mm**t■■Immnymmmnmww*wp 1Special MaroonTHG Tenth Week IssueFACVFxbfTY ARChIVES6 0 6 .3 7 VVolume 5, Number 1 Friday, December 3,1976Sorting Out SartreSartre on TheaterAssembled, edited, introduced, andannotated by Michel Contat and MichelRybalkaPantheon Booksreviewed by John LanahanIt is my feeling that playwrightsmake their own best critics. Shaw-’sdramatic criticism is the best insightinto his own dramaturgy; JohnWillett’s wonderfully edited Brecht onTheatre, a collection of Brecht’scritical essays, I have found the bestsource to use in wading through theseemingly contradictor)' notions ofBrecht’s dramatic theories. Sartre onTheater, assembled, edited, and an¬notated by Michel Contat and MichelRybalka, gives the general reader thechance to learn first hand thedramaturgical outlook and frameworkof one of the best known, if not major,dramatists of the twentieth century.The book is divided into two sections,the first consisting of several essays,interviews, or lectures by Sartre,dealing with drama in general.Through these selections, arrangedchronologically, one can see Sartre’sbeginning as a playwright in the early1940’s with the Greek tragedy, par¬ticularly the plays of Sophocles, as hisdramatic model. His approach totheatre at this time, as evidenced by theessay “On Dramatic Style”, was that itmust be remote from its audience,more than just aesthetically self-contained. The dramatic work must bedistanced from the familiarities of theviewer so that he can react to the pieceas a single unit, and thus the work canbe felt by the spectator with the fullobjective force of the playwright,unaffected by the audience’s subjectiveinterpretations. There is, however, adanger in making one’s drama soremote if one also wants to have dramaperform a socially efficacious function,in that if the audience is so distancedfrom the work as to have no in¬volvement, it can draw no socialparallels, and the work becomes totallyand academic exercise in dramaturgySartre’s essays in the 1950’s and early1960’s dealt more heavily with Brecht,since the aesthetic distance Sartre hadfound in Greek tragedy translatedbeautifully into the objectives ofBrecht’s Verfremdungseffekt. It ishere, when Sartre deals with Brecht,that his essays, in my opionion, becomefar less focused but far more in¬teresting. Sartre, like Brecht, insiststhat drama has a social function, ti*at itcan be an active social force He con¬demns Ionesco and Beckett, with somereservations, as “bourgeoisplaywrights ”, in that their essentiallypessimistic outlook reflects thebourgeoisie’s basic philosophy thathuman nature cannot be changed. Onan ideological level, 1 found much ofSartre's arguments difficult to accept,due mostly to his dogmatic and un¬defined use of ‘ bourgeois”, both asnoun and adjective, and Ins vague butlaudatory references to ‘people’stheater” as it allegedly exists in EastGermany ana the Soviet l man. On adramaturgical level, however. Sartre'sattempt to pattern his own theories on»h rVatueWo.fc oi ii'ectu . reitreJiems , £* ty . ,■■■ 'V-the effort of one of the few living,although no longer productive,playwrights who have insisted thattheater has a positive social anddidactic purpose.Sartre s essays demonstrate thatalthough he may be sensitive to almostall elements of the dramatic genre,there are some, such as ritual, that hecannot intellectually incorporate intohis dramaturgical canon. Sartre viewsritual not as the emotional involvementof a group in a theatrical event thatmay also become a real event (theReformation, after all, was fought overthis point); instead, he remains thedetached observer who maintains thata ritual is merely a staged ceremonialretelling, but not reinactment, of anevent Only in one of his last essays,“Myth and Reality in Theater”, takenfrom a lecture given in 1966. does Sartrediscuss the work of Antonin Artaud,whose whole theory of drama wasbased on the idea that the theatricalevent is not a retelling, but the eventitself. This essay, unfortunately, isincomplete, since Sartre was deliveringit in French to a German audience, andthe delay caused by the translationprevented him from finishing. Theselect ion does, however, draw brilliantdistinctions between Brecht. Sartre’smentor; Onet, his •ontemporary; andArtaud, his seeming adversaryAlthough “Mvth ana Reality inTheater” offers no convincingstatement as to Sartre’s eventualresolution of the competing dramatictheories delineated in his lecture, itdoes define the dilemma of an ex¬tremely intelligent and analyticalv.vner wn« tranno- Jen*-, .*f*. vmild illustration by Nooi eric#prefer not to deny only if he couldpredict, the effect of and on a group thatonly theatre can generate.The second part of the book is madeup of some criticism Sartre has madeon each of his several plays, starting wiui Dorwna, or me aon oi inunaer in1940, and ending with his 1964 adap¬tation of Euripide’s The Trojan Wom¬en. When I first received the book, Ithought this section would be the moresatisfying. It was not. Some of theselections, such as Sartre’s letter toSimone de Beauvoir discussingBariona, offer interesting insight intoSartre’s personal life and his outlook asan emerging playwright. In general,however, these selections read morelike appendices, to be read in con¬junction with the works about whichthey were written. As an aid to direc¬tors, actors, or technical people in¬volved in a production of any of Sartre’splays. I think they would be moreconfusing than helpfulI am in no position to discuss thisbook on a philosophical level, exceptthat the book charts the attempt by afine analytical and rational man* toexpand and adapt his aesthetic outlookthe more he understands and mastersthe complexities of the dramatic genreThe difference between the ordereddogmatism of “The Forgers of Myths”,written in 1946, and the knowing andperceptive sensitivity of “The ComicActor”, written in 1971, is astounding Ialso found it disturbing that as Sartre’sknowledge of theatre became broader,deeper, and more tolerant, his creativeoutput declined. He has not written anoriginal play since 1959. On adramaturgical level, Sartre onTheater is a guide to the career of one ofthis century’s most successfulplaywrights, who insists that theatrecan still be a positive and objectivesocial and intellectual force in theworld. You might consider that the nexttime you regard the list of dramaticproductions offered in Chicago.InsideArcher on Star TrekReviews of:McGann on ByronMama on HemingwayPoems1? Journal piiBest of the CLR in 1976Book giving is always a possibility,especially during the holiday season Thebooks listed below are among the booksreviewed in the CLR during the past yearthat deserved special recommendation.Included are excerpts from the originalreviews.A River Runs Through ItBy Norman MacLeanUniversity of Chicago PressSince Maclean’s stories are not onlyabout the artist’s art but the artist as well,his stories inevitably have to treat thesituations into which tough, violent menget themselves. All of this is very moving.It is moving but it is all under control.Maclean controls the sentiment his storiesarouse because he is just as much an artistas the men and women he celebrates were.His lines flow with precision. And thistoughness is that of an achieved equipoise,a control of the passions that went intotelling the stories.Art is a realm separate from that ofmessy nature. They both come together inlife, but something — a genius or a giftMaclean suggests — makes art and theartist different from nature. The coarse,the natural, and the ridiculous all havetheir place in Maclean’s stories. Theyprovide comic relief from the melancholychronicling of past time that it is a memoirwriter’s task to perform. But the coarseand the natural have their place inMaclean’s stories as the proper context ofthe beauties and artists he most especiallywants to celebrate.One final point should be made about thebook — its illustrations are both ap¬propriate and wonderful.The Realms of Goldby Margaret DrabbleAlfred Knopf. $8.95 Shunning the fictional modes of. say,Robbe-GriTlet or Pynchon, she writes whatshe calls “a good traditional tale.” Still,her conservatism does not rule out in¬ INMlraNofi toy Mm4 erlctnovation. Fluency and subtlety oflanguage, a convincing sense of plotting,an entertaining yet probing wit. andremarkable powers of motivational analysis: all these talents constantlyenrich her art.Ms. Drabble weaves an elaborate designof life’s pattern of loss, recovery, andsustenance.Getting Into Death and other storiesThomas M. DischKnopfDisch, one of a ‘‘new wave” of writerswho succeeded those of the golden age ofscience fiction and who began to realizethe dark side of unrestrained technology,is a tightly controlled writer who combinesan acute sense of moral responsibility witha sense of humor as black as a deep hole inspace.Nelson AlgrenMartha Heasley Cox and Wayne Chat-tertonTwayne Publishers. $7.50Nelson Algren, the study, takes an im¬portant first step toward a new recognitionof this great, funny, yet serious artist.While we all await his next, unpredictableventures, it is hoped that Algren’s workswill all be reprinted and sought out by oldand new discoverers.The Final DaysRobert Woodward and Carl BernsteinSimon and SchusterWoodward and Bernstein have thuscollected an assemblage of muddledthoughts and hazy recollections of realitythat would do justice to any journalisticaccount. There are lies, perhaps, con¬tained within The Final Days — but, on thewhole. Woodward and Bernstein haveprovided the first glimpse of truth behindthe facade of the Nixon White House.Continued on page 10The Gordon J. Laing Prize, 1976 PREVIOUS WINNERShas been awarded toKEITH MICHAEL BAKERforCondorcetFROM NATURAL PHILOSOPHYTO SOCIAL MATHEMATICSThe Laing Prize is presented each year by the Boardof University Publications to the faculty authorwhose book, published within the last two years,has added the greatest distinction to the list ofThe University of Chicago Press 1975 Eric CochraneFLORENCE IN THE FORGOTTEN CENTURIES, 1527-18001974 Stuart M. TaveSOME WORDS OF JANE AUSTEN1973 Edward ShilsTHE INTELLECTUALS AND THE POWERS1972 Edward WasiolekTHE NOTEBOOKS OF FYODOR DOSTOEVSKY. 5 VOLS.1971 Herrlee G. CreelTHE ORIGINS OF STATECRAFT IN CHINA1970 Gerald D. SuttlesTHE SOCIAL ORDER OF THE SLUM1969 Leonard B. MeyerMUSIC, THE ARTS, AND IDEAS1968 Philip FosterEDUCATION AND SOCIAL CHANGE IN GHANA1967 Donald F. LachASIA IN THE MAKING OF EUROPE, VOL. 11966 A. Leo OppenheimANCIENT MESOPOTAMIA1965 Tang TsouAMERICA S FAILURE IN CHINA, 1941-501964 William H. McNeillTHE RISE OF THE WEST1963 Bernard WeinbergA HISTORY OF LITERARY CRITICISMIN THE ITALIAN RENAISSANCE4I%A Fond Look Back At The FutureStar Trek Technical ManualBy Franz JosephBallantine Books, $6.95Star Trek BlueprintsBy Franz JosephBallantine Books, $5.00Star Trek ConcordanceBy Bjo TrimbleBallantine Books $6.95reviewed by Miles ArcherThe Star Trek fan is hooked. He watchesreruns of the show almost every evening —even though he knows that he has seenvirtually every episode and many of themfour or five times. He looks forward to anyinformation about the show and still hasnot given up hope that there will be at leasta feature length Star Trek movie, if not aresumption of the series itself.And, if he is really a hard core addict, hehas even attended a few of the manyTrekkie conventions.What is the cause for this addiction?A look at the show’s basic ideas is veryrevealing.“Space, the final frontier.” It’s beenover 75 years now since historian FredrickJackson Turner presented his theory of theinfluence of the frontier on the Americanpsyche, and there is little reason to feelthat this influence has abatedsignificantly. From Star Trek’s openinglines, the program plays upon our strongneed for a frontier, for free, open space tobe explored, and, in this sense, the showpeddles future nostalgia. While giving us aworld of tricorders, phasers. starships,and Romulans, it gives us plots which, ifboiled down, would be founcf to have muchin common with the Homblower sea sagas— with maybe a touch of the atmosphere ofa US Calvalry outpost of the Old Westthrown in.Kirk is a captain, after all, firmlycommitted to his ship and his mission. Heand his crew roam high space, aiding andprotecting colonists, engaging pirates andhostile natives, encountering strangecreatures and cultures, and, in general,maintaining the peace necessary to insurethe continuation and growth of civilizationThey approach their task with the samekind’ of “idealistic pragmatism” that oneimagines marked the sea captains ofearlier centuries.In addition to this nostalgic aspect, theprogram attracts its fans through thereassurances that it projects and, perhapsmost important, the optimism that un¬derlies the show — i.e. its assumption thatthere will be a future. Since World War IIand the development of the atomic bomb,this existence has been far from a cer¬tainty, and yet Star Trek, by its veryexistence, assumes we will make itthrough these trying times. It is no coin¬cidence that the subject of the“devastating wars of Earth’s 20th cen¬tury”, including its “three World Wars”, isbrought up on so many of the shows (andmost often brought up by Spock, the half-Vulcan).It is nice to know that the human racewill survive these trying times, for itmeans that some of us may, too.And what a survival it is! TheFederation is presented as an idealuniverse in wnich our technologicalprogress has continued and most of ourpresent problems and conflicts have beenresolved Certainly, there is war. but thewars are always against aliens, not amongEarthmen — and. generally, it is fairlyclear that the aliens are the more warlikeTo indicate the extent to which Earthhas managed to deal with its ownproblems, one need only note the mannerin which the nationalistic rivalries of todayhave become little more than harmlessamusements in the future. Even thequickest look at the wavs in which Scotty copyright BoJlontirw Boohs SfAH IT f l r CMfSBCAL OO-.Hi DUTY UNIFORM - FEMALEand Chekov — two characters with obviousnational origins — are portrayed willreveal how these conflicts have beentransmuted and eliminated.Toss a few genuine heros like Spock andKirk into this well-wrought escape world,and it is clear why the show is so addictiveThis is where the publications come in.For those whose yearning for the Star Trekworld remains unfulfilled, novelizations ofthe Star Trek episodes have been ap¬pearing in a series of paperbackspublished by Pocket Books. Running Presshas come out with a giant Incredible In-tergalactic Startrek Crossword Puzzle($2.95) which unfolds to 2’ x 3’ and has over400 entries.Most important, however, are the threebooks published by Ballatine Books.The Star Trek Blueprints ($5 00)provides the reader with both the generaland specific plans for all the decks andsections of tne Starship Enterprise, theConstitution class starship under thecommand of Captain James T. Kirk. In its12 9”x30” pages put together by FranzJoseph, the book (which is actually in theform of a pouch containing the blueprints )gives detailed information about the entireship, including the engineering, weapons,and recreation/entertainment sections,and provides a detailed breakdown of theship's complement of personnel.Even more fun is the Star TrekTechnical Manual ($6 95) This book hasalmost everything that a trekkie couldwant. The preface, written in officialFederation language, proclaims this to bethe manual used at the FederationTraining Academy, the famous“Academy” constantly mentioned in suchreverent terms on the programs. The bookcontains the Articles or Confederation, andrelated statutes, the Romulan andOrgaman treaties, star charts of theKnown Galactic Region, data on Star FleetSpecifications for all types of vessels,detailed plans for medical and scientifictricorders, phasors, impulse powerarrangements ... it even has patterns forregulation Star Fleet uniforms.The most recent entry to the list ofBallantine Star Trek books is the Star TrekConcordance, selling for $6 95 This 160page. 8‘2xll book has photo synopses ofevery' episode, a complete index of StarTrek people, places and events, andbiographies of all the characters. Ac¬cording to Ballantine. the Concordancehad a limited run at one of the Star Trekconventions and sold out within hours,which is not surprising considering howhungry trekkies are for anything about theseries.Unfortunately, no combination of StarTre.: books will satisfy a hard coreTrekkie. Nor will the fact that there areserious plans for a feature length StarTrek movie involving many of the originalactors Star Trek fans probably won’t besatisfied with anything short of beingreborn in the Federation era and becomingstarship captains.It is a powerful addictionThe Chicago l.’terary Review—Friday, December 3,1976 3EVERY RECORD IN THE STUDENT COOP WILL NOT CARRYWINTER QUARTER TEXTBOOKSSTOCK WILL BE ONSALE TODAY AND Unless YOU give us your help. The UC Bookstore isdenyins us access to the Winter Quarter textbook lists.TOMORROW AT THE This means that we can stock used Winter QuarterSTUDENT COOP texts only if you - students and professors - 3ive usbook lists.Student CoopReynolds Club Basement Help us, help yourselves - brin3 us a list today.Monday thru Friday EXTRA CASH FOR CHRISTMAS!!9:00 - 6:00 Sell us your old texts now. We offer Buying Guide value or better.Saturday10:00 - 4:00 Same-day appraisal, buyer on hand Monday thru Friday and Saturday ;PM.STUDENT COOPHelps you celebrate the end of the quarter and the Holidayseason with recordings by the Jazz masters All jazz albumson the revue and Em Arcy labels are on sale This includesspecial Re-relase 2 record sets of jazz classics by CharlieParker Ella Fitzgerald. Wes Montgomery, Buddy Rich Clif¬ford Brown. Oscar Peterson7.98 list price 2 Record S«ts .... 