opposition not only to thewell known views of Hirsch. but also thesimilarly well known views of Booth. Fullexposition of the issues raised would takemore space than is available here.Court TheatreUniversity of ChicagoannouncesOpen AuditionsforExits & Entrancesa revue about theatre to open The New Theatre February 13 andrun for several weekends. Directed by Nick Rudall, Dec. 9, 10, 12 7-10 p.m. Dec. 13, 1-5 p.m. Reynolds Club Theatre. Please bringsuitable review material such as dramatic readings, monologues,poems, or songs.„ and forCabaretdirected by Michael Hildebrand to be produced weekends Feb. 27-Mar. 14. Parts for actors, singers, dancers and all female orchestra.Dec. 9 & 10, 7-10 p.m. Mandel HallThe Partyand,orby Mrozek, directed by Leslie parts for 3 men to be produced Feb.6, 7, 8. Dec. 9 & 10, 7-10 p.m. Reynolds Club North Lounge.Call 753-3581 10 A.M.-5 P.M. For Information ▼1 There is no doubt that this discussion willappear in the pages of other literary jour¬nals for some time to come.American consciousness of the nature andresponsibilities of government and bigbusiness. Harris simplifies sixty years ofAmerican history to credit Sinclair with thechangeAccepting Sinclair's terms rather thanimposing his own, Harris seems to flounderamong Sinclair’s massive collection ofcorrespondence, sidetracked into provingSinclair’s good intentions without ever quiteconvincing that they matter at all. ProbingSinclair’s genteel but destitute childhood,his sexual inhibitions, his strangemarriages, his financial problems, and hisspurts of moral and aesthetic blindness.Harris arouses pity rather thanunderstanding Upton Sinclair, in myopinion, is worthy of moreTHE PLACE FOR HERWe think there's some¬thing exeiting abouta woman in skirts...Choose from our exten¬sive collection to teamwith a great sweater orblouse.Great for Holidaygiving, too.Master ChargeBank Americard &American ExpressAcceptedor give aGIFTCERTIFICATE In TheHyde Park Shopping Center1 / 288-5454 !'T (BxrmBUGGEDBY CAR REPAIRS!Switch ttBRIGHTON FOREIGN AUTO SERVICE3967 So Archer "For Saticfaction In Service" call(3 blocks eat* of Californio Are.) 927-8000WINTER SPECIALS!TUNE-UP SPECIALSVOLKSWAGEN 1200. 1300. 1500. & 1600 Type 1 & 2. .. $32.00VOLKSWAGEN „oo. ,6oo TyP. 3 34.00TOYOTA 3KC, 2TC, 8 RC. 18 RC engines 38.50(oil filter and air filter elements included)DATSUN 1200 1200, 510, 610, 240x from S32.50 to 42.50(oil filter and air filter elements included)VOLVO 142, 144, 144E, 145, 164, A P1800 from 38.50 to 44.50Air Filter ExtraPINTO (air filter and oil filter included 38.50CAPRI (oil filter included 38.50COMPLETE LINE OF FOREIGN CARSNOWTIRES AVAILABLESet of 4 560x 15 TiresBlackwalls 74°oWhitewalls 8400Plus $1.61 F.E.T. EachLow cost installation availableFriday, December 5, 1975 - The Chicago Maroon-15Solzhenitsyn: Lever for Russian Freedom?From Under the RubbleAlexander SolzhenitsynBoston, Little, Brown$8.95Reviewed by Martin E. NorthwayIn the light of reports that HenryKissinger may have had something to dowith convincing the Soviet government todeport Alexander Solzhenitsyn — eventhough, perhaps, as an alternative toimprisonment—we must wonder whetherthe cause of Russian freedom is betterserved by Solzhenitsyn’s living in the Westrather than in his homeland. Certainly thedissident writer’s outspokenness hasencouraged many Americans and WestEuropeans to re-examine the costs andbenefits of Mr. Ford and Mr. Kissinger’sversion of detente. Solzhenitsyn’s visit to theUnited States during the summer generatedan impressive amount of publicity, andcolumnist Mary McGrory paid him acompliment of sorts after his famous AFL-CIO address when she observed that “hecould single-handedly revive the Cold War.”The attention span of the Western public,however, tends to be very short. The moralconcern and public discussion of detentewhich followed in Solzhenitsyn’s wake havenot persisted or found political expression.No official re-examination or adjustment ofAmerican foreign policy has beenforthcoming. Most recently, the firing ofJames Schlesinger from his position asSecretary of Defense produced somescattered howls, but public outrage failed tofind a focus. In the Ford Cabinet, detente isnow an article of faith officially beyonddebate.It is clear that whatever short-termeffects Solzhenitsyn’s presence in the W’estmay have, those are not as important for thecause of freedom as is Solzhenitsyn'scontinuing influence as a writer of moralauthority and as a leader of dissidentRussian intellectuals. What of the long-term effects of his exile? Will he continue to be aneffective force for change within the SovietUnion’’Fart of the answer to these questions willdepend upon Solzhenitsyn's ability tocontinue to function as a creative artist. Ifhe cannot remain a productive writer, hismoral authority among Soviet dissidentswill be undermined; already in the West heis coming to be viewed as a political figure,a polemicist. As yet, he has not publishedany of the writings he has worked on sinceleaving the Soviet Union. Whether his spirit,his talents, and the memory of hisexperiences will be equal to these newchallenges, only future works will show.But as for the doubt that Solzhenitsyn cansolve the sheer logistical problem of hisseparation from other Soviet dissenters,From Under the Rubble should help put thatto rest. This collection of essays written byhim and by other Russian intellectuals, therest of whom are still in the Soviet Union,shows that Solzhenitsyn is keeping open alifeline to his homeland—a lifeline vital toboth him and his country.Readers will be surprised to find thatsamizdat—the widely publicized “self-publishing’’ network through whichcontroversial literature is secretlytypewritten and passed from hand tohand—has become something of a fadamong the educated elite in the SovietUnion. The dissident intellectuals, of course,comprise a substantial portion of that elite,but samizdat is no longer their exclusivedomain; today they increasingly must shareit with the stylish members of the country’smushrooming technocracy, and even of itsbureaucracy. Among the latter, “softdissent” has become a fad. The moral powerof the intelligentsia has suffered because itis coming to be dominated by whatSolzhenitsyn refers to as “thesmatterers”—educated people who believe that they can promote greater freedomwithout directly challenging the authority ofthe State. Solzhenitsyn’s analysis of “thesmatterers” in his essay by the same namebrings to mind the phrase “We have met theenemy and he is us.” Far from beingalienated from the State, to a great extentthe modern Russian intelligentsia is theState.Solzhenitsyn implores the lovers offreedom to cut themselves off from thesmatterers. The only way for freedomultimately to be successful, he says, is forthe people of the Soviet Union to refuse toparticipate in the abomination that is theState. He concedes that the Sovietgovernment’s attitude toward dissentershas changed since the early bloody days ofthe Gulag. To him, that means that the Stateis finally susceptible to change, but only iflovers of freedom and justice are not co¬opted. Otherwise what Hannah Arendt hasdescribed elsewhere as the “banality ofevil” will roll relentlessly onward.“Times change,” he says, “and scales too.A hundred years ago the Russianintelligentsia thought of sacrifice in terms ofthe death penalty. Now it is considered asacrifice to risk administrative punishment.And in truth this is no easier for abject,brow beaten characters to stomach.” Partof the reason or the current predicament ofthe intelligentsia, and the whole reason forthe inefficacy, is its moral rootlessness.Solzhenitsyn seeks to redefine the dissentingintelligentsia in moral terms, since it is itsmoral fiber which will determine whether itwill survive as a political force andultimately triumph.Traditionally, the Russian intelligentsiahas been that class of educated and creativepeople who, while often employed in publicservice, are perpetually isolated from theirsociety, their people, and their government,and especially from religion. “It would bp better,'' Solzhenitsyn argues, “if wedeclared the word ‘intelligentsia’—so longmisconstrued and deformed—dead for thetime being. ” The new class of dissentersmust have solid Christian spiritualfoundations—for their destiny may indeedbe martyrdom, or a form of martyrdom,and they must be prepared for extremesacrifice—and have its roots firmly plantedin “the people,” i.e. the Russian nation as acultural, social, and historical entity.The essays in From Under the Rubblerepresent Solzhenitsyn’s attempt to midwifethe self-definition of this class of Christian,Russian dissidents. Some of the essays arebrilliant, and they are all the moreremarkable because of the active effort thatis required for one to obtain a truly “liberal”education under a repressive government.According to a recent essay by MichaelNicholson of the University of Lancaster,Solzhenitsyn was a relative latecomer tosamizdat. Without recourse to samizdat,virtually by his own bootstraps,Solzhenitsyn pulled himself into the culturalpicture in the late 1950s and early 1960s.And, by change, the theme of One Day in theLife of Ivan Denisovich was found agreeableto Premier Khrushchev’s anti-Stalincampaign. It was a tactical judgment thatthe Communist government has since hadcause frequently to regret. In the brief timebefore Solzhenitsyn’s freedom of expressionwas denied once more, he managed to shovea foot through the open door and gain afoothold in the W’est. That foothold may havesaved his life, and certainly it has placedhim in an unusual intermediary rolebetween East and West and made him thebearer of an awesome responsibility. Nolonger just a boostrap, exile may haveprovided him with the lever and the fulcrumwith which, as in Archimedes' expression,he can move the world. We shall see.SPIN-IT RECORDSThis Holiday season, give the gift that keep on giving. Spin-lt Recor¬ds presents sale prices of 40% off on all RCA, Pablo and Flying Dut¬chman LP's.This includes records by artists like Tomita, Dick Hyman playingScott Joplin, Segovia, Count Basie, Joe Pass, Lonnie Liston Smith, JohnDenver,Silver Convention, Jefferson Starship, Main Ingredient, DavidBowie, Hot Tuna.Sale Prices: $7.98$6.98$3.98 List...