he Chicago Maroon6, No. 13 The University of Chicago Friday, October 15,1976riedman wins Nobel prize:onomist cited for wide contributionsBy PETER COHNtton Friedman, a 30-year• of the University faculty_ economics department’swell known figure, won thePrize for economicsthe award announcement,yal Swedish Academy of5 cited Friedman “for hisits in the fields ofanalysis, monetary"and theory and for hisation of the complexityation policy.”i, 64, will retire fromUniversity faculty after thisr. He has accepted the_i of visiting scholar at the[Ftancisco Federal Reservethe winter and a_r at Stanford’s Hoover; the following year.riedman’s advocacy of> enterprise, his oppositionnment intervention in they, and his belief in the__; of monetary policy asi determinant of inflation, unemployment have madelone of the most controversialinfluential figures in post-f economic thought,visit to Chile last year by[edman and economicsit chairman Arnoldr, during which the twoI uitth mwnnh the country’s military regime,gave rise to protests by radicalgroups on campus and tocriticisms of the economists inthe national media.As an economic theorist,Friedman began his career as aloner, going against theprevailing Keynesian economicattitudes. The theories he for¬mulated in the 1950’s and 19G0’srevitalized the classicaleconomic tradition of AdamSmith, which has traditionallybeen upheld by the University’s“Chicago school” of economics.Friedman’s work has covered abroad range of economic topics,approaching the disciplines withboth a theoretical and empiricalmethodology. At the same time,the sum of his work forms aninterested framework withdirect implications for govern¬mental policy.When the award was an¬nounced Thursday, Friedmanwas in Michigan making a seriesof appearances in support of aballot proposition there thatwould limit state taxes. In atelephone interview from theairport in Detroit, Friedmancommented, when asked abouthis reaction to the award,“Needless to say, I’m delighted.”He had left Cearly thalockers:4 4 no vacancy * jBy STEVE BLOCKStudents who delayed renting[athletic locker this fall foundby third week no lockers‘ available in the Univer-P’s two main athletic facilities,“ttett gym and Ida Noyes Hall,nysical education departmentattribute the Bartlett. shortage to the allocationlockers to varsity teamLers whose lockers wereiy in the fieldhouse, whichbe closed for renovation for5 next 10 months,fobn Schael, associate athleticctor in charge of the men’s«ty athletics program andervisor of the BartlettWes said, “We could sell*be current number to'toe demand.”ters in Ida Noyes are reserved for use by women’svarsity teams. As a furthercomplication keys have not beenmade for almost 200 of thelockers in Ida Noyes, althoughthe lockers have already beenreserved.Changes in the intramuralprogram this year are expectedto cause additional lockerproblems. Most intramuralcompetition which formerly tookplace in Bartlett and Ida Noyes,is now scheduled for BoucherHall, 915 E. 53rd St., which hasonly temporary locker facilities.Fewer than one hundred men’slockers and fifty women’s lockersare in Boucher, which hasfacilities for basketball,volleyball, badminton, fencing,and running, along with a pooland a handball court.Locker8to3 morning without knowing aboutthe award.In recent years, members ofthe economics profession sym¬pathetic to Friedman have ex¬pressed displeasure with theNobel committee for not honoringFriedman, attributing thealleged delay to an ideologicaldivergence between Friedmanand the Swedish award com¬mittee.Friedman’s wife Rose echoedthe suspicions which promptedthe criticism of the awardscommittee in her reaction to theannouncement yesterday. “Ididn’t think they’d really bringthemselves to do it because of hiepolitical views,” she said.Economics departmentchairman Harberger commentedthat “there is no way that anyonecan reliably ferret out why theaward was given now instead ofearlier.” He pointed out that“there are some who havewondered what had delayed thecommittee as long as it did.”Harberger said that he hadexpected Friedman to get theaward “in the end.” “I did think,however, that he would be giventhe award along with someonewhose views were controversialin the opposite direction. ”The Nobel prize in economics was established by the Swedishcentral bank in 1968. The 1976prizes are worth $150,000.Friedman is the fortieth Nobellaureate to have been associatedwith the University as a student,teacher, or researcher. Five ofthe Nobel winners in economicshave been associated with theUniversity.A five-year $5 million fun¬draising effort to establish apermanent program in economic research and instruction at theUniversity, to be named in honorof Friedman, was initiated lastfall. Close to $300,000 has beenraised by the fund committee.Friedman, now the PaulSnowden Russell distinguishedservice professor of economics,joined the University faculty in1946 and was named a fullprofessor in 1948. He was electedpresident of the AmericanEconomic Association in 1967.5th ward regulars seek cloutBy AD AM SCHEFFLERIn the March 16 Democraticprimary, the regular Democratsin the fifth ward lost their seat onthe Cook County DemocraticCentral Committee to AlanDobry. Dobry, an independent,forswore any intention of workingwith the Daley forces. Con¬sequently, the regulars — in¬cluding the precinct workers,captains, and jobholders whomake up the backbone of partystrength — were left without adirect tie to city hall.They had failed to deliver theward for the Daley-backedcandidate for ward com¬mitteeman, Michael Igoe Jr. Asis customary in such cases, cityhall cut off the flow of patronage.The regular Democraticorganization had ceased to exist.That is, until August 10, whenthe Fifth Ward Democratic Clubheld its first meeting in the DelPrado Hotel at 53rd and HydePark. The effort to revive theregular organization had begun.The club’s main source of fundsis members’ contributions. In aninterview, Club President RobertLandrum stressed that mem¬bership in the club was strictlyvoluntary, although a sourcefamiliar with the club’s originsclaimed that precinct workersheld over from the Korshakorganization were threatened with the loss of their jobs if theyfailed to pay club dues.The success of the club clearlyhinges on its regaining thelegitimacy with the machine thatwas lost when Dobry defeatedIgoe last March. To do that,Landrum needs to show Daleythat be can carry the ward for theentire Democratic slate in nextmonth’s election.Landrum cited as the two mainobjectives of the club as“organizing regular Democratsin the ward,” and receiving the“recognition and approval of theCook County Central Com¬mittee.” He now claims to havereceived that recognition,although the former fifth wardDemocratic committeeman,Marshall Korshak, said in aninterview Wednesday on WHPK-FM that “Daley has not blessedLandrum.”' Korshak implied that the clubis acting on its own in an attemptto develop some influence on theward’s future direction, and thatnew forms of patronage will not be forthcoming until after theclub proves that it can run wardaffairs effectively.On the question of patronage,Landrum’s cbie! assistant,Marvin Bridgnorth, em¬phatically stated that “We haveno jobs.”“We’re busy organizing theward for the election,” Landrumadded. “We don’t even know whoholds jobs in this ward.”Before the ward organizationcollapsed in March, there werean estimated 200 patronage job6in the ward.“We’ll get into patronage afterthe election,” Landrum said. Thelocal real-estate consultantemphasized that a good showingfor the Democratic ticket in thefifth ward would mean that “wewould have entree” into apotential windfall of Democraticjob appointments on the state andnational levels.“We would expect to share in(these appointments) like anyother ward,” be said.Politics to 3Inside Opinion p. 4GCJ p. 7 Football special p. 16CalendarFridayDoc Films: Special Section/Costa Gavras7:90 & 10:00. Cobb.A Reunion of die Compass Flayers. Films,live performances, nostalgia, im¬provisation, and discussion by the artistswho created a new form of American comedyat the Compass Bar in 1966, the forerunnerof The Second City. With Severn Darden,Paul Sills, David Shepherd, Mark andBarbara Gordon, Roger Bowen, AndrewDuncan, and Eugene Troobnick. MandelHall, 6706 S. University, 8:30 p.m. $4.00Bergman Gallery: By special request, theCabaret of Comedy exhibit featuringrecreation of the Compass Bar will be openuntil 8 pm. The gallery is on the fourth floorof Cobb Hall.CAPITALISM AND JEWS: A lecture byNobel prize-winner Milton Friedman; 8:30pm, Law School Auditorium.Shmini Atzeret Services, Orthodox »Yav-neh) 6:00 pm; Conservative, 6:30 pm AdatShalom Shabbat dinner, 6:45 pm, $2.50Creative Shabbat Services, 7:30 pm.UC Folkdancera, 8 pm, Ida Noyes.SaturdayTheater Gamea: Lecture-demonstration byViola Spolin. The Cabaret of Comedy,Bergman Gallery, 5811 S. Ellis, 4th floor.4:00 p.m. Admission free.A Reunion of the Early Second CityFlayars. Films of old routines, live per¬formances, reminiscences, discussion, andimprovisation. With Barbara Harris, Severn Darden, Paul Sand, Mina Kolb,Bernard Sahlins, Bill Alton, AnthonyHolland, and Del Close. Mandel Hall, 6706S. University, 8:30 p.m. $4.00UC Cross country varsity double-dual meet.11 am, Washington Park UC Track Club,open 5 mile run. Noon, Washington Park.UC Football: Maroons vs. Lake Forest.Stagg, 1:30 pm. (Game will be broadcast onWHPK starting at 1 pm)Bergman Gallery: The Cabaret of Comedyexhibit featuring the recreation of theCompass Bar will be open until 8 pm. Thegallery is on the fourth floor of Cobb Hall.MOVIES:CEF: A Clockwork Orange/StanleyKubrick. Cobb, 7,9:30 pm.I-House: Swept Away/Wertmuller, In¬ternational House, 7:15,9:45 pm.Crossroads Student Center: An Indiandinner will be prepared by Indian andAmerican friends. Dinner will be served at 6pm. Call 684-6060 for reservations as thedinner is limited to 36 people. CrossroadsCenter, 6621S. Black stone ave.Simchat Torah Orthoddox (Yavneh) Ser¬vices; 9:16 am; Conservative, 9:30 am.Simchat Torah Celebration, services,Hakafot, Dancing, refreshments. Orthodoxservices, 5:30 pm; Conservative, 7:30 pm.Followed by celebration.SundayRockefeller Memorial Chapel: 9 am,Ecumenical Service of Holy Communion,conducted by Bernard Brown, associatedean of the Chapel. 11 am, Universityreligious service, Paul Ricoeur deliverssermon on “How much more <or the logic ofJesus)" 4 pm, World Order Sunday observance; E.Spencer Parsons, dean of the Chapel,Chapel choir, Richard Vikstrom, Director;Edward Mondello, harpsichord; KennethSlowik, cello, and Michael Geller, bass.Brent House: 5:00 pm, Vespers, 6:00 pm,social hour and supper ill. 26); 7:15 pm,program and discussion.MOVIES:UC Sd Fi Club: Fahrenheit 451/Truffaut.Cobb, 7, 9 inn. CEF: The Cabinet of Dr.Caligari, Metropolis, Cobb, 7:15,8:30 pmFilm & the Improvisational style. SecondCity alumni, film clips, with VirginiaWexman, and Roger Ebert. Mandel, 8:30pm, $4.CLUBS:UC Folkdancera, Ida Noyes, 8 pm. Generallevel, teaching for lVi hours. Donation 50cents.Computer Club: Reynolds club, 1 pm, Allare welcome.Crossroads Center: Weekly bridge game, 3pm, Crossroads Student Center, 5621 S.Blackstone ave. Instruction provided ifdesired.Changes: “How to think creatively" 7 pm,Blue Gargoyle, free.The Mirror, with David Shepherd. TheCabaret of Comedy, Bergman Gallery, 5811S. Ellis, 4th floor, 2:00 p.m. $2.00Schizophrenia Foundation: A meeting onthe use of megavitamin theory in thetreatment of schizophrenia, 2:45-6 pm, Ill.State Psychiatric Inst., 1601 W. Taylor.Speakers include Oscar Rasmussen,biochemist; Theodore Te Pas, a physician;»nH a recovered paranoid schizophrenic.The meeting is free and open to the public. MondayUC Folkdancera, 8 pm, Ida Noyes. Bestnera level, teaching 2 hra. Donation 50Music Society, organizationalEnsemble music for all instrument^!:Ida Noyes library, 7:30 pm.Women’s Union, first meeting of yquarter. Blue Gargoyle sanctuary, 7 pm.Chess Club, Memorial room, 2nd flow, uNoyes, 7 pm. Everyone welcome.Karate Club: Ida Noyes, 6:30-8:30 pm.NAM Films: Blood of the Condor, Cobb7:15,9:30 pm. Comedy Festival: TheMike Nichols & Elaine May. “Bach toBach," “Catch-22”, “A New LeafOriental Institute, 7:30 pm, $2.Brent House, Bible Study with RichardJurgensen, Lutheran campus pastor, andJohn Hurley, Roman Catholic chaplain. 7.8:30 pm.#Crossroads Student Center, Spanish clan7:30 pm. Crossroads center, 5621 $,Blackstone ave.UC Vanity soccer team faces off against tk“Ringling Rockets"—a team made up o!performers from the Ringling BrothenCircus. Stagg, 4 pm.Beginning Yiddish, 7 pm; Talmud, 8 pm;Advanced Yiddish, 8:30 pm.David Steinberg, Mandel Hall, 8:30 pm.Admission $4.00Co-ed recreational volley ball, 7:30-9:30 pmFor students, faculty, and staff. Lockspass required.MAKE YOU A BUNDLE!DATES TO RUNNAME, ADDRESS, PHONECHARGE: UC PEOPLE NON-UC PEOPLE500 per line 750 per line400 per line to repeat 600 per line to repeatThere are 30 spaces per line, including all letters,spaces, and punctuation marks. Circle all lettersto be capitalized.ALL ADS PAID IN ADVANCEHEADING . (our regular ones free, yours$l per 15 spaces)CLASSIFIEDS CAN2““The Chicago Maroon—Friday, October 15,1974r, Id, IlassApproximately 100 students listened as speakers from the Spartacist League,Student Government, and other groups protested South African apartheid policiesin a rally held on the quads Thursday. Politics from 1First district Democratic CongressmanRalph Metcalfe’s decision not to endorsehis party’s candidates for governor andstate’s attorney because of his split withthe Daley organization will make it moredifficult for Landrum to accomplish hisgoal.Landrum denied allegations that theclub was “racially motivated.” Itsmembership is estimated to be about 85per cent black.“One’s social abilities qualify one to be amember of this community,” said Lan¬drum. At a rally for the Democratic stateticket held in the Del Prado Hotel Tuesday evening, the audience of approximately200 persons was overwhelmingly black.“We don’t restrict our membership, andif you remember, the old regularDemocratic organization was primarilyblack, too. There has been no change inpolicy,” club treasurer James Cressie toldthe Hyde Park Herald last month.The club plans to run candidates againstDobry and present Fifth Ward AldermanRoss Lathrop. The club has criticizedLathrop for his alleged lack of leadershipand attention to the “vested interests of anarrow segment of the ward.” One sourceclaimed that the club also intends to put upa candidate to oppose State Rep. RobertMann, an independent Democrat.fromlThe University Laboratory Highl’s Sunny Gym will also be the scenesome intramural action. Lockers at' Gym, “enough for a few basketballaccording to assistant athletic[>r Bill Vendl, will be available onlyi a temporary basis. Bartlett houses a total of 890 full-lengthlockers, 252 of which are reserved for thefaculty, 387 half-length lockers, and 960box lockers. In Barlett, 78 lockers will beavailable on a temporary basis.In Ida Noyes 495 lockers were availablefor coed use at the beginning of thequarter. Locker passes, entitling thebearer to use the dressing room, are of¬fered at the facility. New ArrivalsThis Week:PhilosophyPsychologyLiteraryCriticismPOWELL'SWE ARE STILL EAGERLY BUYING YOUR BOOKS1020 S. Wabash8th Root341-07489-5 Mon.-Sat. ATPOWELL'S1601 E. 57th966-77009 A.M.-11P.M. EverydayJANE LEf RESTAURANTFIST SPECIAL LUNCHEON;Mbsfrits*Sn iiauuapAiiauLutp*MAAS* MLCLOSED TUES.643-3407131HSMUTAi-dCAM-MMCHINESE-AMERICANRESTAURANTSpecializing inCANTONESE ANDAMERICAN DISHESOPCN DAILY11 A.M. TO 4:30 P.M.SUNDAYS AND MOLIOAYSmOBtSOPM.Orders «• »«fce outDIO lest 43rd MU 4-1043 FALL FGLIAGE TRIP OCT. 16-17ACT SOON - while space isstill available. See BROWN COUNTY,INDIANA UNIVERSITY, NATIONAL WILD¬LIFE REFUGE.For Details: 363-0290 (7 to 9 p.m. only)INTERNATIONAL HOUSE ASSOCIATIONPREVENTVOTE FRAUDBe An ElectionJudge.$35 one day only, no experienceneeded. Must be a registered CookCounty voter.Republican Judges:324-4049 or493-6986Democratic Judges:752-8415 HELP USCELEBRATEOUR BIRTHDAY!The Seminary Co-op is fifteen years old today.To mark the day, we're going to have adrawing. First prize is a $30 shopping tour otthe store. Come in, browse around, and dropyour name in the box.SEMINARYCOOPERATIVEBOOKSTORE5757 S. University752-4381 9:30-4:00 M—F' V JO’ *0 V<5.* • — ■* »V fAt W.