College dean Oxnard resignsOxnard’s exit revealsproblems yet unsolved Plans return to researchCharles Oxnard, dean of the College since 1973, resigned his deanshiplast week to return to the anatomy department full-time.By DAVID BLUMA little-known office on 58thStreet, around the corner fromthe University of ChicagoBookstore, has a problem thatcould alter the University’s fate.The faculty exchange office isoverburdened with mail andunderequipped with staff. Theywere so Dusy last week that it wasbarely possible for them todeliver Charles Oxnard’s letter ofresignation to the divisionalmasters, or Gale Johnson’smemo on Oxnard to the Collegefaculty.Newsanalysis“Fortunately,” said Provost D.Gale Johnson on Wednesday,.“Faculty exchange is not myproblem.”But the resignation of CharlesOxnard as dean of the Univer¬sity’s largest single academicunit helped illustrate that allparts of the University com¬munity, regardless of affiliationor responsibility, must examinethe roots of crises and begin thesearch for solutions.“An urban planner can’t just gointo a city he doesn’t know anddecide how he’s going to changeit,” said one faculty member thisweek. “He has to know the cityhe’s in before he alters its form.There hasn’t been that kind ofdiscussion in the College for along time — where it’s at and where it’s going.”Faculty “exchange”, to many,is at the heart of the problem.Four years ago, Oxnara labelledhis first priority as dean of thecollege “to get senior faculty whoare damned good scholars in¬volved in the college.” Today,faculty are divided over whetherhe succeeded — in much thesame way they are divided overthe concept itself.“No one can force the faculty toteach,” said one tenuredprofessor. “It’s completelyvoluntary, and there’s not muchguilt among those who ignore theollege.” Most tenured facultyconcur with that assessment andconcede that the Harper Fellowsprogram has helped to forestallany serious conflict over thestaffing of common core courses.One faculty member, involvedin the staffing of common corecourses in the humanitiescollegiate division, warnedrecently that if the HarperFellows program were abolished,the core would have to undergoradical changes—perhaps in¬cluding a move toward thebiological sciences model ofcourses related to facultyspecialty.“It takes a lot less work toteach a course about yourspecialty than a common corecourse,” he said. “It might endup as the only solution to staffingthese courses.”Oxnard denied that such amodel has ever been discussed oradvocated and pointed out thatthe differences amongAnalysis to 3 By DAVID BLUMCharles E. Oxnard informedadministrators last week that heplans to resign as dean of theCollege this June, one year priorto the end of the traditional five-year term appointment.Oxnard, who served as masterof the biological sciencescollegiate division for one yearbefore he assumed the chiefadministrative position in thecollege in 1973, said Wednesdaythat “five years as an ad¬ministrator are enough.”The 44-year old evolutionarybiologist plans to return toresearch in his fourth-flooranatomy department lab nextyear. However, he said “there isthe expectation” that he would beappointed chairman of theanatomy department after itscurrent chairman, RonaldSinger, resigns. LeonardRadinsky has been appointedacting chairman for the nextacademic year.D. Gale Johnson, provost, toldcollege faculty in a memorandumlast week that Oxnard had been“a highly responsible citizen ofthe University.” He praised theoutgoing dean for his activecommitment to teaching andresearch throughout his tenure.Vice-president for public af¬fairs D. J. R. Bruckner,responding to a request for aninterview with President John T.Wilson concerning Oxnard’sresignation, told the Maroon thathe had relayed the request toWilson. He said Wilson’sresponse was “no,” but deniedthat the answer could be in¬ terpreted as “no comment.”“I asked him your question andhe answered it,” Bruckner said.In an extended interviewWednesday morning, Oxnardexpressed regret at having toleave his position, but charac¬terized his years as Dean as onesof significant improvement.“I think there’s been a fairly marked success,” Oxnaro said.“I think we’ve gotten the Collegeonto a track. ”He cited increasingenrollments in the College, with aconcomitant growth in thenumber of graduate facultyteaching college courses, as onemeasure of his achievement.Oxnard to 3Energy cost said to consume half of 77-78 tuition riseBy STEVE BLOCKRising energy costs are responsible for“roughly 50 per cent” of the $300 tuitionincrease proposed by the Deans’ BudgetCommittee last week, said Provost D. GaleJohnson.The University’s energy budget,amounting to $6.4 million, representsseven percent of the total unrestrictedbudget this year, but is the budgetary areamost sensitive to inflationary pressures,according to Johnson.The severity of this winter, the coldest inthe University’s 85-year history, hascaused a dramatic increase in energy use.The problem was compounded by theskyrocketing prices of natural gas, in¬cluding last month’s People’s Gas 20percent price boost. Energy usage in¬creased by 26 percent in November and bysix percent in December. By the end of theyear, total consumption had already in¬creased by five percent over the sameperiod the previous year.To meet the University’s needs, severalcost-cutting conservation measures weretested over the winter break, some to beinstituted this quarter. In the past, thepolicy of the University was to heat allbuildings to 68-70 degrees, with a drop inthe evening of two to three degrees.However, campus facilities that were openduring the winter break, such as thelibrary, were heated to only 65 degrees inthe daytime, and 55 degrees at night. The Federal Energy Administration, thefederal agency in charge of recom¬mending conservation methods, says thatfor every degree room temperature islowered, there is a cost savings of threepercent.“We are hoping for an overall savings ofup to 15 percent.” said Johnson.Increasing energy demands and higherutility rates are straining the energybudget and will probably cause costoverruns. A contingency fund of $200,000.three percent of the energy budget, isavailable for overruns but indications arethat even this allocation will be exceeded.Increased energy costs are reflected inthe Deans’ Budget Committee report for1977-78. Chauncy D. Harris, chairman ofthe committee which recommended atuition hike of $300, attributed part of thathike to the energy problem.“We are hoping to reduce the amount ofour energy costs by conservation. Thebasic assumption being made in con¬sidering the tuition boost is that a sub¬stantial amount of fuel will be saved by themeasures taken, thus avoiding a largertuition boost. How much colder will peopletake it so that they can have books in thelibrary?”William B. Cannon, vice-president forBusiness and Finance, was guardedlyenthusiastic about the conservationprogram that he recommended to theadministration. “Something had to bedone. The special conservation measures taken over the break were not an ex¬periment, and will be used on weekendsand vacations. Although we cannot be sureof its effectiveness until the results arestudied, we are hoping that several hun¬dred thousand dollars will be saved. ” Hisoptimism was tempered, though. “Evenwith the special conservation plans, twonew buildings opening next year plus in¬creased costs will add up to a $1.6 millionincrease over the period 1975-76 to 1977-78.”Cannon pointed to some successes thatare already evident. “Although Decemberwas much colder than last year, energyconsumption was up only six percent overlast year.” More results should becomeclear by February or March.Cannon made it clear that heating didnot make up all of the energy problem.“Lighting, electric typewriters, xerox andother business machines among otherthings are major energy users. We have tofigure out some way to conserve here aswell.'’ In the meantime, many little thingshave been done. Over the past three to fouryears, pipes have been wrapped, watertemperature has been reduced, and otherminor measures have helped reduce totaleneigy consumption by about six percent.Also, the University is consulting withvarious companies about the feasibility ofa variety of insulation ideas, includingstorm windows, and a building by buildingstudy.“Twenty five buildings use sixty percent of the energy,” remarked Cannon.Cannon, was quick to caution against toohopeful a picture for the future. “All ourestimates are a series of assumptions andprojections. This is illustrated by the factthat our total utilities budget has gone upfifteen percent this year over 1975-76, andis expected to increase by that figure againnext year. The price of fuel has more thandoubled in four years, and gas bill went upby 20 percent in December.”However, students and staff were cool tothe administration’s ideas. Althoughstudent housing thermostats are notturned down at night as much as otheruniversity facilities, they are a bit un¬comfortable. Charles Bates, a clerk atRegenstein library, said “it was just toouncombortable over Christmas. There wasa constant draft by the door where I checkout people. I wore a coat. There was a lot ofabsenteeism among employees. TheMonday after Christmas was especiallyridiculous . . . legal standards couldn’thave been met.”INSIDEGCJ, p. 5Opinion p. 4Sports, p. 18UNIVERSITY of CHICAGOBOOKSTOREJLKJKJM Lenses available in the following mounts:(coloring the lomom Viyilor 85 ?05From $93.9528mm f2.5PHOTO753-331785- 205mm f3.8From $149.95VivitarLENSHEADQUARTERS Froms62.95Vivitar Pentax*and other Universal Thread Mount cameras. / /•'rGENERAL BOOK753-3311JUNG AND THE STORY OF OUR TIMEby Laurens van der PostAn intimate oortrait of Jung and his ideasby a close friend. “An excellent book-eloquent. learned and most impressive."— The Nation. “This is the book on Jung thatonly Laurens van der Post could havewritten . . . the unforgettable portrait of agreat man."