$4.79 Sale PriceList...^4.19 Sale PriceList price RCA Vistorola...$2.39 Sale PriceSale Runs Dec. 5 - Dec. 12RC/I SPIN-IT RECORDS1444 E. 57th St.MU 4-1505Monday-Saturday 10:00-7:30Sunday 12:00-5:30 JEFFERSONSTARSHIPRED OCTOPUS16-The Chicago Maroon - Friday, December 5, 1975Dylan(continued from page 8)he had written previously. The songs pin¬point these emotional states in a mannerreminiscent of Franz Kafka: the basic,sketchy music combines with Dylan's newtersely realistic lyrics to create a hauntinginterior landscape which seems to conveyan emotion as faithfully as if it werephotographed. Again like Kafka, these talesare of a moral nature. The listener feels anageless, primal guilt as Dylan sings of adream in which he has helped put St.Augustine to death, awakening 'so aloneand terrified/ I put my fingers against theglass, and bowed my head and cried.' Thehorror of inescapable circumstances blowsthrough 'All Along the Watchtower' like acold wind. But obversely, a higher justiceprevails as a dying drifter is about to bemercilessly sentenced: 'Just then a bolt oflightning struck the courthouse out ofshape/ While everybody knelt and prayedthe drifter did escape.'Then a high school sophomore, I was gladto have Dylan back, but hadn't achieved thematurity necessary to appreciate JohnWesley Harding fully. I felt some of thealbum's power, but it seemed unhip in thatera of drug enhanced hedonism to be feeling guilt over the death of St. Augustine, one ofthe world's most famous hedonists-gone-bad. Since that time, however, I have cometo cherish John Wesley Harding as perhapsDylan's greatest artistic achievements.VI: Country Pie:Little Jack Horner'sGot Nothin' On MeMore than a year passed between therelease of John Wesley Harding and Dylan'snext album, Nashville Skyline. My musicworld was still composed of fantasies oftough city life which Dylan had helped fosterin me, but had long ago discarded himself. Iplayed in one of a million adolescent bluesbands at the time; and most of the recordson my turntable bore the Chess label, Chessbeing the home of the best Chicagobluesmen of the preceding twenty years.Given my distorted self-image as a bad¬ass teen-age blues man, I looked upon Nash¬ville Skyline as just so much mushy, in¬sincere drivel. The-cover photo placed abearded Dylan before a clear-blue countrysky, smiling broadly and tipping his Quakerhat as if to say "Howdeee" Minnie Pearl-style. And hearing the formerly causticDylan intone 'Love Is all there is, it makesthe world go 'round,' I seriously consideredthe possibility that the singer had suffered latent brain damage in the motorcycleaccident.Of course, my assessment was unjust:Nashville Skyline is a top-notch collection ofcountry-styled pop music, skillfully writtenand almost flawlessly performed. It doesrepresent another major change for Dylan,however: this is his first attempt atunabashedly commercial music,'guaranteed to appeal to young and oldalike.'Much speculation surrounded thisseemingly abrupt move, including arenewal of the cries of 'sell-out' which hadperiodically arisen throughout Dylan'scareer. I prefer to regard Nashville Skylineas a quite honest manifestation of Dylan'scontinual efforts to re define his self-image;and through it, his public one. The AnthonyScaduto biography demonstrates to mysatisfaction that, although Dylan has alwaysbeen a willing practitioner of artiface increating and projecting a salable 'public'image; his succession of public images hasparalleled his changing concept of selfrather than being mere marketable in¬ventions. The 'young Woody Guthrie' whotravelled from Minneapolis to New YorkCity in 1961 was a fantasized extrapolationfrom a disturbed teen-ager who felt at homenowhere; thus, a 'drifter' like Guthrie. Withthis persona, the young Dylan transformedhis entire existence into a symbol of theunrest which he felt. Similarly, the Dylan ofthe mid-Sixties to which I was initially at¬tracted had focused his vengeance andfashioned from it a surly, sneering gangleader, eager to twist the blade in a worldthat had pushed him around.With Nashville Skyline in 1969, Dylanseems perhaps for the first time in hiscareer to be defining himself primarily invocational terms. Here, he is first andforemost a popular songwriter, a'tunesmith.' And what better setting couldDylan use in creating this fictionaltunesmith than the Detroit of the pop musicindustry, Nashville?★ * ★If the role which Dylan wrote for himselfin Nashville Skyline was that of popsongwriter; his role in Self-Portrait, released in Spring 1970, was that of a skilletlaborer in the Nashville music factories, thepop crooner. Significantly, the album is dominated by the material of othersongwriters and in-concert versions offamiliar Dylan songs, making Dylan'screative contribution the performance ofthat material. Perhaps, as has beensuggested, Self-Portrait is merely acollection of inferior filler, a 'product' forthe Columbia Records catalogue. On theother hand, I for one detect a design in theinclusion of alternate takes and lavishproduction numbers. Perhaps this is theculmination of Dylan's teen age fantasies asa performer; a portrait of a working man inthe business of entertaining others. Insupport of this contention, I can only point tothe singer's first commercial concert ap¬pearance since 1966, on the Isle of Wight tenmonths before the appearance of Self-Portrait. Dylan there wore an uncharacrer-istically broad grin and your basicShow Biz White suit; the trappings of aprofessional entertainer who might doubleas a magician and beauty-paqeant emcee.Whatever Dylan's intentions with Self-Portrait, it's release placed an un¬precedented strain on my devotion to him. Ihad once stood in awe before Gray's Drugsin Minneapolis, peering at the windows ofthe upstairs apartment in the knowledgethat Dylan had once lived there. I had bythis time become acquainted with theMinneapolis blues harp player Tony Glover,and held him in reverence merely by virtueof his friendship with Dylan. Thus, it of¬fended me to hear a man which had meantso much to me crooning "Blue Moon" and"Gotta Travel On," the inferior craftsmanwhen compared to Eddie Arnold or BingCrosby.Self-Portrait was a failure: a ponderous,fragmented collection with neither the depthnor the occasional flashes of brilliance tobear repeated listening. As if to compensatefor a mistake, Dylan rushed out anotheralbum a mere four months later. With NewMorning, performer and songwriter wereonce again fused in a single identity.VII: To Find TheMan In MeThe identity which emerges from NewMorning is as complex and variegated asone's image of a close friend. Dylan nowrefuses to recast himself in his earlier roleof jaundiced, impassive rock star; and he(continued on page 18)OHRBACH'San East Coast Fashion Specialty Storefor Men, Women and Children, will beholding ON-CAMPUS INTERVIEWS DEC.8 for retail executive trainees.December Grads please apply toRoom 200, Reynolds Club Office ofCareer Counseling and Placement.The Nation of IslamKaliman Lecture SeriespresentsThe Bilal (Black) Dance Troupe(direct from NY)Sat. 6 Dec. 1975 5 P.M.At Muhammad University of Islam7351 S. Stony Island Ave.Theme: New & Ancient IslamicDance FormsRefreshments ServedAdmission FreeAll Are WelcomeFor Info Call 783-5270/651-7836 Go home on Allegheny. Andsave yourself some money. Weoffer a wide variety of discounttravel plans with big savings forgroups and individuals.The Liberty Fare. You can gohome and a lot of other placesbesides*, with unlimited travel atone low price. 