-1 * • • rEditorialsA Nobel well deservedOnly weeks before he plans to retire from theUniversity’s department of economics, MiltonFriedman has received the Nobel prize. Theaward represents the culmination of the brilliantand intellectually courageous career of aseminal figure in the history of economics and inthe life of the University.Mr. Friedman has not always been acceptedby his colleagues in economics. In the fifties, thepredominately Keyenesian profession spurnedMr. Friedman’s early work in monetary theory.Undaunted, he began to build a foundation forwhat would be resurgence of the Smithianstradition of economic thought.With the publication of “A Theory of theConsumption Function,” Mr. Friedman initiateda fundamental reformulation of the wayeconomists predict the effect that changes inincome will nave on how people consume. Theconcept of permanent income, and the relatedidea of “human capital” included in the newconsumption theory nave served as an importantguide for both economists and policy makers.The consumption theory represented a firststep in the building of a broader framework ofideas. Mr. Friedman next focused his energieson monetary economics, approaching the fieldfrom both a quantitative, empirical directionand a more abstract, theoretical one. Taking theclassical quantity theory of money as a point ofdeparture, Mr. Friedman refined and extendedthe equations of his predecessors. But in the jaw¬boning climate of the early sixties, Mr. Fried¬man’s monetarism was ignored.By the end of the decade, Milton Friedman hadbeen vindicated. After the failure of the wageand price controls in 1971, monetary policy—thepolicies of the Federal Reserve—came into focusas a significant determinant of the level of ac¬tivity in the economy. Most economists wouldnow agree that monetary policy is a crucial tool.The significance of Mr. Friedman’s work goesbeyond the purely scientific contributions he hasmade to economics. In his writing and lectures,Mr. Friedman has carefully adhered to themethodological formulations he developed in anearly essay on economics as a mode of thought.He has been highly conscious of the dividing linebetween ideological self justification and scien¬tific inquiry.Even Mr. Friedman’s most scholarly work ischaracterized by a clarity of thought and ex¬pression not often found in academia. Where hecould easily have resorted to a complexequation, he has often chosen to explain withwords. His success as a communicator andteacher complements his achievement as athinker and researcher.Mr. Friedman uses his talents as a com¬municator to apply his ideas to the practicalpolicy questions of government. His vocal ad¬vocacy of monetary policy has led to arecognition of the importance of money in theeconomy. He was the originator of the negativeincome tax idea, a humane alternative to theexisting welfare system which politicians havenot had the courage or the initiative to try. Thevoucher education plan is another Friedmanidea-which offers the possibility of reform, buthas little chance of realization. In the area ofinternational finance, Mr. Friedman’s advocacyof floating exchange rates, the value of whichhave been proven by experience, make him abeUewether in the field.Underlying Mr. Friedman’s thought, and atthe core of his politics, is a commitment to anideal. The valuation of the individual, and ofindividual freedom, is the motivating ethicalinfluence behind almost all that he has done. Heplaces himself in line with the liberal tradition ofthe nineteenth century, and as an heir of thattradition, he may appear to some as ananachronisifi.Today is an appropriate time to say that theretirement of Milton Friedman, Nobel laureate, Letters to the EditorOmbudsman objectsTo the Editor:There are a few facts gone awry inKris Organ’s story on the Involvementof my office in the controversy overWieboldt Reading Room. I’d like to setthe record straight. on the process. In the meantime, we arecertainly not leading a protestmovement; we are not even appealingthe decision to re-assign die space. Weare simply trying to find out how ithappened.We received a number of studentcomplaints about the re-allocation ofspace to the Committee on PublicPolicy Studies. As a result, we un¬dertook to determine just what thedecision-making process had been—who was consulted, what other %pacewas considered, whether or not actualuse figures for Wieboldt were obtained(or whether the commonplace that allof Harper Library is underused wassimply accepted), and so on. We’re stilllooking into these questions, and whenwe’ve gotten satisfactory answers, theOmbudsman’s office win issue a report We are also making known to variouspeople the number of complaints we’vereceived. Since six or seven complaintsto the Ombudsman’s Office on a givenissue is somewhat unusual (and thenumber on this issue is not considerablyhigher), I wanted to try to assess thereal level of discontent. I posted anotice in Harper asking for names ofstudents who regularly use Wieboldtand who were concerned about the lossof space. It was not a “petition,” as theMaroon article stated. It advocated noposition whatsoever on the issue; nordid it “proclaim student discontent:: with the Wieboldt situation. It simoivasked for information.Finally, my office has thus farno official to “justify” the ap¬propriation of space. My secretaryassures me that her statement to theMaroon was merely that we had hadlittle success in tracking down theactual process by which the decisionwas made - not in getting the decisionjustified.I hesi tate to be picky, but the natureof the Ombudsman’s Office is at stakehere; ad advocacy position from theOmbudsman before all the facts are inon any issue would considerably un¬dermine the efficacy of the office. Itseems important for the Maroon torecognize that, and, in the future, tocheck its facts more carefully.Virginia BlanfordStudent Ombudsman“The manner they have done”will be dearly felt by the University community.Yet the height of his achievement ensures that mmany ways he will never leave. To the Editor:As a Catholic and a registeredvoter I am distressed over the recentdecision of the American episcopacyto intervene in the manner they havedone in the approaching election inregard to the abortion issue.Notice that I say “the manner theyhave done”. I feel that it is entire¬ly appropriate for any religious orsocial group to speak its mind onissues, and to try to sway the largerbody of public opinion. We have ahealthy tradition of this in America,both of the personal witness of in¬dividuals, such as Henry DavidTtooreau, and of groups of in¬dividuals, as with the various phasesof the anti-war movement in the1960s. But what distinguishes theseis that the individuals and the groupsmade it dear that it was theirconsciences they were expressing. Ido not see most of them as thinkingthat they were upholding anunerring truth and that they wereimpnsing tfiHr conscience theirmoral beliefs on the rest of apluralistic society. It is the subtle,but completely essential differencebetween moral witness and a not soworthy desire to exert control overthe lives and thoughts of others. 1 amafraid that the latter has been whatthe American bishops have beenabout.Of course the bishops say that theyare not pronouncing in favor ofeither candidate. Hiis may be truein the vague realms of politicaltheory. Theoretically, they are justgiving an “opinion” on Carter’s and Ford’s stand (or their politicalparties’ stand) on abortion. But itseems to me that for most voters,inducting myself, this ends uplooking like an endorsement of onecandidate and a repudiation of theother. Perhaps this is the fault of themedia which only reported theabortion part of the discussions ofhierarchy with candidates. Yetseveral members of the Right to Lifemovement as well as one prominentnortheastern bishop have main¬tained publically that abortion is themost crucial issue of this dection.To me, and 1 expect to manyCatholics, this looks like en¬dorsement of a particular candidateand an interference in theseparation of Church and State that is at die center of our government.It is time, I think, for AmericaCatholics and their episcopacy Iconsider carefully whether thefavor a vigorous debate on the mancrucial moral issues that face all <us, or rather bask in a certainostalgia for the times when bishojfavored theocracy and autocratgovernments rather than tldisturbing freedoms of democratand pluralism. And I hope that tlmany members and groups in oipluralistic society will continue iremind us Catholics of the differentbetween debate and undue costraint in our political life.Nicholas GroveThe Chicago MaroonEditor: Peter CohnNews Editor: pan WiseFeatures Editor: Jan RhodesSports Editor: David RieserKioto Editor: Dan NewmanAssociate Editor: David Blum Founded in 1892Production Manager: Michael DelaneyGraphics: Chris PersansBusiness Manager: Niko MaksimyadisAd Manager: Doug MillerThe Chicago Maroon i* the student newspaper of the University of Chicago,published Tuesdays and Fridays during the regular academic year. Th# Maroonoffice is located at 1X1Z E. Mtfa St., Chicago. Illinois <0697 The telephone numberia 769-3263.^THA CONGERbetimes people say, 'Are you a°"Javer who got lucky?’, or ‘Are you aran who can write a little music?’ ora composer who acts in theWhat they’re having a problemgetting me in focus in their ownbut that’s their problem, notsane the distinctive, slightly metallicStern voice of Steve Allen saying theand one can still agree with“Steve Allen is the television_jty to watch, but it’s hard to tellto look.”laughs heartily when the in-’er quotes that summation and. “That’s funny, I didn’t rememberjtog what is important is what I do,whether one calls me an intellectual oror a villain or a schmuck orelse is, again, the caller’sbve,[heroateverwat he is doing is a series of six showspremiers on PBS, Channel 11, oniuary ioth, “barring the advent ofodd War III,” under the title “MeetingfMinds”,mas Aquinas, Cleopatra, Theodorevelt, and Thomas Paine confronti other in the two, one-hour round table_ ions that start the series. “Talk it"would you?” he asks.How did the original host of theonight Show”, the man who invented30 or 11:30 pm in television, startting the theater of ideas in conflict?“The great thing about ‘Meeting ofis that what it ultimately deals withtoday’s issues, since most of therical questions, God help us, have notresolved and are not about to be,”Allen says.The two other quartets of historic per-mages combine Marie Antoinette withtarl Marx, Ulysses S. Grant, and Sirmas Moore, and Attila The Hun withimily Dickenson, Charles Darwin, andGalileo Galilei.“Because everyone is interested in bloodbars and electric chairs and all thatiey stuff,” the 90-minute pilot show ofyears ago dealt with crime andent.His technique for writing the scripts wasload a table with books about aacter and stand with a tape recorder,ing pages and dictating the dialoguetly.He feels he has trivialized his intent anditerates, “We have to understand thesedc strings on our puppet bodies andlearn how to reach up and yank themd ourselves.”Mr. Allen admits to an existential‘flicker of apprehension about these sixrograms. They exist on tape and I thinkiy’ll do a lot of good in the world, butis all that time yawning between thisment and January 10th.”Hie blue-suited gentleman unfoldingIf from a sofa in the Quadrangle Clubid quietly put away Philip Kurland’sdiscussion of die Fourth Amendment in theUniversity of Chicago Magazine before hisinterview. Steve Allen-offscreen, offstageHe asks the student behind the desk,“Where can 1 get a copy of this?” and istold to keep the one he has.“As a philosopher of comedy, Mr. Allen,what do you think is the most importantelement of comedy?” Steve Allen readsfrom a card to an SRO audience of 650 inthe Law School auditorium during hisperformance Sunday night.He replies, after a fractional pause,“audience laughter,” tosses the cardaside, and the room breaks up.Long noted for dealing with audiencesinformally and directly, Mr. Allen notes,“I not only permit, I sometimes encouragean audience to speak out, which is a thingthat horrifies most entertainers.”He mentions the “seven or eight or ninekinds of comedy” he does and notes that“a minor disaster is a great help to me as acomedian.“If I spill a glass of water, the audienceimmediately perceives that this is reality,and reality is generally funnier than justsome good joke you might hear.”He contrasts the importance of audienceparticipation in his style with “somecomedians, even some strikingly giftedones such as Sid Caesar, who seem to bewrapped in a cocoon of self-concentrationand go through their routines and piecespretty much the same, whether theaudience is red-hot or non-existent. ”Having been inured to every question aninterviewer can ask during 30 years ofprominence, and having had his say in 17novels, books of poetry, children’s stories,and works of non-fiction, Mr. Allen doesnot particularly relish talking abouthimself.Considering that many people react tocelebrities as though they were mobileRorschach blots, it is perhaps not sur¬prising that he is distant about his personallife.During a discussion of anti-Communisthysteria, however, Mr. Allen comments,“1 am a product of this immediate neigh¬borhood and of the Irish lower middle-class subculture thereof, which, though ithad many other charms, and virtues, andappeals, was decidedly reactionary.”He does not mention the childhood inwhich he was boarded out with a suc¬cession of aunts, uncles, grandmothers,grandfathers and strangers, after thedeath of his father, Billy Allen, when hewas 18 months old.While his mother worked in vaudeville,he stayed with the numerous Donohues ofher family, most of whom lived in theSouth Side of Chicago.At age 16, he started out for Hyde Park High School one morning and arrivedseveral weeks later, having riddenfreights and hoboed through the Southwestand the West Coast in the interim.In all, he attended 18 schools and lefthome a number of times.But Mr. Allen is talking about “Harvestof Shame,” a 1950’s television documen¬tary by Edward R. Murrow, that firstawakened him to the horrifying “socialinjustice that farm laborers, migrant andotherwise, suffer in this country.”He wrote a book several years ago on thesubject, called The Ground Is Our Table,and supports Ceasar Chavez’s UnitedFarmworkers by sending checks, writingletters, performing at benefits, andspeaking out on the issue “as, for thatmatter, I am doing at this moment.”The performer sits on the piano bench inthe darkened Law School auditorium,intently watching, with the audience, hisself of nine years ago playing a paranoidmaster of ceremonies in “The PricklyHeat Telethon” filmclip.Strict textual analysts wondering why“prickly heat” is a funny-soundingdisease, suitable for a telethon satire, maywant to consider Mr. Allen’s hypothesisthat “words with ‘c’ and ‘k’ together inthem sound funny because some of themhave a sexual connotation.”The University Extension’s Festival ofChicago Comedy, which sponsored SteveAllen’s appearance Sunday night, maywant to declare three minutes’ mourningfor the loss of all the original “TonightShow” tapes hosted by Mr. Allen.“They were all destroyed, not, uh, as asingular target, but the network (NBCburned everything it had from 1949 to 1955just a few years ago, in a monumentalburst of stupidity,” I ays.A book junkie, Mr. Allen reads 15 or 16 ata time and wryly comments, “As anauthor, I would hate to think of anyonereading my books that way.”He sighs when asked if writing is hisprimary gift. The interviewer realizes thatquestion has probably been asked by everyreporter since 1953.He gently reminds the interviewer thathe made his living as a singer in saloons,nightclubs, and on radio before he ever didcomedy, which he “stumbled over” duringa stint as a disc jockey on a midnight-1:00am Hollywood radio show.His primary gift, which has puzzled himto the extent that he wrote an article aboutit for the Journal of Creative Behavior, isfor the composition of music.Mr. Allen can write “a beautiful melodyin less than 30 seconds and (1) have even done so while asleep. To my dismay, I’veonly remembered one of those songs.”The Journal article, written forbehavioral scientists and psychologists,contends that the source of ideas for lyricsor poetry is not nearly so mysterious as thequestion as to where one gets the ideas formelodies.The man who dreams music can onlysay, “The strange computer I have in myhead can clatter it all out, I have no ideahow.”During a discussion of Dick Gregory,whose technique Mr. Allen describes as“to rai*^ hell... for what he sees as totallyvirtu- purposes,” it becomes apparentthat FBI also keeps one eye on Mr.Allen.“If the implication of your question is,‘What good reason would they have?’ ” heresponds, “the answer is, ‘No good reasonat all’.”Like Mr. Gregory, he has been waiting toreceive a copy of his FBI file for over ayear.