—Prof. Alan McGlashanV-175 ISBN: 0-394-72175-6 $3.95LC 76-10577 / CIP $10995DON’T FORGET! The General BookDepartment is now open ALL DAY(9 AM - 5 PM) SATURDAY for youradded convenience. SR-r>ti $10 Rebate.I Texas Instruments will rebate S10 00 ot your original SB 56 purchase price when| you (11 return this completed coupon (2) along with your completed SR 561 customer information card (packed m box) and (31 a dated copy ot proot of your| purchase verifying purchase between Jan 1 and March 31 1977 toTexas Instruments IncorporatedP 0 8011210Richardson Teias 75080TYPEWRITER753-3303 Address.CityI| SR S6 Senai No| Please allow 30 days toi iebale .Stateitrom back 01 calculator)J> P.tyvur BANKAMERICARD & MASTERCHARGE ACCEPTED: BANKAMERICARa HOURS: 8 AM to 5 PM MONDAY thru FRIDAY rmaQtpr champ!lit//if//tf fttM SATURDAY 2nd fl. 9-1 1 llluOlvl ullQIUu I__ GENERAL BOOK 9-5 ^^TMF INTERBANK CARD ^ _JOxnard from 1“I think it’s been a success story,”Oxnard said. ‘‘In the Physical Sciencesand Biological Sciences Divisions, there’sstill a feeling that the responsibility isthere to teach in the college.” However,Oxnard noted that the other divisions stilllag behind in graduate faculty par¬ticipation in the College.‘‘In the social sciences, there are anumber of faculty who don’t believe itshould be done,” Oxnard said.D. Gale Johnson, a professor ofeconomics and former dean of the socialsciences division before becoming provost,said that ‘‘progress is being made in thatdirection.”‘‘Social sciences aren’t the culprits,”Johnson said. ‘‘The graduate studentburden is greater.” He also noted that theHarper Fellows program, designed toprovide post-doctoral teaching experienceand to maintain small class size in theSocial Science and Humanities commoncore courses, has had ‘‘a favorablereaction.”The program, instituted by John Wilsonunder Oxnard’s supervision in 1975,currently awaits an administrationdecision on its ultimate fate. Oxnard saidWednesday the program deserved con¬tinued support.Praise for OxnardA survey of prominent faculty and ad¬ministrators this week showed a strongmeasure of support for Oxnard, and mostagreed that his four years as dean werestrong years for the College.“He’s established a thrust,” saidSuzanne Rudolph, chairman of thedepartment of political science and formermaster of the social sciences collegiatedivision. “It’s gone in the direction themasters and deans have been pushing.He’s been very responsive.”“Nobody can succeed at that job,everybody fails,” said William H. Meyer,professor of mathematics and associatechairman of the department. “Oxnardfailed to a much less degree than others.”But some faculty members doubtedwhether Oxnard’s impact on the Collegewould be a significant as previous deans,particularly those involved with the major college changes during the middle and late1960’s.“There hasn’t been a serious discussionor debate ir, the College for 10 years on thenature of the college and its relationship tothe University,” said one senior facultymember. “The result has been that theCollege has become further detached fromthe rest of the University.”Talked with JohnsonOxnard said he had been discussing thepossibility of resigning with ProvostJohnson as early as October. Reliableobservers speculated this week that Ox¬nard’s decision might have been promptedby the fact that if he resigned next year,the search for his successor would havecoincided with the preparations for thenext Presidential search. Wilson plans toretire early in 1979. The sources indicatedthat Wilson would have been under morepressure, as a lame duck president, toremain detached from the searchprocedure. Many believe that Wilson willnow become involved in pushing a can¬didate for selection as Oxnard’s successor.Few names have surfaced thus far in theinitial discussions among the Collegefaculty concerning the vacancy. JonathanZ. Smith, master of the humanitiescollegiate division, has been mentionedprominently as a candidate, as has JamesRedfield, a professor in the Committee onSocial Thought. The post has traditionallygone to a member of the College faculty fora five-year term.Ballots mailedKnox Hill, Secretary of the Faculties,said Wednesday he has mailed out ballotsto all college faculty soliciting nominationsfor a search committe to select a newdean. Those votes are due in a week fromtoday, and the election of the searchcommittee will immediately follow.“Thers’s a lot of pressure to get thisgoing quickly,” Hill said. “I just hope we’llhave someone chosen by June.”Hill complained, as did Johnson andother faculty and administrators, aboutthe problems of faculty exchange as aneffective means of communicating withthe faculty. Hill said that an additionalburden had been placed on the tiny intra¬campus mail service by the U.S. PostalThe CniUtrsitu of ChicagoJAMES A. T. DOUGLAS, O.B.E., M.A.Consultant Director, Conservative Research Department, Londonwill fixeAeitt a icctuieReflections on theUngovernability Thesis in theWestern Liberal DemocraciesTUESDAY, JANUARY 18, 19774:00 P.M.Wieboldt Hall, Room 301 • 1050 East 59th StreetThis lecture has been arranged by the Committee on Social Thought,the Department of Political Science,and the Committee on Public Policy StudiesADMISSION IS WITHOUT TJCKfT AND WITHOUT CHARGl • KEFRtSHMlNTS Will Bf Sf*VfO Service, which now refuses to deliver mailwithout a specific address.“We’ve got about 12 bags a day fromthem,” said George Doyle, supervisor forthe exchange. Hill and Johnson agreedthat the problems with faculty exchangecould adversely affect the balloting fornominations to the search committee.Primate researcherOxnard, who joined the University in1966, received his M B. and ChB from the$30,000 collegeThe University has announced a new$30,000 annual scholarship which will beawarded to students on the basis of theiracademic records and for their con¬tributions to the “quality of life in theCollege.”Up to 60 $500 awards will be distributedannually to incoming freshmen and up¬perclassmen under the auspices of theAbram L. Harris Achievement Prizeprogram. A third of the 60 scholarships areexpected to be awarded- to minoritystudents.The prizes, which will be independent offinancial need, will be distributed on aroughly equal basis to each of the fourundergraduate classes. The program isNew law chairA law school chair named for the lateHarrv Kalven, Jr. has been establishedfrom funds provided by the Robert R.McCormick Charitable Trust of Chicago.Kalven, an authority on law governingfree speech and other First Amendmentrights, died in 1974 after a 29-year teachingcareer. He was a leading figure inresearch and writing on freedom of thepress.At the time of his death, Kalven wascompleting an extensive, critical essay ontheories underlying contemporaryAmerican law on freedom of speech. Theessay is soon to be published as a book.“The Harry Kalven chair will make aprofound and needed contribution to thestudy of First Amendment freedoms,”said Norval Morris, Dean of the LawSchool. University of Birmingham in England in1958, and his doctorate from Birminghamin 1962.He is primarily engaged in studies of thefunctional and evolutionary morphology,biomechanics and morphometries ofvertebrates, especially primates. Inaddition, he is engaged in studies of ex¬perimental diseases ot primates withspecial reference to deficiency of vitaminB12 and its effects on the nervous system.award programfunded by an anonymous donation.Pressure from several student groups inrecent years have pointed to the need forsuch a program a priority. Last winter, thestudent ombudsman submitted, as anaddendum to a regular quarterly report, areport which pointed out that theUniversity’s financial aid program lackedmerit-based financial awards for studentsin the College.The Harris awards are named forAbram L. Harris, an economist who joinedthe Chicago faculty in 1947, after servingas department chairman of HowardUniversity’s economics department.Harris died in 1963.Analysis from 1humanities subjects are far greater thanthe biological or physical sciences. He alsoargued vehemently against the contentionthat the Harper Fellows program could beused as an excuse for not teaching in thecollege.Meanwhile, the issue of the day isfaculty exchange. Everyone complainsthat service has declined while itsnecessity has risen. Its importance growseven further this week and next, as theballots for the next dean of the College aremailed to the secretary of the faculties fortabulation. The problems in that tiny of¬fice, as well as those facing the Collegeitself, have become issues the entireUniversity community will face in theaftermath of Oxnard’s resignation.LOUISE GLUCKFRIDAY JANUARY 21,8PMThe Poetry Center at The Museumof Contemporary Art • 237 EastOntario Street *$3.00 admission$2.50 tor MCA MembersThis program is partially funded by a grant from the Illinois Arts CouncilThe Chicago Maroon Friday, January 14, 1977-3H . ' '«.*• 1 1 litrV f’ t c £.1 f» V» VEditorialCommitment to an ideaA very powerful idea lies behind the College.The general education curriculum, as it has beenpassed down from Hutchins, is the product of anintellectual commitment to a unified system ofideas and to a mode of inquiry by which theseideas can be developed and applied. Theeducational commitment here is in a sense acommitment to the Western intellectualtradition.The problem of the College is that if thecommitment is weak, or the institutional ob¬stacles to the realization of the commitment arestrong, the idea fades and the institution loses itsstrength.The College has been weakened by both aneglect of its institutional purpose and by thepractical problems of structure and of the peoplewho make the structure work. As PresidentWilson has pointed out, “the problem of theundergraduate curriculum...seems to be theabsence of clearly defined goals, particularlywith reference to major programs.’’ A studentsitting in on a meeting of the College Council onthe College curriculum made a telling pointwhen he observed that no one had mentionedliberal education.If rhetoric is any guide, however, the concernfor liberal education among faculty and ad¬ministration is strong. Yet when confronted withbudgetary pressures and professorial con¬venience, the University’s commitment to thecommon core and the rest of the undergraduatecurriculum is strained.Sincere efforts have been made to staff thecore, both with the Harper Fellows and withfaculty from the divisions. Nevertheless, thecore rests upon a precarious balancing. Forstrength to be restored to the undergraduateprogram, far reaching steps must be taken.Creative and energetic leadership must take theinitiative.In many ways, there is a tension between theinstitutional directions of the University and theidea of the College. At the source of the tension isthe distinction between teaching and research,the unfortunate reality that many members ofour shrinking faculty have made a commitmentto the latter without a corresponding com¬mitment to the former.Before the tensions can be resolved, thecommitment to the idea of the College must beexplicit. If the idea is understood and accepted,the institutional readjustments can be made.Ralph Lerner, a professor of social sciences inthe College has suggested a useful context for thereadjustment:One may accept the notion that theCollege has a secondary place in thewhole scheme of things here and stillmaintain that the University has notinvested as liberally or intelligently as itought in the human capital—teachers andstudents—of this College.The Chicago MaroonFounded in 1907Editor : Peter Cohn Production Manager: Michael DelaneyNews Editor: Dan Wise Graphics: Chris PersansFeatures Editor: Jan Rhodes Business Manager: Niko MaksimyadisSports Editor • David Rieser Ad Manager: Doug MillerPhoto Editor: Dan NewmanAssociate Editor: David BlumStaff:Tony Adler, Earl Andrews. Steve Block, EllenClements, Nancy Cleveland, Nina Cohen, SkyeFackre, Abbe Fletman, Brian Foster, Mort Fox, JeffHackett, Andrea Holliday, Burt Itzkovitz, BonnieKunkel, Fred Mac Rae, Dan Mansueto, BruceMcLaughlin, Pat Mercer, Elaine Monchak, KrisOrgan, Dan Patterson, John Prunskis, RW Rohde,Adam Scheffler, Mark Stratton, Carol Studenmund,Mark WoodworthThe Chicago Maroon is the student newspaper of theUniversity of Chicago, published Tuesdays andFridays during the regular academic year. TheMaroon office is located at 1212 E. 59th St., Chicago,Illinois 60637. The telephone number is 753 3263 OpinionToday The Maroon initiates abi-weekly opinion page, intendedto serve as a forum for studentand faculty opinion. The con¬tributions below, reprinted fromthe November, 1976 FacultyNewsletter, present the views ofthe editors of the Newsletter, afaculty member, and a formerCollege students on aspects of theCollege.EVERY DECADE OR SO. thisCollege likes to remake itself.Hard on a University Senateresolution in 1922 that theUniversity should curtail itsundergraduate program whileenriching its graduate andprofessional schools. DeanWilkins nevertheless pushedthrough what were then sub¬stantial reforms in the College:more selective admissions;orientation week for freshmen;an enlarged staff of Collegeadvisors; and a new kind ofcurricular structure, the surveycourse.In 1931 the College facultyadopted a “New Plan,”distinguished by the decision tomeasure a student’s educationalattainment by comprehensiveexamination, riot course credits;the use of placement tests todetermine a student’s levels ofcompetence; the production ofsyllabi with bibliographies,selected readings, and sampleexaminations; and the establish¬ment of staffs to create and teachfour introductory general coursesthat were broader in scope anddeeper in penetration than the oldsurvey courses.In March 1942 the Collegefaculty, building on curricularexperiments of the previous fiveyears, adopted a comprehensiveprogram of general education,requiring eight year-long courses for high school graduates andfourteen for students enteringafter two years of high school,and awarding a B.A. degree forcompletion of that work.In 1953nthe College was againreshaped, in the direction of amore conventional 4-year B.A.program for high schoolgraduates, adding concentrationprograms to somewhat reducedgeneral education requirements.In 1965, in response to thememorandum of then ActingDean Edward Levi, the Collegewas divided into five collegiatedivisions headed by masters, andthe authority for 'making policydecisions was shifted from theCollege faculty to a Council thatwas half elected, half appointed.Custom alone, then, suggeststhat the time may be ripe for yetanother “New” College. What ismore, traces of ferment arevisible—the College Council’sexpressed concern aboutcurriculum last spring (CFN I,No. I), the existence of theClayton Committee establishedto explore possibilities ofrestructuring the College (CFN I,No. 2). The question is whetherthere is really any good reason tochange things. •We told these truths to be self-evident:(1) the University’s budgetaryprojections require enrollment inthe College to flourish ;(2) the number of regularfaculty teaching in the College issmaller now than five years ago;(3) it is not clear why so manysuperior students fail to apply toThe College nor why. of those whodo come, so many apparentlysuccessful students leave mid¬stream;(4) the shape of the world, thestatenof the intellectualdisciplines, and the character of our students are all enormouslydifferent than they were the lasttime serious thought was given tothe College program;(5) there is little consensus andeven less cogent thought amongus concerning the aims andtechniques of collegiateeducation at this time and place;and(6) the College faculty, as acorporate deliberative body, nolonger exists.These facts do not imply thatdramatic change is indicated.They do suggest that we have aninteresting problem, The editorsof this Newsletter hope to providea forum by which the dimensionsof this problem can be examined.One feature to be instituted incoming issues will accordingly bea mini-symposium, in whichmembers of the faculty will beinvited to address themselvesbriefly to a v ariety of questions.The topics planned for thesesymposia include: (1) what arethe enrollment pressures on theCollege likely to be in the comingdecade and how should werespond to them; (2) in whatmanner, if any, should theCollege policy-making structurebe reorganized; (3) what mightbe the best way to organize ageneral education componentthrough the f o u r-y e a rcurriculum; (4) what should bethe future, if any, of the New-Collegiate Division: and (5) whatshould be the future, if any, of theHarper Fellows Program'Through the symposium andsimilar features we hope theNewsletter will help create alivelier and more informedcommunity among the Collegefaculty, one able to decidewhether to reenact the Karma ofdecennial transfiguration or toescape it.Why Chicago? Why not Chicago?By ANN MOSESTHOSE OF US WHO KNOW THE COLLEGE findthat many of our students come here for no(educational) reason; they come because they wererejected by other (“better”) schools, becauseChicago is near home, because father (or more oftenmother) went here, because they received financialaid or hold an Illinois State Scholarship, because acounselor, a cousin, a friend, or someone told themvaguely “it’s a good school.”Then there are those who come for what werecognize as good reasons; they have given theireducation much thought and have researched thenation’s possibilities. For them the prestige ofanother institution does not outweigh Chicago’sspecific and demanding program; they are attractedby small classes, and are challenged by the messagethat Chicago is tough. One such student told me thathis decision to attend was made when a fourth-yearstudent told him, “You’ll never make it here; it’s toorough.” Such students confirm our own sense that weare a community of hardworking and seriousscholars.Through the admissions procedure we try tocommunicate to prospective students the goodreasons for coming here. The process is not,primarily, for the sake of selection; probably 85% ofthe decisions of the office could be made on the basisof test-scores and high school grades alone. We visitschools, interview applicants, bring them to campus.Ann Moses was student ombudsman. 1971-72. is a 1972graduate of the College, and is now a student in theSSA-business school joint-degree program.send out our expensive literature, mostly as a way ofrecruiting students; we try to convey to them a senseof the excitement of the place, and tell them that theyshould come for a liberal education with a well-constructed foundation (the Common Core).Yet our pride, the Core, the College curriculum, isMoses to 17 By RICHARD TAUBDuring the past two years, I have had the op¬portunity to speak with a large number of un¬dergraduate students who were considering droppingout of The College. Judging by the latest statisticalreports, a large number of them have, in fact, doneso. Although the ones I talked to probably do notconstitute a fair sample — most were concentratorsin the social sciences or did not have a concentrationat all — and although their stated reasons for leavingvary — they do not know what they want to do withtheir lives, they need to earn money, their parentsmiss them, they want to see the world — certainunderlying themes do recur which are probablvworth reporting. What one senses in many of theirreports is a sense of being peripheral to major pur¬poses of the institution—of being a problem for manyof the faculty rather than an opportunity — and afeeling that their interests and concerns get satisfiedwith whatever is left over after more important tasksare addressed. One must be clear about this. Theyare not complaining about the quality of their housingor an absence of things to do (more about this later),but rather a sense of being excluded from the corevalues of the institution. They pick up this message invarious ways. One is the small number of coursesavailable to them, compared to the number listed forgraduate students in the Time .Schedule. Anotherrelates to the number of required courses which aresuddenly not offered or postponed because there isRichard Taub is an associate professorial lecturer inthe sociology department and the College, and aQuantrell award winner.nobody available to teach them. Another is the senseof being borne not gladly by many of their professors,who seem to have much more time and energy forgraduate students than they do for them.Some practices which have become more frequentin the Social