4.48 sale priceSale extends through Dec. 12SPIN-IT in Hyde Park1444 E. 57th St.684-1505SPIN-IT in Evergreen Plaza95th and Western449-2582STORE HOURS:Monday-Thursday 10:30-8:00Friday and Saturday 10:00-8:00Sunday 12:00-6:00SPIN-IT Brings you the finest in recordings.CLIFFORD BROWNThe Quintet Vol. 1 CANNONBALL ADDERLETBeginnings4—The Chicago Literary Review—Friday December 3, Q7d Tht3 EtnArcv fosy Set n *s1it • FntAn v h^ySt'ik* ilk>Fn:An v 11 it 'btnAi. \[ GENT AMMONSI ’Jug'Sessions SALE DATES: iE3 Th'FmAit V/fr NOV. 28th ]thru |Cdfer '\ DEC. 4th jI(•iaA {hiaiad- *•BXL jMEto.. %. Min -JH; mmmi <7Wmm t,LlLH§ j| Pmmf »JcT:BlakePoemsBrahms!Inarticulate, like the landscape,So precious to futures,Seeming to speak out of your leaves,The hang of your limbs, as if we were offspringOf a half-human nature.Inarticulate, you speak better,You are a transcendent ratio to our phrases,Never bending to but your own superior seasons;I love you, so precious to futures,Never speak, never say the lines I squeak;Brahms! Brahms! Brahms!Little killingDeath is nothing,Just washing a blackboard;The bell will ringAnd another class will fill the classroom,Another Prof return to scrabble...So it goes;Forever, eternal.Where, o krishna, is the key to your skeleton closet?Stuck in your jaw-bone.Your bark is worse than your pineapple...Kenneth ZweibelBad NewsThe hawk’s clawsAre tearing acrossMy guts; wretched, unworthy,I bow before a tusk that simply wants to bore me.My supplicationsAre as unregardedAs uncalled for;And even though I know,It doesn’t matter. You are driving me quickly crazy,You make too much sense4Endhgh to make the world collapseOh, sense, oh, senseYou crush;What is it, What!Do you wantFrom the dust;Love.Old womanYou lookIn the crevicesExpectant;RelaxThe hurry’s in the past.I love youI wish, most fearsome,To learn your touch0 broken, canebrakeAnti-war song (or why it’s all the same)Multi word paradeEveryone except peaceniksLoves it;Chose your meanings.Do-si-do,Turn your partner,Promenade...There’s no sense, ‘less something’s sayed.Geez, Sam; ain’t you dizzy? PoetryPoetry is what the big boys say it is;Like a ball, is mine or blue or soccer.They say: This is a poem,Motioning to a big one, inflated obloid,Erected Hoboy.The rest is garbage;(Ob) Verse-ortions turned out by school boys;Sheer sophomoric drivel.Here’s encouragement for your struggles,& a kick in the teeth for the big boys.A hermit’s deathYou are the most adventurous death,A marvel of subtile fateUndoing my knot;I wouldn’t trade you for a Rockefeller death—TanglesTangles demanding attentionFrom the ants who can not resistThe breath of sugar,Who only have to go nearTo be caught forever... until the foot falls.Until the change of season,When the sweet is frozen, to be slipped onLike snot,When the ants go, I-know-not...Let us return, ants, to the sugar.Let us taste the marvelous fireWhich has paved our hell with droppings.Shit, eat shit; break a molar on that!Ok, alright. I’m sorry;ants arise ! who can not redeem their scentFrom the tangle.Revelation #17God, what do you have in mind?Bend over, you hulk,And speak to your pathetic woven;Send us a missalWe’re among the fallenDear beast, are you vulnerableto 22s at mind’s lengthYes, airmail.I’ll wait.No; but it makes me angry.And you said it in such a voiceYou had something to say,And you said it in such a voice,A voice to rememberWhen the rain is on the windowpane,And the Dodgers in the cellar;And you conjured up in me...A desire to hear that voice, in me,In a more familiar, more reachable way.So that I could echo it to myself,When no one else had anything to say.The voice remained; the sound.And the feelings stirred by its sound -Like leaves, stirred, by a wind in an autumn,Those feelings coloured a day, otherwise barren.And when the windColours others’ autumns.They also remember,And when they can find no reason,Still come back to the breather,The respirer of poems,And his deep-voiced intonations. Geometric QuizYour voice is like an appendage,Either an arm or an elbow.With limits as well as extensions.But what a space it’s in!So dark, so much like New YorkTurned on end;Lights in the night; infinite, eternal.Other-worldly,Hear my calling;I do homage—And indicate, as dispensation,My hunchback.Krishna is BuxomKrishna is buxomIs a worthwhile bannerExpressing the promised;But what of the fallenThose who breathe dustWhose everyday is an ant’s movementCan they respond to the promised?Can they rally roundSuch a crimson banner?I doubt it;They must remain with their comrades.Edging across a crackMaking a small squiggle of chalk;Waiting, hoping,Afraid of the buffalos. Today I see how I am JesusDenied by my most JewishParents of their most cherishedHopes that turned to dust and puke.I see how I am JesusWandering in my parents' desert.Would you trust this man with a used car or even arusty can-opener?I’ve almost reached my own personal pavementThere’s still time to be'afraiaI’m sick of fearI’m tired of being afraidI’m tired of being a playthingWhere the wind wills meFor the kids to cheerThat gets caught upBefore dinner; I want to be freeI . So patheticI. Get the electricianAmong the dead.Who still have names,And are cherished —(For their deadness does not deprive them.Their charms still swath them),I live and am dying,Clinging to what once pleased me;And releasing my humanessOnly in grief for its passing.Kenneth ZweibelKenneth Zweibel graduated from theCollege of the University of Chicago in1970. He now resides in Princeton, NewJersey.The Chicago Literary Review—Friday, December 3, 1976—5; ' ^ ' 7 , 7; ■-, :- ,■Don Juan Hi ContextBy Jerome T McGann .University of Chicago Press, $12.50reviewed by J. C: HobhouseByron’s Don Juan raises the question oforder from the very beginning. Afterassuring us he will narrate the events ofhis story right from their very start,Byron's narrator soon takes off on adigression He apologizes later and quicklyreturns to the story But soon he is at itagain—off on a tangent. His material getsaway from him He cannot control itDigression after digression cut across hisstory. And the story itself—while itmoves—moves in the most surprisingdirections.Byron’s career, in our twentieth centuryestimation, is no longer clear. The majorhistorians of the Romantic poets, HaroldBloom and M. H. Abrams, have put Byronslightly offstage, in the wings McCann'sbook pulls Byron’s career into the sharpestfocus, and he does so by reinterpreting theaims of that career with respect to thebetter known poets of the VisionaryCompany Of all the contests into whichMcGann puLs Don Juan -Byron’s poeticalcareer, Romantic literary history, con¬temporary intellectual history—surelythat of Romantic literary history is themost striking. The central question of thiscontest is that of order.There are differences between thetraditional members of the VisionaryCompany, Coleridge and Wordsworth, andthe young upstart Byron on the question oforder. Coleridge said that the purpose ofall narratives—Don Juan included—was toconvert a series of particulars into awhole, Coleridge’s sense of order wasorganic not mechanical, but it shares withthe mechanical order teleology Such anorder is a closed system. According to it. the whole is always greater than the sumof the parts. Wordsworth, on the otherhand, proclaimed an order connecting themind of man and Nature. He had visions ofgreat order permeating his life. However,the order of Coleridge and Wordsworth isone that, for Byron, cuts itself off from theordinary universe. Such order soarsbeyond the actual variety of the par¬ticulars of nature. By a harsh paradox, themore universal a realm they grantedImagination's ordering power, the morenarrow a realm it actually did order.Finally it controls but one mind. This, saidBryon, is “universal Egotism.”To the visionary poetry of Wordswortharid Coleridge Byron’s poem makes aresponse ana a critique. It is this critiqueMcGann Byron’s many coy statementsabout what he was doing in Don Juan (“Idon’t protend that I quite understand/Myown meaning when I would be very finer’“note or text I never know the wora whichwill come next” “I rattle on exactly as I’dtalk”) too seriously.McGann appreciates their humor—andtheir sense. Out of their sense he recon¬structs Byron’s critique of the Visionarypoets. Don Juan exemplifies the critiqueby refusing to superimpose order on theparticulars of existence, refusing tosuggest it lays bare the hitherto unap¬prehended- design that links those par¬ticulars. It exemplifies the critique by itsopen form. Don Juan's form is, McGannargues, “experimental.” Our sense ofform is never that of something skillfullycontrived in advance, but of somethingthat just happens. “The poem will notallow us to formulate an idea about itselfbut only ideas about what it is saying atany particular time.” Order inheres in theparticulars of the story. From their con¬catenations a form emerges in a way bestunderstood in terms of Wittgenstein’snotion of the “dawning of an aspect.” In Don Juan’s open system, the sum of theparts is always greater than the whole.Byron’s career stands the apotheosis ofRomanticism. Goethe was right in sotaking it. His poem—this poem Don Juan—stands as the critique of Romanticism andits cherished notion of the primacy of theImagination. Byron’s role among theRomantics has not been so clearly drawnin years.she’s nasty to meso I'm nasty to hershe follows meso I follow herTake this pillto help you not to shoutit takes away the lifeyou’re better off withoutMy neck is on the guillotinethe blade comes downhead this waybody that waywhich side will I be on ? Do You Love Me?By R.D. Laing ^ v ** %Pantheon Books $4.95reviewed by Mary O’ShaunessyR. D. Laing’s new book, Do You LoveMe?, is terrible. If it were not for thefact that Laing has written some in¬teresting books before this one, Do YouLove Me? would not even have beenreviewed here. However, since someunsuspecting reader might strollthrough a bookstore, see Laing’s nameon the book’s cover and think the bookmight be similar to one of his betterworks, this warning seemed ap¬propriate.In terms of structure, Do You LoveMe? does have some similarities toLaing’s very popular and somewhatinteresting Knots of a few years ago.Both books are collections of shortvignettes, poems, sayings, andaphorisms that attempt to illustrate theknotty problems and contradictionsthat arise in the situations of everydaylife.Unfortunatelx, Do You Love Me? is asimple-minded relative of Knots.Where the dialogs of Knots were oftenamusing or contained some insight, thewritings in the second book are all tooaccurately represented by samples(chosen by the publisher, no less)display in the accompanyingillustration.Be forewarned.nevernevernevernevernevernevernevernevernever saw itheard itsmelt it, touched it. or tasted itfelt itheard it mentionedhad any idea of itdreamt of itwanted itmissed itis there a problem ?PARKLANE HOSIERY1568^j55TH §T.HYDE PARK SHOPPING CENTER********************************************************** * * * * * *}(formerly NEUMODE)P.S.WE ’RE STILL THE BEST INHOSIER Y, TOPS, AND ALLYO UR DANCE WEAR NEEDS^'^J^’opyriRht 1976. Paramount Pictures Corporation. All Rights Reserved$4 95 paperback $7 95 hardcover MACMILLAN The Chicago Literary Review—Friday, December 3,1970—7Ire linked To Desire For Sedgefield Jeans“The public is entitled to hearmy side." -Stanley (king) kong“As Stanley Kong’s oldest friend,I can testify that this book isabsolutely 100 percent true."GODZILLANOWTHE TOWERING FIGUREOF OUR TIMETELLS ALL Sedgefield Offers "Kong’s Hair"as Tribute.New York (APE)—With the eyes of theworld upon King Kong, star of Paramount Pic¬tures epic new film release, a highh placed sourceclose to Kong today re>ealed the possible reasonfor his destructive rampage.In an exclusive interview-held atop the twin towers of theWorld Trade Tenter, it wassuggested that Kong’s misbe¬havior was tied to his inabilityto find a pair of Sedgefieldjeans large enough to fit hismammoth proportions."It’s not fair." the sourcesaid, "when the King of Goril¬las can’t get a pair of the Kingof Jeans.”“Sedgefield Do-Nothing*-jeans with Sanfor-Set* wouldhave been just perfect for Kong.They're natural lOOCT cotton,won’t shrink out of size, don’tneed ironing and start out soft.Plus they come in style afterstyle.”"Kong liked that." he added.Shortly after hearing the ex¬planation. Sedgefield di-tloseda free off$r of King Kong's hairas a tribute to the “ultimateconsumer.”A lock of Kong's hair comesin a key chain with a certificateproving it's from the actualKing Kong used in the film. It’s i a real collector's itemThe key chain, or full-size.I full color movie posters ofKong in action, are beingi offered for a limited time at| participating stores. They’rei free w ith the purchase of a pairj of Sedgefield jeans.Robert Lukey. spokesmanj for Sedgefield jeans, was visiblyhumbled by Kong's unsuccess-! ful quest for his company'si product.“It saddens me to think .”j he lamented, “that Kong may| have been dying to get a pair of| our jeans.”“Well, that’s show biz." he| added philosophically.Sedgefield has set up a spej cial toll free number where| people of ali sizes can locateSedgefield jeans and memortal| key chains.Just dial 800 843-3343. Orj dial 800 T-H-E E-D-G-EedgeWith the tjBuiftir Edge.Sedgefield jeans offers free “hairy” Key Chain as tribute. Call 800843-3343 to find out where..7 Day* A WeekHYDE PARK PIPE AND TOBACCO SHOP1552 E. 53rd - under 1C tracksAll students get 10% offask for “Big Jim"HpatPip* Tobaccos Imported Ggar*tt*m Clgort34 HC ZXKZZZZZMg’BUDGET TUNE-UP CENTER *8012 S. STONY ISLAND734-9209TUNE-UPS - ELECTRICAL - BRAKE SYSTEMSEXHAUST SYSTEM - OTHER REPAIRSMON.-SAT. 8:00 A M. TO 9:30 P.M.SUN. 9:00 A M.-5:00 P.M.NO TUNE-UPOVER^!35j9^^PLUGS, POINTS, CONDENSER6 MONTH OR 6,000 MILE GUARANTEE$5 DISCOUNT WITH THIS ADOFFER ENDS DECEMBER 1 5, 1976 A Cwmt atFteKck RmuMOHceSangSafutuUuj, 4 Vecmbet I976Bead Cltopd8:30Tice CdCeguu* Wuiicw* dTke Uiuueiuthj Outager * * * + *Finally UNIVERSITY RELIGIOUS SERVICESROCKEFELLER MEMORIAL CHAPELCONVOCATION SUNDAYDecember 5, 19769 A.M.Ecumenical Service of Holy Communion11 A.M.E. SPENCER PARSONSDean of the Chapel“THE JUDGEMENT OF TRUTH AND LOVE”4 O’CLOCKHandel’sMESSIAHThe Rockefeller Chapel Choirand OrchestraThe Box Office opens at 3 P.MWeather:Chance of fallinggorillas, then clearingVolume 1. No. LXXVIII New York. N Y Limited EditionOMIUGHLife With PapaHow It WasBy Mary Welsh HemingwayAlfred A. Knopf. 1976$12.50,537 pagesreviewed by Creath ThomeIn the fifteen years since Hemingway'sdeath by a self-inflicted shotgun woundnumerous biographical accounts bearing onhis life and work have appeared. In spite ofthis, we are still years away from even anattempt at a definitive critical biography —primarily because too many unpublishedmanuscripts and letters remain virtuallyunavailable to Hemingway scholars. Untilthat definite work appears, Carlos Baker’sbiography, Ernest Hemingway: A LifeStory, is likely to stand as a basic andusually reliable sourcebook. The book itselfis a huge, formless mass, but given Baker’sinfelicitous prose style and lack of a sense ofbiography as an art, that may actually be avirtue: at least he’s gotten his facts right,and the reader can proceed from that pointto muse over the shape that those factsshould take One can only take Mary Hemingway’sword for it that much of her life with Ernestwas good; but the book comes alive as shedescribes the pain and horror of the finaldays of Ernest’s life. Not sensationalistic,she omits nothing, the period of decline intosevere mental illness and intense longingfor death is sharply and clearly drawn.Unfortunately, much of the rest of thebook is not as well written. The book, likeBaker’s biography, is bloated with in¬consequential and trivial facts. Many of thereconstructed conversations simply do notsound quite right; and when the sound ringsfalse, one wonders if the sense is right, too.Missing, too, is any sense of shape to thoseten years before Hemingway’s finaldecline; the diaries and notes from thoseyears have simply not been reworked in theway they should have been.Despite all this, the book is valuable andof considerable interest. There’s always aquestion of how exploitative these books ofreminiscences are; Mary Hemingway’sconvinced me of her right to set down thestory of her years with Ernest as she sawthem. The journalist in her has reemerged;it’s a good, competent workmanlike job andone she should be proud of.Opposed to Baker’s compilation of everyincident of Hemingway’s life he coulddocument are a plethora of reminiscencesand recollections by friends and relatives ofHemingway. These have ranged from A. E.Hotchner’s early and grossly inaccuratePapa Hemingway (Hotchner did, however,make clear to the general public for the firsttime just how severe Hemingway’s mentalillness was in the last years of his life) toGregory Hemingway’s brilliant littlemordant book, Papa. Now to this list we canadd Mary Welsh Hemingway’s How It Was.Ostensibly her autobiography, more thanfour-fifths of the book deals with her yearswith Hemingway.They were years in