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And get ready to gohome or anywhere elseFriday, Doc ember 5, 1975 - The Chicago Maroon-17 TheGreyCityJournalTheGreyCityJournal Dylan(continued from page 17)exceeds the craftsmanship of writingpleasant, impersonal pop songs which hedemonstrated with Nashville Skyline. WithNew Morning the singer-songwriterpresents Bob Dylan not as a self-createdsymbol, but as a man at one moment self-doubting and afraid, at the next momentpious and thankful. Above all, he isprofoundly in love with the woman throughwhom he found that man in himself.This new-found man is forthright andcommunicative. While the old Dylan type¬cast himself into musical roles as 'folk,''rock,' or 'country' singer, this new manchooses with greater flexibility the precisemusical idiom through which to expresseach of his songs. Thus, the ice-skatingrhythms of a waltz bring "Winterlude"alive; while the solemn praise of "Father ofNight" rushes deeper into the soul throughthe impetus of a stately, assertive pianofigure.Most importantly, Dylan seems with NewMorning to have regained a sense of per¬sonal history. Throughout his career, he hadconcealed his past, constantly re-writingthat past to more neatly complement hispresent identity. Now, however, he canallow a meeting with Elvis Presley to carryhim back to his boyhood dreams of that idolin 'a little Minnesota town;' and he canmock one of his own earlier poses in "IfDogs Run Free." Dylan's defenses seemedto be down.The net effect of New Morning was to de-mythologize Dylan in my eyes. For the firsttime, I felt that I saw him clearly as a man ;something more than an articulateprojection of my own spirit. It was a con¬venient time to shed my heroes: I felt that Iwas making my first stab at self-reliance,having moved to Chicago in pursuit of thetwenty years of schooling necessary for aspot on the day shift. Furthermore, I wasfast approaching the age at which Dylan hadde-mythologized his own heroes and beganto look at the world through his own eyes.VIII: The Fallow Years:Watching The River FlowJames Coburn (as Pat Garrett): "Whoare you, boy?" Bob Dylan (as Alias):"That's a good question."— Pat Garrett & Billy the Kid,directed by Sam Peckinpah.I he writing and singing or songs had occupied Dylan almost exclusively over thepast decade. However, in the three yearsfollowing the release of New Morning, hewas reportedly devoting part of his energyto different projects and other interests.Perhaps as a consequence, very little newDylan music found its way to the public.Aside from the handful of songs he wrote forthe soundtrack of Pat Garrett and therecording of his performance at the benefitconcert for Bangla Desh, Dylan onlyreleased seven newly-recorded songs inthese three years. Only two of these,"Watching the River Flow" and "GeorgeJack->on," were newly-unveiled com¬positions.Dylan had moved his family intoGreenwich Village, where he claimed to bedirecting his energies toward 'keepingthings nice and simple,' spending some timesoaking up the 'dank and dirty' atmosphereof the garment dislrict. A projected albumand television special from this period neversurfaced. The Scaduto book reports thatDylan was working on his autobiography, ofwhich there has thus far been no trace to myknowledge.The 1971 single release "Watching theRiver Flow" may stand as evidence ofDylan's motivations in those fallow years.Ironically, he used the then-fashionablebarrelhouse rock of Leon Russell and JesseEd Davis as a backdrop for a song aboutfeeling out of synch with the time. 'What'sthe matter with me?' Dylan asks; 'I don'thave much to say...People disagreein' abouteverything/ I just wonder why.' Maybe hewas avoiding the '70's like the plague;perhaps wisely letting the river of changeflow before his eyes while he attended to hisown life, 'keeping things nice and simple.'As his reported flirtation with the JewishDefense League and his visit to Israel seemto indicate these years may have been aperiod in which Dylan took inventory;sorting out a garbled personal history insearch of the answer to Pat Garrett'squestion, in search of the man in himself.If this was the case, Dylan's intriguingrole in Peckinpah's film neatly encapsulatesthe life which eventually necessitated thatself-confrontation. The mysterious manchild Alias runs off to join his outlaw heroBilly the Kid; much like a child off to jointhe circus, or the young Dylan bound for theEast Coast to meet Woody Guthrie. Aliashelps Billy out of a jam, but proves to be nomatch for the pros as the inexorable flow ofevents leading to Billy's death are set intoOAK FURNITURE-ANTIQUESrefinished + as IS Desks1649 E. 55th tAf jA Tables667-4380 Tr ChairsDressersBookcasesMuchMorealso we doRefinishing1-6:00 PMTUES.-SAT PIZZAPLATTER14601.33rdMl 3-2800FAST DELIVERYAND PICKUPCOLLEGIUMMUSICUM AMERICANMUSIC OPERADEC. 6 MANOEL HALL 8:30 P.M.DEC. 7 ST. JAMES LUTHERAN CHURCH 8:00 P.M.FREE FREMONT & DICKENS motion. At film's end Alias, leaderless andseemingly ego less, faces an uncertainfuture alone. After filling a succession ofself-constructed identities and poses, Dylanperhaps also found himself on a deserfedback lof; unable fo remember his realname.IX: Gained Some Recognition,But I Lost My AppetiteDylan used the front door when hereturned to the public arena at the beginningof 1974: with a flash of light and a cloud ofsmoke, there was a new album with a newcompany, and a concert tour which was soldout before the ink on the tickets had dried.Although Chicago had the honor of hostingthe tour's first concerts, I didn't lift a fingerto assure myself a seat; reasoning that theevent could only pale in comparison to thatdark, magic evening in Minneapolis morethan nine years previous. My fearswere confirmed by most accounts of theconcerts and on the evidence of thelive album which grew out of the tour: theevent seemed to have some of the ambianceof Frank Sinatra cominq out of retirement. Isomehow pictured the Dylan of the NationalLampoon parody, smiling through my TVscreen while pushing an oldies-but-goodiesalbum package entitled "Golden Protest." Ipreferred not seeing the singer to seeing himin a carefully tailored jean jacket, introducing "Like A Rolling Stone" with'Here's one you might remember.'Planet Waves, the album released con¬current with the tour, indicated that therecent dearth of new Dylan songs may havebeen due to the fact that he simply hadnothing to write about. It's an un¬distinguished collection, for the most partsounding as if Dylan was not so much movedto write and record it as he was compelled todo so by his own business sense. Only theartfully venomous "Dirge" and the stark,rough-hewn "Wedding Song" seem theproducts of genuine inspiration and com¬mitment. As for the rest of the album, theline from "Tough Mama" which serves asthe title to this section seems to sum it up.Having attained the recognition, artisticrespectability and adulation which healways craved; Dylan now seems to lack thevital appetite for those things, the drivingforce which helped him produce his finestmusic. Most of Planet Waves is a pale,tired substitute, indeed.X: Love Is So Simple,To Quote A PhraseIronically, Dylan had rcorded the mostmoving and fervent of several hymns ofthanks to his wife with Planet Waves"Wedding Song," yet, later the same yeartheir marriage was reportedly neardissolution. This seems to be reflected in thelate 1974album release Blood on the Tracks;the single dominant theme of which is theloss of the much-needed love of a woman.'Love is so simple, to quote a phrase,'Dylan sings; having learned this only in theabsence of his loved one. The album reallySPECIALDISCOUNTPRICES belies that phrase exposing the jungle ofemotions which grow around that singleword . At one instant, the singer reacts to hisrejection defensively: 'I've been double-crossed now, for the very last time/ Andnow I'm finally free' ("Idiot Winct"). Thenagain, he can try to understand his lost-lover's motivation: 'Whatever makes herhappy, I won't stand in her way/ But thebitterness still lingers on, from fhe nighf Ifried to make her stay.' ("If You See Her")Even "A Simple Twist of Fate" can producethat single, irreconcilable difference: 'I stillbelieve she was my twin, but I lost thering/ She was born in spring/ But I wasborn too late.'But first and foremost, the singer wantsher back. 