Science Collegiate Division at least,Taub to 174-The Chicago Maroon-Friday, January 14,1977An Interview with Steve GoodmanBy David BlumSteve Goodman's Chicago appearanceshave grown infrequent over the past fewyears, largely the result of a push forstardom for the singer/songwriter by hisrecord company, agents, and concertpromoters. His campus concert tomorrownight will be his first Hyde Park per¬formance in recent memory.At a chance meeting on a Chicago streetin June of last year, Goodman agreed to sitfor an interview before his first set at theEarl on July 2. What follows is a transcriptof that interview.At tomorrow's concert, Goodman plansto introduce the "Rolling Blunder Revue,"a group of local musicians who have ac¬companied Goodman on his albums and atmost of his local engagements. The con¬cert is the second offering of the MajorActivities Board this quarter.Q: Four or five years ago, Steve Good¬man was a relatively unknown name,except to Chicagoans and other musicians.How do you feel about the direction you'vegone since then? Has it affected yourmusic?A: I'm just real glad to be able to makeanother album. I think that what's beengratifying about it is that I was able to goahead and work the last few years withouthaving a record out. I don't know, though,maybe putting a record out will be theworst thing that ever happened — the lasttwo years things just sort of happened bythemselves.Ever since Arlo Guthrie cut "City ofNew Orleans" I've been able to prettymuch get away with murder. It's not themost common thing to be able to actuallyjust play thece songs and play the guitarand actually get away with paying the rentwith that. I've seen a lot of my pals whohave people say, "Don't quit your dayjob," to them. I sort of half know what theymean. This turned into my day job in thelast few years, and that's what surprisedme. I'm gratified to be able to go aroundand draw enough that a promoter will takea gamble and hire me from time to time.Q: But have you changed at all, or havethings remained the same ?A: I think some things about me havechanged. I'm a little more careful now ofthe music business than I was. I jumped inwith both feet. Now I have a better per¬spective on what I'm doing, and I know thestuff I do doesn't sound like rock and rollthat much. At least not right now.I don't try to fit myself into anycategories or anything like that. I used tothink that this was only folk music, andthings like that. Well, I feel a lot more openabout things now. I don't feel like I have tosound like folk music or rock and roll.G: How do you feel about the reactionyou get in other cities? In Chicago you're aknown quantity, and your concerts aregenerally sold out; but in New York, andother places, the audiences are different,less familiar with your ideas and style.A: I don't quite know how to feel aboufthat. I think it's just the fact that I've livedhere all my life, I've played the last sevenNew Year's Eves at the Earl of Old Town.I'm a home boy here! That's a differentkind of thing. It's really nice to be able toplay in a concer4 where you can get thekind of exposure that was afforded me inNew York, on that Bonnie Raitt show(Carnegie Hall, 1975). It was nice of her toinvite me — tha was her choice. That wasvery lovely of h* She sold out Carnegie, and she'll sell out Boston. I'm playing withher in Lenox, Massachusetts, at somesummerfest out there.Q: Some local musicians feel that theonly way to really make it in the musicbusiness is to leave, like Bonnie Koloc hasdone. Do you agree? Would you move toL.A. or New York if you thought it couldhelp your career?A: Bonnie Koloc signed a managementagreement, from what I understand, withIrving Azoff. He's got the Eagles, DanFogelberg — you know, he's got somepeople who are out there doing it.Whatever that means. She sings too goodto just be Chicago's own, man. It's time toshare her. She came here from Waterloo,Iowa, anyhow. I'm just real glad shestopped here. I wish her nothing but thebest. She's seen some rocky times. Whenyou think back to 1969, she was selling outMister Kelly's, without an album. I ex¬pected her to go then. She doesn't sing anyworse now than she did then — in fact,she's singing better. She knows a lot moreabout music. And I think Bonnie will justbe fine. I think she'll always have anapartment in Chicago.This is a rocky business. The musicbusiness can be so squirrely that ifsomebody tells you they want you, andthey're in L.A., then you go. Take a shot,you know, that's probably the best thing,Q: But where's your direction now?A: Well, it's just an unfortunate fact thatthe big booking agents are just not inChicago. If you want to get out...the guywho manages John Prine and myself hasan office in L.A. right now, and a NewYork phone number. So, he's where theheat is at least, and in a way it's a blessingfor me because I get to stay here. Myfamily and friends are here. I've got alease on an apartment. I don't plan to goanywhere for a while.Chicago's my home. Whatever I have todo to make a living with this, would besomething else, but I'd always considerChicago my home.Q: How do you approach a concert in asmall club like the Earl of Old Town, asopposed to Carnegie Hall or some largearena?A: I'll tell you. At the Earl, there's atendency for me to be a little lazy. BecauseI've been here so much and because I knowthe walls, so sometimes I don't con¬centrate too much right away. I get lulledinto thinking that, well, everything's o.k.,I've just got to go up there and try to keepthe guitar in tune.Sometimes you get three or four songsinto a set and realize that it's not hap¬pening, because you weren't con¬centrating. All I try to do is to put songstogether in an order that'll help me getfrom the beginning of the set to the end.I've never really tried to articulate thatbefore, I don't know...I think what I try todo is I try to be as entertaining as Ipossibly can, because I figure everybodypaid their money and took their chancesand are sitting in a small, crowded room.So I try to get everybody in the mood tolisten to the stuff, then I try to sing three orfour songs that I think, at the moment, arepretty important to me.If everything's working by that point,then it just happens. Then I just startpulling them out. I don't write a set downon the guitar. Just for that reason. I don twant to be stuck with it, and I don t want tobe standing there looking at the guitar and go, "Well, shit, I don't want to do that."I pretty much like to feel that theaudience and I are having a good time. Itake as much from an audience as I givethem. They pay money, and attention, andtime. And I make them get interested, too,if I possibly can do that. That's a lot to askof somebody who's been out working allday. That's a pretty good challenge.There are certain parts of the per¬formance where it becomes much easier toplay the small clubs because the eyecontact. You can see who you're singing to.and you can tell, right away, whether ornot this is happening. At Carnegie Hall,with Bonnie Raitt, that audience was soquiet that I couldn't tell for the first threeor four songs whether anything I was doingwas going over. And I got lost. It workedout all right in the end. But at first, I wassaying, 'God! This is Carnegie Hall', andI'd been there on nights when it was goodand loud, so it was hard for me to judge.Sometimes, by the other token, if you'rein a small place, every tiny little mistakeyou make is like being in under amagnifying glass. And you just know thateverybody saw it. You get the feeling thatevery clam you make on the guitar hasbeen magnified 400,000 times. Every timeyour voice refuses to sing a particularnote, despite every effort of your consciouswill to make it sing that particular note,you feel like you've blown it horribly. In alarge concert hall, you shut your eyes andpretend it's part of the set.Q: How did you evolve the song"Unemployed" on your last album? It'sdifferent from most of your material.A: It started out as just a — I wasthinking of Elvis Presley's "Too Much"and Elvis was out of work, and — ohhh!that thing sounded good. As unem¬ployment climbs, and it becomes prettyobvious that nobody's giving anybody thestraight story on tha* kind of a situation,then the song gets better. I wasn't trying toprove anything by it, I was just saying howI knew a lot of guys who were collegegraduates who were driving cabs. Andsome who weren't even doing that.O: What's the story behind "City of NewOrleans"?A: We were on a train visiting my wifeNancy's grandmother, down in southernIllinois. We were on the City of NewOrleans. Nancy fell asleep, and I waslooking out the window : wrote down whatI saw and I got the chorus. I just got thechorus, just sittina there on the tram. O: Did you have a auitar?A: No. I just had a pen. And I was hopingthat it sounded like what I thought itsounded like, when I got it back to a guitar.So I got the first verse, and the last verse. Iremembered, from when I was at theUniversity of Illinois, how far down thetrain went, and a few other things. I usedto ride the train down to New Orleansevery now and then.When I got back here, it was right in thislittle room here that I played the song for aguy named Dick Wedler. He's a filmmakerout on the West Coast now. And he told methat I'd looked out the window and I'd donethat pretty well, and I had the third versewith the hooker in it, you know, the"disappearing railroad blues". Amtrakhadn't taken over the railroads yet. Thiswas five years ago.But he said, you didn't describe anythingthat happened on the train. So after Nancyfell asleep, I went and got a beer in the clubcar, and it didn't take me very long towrite the second verse I wrote it righthere on this desk. Total writing time wasabout 45 minutes or so. Spread over twodays. I don't know how to explain it.It was the luckiest thing that everhappened to me. No question about it. If Inever get another one, that's o.kQ: How did Arlo Guthrie first come tohear it?A: He heard it in the back of the QuietKnight (a Chicago nightclub). DickHarding, who owns the Quiet Knight madeArlo listen to it. And Kris Kristoffersontook a tape of it down to Johnny Casharound the same