which she gave up aflourishing career as ajournalist to take upa new career of being Ernest Hemingway’sfourth wife. Their courtship in Londonduring the final days of World War II is heretold in detail for the first time; it is one ofimprobable romanticisms. After two shortmeetings, we are told, Hemingway, in acalm, sad, resigned mood declared hisdesire for marriage: “I want to marry younow, and I hope to marry you sometime.Sometime you may want to marry me.”Mary Hemingway’s reply: ‘‘You are verypremature.” But her initial reluctance soonfaded, and the joy of their first daystogether lighted up against the backdrop ofa Europe devasted and exhausted by thewar reminds one of the lyrical intensity ofHemingway’s own writing. BriefsAlexis Bespaloff s Guide to InexpensiveWinesBy Alexis BespaloffPocket Books, 1976$1.50; 172 pagesBespaloff’s guide is the perfect firstwine book for Impoverished Students;its good common-sense could beprofitably echoed in the proliferation ofwine books that assault the novitiate,who can no more decide what book onwine to buy than he can the actualwines. Bespaloff builds his book on twolists of recommended wines: one listing125 wines selling for under $4 a bottle(many selling for under $3 a bottle); theother listing 40 jug wines, costing aslittle as $3 a gallon. Obviously, wines oftantalizing subtlety are not to be foundhere; on the other hand, Bespaloff canlead one beyond the two-familiar jugsof Gallo Burgundy and Paul MassonMountain Ked to other interesting,often less expensive, wines(Graham Snowden)The reality of marriage was another thingentirely, and Mary Hemingway pulls fewpunches in her depiction of it. Not only hadshe abandoned her career, she wasobligated to master new skills: hunting,fishing, the running of the household at theFinca Vieia in Cuba. “I had been an entity,”writes Hemingway; ‘‘now I was an ap¬pendage.” She must, in fact, be a woman ofconsiderable fortitude, for by her own tight-lipped account, which we have no reason tobelieve is inaccurate, Ernest Hemingwaywas a cantankerous, moody, violent, self-centered person to live with — and, ap¬parently, none of the less redeeming aspectsof his personality was checked by him in hisrelations with Mary.The story told again and again in this bookis one of outrages perpetrated byHemingway, only to be followed by abjectapologies and requests for forgiveness. Thepain Mary Hemingway felt after glasses ofwine were flung into her face at parties by adrunken Ernest, after drunken prostituteswere brought to the Finca by Ernest todestroy her dinner parties is sharplyevoked Less clear is why Mary Hemingwaycame to the conclusion she did: ‘‘Myhusband might drive himself wild with hisfluctuating tempers if he insisted on sodoing, but he was not going to drag me withhim Too much of our life was too good toallow it to fall apart.” Electric ChildrenBy Jacques VassalTaplinger, 1976$11.95; 270 pagesJacques Vassal’s Electric Children isa superficial and disappointingtreatment of its subject: the popularfolksong (“folkrock”) in the nineteen-sixties and the musical roots fromwhich it sprang. Vassal condemnscountry and western music because it ispopular in those states ‘‘where the KuKlux Klan and the John Brich societystill . . . hold sway”; his treatment ofthe political nature and import of otherforms of folksongs is equally vapid. Thebook contains numerous inaccuracies,from the retelling of those old chestnutsof Bob Dylan’s youth (“Dylan ran awayfrom home plenty of other times —seven before he was eighteen.”)long since demonstrated to beanother facet of Dylan imagination toincredible misunderstandings of thesimple meanings of lyrics. “Daddy,You Been on My Mind,” for instance, isdescribed as telling “in humorousterms of the ending of an affair.” Notrecommended. (GrahamSnowden)g—The Chicago Literary Review—Friday, December 3,1976 WHEN WORKCOMES AT YOUBY THE REAMbut still you want to keepIn touch with the world,you need a news sourcethat Informs withoutwasting your time.THECHRISTIANSCIENCEMONITOR®The Monitor Is a dailyworld newspaper thatmany people, students toU.S. senators, depend onfor solution-orientedcoverage of politics,world affairs, finance,the arts, sports, theenvironment, and manyother subjects.The Monitor is the kindof newspaper you candepend on when textbookanswers are not enough.And the Monitor is nowon sale Monday throughFriday at many Chicagoarea newsstands.Pick up a copy today, at55th & Kenwood, theUniversity Bookstore, theInternational House, orthe newsbox at 1448E. 57th.THE CHRISTIAN SCIENCE MONITOR®A way ol seeing the world. Clearly.THINK ABOUT BOOKSFOR CHRISTMAS GIVINGAmong Thousands of titles we suggest:Quentin Bell, On Human Finery $14.95Frank Touhy, Yeats $17.95Saul Bellow, To Jerusalem and Back $8.95First Images of America $65.00Michel Guerard's Cuisine Minceur $12.95Laurel's Kitchen of Vegetarian Cookery $11.95Hans Kung, On Being a Christian $12.95a selection of interesting calendars from $3.95 to $10All ten percent off to members ofSEMINARYCOOPERATIVEBOOKSTORE5757 S. Universityi 752-4381 9:30-4:00 MJaded Pictures of HumanityAdult BookstoreBy Karl ShapiroPantheon Books. $6.00reviewed by Floyd ThursbyKarl Shapiro’s most recent book of verseis appropriately titled. An adult bookstoreconjures up images of slick, over explicitbooks and magazines, and a proliferationof overdone, mainly useless devices.Shapiro has given us a collection of jadedpoems, poems that give slick, skin deepdescriptions of the human condition andrarely hint at any of the richer aspects ofthe human condition.The atmosphere of much of the poetry iscaptured in the final lines of the title poem,“Adult Bookstore”:Lotions, Hot Melt, super-double¬dong.Battery dildo (origin obscure),Awakeners of the tired heart’sdesireWhen love goes wrong.The expense of spirit in a waste ofshameIs sold forever to the single stagWho takes it home in a brown paperbag.Shapiro’s voice in these poems is that ofa disillusioned store proprietor, and hissubject matter is the “living death” that isthe experience of so many of those ‘tiredhearts”. Through poems describing theunimaginative stodginess of academicarchitecture (“The HumanitiesBuilding”), the banality ol air travel(“Flying First Class”), the shuffling paper mentality of the office worker(“Girls Working in Banks”), Shapiro triesto get at the fundamental problem of thedehumanizing plasticity of our technologyand lifestyles. He presents our society asone peopled with men and women who arehardly awake, hardly alive. Even thosewho have retained some of theirawareness, like the assistant professor in“The Humanities Building’’, havemaintained this awareness in, at best, alimited way Rather than being concernedwith the more important, more preciousthings in life, he sits “with one loweredeyelid...plots against Tenure, dreaming ofgetting it”.What is the cause of this malaise, thislack of proper focus7 The book’s first illustration by Noel Pricepoem, “A Parliament of Poets”, whichdeals with a group of poets whosescheduled meeting with the President ofthe Unit°d States is cancelled because ofthe Cuban missile crisis, hints at the an¬swer:And the parliament of poets disin¬tegrates.Some going to their hotel rooms topack.Some to the dark bars, some to thestreetsTo gaze up at the vacant WashingtonskyThe implication of these lines, when viewed in the context of the other poems inthis volume, is that the citizens (and poets)of our times have found it difficult to dealwith these awesome circumstances, withthis awesome world, and still retain theirability to remain sensitive to their world.It is an interesting idea, related to otherideas that have been in the air in the lastfew years (perhaps most notablydiscussed in Heller’s Something Hap¬pened). What is unfortunate is that the restof Shapiro’s book only succeeds in showingthat he. too, has fallen victim of thedisease he is describing. As it turns out,much of his poetry is simply an effort toawaken the “tired heart’s desire”.The result of all of this is something withwhich any adult bookstore proprietor isfamiliar: over-explicitness. Just as overlyexplicit, overly clinical “erotic books arefar less effective than their more subtle,more veiled brethem, so it is with poetry.There is no question that these poems ofShapiro’s are clever, but clever in themanner of poems appearing in places likeNew Yorker, Esquire, and New Republic(in which some of these poems were firstpublished).It is not that these are poor publicationsIt is simply that these are publications inwhich the poetry is mainly intended fordiversion They are not the places onelooks for lasting poetic works.Unfortunately, this leaves us with a bookof poems that are basically meant to beread on plane flights or while sitting in thewaiting room at a bank or a doctor’s office,poems that do not attempt to capture anysentiment, any tenderness, any emotionThese are poems that will bring amomentary grin to the reader’s face andthen be forgotten, not unlike the mer¬chandise one would expect to find in anadult bookstoreSCHEDULE CHANGE“FREE” EVENING MINI BUS SERVICEFriday 12/24/76 & 12/31/76Saturday 12/25/76 & 1/1/77Sunday 12/26/75 & 1/2/77The Holiday Schedule will be used andtwo buses will cover all four routes forboth weekends. 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December 3.1976-9Best of 76 CLRcontinued from page 2A Biased Guide to 35mm technique andEquipment For the Beginner, the Studentandtne ArtsitRobert FoothorapStraight Arrow books, $6.95It is a practical, useful, easy-to-readguide, covering everything from thedefinition of “f/stop” to the meaning ofprofessionalismThe beginner or near-beginner will findmore useful information and suggestionsthan will the experienced photographer.Adventure, Mystery and RomanceBy John CaweltiUniversity of Chicago, Press The book fills out these ideas throughexamples, through further discussions ofwhat qualities can make one “per¬formance” stand out over another, andthrough an examination of the attempts ofgenre writers to transform and transcendtheir formulae. By examining these typesof questions, Cawelti also manages to shedsome light on what makes a work a classic.These questions of artistry andoriginality in genre and formulaic writingand the role of genre writing in the largerliterary scheme of thin« are the centralissues with which Cawelti concernshimself in Adventure, Mystery andRomance and he presents a coherent,sensible theory to help illuminate thesituation.ON 55thTHE PLACE FOR HER> FOR HOLIDA Y WEARIN.G\ AND HOLIDA Y GIVING[ CHOOSE A S WEA TERFROM OUR LARGE\ COLLECTIONifitff Master ChargeBank Amerkard &American Express*Accepted In The 0Hyde Park Shopping Center l288-5454 IICE RINKPROGRAMS:HOCKEY LEAGUES-Af* 4-1S mad ADULTHOCKEY CUHICS-A|« 6-11 mad ADULTFIGURE SKATING-Pre-school tfcrv AdvHLEARN TO SKAfl-Pre-schAol tfcrv AfcltSCHOOL A UNIVERSITY PHYSICAL EDUCATIONPROGRAMSVOLUNTEER COACH, STATISTICIAN, REFEREE-Free CSnics GROUP SKATING AND/OR IN¬STRUCTION IT APARTMENT BUILDING. Classesfor MootoHy Handicapped. 225-3373.COLLEGIATE CHAMPIONSHIP HOCKEY TEAMSCRIMMAGE GAME ** PROFESSIONAL REFEREES.REGISTER WHEN YOU SKATE OR BY MAIL FOR IN¬FORMATION CALL 225-3373.31st Street Exit from Lake Shore Drive500 East 33rd StreetChicago, Illinois 60616iL tv- ■ L 1. JL . U.11Kj_The Chicago Literary Review -Friday, December 3, 1976 ON TVTOGETHER AGAIN FOR THE VERY FIRST TIMEHighlights of the Festival of Chicago ComedyProduced by WTTW/Channel 11Chicago Public Televisionin cooperation withThe University of Chicago ExtensionTune inTuesday • December 7 • 8:15 PMTthe "Hmuersitg of ChicagoCOMMITTEE ON PUBLIC POLICY STUDIESIS NOW ACCEPTING APPLICATIONS FOR ITS PROGRAM INPUBLIC POLICY STUDIESThe Graduate Program in Public Policy Studies leads to the Master of Arts degree in PublicPolicy. Applications are now being accepted for the 1977-78 academic year from .studentscurrently enrolled in the Graduate Divisions and Professional Schools of the University. For suchstudents, the Master’s degree in Public Policy is a one year program.Students who desire to develop expertise in the area of public policy in addition to theirongoing (or completed) work in a discipline or profession are encouraged to apply.A limited number of UNIVERSITY PUBLIC POLICY FELLOWSHIPS will be awarded; additionalstudent aid will also be available.For further information and applications forms, write or telephone:Committee on Public Policy StudiesWieboldt Hall - Room 3011050 East 59th StreetChicago, Illinois 60637COMMITTEE ON PUBLIC POLICY STUDIESStephen R. Berry, ChemistryNorman M. Bradbum, BehavioralSciences and BusinessPastora Cafferty, Soc. Ser. Admin.William B. Cannon, Soc. Ser. Admin.Gerhard Casper, Law andPolitical ScienceJames S. Coleman, SociologyKenneth W. Dam, LawSidney Davidson, BusinessDavid Greenstone, Political ScienceClifford Gurney, Biological Sciencesand MedicineJames Gustafson, Divinity* * Philip W. lackson, Behavioral Sciencesand Education John E. Jeuck, BusinessHarry G. Johnson, EconomicsEdmund Kitch, LawBarry D. Karl, HistoryWilliam H. Kruskal, StatisticsPhilip Kurland, Law and The CollegeAlbert Madansky, BusinessTheodore Merman, Soc. Ser. Admin.Phil C. Neal, LawGeorge A. Ranney, Jr., Law and Soc.Ser. Admin.Harold A. Richman, Soc. Ser. Admin,and ChairmanGeorge S. Tolley, EconomicsDaniel C. Tosteson, Biological Sciencesand MedicineBluesBy George SpinkThe first time I went to Big John's wason a cold Wednesday evening in Novemberof 1964. As I walked through the Old-TownClub's squeaky swinging doors, I heardguitarist Mike Bloomfield and organistBarry Goldberg tear into "Green Onions."Big John's was packed. Every table, everystool, every square-inch of floor space wasfilled. Bloomfield's band turned oneveryone. It mesmerized me. I went backthe next night, and the next— and almostevery night until Big John's was dealt adeath blow by the powers that be in Sep¬tember of 1966.During those following two years, Iwitnessed the beginnings of Chicago bluesas we think of it Today. Not black blues, notwhite blue#- but Cricago blues. PaulButterfield, Mike Bloomfield, NickGravenites, Barry Goldberg, Steve Miller,Corky SiegeiCorky Siegel, Jim Schwail, Muddy Waters,Otis Spann, Little Walter, James Cotton,Buddy Guy, Otis Rush, Howlin' Wolf, SamLay — these were the blues artists, whiteand black, who adopted Big John's as theirhome and made it what many consider tohave been the best night club Chicago hasever known.Shortly after I began going to Big John'sI became friends with the manager, BobWettlaufer (who earlier had managed theGate of Horn), and the owner, John Haas.One night they asked me if I would like towork for them — as maitre'd, bouncer,I D checker, bartender, waiter, whatever.Did I really have a choice? I loved theplace. At the time, I was on leave of absence from graduate study at Stanford. Atthe last meeting with my advisor, he urgedme to forget about the academic world fora while and, in all seriousness, "to get thefeeling of my generation." I was 24 then,and I felt that Big John's embodied thatfeeling.Big John's appealed to musicians andcustomers alike. Everything jived. Thelong bar with Marsh's caricatures of themusicians and employees hanging behindit, the beat up chandeliers with their everburning orange light bulbs, the red andwhite checked table cloths, the abstractpaintings by local artists Gerry Proctor,Jack Beckley, and Danny Morgan, the oldupright piano that always was in the waybetween the service bar and the bandstand, the stage that was never largeenough to hold all the musicians and theirequipment, the frantic dancing in theaisles (and often on chairs and tables), thekitchen that was open only when the cookfelt like working, and the two pool tables inthe backroom that frustrated the Chicagopolice— and where Bob Dylan, dressed in, 9ii e :Z I :i$oo £ ,.i a 2»1 ) If iniQ: rtf j b)M bit- The Chrcago Maroon's Weekly Magazine of Criticism and the Artsfor Big John’sdisguise, racked 'em up until closing aftera concert one evening.Old Town was bursting with creativityduring those years Big John's, located onWells near Eugenie, attracted most of thearea's painters, musicians, writers, ac¬tors, sculptors, students, photographers,models; plus every store owner, bartender, and waitress along the Street. BigJohn's was where both local and big nameentertainers would go after they finished,heir nightly performances. It was afavorite hangout for David Steinberg andother Second City players. Seiji Ozawa(whom I didn't recognize and made goback to the Ambassador for his passpor*the first time he came by) was a regularwhenever he came into town to conduct theChicago Symphony Orchestra. And everynight a contingent of University of Chicagostudents made the trek from Hyde Park toBig John's.It was the music and the musicians thatturned people on to Big John's Bloomfieldand his band was the first group to playblues at Big John's, filling the place everynight, no matter what the weather waslike Por most people, including myself, itwas tne first time we had heard or seenanything like it. Maybe the swing clubsalong 52nd Street in New York during thelate 1930s or early 1940s were comparable.When Bloomfield's engagement ended,Paul Butterfield, a young harmonicaplayer from Hyde Park and the Universityof Chicago, came to Big John's. Toeveryone's surprise — except forBloomfield, who had recommended them— Butterfield's group even surpassedBloomfield's band With Jerome Arnold onbass, Sam Lay