'You're gonna have to leave menow, I know,' he sadly admits; but he hideshis terror at the prospect in comedy: 'I'lllook for you in old Honolula, San Francisco,or Ashfabula.' ("You're Gonna Make MeLonesome When You Go"). Yet, he is notabove earnest, despar ate concessions whicha younger, more defensive Dylan wouldnever have made: 'I can change, I swear,'he exclaims in "You're A Big Girl, Now."Blood on the Tracks is a mature, honestwork of art; a stunning success in the wakeof the disappointing Planet Waves. Thesongs demonstrate a dramatic control bothin writing and performance which Dylanhas seldom surpassed. "Shelter From theStorm" and ''Simple Twist of Fate" come tomind at this moment as particularlyoverpowering examples; but the album is infact of a consistently high quality. The quiet,acoustic-guitar dominated accompanimentis in most cases so faultlessly appropriatethat it seems at times as if Dylan simplywilled the musicians into existence.Come Bob Dylan's next tour, I'll be sure tocatch the show.Epilogue: Life Is Sad,Life Is A Bust;All You Can Do,Is Do What You MustAs Bob Dylan approaches his fifteenthyear as a professional songwriter andperformer, he has once again taken his showon the road. His quest for a sense of personalhistory appears to have succeeded: inrecruiting members of his current troupe,he has hauled such skeletons out of his closetas Joan Baez and Ramblin' Jack Eliot.Perhaps Jonathan Cott was correct inwriting that young people like myself foundDylan attractive in the mid-Sixties becausewe found 'solace in his sickness.' I hope heis wrong. I prefer to view Dylan as that rareartist with the extraordinary talent toilluminate himself as a living model of themood of the times. I hope that despite thepain which it expresses, the sanity andstrength of Blood on the Tracks portendswell for us all. As Dylan wrote, all we can dois what we must. As the artist likewisecontinues to do as he must; I know ourspirits will meet frequently in the comingyears.52to S HarperHarper Court'N01-/060 GUITARS, BANJOS,MANDOLINS,RECORDERS,VIOLINS, AUTO¬HARPS ANDHARMONICASALSOBOOKS. 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Lake Park(Gateway Garage Bldg.-Downstairs)Monday-Saturday, 9am-9pmCALL:684-516618-The Chicago Maroon - Friday, December 5, 1975Moonlight Mile(continued from page 1)Forty feet above the stage floor, a circularscaffold supports a forty-two foot lightingring with 300 foot lighting ring with 300 lightsand a two million-plus dollar custom-builtsound system, large banks of. speakers,hanging above the front of the stage,smaller banks hanging to the sides and rear.The crowd is impatient with anticipationand expectation.After much waiting, the house lights godown to applause, whistles, scatteredcheering, and a couple of cherry bombs.Aaron Copeland's "Fanfare for the CommonMan" ringsout, announcing the beginning ofthe concert.Still can't see them!Half way through "Fanfare," anticipationhas become excruciation.Finally, and all at once, there ismovement. The star points, like a flowerblossoming, slowly unfold outward,descending toward the crowd. Bright bluebeams of light from eight Super Trouperspotlights blast the stage. When thedescending star points have unfolded halfway, the satin cone, as if suddenly inhaled,collapses and rises straight up to the ceilingrafters above the scaffolding. It is almost impossible to take everythingin at once.Half-perched, half-hanging behind the topof the front star point, Mick Jagger tentatively peeks over the top of the star pointas it slowly descends eastward. In the centerof what now looks like a six-pointed deepdish, as big as the rotary median in thecenter of the Quadrangles, the rest of theband, still bathed in blue, stands poised toplay.The crowd exhales, and the roar is deafen¬ing.The star has unfolded completely as"Fanfare" concludes. Lights change to redand yellow in addition to the blue. Jaggerjumps up off of what has now become thestar stage floor. Costumed, by Giorgio diSant' Angelo, in a short pink jacket over astriped outfit which appears to be a crossbetween a baseball uniform and a pair ofpajamas, with red and pink ankle ties andwhite shoes, black eye make-up, rouge andlipstick, Jagger looks like, as one personlater described him, "nothing, so much as ablack drag queen, like one you might seestanding outside of the Bistro." Jumping up,he punches the air with left-right com¬binations. Landing, he bows grandiosely. Heprances about in a circle, then struts a fewsteps, then stalks, then minces, then strutsagain. Facial expressions flash rapidly in succession: angry punk, fey sarcasm, lust-crazed sailor, class clown, goof balleddruggie, amnesia victim.Keith Richard casually steps forward,chording the bold, bassy introduction to"Honky Tonk Woman." The music shootsthrough Mick dagger's body, arching him likean elastic stretched taut. He jumps into theair, clapping, exhorting, demanding par¬ticipation, proclaiming the rhythm upon thecrowd.Exactly ten years ago to the summer that"Satisfaction" hailed a generation from theNumber One slot on the Top 100, The RollingStones have embarked upon what theyclearly hope will be remembered as theUltimate Rock 'n' Roll Tour. Radiating anaura of unmatched prodigy, The RollingStones, with a grandness of design whichperhaps only they can execute, have attempted to capture and define an entiregenre of music-making and spectacle socompletely that no one will even attempt tocompare any other effort to theirs, least ofall attempt an imitation of it.Exiles On Main StreetDespite what has generally been considered a secretive, if not a patently unfair,ticket sales plan (simply announcing onradio one morning that tickets have gone onsale), and a muted P R. effort^The^Rollmgr Radio /hackREALISTIC’ HASA DEALFOR YOU! \Components SoldSeparately 245.75Don t miss this great starter stereo system1 Youget our STA-15 AM-FM stereo receiver. Nova-10headphones. Realistic LAB 12-C changer with baseand $12 95 value magnetic cartridge and twoSolo-1 walnut veneer bookshelf speaker systemsWhat a deal for $199* There's only one place youcan find it Radio Shack *199CHARGE IT iAt Radio Shack LV! A TANDY CORPORATION COMPANY CHICAGO• 8612 South Cottage Grove• 9137 South Commercial• 1453 East 53rd St. Moil *l*o *st Rao'o Sr>*ch DeathsCOOh ♦or tr><\PRiCf S may vary at individual STORES Stones have been the biggest business, if notthe biggest news, wherever their travelshave led them. By and large, that hasresulted in their concerts on this tour notbeing attended by their long-time fans (whowere at work, perhaps not even hearjnguntil the next day that tickets had gone onsale), but by an audience with an averageage of eighteen or nineteen (most of whomhad cut school to buy tickets) that generallyonly remembers the band as far back as"Brown Sugar" (post Altamount, 1971), andin some cases as far back as "Honky TonkWomen" ( pre-Altamount, 1969). Anotherinteresting aspect of this tour is the lack ofcommentary and criticism by major rockpress writers. Stones' tours are majorcritical events in contemporary music.Aside from Rolling Stone Magazine's per¬functory coverage of the tour itself, nomajor writers have offered their viewsexcept Robert Christgau, in his VillageVoice column. Mostly the Stones are nowbeing written up in rags like People, Vogue,W, gossip columns, utterly lame Sundaysupplement specials, and concert reviews inthe dailies.What this means is that the originalaudience or generation, and the originalcommentators, who, by and large, came outof that generation, no longer partake in the• (continued on page 20)CONTINENTALSCOLORADOFROM ONLY$132.52*You’ve got to ski itto believe it.(Price based on 5 day/4 mqht low season package to Breckenridgeper person double occupancy, gas. taxes and air fare extra )We II show you a variety of complete,rrnney-saving ski vacations to a variety of ski areas thatinclude iodge or condominiums, lift tickets, meetingservice at the airport and skierized Avis car.And, you can leave any day.Continental s low fares to Colorado won twipe out your budget, either Andyou can charge it all on yourAmerican Express CardFor more informationon our Colorado Ski Packages,send in this coupon for yourfree brochure Or call Continental sHoliday Counselor or your Travel Agent forone-call confirmation and planning of your vacation.Continental AirlinesPO. Box 9000, Van Nuys, California 91406Please send me your free brochure or yourColorado ski packages (JCName—AddressCityPhone— StateMy Travel Agent is. Zip-\Me really move our tail for you.CONTINENTAL AIRLINES''1 *1 hr Proud Bird with ttv Lxikfc" l**lFriday, December 5, 1975 - The Chicago Maroon-19 TheGreyCityJournalTheGreyCityJournal Moonlight Mile(continued from page 19)making of The Event. Partial absenteeismin 1972 was attributed and excused by theDemocratic primaries and the convention.