time.But I'll tell you — Arlo's version, asdifferent as it was, it was lixe the disap¬pearing railroad blues, it was an in¬terpretation. Instead of being a train song,it actually became the disappearingrailroad blues. Crap, I loved it. It wasgreat. I couldn't believe how much time hemust have spent on the damn thing.O: Which songs do you like to performmost often?A: There are some songs that might beimportant to a set I might be doing, butthose aren't my favorites any more thansome of the others.Songs are like children There are happyones, sad ones, intelligent ones, silly ones.But they're all vour children. You love'em.The Grev City Journe! day lanuarv"Songs are like children. There are happy ones, sadones, intelligent ones, silly ones. But they're all yourchildren. You love 'em." "I jumped into the music business with both feet. Now Ihave a better perspective on what I'm doing, and Iknow the stuff I do doesn't sound that much like rockand roll."6437Anthony Braxton's series of recordings for Aristastand as an unparalled achievement in contemporaryjazz. Braxton has asserted himself as a leader inmodern music, and as the most recent entrant into theselect circle of true jazz greats.The RumprollerBraxton et alBy M. NeustadtDuets 1976, Anthony Braxton with MuhalRichard Abrams. Arista 4101 Side One:Miss Ann, 37-78-64, J-327-04M. Side Two:Maple Leaf Rag. 36-MK-74-128, Nickie.Anthony Braxton's series of recordingstor Arista stand as an unparalleledachievement in contemporary jazz.Braxton has asserted himself steadily andquietly as a leader in modern music, andas the most recent entrant into the veryselect circle of true jazz greats.Duets 1976, his most recent album, issuperb and deserves to be listened to longafter the huge mass of recent releaseshave faded away. It is his most perfect andcomplete statement to date. There is notone note on the album which does not fitinto a clear emotional-musical context.To many Chicagoans the impetus behindthe album will seem obvious. It is thegrateful statement of a student to histeacher. As we all know (or should know)Muhal Richard Abrams is one of thefounding fathers and the guiding light ofthe AACM, the association of musicianswhich produced the modern Chicagosound. Abrams is probably the first artistjazz has seen who is first a teacher andsecond a performer. His many pupils areat the moment astonishing the East coastand Europe with their ability.Abrams and Braxton meet for what isessentially a blowing session, to reminisceabout the past and have a grand musicaltime. Braxton composed three com¬positions for the date. There are also twostandards and one free improvisation.I used to be annoyed by the largenumber of standards that Braxton wouldplay in a club set. There seemed an un¬necessary amount of fauning to anaudience made up of young, Saturdaynight revelers. On this album someonehappened to position the two standards atthe beginning of each side as if to ensnarea wider audience. But, as Braxton explainsin his liner notes, standards were and stillare an integral part of the Chicago ex¬perience, and in reflecting about thoseearly years in Chicago, they have theirrightful place.The record begins with Eric Dolphy'sMiss Ann, with Abrams on piano andBraxton on E-flat clarinet. It is slightlyjarring to hear a percussionless Miss Ann.Dolphy, during his early years alwaysdepended upon the most firey and ac¬complished drummers he could find. Theoriginal recording of Miss Ann featuresRoy Haynes in one of his finest per¬formances. Abrams has a very easy,almost lackadaisical sense of rhythm andthis is the only piece on the album where itmight be found wanting.The performance is otherwise superb.Braxton piays an original and interestingsolo, in no sense a rehash. A theme thatseemed to be integrally tied to Dolphy'sphrasing bends to one new interpretation.Abrams solo is of typical qua! fy.Woen i say typical, it is r ic v/ay mean-2-TheG,'ey City Journal r ' dav January 14, to demean Abrams's playing. Those whohave read this column in the past areaware of my respect for this man.Abrams's playing comes like a flash oflight, a revelation of how beautiful jazz canbe. He deals with fundamental concepts ofjazz and explains them in a way no one elsecan. On this album he explores the con¬cepts of Anthony Braxton, and as they arethe finest concepts to appear in theseventies, his is some of the finest playinghe has recorded to date.The second piece, which for the sake ofspace I shall call 37-78-64 (anyone familiarwith Anthony Braxton's system of notationknows the impossibility of containing histitles in an article. I have chosen to use thenumbers in his titles as a sort of com¬promise solution) is an open-endedcomposition by Braxton on which he playsclarinet. In the liner notes he explains thathis pieces are "actualizations of a givenconceptual and structural path, ratherthan versions of a given theme." I thinkBraxton stresses this point because hewants to emphasize the communal aspectof his compositions. They almost confoundthe definition of composition for theamount of society contained in each. But atthe same time, this is their greatness.Compositions of this nature are not weakerforms than theme plus improvisation butmuch stronger. The communicationbetween the two musicians on this albumis of the highest quality, and makes thesecompositions some of the most fullyrealized Braxton has ever recorded.37-78-64 is the prettiest of the com¬positions on this album, as long as by"pretty" no one assumes a certainbanality. Braxton's two graces are that heis never banal and that he is always in¬teresting. The jovial ascending lines of37-78-64 are a joy. It is music to smile to.J-327-04M, the last piece on the first side,is a testament to the nether reaches ofsound. Braxton plays his contrabass sax.The piece is structured around a rhythmic theme; it is a real footstomper. Somehowit seems much more logical to investigatethe rhythmic implications of a new in¬strument before the melodic, and this isthe path Braxton chooses for the con¬trabass, an instrument he is introducing toa wide audience.J-327-04M is the least structured of thepieces on the album. The rhythm is set butthe harmonic implications are largely leftup to the performance. Abrams plays afascinating left hand solo.Side two opens with Scott Joplin's MapleLeaf Rag. It is a little late, but Abramsdeserves his say on Joplin more than mostof the recent hoard of pretenders. Manywill have a tendency to treat this renditionlike a joke as with the Sousa march onCreative Orchestra Music 1976, butalthough it is light hearted, it is no joke.This Maple Leaf Rag at least trys torestore Joplin to the musical world whichhe deserves. It may be too little too late,but that's the record companies' fault, notBraxton's or Abrams's.36-MK-74-128, the second piece on sidetwo, is 13:13 minute masterpiece. It beginswith Braxton on soprano, and quicklyestablishes the spirit of grandeur thatpermeates the piece. It moves to Braxtonon contrabass clarient for one of the finestmoments of the session. When Eric Dolphyplayed the bass clarinet there were certainphrasings in the instrument which hebrought to the surface. The same is truefor Braxton on contrabass, and in hishands the instrument realizes its musicalpotential. The piece ends with Braxton onclarinet wrapping up a beautiful musicaltapestry.The final piece on the album, entitledNickie (dedicated to Braxton's wife) is atotally spontaneous improvisation. Onecan count the number of pieces of this typeon one hand. Since Tristano cut the firsttwo sides most everyone has backed awayfrom the challenge, opting for the slightest 78bit of preconception. Braxton understands,as Tristano did, that a spontaneous groupimprovisation must have at its base a verylyrical concept. The emotion must be onethat the musicians can relate to ef¬fortlessly and in the same fashion.Tristano's group did pastoral songs,Braxton and Abrams do a love song. Itends the album on a beautiful, reflectivenote.Roscoe Mitchell Quartet. Sackville 2009.Roscoe Mitchell, B flat, soprano, alto, andtenor saxophones; George Lewis trombone; Muhal Richard Abrams, piano;Spencer Barafleld, guitar. Tnoona, Musicfor Trombone and B-flat soprano, Cards,Olobo.The Roscoe Mitchell quartet album isanother production of the Chicago school,but unfortunately it fails at many of thethings which made the Braxton album sogreat. The music seems to celebratemusicians in isolation from one another,and the intense and complex compositionscannot support such a philosophicaloutlook. The feeling of community soimportant to jazz is in many spots absent.And although the musical situations on thealbum are intelligent and refined, I cannotenjoy them with the abandon I would wish.It is a fascinating record. There isenough music on it for many listenings,and it should be heard by anyone in¬terested in contemporary jazz. Althoughthere are four musicians in the group, thetwo who stand out are Roscoe Mitchell andGeorge Lewis. This is the first record onwhich Lewis is widely featured, and thatalone is worth the price of the album.The set begins with "Tnoona," a Chicagostandard which always bears reworking.In many ways it is the "Night In Tunisia"of the seventies. It establishes anoverriding mood and allows improvisationwithin that mood. Lewis plays the"breath" solo on trombone in his personalstyle and brings it off excellently. Abramsplays the piano line which only he canplay, adding a heavy bass to compensatefor the lack of a bass player. Barefieldcontributes highly electrified guitar lineswhich zoom in and out of the haze, whileMitchell p'ays the leadThe rest of the album is made up of threenew compositions, two by Mitchell and oneby Lewis. The Lewis composition, Duet forTrombone and B-flat Soprano, is afascinating thesis on the trombone. Atdifferent points in the piece he displaysmost of the traditional roles assigned tothe trombone and then proceeds to rocketthem into space. An "um-pah" linebecomes a screaming cadenza.By this time Chicacoans should beaware of Lewis's increu&le talents as aninstrumentalist. His composition is stillmolding itself, it now seems too much likean