on drums (both blackmusicians and former sidemen of Howlin'Wolf) and Elvin Bishop,from Oklahomaand tne U. of C. on guitar, Butterfielddevelopea his musical concept of Chicaqoblues. They played "standard" oiuesnumbers like "Stormy Monday,’"Everyday I Have the Blues," and"Moio," and introduced a number of theirown compositions, including Born inChicago" and "Run Out of Time " Butterfield and his band earned the respectand admiration of both the youngeraspiring white blues performers, and theolder, established black musicians. Foreight consecutive months, into the summer of 1965, it was Butterfield nightly atBig John's.It was during Butterfield's engagementwhen I first met Ra ' Jordstrand. He waskind enough to tell the listeners of hisMidnight Special over WFMT aDOut BigJohn's each week, and before long peoplefrom all over the city and suburbs wereforming long lines down Wells Street,sometimes waiting as long as an hour toget inside.In the summer Butterfield signed amanagement agreement with AlGrossman, Bloomfield's and Dylan'sagent, and took his band to the East Coast. Bloomfield joined Butterfield's group andgave it even greater vibrance and drive.At the Newport Folk Festival that year,the Butterfield Bloomfield band, withGoldberg joining them on organ, backedBob Dylan. Many of Dylan's fans didn'tlike the new sound, but many, many moredid. "Folk rock" was born.Dylan asked Goldberg to remain as hispermanent organist. Barry declined andreturned to Chicago, where he and hisband followed Butterfield at Big John’s.His guitarist, Steve Miller, was on summervacation from the University of Wisconsin.They too attracted large crowds to BigJohn's, and soon the group was known asthe Goldberg Miller Blues Band.During Goldberg's engagement, BobWettlaufer, the manager of Big John'sdecided that it was time for the club topresent the older black blues bands aswell. For almost a year customers hadIbeen enfatuated by the younger, mostlywhite blues musicians It was mainly aquestion of whether black blues bandswould want to play before predominantlywhite audiences. Wettlaufer felt theywould dig Big John's and go over as well asBloomfield. Butterfield, and GoldberMiller. So nc invited Muddy Waters, hispiano piayer Otis Spann, and his har¬monica player James Cotton, to see howwell Goldberg's band performed and howmuch the customers enjoyed blues music.They were not onlv impressed, they satin. And they agreed to open for a month'sengagement in SeptemberThe night Muddy Waters opened at BigJohn's had been anticipated for severalweeks. Every seat was taken and peoplewere standing six abreast at the bar evenbefore the first set began. At Pepper'sLounge, the South Side club where Muddyhad been playing for years, he only accompanied his band for one or two num¬bers each set. But at Big John's, Muddyplayed almost the entire set each time theband went onstage. The audience lovedMuddy, and he loved them In fact,Muddy's band broke all previous attendance and sales records at Big John's— and convinced Wettlaufer that the timehad come for Big John's to establish apolicy of alternating black and white bluesbands.By the end of Muddy's firs* engagementOtis Rush was appearing on Mondays andHowlin' Wolf on Tuesdays. Any night of theweek Chicagoans could hear the best inChicago blues at Big John's. Otis Rushplayed soft, rippling guitar beneath thelyrics of his ballads, singing in a mannerreflecting his quiet and gentle personality.Howlin' Wolf was something else. Hecried, wailed, and snarled about legendsand superstitions. A tall, powerfully builtman with a stare that sent chills down thespines of his musicians whenever theymade mistakes. Wolf's force resoundedthrough every number he performed. BothRush and Wolf included saxophonists in their groups, adding an importantdimension to their sound.Butterfield and Bloomfield returned toBig John's for the month of October. Theirfirst album had just been released byElektra. During the October engagementthey perfected the band, developing afusion of blues and rock. What Big John'scustomers had heard from Butterfield andBloomfield earlier in the year was only thebeginning. What they heard from themthat October was the wave of the future.During the first four months of 1966Butterfield and his band toured the WestCoast, introducing Chicago blues to theFillmore Auditorium in San Francisco andThe Trip in Los Angeles, both psychedelicemporiums featuring combinations oflight shows and multi-media projections.(Big John's never went that route; it wasalways pure funk.) Butterfield and hismusic inspired many of the emerging acid-rock groups on the West Coast, includingthe Jefferson Airplane, the Grateful Dead,the Mothers of Invention, and Jam's Joplinand Big Brother and the Holding Com¬pany. Bloomfield really dug the WestCoast and stayed out there to form theElectric Flag with Buddy Miles and Nick)i s iM)i/i r=» i rem;i 9 cit• nis.io I bt Muddy WatersI Little Walter(the Greek) Gravenites, who had written anumber of songs for Butterfield.Big John's continued to present the bestof Chicago $ blues bands Engagementswere limited to two or four weeks andfeatured Otis Rush, Muddy Waters,Goldberg Miller, Howiin' Wolf, and a newgroup led by two music majors fromRoosevelt University, Corky Siegel andJim Schwail. And when these groupsweren't appearing at Big John's, likeButterfield before them, they turned up atthe Cafe Au Go Go or the Village Gate inNew York or the Fillmore in San Francisco. But Big John's was home.By the summer of 1966 people weretalking about Big John's from coast tocoast. Club owners, record producers,talent agents, television producers —everyone came to Chicago to see what BigJohn's had. A small, crowded, friendly barwithout any glitter or pretense — but withthe most exciting music in the nation everynight from 9pm until 4 am.Then it ended. Fast. Big John's liquorlicense was revoked in September of1966 Two neighboring taverns along WellsStreet, the Second Chance and O'Rourke's(the original one), were housed inbuildings that were condemned soon afterwards. Today Americana Towers risesfrom the former lots of the three clubs Thecity that works had worked again.George Spink will host "Big John'sSpecial" over WHPK - FM (88 3) onSaturday, Dec 4, from 1:30pm until 3 30pm He will reminisce with John Haas, theformer owner of Big John's, and BobWettlaufer, the farmer manager, about thelegendary blues club, and they will playand discuss recordings by blues musicianswho made Big John's their home duringthe mid SixtiSixties.The Grey City Jourr a .Friday. OecerDbei*?} \97o _Ellington 1938By M. NeostadtVirtuosity, n. (pi. -ties) great technical skill in some fineart, especially in the performance of music.Duke Ellington 1938, Smithsonian Collection R003 (tworecord set)1938 was a crucial year in the development of DukeEllington, for it was in this year that he realized theexcellence which he would have to attain if he was toovercome the flacidity of pre war swing. '38 marks thebeginning of the creative rise which culminates in themasterpieces of the early forties.Ellington always insisted that one couldn't appreciatejazz fully until he understood jazz history, and it is ahistorical reflectivity and conscious attempt to deal withthe musical present and future that gives these recordingsmuch of their beauty and lifeBy 1938 Benny Goodman had pretty much attained thethrone which he had been shooting for since the midthirties. The white bands had assimilated the innovationsof the great swing masters, and the audiences werebeginning to demand a very set, easily identifiable sound.Ellington had been fronting a band since 1927, but nowinstead of possessing a unique organization for expressingmusical ideas, he found his favorite instrument becomingjust one in a flock of swing orchestras The banality of thelate swing era probably depressed Ellington as much as itdepresses the serious listener today.How Ellington transcended the swing era is one of thefinest stories in all of jazz, and now with the Smithsonianrelease, a new generation of listeners can understand amusical phenomenon which at the time was unprecedented and is still seen today as perhaps the greatestaccomplishment of jazz.In 1938 Ellington's instrument, the band, had developeda very high level of technical skill. Cootie Williams hadbeen with the band nine years, Rex Stuart four, JoeNanton twelve, Lawrence Brown six, Juan Tizol nine,Barney Bigard ten, Johnny Hodges ten, Harry Carneytwelve, Otto Hardwick fifteen (with brief leaves of ab¬sence), Fred Guy fifteen, and Sonny Greer forever. Thisamount of experience not only allowed the Ellington bandto play ensemble passages of great sophistication, butduring those years each musician developed an easilyidentifiable and original musical personality, f ach playercorresponded to one stop on an organ. He could add hisunique flavor to a mixture of sound or he could inspire theemotive thrust of a whole composition. It was during thisperiod that Ellington began to write his many concerti.Partially because of the growing skill of the differentinstrumentalists and partially because of the pressures ofthe popular swing bands, by 1938 the Ellington outfit hadbecome one of the finest swinging ensembles in jazz. Inthe earlier recordings of the late twenties and earlythirties, the lack of swing is noticeable. The first recor¬ding of "Mood indigo" (1930) is actually enhanced by itsfragile rhythmic base, but I am sure many people preferthe later versions which the band performed with morerhythmic assurance.Other band leaders attest to the fact that Ellington wasrarely beaten in a battle of the bands, and that certainlyspeaks well for the band's ability to swing. But the swingthat he developed was not just the strong driving typecommon to the Basie and Hines bands, but a more sublimeand varied type of swing. The Ellington outfit could swingat all tempi and in all colors, and express myriademotions through its swing.Ellington pushed himself and his music beyond thelimits of the swing era by giving deliberate attention tovirtuosity in his music. Virtuosity had always beenpresent in the band, as in Barney Bigard's solo in MoodIndigo (1930) and Bubber Miley's statement on Black andTan Fantasy (1927). But only in 1938 did virtuosity becomethe guiding force behind the band. A solo was not to be oneof many musical interpretations of chord changes, but adefinitive expression of the immediate musical environment. Most of the solos created in the period '38 to '42 were never changed, because like Bigard's "Mood Indigo," they became integral parts of the compositions.Many critics since that time have been troubled as tohow much of the music Ellington composed and how mucheach musician contributed. I personally see themusicians' contributions as high, but the issue is really oflittle importance. The band attained a clairvoyance inwhich the actual composer of a solo is indiscernible, sincethe spirit is so united within the band.Although the personnel of the band remained fairlyconstant for eight years each year saw different soloistscome to the forefront. In 1938 the musicians Ellingtonrelied most heavily on were Johnny Hodges, CootieWilliams, Barney Bigard, and Lawrence BrownJohnny Hodges had come a long way since his firsttentative solo with the band in 1928 ("The Mooche"). Atthat time his phrasing was largely derived from the greatearly trumpet players and his tone had the slightly acidquality of New Orleans iazz. He used to call it "the kit¬chen." By 1938 he was the original stylist who developedthe most forceful and expressive technique on the alto saxin the swing era.Later Ellington would decide that Hodges' place waswith the ballads and mood pieces, and it is for these pieces(Warm Valley, Come Sunday) that he is most oftenremembered. But in 1938 Hodges had not relinquished hisposition as a soloist of great swing capabilities. Hodges'sfinest showpiece on the collection, "The Gal From Joe's"is a medium tempo swinger with an irresistably funkyflavor. He is accompanied by the trumpet sectionequipped with plunger mutes and wails in a way rarelyheard in the later recordings. Hodges is the king of liquidtone, but 1938 shows him to be a musician able to get downwith the best of them.Cootie Williams enjoyed a unique love affair withEllington wh ch rose to the greatness of Concerto forCootie before he was sp;rited away in 1940 by BennyGoodman. Williams was not the man who invented the trumpet styles so identified with the Ellington band, buthe is the most perfect executer of those styles. On the NewBlack and Tan Fantasy he plays Bubber Miley's solo notefor note, and it would be unfair to have to choose betweenthe two versions.In Williams Ellington found the virtuoso which histrumpet section demanded. His other trumpet playerswere men with specialties, but Williams could do it all. In"Riding on a Blue Note" he expands the traditional rangeof the trumpet section by a good bit. He croons his waythrough "Mighty Like The Blues" and provides a searinginterlude in "Gypsy Without a Song".Barney Bigard was the firsl great reed man in the DukeEllington orchestra, and at the rime of his joining (1927)he was probably a more sophisiticated musician thanEllington himself. As the band moved into the fortiesEllington wrote less and less for his clarinet player whorepresented the "New Orleans school". But in 1938 Bigardwas st-JI one of the most often featured soloists in theband, and nis work from this period is addea evidence thathe is the greatest clarinet player of jazz.Bigard had it all. In "The New Black and Tan Fantasy"he plays a single note for 12 bars as he slowly slides up athird. The glissando is one tenth the length of the one in"Rhapsody in Blue," and it's a shame that Gershwincouldn't have met such a tasteful clarinet player. On"Blue Light," perhaps the high point of the collection,Bigard plays in the solo voice known so well from his"Mood Indigo."Bigard was an everpresent sound in the band. Ellingtonput it like this: "He was invaluable for putting the fileqreework into an arrangement, and sometimes it could remindyou of all that delicate wrought iron you see in his hometown " This is a typical Ellington Onderstatement.The greatest surprise and delight of this collection is theextensive work of Lawrence Brown. Like Coctie Williamshe is not a true veteran of the band He did not develop thewell known Ellington trombone sound. Joe Nanton isresponsible for the "yah yah" played on plunger mute,and Juan Tizol introduced the silky smooth sound with hisvalve trombone. But Brown was a great virtuoso and in '38he was just what Ellington needed to bring the trombonesection to lifeBrown's solos in the collection are too extensive to list.What they illustrate is Brown's almost perfect controlover his instrument and his talent for constructingbeautifully rational statements. Ellington entrusts manyof his most fragile pieces to him, and Brown handles themall with incredible elan.In the early forties Brown's importance as a soloistdiminished. This can be attributed to the presence of BenWebster, who joined the band in 1940. The two men hadvery similar musical talents, and Ellington began to useWebster in many contexts where he formerly would haveused Brown. Perhaps it is because of this phasing out justas Ellington reached his most creative period, that greatfame has been withheld from Lawrence Brown. He shouldnow properly be recognized as one of the greatestmusicians the trombone has seen, and his place in jazzhistory should be assured.Of course, there are other stars in The collection As inonly the Ellington band, every musician was vital to theband sound. None could be dispensed without losing animportant voice. The wonders and complexities of theserecordings stand up to repeated listening the way few jazzrecords, particularly from the swing era, do. To open thecollection is to enter into an incredibly rich musicalmoment, one which has left its mark on ail music since.The Smithsonian has done a superlative job inpreparing the two record set. Martin Williams directedthe project, and Gunther Shuller, director of the NewEngland conservatory, selected the takes and wrote theliner notes. Dan Morgenstern is listed on the album as incharge of discographical research.The care with which the masters were reproduced isamazing. Sonny Greer's lightest brushwork is clearlyaudible and the bass lines are always clear. The tonewhich Ellington got from his musicians in the studio isunmatched today, and the wonder of the recordings hasbeen carefully preserved. The care which was put into theproject is considerable and it all shows in the finalproduct. Now if we can only wait for Duke Ellington 1939!The two record set costs nine dollars and is onlyavailable through the Smithsonian. Write Washington forinformation.FREEnancyTESTBORTION IHOTLINE j787-3567 iSrodent Discount; rheGrev City journal fr oav Oeternorr 3. '976 RIP-OFFAUTQ REPAIRFOREIGN CAR SPECIALISTSSERVICE ON VW& AUDIWe Offer Top-Quality Mechanical ServiceTune-Ups * Electrical * Brake SystemExhaust System * Other RepairsConver„erity Located at5508 S. Lake Park(Gateway Garage B«Jg. — Downstaiis)Monoay-Saturday 9am 9pmCALL584-5166 With This Ad Only$35$45$65(^SRAND EQUIPMENTJ &Jt SUPPLY CO.8600 Commercial Ave.Open Mon.