(Nowadays, Republicans' kids like theStones, too.) Still, political conditions onlyserved to make that tour so much more anEvent ("Dick and Pat down in ole D.C.,they're gonna hold some shit for me!"), andthe press was sufficiently inclined andhistorically enlightened enough (or perhapsjust present at the right time) to cover itthat way. This time around, though, theStones have been confronted with anaudience that was in grade school during thegreat rebellion and doesn't quite know whythey have come to see them in the firstplace; and a press that needs them for thesame reason and is inclined to see them inthe same light as it sees Jackie Onassis. Andthe Rolling Stones? Can they any longerdistinguish between the economic need tomaintain contact with their fans and theemotional one to keep it all authentic, whichis what got them fans in the first place?Got To Scrape That ShitRight Off Your ShoeSo when Mick Jagger, struting gliby,reached for the microphone and offered thefirst verse to "Honky Tonk Women" aboutmeeting "a gin soaked barroom queen inMemphis," and nothing much happened, itimmediately became clear that somethingwas wrong with more than just the sound.And the sound was anything but morning'sglory.Playing Chicago for three nights in themiddle of last July. The Rolling Stones werefinishing up the last ten days of the NorthAmerican leg of their Tour of the Americas,1975. But with scheduled South Americandates up in the air due to a variety of cir¬cumstances for the Stones this might as wellhave been the last ten days of any two monthtour. Mildly, and in some concerts stronglyinsulting the East Coast by scheduling mostof the first month of their tour there,everyone in the west and midwest gleefullyexpected to witness the kind of arrogant,audacious, awesome concerts usuallyreserved exclusively for their anything buteastern brethren. So along with thepreviously described staging, only used inNew York and Los Angeles, the Stones hadvirtually promised their best playing andtheir best set, both of which would be honedto perfection over seven weeks of concertsprior to their dates in Chicago.For once and always, here it is:"Honky Tonk Women""All Down The Line""If You Can't Rock Me""Get Off My Cloud""Star Star""Gimme Shelter""Ain't Too Proud To Beg""You Gotta Move""You Can't Always Get What You Want" "Happy""Tumbling Dice""It's Only Rock 'n' Roll (But I Like It)""Fingerprint File""Wild Horses"Two songs by Billy Preston:"You've Got To Deal With It""It's My Pleasure"And then the finale:"Brown Sugar""Midnight Rambler""Rip This Joint""Street Fighting Man""Jumping Jack Flash"Dropped from the middle of the act,shortening it from two and a half hours totwo hours (for reasons of exhaustion), were"Luxury," "Heartbreaker," and "Angie"(the last was reportedly Jagger's strongestvocal performance, but was droppedbecause Preston couldn't reproduce theviolin arrangement on mellotron); and theband had ceased experimentation with both"Cherry Oh Baby," a Reggae number, and anew song by Keith Richard, "Be Sure theOne You Need."Opening with a murky, undigestablesound mix, to a crowd that immediately shutup and sat down before the end of the firstnumber, the Stones faced an uphill battle allthe way. The question was simple: Couldthey rise to the occasion?For the most part, they stunk.With no musical ledge under him forsupport, Jagger turned away from singingand dancing to exhibitionism. He threwhimself about onstage like a rag doll. Hemugged it up, overusing the props andgimmicks that provide only momentaryentertainment. He managed to sabotage theusefulness of the star points, turning therunways to the audience from advantageousdevices for achieving intimacy with theaudience into distancing devices. He wentbeyond self-deprecation into self-caricature.In his vocals and in his dancing, hedisplayed very little of the erotic power forwhich he is known. His one moment otauthenticity during Tuesday's concert cameat the end of "Star Star" when, hit in thecrotch by a roll of toilet paper thrown fromthe crowd, he doubled over, grimacing insurprise. In fact, there were severalunrolled rolls of toilet paper strewn on thestage. The toilet paper tangles easily aroundmicrophone cords, but on that Tuesday itdidn't look inappropriate as Jagger skippedaround and through it all night long.Behind Jagger, the Stones bore throughthe evening as best they could, displayingoccasional flashes of temper. Charlie Watts,with the help of Ollie Brown, managed tohold things together throughout in case theband did pull together at some point andcome alive. Keith Richard was a study infrustration, pacing, trying to play his wayinto a groove, and reduced at points tobanging his amplifiers with his fists indesperation. Throughout the concert histemper flared, and he began to attack therhythm by slashing at his guitar. The originsof Peter Townshend's windmill guitar style could be clearly seen in Keith's playing, butwhereas Townshend's guitar style was astylization of his anger and frustration at histechnical inadequacy, Keith's slashingpersonified the direct expression of anger atbeing unable to play his band that evening.Still, Keith was the source of the concert'sfew moments of authenticity.There may have been one other personpresent Tuesday evening who had beenstruck by that realization. Four or five rowsback from the stage on the Stadium floor,perhaps the second most beautiful woman Ihave seen in this city took in the concert asbest she could. Mid-thirties, tall and slim,dark eyes, chiseled nose, regular mouth,dark brown hair done up in some variationof what would have been called a "beehive"ten years ago — she wore a silver-grayHalston with a neckline that plunged to justabove her waist confirming, if not a sense ofstyle, at least a definite sense of wealth to goalong with her beauty.Comically standingnext to her was a junior vice-president,broker banker type in his mid-fortieswearing, you guessed it, a grey suit. Hespent most of the concert trying to get ac¬climated to concert conditions on the floor ofthe Stadium. Probably she was only therebecause she heard it would be an Event. Orelse the guy was loaded.For the most part she watched Jaggeralong with the rest of the appreciativeaudience — attentive to Mick's every moveonstage as he plays to his myth. Makingfaces, striking poses, running through hisrepertoire of expressions — the pouting lips,the minced swagger, the dancing gait — allthe familiar gestures are underlinedoverdrawn, stylized in the grand manner. Every inch the showman, he measuresevery move he makes for maximum effect.Throughout she looks him over just likeeveryone does. But there are times when shemeasures him, purses her lips, tightensthem, then licks them. One can only guess atwhat is going through her mind. DuringBilly Preston's " It's My Pleasure," she getsan obvious kick out of seeing Preston andJagger Bump center stage — Preston'spatented squaring off against Jagger'stawdry Queen. And if the whole scenehadn't been so contrived, overplayed,and insincere — throw in a little for theblack crowd, and then something for the bi¬crowd (or gay, which will it be Mick?) — itmiqht have come off real well.The contrived atmosphere onstage and inthe audience is suddenly intruded uponwhen Keith Richard strides to the tip of thefront star point, turns to momentarily glarethe band into readiness, and with legs apartand knees slightly bent, slams defiantly intothe opening chords of "Brown Sugar, thefirst of the Stones' climactic brace ofrockers. So rude was the intrusion, and soauthentic is Richard's posture, that thewoman never takes her yes off him for therest of the night through to the finale. Evenwhen he flings his guitar down in disgustafter battling his amplifiers throughoutmost of "Midnight Rambler," swearing atthe sound technians and kicking the speakercabinets, she continues to stare, transfixed,fyid when Richard finally pulls the bandtogether, for a brief guitar duel with RonWood during "Jumping Jack Flash," shestood, oblivious to Jagger's sequin-spewingdragon, exhausted, but gently undulating tothe rhythm.Sunshine Bores TheDaylights Out Of MeAt first I thought "Brown Sugar" was thesource of mythic moments all three nights,with many in the crowd shouting back the"yeah...yeah...yeah...Whooo!" coda in(continued on page 21)YEHUMENUHINGWorld famous violinist LECTURE / DEMONSTRATION < >Saturday, december 6th. 4 30 p.m {*mandel hall, 57th & UniversitySALAAMPresentsThe wit, wisdomand humor ofiXcfi QwjfVUfAmerica's leadingsocial satiristFri. Sat. Sun.Dec. 5 — 7SHOWTIMES8 P.M. AND10 P.M.I1^ | 8300 S. Cottage Grove Chicago, IllinoisRESTAURANT Phone 994-0700 Open Daily 7 a m. til 9 p.m. LEVINSON GALLERYFine GraphicsHarper CourtCHRISTMAS SALE24 x 36 $23.9516x20 $7.95-$9.0011 x 14 $6.95 $8.00FRAMED IN CHROMEAPPEL PICASSO KLEE BRAQUECHAGALL MIRO LAUTRECMATISSE MUCHA KANDINSKYand many others10% Discount on all printswith this coupontele. 