“Having been an anti-Communist all myconscious life, to suddenly find myselfcalled ‘a Communist’ because I was op¬posed to capital punishment or because Iwas in favor of justice for the farmworkerseemed at first, as it still does, a ratherKafka-esque experience. ”He startles the (woman) interviewer byleaning forward after that statement andsaying abruptly, “You’re a man! No, don’tlaugh, I have some people who saw youlast Tuesday night and they said you werea man then, so don’t try to deny it.”He is serious. The very quiet roomsuddenly seems very small.He examines his audience’s reaction andthen, leaning back, he says, “But ob¬viously, you’re a woman,” and the per¬former turns back into the historian,recounting the waves of American anti¬communist paranoia.Newsweek calls him, “One of thenation’s great entertainers, StephenValentine Patrick William Allen, ... aman who, though proficient as a comedian,musician, actor, and interlocutor, is onlygreat as a combination of them all.”Mr. Allen says, “I’ve never reallyconsciously tried to develop anythingmuch, to tell the truth. I have evolved,since not to evolve is to stagnate...“But I never get up in the morning andlook in the mirror and say, ‘I must evolveat a slightly faster pace todev’. It’s justlike growing your hair, you DO it, Lnit youdon’t plan it much.”Walking down the sidewalk past Hut¬chins on Commons, he recalls a trip to thePeople’s Republic of China.He had told his interpreter how com¬fortable he had felt while visiting theUniversity and she snapped back, “Youdid not say you felt comfortable when youwent to visit the factories ,or the farms,because you are a typical bourgeois in¬tellectual!”“I laughed so hard,” Steve Allen says,laughing, “because it’s true.” He con¬tinued toward Regenstein library, to lookup some books on Martin Luther.A brief historyof the worldBy SPUNKYThe world’s greatest philosophers haveoften asked, “What is life?”, “Who are“Why were we created?”, “Whatthe hell were you doing with that dog,Melinda?” Today, with advances intechnology and revivals of Cecil B.DcMdle spectaculars, many of theseVestions can be answered, or at leastrephrased. We will start with man’s abode,the earth.The earth is plenty big. The intricaciesof its design have caused many greatlinkers to postulate that such precision ofnature could not be accidental. A fewexamples will serve to illustrate theirpoint. Every island, no matter how barrenor insignificant to the world’s ecologicallutein, is surrounded completely by water.Mere coincidence? Count a friend’s toes, then your own. You will find that everyman, exquisitely individual though he maybe, has ten phalanges wriggling obscenelyin his socks. (True, your Uncle Mervin hadfour on one foot arid six on the other, butwhy quibble?) Ponder for a moment, myfriend, how snow never falls on thepineapple-growing regions of this planet,as if it somehow knew its frosty flakeswould mean instant death to the crop.Hardly a matter of luck, you exclaim.Think briefly of the earth’s beaches, in¬variably situated near bodies of water. Isit only chance that prevents beaches fromforming in downtown Phoenix, or is itsomething else?No, it is not enough to call our planet anunfeeling sphere of nickel and iron. Earthis the home of American Beauty roses, sunsets, teddy bears, peach orchards, coldsores, pus, and discarded chewing gumunder dining room tables. The earth, inshort, is beautifully diverse. It is hard tobelieve that the same Mother Nature whoformed the Grand Canyon also rusted shutthe zipper of my Levis. Perhaps it will beeasier to understand this amazinglycomplex planet after examing its physicalcharacteristics.The earth is over five billion years old,which is longer than the average man canhold his breath. Its surface is over three-quarters water. So is the human body.Fortunately, the two can easily bedistinguished, or Columbus could havesailed the King of Spain instead of theAtlantic Ocean. Still another fascinatingfeature of the earth’s topography is theincredible variation in altitude. TheHimalayas are the greatest mountainrange, which is why the Himalayans neversay “down to earth”. (Okay, so they don’tspeak English; If you’re going to quibblewith every little thing I write, why don’tyou just turn to the Journal for somethinga little less challenging?) At the NorthPole, things are slightly different. The climate is cold, and so are the Eskimos.They generally sit on their igloo ovens tokeep warm, a practice which prompted thewriting of the Eskimo folk song, “Home onthe Range.”The earth is not a very dense planet. Ifthe world were compressed to fit in thepalm of your hand, you could hold it in thepalm of your hand. Such is not the casetoday. As I’ve said before, the earth isplenty big. Thousands of years ago, thefirst explorers wandered the face of theglobe, searching for new peoples. Amongthose explorers was Marco Polo, who,when asked by Italian nobles how hetraveled across Persia, replied, “Iran.”This may not tell you much about the sizeof the earth, but it does give you a fair ideahow desperate a writer can get when he’sdying to use a pun.Summing up, it is fair to say that theearth is not really a bad place to live.Considering the choices we have, it’sprobably our best option. The world hasbeen plagued by famines, droughts,tropical storms, and two seasons of PoliceSurgeon, but somehow mankind hassurvived. I think that must count forsomethin*.The Chicago Maroon—Friday, October 15,1976—5wu t(t ** v***CMfaCKftiOACCOUfti! mamM*wmmACCOUWtMiOwsCdfOt?UN**o,<Hvf £*<)«*&ACCOUNt JAVtrtOSAccoyw*| f»OM j!csj»>* uni j|W9 CHttmwcvi SAVINGSc««c*wsOtBiiCTwmCHJCfONG CMFOyf!*SOf*AAV*t#NItwctosteoui* friendlv 24ahoui* baiWIH "■VIRII* CPt^llUUI UdMAC'S WINDOW TELLS YOUHOW TO MAKE HIM WORKi=-p■A|jMAC lets you make cash withddifrom your checking or savings accdtAnd if you qualify for a line of era®MAC will even give you a cash advawithout seeing a single loan officer•mMAC loves money, too! You can fdeposit cash or checks into yoursaings account, checking account, ®both, Simple insert your deposit (|a sealed envelope in MAC’S deposland he’ll give you a deposit receipt'immediately. fMAC transfers your moneyautomatically—from savings to ;checking, from checking to savingor from your Line of Credit into youchecking account. ^MAC accepts payments on notes aloans. He’ll deduct it from yourcteing or savings accounts, or he’ll tatyour payment in his depository.You simply push the buttons and ftdoes the rest—he handles 95% ofyour banking needs.HYDE PARK BANKAND TRUST COMPANY1525 EAST 53rd STREET 'JCHICAGO, ILLINOIS 60615 1(312)752-4600 , JMember FDIC1? t m. . >4# A ,* *#*>1*}^ * * . **• ftr ■The Hyde Park Bank nevercloses to MAC Cardholders.We’re proud to introduce our newest employee,MAC, our “always available” new 24-hour teller.If you’ve ever been strapped for cash after ourbank has closed, or if you absent-mindedlyforgot to do your banking during regular hours,MAC is at your service. He works 24 hours aday, every day, to take care of practically allyour banking needs.We’ve given MAC his own modern office on theground f loor of our building, just west of themain entrance. It’s climate-controlled, beauti¬fully decorated and maintains top security,day and night.I ’ *To enjoy the convenience of 24-hour banking,you’ll need a MAC Card. On your next visit tothe bank, stop at our Personal Banking Depart¬ment and pick up your MAC Card application.Once you’ve done business with MAC, you’llknow why he’s called MAC the MACnificent. HYDE PARK BANKAM) TRl SI COMPANYUnlocks all the services of MAC,the friendly S^hour bankerYour MAC Card is the keyto the Hyde Park Bank24 hours a day!. sit, ■»Tax overdue, And I think she is too{jjgted and I'll probably get bustedinior®I’ll catch it all later, can’t let ’em atop»now'I’ve been down this road once or twice“Gettin* By”c. 1973 Groper Music, Inc.rJonMeyersohnJerry Jeff Walker is the self-proclaimed, self-made, and self-mpported maverick of country music,is a red-neck musician, a boozer, thed of guy who must’ve loved tearing. jugh the Texas desert in a ’57 CoupeJ Ville when he was young. Maybe heren shot a jack rabbit or two for the| of it. But Jerry Jeff is more passive| now. He’s rowdy but not violent,(mobile but accepting. He’s reminiscent[of Nicholson in Easy Rider, and like[the gin soaked lawyer, Jerry Jeffgained new energy by teaming with theyoung. It only seems natural, becausebe has fought hard to retain his youth-fulness. Walker is the guru and sage toan appropriately named group of young| Texas searchers, the Lost Gonzo Band.A while ago Jerry Jeff picked up[some of the pieces Nashville hadscattered, and brought them home to! Luckenbach, Texas. Along with WillieNelson and a few other outlandishcountry musicians like Ramblin’ JackEliot, Jerry Jeff abandoned the Nash¬ville hype, the world of broken hearts,empty bottles, and overworked am¬phetamine-fed, image-shatteringsuicides on the order of Hank Williams.After all, the life of a rambler mayprove fatal anyway, but it’s a shame ifthe business end of it does the killing.We expect our favorite country (orrock) stars to live hard-lovin’, hard-drinkin’ lives, but it’s depressing tothink of Loretta Lynn standing by heragent the way she does her man, {evenBv Brace McLaughlinI went to Mandel Hall last Saturdaynight with the intention of interviewingVaesar Clements. When I arrived I wastold that the road managers wouldallow no press backstage. I decided toleave and try again later. Then, as Iwas leaving the Reynolds building Isaw Clements getting out of a Toyota.GCJ: Hello Mr. CJements. I waswondering if you might have a tewminutes some time tonight for aninterview.As I spoke ne firmly snook my handand smiled.Clements: Well, I’m pleased tomeet you. Right now we have to set upand do a sound check, but why don’tyou come down in about fifteenminutes.His Tennessee drawl soundedrelaxed and homey, and he smoked apipe styled similarly to the carvedwooden figure of an old bearded mantkat sits at the end of the neck of hisfiddle.Clements is a 39 year old violinist, ormore accurately, fiddle player, born inFlorida, raised in Tennessee, nowliving in Nashville. He has played onmore albums with more people than hecan remember. By virtue of his per¬formances in “fiddlin’’ contests whenhe was younger, he won the title ofGrand Master. His fiddle playing hassince unproved.During his 32 years of fiddle playingClements had never recorded an album Jerry Jeff Walker:Tired of that It’s the obviousness of his talent thatmakes him difficult to watch. Hestaggers, sputters, belches and curses;which is cozy, but sometimes tends tostand in the way of his performanceFly by Night Lifeif they are both the same). To the loyalfan it’s just not comparable.So Jerry Jeff packed up and leftNashville, the city of fake traditionsand real hierarchies. Haven Hamiltontold Eliot Gould in Nashville that theprice of success was high, but Gouldjust laughed and played along. Moviestars can joke about success; musicianscan’t. Or they couldn’t until people likeJerry Jeff and Willie Nelson camealong. Before them you either acceptedit, or got out. Now you can do both;Nelson was just invited back to play atthe Grand Old Opry, and it can even beseen on TV. It’s getting realer andrealer.Vassar Clements is another who haslearned to play the line very well,perhaps even better than Jerry Jeff. Better, and more easily for two goodreasons: he’s the best fiddler around,and he looks like a car salesman fromsuburban Memphis. Jerry Jeff has alsogot that nondescript look, butmusically he’s no match for Vassar.Walker was on the level of his band,pleasant Pipe Prairie League typemusic, it’s just that he writes greatsongs. He’s very personal, but not verypersonable. Vassar, on the other hand,is both. He looks friendly, and he playsfriendly. Too much so perhaps; heshould have fired that guitarist longago. There’s nothing wrong withhooking up with a bunch of youngrockers and doing a tour, but not iftheir Dicky Betts’ imitations aren’teven down pat.Jerry Jeff Walker is obviously good. rather than enhance it. At one time hisdrunkenness was part of what madehim so good, so unpretentious, as itallowed him to sing and shout and havea good time unabashedly. He’s oldernow, and he tends to shout too much.He’s still fun to see, but not as fun tohear. His sensitive softer songs,particularly Guy Clark’s “L.A.Freeway” and “London HomesickBlues” (by pianist Gary Nunn) losesomething in a bonzed performance;but the gutsier numbers, “Pissin’ inthe Wind,” “Up Against the Wall Red-Neck Mother,” “Pickup the Tempo”{which he dedicated to Willie Nelson),and “Sangria Wine” are meant to besung rowdy and drunk. With the ex¬ception of Nunn, musically, the band isnothing, and the guitarist could be seenchecking his fingers on D chords. Butthe songs are inspirational. Jerry Jeffis losing his voice, but maybe it doesn’tmatter; he’s probably been losing it for10 years now. What remains par¬ticularly impressive is the entireband’s ability, though good back-upsinging and tight playing, to sustainthe momentum of a show that looks likeit may collapse at any moment fromsheer exhaustion and inebriation. TheLost Gonzo proved a fine, if notliterally supportive back-up band.And I love Sangria Wine just like I love oldfriends of mineYeah I love Sangria WineWhen I drink it with old friends of mineWhen oh oh oh oh I love Sangria Wine“Sangria Wine”c. 1973 Groper Music, Inc.Jerry Jeff has been around for a longtime, and after a while his personal(continued on page 14)An Evening withVassar ClementsFor Clements travelling by bus rather than flying isn 't amatter of money, it's a matter of style ... Vassar lit hispipe, picked up his fiddle and bow, began tuning, andsaid he was glad I could make it.GCJ: So am I. Well Mr. Clements...Clements: Vassar, call me Vassar.under his name until about a years ago.He had always been content to back upsuch country stars as ... well... all ofthem in the last two decades. It wasonly recently that he changed format. Now he likes to form groups that are inconstant metamorphosis, consisting ofhimself and a hand full of youngunknown and talented musicians. Hedidn’t come right out and say it in theThe Chicago Maroon—Friday, October 15,1976—7interview, but it became clear that hereally enjoys using his name to drawcrowds that will hear his young friends.He wants to help them get started.Since I saw him in Minneapolis lastAugust he has change4. his personelexcept for his bass player. This con¬stant changing of bandmembers makesthe more progressive styles thatClements wants to get into ratherdifficult to perfect, but it also makesfor a brand of music that is freer, morealive and spontaneous.The tone of our conversation was setthe instant I walked into his dressingroom. Walking from the frantic en¬vironment created by stage crew andmanagers and road crew before aconcert, into the easy slow and smoothlaughter common to Clements’dressing room before a show issomehow comforting.When I walked in he was being in¬terviewed for a radio show. His roadmanager was there telling about thebus they travel in, the bigger busthey’re going to travel in, a life of twomillion miles on the road, etc. ForClements traveling by bus rather thanflying isn't a matter of money, it’s amatter of style. When they were donewith that interview Clements lit hispipe, picked up his fiddle and bow,began tuning, and said he was glad Icould make it.GCJ: So am I. Well Mr. Clements...(continued on page 13;What is DocumentaryPhotography?BjrJnliaSiepldoc.u.men.ta.ry — adj. ...2.Presenting facts objectively in ar¬tistic form. (American HeritageDictionary 1970.)*7t is the responsibility of the photo-journalist to take his assignment andexamine it — to search with in¬telligence for the frequently in¬tangible truth; and then verycarefully \and sometimes veryrapidly) work to bring his insight, aswell as the physical characteristics ofthe subject, to his finished pictures. ”—W. Eugene Smith. Photo Notes, •(June) ’48Any act that transforms nature toart implies a variety of decisions onthe artist’s part. Once taken, thesedecisions combine to form an image.This image, though it may representeither concrete objects or abstractthoughts, communicates the artist’sexternal vision of his internal world.The construction of an “intangibletruth*’ is by definition, subjective.When he attempts to “document’’ anevent in a recognizable time andspace, the artist locates an objectwithin his conception of reality. Thus,the documentary photographertransmits information to the publicthrough his personalized images of“fact.’’ Such images constitute “TheDocumentary Photograph as a Workof Art: American Photographs, 1860 -1876,” organized by Joel Snyder andDoug Munson at The David andAlfred Smart Gallery through Dec. 12.Alain Robbe-Grillet’s short story,“Three Reflected Visions,” (fromInstantanes, 1962) — which appears todefine three objective images whileactually describing three subjectivevisions — would raise few eyebrowson the basis of whether or not itqualifies as art, though it might raisecritical doubts as to whether or not itis good or bad art. Since photographsresult from a process conceptualizedby men yet accomplished by machines, critics have diverted theirattention from the image to theimage-maker. They narrowlyquestion: “Is the photograph art?”rather than asking: “Is thephotograph good or bad art?” Termsshould be restablished that definegood or bad photographs, not in therigid context of the history of pain¬ting, drawing, or sculpture but withrespect to the idiosyncracies of theirspecific medium.The Smart exhibit records twohistorical eras: the period during theCivil War and including its immediateaftermath from roughly 1861-1866; thefollowing decade noted for its ex¬ploration of the Western frontier. Anydiscussion seems to warrantrecognition of this division; such adivision is essential because thephotographs of the two distinct eraseither succeed or fail to attain statusas good art on separate merits. Thesemerits are gratefully discussed in theaccompanying catalogue in the twoarticles by Joel Snyder and JohnCawelti.In the early 1860’s the introductionof the wet-plate collodion process(also discussed in the catalogue by Doug Munson), with its increased butstill limited flexibility allowed menlike M.B. Brady and A. Gardner tosupport themselves as warcorrespondents. Their images ofmilitary personnel and post battle-sites not only lack a developed socialconscience but also a sense of highlyindividual imagery. Though thesephotographers were bound torepresent identifiable objects to theirconsumers, they were notsimultaneously bound to eliminate theambiguities or emotional overtonessuggested in powerful art.Most of Brady and Gardner’sphotographs of the Civil War periodfail to divulge the striking elementsindicative of a personal style andinstead substitute a set of dull at¬tributes thoroughly documented byJoel Snyder in the show catalogue. Incontrast to these and all the morestartling because they were recorded“after the fact,” stand the oftenamazing works by the unknownphotographers. Though these menalso worked with the public standardsin mind, a few of them successfullyexploited the boundaries of theirartistic medium.The Ontology of “Smok-Smok”By Lukaca LeBagSo what is it to being a celebrity,anyway? You know, you inadequate U.of C. scholars, that you’d love to beone, and have nothing to do in par¬ticular except look familiar on thestreet, exchange occasional reparteewith Peter Marshall and Merv Griffin,and look pretty for People magazine.Be a hero to the old ladies from DeMoines! Play the Drury Lane (the oneon 96th Stret). But think about it a littlemore—it could turn out to be an awfulfate. I mean, being so dependent onhaving millions of people finding youlikeable. I suspect it drives most peoplewho achieve celebrity totally wacko.That’s why so many rich shrinks are inNew York and L.A. At the oppositeend, that’s how Nixon gets his golfpartners at San Pardon. It’s really adifficult thing to be—most celebritieswho make it on the basis of one luckybreak or a good manager soondisappear (quick — name threeastronauts). But there’s somethinginteresting about those who remain ontop.I suppose that I regard Steve Allenas basically a celebrity. I remember hisoriginal TV series as being prettyfunny, but even my taste was in mymouth at age six. His later series,which I seem to recall from my earlyteens, was pretty much a dud, andsince then he’s been seen mostly inJohnny Carson-esque situations, andon such efforts as the Laugh-Backaeries, which I watched once inCleveland out of utter desperation. So,as far as I was concerned, he’s beendoing what most celebrities do: resting on his laurels, and making a goodliving at it.But, as I say, a celebrity that canremain successful over a period of timehas something going for him or her. Ifound his performance at the LawSchool last Sunday to be quite ad¬mirable, in fact. I asked myself: howcould I so thoroughly enjoy a per¬formance by someone who is funny, butnot that funny: who is a pretty goodsongwriter, and no better than amediocre pianist and singer; who ischarming and intelligent, but certainlythere are more charming and intelligentpeople around for whom I wouldn’t payfour dollars to hear ad lib for two hoursin an auditorium?I think that what it comes down to isthis: in our nasty, neurotic world,Steve Allen stands out as a sane,secure person. Standing at a lectern ina dark blue, three-piece suit, Steverinocertainly looked the part of aPresidential debater. Dealing mostlywith questions from the audience, theissue of whether he was funnier thanLustful Jimmy and Prez' Bozo poseditself. That’s a matter of taste, but onething is for sure—he handled thequestions with much more aplomb andtaste than Ford and Carter (and betterthan Dick Cavett, who copped theformat for his monologues).In itself, “winging it” is risky forconcert-type appearances. It doesn’tprovide the opportunities for insertingtried-and-true laugh-getters that acanned routine does, yet the show waswell-paced, varying between some OKone-liners (“As a philosopher ofcomedy, what would you say is the most important ingredient in humor?— Audience laughter” “What do youthink of Charles Lindbergh— I thinkhe’s dead.” Well, you had to be there!),some longer excursions into suchtopics as the funniest Chicago joke andJayne Meadows’ faults, together withsome Buck Hammer boogie piano,Typical American words, a filmicreincarnation of the “Prickly HeatTelethon,” and a flourish-filled ren¬dition of “The Song is You.” All insuch a good nature. He can twist thesatirical knife, he can milk a joke, buthe has a beautiful sense of whenenough is enough. Scatalogical overkillis a great enemy of comedy, especiallyin the age of Norman Lear andSaturday Night Live (I watch DavidSusskind now, and wait for TilmonTempo to come on). Carson has a habitof making his “awful” comedy routinethe subject of laughter, which can bepretty funny, but after awhile it’srefreshing to see Allen, who is contentwith letting some things be justmoderately amusing.In watching the “Prickly HeatTelethon” (which was done .in 1967) Iwas struck by the contrast between theserene, on-stage Steve Allen and“Jackie Lenny,” the comedian in theskit (in an excellent little performanceby John Byner). Jackie Lenny is thetypical comedian—pushy, uptight,insecure (and unfunny to boot) — whotaps the nervous energy of people inorder to get laughs. Played in the ex¬treme, as it was here, the comedianhimself is the object of laughter. But itis a turn-off to hear most comedians,whose basic style is to hit the audience8—The Chicago Maroon—Friday, October 15,1976 Following the Civil War and1876, the United States govei,employed photographers to docits westward expansion intwo specific projects: the exteithe railroads and the mapping of40th parallel. Among these emiwere W.H. Jackson, E. MuylA.J. Russell, C.R. Savage,Watkins. The works of Rcomprise the exceptionalthe exhibit and demand attention'documents his visions of the Vsignificant human and artisticby conveying monumental em„and beauty through a range ofdinary to extraordinary objects.1photographs of his peers captureromantic sublime as suggestedmountain peaks and waterfalls (,Cawelti deals with this phenomiin the catalogue) yet ultimidocument spectacular objeithrough weak imagery.“The Documentary Photographdeserves our praise for compilingcollection of outstanding hist*interest that works as a whole,from the photographs, the showeludes both the landscapethat imitated the photographs andstereoscopic cards that brought.West directly into the living-roomthe Eastern middle class. Sincecatalogue restricts itself (withexception of Alan Fern’s article)narrow, historical interpretation,otherwsie elegant documentfunctions as a starting pojHowever, this limitation is not cito our enjoyment of the exhibition;witnesses to art we’re best preseiwith the works and left to inteitheir images as we perceive thenartistic visions.The illustrations alone, reprin a two color, three-hundred-]screen process, are well-worthprice of the catalogue, on saleunder $6. at the Smart Gallery, 56601Greenwood Ave., open Tues.-Sat. IISun. 12-4. Free admission.4^ ,1w m,_ _ . ...over the head until they pay attendsto him. As another contrast fresh inismind, Dick Gregory used every cheiishot in the book to earn the laughs amapplause he got. Almost involuntarilja lot of people imyself included) wilaugh at dumb FBI agents, penis sizeand Allegheny Airlines, and theyrespond to political paranoia (eventhough the nature of paranoiachanged over the past five yean.Gregory still comes on as if Kent Statehappened last week). All of which is adto say that I prefer Steve Alien’*politics to Dick Gregory’s—it’s thSteve Allen’s approach to cometitself is far more admirable.An evening with Tony Orlandocould do without. If it were just Dawiand me, maybe . . . Cher? No wayHoward Cosell, Andy Williams, JohiDavidson — the list of variety shoihosts I wouldn’t be too thrilledspend time with list is very long. StevAllen is an exception to this nil<Possessor of considerable intellawithout pretension, funny but atpushy, married to Jayne Meadowsthese years — I wouldn’t mind bhim, let alone seeing him again.musicDeDorah HughesAs a musician and a reviver of ScottJopiia’8 Piano raga> J°8hua Rifkinthieved popularity by attaching hischaracter to the works, giving,(xern life. Last Sunday night at MandelHall Rifkin again applied hischaracteristically ethereal, con¬sciously slowed style, this time to the^Ics of Bach. However, Kitkin’s lightinterpretative touch didn't always jibewith Bach’s somberness; it was as ifRifkin Americanized Bach’s solemnreligious works with his easy style. Itgkiiost seems as if Rifkin would beequally at home with writing Mc¬Donald’s jingles as he is re-creatingoboe concertos. It’s not that he doesn’tnlay Bach well; he does, only he’s not atechnician in the true sense of the word,nor is he involved^ with the music’stotal emotional significance. He’s amusician who loves music for its ownsake, not someone who plays Liszt orChopin to be lauded for his virtuosity.He plays instead for an exact ap¬preciation of the arrangement of notes.Under Rifkin’s direction wereseveral very fine musicians: Ray Still,first oboist of the Chicago Symphony;Susan Davanny Wyner, soprano; andGershon Stilins, baritone. In addition,there was a very small orchestra —twelve people. Such a small orchestralessened the seriousness of the music,making it seem like chamber music.This effect was doubled by Rifkin’sown personal style.Ray Still is, admittedly, a very goodoboist. Tone, tempo, rhythm — therudiments are fine. However, as is thecase with many good musicians, he isextremely egotistical. This egotism detracted from his performance. Hehad the tendency to drown out both thesoprano and the continuo even when hewas playing a secondary part. Hisperformance on the reconstructedconcerto, however, was admirable, asone might expect.Susan Davanny Wyner is also quitetalented. She has a beautiful voice butsome rather annoying flaws. For onething, she tends to swallow her lownotes — a condition which was notaided by Mandel Hall’s less-than-perfect acoustics. She also has theirritating habit of "emoting" on stage.She stood there looking pious andsublimely happy the whole time, arather unlikely attitude, especiallysince the text was in German. It’spossible that she really identified withwhat she was singing, but is far morelikely that she was merely demon¬strating her operatic training.Gershon Silins is equally talented.He is not yet really experienced, andhis voice hasn’t taken on the af¬fectations of a renowned singer. Healso sings with a charming earnestness;like Rifkin, he seems to be in love withthe music rather than its philosophy.The concert itself was very good. Thefirst piece, an oboe concerto, wasreconstructed by Rifkin from sectionsof two Bach cantatas: “Geist Und Seelewird verwirret," BWV 35, for soprano,organ, and orchestra; and,the obscure‘Tch steh mit einem Fuss em Grabbe,”BWV 156. According to Rifkin, thescore of BWV 35 strongly indicates thatBach borrowed certain parts of thepiece from one already written; "therange and style of the solo part point tothe oboe as the featured instrument."The slow movement, which occurs intwo of Bach’s works, also seems tohave been written for oboe."In the program notes, Rifkin con¬cludes, "There would seem a strongThe “RumprollerFatha and QuadrisectByM. NeustadtTwo weeks ago Earl Fatha Hinesmade a short stopover at the Ritz-Carlton. The Ritz is the kind of placeparents go to after they have put thekids to bed. It’s decorated in plush redvelvet and employs waitresses whoseskirts emphasize the vertex, ratherthan the unknown, at the junction oftheir thighs. Its really not very muchfun if you're under forty; very muchlike sitting in the middle of a privatejoke.Earl Fatha Hines came on in all hispreserved glory, and announced thattonight would mainly be devoted to oldstandards, including a tribute to theBrest pianist and composer DukeEllington. He opened with a shorttribute to another great pianist andcomposer, Fats Waller, with a solopiano version of "Tea for Two." Thesolo was all too short, and the Hine’sband joined in like a herd of late nighttalk show bands. I didn’t catch thename of the drummer, but whoever heis. he brings percussion to a new low ofbad taste. He is the Doc Sevrenson ofthe drums. Rudy Rutherford, the reedplayer is fortunately much better.He walked up to the podium for "TheHan I Love," hair conked back, suitdouble pressed, and proceeded tosqueeze the hell out of the octave key00 hie clarinet. The audience wasoverjoyed to hear Rudy do it like they-did-back-when. To my mind, therenever was a clarinet player of the swingera who played like Rudy (Gee Dad,don’t you even know what a Parker lickis?) but little would it be for me to step°n the feet of nostalgia. Major Holly is the kind of bassplayer for whom no comment isnecessary. He was born not knowingwhat a bad note is and he still doesn’tknow.The set was a Chicago prom circa1941. “Tea for Two," "I Can’t BelieveYou’re In Love With Me," "Hie Man ILove," and the Elington medley, "TheMooche" (which was too old for eventhe old timers) "Take The A Train,""Sophisticated Lady," "C JamBlues," and finally Major Holly oneuphonium, and Hines on mellodiumfor a "Mood Indigo" straight from1929.But what's this? All eyes are to theback. Who is that 6’2" goddess with themike? Everybody orders anotherdrink, for Marva Josie is here.Anybody who thinks Marva Josie is ajazz singer doesn’t have ears or eyes.Marva herself quickly dispels therumor with a full force rendition of"Going to Kansas City," every bit ofenergy directed at my friends in the60’s set. Of course they really can’tenjoy themselves, or their wives, whothey forgot to leave at the hotel, will gethysterical.Anyone who wonders how Earl FathaHines continues at the rather advancedage of 70, has just to take one look atMa. Josie to get an answer. The setended with an Aretha type "Deed IDo," the combo onmy friends took to the floor.It was certainly not one of the mootmomentous evenings that Chicago hasseen, but it was Earl Fatha Hines andwe should all remember what that likelihood, therefore, that the threemovements we have assembled notonly fit together convincingly but infact originated as a unit." It is perhapsslightly far-fetched to assume thatBach really intended the sections tobecome one piece, but the concerto wasboth coherent and cohesive.After the oboe concerto, a cantata,"Mein Herze Schwimmt im Blut,"BWV 199, for soprano, oboe, stringsand continuo was performed. It wentwell, but exhibited one of the peculiartendencies of the evening: the piece atfirst seemed very disjointed, the partsdid not flow together. As the cantataprogressed, though, the performersworked more as an orchestral unit.This initial hesitation, which occurredin all the pieces, hinted that the or¬chestra probably did not have muchopportunity to rehearse as a group. Thecantata is written so that there must bea delicate balance between the oboe andthe soprano. They counter each othermelodically; if not performed carefully,the piece can turn into a full-scalebattle. Several times Still and Wynerwere on the brink of war. Still is used tobeing a soloist and tended to drowneverything else out. Fortunately, as thepiece progressed, Still began to play asa member of the orchestra. The com¬position as a whole went well, althoughthe violist had a definite problem withintonation.After a short intermission, anothercantata, "Ich geh’ und suche mitVerlangen," BWV 49, for soprano,bass, and orchestra was performed.Again, it took a while for the orchestrato perform as a whole. The cantata wasdifficult, and Wyner exhibited ad¬mirable breath control and tonequality. Rifkin did not succumb to thetendency to let the continuo or theorchestra overpower the singers, butStill played rather loudlv in Diaces. This was irritating becaue the oboe isnot a featured instrument in the can¬tata.In general, the concert was highlyunueual. It was also very short. Thisemphasized yet another time theconcert’s aura of lightness, of a qualityof chamber music. The performancehad certain inherent problems, such asthe acoustics of Mandel Hall and someconfusion about