- Sc* 6:30- 5:00RE 4- 2111Rock ‘76: Visions of the IndustryBy Peter AAensch1976 was a dull year musically. At least, itwas dull for rock music. Sure things happened: groups stiffed, groups survived,groups continued and groups hit it big, butnothing happened. Well, let's see.I suppose the biggest occasion of this yearwas the arrival of Boston as major rock act.The same thing happened last year with TheCaptain and Tennille and, in 1974, with BadCompany. Unfortunately, Boston is led byan MIT grad named Tom Schoiz, and youknow how unpredictable MIT students are.Boston will probably end up like Bad Co.,dull and pedestrianThree acts were lifted out of the "con¬tinuing" category and became superstars.Fleetwood Mac's Fleetwood Mac Ip andGary Wright's Dreamweaver album werereleased.the same day in August 1975 andthe people at Warner Bros records havebeen ecstatic ever since. Fleetwood Mac hadreleased seven albums up to this point andnone had had much sales success. With theaddition of two new members, Stevie Nicksand Lindsay Buckingham, the grouppioneered 1976's only recognizable trend —soft rock Gary Wright had been the leaderof the somewhat legendaryEnglish/American band Spooky Tooth.Legends are made when your lead guitarist,Luther Grosvenor, goes to Mott the Hoopleand your bassist, Greg Ridley, goes toHumble Pie. Wright, however, had ac¬complished nothing since the last edition ofSpooky Tooth had broken up in 1973. TheDreamweaver album featured some catchytunes with little substance. His next albumpromises to be a comedown The third newsuperstar act really surprised everybody.Peter Frampton's Frampton Comes Alivewas simply a "live" rehash of four previousstudio albums none of which had sold morethan 500,000 units. The live record has sold5.5 million units with three hit singles andA&M records is preparing a fourth single forrelease. Once again there is only onepossible explanation for Frampton's suc¬cess; his brand of rock was soft enough to attract the masses now when it hadn't beenbefore. What the masses won't believe is*Frampton's followup album due in March: itwill be just as boring as the other four studioalbumsThe groups that stiffed category widenedits portals to admit such superstars as LedZeppelin (The Song Remains the Samesoundtrack), Aerosmith (Rocks), The BeachBoys (15 Big Ones), The J. Geils Band (Blowyour Face Out), Elton John (Here andThere, Blue Moves). Kiss (Rock and RollOver, Destroyer), The Rolling Stones (Blackand Blue) and Jethro Tull (Too Old toRock...). You get the point. Some groups didnot even release a record for fear of whatmight happen. Those groups include ProcolHarum, The Kinks, Sly, and the Allmans.Finally, some groups wre disappointingbecause they did release records, recordswnich were nowhere as good as previousreleases The disappointments include NilsLofgren (Cry Tough), Thin Lizzy (Johnnythe Fox), Pheobe Snow (Second Childhood)and lOcc (How Dare You). Each of thesegroups had shown superstar potential, but,with the release of these albums, has managed to relegate themselves to thealso ran category.While there were many disappointments, some groups showed thatcreativity in rock wasn't quite dead. Thegroup that bests exemplifies thiscreativity in 1976 is Heart. Heart featurestwo attractive females, melodies worthy ofFleetwood Mac, and enough hooks to putElton John to shame. The combination isunbeatable, but the group has a weakrecord label and pretensions of being anew Led Zeppelin. Ler's pray that successnipped that in the bud. Other soft suc¬cesses include Silver, Starland VocaiBand, and the most gratifying success ofRick Roberts and Firefall. If anyone everdeserved chart success, it would have to beRick Roberts. Roberts appeared in the nthversion of The Flying Surrito Brothers andnearly starved in the process Firefall isthe result of a lot of hard work.Good Rock 'n' Roll had its day in ’976.The beginning of the vear saw the secondalbum by Journey, a group fashioned fromremnents of Santana. Steve Miller and Aynsley Dunbar. Look into the Futurestands up as one of the year's best disks.Other important rock records include ThinLizzy's Jailbreak, Manfred Mann's EarthBand's The Roaring Silence, Kansas'sLeftoverture and Blackmore's RainbowRising.The best record of the rock genre camefrom left field. Blue Oyster Cult, a grouppreviously responsible for such unm-telligble classics like "7 Screaming Diz-Busters" and "Cagey Cretins," came upwith a completely listenabie Ip; Agents ofFortune. This is an album that evenfeatured a Byrds' ripoff, "(Don't fear) tneReaper." Talking about comebacks’Richard Nixon's reelection in 1984 couldn'trival BOC's return to the sales columnFinally, my list of the best of 1976. Tworecords which earned my respect and a placein my collection, (if not my heart) were BozScaggs' Silk Degrees and Stevie Wonder sSongs in the Key of Life What can one sayabout twc near perfect records. Scaggs'scomeback and Wonder's continueddomination of the music scene are things tomarvel at, 'cause it'll never happen againin addition to those two, comes JailbreakBy Thin Lizzy, Boston's initial ip, Grin's(featuring Nils Lofgren)Greatest Hits, BlueOyster Cult s Agents of Fortune, Journey'sLook Into The Future, Heart's DreamboatAnnie, Paul Simon's Still Crazy album(actually, I think this was released in 1975,but I believe it made its greatest impact thisyear) and Jackson Browne's The Pretender.Something seemed to be gone from rockthis year. Maybe it was the profusion ofalbums that sounded the same, or werepackaged the same ($7 96 oouble livealbum). Perhaps it was that radio wastightening up, or that progressive rock isnearly dead and the day of the tight formatsis that much closer Maybe it's the fact thatone is lucky to get two good cuts from arecord instead of the half a-dozen you couldhave gotten a couple of years ago. MaybeI'm just depressed because the single recordsoundtrack to Holly wood's 4th? remake of AStar is Bom featuring Kris Kristoffersonand Barbra Streisand has just been releasedwith and $8 98 list price. Shapes of things tocome.Prepare NOW for Winter Coldand The HolidaysBuy Beautiful BargainsLike-New Clothing (all sizes & shapes)Housewares, Gadgets & Gifts too!DOLLARS & SENSE1312 E. 53rd StreetOPEN: 11 -5, Mondays through Thursdays11 -4. Fridays12-3, two Sundays a month(Never on Saturdays) T hin Lizzy's JailbreaK was one ot tne year s finer albumsYYTht v7ntShop HOLIDAY GUITAR SALEPrices Of Our Most PopulaYamaha Guitar ModelsReduced 20% Throughiec. 31st. Come Try Them!\Ojiro S Harper*in Harptr Cov't*kOl-totc Also A Fine Selection of\New & Used instruments.Books, and Small Gifts A FIN! Cl G A ItCOMPLETES TOUR DINNfRT1UT TOURS!LF #| $AND TOUR GUFSTSTHE ONLY ONE OF IT'S KIND IN THE H P. AREAAt Horper Court Shopping Center3225 S. Harper C 7 288 5151RTtMiopBUDGET TUNE-UP CENTER8012 S. STONY ISLAND734-9209XXft TUNE-UPS - ELECTRICAL - BRAKE SYSTEMSEXHAUST SYSTEM - OTHER REPAIRSMON.-SAT. 8:00 A M TO 9:30 P MSUN. 9:00 A.M.-5:00P.MPLUGS, POINTS CONDENSER6 MONTH OR 6.000 MILE GUARANTEE$5 DISCOUNT WITH THIS AD xXXXXXX*IsiOFFER ENDS DECEMBER 15, 1976 ftjooc.:. r.~.x>c :x>c We'regoing to give you oneemphatic statementabout the futureof thecomputer industryand the futureof your career.APPLY!If you have an MBA contact your placement office for further]jdetails. Digital Equipment Corporation is an eaual opportunity]empicver mM.digital equipmen: ;orpuraUor SPECIALDISCOUNTPRICESFOR AIL STUDENTS& FACULTY MEMBERSJust present your University cfChicago identification cardAs Students or Faculty Members ofthe University of Chicogo you are en¬titled to special money savingdiscount prices on all materials usedon Volkswagen Service Work aliVolkswagen Parts Accessor es andany new or used Volkswagen you buyfrom Volkswogen South Shore.DealeAuthorized VOLKSWAGENVolkswagen SOUTH SHORE7?34 S S»o«vOp*'-. Oo.iv 9 a v iOr«n So’urdov Soi«* *Porn-9 A M il°*'C' f* Ot>A-04U0t*ip qrpy Ci»v .lourua! Frilly Oecennhpr 3.1976 330C<jA Gabor Szabo at Ratso s3y Richard BrownGabor Szabo was at Ratsc ; last weekslugging his new release on the Mercuryabel, "Nighttlight." The only context invhich I had previously heard the razzruitanst was on his CTl recordings, and Ilad hoped that without CTI's million and>ne strings overburdening the music I wouldome away with a better impression of hisjlaying. Well, I still can't see what hisappeal is to those who like him.It's not that the man played any wrongtotes, in fact, the backup band dominatedhe gig so much he did not have much of a;hance to make mistakes. I just find him toDe a very limited musician. Szabo's choppy>olos leave a lot to be desired, all having anaximum range of one and a half octavesand consisting of simple riffs and scalepatterns arbitrarily pasted together.The riffs have melodic development, andheir rhythmic complexity rareiy getsjeyond the eighth note level, probably>ecause Szabo has no technique. Add to this'he fact that he never varies the tinny tonehat his amplified steel string produces, andhat he just can't comp behind otherTtusicians, and you have one limitednusician.However, Szabo proved to be wise, in thatg gave a lot of time to his backup band. Helad George Cabals on piano and FenderRhodes, Tony Dumas on bass, and CarlBurnett on drums, and these guys really,tole the show. This cookin' trie was a pleasant surprise, because none of them hadplayed on the ' Niqhtflight" album. Cabalsreminded me ver, much of the talentedCedar Walton, with his last up and downlicks in the high register, his "pseudomodulations," and his use of vibrato incombination with right hand octave playing.His excellent comping and solo work addedreal class to the club date. Tony Dumas wasequally superb on bass, keeping the musictight and giving it a lot of drive. Sur¬prisingly enough his solo on JohnnyMandel's "Emily" was probably the highpoint of the set. The extended solo was wittyand well thought-out, and the crowd ate itup. The drummer was tight, but he alwaysseemed to be too loud. Also, the acousticpiano seemed to be under balanced, butmaybe it was just peculiar to where we weresitting.Some of the tunes the band played in theearly set last Tuesday night were Cabals'"Dark Side/Light Side" (done withoutSzabo), Bobby Womack's "Breezin',"Mandel's "Emily," and Szabo's "Macho"and "Nightflight " Szabo has nothing onBenson, and I stih prefer the latter's versionof "Breezin";"Macho" and "Nightflight's"Spanish influences made them seem likepoor Chic Corea imitations. None of thetunes were really strong, and they were allgenerally done in a loud, soul funky way.In general, however, the gig was OK —thanks to the band.Budweiser* presents “Beer Talk1Did you ever see somebody putsalt in his beer to bring the headback up?But really ... what salt does to agreat beer is make it salty. A perfect head of foam is easy: Juststart with Budweiser. And pour itsmack down thie middle.You can save the salt for the pop¬corn, 'cause that Beechwood AgedBudweiser taste speaks for itself. And you can take that without agrain of salt!Get a free copy of the Budweiser 'Beer Talk'' Booklat.Write "Beer Talk," Anheuser-Busch, lnc,4 St. Louis. Mo. 631184 - ThejGtey Ciiy Journal J=fjday, December 3. ’97d. JOO Or?r«?*• v 11 * i<*m c * vC j.fT 2000 Years of Ted NugentBy Edward PuleAlmost a week has past since that wintr yFriday night when Ted Nugent played thehumble hamlet of Chicago. His name stillevokes memories of that night: Thepleasant trip to the friendly confines of theAmphitheater; a multitude of cars parkedinside, around, and on top of yours, thelong line of eager fans waiting to be poked,felt, and squeezed by the equally eager"keepers of the contraband," the cozyseating arrangements. It was hard tobelieve that some people were actuallythere for the muse. But ahhh!, the music.It was indescribable. Therefore, I presentthe views of two philosophers of musicwhom I happened to overhear in leavingthe amphitheater(1st philo ): A soul satisfying experience,wouldn't you say, young Pluto?Pluto: Yes, oh Crocrates.Croc: It was noble of him to begin with"Stranglehold," don't you think. After all,that is one of his best, and to begin with thebest makes one anticipte still greaterthings to come.Croc: Don't you agree, Pluto. Speak upPluto, and sav what you think! Don't hioeyour opinions, Pluto. Let me hear what youhave to say.Pluto: Yes, master.Croc: The "writing's on the wall," ehPluto.Pluto: Yes, master. I saw it when I went tothe men's room after Montrose finishedtheir set. I think it said, "If you wan* agood..Croc: Nq, you imbecile, i mean the song"Writing on the Wall." A masterpiece Nothis Dest, mind you, but still absolutelydevestating when done live. The manexudes a presence of phsyical force. Thecaveman of rock. Primal man with aguitar. America's own. Don't you agree,young and still quite dumb Pluto?Pluto: Huh?Croc: Ted Nugent, my foolish, TedNugent. He is the ultimate good of rockmusic. He represents harmony andoneness with the universe. The rhythmicsyncopations of sounG. The endless enigmaof everlasting energy and emotion transtormed into the melody of man. Timelesslunes teaming with tremendous talent... Piute: Huh?Croc- What? You don't understand, youimpish simpleton. All right. I'll translate. Isaid — the dude's really got it down, man!Pluto: Oh, right! Yea, he's a real motherall right. Those riffs on "Hammerdown"and "Hibernation," "Siormtrooper" and"Snakeskin Cowboys," "Stranglehold"and "Street Rats"...Croc: Pluto!!!Pluto: Yes, master?Croc: Let's leave the alliteration to me.After all, I'm "Big Daddy" here andyou're just "Little Putz."Pluto: Oh yeah! Well let me just tell yousomething. You're just lucky you didn'tdrink that pop back there or would you'vebeen in for a surprise.Croc: What is it? What have you heard?Pluto: I ain't heard nothing. I'm justsayin'...Croc: One mustn't let worldly affairsprevent one's soul from appreciating thetrue esence of existence that Ted Nugent'smusic holds for usCroc: The meaning of life lies in hismessage of melodious meanderings...Pluto- Oh, come off it, man! "Message ofmelodious meanderings." That's reallysick, you know I mean the show was good,right?Croc: Right.Pluto: Montrose wasn't bad, and Nugentreally jammed, right?Croc: Right.Pluto- So why all the bull? Just say tnat itwac good and that you liked it None of this"unimate good" and "harmony with theun.verse" crap. Say it straight for achange, wouldya?Croc. !'m sorry.P!uto: After all, you've been oead for over2000 years so why make a fussCroc: (After a very long pause) Goodshow, huh?Pluto: Outa' sight, man, outa' sight.So it went, as I flew out of the Ampbitheater on a cloud of smoke (smoke’),oblivious to the people and the traffic,driving home through the slums of the city,humming "Street Rats" all the while. Idon't think l was ever closer to heaven"A MammothConsciousness-Raising Handbookforthe70’s andBeyond.” — Pub linhers Weekly496 pages - 8V2" x 11"A MAIN SELECTION OF THEPS YCHOL OG Y TOD A Y BOOK CL UBSoft cover $ 7.95Hard cover $19.95Foreword byDr. Hans Selye MINI )STY I ,KS /1,1FKST Yl ,KSBY NATHANIEL LANDEConclusion:R. Buckminster Fuller Illustrated byCorita KentINK, ANALYSTS O I UK SCI KM ISIS O IIIK (,K< )l TS Omi; rinsici v\> oTin; I’sicmcs o i in; iikaikksoTill; MKIIITATOKSO Till; NiKAClIKKS O Till U HI so tiik mon Kits o mi; sn \kkns o i iik w;ti\ is i s o.j PRICE/STERN/SLOAN Publishers. Inc., Los Angeles1 90 no <Tn9Tnoi!vfu* AltaitriA-icmib r*jorood?, ,t, ,vGrey City Fall Record ReviewsClassicalContrasts for Violin, Clarinet and Piano.Bela Bartok (piano), Joseph Szigeti(violin) and Benny Goodman (clarinet).Also Excerpts from "Mikrokosmos."Bela Bartok (piano). Columbia Odyssey,Stereo (Rechanneled) 32 16 0220.Although Columbia puts out many fineold classical recordings on its budgetlabel, Odyssey, most record collectorswould rather search the other labels forthe newer recordings with all the advantages of modern recordingtechniques. Maybe that's why it seemsthat so few music lovers have heard ofthis album. Whatever the reason, thisrecording captures one of the greatmoments in modern music history, andany collections without it is incomplete.The piece itself is one of Bartok's best,and nothing need be said about the geniusof this great modern composer. Writtenfor Benny Goodman and Joseph Szigetiin 1938, “Contrasts" explores all thepossibilities of the unusual trio of in¬struments, and exhibits a degree of in¬teraction between the parts found only inthe truly great pieces of music. Indeed,the piece is a very demanding one. Itutilizes complex meters, complex rhyth¬ms in many combinations, and exploresthe full range of notes, tone colors andeffects that each instrument is capable ofproducing.Structurally the work is similar to theHungarian “dance pair" form, with oneslow and one fast movement and a slowinterlude between the two. In oldHungary, recruting soldiers would travelaround with musicians, dancing therecruiting-slow dance, and they wouldinvite innocent peasant recruits to jointhem in a fast dance that would signify their induction into the army. This is theorigin of the "dance pair", and in factBartok calls the first movement"Recruiting Dance." Harmonically, theinterval of the diminished fifth isstressed throughout, and the music ingeneral straddles the line betweentonality and atonality. The flavor isoverwhelmingly Hungarian.The only thing I can say about theperformance of the piece is that it wasinspired. Bartok, Goodman and Szigetiare three of the greatest musicians ofthis century, and the sensitivity withwhich each plays is a delight to the ear.These are musicians who listen to eachother, and who