288-0778open 7 days a week 12 til 7Sat. & Sun. open at 10 a.m.Monday & Thursday til 920-The Chicago Maroon - Friday, December 5, 1975Moonlight Mile(continued from page 20)exultation. To some extent all that's true,but thinking back later, I realized that it wasmainly the boogie crowd having its way withthe Stones' most "produced" hit single. Butprodancing, I must ultimately be pro boogie,so it may well have been one of those mythicmoments for many others at that."Midnight Rambler" is Mick way out onone of his most identified persons, and if itwasn't such a kick in the pants for the bandto play, I'd bet Mick would mothball it in aminute and not take it out for a few yearsunfil it has regained (if it ever will) some ofits meaning for him. While far away it mayhave looked good, close up, I've never seen asinger more inured to a song, more boredwith a performance. Thursday (the third)evening, Mick was ready to begin the song'sviolent denoument at feast a minute beforethe rest of the band, obviously getting off ontheir chops, cooked out of "Rambler's" slowthird (belt flailing stage) movement. Mickwas kinda left standing around. . . bored."Street Fighting Man" and "JumpingJack Flash" were two of the Stones' mostpowerful generational anthems six yearsago. Even three years ago they retainedmuch of their power and meaning, and werequite frankly, two of rock's mosf awesomestatements. In 1975, they are echoes of theirformer selves, jammed on to death whileMick uses them as platforms from which hewaves goodbye and serves baptisms for ageneration that hardly speaks of itself interms of the now specious "we," hardlyregards itself as embattled, or evendisgruntled, and hardly knows what thesong once meant. Mick would do better toserve last rites.On Tuesday night, an economicallyminded-crowd that couldn't hear the bandfor most of the concert stomped its waythrough these last two numbers in hopes ofsomehow awakening the myth that alwayshung teasingly in the air. But mostly, theyjusl stared, and instead were rewardedwhen Keith and Ron Wood put it all tegetherfor a brief but flashy guitar duel. The stagedidn't fold up so that Mick could stay andblow kisses to them. They thought they gotsomething. The Stones had an uphill fight ontheir hands from the beginning, but instead of battling to a resounding triumph as I hadseen them do several times on their twoprevious tours, the Stones barely cameaway with a draw. Wednesday and Thurs¬day nights, which I take to be morerepresentative of their prowess, the crowds,as one friend commented disappointedly,"didn't even put up a fight" to keep theStones.The audience was generally stupid orperhaps merely bored as they would be anyFriday evening sitting through In Concertand The Midn ight Special. But to veterans ofthe rock 'n' roll wars, people who've livedand listened to the music with the moss of adecade creeping up their spines, that doesn'texplain why people who were boys and girlswhen the Stones were The Band and Jaggerwas The Man seven years ago glide ef¬fortlessly to and from their concerts dif¬fident, stoned, and even more jaundicedthan the band onstage. These really are dogdays when the Stones roll into "StreetFighting Man" and "Jumping Jack Flash"and all it means to those gathered is that theconcert is over.C'mon Baby,Won't You Let It RockReturning to their dazzling star stage onWednesday and Thursday evenings, TheRolling Stones concluded their tourstop inChicago with two concerts that were almostas triumphant as their opening night hadbeen disappointing. And while both concertsshowcased the Stones' enduring strengths,they also revealed the exceptionaldilemmas facing The World's GreatestRock'n'Roll Band.With the best sound system in con¬temporary music finally functioning likeone, the Stones exploded on stage Wed¬nesday night with fighting versions of"Honky Tonk Women," "All Down TheLine," "If You Can't Rock Me," and "GetOff Of My Cloud." And with sound goodenough to back their claim, the purpose ofthese opening blows became clear. to provebeyond any doubt that The Rolling Stonescan outrock'n'roll anybody. "Honky TonkWomen," which began the tour as a relaxed,almost lazy, Hank Williamish country honk,had the impact of a bar room brawl. Jagger,dressed in a tight green windbreaker undera black leather jacket, straight-legged green pants, and red, rubber-soled shoes,fists clenched, continuously duking the frontrows, offered the challenge to rock'n'rollwhich would never be accepted. Althoughthe audience quickly settled back into theirseats, perhaps to enjoy the show, the Stonessure as hell didn't sit down on their end ofthe job. Keith Richard, in fighting crouch,commandeered the band through even moreabrupt and brutal versions of "All Down TheLine" and "If You Can't Rock Me," alreadyraucous, amphetamine-laced B sides in theStones' greatest tradition. "Get Off Of MyCloud," was not a revival so much as onelast call to fight that, of course, was neveranswered.For the next fifty minutes, The RollingStones played what I have come to view asthe real concerts on this tour. A concertwithin each concert, eight songs, mostlyautobiographical in nature, highlighted theband's artistry and authenticity and clearlydefined their presence and their direction inthe seventies."Star Star" introduced some seriousnonsense, featuring Jagger straddling theby now "legendary" inflated phallus, but italso served to introduce the musical stridewhich the band would hit for the next fiftyminutes. Dripping with sarcasm andunusually fresh reworkings of classic ChuckBerry riffs, this song easily became themost anticipated of the entire tour whennews of the giant prophylactic balloonleaked, preceding the band into whichevercity they came. But anyone familiar with theStones could easily predict that this numberwas readymade for live performance afterhearing it only once on record. Although"rollicking" is the best way to describe thissong, coming, as it did, after the openingrock hard performances, and with Keith'ssweetest leads, it seemed less like a rockerand more like an uptempo rhythm andblues.The Stones changed the mood abruptly asKeith leaned into his Gibson and fleshed outthe delicate introductory lines to "GimmeShelter." Mick, spinning and swaying whilebathed in chilling green and lavenderlights, then stepped forward and ottered themost famous scare song of this or any time."Gimme Shelter" was the first of theconcert-within-the-concert's moments, andthe performance was endowed with two interruptions, spontaneous moments ofvenality and musical heroics, which shouldhave resulted in disaster had the Stones notturned them to their advantage with suchaplomb. Halfway through the number, acouple of Andy Frain ushers felt compelledto remove a concert-goer who had plantedhimself in the middle of the center ^isle, afew rows from the front star point. Micknoticed them, danced to the edge of thestage, and obviously aware of his limitedcapabilities to voice his opinion on the issuepending with the band searing through thenumber behind him, gesticulatedenergetically with his microphone, poin¬ting out the conflict. Then, realizing that theaudience thought his gesturing was a part of♦he performance, Mick ran back to the bandand grabbed a glass of beer from atop anamplifier. Racing back to the tip of the frontstar point, glaring at the participants inwhat had developed into a scuffle,gesticulating again with his left hand to noavail, Mick then gently tossed the contentsof the glass on the conflicting individuals. Tono avail. He stepped back. And then, as foronce a gossip columnist accuratelyreported, with a "look of serpentine rage"Jagger fired a perfect strike, knocking offthe pushiest usher's cap with the beer glass.Recalling the business at hand, he returnedto a microphone to finish out the chorus.Mick had barely begun the final versewhen he became afflicted with a severe caseof microphone dysfunction, as both pairs ofchord and wireless microphones eerily diedon him barely seconds apart as he reachedfor them in succession. With this in¬terruption Jagger uncalmly became ahowling beast, venomously kicking over twomike stands, pointing, first accusingly andthen hopelessly, at technicians behind theband's amplifiers. At which point Ron Woodcame in under the entire band with hissecond guitar solo in the same song, animprovised effort that took Jagger's mindoff his troubles and gave him something todance to and gave hope for Wood's future asa Rolling Stone. It was not so much the soloitself, for although it was his best one in allthree concerts. Wood is a guitarist whoconstantly demonstrates an inability toescape from predictable resolutions whenhe solos, but it was his timing and his stage(continued on page 22)Michigan Ski Weekends.Good if you’re good. Good if you’re not.NameSchoolAddressCityState - 7ipearn how good you:an be in Michigan.Ve have the slopes,ie snow, equipment tosnt. instruction forill—and the nearnessd make it a long-playingveekend. For next tonothing, you're into every-hing in Michigan. If theyreat skiing up here doesn't:ome naturally to you, a lotif other things door latest snow conditions,oad conditions, free Michiganiki and Snowmobile Map. . .Please send tree Michigan Ski and Snowmobile MapCall toll free800-248-5456Michigan.Mirror of America. Or writeMichigan Travel CommissionSuite 102. 