outgrowth of his solos. But he is one ofthe great original minds the trombone hasseen, and is worth following most closelyin the years to come.The rest of the album is too rich andcomplex to go into in deVjil. The listenerlooking for stimulation will certainly findit here. The comment about isolation stillholds thougn. Somehow it sounds too muchlike music to enjoy in a vacuum.WHPK Picks and Plays: The Best of 76The Eagles will be given awayIn the tradition of many great radiostations and newspapers, the Rock musicstaff at WHPK have decided to halve thefrequency (88.3) and list the 44 bestalbums and 15 top singles of 1976. Even ifthe gimmick isn't readily obvious to theaverage reader, the fact that we could onlycome up with 44 albums says somethingfor the other 1500 or so discs which crossedour turntables. So, if you think thesealbums are bad, come up to the station andwe'll play you some awful 1976 material.The reason for the 45's list is simple.When we halved 88.3. we were left with a.15 ... thus came 15 of '76's top singles.Just to qive the reader a fair chance,WHPK will devote 6 hours on the 22nd ofJanuary to airing various cuts from thesealbums and any other albums you decidethat we missed. Just mail a postcard viafaculty exchange to WHPK, 5706 S.University, Chicago, 60637 and we'llprobably play your song and mention youin the process. Imagine what your friendswill say when they hear your name onSaturday night. Remember, you only havea week to mail your requests in. This isyour chance to tell the Grey City Journaloff for printing our opinions and to tell WH¬PK off for playing our opinions. What adeal!!The list follows with comments whereneeded:In no particular orderSteely Dan—The Royal Scam (ABC); Anexcellent album from an excellent group.Richie Blackmore's Rainbow—RainbowRising (Polydor); Strictly for metal freaks(especially in concert), but it turns outthat Blackmore actually can play andRonnie James Dio can sing.Rod Stewact—A Night on the Town(WB); We had our doubts about Rod, butthis album with its excellent song selection(The first cut . . ., "Toniqht's the Night,”"Pretty Flamingo” etc.) and singingproved that Rod was the best.Flrefall—Firefall (Atl.); They sureworked hard for this, but will it last?Bad Co.—Run With the Pack (Atl.);Using the same formula for three albumsgets boring, but somehow the songwritingimproved from Straiqht Shooter.Eagles—Hotel California (E/A); 3million fans can't be wrong, can they? IsJoe Walsh really a member of this group?Bob Seger—Night Moves (Cap); Theyknew it in Detroit years ago and finallySeger cut the album we knew he wascapable of making. If anything, 1976 wasthe year of the white R&B singer.Ted Nugent—Free for All (Epic); It's afar cry from his last album, butrepresentative of the genre. Just turn it up.Kiss—Destroyer (Cas); We know, weknow—but Kiss finally cut an album which21 year olds could appreciate as well as 12 year olds. It turned out that those pre-teens weren't sophisticated enough afterall; but we were and we liked it. Thankyou, Bob Ezrin.Heart—Dreamboat Annie (Mushroom);What can we say: you've all heard it andyou all seem to love it.Bob Marley/The Wallers—Live (Isl);The definitive reggae album. We meanthat Marley is reggae and this albumcomprises his best tracks. If you only buyone reggae album this year ...Genesis—A Trick of the Tail (Atl); It'svery fashionable to like this group. Someof us like them and some oon t.Stevie Wonder—Songs in the Key of Life(Tamla); Nothing to say here.Best of Grin—Grin (Epic); Nils Lofgrencan write and play . . . this album provesthat while Neil Young might be burned out,he can still pick 'em.Tommy Bolin—Private Eyes (CBS); Agood record from an artist who couldn'thandle the hard stuff.Southslde Johnny—I don't wanna . . .(Epic); Another white R&B artist with agood band and great material.Blue Oyster Cult—Agents of Fortune(CBS); Look, man, I don't care what youthink; even Business students from Jerseylike this album. So there ...Bob Dylan—Desire (CBS); Every listhas to have one. Remembering when wewere kids.Boston—Boston (Epic); This, Boston'sfirst album, will sell more than any otherfirst album. Something for everybody.Journey—Look Into the Future (CBS); A Santana spinoff, Journey worked hard toput out a good album which one member ofour staff called the best album of 1976when it came out in January of 1976.Patti Smith—Horses (Arista); A Happening!!Bebop Deluxe—Sunburst Finish (Cap);The best yet from one of England's newerprogressive bands.Bowie—Station to Station (RCA); Theman keeps doing it and doing it well.Where will he go next?Modern Lovers—Modern Lovers (Bes);Once a Boston cult group, now a nationalcult group. Certainly not for that Car¬penters fan down the hall.Earthquake—8.5 (Bes.); For whateverit's worth, this group will be the nextAerosmith.Live at CBGB;s (Atl) — If you're notfrom NY or you don't like the Bowery, youdon't know that CBGB's is the heart of anew phenomenon; Punk. This album saysit all about that!Ramones—Ramones (Sire); More goodPunk from the big city.Kansas — Leftoverture (CBS);America's answer to violins andkeyboards comes in with the best effortyet.Warren Zevon—Warren Zevon (E/A);Simply, the best songwriter since JacksonBrowne. A beautiful album.Boz Scaggs—Silk Degrees (CBS); Whatwas that you said about white R&B? Thiswas overdue.Manfred Mann's Earth Band—TheRoaring Silence (WB); A Seven album evolution led to this stellar performance.Of course, Springsteen helped also ...Jonl Mitchell—Hejira (E/A); Her bestin quite sometime.The Doobie Brothers—Takin' it to theStreets (WB); While this album didn'thave a "China Grove”, it was their bestoverall effort. Some classics on thisalbum.Thin Lizzy—Jailbreak, Johnny the Fox(Merc); We're kind of partial here 'caus>we did the world premiere on both albums,but both are good, especially Jailbreak.The Runaways—The Runaways (Merc);Strictly for the cover and "C-C-C-CherryBomb”Graham Parker—Heat Treatment,Howlin' Wind (Merc); And they say thatwhite boys can't sing the blooze. Thisex-gas station attendant is successful inthat genre, as he draws from everyone.Peter Frampton— Frampton ComesAlive (A&M); Taken one cut at a time thisalbum is good, but woe be to the personwho plays it completely through.Elton John—Blue Moves (MCA); Hisbest in several years.Cliff Richard—I'm Nearly Famous(MCA); A nice low-key album from anearly '60's popstar.Al Stewart—The Year of the Cat(Janus); A well-written, weil-performedalbum by a British folk master.Steve Miller—Fly Like an Eagle (Cap);Something for everyone here. It rocks insome places and is understatedjn others.Paul Simon—Still Crazy (CBS); Artwho?The singles list is just for fun. You'veprobably heard these all too much, but sohave we and we still like them. Thesingles:Spinners—Rubberband Man—AtlFour Seasons—Ooh, What a Night—WBMaxine Nightengale—Right Back—UASylvers— Boogie Fever—CapitolVicki Sue Robinson—Turn the BeatAround—RCAFleetwood Mac—Rhiannon—WBHeart—Crazy on You—MushroomOrleans—Still the One—E lektraBOC—Don't Fear the Reaper—CBSMannfred Mann—Blinded by the Light—WBBoston—More than a Feeling—EpicHall and Oates—She's Gone—AtlCliff Richard—Devil Woman—MCAThin Lizzy—The Boys are Back-MercuryGary Wright—Love is Alive—WBWell, there you have it. Halt ourfrequency in the year's best records. Wecame up with 44 Ip's and 15 singles and wewill piay them all on Saturday the 22nd ofJanuary. Both The Grey City Journal andWHPK would appreciate any comments orsuggestions for our 1976 night. Don'tforget, 15 egos are on the line here hangingon your every reaction. Good listening.“A long book is a bad book9’Callimachus 3rd century B.C.In honor of the ancient literary critic, weannounce these recent short books, eachunder 160 pages:Elana Beloti,What Are Little Girls Made Of $7.95Jonathan Glover, ed.,The Philosophy of Mind $3.00Bernard Lewis,History Remembered, Recovered,Invented $7.95Nathan Scott,The Poetry of Civic Virtue $8.50John Cobb & David Griffin,Process Theology $6.95Walter Capp,Seeing with a native Eyes $3.95SEMINARYCOOPERATIVEBOOKSTORE5757 S. University752-4381 9:30-4:00 M-F A FIN! CIGARC0KPLFTR TOUR DINNfRTREAT YOURSELF £AND TOUR GUESTSTHE ONIT ONE OF IT'S KINO IN TNE H P AREAAt Marp«r Court Shopping Center5125 S. Horpcr C- 7 288 5151RTottopM Q).1508 EAST 53rd STREETPHONE 667 2000 .fw'- vPUBLIC LECTURE SERIES. Sponsored by the^ # ENRICO FERMI INSTITUTEof theUNIVERSITY OF CHICAGOTHE ARTHUR H. COMPTON LECTURESFourth Series byEarl SwallowElmhurst College, Department of PhysicsandThe Enrico Fermi InstituteSaturdays January 15 through March 19, 1977"HYPERONS, CRAB EYES, AND SOLAR ENERGY:FROM BASIC SCIENCE TO PRACTICAL APPLICATIONS”Unexpected piactical applications arising from Basic scientific reseaich are ofter1 viewed as lucky accidents and assigned such Madison Avenue labels asspin off A maior objective of this senes of lectures is to demonstrate thatthis view is misleading and inadequate bv providing a more realistic vietv ofho* applications are found We will begin by examining some of the excitingquestions which have engageo the imagination of elementary particlephysicists m recent years thus setting the stage for exploring a concrete contemporary example of the way it which unexpected applications drive from thepursuit of advanced basic reseaich The desire to study rare decays of elementa'y particles ihvpe'ons in particular' has led to the deveiopmen: at the Ferrniinstitute o* n»w techniques ana devices 'or non imaging light concentrationwhich are now being applied in such diverse areas as vision -eseaich infra redastronomy and solar energy utilization We will discuss this progression frombasic science to applications in some detail examining those characteristicsof basic science which make t a natural logical occurrence rather than apurely accidental oneA Reading list for the lectures will be providedFirst lecture Soturdoy, January 15 977 ot 11 A MEckhart Hall-Room 133-1132 E. 58th St.For further information, phone 753 8611The Grey Citv Journal Friday, January 14,1977-3Wednesday, January 19thTHERay Still, OboeCHICAGO SYMPHONY ORCHESTRAFIRSTIn a lecture-demonstrationCHAIRWoodward Court8pmAdmission free! Sunday • January 30, 1977 • 4:00 P.M.ROCKEFELLER MEMORIAL CHAPEL59TH STREET AND WOODLAWN AVENUE • CHICAGORICHARD VIKSTROMconductingTHE ROCKEFELLER CHAPEL CHOIR AND ORCHESTRAJ. S. BACHMAGNIFICATCANTATA 4"Christ log in Todesbonden"THIRD SUITE IND MAJORFOR ORCHESTRATickets: Reserved S6.00 Chancel Seating $5.50General Admission S5.00 Students $2.50Group rates available upon request. For information call 753-3381On Sale: Cooley’s Corner, 5211 Harper CourtReynolds Club Box Office, 57th Street and UniversityMail Orders: Rockefeller Memorial Chapel59th Street and Wood lawn AvenueChicago 60637Please make checks payable to The Unnersity of Chicago and enclosestamped, self-addressed enxelope.DATES TO RUNNAME, ADDRESS, PHONESendthisformtoMAROON1212 E. 59thCHICAGO, ILL60615 CHARGE: UC PEOPLE50' per line40' per line to repeat NON-UC PEOPLE75' per line60' per line to repeatALL ADS PAID IN ADVANCE There are 30 spaces per line, including all letters,spaces, and punctuation marks. Circle all lettersto be capitalized.HEADINGS: There is no charge for regular headings (i.e.,For Sale, Space, People Wanted, etc.). Your own heading(15 spaces) costs $1.00 (75' to repeat) per line.HEADING—— —11 ~4ll1 JAdvertising deadlines for Tuesday editions, 12 00 noon the preceding Fridayfor Friday editions, 12 00 noon the preceding Wednesday8-The Chicaqo Maroon-Friday, January !