play with a deep un¬derstanding of the music. None of thecompetition or the self-indulgencies thatone frequently encounters when musicalgiants meet can be found here. The trioplays as if it were playing on one instrument.Those of you who think Benny Goodman is a jazz rather than a classicalclarinetist will probably change yourmind after listening to this record. Ipersonally think that this record provesthat he is one of the best classicalclarinetist around, and offers as proofthe magnificent cadenza he plays in thefirst movement. Of course Joseph Szigetiis one of the finest violinists of the cen¬tury. He offers a fine execution of theviolin cadenza in the third movement ofthe piece. Bartok largely leaves thevirtuosic passages to the violin andclarinet out of modesty, and proveshimself a very capable pianist.This particular recording of "Con¬trasts" was made in 1940, and the soundquality is only fair. However, besides theoverwhelming musical merit of theOdyssey version, Bartok's rare appearance on record makes this versionCSO: Continually SublimeBy Paul J. GudelThe Chicago Symphony Orchestra paidtheir annual visit to Mandel Hall this pastMonday night and, as always, drew a fulland very enthusiastic house for an all-Brahms program conducted by CarloMaria Giulini. The concert was fifteenminutes late in starting and sitting in myseat in a very warm Mandel after havinqwalked through our first bitterly coldnight of the winter I could feel a wave ofdrowsiness washing over me. That feelingwas completely gone less than fiveminutes after Giulini squeezed his wayonto the Mandel stage. The ChicagoSymphony under a conductor like Giuliniis the bane of music critics after a concertlike Monday night's, there jusT isn't awhole lot to say.One thing which does deserve somediscussion is the quality of Mandel Hall. Ihave heard a good deal of criticism of thehall; I even know people who refuse to goto orchestral concerts there. I myselfrecall hearing Jeffrey Siegal playBeethoven's 1st Piano Concerto in Orchestra Hall and in Mandel Hall about aweek apart, a couple of years ago, andbeing very disappointed in Mandel'sacoustics. Last Monday's concert,however, changed my mind.Various critics are fond of citing placeslike Cleveland's Severance Hall as“perfect" halls Now, the idea of a perfecthall makes as little sense as the idea of ain different acoustic environments can oe as revealing as hearing it conducted bydifferent conductors. In the CSO performance of The Brahms' First Sym¬phony, the brass were dampened justenough so that all the string figurationswere audible, even in the massive tuttis ofthe outer movements. And in the ViolinConcerto the solo violin was somewhatmore prominent than it would have been inOrchestra Hall, allowing the listener toappreciate some delicious details whichare usually missed. These advantageswere accompanied by some loss of tonalsheen, especially among the winds. Butthen, sound is not music.Concerning the performances them¬selves, I can only say to those scepticsamong you that they were indeed worththe long early morning waits in long linesin front of the Hutch Commons box office.The Violin Concerto was marvelously even more desirable. I've also listened torecordings of the piece, with FrederickGrinke on violin, Jack Brymer onclarinet and Wilfrid Parry on piano(Argo RG89), and with Reginald Kell onclarinet, Melvin Ritter on violin and JoelRosen on piano (Decca DL9740), but boththese renditions were self indulgent andtended to make the piece sound choppierand heavier. Pianists will also find anadded bonus on the Odyssey flip side,with Bartok playing quite a few of thepiano etudes from his "Mikrokosmos."— Richard BrownJazzBuck and BudFlying Dutchman Records BDL1 1378;Bucky Pizzarelli (guitar) and BudFreeman (tenox sax) If you just want some laid back jazzsounds for an intimate evening, this albumis worth having. The record's full of oldstandards done in a forties to early fiftiesjazz style, and the mood's definitelymellow As ! sit here recouperating frommy flu shot, the record seems like a dose ofhappiness Which makes it hard for me tomake my next statement, which is that,paradoxically enough, the record is rathermediocre. Turn it on when you're down,when its imperfections are overshadowedby the happiness it emanatesMusically, you'd expect more out of suchexperienced jazzmen as Bud Freeman,whose 70 years makes him one of the oldiesof jazz, and Bucky Pizzarelli, who playedfor many years with Johnny Carson'sband. The six cuts they do alone togetherare tasteful, and the mood's there, but assoloists both are lackluster According tothe liner notes it's Pizzarelli's record date,but he is really the biggest sore thumb onthe album. Chord comping behind othersoloists has always been his forte, andguitarist might learn something fromhim along those lines. Even his chordsolos, albeit preplanned, or passable, butContinuedYOU HAVE JUST MADE THE MOSTIMPORTANT DECISION OF YOUR LIFE!MARRIAGE!Now don’t buy the first engagement ring you see.Shop us to compare prices. Our beautiful catalog willhelp you realize that you do not have to pay high retailprices for fine diamonds and jewelry. Vanity Fairdiamonds have been sold to college students for over50 years at up to 50% off retail prices. Importing,manufacturing, and designing, selling direct. Cuttingout the middle man. Bringing you the biggest savingsplayed; the episodic character of the first. .. . ...movement is aii Brahms's fault, noti at a time in your life when you need them most.Giulini's. Itzhak Perlman, the soloist, stolethe spotlight, contributing beautifulplaying and some marvelous mugging inthe more bouyant moments of the"Hungarian" third movement. For theFirst Symphony, Giulini removed thevelvet glove and showed the iron fist,delivering a tremendously powerfulreading which made the performance of IHerbert von Karajan two weeks ago seemalmost bloodless. The intimacy of Mandel |Hall no doubt helped here; one could feelthe excitement rippling out from Giulini!• fend tfefe^orcMstw throufk «tfe* >**rtenc*. K 4 • * 9CHOOIKept me warm all through the walk home ! | Send for your catalog and see what we can do for you.\imUyfiiir Duinxmds ]55 E. WASHINGTON, CHICAGO, ILL. 60602NAME: 1ADDRESSCITY: : STATE: ZIP:JlLLU ^ J tvi, >.1.1 .IIIThe Grey City journal Friday, December 3,1976 • 5UNIVERSITY OF CHICAGO BOOKSTOREMON. THRU WED.DEC. 6 THRU 8nb'CHicMo. jujniik ..,W i—L—.-U • > v ‘ *0 V6 The Grey City Journal Friday, Decemoer 3,1976 Record Reviewswhen he attempts a single line solo hisinadequacies become very apparent. Onlytwo (!) cuts contain single line guitarsolos, but even that number may beoverambitious. His attempt at single lineimprovising on Freeman's "Blues forTenor" is embarrassingly directionlessand‘rudimentary, and his use of notebending is blatently trite.Bud Freeman's solos are adequateenough, but they lack the generalsophistication that you might associatewith a truly great saxman, such asColeman Hawkins. Rather thandeveloping a coherent musical phrase,Freeman takes tried and true riff patternsand sticks them together, sometimessuccessfully and sometimes not Also, hisplaying tends to be choppyThe best cuts on the album are those onwhich the duo is joined by Hank Jones onpiano, Bob Haggart on bass, and RonTaxler on drums The only real jazzcooking comes from this tight backup trio,which provides the driving force behindsome of the more swinging tunes. Compliments have to go out to Haggart andTaxler for never competing with thesoloists, and for laying down a consistentlysteady beat.Hank Jones is the surprise of the album,and if he had soloed on any more than thethree track that he did, "Buck and Bud"would h^ve had to have been renamed"The Hank Jones Quintet." Check out hissuperb Tatomesque solos on "Blues forTenor," "Sweet Sue Just You," and ColePorter's "Just One of Those Thmqs ." Thedifference between the other two soloistsand Jones is that his lines are smoothflowing, and they always have a directionHe always concentrates on melodicdevelopment, and so his improvisationsare logical and at the same time interesting He nearly rescues the date fromits overall blandnessIf your tastes extend to late fifties jazz,and you like the basic quintet combinationused on this album, a disc that you wouldrather buy is the Blue Note Re Issue, "WesMontgomery Beginnings," :Blue NoteBN LA 531 H2) Put out fairly recently,this double record set contains some of thebest solos from the all time jazz guitargenius, plus it boasts such talentedsidemen as Pony Poindexter alto sax),Harold Land (tenor sax), Monk Montqomery (bass) and Buddy Montgomery(piano and vibes). This is an album thatyou'd rather listen to than talk overRichard BrownSargasso SeaECM 1 1080; John Abercombie (electricaland classical guitar) and Ralph Towner(12 string and classical guitar and piano)Definitely a milestone of an albumPerhaps it can be categorized as adescendant from jazz classical fusionmusic of the early 70's, but at times themusic leans so heavily on its classicalinfluences that parts of tunes sound likeclassical jams. Both Abercrombie andTowner show great sophistication asmusicians, and I think even classicalmusicians ana listeners might enjoy therecordAbercrombie and Towner draw onmusical influences normally consideredirreconcilable, but which melt togethervery beautifully in their music RalpnTowner, leader of one of the first jazzclassical fusion groups, Oregon, has a firmbackground in classical and Spanish guitarstyles John Abercrombie, who has workedwith Chico Hamilton, Billy Colbham andJack DeJohnette, is more oriented towardjazz and rock The classical moodpredominates, ana m fact the best tunes onthis album are the ones that Towner wroteor co authored with AbercrombieThe title track "Sargasso Sea," whichboth musicians had a hand in writing,strikes me as most interesting, althouqhnot necessarily the best composed of allthe cuts It's a well oalanced tune whichmakes very effective use of volume pedal,echo and various other effects This is theonly piece which might be consideredatonal, and the harmonic vocabulary,coupled with the synthesizer mellotronsounds that Abercrombie creates with hispedal, give the piece an eerie tone l alsofeel that "Sargasso Sea" is the bestarranged tune, creating wonderful textures with Ralph's piano and 12 stringguitar, and John's two electric guitartracks,Towner's Parasol'** * and ^'eSfaircdsie1"?are also worth mentioning OfltW"Parasol" gets going, it seems to have a sense of direction that the other tunesfrequently lack Abercrombie's electricguitar solo is very jazzy, and it demonstrates his command of the complexharmonic language used on the albumThe only piano solo on the record is on thiscut, and it's very nice. Towner's right handmelody almost sounds like a middle sixtiesHerbie Hancock solo "Staircase"highlights both guitarists' excellenttechnique, and even attempts to developthe basic melody before the solo break It'sa good tune, but the solo break becomesfragmented and directionless, a basic flawthat recurs throughout the album Towneris better on this account, but on this trackthey both tend to stpp and start as eachnew chord change arrives. However, theoverall impression is goodam in all, this is a very interesting, verywell .done album All the music is innovative, and the degree of interactionbetween the two musicians reaches a levelthat is rarely seen in pop music The musicalso attains a level of harmonic- andmelodic exploration that pop music (andespecially improvised music) rarely attains without sounding arbitrary in theselection of notes (Of course, like atonalclassical music, improvised music on thefringes of tonality imposes a greater taskon the musicians to keep it interesting. Ittakes a talented musician to keep thedissonances from creating a feeling ofsameness in the listener's ear This isespecially true in improvised extendedtonality and atonal music because chordsaren't usually well defined, and the performers tend to lead in chaotically different directions. Therefore, faking thisinto account, the degree of control thatAbercrombie and Towner have over theirmusic is doubly admirable )The mam drawbacks of pop music havealways been its restrictive conformity tostandard, regular chord progressions andsong structures, and its over rehance on adominating beat to keep up the music ilinterest. I welcome "Sargasso Sea" anaany other album which breaks away fromthis conformity and provides high-quality music Can classical jazz, orwhatever you care to label this music, be atrend in the future'5 Can music that notonly requires serious listening, but alsolacks a beat to which you can dancebecome popular5 While l seriously doubtthe marketability of good quality music, Ihope this can catch on.Richard BrownCountryJohnny RodriquezThe Greatest Hits of Johnny RodriguezMercury SRM 1 1078Conway TwittyConway Twitty's Greatest Hits VolumeIIMCA Records MCA 2235These days it is popular to believe thatthe future of country music lies in its leftwmg "outlaw" country; that the freshimpulses and the best music come fromAustin, not Nashville. Country music hasgone astray, and Waylon Jennings andcompany are bringing it back home to BobWills and Hank Williams, purifying if ofNashville s corrupting influence Two new"greatest hits' albums by Conway Twittyand Johnny Roanauez provide a healthycorrective to this view Both men havegone the usual Nashville route; both haveproduced ana continue to produce some ofthe best country to be heard anywhereCountry music is soul music, and theonly thinq that counts is feeling If a singerhas soul, rhinestones and Cadillacs aren'tqoinq to take it away if he doesn't have it,sinqmg about cowboys all day lonq won'thelp Both Johnny Rodriguez and ConwayTwitty have it.it's a good indication of Twitty's staturethat on his second album of qreatest hits heactually comes up with ten bonafide hits,all written by Twitty himself "Don't Cry,Jom," admittedly, shows a lack of taste;the idea of Jom Twitty breathily sinqmg alove duet with her father is a bit creepyBut that's the only jarring note on theentire record Besides, "Baby's Gone"more than compensates It's a masterpiece guaranteed to leave a tear m yourbeer, with Twitty pulling out all the stopshis voice cracks, he segues into spokenlines, and all the power he's qof goes intothe hiqh notes Three songs reflect theearly Conway Twitty "it's Only MakeBelieve," sunq with moro than a touch oft kJVis.v ^AWAr A16tihelG<*>d H Gone," andf • t'TLcW Her 'Lovkf *On> Date,"which woS an instrumental hit tor FloydCramer. Twitty really comes into his own,though, with country classics like "LindaOn My Mind," "She Needs Someone toHold Her (When She Cries)," and '/I'm NotThrough Loving You Yet." As good as hisearlier rock influenced hits are, in hislater, purely country songs Twitty showsgreater vocal range and more subtlety ofinterpretation. Here he seems moreemotionally involved in the music.*****If anything, Johnny Rodriguez's voice is,potentially, even more expressive thanTwitty's. Unfortunately, his voice isnaturally so good that he often doesn'tbother to exert himself, preferring tocoast. Like Tanya Tucker, Rodriguezsimply needs more time to learn how touse his voice, to exploit its expressivepossibilities fully. Even at this point,though, Rodriguez frequently pulls it alltogether and comes up with winners like"Just Get Up and Close the Door," "ICouldn't Be Me Without You," and "PassMe By (If You're Only Passing Through)A song like "It's Over" gives a good indication of how sensitive and controlledRodriguez can be when he concentratesIn comparison with songs like these, thegood cuts like "I Can't Get Her Out of MyMind," "Riding My Thumb to Mexico,"and "Jealous Heart" can seem like lapses.In fact, there are only two losers on thisfourteen song album: "Something" (theBeatles tune), a fatal temptation forsingers of all ages which invariably turnsout to be a bore, and "Born to Lose,"which is not bad, but takes a second placeto the Ray Charles version. Rodriguezdeserves a special award for "Love Put aSong in My Heart," perhaps the onlycheerful country song in living memorywithout emetic properties.The country market revolves around thesingle; an album is generally one hit plusan assortment of mediocre to terriblesongs. Here's your chance to break awayfrom that: two great albums by two greatcountry artistsAddison DeWittRockBarry WhiteIs This Whatcha Wont?Twentieth Century Records T 516With Is This Whatcha Wont?, the reign ofBarry White the Idi Amin of pop music,comes to an end. Restraint, taste, a senseof proportion (never strong suits for theMaestro in any case) all go out the windowon this one. You could say that Barry takesa leap into self caricature, but he brokethrough that barrier with his first single.Say rather that while Barry White'spersonally created myth has flourishedand taken on incredible proportions, hisfund of musical ideas has diminished at asomewhat faster rate. The resulting clashmakes for comic effect.The Maestro's self image finally findsadequate visual representation on thisalbum cover Psychedelic rays emanatefrom Barry's head, giving him the appearance of a Hindu deity who bought hishalo at K Mart His garment, only partially visible, seems to be a sort of heavybrocade vestment, encrusted with goldand silver-or maybe it's just tinfoil.The music on this five song album iswritten, produced, and arranged by guesswho. Five songs may not seem like much,but after hearing the record no one wouldthink of asking for more Barry White'ssubject matter has always been limited,but this time he's managed to narrow hisscope even further Or maybe he's justfocussing in on his obsession The titlesare: "Don't Make Me Wait Too Long,""Your Love So Good I Can Taste It,""I'm Qualified to Satisfy You," "I WannaLay Down With You, Baby," and "NowI'm Gonna Make Love to You " The lastthree titles form a kind of sequence, don'tthey? Perhaps this is the first Barry Whiteconcept album.The music is recycled early BarryWhite, a description that fits a lot of hismaterial, but this time he's just goingthrough the motions. The same formula isrepeated over and over Each song beginswith the patented obscene phone call, e g"I know how to love you ... I know how tomake you feel like you want to feel ... Iknow how to do it to you . . . Ssshhhit — Ican't lose with what I use " The songs owetheir length to stretched out string introductions This is true even on the twelveand a half minute "Your Love—So Good ICan Taste It," where Barry doesn't comeon the scene until seven minutes or so havegone by This sort of thing worked on "Letthe Music Play," but that was the last timeit did This time the listener ends up on hisknees in front of the speaker, sobbing andbegging for Barry to come in with a vocal, .