300 South Capitol AvenueLansing. Michigan 48926 3201B5335 • Eye Examinations• Contact Lenses (Soft & Hard)• Prescriptions FilledOR. MORTON R. MASLOVOPTOMETRISTSHyde Park Shopping Center1510 E. 55th383-6383INTERIM BUSINESS HOURSEXAM WEEK 8:30-4:30JANUARY 2 12:00-4:00Place your 76 ad now!CHICAGO MAROONIDA NOYES 304 753-3265HERMESRESTAURANTLOUNGE AND BANQUET HALLGREEK AND AMERICANCUISINEIncluding MousakaPastitsioGyro*ShishkabobAnd 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 DriveYoung Designs byELIZABETH GORDONHair Designers1620 E. 53rd St.288-2900Friday, December 5, 1975 - The Chicago Maroon-21 TheGreyCityJournalTheGreyCityJournalMoonlight Mile(continued from page 21)awareness—proof that the band was a tight,functioning whole and not a stalehodgepodge of Stones and sidemen. In toto,the performance of "Gimme Shelter" wasmagnificent, one of those moments when themusic and the performance enters aspon t a n eo u s I y m y t h i c a I / mysticaldimension. And it's the expectation ofmoments like the one just described thatkeep long-time Stone's fans putting up withaffairs like these in sweltering jock em¬poriums on hot summer nights.With a concert's worth of crisis undertheir belts in one song, the Stones strodeconfidently through bristling newarrangements—featuring hot, 'biting solosfrom Keith Richard—of The Temptations'"Ain't Too Proud To Beg," and MississippiFred McDowell's "You Gotta Move." Theformer is a decade old love song which theStones have reworked in concert into a pleafor continued adulation, much as "GimmeShelter" has been a plea for relief. The latterwas not the expected imperative, but rathera comic-ironic commentary on the inabilityof their latest generation of followers tofigure out what to do at these affairs.Adding to a string of ironies that beganwith "Star Star," the Stones knowinglyfollowed with "You Can't Always Get WhatYou Want," a song with a number of cuttingedges for these our troubled, self-conscious,and ridiculous times. Strangely, perhapsadhering to their own dictum, the Stones'delivered flawed renditions of thismasterpiece all three nights. Mick neverquite delivered a full vocalization, and Woodnever achieved the necessary sensuoustouch in his overly long breaks eachevening. But Keith Richard masterfullyheld down the rising rhythm each night andadded his own exquisite treble voicings,lingering over the lyric, passionatelyspitting out the refrain to the choruses thatprovided the implicit commentary on theEvent and proving that you do get what youneed.As Long As The Guitar Plays,He'll Steal Your Heart AwayVagabond Millionaire, outlaw exile, part-time junkie, brilliant concert and recordingguitarist, Keith Richard is the most overshadowed half of a great songwriting teamin the history of recorded music. His basiccontribution is to provide the melodies forJagger's lyrics. Perhaps it is the band'sdeliberate reliance on standardized bluesprogressions which has prevented him fromreceiving wider recognition, but the ability to make the right choice from a narrowselection can be an important talent.Remarkably articulate and self-contained,Richard fulfills an important function as asounding board and stabilizer for his moreflamboyant partner. Content to be the silverin a band of gold, he casually haunts thestage that Jagger attempts to fill by franticpacing, a picture of dissipation he hardlyneeds to pose (he is the only rock'n'roll starwho could and did wear black leather pantsand jacket all three nights and not arouse asuspicious glance) and can do without theprops Mick exults in. Crouched over therhythm guitar with which he paces theband's dynamic, he shines most brightlywhile standing in the shadow. To put itsimply, as one savvy concert-goer latercommented, "He is the most authenticrock'n'roller I've ever seen."If Keith was slowly overtaking Wednesday night's proceedings to achieve acreeping dominance on stage, all he had todo was casually step forward and heachieved absolute dominance with an af¬fecting rendition of the trenchantlyautobiographical "Happy," furtherdemonstrating that Keith has a better voice,better controlled, than most of the world'slead singers. It was another one of thosemoments.Then, into the critics' favorite of 1972,from Exile On Main Street, "TumblingDice," and The Rolling Stones presented uswith what was in all probability their mostfully realized sound to date. Jagger connected simultaneously with the lyrics andthe band; Keith paced the band through themoderate R'n'B signature and stroked thecrowd passionately with the song's amazingcircular, elastic, sensual rhythm lines.Needless to say, everybody else did theirjobs, and the desired result was achieved.Not just on the floor, but in the mezzanineand the first balcony all around the Stadiumon Wednesday night, people rose withsomewhat surprised expressions coloringtheir faces and danced to the concert'scenterpiece. Perhaps even moreastonishing, there was a distinct probabilitythat they didn't know why they were dancing, most believing that the time to rise totheir feet was an hour away.But the aura of prodigy radiating from thestage was not a false aura, and the dancingcontinued through the critics' favorite of1975, "It's Only Rock'n'Roll," with everyonesinging the capital tag line: "I Like It,' ILike It, Yes I Do!" Living up to theirresponsible label and curse that mustdrive them crazy to extremes and hauntthem in their sleep, The Rolling Stones were once again, as they always have been, TheWorld's Greatest Rock'n'Roll Band.I Got a SongIt Ain't Got No MelodyTriumphant, but only halfway home whenthree years before they would have beenspeeding to their hotel in limousines, itlooked as though the Stones had set animpossible task for themselves. The nextsegment had some interesting moments but,in retrospect, it appeared to be designed as aprelude. On "Fingerprint File," Bill Wymannoodled on synthesizer, while Wood switched to bass and Jagger stroked a guitar."Wild Horses" was introduced, sustained,and highlighted by rich guitar sonorities,and during the chorus Wood, Jagger, andRichard harmonized into one mike, lookinglike a grouping from one of Remington'shistorical portraits. Thursday evening,"Wild Horses" stood out as that concert'shighpoint, as the Stones communicated anemotional intimacy I hadn't thoughtpossible of them on this tour. Richard'spromisory high head-tones combined withJagger's aching tenor resulted in arock'n'roll blitzkreig that hits you you knowwhere and doesn't miss by a millemeter.Next Billy Preston was allowed twonumbers; he sang one, the other was hispateited boogie down riffs. More visualantics than music-making, Preston wasaccused of being the high point of Tuesdayevening's distorted effort, in fact, he onlyserved to prod the Stones' competitiveinstincts and they came alive for theirstrongest finish Tuesday night, despiteeverpresent and unresolved soundproblems. Wednesday and ThursdayPreston's antics, which were the highpointof George Harrison's tour, were the lowpoint of the Stones' shows. Preston'smoment in the spotlight is an astonishingintrusion, preceding as it does the Stones'climactic brace of rockers—"Brown Sugar"and "Midnight Rambler" to (lights on) "RipThis Joint," "Street Fighting Man" and"Jumping Jack Flash"—which carries theshow through to a finale that hardly requiresPreston's help. Furthermore, Stones'roadie/ mascot Ian Stewart appeared at thepiano too many times to play on their mostimportant songs, throwing more suspicionon Preston's role.I'm Workin' So Hard,To Keep You in Di LuxuryRock music has been almost wholly ab¬sorbed into the corporate structure of therecord business. The spirit and enthusiasmwhich animated and in many casescharacterized it have tailed off intoimitation, perversity, and repetition. Live performances have long been simply"concerts" rather than mutual participations, while the changes sung aboutand supposedly imminent in the social orderhave tested out as generational rather thanpolitical. Neither Elton John nor JohnDenver (to name the most prominent recentmiddle-brow norm-merchants) motivateanything more serious than record sales andprovide a mostly limp model for an audienceto follow.And that's the beauty and tragedy of TheRolling Stones: every time they release arecord or tour, they awaken memories in usof a heritage we have barely begun toremember we could have had and that weare by and large encouraged to forget.It's all been said before, some of it you'veheard here: their tours are exhaustingefforts to gain a surprisingly slim reward;their last three albums are diagrams of ademise that they are playing out. Whetheror not they're the greatest is of little consequence anymore. The Rolling Stonesremain loved because they have lived outthe supreme rock'n'roll fantasy in all itsglory and disgrace with a commitment—honest at times, dishonest atothers —of increasingly human(e)proportions.Like all living legends, their astonishingability to re-establish themselves with thegeneral public is based partly on theircontributions, partly on their image, andpartly upon the anticipations and fantasiesof the uninitiated. The outlook for futuremusical and autobiographical contributionsfrom them is excellent. The outlook forfuture political or social contributions ispoor: unintentionally or not, they no longerfunction as symbols for the currentgeneration coming to self awareness, fheyare nof longer spokesmen for a way of life,they no longer promise transcendencerather than mere diversion, and audiencesno longer care to accept any challenges theyoffer.So what was Tour '75 about then? In part itwas about making money, something fewenough of the rest of the citizens get to do.That is, it was about the outlandish way wereward people like the Stones who commandattention and even fervor in cities all overthe country. In part, too, it was about agrowing nostalgia for the long dead Sixties,the changing focus in America, and thechanged intensity in a group of our heroes.This piece appeared in part in the Maroonthis summer.22-The Chicago Maroon - Friday, December 5, 1975XCLASSIFIED