the time the concertstarted. However, the audience trulyenjoyed the performance — the prin¬cipals took four curtain calls. Theturnout was not as large as might havebeen expected, possibly because ofRifkin’s relative obscurity. The peoplewho attended, however, really got theirmoney’s worth, especially for themeans. One of the more foolishholdovers from the Bebop era is ademand that music must always betopical and up to date. Hines is the solesurvivor of a group that sometime inthe mid to late 20’s created jazz as weknow it. His work with Louis Arm¬strong stands unequaled in the longhistory of recorded jazz.So allow Earl Fatha Hines his goldenoldies and his R & B that blows thoseconventioneers away, and rememberwho Earl Fatha Hines is and the greattribute jazz must pay him.Sunday the N.A.M.E. gallery was arare opportunity to enjoy the com¬positional talents of two of the finestmusicians in Chicago, Douglas Ewartand George Lewis.The concert, used the titleQuadrisect, comprised three multi-reedmen and the trombonist: MwataBowden, whose main instrument is thebaritone saxophone, James Johnson,who relies mainly on the bassoon, andDoug Ewart, who is equally proficienton flute, soprano sax, tenor sax,bassoon, clarinet, bass clarinet, andbamboo flute. Lewis manages throughthe use of different mutes to achieve atonal range to match that of the reedmen on his trombone.The music was of great complexity,justifiably so for the music which isslowly declaring itself as the next trueadvancement over those of the early60’e. Hiere is no way in a short piece todescribe the emotional range or depthof each composition. One which wasparticularly impressive was a longcomposition by George Lewis entitled"Untitled."Mr. Lewis obviously has a firm graspon the fundamentals from each periodof jazz history. The thematic content ofhit composition incorporated smallmotifs from ragtime and the swing era. of the "Free Jazz" (Ascension) form ofthe 60’s. There were long composedsections separated by solo im¬provisation sections which allowedeach musician to introduce his owncreative reflections. But whereas "FreeJazz" was an arrangement designed toallow a new level of contribution fromthe participating improvisors, "Un¬titled" is a continuously evolvingcomposition. Mwata Bowden, who wasthe first to solo, had an entirely dif¬ferent musical context within which towork than Doug Ewart who was the lastto 8Qlo.The skill with which these highlytalented musicians cotld channel theirown creativity into "the confinesestablished by the ^composer wasastounding. Evident was not onlyhours and hours of practice inpreparation for the concert, but a trueempathy between the musicians. Neverwas there the push and tug common toattempts at compositional jazz.The N.A.M.E. gallery was not verycrowded and it appeared that many ofthe people there were the same onesalways in evidence at AACM events.Rather than chide the public for notturning out in larger force, it is ap¬propriate to applaud an American farmof music which has divorced itselfcompletely from pop culture. Themusic heard at the N.A.M.E. gallerylast Sunday has little in common with aform that would spawn something likeHut Sut Ralston or Marezy Dotes, andit is about time.Jazz Notes: Max Roach at theShowcase Oct. 13 thru 17, WallaceLaRoy McMillan and the Puerto RicanRhythm Machine Sunday 4:00 at theName Gallery. Rumor has it thatDexter Gordon is coming to town laterin the month, no other information atthe present time.The form was somewhat an extensionThe Chicago Maroon—Friday, October 15,1974—9C tt i L D R -6 N WORLDJesturing the hitsXXI SHOULDD€ DM'ICING"and"ICME SO PJGHT"BEE GEES - Children of the Night6.98 List price...SPIN-IT SALEPRICE $3.99SPIN-IT1444 E. 57th St.684-1505STORE HOURS:MONDAY - SATURDAY 10:30 - 8:00SUNDAY 1200-6:00- For the Finest in Music -10—The Chicago Maroon— Friday, October 15,1976 in Cobb hall except Metropolis and HieCabinet of Dr. Caligari which will bepresented in Soc Sci 122. Admission foreach Doc and CEF showing is $1.00.Admission for the NAM film, shown inCobb hall and the International Housepresentation, shown in I Houseauditorium, is $1.50.Doc offers: Special Section (1975),directed by Constantine Costa-Gavras.Doc says: “A devestating historicaland political document. Early duringthe Nazi occupation of France, theVichy government created ‘specialsections’ within the court system bywhich dissidents were to be prosecutedthereby to discourage anti-Germanterrorism. These special sections,however, were set up on principlescontrary to the most basic tenets ofFrench legal thought. Largely un¬concerned with such questions as guiltor innocence, they in fact servedmostly to rubberstamp the sentences ofdeath already determined by Vichy.”Friday at 7:30 and 10:00.Cry of the City (1948), directed byRobert Siodmak. A well-drawn andunderstated work about crime andjustice. It is, simply, the depiction of achase through New York’s streets withMartin Rome (Richard Conte), awounded hoodlum and copkillersuspected of a jewel robbery andanother murder, as the fugitive, and Lt.Vittorio Candella (Victor Mature), thegood right arm of the law. Althoughboth emerged from the same neigh¬borhood, Rome is drawn as a nativelyintelligent outlaw, who while notoutwardly vicious, apparently wouldnot hesitate to employ anyone for hisnefarious purposes. Candella, on theother hand, is an intelligent, hardworking and completely natural of¬ficer, not broken by his environmentand content with his $94.43 weeklysalary. Contrary to popular opinion,Mature proves himself to be somewhatof an actor in this work. With ShelleyWinters. Tuesday at 7:30.Criaa Cross (1948), directed byRobert Siodmak. Honest hard-workingguard on an armored car, SteveThompson (Burt Lancaster), is caughtin a compromising situation with hisformer wife by her present hoodlumhusband. To save her neck, and hisown, Steve blurts out that they weretalking about pulling off a hold-up onhis money truck and , considering thecircumstances, Steve has no choice butto follow through. Yvonne de Carlo isthe dangerous dish who wants to haveher cake and eat it too. Dan Duryea isthe evil second spouse, Slim Dundee.Tuesday at 9:15.Pandora's Box (1929), directed byG.W. Pabst. Lulu (Louise Brooks) isconvicted of killing Dr. Shoen, whomshe was to wed. Actually, our poorheroine is just a victim of cir¬cumstance; her finace had forced thepistol into her hand and in the ensuingthe weapon had exploded producing thefatal result. In her escape, Lulu hidesin a gambling cellar in the slums ofParis in the company of those who wanther money.Wednesday at 8:00.CEF presents: A Clockwork Orange(1972), directed by Stanley Kubrick.Kubrick’s finest film to date andcertainly one of the best cinematicachievements of the decade. Sex, moralcorruption and “a bit of the ’ole ultra¬violence” become the credoes of the nottoo distant future. Malcolm MacDowellstars as Alex, leader of his group of“droogs” who charm and sing theirway into a country home where theyparalyze the husband and brutally rape the wife. Abandoned by his buddie*caught by the authorities and con’ditioned by drugs to detest violencesex and Beethoveen, Alex becomes the“moral and model” man that societywants him to be. A brilliantexamination of good and evil and thethin line that separates them. Highlyrecommended. Saturday at 7:00 and9-30.Metropolis (1926), directed by Fri^Lang. A highly moral silentshowing that the brain and the handsdo not work when the heart(love) does not function with them. Aninventor creates a woman from a realwoman, without harimg the latter. Atfirst the manufactured Mary is em¬ployed to quell the dissatisfied fieldworkers, but by some queer freak sheeventually incites the men and womenlaborers to rebel against the wealthiestman in Metropolis. Some 37,000 extraswere engaged in some of the scenes inthis momumental film. Brigitte Helm isexcellent as the real and artificialMary. Highly Recommended. Sundayat 7:15 in Soc Sci 122.The Cabinet of Dr. Caligari (1919),directed by Robert Wiene. The em¬bodiment of sheer wickedness, Caligaridoes evil ior the sheer delight that itaffords him. The madman reaches thetown where a fair is being held andsolicits the permission to exhibit asomnabulist on the ground. The per¬mission is granted but not withoutrudeness on the part of the clerk. Thatnight the unfortunate man is murderedin his bed. This is only the beginningof a mysterious series of crimes. Theentire story is told through the lips of amadman, a mass murderer, and it isfitting in his twisted conceptions thatthe scenic artists have done noblethings. Recommended. Sunday at 9:30in Soc Sd 122.How Tasty Was My Little Fren¬chman (1971), directed by NelsonPereira dos Santos. CEF says: ‘‘Thishighly unusual comedy comes to usfrom one of Brazil’s outstandingdirectors. A group of French explorersundertake to find adventure and quickprofit for themselves in SouthAmerica. The local cannibals, however,have different ideas—they insist thattheir guests stay for lunch.” Thursdayat 7:15 and 9:30.NAM films present: Blood of theCondor (1969), directed by JorgeSanjines and the Ukamau group. NANfilms says: “Based on the 1968 PeaceCorps effort to subject Quechua Indianwomen to involuntary sterilization, thefilm presents a dramatized recon¬struction of the Indians’ daily life andtheir place in the Bolivian hierarchy.The film offers a close and intriguinglook at the life of the Quechuapopulation together with a tellingexample of U.S. “aid” to LatinAmerica, all in a style of angry butskillfully controlled documentarystatement.” Highly Recommended.Monday at 7:15 and 9:30.International House presents: SweptAway (1974), directed by Lina Wert-muller. This year’s cinema darling,that number one woman auteur anddropped name of the cocktail set, LinaWertmuller, has fashioned anallegorical tale about men and women(how original) and each one’s strugglefor dominance. Shipwrecked on adesert island in the Mediterranean, she(Angelina Melato), a spoiled rich bitch,and he (Giancarlo Gianinni), an ex¬tremely sexy member of the greatunwashed manes, have it out in thesand and the surf and the sun. It mustbe remembered that while this is a filmby a woman director, it is not awoman’s film and the winner in thisbattle of the sexes is as inevitable as itis classic. Tho acting is excellent, thecinematography is beautiful, but thescript and direction are predictable.Not anywhere as good as Love andAnarchy or Seven Beauties. Saturdayat 7:15 and 9.46 at I House.-Karan HellerrTheateriSth CenturyChinese[legendOne of the plays the French Con¬temporary Arts Festival is bringing to^ u. of C. is a musical adaptation of a13th century Chinese legend. “Lepavilion au bord de la riviere” opensSunday Oct. 24th at Mandel Hall, andit promises to be one of the mostunusual offerings of the year. Theoriginal legend was written in the 13thcentury by Kuan Han Chin, a Chineseauthor of comparable magnitude toShakespeare. During that period,China was dominated by the Mongols;many of Kuan’s plays exposed theabuses of a dark and barbaric period inChina’s history. One of the themes of"pavilion,” as in many of Kuan’splays, is the low opinion of women bythe Mongols. The story, as summarizedin a British program, is about thebeautiful Princess Tan Chi Erh, awidow, who decides to enter amonastary. She is tricked by the ab¬bess, who doesn’t want her to waste herlife, into marrying an honorable localmagistrate, Pai Shi Chung. She falls inlove with her husband and they arehappy. However, evil Lord Yangdesires the princess and. slanders herhusband to the emperor, obtaining adeath warrant. In order to save herhusband, Tan Chi Erh disguisesherself, outwits Lord Yang, and stealsthe warrant. As a result, the emperorstrips Yank of his position andpublicly honors Pai Shih Chung.On Monday I talked with LaurentPuibourdin, the stage manager of“Pavillion” about the play. We had aserious language barrier until we werejoined by Charles Jenkins, CourtTheatre designer. The play isscheduled to open in Washington D.C.on Oct. 18th, and Puibourdin isanxiously awaiting American reac¬tions. It played in Britain in 1975 andreceived rave reviews in the LondonTimes and Manchester Guardian. Theplay was commissioned for the 1975Avignon Festival. Piubourdin says itwas well received, although itsuniqueness astonished a lot of people.Although the oppression of women is afamiliar modern motif, Puibourdinstressed the play is not a politicalwork. The problem of women in theplay is essentially a 13th century one,even if there are important modernparallels. These are not stressed in theproduction, but are left for theaudiences’ conclusion. The choice ofthe play was in itself a statement, butthat’8 as far as it goes. In talking aboutthe modern issue of women’s lib,Piubourdin remarked ‘‘we can’t saythis is modern theater or old-fashioned” but that the purpose oftheater is to take a text and make itlive, so that what comes out is theaterwhich lives.” To this end, Puibourdin’stheater group, “The EnsembleTheatrical De Glennevilliers hasthree “dramaturges” who spend fromthree to five months studying a textcompletely, until they know as much asthey can about it historically,theatrically, socially and literally.Their job is to figure out what thewthor meant when he wrote the piece,“rd what it projected to the originalaudience. Their premise is that there*** reasons for what an author writes, usually found in the social climate.They then help interpret the play forthe director when they rehearse.The Ensemble de Gennevilliers wasfounded by Bernard Sobel, who hasworked with Berthold Brecht in theBerliner Ensemble, and with JeanVilar in the Theatre, NationalePopulaire in 1973 in Gennevilliers, asuburb northwest of Paris. “Pavillion”was chosen by Sobel, Betsy Jolas, thecomposer, and Jean Leber, the con¬ductor. The French government gavethe theater group about $60,000 to tourin the United States. One of theproblems of the Theatre de Glen-nevilliers, as with every theater group,is lack of funding. Puibourdin, towardsthe end of our talk, said that if theateris to survive normally, society has tosupport it. Just as other institutions, orindividuals, need enough to live nor¬mally, so must theater, which nowreceives just enough to survive.Theatre de Gennevilliers gets moneyfrom federal, state and local govern¬ment, although the bulk of supportcomes from city funding. Tickets salestake up some of the deficit, but it is thecity that supports the theater.PhotographerTurns to Humor“Transient Touch,” the first com¬plete opus of Chicago’s top divorcephotographer, will open next Friday atthe Victory Gardens Theater—againstthe backdrop of the University’scomedy retrospective, but neverthelessan original work containing freshmaterial from an unknown Chicagocomic.Louie Grenier, a graduate of SecondCity’s improvisational workshop andthe subject of columns in the Sun-Times and the Reader for hisphotographic forays into the world ofdivorce, has written and produced aone-man show that includes film,prjse, comedy and drama. The name,“Transient Touch,” denotes the show’sunderlying theme—to be explainedduring the show itself.Late last year, the 31-year oldassistant manager of the PlayboyTheater offered himself as a divorcephotographer in a Reader classified,suggesting that the moments precedinga divorce would be as interesting andsignificant a subject to record on filmas the ceremony of marriage. Hisventure into the absurd paid off in aBob Greene column in the Sun-Timesand a mention in his employer’smagazine, Playboy — but no one everhired him to photograph their divorce.So Grenier returned to preparationsfor his one-man show, and theculmination of his work will take placeon Friday, October 15, when his showopens on the third floor of the VictoryGardens Theater at 3730 N. Clark St.Grenier is offering a generousstudent discount on weeknights duringthe show’s two-week run. Informationand reservations can be obtained fromthe box office at 549-5788. KAFFENDinvites you forBrunch/BuffetEvery Sunday from 11:00 A.M.onThe Chicago Maroon—Friday, October 15,1976—11A LowWagerBy John LanahanLast Spring, when I reviewed theApollo Production of MichaelWeller’s Moonchildren, I foundmyself in the delightful position oftrying to explain why I liked a showthat, for dramaturgical reasons, Ishould have hated. In contrast, thecurrent production of The Wager, byMark Medoff, at the Wisdom Bridge,gives me the painful but reassuringfeeling of seeing a show I know Ishould dislike, and do.From a structural point of view,The Wager is a cross between a soapopera and a situation comedy; inother words, it has no structure. Itstarts off as a possibly interestingvariation of a love-trianglemelodrama, with one character,Leeds, having the potential to becomean Iago. Instead, the play wallows infarcical entrances and exits, glib off¬stage antics, and finally ends up onthe threshold of comedy: Othello, astold by Neil Simon.The director, Mel Shapiro, madethe show come across with all theimpact of aged Velveeta. The play isadmittedly difficult to direct, since itis less a show than a series of stagedscenes. The director’s main task isthus to blend and coordinate theantics of the cast, so that theproduction has a flow, rhythm, andeventual climax of a single piece oftheater. Most of the focus of thisproduction, however, came fromcertain cast members in individualscenes, and what could have been atleast a smooth show came across as choppy, uneven, and occasionallyconfused.John Green, as Leeds, stole theshow on the strength of hisimaginative bits and the clever,oblique lines of., the script. Un¬fortunately, Mr. Green had difficultymerging the brilliant verbal defensesof his character with the moments of’’real emotion” he was supposed toshow at certain times in the play. Therole does call for abrupt changes inmanner and mood, and although Mr.Green had no difficulty conveyingthose changes of mood to theaudience, I often felt I was watchingnot a person, but a not too well-oiledacting machine.Matthew Kimbrough, as Ward, wasfine as a narcissistic jock, and filledthe character with about as muchhumanity as one could expect fromthe cardboard dimensions of the role.Christopher Raynolds as Ron, thebookish and boring professorialtechnocrat who loses his wife to Wardand then, it seems, to Leeds, carriedmost of his character in his neckmuscles. Although most of Mr.Raynold’s impulses about his rolewere good, he accentuated them tothe point of caricature. Had he playedmost of the show at one half the in¬tensity, he would have added far moredepth to his character.Nancy Sigworth as Honor, thesometime sex-object and persistentewige weiblichkeit of the piece, hadmoments of pain and sincerity thatwere not approximated by the rest ofthe cast. Ms. Sigworth had a sim¬plicity of response in her momentswith Leeds that contrasted favorablywith the overacting done by both herand the rest of the cast during theother parts of clever dialogue andscene stealing by Mr. Green.A FINE CIGARCOMPLETES YOUR DINNERTREAT YOURSELFAM YOUR GUESTS J s pipel$hppTHE ONLY ONE# IT'S KM IN TK MJP. AKAAt Harp*, Court Shopping Contor$225 S. Harpar C-7 2M-51S1 HAIRCUTSNCW I tSTYLUSFOR MEN AND WOMEN10% Discont WithUlfCIDNfun* CMtMtid JptnwlryWprtdpMx nN—»?