«<, 1977Joseph GolanThe First ChairmusicP.D.Q. BachBy Robert KunuthTo refer to Professor Peter Schickele'sappearance on January 8 in Mandel Hall,in which he presented the inimitable musicof P.D.Q. Bach as merely "an evening ofmusical madness" does not do the per¬formance justice. Though the com¬positions of the composer Schickeledescribed as "a pimple on the face ofmusic" formed the core of the per¬formance, Schickele himself is the mostindispensable element of the show.Although undoubtedly a talented com¬poser, it is as a showman that Schickele istruly in his element. From the moment hebegan clambering down a rope from thebalcony, Schickele was in complete con¬trol. Schickele's introductory lecturesoften rival the pieces in laughter. Strikingexactly the right combination of academicpedantry and utter ridiculousness,Schickele's lectures reinforce the con¬clusion that the man is a consummateshowman.The program began with the Suite fromThe Civilian Barber, by P.D.Q. Bach. Thesuite included the "Dance of St. Vitus,"and the "Fanfare for the Royal Shaft," inwhich the fanfare is played on brass in¬strument mouthpieces alone. The CivilianBarber is P.D.Q.'s "lost" opera, asSchickele noted in his introductory lecture.The Suite and the Peruckenstuck (HairPiece) are the only numbers that havesurvived of this work, though we arefortunate enough to have two P.D.Q. Bachoperas still extant: The Stoned Guest, ahalf-act opera, and Hansel and Gretel andTed and Alice, an opera "in one unnaturalact." The University of ChicagoRetrograde Music Society Orchestra,under the direction of Mr. James Mack,proved that it was more than equal to thedemands of the piece. The Suite was followed by one ofSchickele's compositions, the Chaconne ason Gout. This is another of Schickele'sexercises in manic plagarism, a seriesthat also includes his Quodilbet and the"Unbegun" Symphony. Schickeledescribed these pieces as a "combinationof Beethoven symphonies and Tea forTwo."WFMT's Mel Zellman joined Schickelefor the sportscast of Beethoven's Fifth,which, though testifying to Schickele'singenuity in its conception, was not carriedout with the panache I expected. Schickeleseemed to deliver most of his lines in amonotone that detracted from the qualityof the performance. This performance wasrather pallid in comparison with the oneSchickele recorded for Vanguard records.The Echo Sonata for Two UnfriendlyGroups of Instruments pits bassoon,clarinet, and flute against a trumpet,french horn, and trombone. The first groupplays an attractive baroque melody, whenthe brass instruments interrupt by playinga theme that sounds like it escaped fromone of Alban Berg's nightmares. I cannotdivine why Schickele has not claimed thatP.D.Q. was the originator of atonality.The featured work, the Mlssa Hilarious,brought the concert to a close. If nothingelse, this piece proves that P.D.Q. wascenturies ahead of his time in his or¬chestration, as it calls for the use of air-horns and "tape recorders" (thoughSchickele has decided that P.D.Q. wasreferring to recorders made of tape). TheMissa Hilarious is P.D.Q.'s only survivingsacred work, the only other one being thelost Half-Nelson Mass. To hear this work isto regret that the Shakers are no more;choruses consisting of the lines "A-men,Ah, women, Ah, nuts! Ah-choo" speakmore eloquently than any text of the depthof P.D.Q.'s religious feeling. Soloists in thework were Dale Teerbeck, the BargainCounter Tenor, and Schickele, the BassoBlotto.P.D.Q. Bach is, perhaps fortunately, ashow that is inimitable. See it as quickly aspossible, for I have no doubt that Schickelewill soon kill himself making one of hischaracteristic entrances. Until that sadday, though, enjoy P.D.Q. while we stillhave him. By Carl LavfnThe star shortstop of the ChicagoSymphony Orchestra softball team was inKenneth Northcott's Pierce Hall livingroom last Monday evening, entertaining acrowd of seventy-five strong souls whobraved the cold with a medley of music,jokes, discussion, and gossip pertaining tolife with the Symphony. Joseph Golan,first second violinist for the CSO, initiatedthis quarter's First Chair series with adiscussion of his letter-sweater days onjheMaroon's baseball team, the relativemerits and demerits of concert halls, andthe fake antiquing on his 1970's made-in-Chicago violin.Thanks to the foresight and hospitality ofMr. Northcott who had the heat turned upa few degrees, bodies were warmedspeedily. The hearts and minds of thosepresent thawed by Mr. Golan's relaxedmanner, his talent for improvisation, andthe rapport he continually maintained withthe audience.A special treat was provided by IrvingKaplansky, professor of mathematics,who, after a little coaxing played pianowith Mr. Golan in a unique jam session.This entertaining episode could only havebeen possible at a First Chair Lec¬ture/Demonstration, due to the in¬formality and intimacy of the series. Mr.Kaplansky's courage and talent deservesspecial thanks.The First Chair Series is financedthrough the housing office and managedthrough the Friends of the Symphony andby Ed Turkington. This is the program'sthird year. It began as a chance for dor¬mitory dwellers and other communitymembers to talk informally with some ofthe most talented members of the CSO.The program has succeeded admirably,and is enjoyed as much by the orchestramembers as by their audience. ThisWednesday Ray Still will be here with hisoboe. Other lecture/demonstrations willbe given this quarter by JosephGuastafeste, Donald Peck, and ClarkBrody. Mr. Golan's appearance was typical ofthe type of relaxed discussion that takesplace at a First Chair, though he may havebeen a bit more at home than most due toa kindergarten-through-lab-school-andHutchins-BA acquaintance with the U. ofC. He talked of his first lessons at the ageof four, his love of all styles of well mademusic, his difficulty in deciding between abaseball glove and a violin. He revealedthat after 25 years with the CSO he willtake a leave of absence to try free-lancingin Los Angeles. There was talk aboutcomposers; he enjoys play! j,Tchaikovsky finds Bruckner bor.ng("Once I dreamed I was playingBruckner. I woke up and. . .1 was!"),conductors (Giulini and Solti are amonghis favorites to work with) and con¬temporary music, some of which he enjoysbecause of the freedom the musician has toimprovise, some of which he is sure willnever pass the test of time and his in¬strument.He also showed that he does enjoyplaying first violin parts in classicalmusic, gypsy music, and even Bar Mit-s/ah music. A few shouted requests in¬spired him to play his interpetation ofDvorak's Humoresque and a concerto byMendelssohn.The First Chair Series brings fine freeentertainment to the campus. Each lec¬ture/demonstration is an education inmusic and symphony playing. The fullschedule for the rest of the quarter is:January 19: Ray Still, Oboe, WoodwardcourtFebruary 1: Joseph Gustafeste, Bass,Burton-JudsonFebruary 7: Donald Peck, Flute,Greenwood HallMarch 1: Clark Brody, Clarinet,Breckinridge HouseAll programs begin at 8 p.m.,%Am/ ofannouncesNew classes for the Spring TermDance* Starting Jan. 31for 4'/?-6 yr. olds — Creative Dancefor 13-15 yr. olds Ballet for beginnersfor Adults - Beginning Ballet or Modern(applicants for on-going classes to be pioced by the instructor)Music:For childeren 5-7 yrs. old — Music FundamentalsFor children 7-10 yrs. old — Pace Group PianoSuzuki Cello - Suzuki Piano - Suzuki ViolinPrivate and Semi- Private LessonMay be started at any timedepending on the teachers scheduleFor information or registration call 288-3500InIn WHPK PRESENTS:Men’s Basketball Maroons vs Lake ForestSaturday 7:15 p.m.hosts Keith Wiesman. Ted Panken, Gene PacquetteWomen’s Basketball Maroons vs MundeleinMonday 7:00 p.m.hosts Tom Bradley, Mark Pennington, Hiemy Blotum88.3 F.M.WHPKThe Grey City Journal Friday, January 14,1977-5DanceBy Eden ClorfeneIf the Chicago Ballet has left you won¬dering how seriously this town takesdance, you should know that the danceseason officially starts in January.For once, it is a very exciting beginning.A brand new, tremendously ambitiouscompany called Dancers performs thisSunday at the Auditorium Theatre, at 3p.m. Dancers is directed by its founder,Dennis Wayne.Wayne has danced with practicallyevery major American ballet company —six years with the Harkness Ballet, fouryears with the Joffrey, and just recently,13 months with the American BalletTheatre.Though Wayne has been a leadingdancer in each of those companies, that hehas not settled into a permanent home isthe result of a constant search for an idealdance situation. At present, salaries arenot nearly commensurate with the amountof time dancers put into their work.Repertoires are like rigid class systemswhich a dancer easily becomes type castas a particular kind of