( for a whiles Barry White was putting outsome of the best music on AM radio Now he's taking a formula that worked in thepast and running it into the ground. Is ThisWatcha Wont represents a dead end, andone can only wonder where Barry Whitecan possibly go from hereAddison DeWittBryan FerryLet's stick togetherAtlantic SD 18187I want to talk to people who are familiarwith Bryan Ferry and Roxy Music, and Iwant to try to place his latest album withinthe context of what he and they havealready done. I feel bad about it. Bryanand Roxy aren't exactly household wordsin the States yet (though they're muchcloser to it in Britain). I feel a strong urgeto proselytize. Roxy Music may be the bestmusic to come out in the 70's. They'recertainly in the running. So if you haven'theard their music yet, by all means do.Any of it, all of it. Again and again.But now that I've eased my conscience inthat direction...If I were to talk about this album with thegeneral' run of rock records as myreference point, this would probably be arave review. But I can't do that. I keephearing the Roxy albums and Bryan's twosolo albums and I get upset.Those of you who are familiar with Roxyknow that there's been this running debateabout whether Bryan Ferry is Roxy Music.Well I'm going to put it all on the line here;Bryan Ferry is not Roxy music. And if youdon't believe me, listen to "Let's StickTogether."Ferry himself provides the ammunitionwith five new versions of Roxy songs.None of these remakes are anywherenear as good as the Roxy versions. Justone example to show my point - "SeaBreezes." This is one of the classic Roxynumbers. The song goes from the pain andmelancholy of loss to the lurching,disorganized panic of lonliness. And thegreat thing is that the music changes withthe mood. Now I don't want to sound likean ivory tower snot about rock, but itseems to me that all the classics of rockhave this link between the‘"subject" oftheir song and the music they use. Bryanknows this. He's done it often enough. So,why does the middle section of "SeaBreezes" thump along totally unconsciousof what's going on around it?There's other evidence to show thatFerry does not equal Roxy, especially withManzanera and Mackay missing. Listen to2H.B. on this album. Where are Mackay'sperfectly placed notes? Even when Ferrycomes close there's still somethingmissing. Bryan plays a great harmonicaon Jimmy Reed's "Shame, Shame,Shame." But, why is it buried in the mixinstead of being brought up to move thesong along? Bryan's done covers before,so why are these so flaccid instead of beingexciting reinterpretations? Why is hedoing Gallagher and Lyle instead of Dylanor Presley or "It's My Party"!Some people have been arguing that"Siren, Viva and Let's Stick are makingBryan and Roxy more accessible. That'sso much bullshit. If you really want ac¬cessibility you can listen to the Eagles, orthree quarters of the rock records thatcome out. Where do you go for the rest of itif Bryan's going to sell out too?I said when I started out that I feel verybad about all this. I really do. I know I'mgoing to listen to this album. And I knowit's still much better than most recordscoming out. But when I hear the otherRoxy albums, all this amounts to is secondhand and second rate. I think I'll go drownmyself in champagne.— Chris HeimThe aw Jour nailEditor: Jonathan MeyersohnManaging Editor Karen HellerAssociate Editor Mark NeustadtMusic: Lukacs LeBag, Toby Hofsiund,Deborah Hughes, Bruce McLaughlin,Paul Gudel, Richard Brown, P L.SpackleTheater Mike Singer, John Lanahan,Stephen Cohodes, Esther Schwartz,Christine Martinez, Charles HarveyArt: Carl Lavin, Chris Gauker, Julie Siegel,Jane Salk, Naomi Gilman, Gwen CatesDance: EdenClorfeneGraphics: Karen MolineHumor Jeff Baddeley, Steve BlockTelevision David BlumThe Grey City Journal is published weekly during theacademic year as part of the Chicago Maroon The editorinvites comments. ‘ < . [ PIZZAPLATTER -14MLISHMU 9-2800FAST DELIVERY |AND PICKUP 1* IYoung Designs byELIZABETH GORDONHair Designers1620 E. 53rd St.288-2900TAI-SAM-WhCHINESE-AMERICANRESTAURANTSpecializing inCANTONESE ANDAMERICAN DISHESOPfN DAILY11 A.M. 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Ellis Ave. Y\) 753 3303Y MASTER CHARGE OT>0 BANKAMERICARD V0 f- * c t Come On Overand Pick UpYour FREE Copyof our Big77 CatalogGet Acquainted withour Thousands ofEverydayLOW LOW PRICESBELL & HOWELLShncflHstaffSPECIAL SUDE CUBE CARTRIDGE OFFERsave spaceand moneywith theslide cube systemModel 989A$109.90Plus FREE$9.50 valueCube carry caseBHfTlC2 BIG WAYS TO SWITCH n SWAP* SWITCH n SWAP * SWTTCH h SWAPALL STORESNov. 14 thru Dec. 24Mon. thru Fri.9:00 AM to 9:00 PMSaturday900 AM to 5.00 PMSunday10:30 AM to 500 PMRegular HoursAfter Christmas CATALOGS MAYALSO BEPICKED UP AT:MOTHER’S AID GIFTSHOP, Chicago Lying-InHospital, 5841 S.Maryland.COHN & STERN, Men sFashions, Hyde ParkShopping Center, 55th &Lake Park.MONROEM • RCHANoisrn^ • u «-1050 EAST 81st STREET CHICAGO, III. 60619Phone: 873-1005V.i :i, li i:: i :,Yn ;] JTh Grey Gjty Journal -rida/, December 3.1976 7STANLEY CLARKESCHOOLDAYSSPECIALLED ZEPLEN*tl OTHER ALBUMS listALLMAN BROTHERSDec ember 3,1976X '/> *>‘ S3T' ' i * vx-< j \ -1 . ( n Ul"^» *J tV.V/jV.V.*1 * • * * * ♦ .4. ^FRANK ZAPPAZoof AlluresIncludes Block Napkins Disco BoyThe Torture Never Stops Ms. Pinky from WARNER/ELEKTRA'^I^^K^ATLANTIC1 Available on Records and TapesHARRY CHAPINOn The Road To Kingdom Come HAPPINESS IS BEING WITH THEames Something in the way she movesI Carolina in my mindTaylor Fire and rain* Sweet Baby JamesGreatest Cou’urr,MjKJfCUlCU You’vtgot a friendHits Don 7 let me be lonely tonrghtWalking manHow sweet it isMexicoShower the peopleSteamrollerUNDA RONSTADTHasten Down The WindRICHARD PRYORBicentennial NiggerIncludes Chinese Restaurant AcidHillbill\j/Our Gang ThK DOOBK BROTHERSBGTOfThK DOOBKSIncludes the Hits China GroveBlack Water Listen to the MusicTakin It to the StreetsROD STEWARTA Night on the TownIncludes Big Bayou Fool for\buTrade Winds TheBalltrapm FUNKADELICHardcore JolliesIncludes Comin Round the MountainSoul Mate Cosmic Slop Adolescent Funk EAGLESTheir Greatest Hits 1971-1975ELVIN BISHOPHometown Boy Makes GoodIncludes: Give It Up D. C. StrutSugar Dumplin Spend SomeTime LEO SAYEREndless FlightIncludes Tbu Make Me Feel Like DancingReflections Magdalena/HowMuch LoveTHE STAPLESPass It OnIncludes: Sweeter Than the SweetTake Your Own Time Precious. FYeoous Take l! EasyPeaceful /EasyFeelingTake It ToThe LimitLyinEyesOne OfThese NightsAlready Gone DesperadoTequilaSunriseWitchyWomanBest OfMy LoveJACKSON BROWNE-THE* f-A $7.98 list Now $4.99THE ALLMANBROTHERS BANDWipe the Windows,Check the Oi, Dollar Gaskxhxies the Hrts Rombltn Mon>ss»co In Memory o* Elizabeth Reed [XUdf? 4?.r X'-r I#V V , *M MANFRED MANN SEARTH BANDThe Roaring SilenceIncludes Tne Road to BabylonStarbird Questionswm IHE SOUNDTRACK FROM THE FILMLED ZEPPELINTHE SONG REMAINS THE SAMEJi iRECORDED LIVE AT MADISON SQUARE GARDENThe Grey City Journal - Friday, OUR SALE PRICESALE LASTS THRU DEC. 72-Pounding the Book Beat A Smooth SwitchBy Jeffrey BaddeleyThis is the library— JosephRegenstein. It has seven floors, hun¬dreds of desks, and two coffeemachines. It’s usually a quiet place,and most people come here to work andstudy. When they don’t, I go to work.I’m a library monitor.It was hot in Regenstein. My partnerand I were working the night watch outof canteen division. Our job is to watchthe students and make sure nobody’sdoing anything they can’t account for.“You know. Bill,” I told my partner,“the worst part of this job is the coffee.I hate the swill, and to top it off, I lost15 cents in the machine last night.”“You ought to get married, Joe, andget someone to make you some realcoffee.”“Shut up, Bill.”“You should learn to take it easyJoe; you’re gonna get an ulcer. Take upa hobby like me — I’ve always got myknitting to soothe my nerves.”Our watch commander then ap¬proached our desk; “Boys, we’ve got a211 on the fourth floor — smoker in thenon-smoking section. I want you to gocheck it out.”While we rode the elevator, Billsighed, “I don’t know, Joe. Why do webother? Seems like every time we turnour backs, somebody talks or smokesor eats. It’s a cesspool Joe, and I’mtired of working for Roto-Rooter. I justcan’t stand it any more.” I slappedhim; he thanked me for it, and westepped out onto the worn burnt-coppercarpet.Our informant, Phil, approached us.Phil’s been around the big R as long asI can remember. He’s calm, efficient,does his job without a lot of fanfare; Ilike to think of him as the MelvinPurvis, G-man, of the library patrol.He directed us toward the suspects.“There they are,” he said pointedly,and vanished.Bill and I strode quickly toward thegroup, who were laughing and joking. Ifelt my neck grow warm as twenty pairsof eyes turned toward us, counting on us to uphold their right 4o' refnain .silent. I stepped up to the ringleaderand said, “You can’t smoke here, pal.Put it out.”He looked at me through watery blueeyes and smirked out of a weak mouth.“Oh, yeah? Says who?” His cohortschortled at his clever retort.“That’s pretty funny,” I said.“Maybe you’ll think this is funny too.”He gasped as I showed him my badge:one of the girls fainted. “You’d bettercome along quietly. Read him hisrights. Bill.”“You have the right to remain silent;if you give up that right...”“Yeah, yeah, I’ve heard it all before.Just take me downstairs and book meso I can post bond. I don’t want to miss“Mary Hartmann, Mary Hartmann,”he sneered.“You know, you ought to try to quitsmoking,” Bill said. “Maybe if youtook up knitting...”“Shut up, Bill,” I interrupted.Turning to the suspect, I said, “Youknow, you make me sick, you and yourkind. You laugh it up and disturbeveryone else until ninth week whenyou’re the first to come crying whensomeone spills coffee on your take-home exam. Sure, you’ll get off with aslap on the wrist; the Miranda decisionand the Geneva convention have tiedour hands. But we’ll catch up with youone day, and I hope they throw thebook at you.”The captain came up andcongratulated us on a good arrest.“The university police have beenlooking for this guy for weeks; he’sbeen handing out Old Golds in thebookstacks. We called his parents, andhe won’t be giving us any moretrouble.”“You mean ...?”“That’s right; they’re transferringhim to Stanford.”“Stanford’s a good school,” mypartner chimed in. “Maybe he’ll takeup athletics; builds character,y’know.”“Shut up, Bill.”GRADUATE SCHOLARSHIPS IN JEWISH COMMUNITYORGANIZATION PROGRAM AVAILABLECollege seniors and graduate students of anymajor sequence are invited to apply for a com¬bination of scholarship grants and loans for aspecialized program of graduate education andtraining available at five (5) Universities leadingto a Master’s Degree. The graduate educationand training specialization is in the field ofCommunity Organization with emphasis on;Jewish Federation Program and Structure,Community Organization, Agency Management,Administration, Community Planning, FundRaising, and Budgeting. Job Placement and longterm careers with Jewish Federations areassured after graduation. Any major sequencecan qualify with a minimum of a ’B’ average.For more information, descriptive material, on-campus-interviews, write or call:Rabbi Joel Poupkoc/0 JEWISH FEDERATION OF CHICAGO1 South FranklinChicago, Illinois 60606Telephone: FI-6-6700 CARPET CITY6740 STONY ISLAND3?4 msHos what you need from a$10 used room size Rug toa custom carpet. Specializ¬ing in Remnants & Mill re¬turns at a fraction of theoriginal cost.Decoration Colors ^gndQualit.es Additional lu^5*Discount with this adFREE DELIVERYB4MBOOLOUNGCMixed Drinks,Pitchers of Beer,FREE POPCORN!Open Pianooil for yourenjoymenton the first floorof the Del PradoHotelSTUDENTS WELCOME By John LanahanI used to think that short stories andnovels could only be dramatized via themedium of film. The stage, I thought, wastoo inflexible to handle the numerousscene changes and fragmentation ofviewpoint that one can achieve in nondramatic writing. Huck Finn Parts 1 and11,produced two years ago by the OrganicTheater, was a revelation to me, when Isaw a novel successfully transformed tothe stage Switch Bitch, an adaptation ofthree short stories by Roald Dahl, reaffirms my realization that short stories andnovels can be successfully adapted todrama, if one has the creativity and theknowledge of theater to do itThe director of Switch Bitch, StuartGordon, did it right. Gordon has a marvelously intuitive feel for such simpleelements as blocking, and he is able tocreate an atmosphere in each of the work'sscenes that is all the more delightfulbecause it is so mystifying The secondstory, "The Visitor," had an exoticismthat only Stuart Gordon could create Themost impressive feature I find in Gordon'sbest work is its remarkable simplicityAlthough Switch Bitch does not show thesame refusal to engage in theatricalillusion that I saw in Peter Brook's The Ik,his show makes no attempt to disguise howit technically achieves a scene or an effect.What this does is to put the burden of"suspension of disbelief" on the actors,where it should lie in any theatricalproductionThe cast was well able to shoulder itsshare of the show Roberta Custer,replacing Cordis Fejer from last summer's production, proved that she is one ofthe most versatile and technically accomplished actresses in Chicago She wasarabesquely regal as Madame Azziz in"The Visitor," the second story, and accessibly sensual as Samantha in "TheGreat Switcheroo, the third Richard Fire was promptly vacuous as Dr Bixby in"Mrs Bixby's Coat," the first story; anddisconcertingly creepy as Vic in "TheGreat Switcheroo "The set, by Maher Ahmad, was simpleEach scene had a backdrop of five adjacent sliding panels, which faced theaudience, and onto which were projectedslides, or between which were inserteddoorways, curtains, and other necessarysundries The lighting, also by Mr Ahmad,was controlled, but I thought added anemotional and atmospheric element onlyin "The Visitor." The costumes, by LauraCrow, were realistic and excellent. Themusic, composed and performed byJonathan Pearthree, was wellcoordinated with the dramatic action onstaqe, and in "The Visitor" added to theaura of mystery but then I'm a push¬over for harmonic minor scales.I recently read an article that claimedthe rave review was bad for theater Sowhat, I love to write them On a literarylevel, Switch Bitch may seem overlyconstructed and tritely ironic in a way thatO Henry and Maupassant sometimesseem, although I'll argue that "The GreatSwitcheroo" assumes dimensions andmakes statements that are anything buttrival. I would call it Feydeau from anexistential constructivist perspective, if Ionly knew what that meant. On atheatrical level, however, Switch Bitch isexcellent, even brilliant If the OrganicTheater did not exist, it would benecessary to invent it if one could onlyfigure out how Switch Bitch playsThursdays and Fridays at 8:30, Saturdaysat 7 00 and 10:00, and Sundays at 8 00 TheLeo Lerner Theater is located at 4520North Beacon Street, in one of the moresurreal parts of Uptown Tickets are $4 00$6 00, depending on when you go. Call 2712436 for further informationf ufrCELEBRA TE THE HOUDA YSIN THE PUBALL OF THEM8:30-12:30Open to All Pub Members;No Cover ChargeUpper Flint House presentsHumphrey Bogart & Katherine Hepburn inRFRICRN QUEEN7:15 and 9:30 Fri., Dec. 3COBB HRLL $1.00The ^rev Citv Journal Fr^ ‘'^ember'* ’976 9CalendarFridayWassail: Carols & refreshment & brass choir& Santa. 4pm. Ida Noyes Hall. Free.Chamber Music Series: Jaime Laredo,violin. Samuel Sanders, piano; Stravinsky,Suite Italienne; Beethoven, Sontata in A.op.47; Brahms. Sonata in A. op. 100; Ravel.Sonata; 8:30pm, Mandel Hall.Arts k Crafts Sale: Midway Studios artists,sculptors and weavers, potters and can-dlemakers. makers of macrame. jewelersand woodworkers, collages, crochetwork,etc. Participants welcome, call 753-3591 toreserve space 10:30-5:00, Ida Noyes Hall.Hillel: “The Middle East Conflict - AFearful Symmetry,” David Shaham,Israeli. 8:30pm, Hillel House.Christian Forum: “The Broken Intimacy:An Inquiry into the Philosophy ofRelation,” Brent House. 