—CrunmicBoutiqy5238 Hsrppr Court, Chicago, Illinois 80615Taiapnona 13 < 2) 493-2903BEGINNING TO COOKA lecture-demo (2 sessions) for adultsSaturdays Oct. 16 and 23 .10:00 A.M. (Continental breakfast)Hyde Park Co-op Meeting RoomSeries ticket $1.00Content: Meal planning, food storage,Cooking techniques for one or twopeople featuring low cost foods.Door PrizesTicket* available at Hyde Park Co-opon tower level or Education Desk The set was competent, realistic,and occasionally subtle, in a stiflingsort of way. The music, mostly byBarry White, was recorded, butworked in the beginning sequence.The costumes were efficient, althougha bit too formal, I thought, for Ms.Sigworth during the second half of theproduction. The lighting illuminated.I liked to review Wisdom Bridgeshows, since they were often unusualand creative, and occasionallybrilliant renditions of great works ofdrama. The Wager, however, is neither great, creative, nor bri,,If it be unusual, let it so remain.'production seems an attempt*Wisdom Bridge to attract a piec 'the dinner theater, My DaugkJ!Rated X crowd, to its audience1such, it is an excusable effort tothe meager coffers of a shoestJtheater. So, if you feel like makij?charitable contribution, the Wia'Bridge Theater is located at 155,Howard, Chicago, and The tyiplays Thursdays-Sundays. Call 7!6442 for ticket information.AUTO REPAIRFOREIGN CAR SPECIALISTSSERVICE ON VW & AUDIWe Offer Top-Quality Mechanical ServiceTune-Ups * Electrical # Brake SystemExhaust System * Other RepairsConveniently Located at5508 S. Lake Park(Gateway Garage Bldg.—Downstairs)Monday-Saturday, 9am-9pmCALL;684-5166 VRSAM1ES5154 5. Porch—terWELL MAINTAINEDBUILDINGamaciivn’AANiI’AaOOMSTUOOOl”8117251"Short form"lotgd on AvoitoOMityAll Utilities IncbbwJAt Compos Bos StopPA 4-0100 Mra. GroakJpizza"PLATTER1444 ft. 53rdDM 3-1400FAST DELIVERYAND PICKUPNikon DemoOct. 15th & 16thAsk AboutOur NikonRebate!andCHICKModel's Prices1342 ft. 55th St.--493-6700WE SPECIALIZE IN REPAIRS IY1 IXAMWiATIOeSFASHION ITfW«A»CONTACT UNSESDR. KURTROSENBAUMOptometrist(MIttikfti Pkm)1155 Coat SJrd Strew*HVde PerkMMBOOLpUflGGMixed Drinks,Pitchers of Beer,FREE POPCORN!Open Pianooil for yourenjoymenton the first floorof the Del PradoHotelSTUDENTS WELCOMEThe Chicago Maroon—Friday, October 15.1974Guamerifor AllBriber Joy SchwartzChamber music used to be strictlyhighbrow and esoteric; nowadays it isdo# to becoming a U.S. fad. One of theexample8 of the current trend is thesteadily increasing popularity of theGuameri String Quartet.In a typical program last Fridayevening the Guarneri played Haydn,Bartok, and Beethoven for hundreds ofadoring fans at U. of C.’s Mandel Hall.The audience had its share of high¬brows, but scattered on the main floorand in the upper balconies were hoards0f seriously attentive and enthusiasticyoungsters.The Guarneri Quartet, a handsome-looking group that plays the standardrepertory in an unconventional way isthe most communicative body of itshind I have ever heard. The fourgentlemen are individually superb andcollectively nearly flawless, soremarkably attuned to the music and toone another’s parts that the concertedsound seems to be the product of oneintelligence — the composer’s. Only inthe opening Haydn Quartet in G (Opus77, no. 1) was there anyrfbck of vitalityin playing, and then only during theopening Allegro moderato movement.As for the rest, everything was playedwith such expressiveness that thelistener — this one, at least — revisedier entire thinking about quartet workand adopted a completely new standardof judgement. This was music playedfor all it was worth, and no specialknowledge was required for its un¬derstanding or appreciation. It was asimmediate and as real as that. TheGuameri’s perfectly controlled andbeautiful tone, the variety of itsshading, and the lovely exactitude ofits performance are like nothing else inconcert life. Right from the start, withthe brilliancy and lucidity of theHaydn performance there was promisein the air.It was in the Bartok (Quartet in AMinor, Opus 7, no. 1), however, that the exquiaiteneaa of the group’s playingachieved the most spectacular results.The different quality of each of thethree movements was brought out withstartling clarity, and no listener islikely to forget the unearthly beauty ofthe Lento movement, which ended in awhisper that was as easily heard in thetotal stillness of the auditorium as atrumpet call would have been.After intermission the bright notes ofBeethoven’s String Quartet in F (Opus59, no. 1) drifted through the hall. Themusic was magnificent — controlledand precise, full of charm and nuance,and as smoothly and sweetly toned asthe famed strings of the PhiladelphiaOrchestra. Playing in the same easyway, the musicians displayed a virilityand vigor that brought thunderousapplause from the audience with thelast note. Their glassy sonorities andpetal-soft pianissimos in the Adagiomovement proved they command everyquality of quartet sound. In thisgraceful work, I was impressedespecially by the opening Allegromovement, in which the instrumentscame together with such strength andnaturalness that the four musical linesseemed to coil about each other infascinating, restless activity.Among other things in its favor, theGuarneri avoids extremes of loudness.Most musical bodies, vocal and in¬strumental, seem to let themselves goat climactic moments in the score forthe sake of effect. But a subtler in¬telligence is at work in the GuarneriString Quartet; its sounds are carefullygraduated, and even the big momentsare kept under firm control.The Guarneri’s unusual sensitivityto the stylistic implications of widelydiverse types of music allows them toproject the richness of Haydn, theausterity of Bartok, and the brillianceof Beethoven with equal sureness.Unhampered by scores, the Guarneriplays with an air of almost impudentinformality. For those used to staid¬ness from string quartets, the at¬mosphere had something of thefreedom and coasting downhill on abike, no hands, but always in control. (continued from page 7)VassarElements: Vassar, call me Vassar.GCJ: O.K., Vassar, maybe I should8tart by asking you the names of yourband members tonight.Vassar: Well, lets see. Right here isFestus. He’s our bass player.Fe8tus: Howdie.GCJ: Hi Festus.Vassar: And there’s David Perkins onguitar, and . . . Bob Hoben, he playspiana. He’s from here. And, and DavidHashbrown” Humphrey out’a Bostonon drums.GCJ: How long have you been playingtogether?Vassar: Lemme see. We’ve played alltogether at one time about five timesnow. Is that right Festus? Ya, abouteight days. Before that though, Festusand Dave (Price) played together a lot.And well, of course Hashbrown was inBoston.CGJ: Does the band write much of itsown music?Vassar: I keep tellin them that I’d justlove them to write more. Festus andDave have written a coupl’a numbers,and I help out a little, and we add toand change a lot of the ol’ regulars.GCJ: How did you learn the fiddle, doyou read music?Vassar: No. I don’t read any music. Ijuss listen hard to music I like, and tryto imitate it, or that’s how'I learnedanyway. You see, I’d like to learn allmusic, like, well, have you ever heardIndonesian music? I have a few timesand I’d really like to learn to play it,but I juss don’t hear enough of it yousee. You learn to play music by hearinit more than anything else.By this time Vassar’s friendlinesswas wearing off on me and I becameeffusive. I told him that I was learning how to play the fiddle by playingwith Richard Betts’ Highway Callalbum, on which Vassar performs withawesome mastery, but that I foundchords hard to learn.Vassar: Well, I’ll tell you. Chords arehard. Maybe you could try what I did.You see, I would juss play the melodyline...With that he put his fiddle to his chinand went into some chord progressionsfrom “Kissame Kid.”Vassar: . . . and juss hum along theharmony note in my head. Do that for awhile and then start playing the har¬mony instead of humming it. if yougot a lot of harmony in your head itsjuss a matter of projectin’ it.While Jerry Jeff Walker was outgetting juiced for the show VassarClements was backstage giving aninterviewer/fiddle freak a lesson inchord harmony. That’s just the way heis.GCJ: So what made you decide to startforming bands of your own?Vassar: I know this sounds like I’mjuss saying it, but I want to makepeople happy. That’s what it really iswith me. But I also want to be able toplay all kinds of music. Why restrictmusic to titles. I don’t want to play jusscountry or juss rock or jazz. I’d like toplay a jazzy country tune that rocks.With my own band I can do that.And when the Vassar Clements bandwalked on to the stage of Mandel Hallthey did just that. They mixed countrywith jazz, blues and boogie. And whenthey had to give the stage to Walkerdue to lack of time they were trulydisappointed.So was I.£| BRIDGEPORT LIQUIDATING COMPANYINC.g! 3619 S. HalsteadP! 927-4343|| ALL KINDS OF USED FURNITUHEgi AND OFFICE EQUIPMENTg ** Lampsmr Desks Taoies^Typewriters Chairsj w j Adding MachinesS» eh.Mts Stowesf?1** u. T.V.'s $40<mr File Caomets£ MINI refriogeratorsSAVE 10% with this AD9 * iMtytlU \(U\C^di^ OrCt li&ij Ortd is *Hi€. L'V' Cd/ftfnuflicA-JOY 4k. Or Kfe u/r4h u>ha+AUnaueV , ]WHOUSE.VJOoJlau.nSj oUruW.:B=an.ii!j.riB5c 6;oois\ oo7 Days A WeekHYDE PARK PIPE AND TOBACCO SHOp|AW<W.a5S E. «3rd - under 1C track! r ^AH students get 10^e effoik for "Big air.'1iK-* Ui Iwpflid Cignrettet Ci|>ri \tev^r>Sccuxt Gt/vvcLStuXHk O U 0*7:/s' STFPToUtMiiVutilA6L W mfo?- MYA*i iNi-j * ^J; 1:bo %'bOp.rh %c(, ; 4*, ic £-\r€Y\!>finC| j'fXtwsdrL’ Nocn, «**^|*0 What if there were a list?A list that said:Our finest actorsweren't allowed to act.Our best writersweren't allowed to write.Our funniest comeoiansweren't allowed to makeus laugh.What would it be like ifthere were such a list?it would be like America in 1953.. MmSTUDENTS FOR McCARTHY OPEN MEETINGSPEECH WITH QUESTION AND ANSWER8:00 TUESDAY 19 EAST LOUNGE INIDA NOYES STUDENTS FOR ISRAEL PROGRAMWEDNESDAY. OCTOBER 20TH12:00 NoonHILLEL HOUSE - 5715 WOODLAWNPROFESSOR ZEV KLEIN. ChairmanDepartment of PsychologyHebrew University, JerusalemTOPIC: EFFECTS OF WAR AND STRESSSTUDENTS IN ISRAEL.Prof. Klein will also be available after his talkto discuss Study Opportunities in Israel.(Bring a Bag Lunch-Tea available) n>.Chahv£«;h ppoooctionPGOf Cv * vf WOODYALLEN "THE FRONT"v -- ZERO (HOSTEL HERSCHEL BERNARD!„ -4Pm> »s~«£* m»«CCvCC S’.M., . Mor\iCE0 4 O'fltCTEOB* MABTiKO TT ■ » t>H vjhT PCV..N F*AV«ION (II Starts Friday October 22M ARINA* N^KTOV;nMPKKRrK >'K ■ r'YAX:"Downtown 329 0450 Ch*cag# Ntorth 7544224 Oa*i*4d 272 0212EVERGREEN ■ GLENW00Dt green Park 63b #600 Glwwood 754 3200 ► .wnto* 864 4900IBNORRIDGE Bran DH U RSTI YORKTOW N | CROSSROA DSHo* ndft 452 9000 Mount Ptoqnc! 392 9393 ino 219 960 0568The Chicago Maroon—Friday. October 15. >976—13(continued from page 7)Jerry Jeffwear affected hit music. He shouts andjumps, but his voice is almost empty.The concert moved from high point tohigh point, the climaxes dependent onthe intensity of the song. During thesepinnacles everything seemed right. Theband was cooking, the harmonies weregood, and everyone was having a greattime. At these moments —whensinging of his love for country music,and his desire to travel home from alienlondon to friendly people, prettywoman, and country music fromAmarillo and Abolene—Jerry Jeff issensational, and one wants to leave thecold north behind and head to Texas.Jerry Jeff is singing of the joys of theramblin life, the simplicity of gettingdrunk on wine and spending the nightin the tank, and of tradition of countrymusic built on heartaches, freighttrains, and booze. Every city, saysWalker, has it’s own country musicworld, and if it doesn’t it should. Itshould be a small town thing,emanating from work and weekends and friends and simple good times.Jerry Jeff has a Woody Guthrie visionof America, and he's obviously foughthard to retain his innocence. Afteradmitting he’s tired of the fly-by-nightlife, of honkey-tonks night after night,that he’s just pissin in the wind; hecomes right back and says he neverwants to give them up. Country musicin general is fatalistic and self pitying,but for someone who’s spent God onlyknows how many long nights in barsand jails, Jerry Jeff has a supremeregained-innocence sense about him.This is the spirit that keeps some aliveuntil 90; but it also kills those few"human cougars,” from Kerouac toHank Williams to Duane Allman, at avery early age.Jerry Jeff Walker can still piss inthe wind with hot rockers, but if, as hesays, he’s all that he’s been, it’s boundto catch up. It’s a shame, but therecan be no regrets, 'cause there issome up there in heaven. As the bandsays, there’s been a whole lot ofshakin going on out there, and JerryJeff has done some of it. You just haveto accept his condition, as its part ofSWu) -HiedcCcircUfta 4© ‘Ifolinpatdcivxi ur.4h iMeilet-W&l injW'^rrtajMOM DAY 7 p-tn- !(iJ- f HOft, •fwo u>odblAu>*JiWert • fu-tyer John Hurlt^AJWsV JbchurJ SurgehjSCk. CARPET CITY!6740STONY ISLAND<324-7998as what you nod from10 usod room size Rug to ajustom carpet. Specializingn Remnants A Mill returns otl|a fraction of the originaljost.ecoration Colors amalities Additional 10%|iscount witfUhis ad.FREE DELIVERYLiving in one ofChicago’s oldest communitiesdoesn’t have to mean living in one ofChicago’s oldest buildings.The University ofChicago. Frank LloydWright’s Robee House.Gulliver’s Book Store. TheOriental 11Institute. 1*The intel-j . > *lectual -fandartisticcom¬munity.These are just a few ofthe many things thatgive Hyde Park a styleall its own.And we at ChicagoBeach Towers, with one ofChicago’s newest apartmentbuildings, are proud to bea part of it.We offer you a roomyapartment that includescentral heating and air-condition. Incredibleviews of the city and thelake. 