ADSSPACEf emale Roomate wanted to sharespacious warm 3 bedroom apt with 2female grad students $55' month CallLisa or Linda 62-1 4585 (eves)Rm mate for 4 bdrm. apt w< 3straight men Cheap wntr spr 54 8,Grnwod 241 59981 Bdrm apt 5445 Woodln Fac/ Staffonly Jan 1st 3 SS'M Eves 493 60681 3/2 furnished kitchenette apt forJanuary 1, 1976 $129/ mo One person,5442 Harper Avenue, Midway 3 9389Unfurnished 3 room apt 52 & HarperFree parking $185/ mo 263 1875 daysShare large house $100 incl. utilFurnished room in 5 room apt 1 blockfrom campus available in JanuaryCall 324 7104 before 8 am or after 6 pm2 references necessaryBegin Jan first, third person in largeapartment call 947 0234Furnished sludio apt $151/ mo inc utl ,sunny, quiet on mini bus stop 5254 S.Dorchester Call Mary 241 730377th & South Shore Dr Spacious 5 rmapt $250/ mo inc util. Private gardensfac lake & park 15 min to U of COption to buy S08 7727 am 8 evesCHICAGO BEACH BEAUTIFULFURNISHED APARTMENTS Nearbeach, parks, loop UC and 1C trains.11 mins to loop buses, door Modestdaily, weekly, monthly rates 24 hrdesk, complete hotel services, 5100 SCornell DO 3 2400 Miss SmithSPACE WANTEDPrivate party seeks to buy 2 3 flatbldg, house w; income potential orsmall home near University Preferolder bldg in good condition Flexibleoccup Call 385 4240 eveningsHELP! G8S Opera Co needs spacefor building scenery for Feb show abasement, heated garage or vacantstore we can use afternoons 8 evesWe're clean, responsible, will be outby March, and can only afford to payfor utilities and a small finders fee,plus gratitude and program creditsCall 684 3609 if you have a leadApartment wanted to sublet, 2bedrooms January to September Callor write L Waisman »21 D UniversityHouses, Madison Wis 53705 Phone »(608) 231 1612SPACE FOR SALELovely Condo on Kenwood fullycarpeted 2 bedrooms Owner movingWest, asking 33,500 Call anytimeLeave message 374 4828PEOPLE WANTEDEARN UP TO $1800 a school year ormore posting educational literature oncampus in spare time Send name,address, phone, school and referencesto Nationwide College MarketingServices, Inc PO Box 1384, Ann Arbor,Michigan 48106 Call (313) 662 1770Help wanted, Male or female AddressGrad student and familyseeking living spacein Hyde Park0ec.20-Jan. 4 (approx.)tContact: Harry■ (217) 544-7942 envelopes at home $800 per month,possible See ad under BusinessOpportunities. 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Ask for BethMany normal sera 477 1482 JohnC.S. LEWIS GROUPC S LEWIS Discussion Group. If youare interested in Lewis come and joinus1 Ida Noyes East Room, Mon Dec8, 6.30 pm THE FOUR LOVESFriendshipLOSTIrish Country Hat" Gray, wool tweedhat was left in Cobb basementPLEASE RETURN 684 4568TWO RINGS. Blue Linde star withenqraved TS JG 12 25 73 and silverwire ring Lost in Cobb restroom. Iffound PLEASE call 753 2233 (322Snell) REWARD OFFEREDCard file, shoebox style, 3x5, brownConjains notes for disseration onMethodism Last seen basement ofSwift Hall next to pay phone If youpicked it up, Call Greg Schneider 4426173 (ll pm) or 887 2860 (daytimeleave message) REWARD $50 00Coral necklace on campus Nov. 22.Reward 363 4300 ext 411 anytimeLOST A medium spiral notebook inRegenstein, my name in upper leftcorner if found call Janet Speck 7533751 or return to Lost 8 FoundCOLLEGIUMAmerican Musci Concert VirgilTholpson Opera Early AmericanChoral Music Sat Dec. 6 8 30MANDEL FREEBUSINESSOPPORTUNITIESAddress envelopes at home $800 permonth, possible. Offer details, Send50c (refundable) to Triple "S" 699B3I Highway 138, Pinion Hills, Ca92372RIDESNeed r iders to New York City LeavingSat (12 31) AM Laurie 955 7837.WANTEDResource center recycling needswood burning stove, rusty tools,cheap Also persons to improve theirphysical condition on our muscleoperated machines 493 1466VERSAILLES5254 S. Oorch*ft#rWELL MAINTAINEDBUILDINGATTSACTIVI 1 % ANO2 7, ROOM STUDKttFUtNISHCD or UMFUONISMC D$1291„ $209Boi«d on AvailabilityAll Utilities IncludedAt Campus Bus StopFA 4-0200 Mr*. Or oak ChristyHave agreat Xmasand sayHi toyour momfor meDo you hate your roommate? Are you tired ofdorm life? Male un¬dergrad - urgentlyneeds dorm contract,preferably Woodwardor Pierce. 955-2441.*70 A TONIncludes tax, kindling& dump delivery. Alsoavailable, birch,cherry, maple & ash.CALL HYDE PARKFIREWOODAT 549-5071 OR947-0330 AMERICAN MUSICCollegium Musicum Opera plus hymnsing Rock of Ages, Bringing in theSheaves, etc Dec 6 Sat 8 30MANDEL FREETHEATREAUDITIONSDec 9 8 10 for Exits 8 Entrances toopen The New Theaire in Feb AlsoDec 13 Dec 9 8 10 only for Cabaret 8The Party Call 753 3581 for more intoCERAMIC SALECERAMIC SALE. Handbuilt andthrown stoneware at low prices Dec 6and Dec 7 from 10 am to 4 pm At theHyde Park Art Center, 5236 S BlkstnLESS THAN RENTSpacious 4 1/2 room condominium inEast Hyde Park Assessments under$100 Ir w/fireplace bedr dr mod kitporch study 1 full bath Call forappointment Edward Lavelle,Kennedy Ryan 8 Monigal, 1461 E 57thSt 667 6666 STEPTUTORINGSteph has received requests for tutorsoutside the school setting Tuteesinclude adults and children who needextra help If you would like to tutorevenings or weekends, we can matchyou to a tutee Cali Ron Schwartz, 9242264 or Rod Wing 753 3547 for moreinformationInterested in helping neighborhoodchildren? The Student TutoringElementary Project needs volunteerstutor students in school work, such asreading or math, or to help in specialprotects such-as art, music or scienceFor more information, call RonSchwartz, 924 2664 or Rod Wing, 7533541OMNIAOMNIA 1414 E 59th M Th 10 8, F 10 6,S S 11 5 The International Houseeverything shopREFRIGERATORRENTALMini frige Pennies a day Freedelivery Call WSwan Rental 721 4400 BOOKS BOUGHTBooks bought 8 sold everyday, everynight 9 11 Powells 1501 E 57thWOMEN'SMAGAZINEPrimavera, the women's literarymagazine, is on sale in ail Hyde ParkbookstoresNEW!! DISCOUNTBOOKSTORE!!BIG SAVINGS' GULLIVERS IS NOWOPEN ON WED ONLY AS ADISCOUNT BOOKSTORE SAVE 25%8 more ON ALL BOOKS,MAGAZINES IN STORE All new,nothing used save 30%. Undergroundcomtx, mother earth news, foreignpaperbacks, childrens books are 25%off Hours 11 6 30 Wed only 5309 SKimbark, 100 ft off corner Bring afriend Think of us as your once aweek reading treat 955 0470 Closedrest of week, holidays Buy, sell oldMarvel DC comix on Wednesdays tooSANTA ANDMS. CLAUS SUITSFore rent to university people andgroups Call Student Activities, 7533591 PAN PIZZADELIVERYThe Medici Delivers from 5 10 p.mweekdays, 5 11 Saturday, 667 7394Save 60 cents if you pick it upyourselfBONNIE KOLOCFri Dec 5 in the Sanctuary at theGargoyle Two shows 8 00 and 10 00tickets $2 00 at the door or at the FretShop in advanceBILL QUATEMANWith acrobat at the Gargoyle Startthe year right! Jan 9 tickets on sale atthe Fret Shop nowAMERICA'S BESTMAGAZINE STOREBOB'S NEWSSTANDYES' 1515 DIFFERENT TITLESEverything from ecology to hanggliding. Science fiction, to eroticaThousands of underground comixMarvel, C, as well British Press Daily,New York Times Daily, 6am SUN 7a m Cigarettes, candy, cold pop,lottery tickets A great place to go andavoid reality. Building looks like redbrick bunker corner of 5100 Lake ParkMon to Fri 7 a m 6pm, Sat 7am 9p m , Sun 6 a m 5 pm. Truly aperiodical freaks garden of earthydelightsGIVI A YEAR-LONG GIFT.MAROON SUBSCRIPTION!*7 IDA NOYES RV1. 304INTERIM BUSINESS HOURSEXAM WEEK 8:30-4:30JANUARY 2 12:00-4:00Place your 76 ad now!CHICAGO MAROONIDA NOYES 304 753-3265DREIDLE DELIGHTat theMACCABEAN COFFEE HOUSELive entertainment, winecheese and latkes8:30 p.m. December 6Hiilel House 5715 Woodlawn PERSONALSHappy Hobdays to the Hard workingchicks in Harper 186 (you too Ed!)Merry X mas, Cap'n SimpleHello Lindy!PREGNANCY TESTS )0a m 2p mSaturdays Southside Women's HealthServices Augustana Church 5500 SWoodlawn Bring 1st morning urinesample $1 50 donationPregnant? Troubled7 Call 233 0305 forhelpNeed tickets for convocation Call AN33330WRITER S WORKSHOP (PL 2 8377)Merry Christmas and a Happy NewYear to the Kennedys in Darrtownrn@o®«.1342 E 55 St Chicago IL 60615493-6700rMODELCAMERA1342 E. 55th493-6700GIFT IDEASIINSTAMATIC CAMERASfrom $9.95BINOCULARSfrom $29.95POLAROID CAMERASfrom $ 13.95CALCULATORSfrom $1 8.95PHOTO ALBUMSfrom $2.50ELECTRONIC FLASHESfrom $ 1 1,50MOVIE CAMERASfrom$24.95MOVIE EDITORSfrom $29 95MOVIE SPLICERSfrom $5.98CARRYING CASESfrom $4 95PROJECTION STANDSfrom $17.95MOVIE LIGHTSfrom $14 95TELESCOPESfrom $ 11.00RADIOSfrom $1.25TRIPODSfrom $17 50LIGHT METERSfrom $16.95TAPE RECORDERSfrom $39.95PROJECTION SCREENSfrom $3.95MODELCAMERA1342 E. 55th493-6700Friday, December 5, 1975 - Thp Chicago Maroon 23—RED WINE SPECIAL1964 Chateau Gerbay1970 Chateau Montgallon1970 Chateau Paret-BeausejourChateau Des Lugues 1970Chateau Lagrange 1970Chateau La Mouleyre 1970 3for$10°°BORDEAUX RED PRICESARE DOWNCHEESE SPECIALSSwiss Emmenthaler Each type in full poundpurchase or more179Jarlsberg 179Norwegian Tilsit 169Mozzarella -|69Gourmandise Any of 5 flavors 198Provolone 159Bianco *J99Bel Paese 298Daily: 10am-ll pm Sunday: Noon, 6 pm24-The Chicago Maroon - Friday, December 5, 1975