8pm.Crossroads: “South Africa & United StatesGlobal Corporations,” slideshow, followedby discussion with Sarah Lynch, the creatorof the show, 8pm, Crossroads InternationalStudent Center.Middle East Studies Center: Faculty-Student Lunch, 12:15pm, Ida NoyesLibrary. Ha-Sadnah (in English). “ThePalestinians: A Different Israeli Point ofView." David Shaham, Editor. NewOutlook, 2:30pm, Pick 118. Arabic Circle.“Modern Arabic Literature and theTradition,” Ihsan Abbas, VisitingProfessor, Near Eastern Studies Depart¬ment, Princeton University, 3:30pm, Pick218. Persian Society, “Games Women PlayIn Iran.” Kaveh Safa-Isfahani, 3:30pm, Pick118.Geophysical Sciences Colloquium: “At¬mospheric Geochemistry of Radon and itsDaughters," Karl Turekian, Yale, 1.30pm,Auditorium. Henry Hinds Laboratory. Contemporary Mathematics from aHistorical Viewpoint: “Representations ofFinite Classical Groups,” George Lusztig,Univ. of Warwick. 4:30pm, Eckhart 133.South Asia Seminar “Islam as State Policyin Pakistan,” Manzoor Ahmad, 3:30pm,Foster 105.SaturdayChicago Front: Joseph Jarman, solo con¬cert. 8pm, New Theatre, Mandel Hall.Collegium Musicum: Secular music of 16thcentury France, 8:30pm, Bond Chapel. Free.Court Theatre-Festival of Fantasy: “TheAdventures of Capt. Marbles & His ActingSquad.” a performance by the St. NicholasTheater Co. of Chicago, for children 8-12years. 11am, Mandel Hall.Compton Lecture Series: “CarbonaceiousChondrites and Isotope Anomalies,” Dr.Ian Hutcheon, 10am, Eckhart 133.Arts & Crafts Sale: Midway Studios artists,sculptors and weavers, potters and can-dlemakers, makers of macrame, jewelersand woodworkers, collages, crochetwork,etc., 10:30-5:00, Ida Noyes Hall.Men’s Basketball: Niles College, 2pm,Bartlett Gym.Change Ringing: Mitchell Tower ringingroom on 4th floor, handbells 10-llam, towerbells, llam-lpm.SundayRockefeller Chapel: Handel's Messiah,Walter Carringer, tenor, guest soloist, 4pm,Rockefeller Chapel. Ecumenical Service ofHoly Communion. 9am. “The Judgement ofTruth and Love.” E. Spencer Parsons,11am, Rockefeller Chapel.Changes: Massage workshop by DobbiKerman, wear loose clothes and bring ablanket. 7pm. Blue Gargoyle. Free.Brent House: Vespers, 5pm; social hour andsupper. 6pm; program/discussion, 7:15pm,5540 S. Woodlawn. MondayDepartment of Chemistry: “Proton ENDORand the Structure of Molecules.” Prof..Clyde A. Hutchison Jr., 4pm, Kent 103.Change Ringing: Mitchell Tower ringingroom,' tower bells 6:30-8:30pm.Angus tan a Lutheran Church: Recital,Baroque and Contemporary Music. KathrynFields (soprano), Bruce Horst (keyboard).8pm, 55th & Woodlawn.Through the year’s endTues., Dec. 7: Technology and theHumanities Series, “Technology as aHuman Experience,” Professor CyrilStanley Smith, MIT, 4pm, HM 130.Lectures on Hellenic Civilization, to beannounced, 4:30pm, Classics 10.Department of Biochemistry, DonaldZilversmit, Cornell, 4pm, Franklin McLeanResearch Institute.Wed., Dec. 8: Department of Biochemistry,Emil Thomas Kaiser, U of C. 4pm. Cumm.101.South East Asia Seminar, “Poems, Chants& Song of Sarawak Indonesia,” CarolRubenstein, 4:30pm, Foster Lounge.Thura., Dec. 9: Hillel. “Alternatives toSentimentality in Medieval Jewish Studies:Reflections on Jewish Lore, Family andRole of Rabbi,” Prf. Monford Harris,Faculty Lunch, noon, Hillel House.Seminar on Resource Analysis of theCommittee on Public Policy Studies,“Indian Water Rights,” Anita Wallner,1:30pm, Kent Laboratory 110.Fri., Dec. 10: Men’s Basketball, UC vNorthwestern College, 7pm, Bartlett Gym.Crossroads, dine together at the GreekIslands Restaurant, meet at Crossroads,6pm, sign up in advance.Sat., Dec. 11: Compton Lecture Series,“Asteroids and Comets,” Dr. Ian Hut¬cheon, lOrm, Eckhart Hall, rm. 133.Crossroads Student Center, Saturday nightdinner, 6pm, with folk music following,8pm, 5621 S. Blackstone.Sun., Dec. 12: Crc sroads, “Protest and Communiction,” sixth Civilization film,8pm, 5621 S. Blackstone.Rockefeller Chapel, Handel's Messiah.Walter Carringer (tenor) guest soloist, 4pm,Rockefeller Chapel.Sat., Dec. 18: Crossroads, ChristmasDinner, sign up by Wed., 15th, 6pm, 5621 S.Blackstone.Compton Lecture Series, ‘RecentSpacecraft Observations of the Planets,”Dr. Ian Hutcheon. 10am, Eckhart Hall, rm.133.Iceianaic puppet Company, annualChristmas play, 2pm, Museum of Scienceand Industry.Fri., Dec. 24: Vespers, and children’spageant of the nativity- with children fromthe community and University, and one livedonkey- 4pm, Rockefeller Chapel.Calvert House, midnight mass at ChicagoTheological Seminary, carols, 11:30, Mass.12 midnight.Sat., Dec. 25: Calvert House, mass 8:30 &11am.Wed., Dec. 29 k Thurs., Dec. 30: “TheUnusual Effects in the Universe.” theChristmas Lecture, Thorn Hall, Nor-,thwestern University, Chicago Campus.Lake Shore Drive & Superior, 1pm.Dec. 3-Dec. 17: Exhibit of architecturalphotos from a new book entitled Dreams inStone: The University of Chicago, displayedon mezzanine of John Hancock, 875 N.Michigan Ave.. M-F 8am-6pm, Sa 8am-lpm.Su 2-6pm.Happy Holidays.Joseph JarmanJoseph Jarman's official return to theChicago area after a triumphant tour ofEurope will take place Saturday night, Dec.4 in the New Theatre in Mandel Hall. 57thand S. University at 8 p.m. These soloconcerts are a tradition at the University,and they are one of the unique culturalevents offered to our campus. Donation is$2.50 with student ID, $3 without. Theconcert issponsered by the Chicago Front. /Gerald MastComing to UCDrama — a critical and theoreticalcourse centered on problems of genreand medium transformation raised byplays that are made into films — in thewinter quarter.Mast is well known as a film historian,critic, and theorist. He is the author of AShort History of the Movies; The ComicMind (a study of film comedy, withemphasis on Chaplin and Keaton); andnumerous reviews and articles, in¬cluding the theoretical “What Isn'tCinema?" in Critical Inquiry (December1974). Mast has also co edited an an¬thology, Film Aesthetics and FilmCriticism, with I. Marshall Cohen. Theholder of B A., M.A., and Ph.D. degreesfrom the University of Chicago, he hastaught humanities and film at Oberlinand at Richmond.V /Gerald Mast, Professor of CinemaStudies and Humanities at RichmondCollege, City University of New York,will be a visiting professor in the Com¬mittee on General Studies in *theHumanities and the Department ofEnglish during the upcoming winter andspring quarters.Mast will teach a two quarter basicsequence, Humanities 262/310: In¬troduction to Cinema I & II, for whichregistration is still open to both undergraduates and graduates. The firstquarter of the sequence will be devoted tothe history, theory, and critical analysisof the silent film from its beginnings toGriffith. The second quarter of thesequence, for which the first is a prerequisite, will deal with the sound film,American and continental. Mast will alsoteach Humanities/English 312, Film and Festival offantasyIf you need one last release before finalsgo to Mandel Hall at 11 am on December4th. There Captain Marbles and His ActingSquad will be performing for the Festivalof Fantasy. Each year the festival provesto be fun as well as well done. Here HerbLichtenstein and Gretchn Trapp appear.Tickets are $1.50 at the door. For information call 753 3581.I ^ / officialswiss army^ knives$5.50 to $42.00Free brochureCOo*p**te hn* .n > A we run\ ou* of vcur *av\y*te <yd-^ «t| id you 3 week deitve'y| the hodgepodge| 506 K/am St Evanston IL 60202312''064-4200Open Sundays 12-4 30v r10-’ D r1 ft76G705 aThe Chicago Literary Review—Friday, December 3.1976—21New HP-67 Fully-ProgrammablePocket Calculator from Hewlett-Packardgives you incredible programming power.The new HP-67 has the greatest programming power ever made available in apersonal calculator—with more than three times the power of the classic HP-65.Takes programs up to 224 steps. Each function of one, two or three keystroKesis merged so each function requires only onestep of program memory. 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Only$145.* The HP-27 Scientific/Plus.Science plus statistics andfinance.Gives you 28 exponential,log and trig functions, 15statistical functions and 10financial functions—all pre¬programmed and stored Allyou do is key in your data,press the appropnate functionkeys and see your data dis¬played in seconds Only$175.*UNIVERSITY OF CHICAGOBOOKSTORE5750 SOUTH ELLIS AVE.TYPEWRITER DEPT:753- 3303PHOTO DEPT:753- 33178ANKAMERICARDu<4rot>u At*1 #>V> * >. , » .mm mt,******'r -CLASSIFIED ADS Thesis, dissertations, term papers me.Foreign language gen corres LatestIBM corrective Se 11 typewriter. Reas,rates. Mrs Ross 739 4257 Bet. llam &5pmFor piano teacher cal! 747-9746SPACEStudio Apt., sunny, spacious, avail.Dec. 1, $132/mo., call 752-7830eves.5405 S. Woodlawn, 2 rm. furn. apt., 1person, 643-2760 or 667-5746, Mrs.Green.Make $$ and Enter Housing System soI can break my contract. For info callMIKE 753-3541 rm. 53. Leave message.Roommate wanted for apt. at 58th &Kenwood. Call 955-9351 evenings.Studio apt. $160 . 5455 S. Black stoneavail immediately call Barb at 3637473.Apt. Space 5520 S. Ellis-Close to lib.Winter & Spring qtrs. 324-4372 - fur-nished w/kitchen.Lge. bedrm. & bath in pvt. Kenwoodhome for single std. Rm, bkfst, dinnerin return for maint work, babysitting.Must be neat and willing to work. CallMcDermott 924-1281.House for sale near Argonne. 2400 sq.ft. 4 bdrm. A.C., Park & Pool, $69,900852-5732.Room for student woman on third floorof private home. Very large, light. E.Hyde Park. Light cooking facilities.$85/mo. 684-5076 eves before 10 orweekends.Owner selling S. Shore brick on corner. Three bdrms., wbfp, nat. wd.,bargain at $40,000., nr. schls., trans.,493 6044.Sunny room available for winter andspring quarters—1400 East 57th (LittlePierce) 955-4437.5 + 6 Room apts. in building beingrehabilitated. 5 min. from U. of C. on61st st. Coleman Carp. 373-1800.I have a housing contract in Broadview Hall that I would like to give upfor Winter and Spring quarters, callme at 753-2103 or send a note toMichael Delaney through FacultyExchange. 5540 S. Hyde Park Blvd.Room 518. SCENESPEOPLE WANTEDExper. amat. phtog to take weddingphotos and candid reception shots lateaft. & eve. Dec. 15 Must presentcredible work call 363-1286 eves orw/es.Students! Help me carry boxes downone floor, Dec. 15th. $3.50/hr. Call 955-3381 for details.Primavera seeks business manager.No pay but good experience. In¬terested women call Janet. 752-5655. JOSEPH JARMAN Solo Concert Sat.Dec. 4, 8pm will be held in the NewTheatre of Mandel Hall. Great BlackMusic Series sponsored by the ChicagoFront.OLD FASHIONED BAZAARTreasures Silent Auction Bake Goods'mmmmm Books Plants Prints SoupLunch Sat. Dec. 4, 10-5, 1st Unit.Church, 5650 Woodlawn.Parent Coop for early learningpreschool; full (7:30-6:00 ) 8. part timeprogram; 3 classrooms designed for 2yr. olds, 3-4 yr. olds & kindergarten;5300 S. Shore Dr. 684 6363. Hyde Park Resource Center haseverything including Hyde Parkfirewood's fantastic transcendental.Oak cherry and birch Available 10 to4, 7 days a week or call 549 5071 toorderHyde Park Resource Center haseverything including Hyde Parkfirewood's fantastic transeedent?'Oak cherry and birch. Available 10 to4, 7 days a week or call 549 5071 toorderACADEMIC RESEARCH PAPERS.Thousands on file. Send $1.00 for your192 page, mail-order catalog. 11322Idaho Ave., 206H, Los Angeles, Calif.90025. (213) 477-8474. AUDITIONS The shuttle bus knows where HarperLibrary is Do you7SUIT UP!Great opportunity for alert gal. Widevariety of duties. Must type 40-50 wpm.Small, pleasant office. Loop location. COD CAI FCall Miss Ray, 782 6800. Marks Bros. rJewelers, 29 E. Madison.Wanted responsible student to cat sitDec. 13-Jan 2 in our apt. near Univ.Call 324-3051.Tense, Anxious? Call 947 6983 and askfor Frank in order to volunteer for ourevaluation of a newly developed an¬tianxiety agent. We will give you acomfortable room, good food, athorough physical exam, expertpsychiatric evaluation and $450 incash. In return, you will give us a dayand two nights of your time for nineconsecutive weeks. To qualify youmust be between 21 and 35 years old, ahigh school graduate and healthy. Call947-6983 Mon., Wed., or Fri., 9am to5pm.EARLY PREGNANCY DETECTION.Pregnancy accurately detected beforeyou miss your next period, 5cc of bloodwill be drawn. Medical researchproject-test is free. Call Sandy at 947-6620 or 947-5550.PEOPLE FOR SALETypist/selec./Fair rates/667-4282.French native teacher offers tutorialsph. 324-8054,Furniture stripping, refinishing, callJohn 288-0950. 66 baby blue Rambler AmericanStation Wagon, 3 on the tree. Manual.Everything needs work and love. Forsale very cheap. Cal! 753-3257 ask forLuigi.DATSUN 1200-73. 35MPG. Great cond.radials. $1600. Lo. mi. 667-8648.SKIS, Rossignol 207cm; men's 11Lange BOOTS; POLES; 753-2261 room836, best offer(s).Cat house, sofa-bed, bookcase, chairs,shopping cart, best offer. Small ap-pliances, cheap. 955-3381.Tickets for Dec. 12 per. of Messiah.Rockef. Chapel 241-5666,Amazing moving sale. Examples ofgoodies: maple stained coffee table$15. Overstuffed dark red plush couch$60. Hundreds of handy kitchenutensils. Vacuum $10. Moving to Colo,to go skiing. 5472 S. Ellis. Sat-Sun. Dec.4-5. llam 7pm.Free or cheap-free: TV, chair, ot¬toman, dresser. Cheap: desks, singlebed, cabinet. 947-0690.UNICEF WORLDWIDEHANDCRAFTS5 N. Wabash Rm. 1107M-F 10:00-6:00 Sat 10:00-4:00372-5359 For your annual Christmas party inour red and white Santa Suits- one forthe "Mr." and one for the "Ms.” $10.00Rental- call 753-3591 - Student Ac¬tivities Office.INFONEEDEPAny witness of auto collission on Fri.Nov. 19, 8:30 a.m. at 56 & Kenwoodplease help victim reconstruct whathappened 667 6839.POSTER PERSONWanted person to hang posters Once aweek for Hillel, $35.00 monthly, Cali:Mrs. Rosen, 752 1127. UNIVERSITY SYMPHONY ORCHESTRA. All Woodwind, Brass andString Players. Auditions held Jan 3-7. Sign up for appointment inLexington 12.CONCERTO COMPETITION, open to•>ntire University community. Application held Jan 24-28 For in¬formation about auditions or concertocompetition, contact BarbaraSchubert, Conductor 753-2613FEMINISTANTHOLOGYPrimavera, a women's literarymagazine, is on sale in most HydePark Bookstores.PAN PIZZADELIVERED Your Shapiro is already late Pleasereturn it immediately to StudentActivities, Ida Noyes 209 25 cen^dychargeaft Dec 1.Writers' workshop PL 2 8377Pregnancy Testing, Sat 10-2Augustana Church, 5500 S. Woodlawn.Bring 1st morning urine sample $1.50donation. Southside women's heal 324-2992.RIDE from NEW YORK CITY to UCneeded for two girl-friends on Sunday,Jan. 2. Will pay all tolls on 1-80 plusshare gas 8. driving. Call Dave at 753-0391,Pregnant? Need help’ Call 233-0305,10-1pm M-F or 7-9pm M 8. Th.HANUKKAHCANDLESand MENOROT will be on sale atHillel. 5715 Woodlawn - First Candle:Thurs. Dec. 16.XMAS RIDE HOMEUC People: Save on Roundtrip.Charter Bus to Baltimore andWashington D.C. Leave Fri. Dec. 10,Back Mon. Jan. 2. $44 Roundtrip, $25one-way. Call Ben 753-2249, leavename and phone no.LOX 'N BAGELSAlas - the next bagel brunch will not beuntil Sunday 9, Jan. 1977. Hillel thnaksMarueen M, both Barb G's, andMichelence M for their help on the fallquarter brunches. Have a nicevacation folks, and we'll see you allnext quarter. The Medici Delivers from 10 p.m.weekdays, 5-11 Saturday, 667 7394,Save 60 cents if you pick it up yourself.BOOKS BOUGHTBooks bought 8. sold everyday,everynight 9-11, Powells, 1501 E. 57thSt.CALCULATORS-C.B.FOR BEST PRICES ONCALCULATORS (H P., T.I., CORVUS, COMMADORE, NOVUS, plusmany others), STEREO (home andcar) C.B RADIO and ALARMSYSTEMS, CALL JEFF at 753-2249rm. 3410. Leave message. HYDE PARKCARWASIDeluxe Extenor Carwash49c with 15 gal. purchaseAmerican & Foreign CarsRepaired1330 E. 53rd Ml 3-1715PERSONALSIf you don't know that the lighting inHarper has increased 350% in foot-candles, you don't know what you'remissing. OAKFIREWOOD$70 a TONbirch, cheery andmaple aiso avail.HYDE PARKFIREWOOD549- 5071Michigan Ski Weekends.Good if you’re good. Good if you’re not.Learn how good youcan be in Michigan.We have the slopes,the snow, equipment torent, instruction forall-and the nearnessto make it a long-playingweekend. For next tonothing, you're into every¬thing in Michigan. If thegreat skiing up here doesn'tcome naturally to you, a lotof other things do.For latest snow conditions,road conditions, free MichiganSki and Snowmobile MapCall toll free800-248-5456 THE MIDDLEA FEARFULDAVID SHMMCOLUMNISTFRIDAYAT 8:30 pm5?IS UODDLAUN EAST CQMFLiCIsymmetry0ISRAELI NOVELIST,EDITOR OFfNEU OUTLOOK*DEC. 3At MlbbCbMichigan.Mirror of America. - .. 3201A5335Or wnteMichigan Travel CommissionSuite 102 300 South Capitol AvenueLansing Michigan 48926Please send free Michigan Ski and Snowmobiie MapName —School —Address -City „Stcrte Zip *Ul.llll. Him ...The Chicdgv Liter <wy Review—Friday, Decernoer j, \Mt —zjBEAUJOLAIS WINEThis light bodied, luscious and fruityFrench red wine is a tribute to goodtaste. A wine for many occasions ora treat by itself.PARISHES1971 - BEAUJOLAIS 17,5«,1973 - FLEURIE 3”s.h1973 - MOULIN-A-VENT 379 5th1972 - BEAUJOLAIS VILLAGES 499... A 5thCHEESECOMTEFRENCH GRUERYE 3” it.JARLSBERGNORWAY SWISS 1”,,SWISS GRUYERELIGHT NUTTY FLAVOR 1991 lb.DOUBLE GLOUCHESTERENGLISH CHEDDAR 049A lb.GOUDA RED WAX 25’ it.ESROM PORT SALUTDANISH 2”».GOURMANDISE (5flavors) 2” ib.Canfields PABSTOR ConsMILLERS2427 East 72nd Street A 1-9210