24-hour security andservice. Indoor heatedparking. And a penthouseCHICAGO BEACH TOWERS5050-5020 South Lake Shore Drive 288-5050Equal Housing Opportunity Pfe£es subipct.tojiyailabilftv.14—The Chicago Maroon—Friday,"October 15,1976hospitality suite.Then there are tenniscourts. A sundeck. Bar¬becue pits. And a beachacross the street.All just 12minutes fromthe Loop.Come seewhat it’s like tolive the life oftoday in theChicago of yesterday.Studios from $200.1 bedrooms from $265.2 bedrooms from $300.Visit our furnishedmodels and park free.Open every day. him. Musically Jerry Jett'sdissipation reveals itself at the lowpoints, after he’s sung himself out.His ballads, particularly "Mr.Bojangles,” were weak, and his voicewas thin, pallid. He swayed with theliquor and the beat, cursed a lot, andwondered who’d won that night'splayoff game \"the Yankees aregonna win it all”). But no matter howweak and voiceless he got, he alwayscame back. He’s obviously had a lot ofpractice. He seemed natural andrelaxed in his pitiable condition, andknew he was sane as long as he couldkeep joking \ "I’ve lusted after womenin my heart, and in my pick-up,” "theanswer my friend is pissin in thewind, the answer is pissin in thewind”) That’s brilliant, even if he’sthought and sung it a million times.It’s like being drunk. You’re so loosethat a well told hackneyed joke isfunny, and the thought process behindit is even more hysterical.At times Jerry Jeff appeared to forcehaving a good time. He is genuinely asuperior song writer and musician, butseemed lonely for his hometownfeeling, his Texas music. He’s made it,he’s bucked Nashville, he’s ap¬preciated. It seems hard to believe hisoverall enthusiasm, his constantsearch for a rowdy peace of mind canlast, but mavbe the more he boozes and rambles and sings, the longer he ^maintain confidence in his own ataand independence. Walker is a figurelegend, and though his voice may lshot, and his delivery off, as long a*?can remain loose, with the help |friends and beer, he may never get *5old. He has beaten his own path, so?can sing about what he wants for ?long as he wants; and besides, 80Jof his songs are great. He’s got Jworld down pat, and he’s a goodboy. Jerry Jeff Walker may jhimself with liquor and endless toursbut at least he can never be broken b?the country music establishmhe’s built his own.ThgcffJoumdrtimnnEditor: Jonathan MeyereohnManaging Editor. Karan HollarTbaatar: Mika Singer, Esther Joy Schwartz fa.Lanahan, Stephan CohodoeMuaic: Toby Holfslund, Paul Gudol, tlulNeuatadt, Lukacs La bag, P.L. Speckle, v..Wiaaokar, Brace McLaughlin, Deborah HughesArt: Carl Lavin, Chris Gauker, Jane Salk, NtmiGilman, Julia SiagalDance: Eden ClorfeneGraphics: Karan MolineHumor: Jeff BaddeleyTelevision: David BlumTbo Grey City Journal ia published weakly during thregular academic year aa part of the Chicago Maroon. Theeditor invitee comments.PHOENIX SCHOOL5600 S. W00DLAWNINDIVIDUALLY PACED INSTRUCTIONFOR AGES 6-11. TWO OPENINGSCALL 955-2775 officialswiss army. knives’rs$5.50 to $42.00Free brochurtcomplete line *n stock, or if w«run out of your favorite wenorder it lor VOU. 3 WMkdelivery.the hodgepodge506 Main St. Evanston l L 60202312/864-4300Open Sundays 12-4 30Simply, the finest audio equipment money can buy.HIQTEtfSStensD8 EAST ERIE STREET CHICAGO ILLINOIS 60611(312) 642-6349ONKYO RECEIVER TX2500CHICAGO ACOUSTIC SPEAKERS “R”CONNOISSEUR TURNTABLE COMPLETE(STANDS OPTIONAL) BD2A FROM $599.00CLOSELY BOUNDrMrvEBSITY RELIGIOUS SERVICES&EFELLER MEMORIAL CHAPELlU SUNDAY • OCTOBER 179 A.M.Ecumenical Service of Holy Communion„r(j 0. Brown, Associate Dean of the Chapel11A.M.Guest PreacherPAUL RICOEURJohn Nuveen ProfessorThe Divinity SchoolLow MUCH MORE (OR THE LOGIC OF JESUS)”|H 4 P.M.ORLD ORDER SUNDAY OBSERVANCEE. Spencer Parsons, Dean of the ChapelThe Rockefeller Chapel Choirrd Vikstrom, Directorrd Mondello, harpsichordeth Slowik, celloielGeller, bassMiNaomi With This Ad Onlyawers files $35awer files .. $45wing Tables $65«ti»j.Tk,myi.OO BRAND EQUIPMENT&SUPPLY CO.8600 Commercial Ave.Open Mon.- Sot. 8:30- 5:00RE 4-2111«_FREEfnancyTESTJBORTIONHOTLINE787-3567Student DiscountAPSTLISM& JEWS:tober 15I PMI0F. MILTON FRIEDMAN. SNOWDEN RUSSEL DISTINGUISHED SERVICE•of ECONOMICS AT U.C.|Law School AuditoriumE. 60th St.AND THE RECIPIENT OF THE 1976 NOBEL PRIZEIN ECONOMICS fffilktwo*W pnmiM offa'mpvthritfikn.?IT IS IF IT’S YOUR TICKET.A Film Festival T-shirt is your way to get free admis¬sion to the premiere of Bruno Bozzeto’s Allegro NonTropo* at the Uptown Theatre, 4816 North Broadway,Tuesday, November 9 at 7 P.M. (Take the Howard “L”and get off at Lawrence.) It’s a great film, so order yourT-shirt today. (They’ll also be available at the door.)To find out about all the premieres at this year’s FilmFestival, just check the box in the order form andwe’ll send you a schedule, free.♦Translation: Somewhere between Yellow Sub¬marine and Fantasia with the accent on Fellini.I’ve enclosed $3.70 per white shirt and $4.75 perblack plus 500 postage per shirt.:Small Medium Large Extra LargeWhite Shirt(s) Black Shirt(s)NameAddress.City/State/Zip , :Make check payable to:CHICAGO INTERNATIONAL FILM FESTIVALCheck for $_ .enclosed Paramount Pictures presentsa ROBERT EVANS-SIDNEY BECK ERMA Nproductiona JOHN SCHLESINGER dimDUSTIN HOFFMANLAURENCE OUVIER ROY SCHEIDERWILLIAM DEVANEMARTHE KELLER. MARATHON MAN"screenplay Dy WILLIAM GOLDMAN from his novelproduced byROBERT EVANS and SIDNEY BECKERMANdirected by JOHN SCHLESINGERmusk scored by MICHAEL SMALLR RESTIIICTID^ services by CONNAUGHT PRODUCTIONSin color a paramountl ^— pictureReaa rneDei. paperoact- wTvJl:STARTING FRIDAY, OCTOBER 15At These Selected Theatres:□ Check if you'd like us to send you acomplete schedule Or call 644-3400Send to:12th Chicago International Film Festival415 N Dearborn, Chicago, III. 60610 HtttChicagoPtmWObbFIELBSchaumburg GCCChicagoMorton GrovemercuryElmwood ParkGCCGriffith, Ind. GCCYClFmTOffrlLombardIftiiiAfciCalumet CityThe Chicago Maroon—Friday, October 15, 1976—15A thrillerLONSe*V*TIVe30 f Undergraduate Fellowship SupperatBrent House5540 S. Woodlawn753-3392Fridays _ „ 6:00 p.m.$1.00Sponsored by: Lutheran Campus MinistryThe last and the firstThe teams come homeIt has been said, that the quality ofhomecoming is always in fixed proportionto the quality of football being come hometo.It is a time for schools with burgeoningand winning programs to celebrate themand to talk of dynasties. The prettiest girlon campus is chosen as queen as anexhibition of manly pride. The team putsout an extra special effort to win that biggame so at least they can look everyone inthe eye at the dance afterward. The alumssip fine whiskey from silver flasks and talkabout the great games of Tug McGrew.Played both ways, ran for 300 yards, had 59tackles and knocked up three cheerleadersduring halftime. They don't make 'em likeTug anymore, nossir! In general, a finetime is had by all.But at Chicago the situation has alwaysbean a little different. For the last coupleof years the school has sponsored aprogram that has hovered between thedeadly serious and the purely hilarious.This year however is to be the year ofchange, from the latter to the former.Perhaps as a reflection of this the twoteams of the greatest change are beinginvited back. Coming home will be themembers of the 1939 and the 1969 teams,the last team of the old time of legends andchampionships and the first team of themodem era.39 was by all accounts, a disastrousseason. The Maroons were 2-5 and had 310points scored against them, a figure thatwould check the ardor of the most rabid offans.The season started inauspiciously. TheMaroons played their first two gamesagainst Beloit and Wabash, teams of theirown caliber. They lost to Beloit but beatWabash, giving not much hint in eithergame of the destruction that was to follow.The first big game was against Harvardat Cambridge, and all were pretty certainthat this was to be a lost cause. The publicinformation office was as helpful as theythought they could be: “The score is likelyto be lopsided, despite the fact that the twoteams represent Universities which arerated the two leading educational in¬stitutions in the country.” With sometrepidation the Maroon predicted a loss bynot more than a couple of touchdowns. Asit turned out PI was right. Both teamswere very intelligent and Harvard won,61-0.The next week the Maroons facedMichigan at Stagg Field. The pre-gamefeeling was that of a town in the path of ahurricane. They boarded everything upand hoped for the best.The best was an 85-0 massacre that is asyet unequaled in the annals of football.Coverage of the game consisted of a smallbox on the comer of the sports page listingthe score.The embarrassment of that loss broughta change over the team. Reviled and laughed at and they were finally sick of it.They went to Coach Clark Shaughnesseyand demanded that he whip them intoshape. “Give us hell coach,” one cried,“We need it.”Practices were stepped up and thevarsity held scrimmages against thefreshmen squad. Actually this was not toohelpful as the frosh usually won.If there was any hope that year,however, it lay in the freshman. 85 strong,it was the biggest squad in years. Yet eventhe vestige of optimism that this inspired(one coach went so far as to claim a BigTen title by 1941) it could not do much forthe faltering varsity.There was no doubt at all that the teamwas just not good enough to be on the samefield with its competition. As the team leftto play Virginia, the Maroon went with thehopeful headline, “Maroon Team Bows ToVirginia tomorrow (?) The editor wascrass but not wrong. The score was 47-0.And so the hopeless season stumbled on.Ohio State came in for homecoming and Hie III fated vanity of the 39 seasoncaliber of the teams they played could notfill Stagg Field.The general feeling cm campus was thatsomething had to be done. Editorials andletters ran on the same general theme-either make the team competitive or don’tplay at all.But these were two frightening alter¬natives for the University. Being com¬petitive in that league meant goingprofessional, succumbing to Big Ten-ism&H£YSP*sr7H£ SIatom .now/t> \spurr.The absence of football had become asymbol of Chicago uniqueness and itsreturn was seen as a threat to the verycharacter and integrity of the com¬munity of scholars.won 61-0. The headline after that one read,“Ohio Ties Harvard 61-61; Chicago gets 0but the paper did it’s best to claim a moralvictory. Chicago beat Oberlin 25-0 for itsnext game but reality struck again nextweek in the form of the fighting Illini. Thelast Big Ten team to ever play Chicago infootball ended the season and the era 46-0.Even the most hard-hearted of humanscannot read about the season withoutfeeling sorry for the team. Frightinglyundersized and only mildly talented, theteam was the butt of jibes from everysports columnist with a deadline to meetand nothing to write about. Even theThe goalposts came down after the first Maroon win at home to 30 yearsIS—The Chicago Maroon—Friday, October 15,1976 and falling away from the ideals of theamateur student athlete which the GrandOld Man had laid down and had so fer¬vently stuck to.But to give up football! The thought ofthe students & alumni of a big timeuniversity having nothing to do on a fallafternoon staggered the imagination. Itwas against tradition, against society,and, as some columnists darkly hinted,somehow unAmerican.The choice was hard but obvious, forChicago is a school of principle. ChancellorRobert Hutchins had seen the Michigangame and promised “to do something!”On December 21 he announced it. TheMonsters of the Midway were to be nomore.Student reaction was anything butoutraged. “Football has been dead foryears,” ran the Maroon editorial, “We canonly breathe a sigh of relief now that it hashad a burial.As years passed the loss looked more &more like an advantage. The students hadgrown fond of the fact that they werewithout something long considered anessential part of a collegiate education.They were students imbued with the idealsof Hutchins, totally involved in the pursuitof knowledge, and had no time forfrivolities.* The University was sixteen years in thisworld before the sport again raised; ugly head. In 1966 Wally Hass was hiredas athletic director and saw nothing wrongwith bringing it back. Suddenly there werefootball classes, a Stagg scholarship thatlooked suspiciously athletic, and finallyscrimmages on Stagg Field. The student response was that the returnof football was a basic attack on the life ofthe mind. It was always assumed Quitfootball must be big time, that it wouldbring Chicago down to the level of “tfeIvies” or even worse, Northwestern. U*absence of football had become a symbol Iof Chicago’s uniqueness, and its returnwould bring with it the destruction of thevery character and integrity of the com.munity of scholars.The tone in the letters to the editor of theearly sixties is fear and violated honor“Football comes from without: it is, as itwere, alien to the native spirit,” one lettersaid. “It is ” the writer went on, “so muchnicer to stay pure.”At a scrimmage November 8, thesefeelings came to a head. On that day CBS Isent some cameras down to do a humaninterest short on the team and the im¬minent return of football to the campus.Word got around that the scrimmage wasbeing televised. Ever conscious of theirimage to the world the students called aprotest to show that they were not afootball school.The protest got out of hand and withsigns declaring “Hutchins is our leader” a jgroup of about 200 marched out to the fideand sat down on the 50 yard line. Instead of30 seconds of football CBS got to broadcast3 minutes of student protest, and the UCimage was assured.But by 1969 the school was again readyfor football. In the spring of that year apetition was circulated and was signed by1012 undergrads, graduates, faculty, staff,alumni, and “expelled persons and drop¬outs.” It was the largest petition everreceived by the dean of students' officeand proved the requisite “sufficientstudent interest.” The request was putthrough the proper channels and thatthe Monsters returned to the Midway.Newspapers from all over the countryprinted the stories and television sent itscameras in to see how the game of WoodyHayes was being played by the eggheadsIt was a joke, a human interest story, anda proof that America could make it. In one Iof the most violent years of campus unrest, Iin one of the most notorious hotbeds of |radical thought, football was againplayed.The Maroons went 2-5 that season but thescores could not come close to reflecting jthe feeling that the students had for thegame. Rather than letting football runaway with them, they took the essentialgame and all its trappings and turned finto the unique experience that Chicago iknown for.First of all the team was filled not withhulking behemouths but with guys who had Iprobably never played football before intheir lives. It was for them a lark, a ne*horizon to be explored.And the fans were not of the normalvariety either. According to the Maroon,the first home game was cheered by, “A* Imost heterogeneous conglomeration o!Hyde Park weirdos (to ever) support thesame cause.” The very cheers were dif¬ferent. The crowd not only cried for vic¬tory but for anarchy, “Take the battle athe field into the streets. ”The first homecoming game was thecrowning achievement of new era footballInstead of Big Botha, the biggest drum id■ Mil ) •^bicfa bad borne the ChicagoIt was sold to Texas, there wasttabUZK&lMZWUl UJC WW1U. SUMgSiStbSroarched with him was notgod uniformed but bearded,ided and bespectacled, all tootinginning into each other and havingH-attirne- . , _\Pri mm oueen was special. Gone were■ duties cJan earlier age, and in theirms crowned an upright and up-— refrigerator, symbolizing the"iZeoA a perfect day, the Maroons beattttftb Park JV124 for their second winfepseason, and their first homevictoryyears* Ecstatic and probablyinflid the fans tore down the goalposts^ them to the house of President Edwhere they were left for him to ad-°^ew era had begun. UC VARSITY SCOREBOARDTennis:Maroons 7 North Central 2Volleyball:Maroons lose to Mundolein 15-13,10-15,11-15Maroons lose to Concordia 10-15,12-14Maroons lose to Loyola 7-15,15-1,12-15Mroons beat North central 14-12,15-8Field Hockey:Valpraiso 9 Maroons 0omecomingaturday IM beginsPigskins began flying across the mid¬way this week, as touch football lead offthis year's intramural season. Tennis andwomen’s volleyball also began this week,setting into full swing the big 44 eventcalendar.It promises to be a tough year for I-Mdirector BUI Vendl and his staff. The usualdifficulties of running intramurals will bemagnified by a dramatic increase inevents, and a lack of space to run them in.The only compensation may be a largeroffice, now located in Ida Noyes 203.The I-M department, known officially asthe ‘department of intramural andrecreational activities', is now runningwomen’s Intramurals, a move that camewith the consolidation of the P.E. depart- imxhm /mu auueu u> ventu a jurwuacuuuare the recreattnai leagues. Including allintramural and recreational events, theI-M department is now running 154 events,an almost 100% increase from last year.In addition to this yearsproblems, the I-M office is facing a severeshortage of football officials, a not un¬common problem. Right now there areabout enough for one referee per game.Unless Vendl is flooded with a mass of lateapplicants, this year’s participants canlook forward to much worse officiatingthan usual.Two major rule changes, initiated bylast years I-M council, should make forbetter competition. The first limitsresident heads and their assistants to teamsports, ending their domination of un¬dergraduate tennis and other individualsports. The second requires coed teams tobe split evenly between the sexes, achange from last year which only required33% representation by either sex.Chromosone tests are optional.Iboe will be no floats, nor parades, nor> to remember in the years to come.Homecoming will happen here,TOe focal point of the day will be thei and reunion of the last and the first,> 39 and 69 teams, and all activities areFirst on the agenda Is a luncheon for thesponsored by the Order of the C. to which all C-men have been invited. Next ofcourse will be the game itself as thereturning athletes will troop over to StaggField to watch the new Maroons take onthe Lake Forest Forresters at 1:30.At the game there will be a half-timecelebration honoring the old gladiators,and a victory celebration has been op¬timistically planned for afterwards in thePub. (MWLti 1/feilSTM/f ItiTHi&M Cmcho 0 c'<i & A(5)ijM tnV' Ttf&kW tUCHAiaSt '}:oOu.a\.f'aslor'lUc.Wrd Turtffnrt■a, I4ihr>TVc% j c.'JocltuCj,*. ^ ¥/ 2*SRECI/UItOCHDlt/mCURTECTURE:FI:/MINWITY+/umiiciiH■-|?l. OCT. IS 850Dr. Dorothy Harris. Director of the PennState Center for Women and Sport, amember of the Managing Council of the In¬ternational Society for Sport Psychology andthe International Committee for Sociologyof Sport. Her talk will center primarily on thepsycho-Socio inhibitors for women athletes-i.e. the dissonance between stereo-typedfemale roles and the self-perceived roles ofthe female athlete.USCFCPRESENTS: fflHMIHflT H5ISUNDAYOCT. 17 7**9P.M. COBBHALLThe Chicago Maroon-Friday, October 15,1976-17USE YOUR COHN & STERN CHARGE. AMERICAN EXPRESS.MASTERCHARGE OR BANKAMERICARD WOODLAWN TAP1172 E. 55th St.Le P AVILLONSimplicity has its own beauty. AndLe Pavilion Au Bord De La Riviere,which Le Theatre de Gennevilliershas brought to the Round Housefrom the Avignon Festival, is awonderfully chaste, clear, unim¬peded musical version of a thir¬teenth century Chinese legend byKuan Han Chin. The staging byBernard Sobel, who worked with theBerliner Ensemble, also remindsone just how much Brecht owed tothe Chinese theatre's combination ofvisual purity and narrative grace.We are confronted by a stagecontaining two beige screens toppedby globular lights, two bridges oneither side for exits, entrances andtableaux and a blue-tinted ruralbackcloth. It’s a symmetrical set¬ting for a symmetrical fable about abeautiful young widow, Tan Chi Erh,who is blackmailed into marriagewith a young judge and who then hasto resist the lecherous advances ofLim’d Yang, a heavily moustachedand murderous warlord. But the realpoint of the story, as apparently withmany of Kuan Han Chin’s 60-oddplays, is to show that women have aright to the respect and happinessthat a Mongol-occupated Chinarigorously denied them. And it istypical of this work’s delicacy andtact that Tan Chi Erh achieves hertriumph by entering Lord Yang’s lair disguised as a fisherwoman andoutwitting him in an exchange ofgently erotic poetry.What impressed me about Sobol'sproduction, however, was itslightness and fun. The wily Abbess,who tricks Tan Chi Erh intomarriage because she doesn’t wantthis almond-blossom beautymessing up her Convent Of PureTranquility, goes about her taskwith cat-like tread and little fingercrooked. And although Lord Yang,who looks like a Mongol CaptainHook, is a brutal symbol of maleoppression, he is accompanied bytwo comic henchmen foreverexamining his hair lice and leapingon each other’s shoulders in lustfulfrenzy. Betsy Jolas's music, relyingheavily on percussion, flute, andtrombone, also wittily underscoresthe text without drowning it; andElise Ross as the raven-haired,picture-book beauty and IgorTycska as Lord Yang, brandishinghuge golden talons like anavaricious eagle, play with the rightunstressed economy. This is theatreas I like it: graceful, instructive, anddelicately picturesque.Pavilion will be presented inMandel Hall at 8 pm on Oct. 24 & 8:46pm on Oct. 26. Tickets are 62 forstudents, 68 for staff, and 64 forothers and are available in RC 304from 10am til6pm, weekdays.WELCOME NEW STUDENTSBE SURE YOUR U. OF C. EX¬PERIENCE IS COMPLETE VISITJIMMY'S WOODLAWN TAP ANDUNIVERSITY ROOM AT 55TH ANDWOODLAWN. YES! THERE IS AJIMMY. HE HAS BEEN A DRINKSERVING FIXTURE OF HYDEPARK SINCE 1940. HAS BEEN ATHIS PRESENT LOCATION MORETHAN 28 YEARS. THIS INTER¬NATIONALLY FAMOUS SALOONFEATURES GOOD FOOD, GREATDRINKS, CARRY OUTS AND ANATMOSPHERE THAT VARIESFROM THE UNPREDICTABLEFRONT ROOM TO THE SEDATEAND CONVERSATION LADENUNIVERSITY - OR WEST ROOM.Pavilion review fromTHE GUARDIAN,15 Nov. 1975byMichael BillingtonDo you like a Bargain?has«A 3 piece (tan only) Corduroy SuitRegular $95.00October Special $69.501502 EAST 55TH STREETIN THE HYDE PARK SHOPPING CENTER * 55TH & LAKE PARKMonday thru Saturday 9 to 6Thursday 9 to 818—The Chicago Maroon—Friday, October 15,1974CLASSIFIED ADS. Board in exchange torur,n" nwn room. KenwoodlafeSaSKSE:*£Ssj£2»:Apt. NewlyM'Cioht, clean. Wellk* * Vd 4 Kenwood.IffS,. immediate oc[ Ptfp^Holsman 493-2525.2^dtof^ *’«>• Excellentn r»ar Co-op, Campus, 1C.rhivi-7<73.^JcnTtOSHARET8 large3 baths, washer, dryer,Lfloor, 5 minutes from U.•&Tom lake. $90/month.T^^kends, 228-5799,SSpieTely furnished, Jan-^jern kitchen. $275 mo.,996-4826.man grad student int roomy apt. 5223 S. DorB*n room. $94 per mo. Call^ted *o share huge doublefher woman In D U Frat.orivate bath, furnished.j7U Woodlawn-753-3444,trfrn^Mature person to shareL yery desirable location.V-r^TFor lovely sunporch rm#arm Irndly apt w/2 others,It amwd 457-5732 eve.’pJ^TApls. in Building beingniiitated 5 min. from U. of C. on» rnleman Corp. 373-1800.fcrED- I or 2 Females to sharepj apt 5711 Kimbard call 647-jrsUPM,i apt. permanent sublet. 54thHo Hyde Park clean, quiet.L Bida $195 per mo. Call eve.(Landlord will check refs).EOPLE WANTEDI a couple Sunday Afts. at„> researching and outliningftor new city guide. Food on1 A4ndest pay 241 7452 eveningsJ Bl« Scl Committee is Looking[tutors in Biology. Call Linda1753-2233.ul Blood Donors needed forirchproject. Will pay *15 for 200Kins than1 ? pint). Contact Dr. C.n 247-5024.^SURVEY OF RECENT EASTIropean MATHEMATICALERATURE needs competentpSian-to-Eng translators with aItantial knowledge of scientifcit as well as good typists withble knowledge of thelanguage. For more In-lation call Harvey Edelberg at[2741 or come to room 410lart Hall, Dept, of Mathematicsg office hours, 8:30 - 5:00.EOPLE FOR SALESEL. LB& Typist ALL Types[work. FREE Pickup and■wry. Call 274-0081 or 721-1169.live French Teacher offersKing and translating. $5/hr. Calle of grad sfudent 4 Mother of 1I babysit weekdays in my homes. Can provide Trans. Call|7107.LPI Job wanted at U of C bysLab School senior 15 hours a|sk, afternoons. Work inxitory prefered but flexible,job experience. U. of C.,Park and London, Eng.available. Phone Janer 155-2441 after 1 PM[PIANO Teacher Call 947-9746.poring by French natives,) experience, PhD candidate1354-0275 or 837-8524.reading 4 related subjects,klenced, Masters. Non-Lab1.684-3183 Eves.I In doing typing evenings|ttiy home. Will discuss price,ire 373 3594 after 5:30 p.m. SCENESWORD OF MOUTH Will presentreadings from works of famous andnew poets. Oct. 25, 7:30PM BlueGargoyle.AUTHOR GENE WOLFF. AN in¬formal discussion on SCIENCEFICTION. IDA NOYES. Thurs. Oct.21, 8:30pm Sponsored by UCSFC.FREE!FAHRENHEIT 451. A film byFRANCOIS TRUFFAUT. SUNOCT 17 In COBB HALL At 7 4 9 PMParent Coop for early learningpreschool; full (7:30-6:00 ) 4 parttime program; 3 classroomsdesigned for 2 yr olds, 3-4 yr-olds 4Kindergarten; 5300 S. Shore Dr. 684-6363"Dance is the poetry of the foot"Come join U of C Folkdancers in IdaNoyes 8PM every Mon beginninglevel and every Sun general levelwith teaching, 50 cents; Frl. startingoct 8 when space is available, withteaching.Modern Dance as a SpiritualDiscipline. Breathing, stretch, bodyalignment, self-expression. Shin-sundo Center, 3315 N. Clark, Sat 3-4:30PM, Tues 8-9:30PM. $3 perclass. Begins Sat Oct 16. Taught byEllen Kirschner, UC Graduate.FOR SALETENOR SAX-BEAUTIFUL, NEW.BUESCHER ARISTOCRAT madeby SELMER Must See and play.$325- will talk, Call 324-5215.Litronix 2270 Calculator Statistical-Calculates means and variances-rechargeable. Cost $55. at bookstore-Yours for $40. Leave message forKelly 752-8392.Woman's Bicycle, Raleigh 3-5 spd.23", exc Cond. $75 or best offer.David624-3363 (In H.P.).2 Snow Tires size 700 x 13, $15.00. 1New Yorker Heavy Duty Falcon 660Battery (New) $25.00.NIKON DEMOFrl. 4 Sat. Oct. 15th 4 16thStop in and talk with Nikon'sMidwest Representative about allthe new equipment coming soonfrom Nikon! New cameras, lenses,4 the first Nikon teleconverter!MODEL CAMERA1324 E. 55, 493-6700FOR SALEStereo receivers, speakers, tapedecks, tapes. TV's, calculators,refrigerators. CB's, all at lowestprices. Call 752-38)8.PASSPORT PHOTOSColor, 2 for $9.00MODEL CAMERA1342 E .55th St. 493-6700ACADEMIC RESEARCH PAPERS.Thousands on file. Send $1.00 foryour 192 page, mail-order catalog.11322 Idaho Ave., 206H, Los Angeles.Calif. 90025. (213 ) 447-8474.MOVING: Quality Dbl. Bed. 19"bwtv. Humidifier, Lamps, Dresser,Diner Set, Lg. Fan, Iron 4 BDCouch. Reclin Lounge Chair... CallBob wk 793-2250 hm 947-0139BIG RUMMAGE SALE: Householdgoods, Clothes, Furniture, Plants,Bake Sale. Auctiop on more valuableitems. Refreshments. Saturday,Oct. 16, 9:30am-4:00pm, UnitedChurch of Hyde Park. 1448 E. 53rdStreet.SUTDENTSFOR Ml KVAVolunteers needed for canvassing10th district. Call Steve Abelman,753-2240or 752-1000 Ext. 1215.rH*mrCm*l0^VlHO ANNUAL SALETakamineGuitarsThis beautiful guitarwith the strong bright toneis a bargain even at regularprices.Buy a Takamine Nowand save 20# more on allmodels during October.I inln" an>,in,e for »*** •»» gently used old-timenienis. music books, repairs, instruction. FEMINIST/ANTHOLOGYPrimavera, an anthology of art 4literature by women, is on sale in allHyde Park bkstores.COMPETITIONWhy Don't Most Women Compete?Dorothy Harris has the answersTonite at Woodward Ct at 8:30.SEX ROLESHow can women athletes resolveconflicts between "WomanBehavior" and "athlete bahavior"Hear Dorothy Harris' answer inWoodward Ct Tonite at 8:30.PETSKittens for Free! Call 241-6424.GROZAVO, SS, HH, and HF remind all theirfriends and acquaintances to bepresent Saturday night.WANTED!FILE CABINET good condition, 2ndhand- cheap. Pref 4 drawer. Pleasecall 324-5215-Thanks.Have Jazz records? Need cash? WeBuy Jazz LP's. Up to $2 per album infair to ex. condition. Call 324-4537.HILLEL CLASSESMidrash —Pesikta de RavKahana—Text in Hebrew, taught byRabbi Leifer; first class, Wed., Oct.20, 7:00 P.M.Symbols 4 Rituals of Jewish Life.Cycle 4 Festivals. Rabbi Leifer,Wed., October 20,8:30 P.MReading 4 Discussion of MartinBuber's Moses, by Rabbi Leifer,Thursday, Oct. 21,4:00 P.MPASSINGTHE E.R.A."Passing the E R A. In Illinois" isthe topic of the Oct. 19 meeting of theUniversity Feminists at 7:30 P M inthe Blue Gargoyle.GAY PEOPLEGAY PEOPLE'S POT LUCK SUP¬PER, Saturday, October 23, at 7:00P M Call the Office, 753 3274, 8-10PM, for Further Details.PARTYBoogie on down to PS I U for anotherPARTY—Featuring Rock Band 4 MCOMPANY—You've heard themnow see them. Sat. 9:30 ? 5639 S.University UCIDReqBOOKS BOUGHTBooks Bought 4 sold everydayeverynlght 9-11. Powells 1501 E.57th. RESEARCHSUBJECTSWANTEDMale volunteers, 21-50 years of age,weighing 140 170 lbs., wanted forstudy of biological effects of tranquilizers. $25 for four hour session.Please call 947-6477 at Billings HospLOSTLost—Black daily date book, aboutsix of UC time schedule. I'm lostwithout it. Karen. 752-6097.KUAN HAN CHINLe Pavillion au bord de la rivieree:drama from France. 13th centuryChinese Opera Drama. Mandel. Oct.24 4 25. Tickets on sale now RC 304,753 3581.IKDrama from France: Peter Brookwill direct IK, to be presented Oc¬tober 23, 24, and 25 in Bartlett Gym¬nasium. Tickets on sale now RC 304753-3581.THE DEVIL AND TVAuditions for Or. Faustus andTelethon to be produced inNovember at the Court StudioTheatre. Friday, Oct. 15, 3-6 P MSat., Oct. 16, 1-5 P M in the NewTheatre. For info 753-3581.PAN PIZZADELIVEREDThe Medici Delivers from 10 p.m.weekdays, 5-11 Saturday, 667-7394.Save 60 cents if you pick it upyourself.WEEKENDTREATRetreat for Jewish students fromUC. Northwestern and U of Wis-Madison at Lake Delton, Wis.. Frl.,Oct. 22-24. Informal programming,sports facilities available Kashrutobserved. To sign up, visit HillelHouse, 5715 Woodlawn or contact:Marc Gould : 924-2744PERSONALSBaptist Student Union"World Hunger Part II”Oct. 18, 7:30 PM, Ida Noyes HallAnyone interested in forming anArchery Club? Call Linda Degens-tein at 753-2233.Writers Workshop PL2-8377.Know Me? I Love Ya.STOLEN REWARD! Reward forreward for return of contents of grayvinyl briefcase taken from outsidePick 016 on Tues. Oct. 5. No questions asked. 1 need the books andpapers—you can have the case.493-5270.St. GregoryofNyssaLutheran CampusChurchFestival of St. Luke the PhysicianSunday 10:30 a.m.Graham Taylor Chapel5757 So. University Ave. KENNEDY. RYAN, M0NIGAL 4 ASSOCIATES. IkDirectory of ValuesWe Know Hyde ParkReal Estate InsideOutHOUSES FOR SALECOUNTRY ESTATESuburb in the city; over 2acres of land in Kenwood.30-room mansion, coachhouse apartment, rose gar¬den and tennis court areas.Total parcel, $150,000. CallCharlotte Vikstrom at667-6666.NOSTALGIC VISITTo tree-lined GreenwoodAvenue of yesteryear. 8 rm.brick-real fireplace indouble LR, full DR w/beamceiling, mod. kit. & break¬fast room, panelled area inbsmt. 3 BR & study upstairs.Large pretty yard. 2 cargarage. $52,500. CharlotteVikstrom 667-6666.PREVIEWAn exciting new communityof seven extraordinary town-homes for Spring 1977 oc¬cupancy. Initial purchasersmay participate in designfeatures. Each home willfeature 3 or 4 bedrooms,2 or 2V2 baths, in-housegarage, central air con¬ditioning, solarium andmuch, much more. From$76,100. See our scale modeland plans. 667-6666. YOUNG GEORGIANNice 7 room brick res. w/IV2 baths. Cheery breakfastroom and den plus panelledrec. rm. - side drive. Nr.81st and Phillips. Only$33,500. Call Mrs. Ridlon667-6666.JACKSON HIGHLANDSEnjoy a fireplace with abeautiful home around it.11 rms., 2’/2 baths, rec. rm.side drive and garage.Beautiful garden. Manyextras. Nr. 70th and Euclid.$69,500.SUPER FAMILY HOME3-story brick w/side drive &2-car garage. 6 BRs, 2V2baths, finished rec. rm.Patio & fenced yards forkids, pets and parents! Im¬mediate possession. $78,500.To see, Call MargaretKennedy, 667-6666.LOVELY HIGHLANDSHOME5 BR brick home on BennettAve. LR with wbfp, formalDR. A very nice buy at$59,500. For more info, callMargaret Kennedy, 667-6666.FIRST TIME OFFERED3 BR w/side drive, 2-cargarage. Huge family Kit.Light & charming on Ridge¬wood Court-a real familystreet. $39,500. To see, callMrs. Haines, 667-6666.APARTMENTS FOR SALE50TH 8, LAKE CONDO1 bedroom, with formaldining room and excellentkitchen. High floor in securebuilding. Priced at only$24,900. To see call GeorgeBilger, 667-6666.OVER 1,800 SQ.FT.Handsome bungalow plan onhigh floor 50th nr. Outer Dr.Tastefully decoratedthroughout. Parquet floors,lovely kitchen all appliancesincluded. 6 rms. 3 full baths.You must see to appreciate.Charlotte Vikstrom 667-6666.TWO BEDROOMSINTHE SKYImmaculate 5 rm. 2 bathcondo home at 50th and theLake. Many decoratorextras. Ready to mofe. Anideal high-rise home for thediscriminating buyer. 54TH & HYDE PARK BLVD.Large 6 room W/IV2 baths,modern kitchen w/laundry-many extras. Open porcheswest and east. Priced to sell,low assessments incl. Tax.Call J. Edward LaVelle667-6666.bUyhighor low2 eiqpant co-op apts. insecure tii-rise bldg. One lowfloor, one high floor-5 rooms,2 baths. Beautifully de¬corated-appliances. CallGeorge Bilger or Mrs.Ridlon 667-6666.LAKE VIEWSFrom this gracious; secure 5rm. condo. Large modernkitchen-appliances. Reason¬ably priced. Mo. assmt. $239.5555 Everett. Call MrsRidlon 667-6666.APT. BLDGS. FOR SALETO SETTLE ESTATE"as is" nr. 53rd & Maryland.3-flat stone and brick.$22,500. Charlotte Vikstrom667-6666. 6 APTS.Well-maintained propertyon quiet Hyde Park sidestreet. Each apt. hasgenerous rooms. 1 bath anda balcony. Mechanicasystems are first-rate$72,000KENNEDY. RYAN. M0NIGAL 4 ASSOCIATES. INC1461 East 57th Street, Chicago. Illinois 60637667-6666Daily 9 to 5 Sat 9 to 1 Of call 667-6666 AnytimeL The Chicago Maroon—Friday. October 15. 1976—19mem < *949 •* + *++++* ViYW .. - f r 4 4CHEESE SALERich, Sweet and Creamy WalnutGOURMANDISE £%, Almond Per Lb.&ine *219SWITZERLANDCW/TCC Grade AO ff 1I3I3 Large EyeVERY SHARP $1 99CHEDDAR Sr'- $069JARLSBERG Norwegian Swiss $049MOZARRELLA $169STILTON Prime and Mild $049CREME HAVARTI - $189Minimum 1 poundon sale itemsWINE SALE"RIT A ¥ HOT A IW Most popular of $ l 79jL9JLjJr\. -w v-FJLJxTlJLk^ French red wines JL and up1966 CHATEAUCITRANPORTUGESE ROSE *1”2 Brands FIFTHFIFTHWont2427 East 72nd Street BA 1-921020—The Chicago Maroon—Friday, October 15,1976