dancer, and has noopportunity to experiment with differentroles. And the home base of the majorcompanies is New York; small and lessaffluent communities are never includedin the touring schedules.It was always clear to Wayne that theonly way he would change in his act was tostart a company of his own. He went towork on its formation while dancing withthe Joffrey. At ABT, director Lucia Chasewould not stand for any moonlighting, andby mutual agreement, he left to makeDancers a full time occupation. And it ismost ironic that he made a pipedream areality practically at the same time thegreat modern dance company of PaulTaylor came within a hair's breadth offinancial' deafh — a frightening portent tothe dance worid.Wayne recruited all other dancers fromhis former homes. Most of them are closefriends of his, and share his indignationand ambition. His most important drafteewas Joanne Woodward, who so far hasbeen responsible for the funding of Dan¬cers.Wayne and Woodward met during herfilm “Summer Wishes, Winter Dreams."He discovered she was a ballet fanatic.When he left ABT, he asked her to foot theinitial bills and preside over the board. Sheconsented to do both, and is now trying to earn $5 million for the company.The possibility for Dancers' successmight be determined by the quality ofWayne's past career. Amazingly enough,his dancing has never reflected dis¬satisfaction with management or work¬ing conditions. Instead, he rechan¬nelled his angry energy into brilliantperformances. Wayne was probablyJoffrey's most consistently strong dancer,as well as most well-rounded performer,capable of assuming virtually every styleexcept that of buffoonery. Yet, his goodlooks and strength in the straight classicalvein landed him in mostly romantic leadtype roles. Some have even branded him a“matinee idol."Apparently Wayne is happy to shed theglamor of Romeo, as the repertoire he isbuilding for Dancers has a decidedlymodern direction. The program for thisSunday includes works by Maurice Bejart,Todd Bolender, and Brian MacDonald.BejartThe big surprise of this year's seasoncame when the Auditorium TheatreCouncil announced the engagement ofMaurice Bejart's Ballet of the 20th Cen¬tury for next weekend. Bejart has not beento Chicago since 1971.A tremendous aura surrounds theBrussels based company, and it isprobably the biggest foreign attractionalongside Nureyev.Bejart calls himself an iconoclast of theballetic tradition. He seems to think thatballet is excessively esoteric, an art formthat has only snob appeal. So for 20 yearshis efforts have gone to making ballet“accessible to the masses"—which so farhas meant making massive, bombasticproductions. He has choreographed theentire Beethoven's Ninth, and has done re¬makes of the great Stravinsky ballets,“The Rite of Spring" and “The Firebird."From Balancine to Bejart. It's almost likesaying, from Bach to Bacharach.Nevertheless, Ballet of the 20th Centuryhas a dazzling roster of European dancers,one that only the Royal Ballet can rival.The program for Thursday- January 20and Sunday afternoon will be "Bhakti,"the “Pas de Deux from Romeo andJuliet," to the score of Berlioz, and theever-popular “Bolero," music by Ravel.The other program, for Friday andSaturday night, will be "Pli Selon Pli," tothe music of Pierre Boulez, “Serait-Ce LaMort", to music by Richard Strauss, and“The Firebird." At the least it shouldprove unusual. Word is that Bejart haschanged the Firebird into a man. | TheaterCops:TheatricalBrutalityBy John LanahanI guess the chief appeal of the policeshows on television is that they provide asetting for physical adventure in a modernurban context. Despite the fact that theyalso furnish a forum for “social com¬ment", most of it to the effect that thoseaccused of crimes are guilty as chargedand should be dealt with as summarily aspossible, police dramas are popularbecause they reduce human conflict to a very basic physical and emotional level.The current production of Cops by theOrganic Theater doesn't vary from thatpattern; in fact, it exploits it to the pointthat the show becomes a genuine exampleof Artaud's “theatre of cruelty."Before I go any further, I should at leastmake an attempt to define what I mean bythe "theatre of cruelty." Aside fromBrecht, Antonin Artaud is one of the mostinfluential and probably least understoodof modern dramatists. I could spend pagestrying to articulate what I think Artaudmeant by a "theatre of cruelty." I will,instead, say only I consider the "theatre ofcruelty" to be an attempt tosimultaneously outrage and alienate anaudience. It is based on the fascinatingparadox that often the most violent andrepellant actions have a secret and horridattraction. The theater of cruelty forcesthe audience to comment on its ownemotions; it balances attraction andrepulsion, so that drama becomes bothritual and analysis.The author of Cops, Terry Curtis Fox,did not construct the play to be a con¬tinually developing narrative, where oneline builds upon another. Instead, the first(continued on page 7)Michael Saad, Dennis Franz and Joe Mantagna in Cops. Photo by Dan Rest1 — — — —• — — «—• — — ^iPIZZAPLATTER14MI.MHMl S>2800[ FAST DELIVERY ’i AND PICKUP ! Young Designs byELIZABETH CORDONHair Designers1620 E. 53rd St.288-2900 • Eye Examinations• Contact lenses (Soft 1 Hard)• Prescriptions filledDR. MORTON R. MASLOVOPTOMETRISTSHyde Park Shopping Center1510 E. 55th363-6383The Creationof America’sMost MemorableLove StoryRead it all in theonly official bookaboutthemostex-citingandextravagant monster mov¬ie of the yearINCLUDES OVER50 PHOTOSBe sure to seeDino Oe Lauren-tns KING KONGa Paramount Re¬lease. at a theaternear youOCKET BOOKS PREPARE FOR:MCAT® DAT® LSAT® SATGRE • GMAT • OCAT • CPAT • VATOver 38 years of experience and success. Small classes Vol¬uminous home study materials. Courses that are constantlyupdated. Centers open days 8. weekends all year. Completetaps facilities for review of class lessons and for use o'supplementary materials. Make-ups for missed lessons atour centers.ECFMG o FLEXNAT L MEDICAL a DENTAL BOARDSFlexible Programs & HoursOk' t'oAT lA'-q*- 'it I ir>o* in;r »-Mf rj i,s Vir*C' n*3 individual131 ?l 71.4 htM7050 W D».t mCtlK ..!*> HMi s' ' l.*s a, vv inwl, I*Outs tr Nf S'h'c O'fo‘»L. 800-221 9840- Mr- * SC *1 Stan&y-HKAPIANEDUCATIONAL CENTERTEST PREPARATIONSPECIALISTS SINCE 1938 PROSPECTS FOR 'PEACE IN THE !MIDDLE EAST Iprof, morton ja. kaplan Dept, of Pol. Sci.j& Chairman, Com. on iInternational Relations IFRIDAY JAN. 14 8:30 PM AT HILLEL I5715Woodlawn Itwenty minutes sets the scene in a dingygreasy spoon, with a dialogue style that issimilar to David Mamet's, but withoutMamet's staccato anapest that turnsaimless profanity into urban poetry. Theplay then dramatically shifts qears, andthe remaining hour is a wringing con¬frontation of three armed men amid ascene of death and chaos. The ending,which I will not reveal, added anaesthetically satisfying, althoughsomewhat gratuitous, note of irony. Thisplay will not make it in the anthologies, ifth$t makes any difference, since it hasalmost no literary worth. As a piece oftheater, however, it provides the basis foran extremely powerful Droduction.The direction, by Stuart Gordon, wasskillfully brutal. Mr. Gordon let hisaudience get lulled by the talkiness of thefirst twenty minutes of the show, only topull the rug out and keep them on the edgeof their seats for the next hour. Mr. Gordonsimply refused to let the audience ignorewhat happened on stage. As soon as thesituation became predictable, somethingloud and violent would force the audienceto pay attention. Part of me was furiouswith Mr. Gordon for manipulating hisaudience in such a cruel and brutaltashion; another part was amazed that hemanipulated me so precisely. This show isthe most successful realization I have everseen of Artaud's dramatic theories. That'squite an accomplishment — I've only seenone other show, a production of KennethBrown's The Brig, that was able to pull offthe "theatre of cruelty."The acting was tight and excellent.Meschach Taylor, Dennis Franz, and JoeMantegna formed the grim ensemble ofthe last part of the play. What surprisedme was that their characters becamemore subtle and precisely defined whenthe level of tension on stage was greatest,not, as one might expect, when the casthad the luxury of gratuitous gestures andlines. It made clear that great acting isjust that — acting, not posing or talking.The rest of the ensemble, Tom Towles,Roberta Custer, Michael Saad, IanWilliams, and Richard Fire, wereuniformly excellent. These people are simply me tightest and best group of ac¬tors in the city.The set, by James Maronek, capturedthe sleazy ambience of an Uptown diner;and the lighting, also by Mr. Maronek, waspitiless and stark, done in banks offlorescent lights. The set also defined anexcellent and flexible playing area, andmade wonderful use of the placement ofthe audience as a device to increase thetension. The special effects, by CarolynPurdy-Gordon, were sparse but effective:this show is precise, not oimmickv.This is not a show to see if you want todance your way out of the theater and intothe hearts of thousands. It is a brutal,draining, and wrenching eighty minutes ofdrama. When I left, I felt like I had drunksix cups of coffee; and only after someunrestrained necking and two glasses ofbourbon was I able to relax. I thoughtabout the show for days. It is a successful jand good production, but be forewarned;the "theatre of cruelty" is so named for areason. You will be bullied andemotionally beaten into feelings you willnot like, and perhaps you may realize whatthese feelings are and why you have them, iIf that happens, the show will have servedits purpose. Cops plays Fridays-Sundays, jin repertory with Switch Bitch, at the LeoLerner Theater, 4520 North Beacon Street, jin Chicago. Call 271-2436 for ticket in¬formation and reservations. ArtChicagoClay/Midway MudBy Christopher GaukerThe present exhibit at Midway Studiosfeatures the work of thirteen artistswc“king in ceramic at the Chicago ArtInstitute School and the Jniversity ofChicago. Hence the title of the show:ChicagoClay/Midway Mud.The content of the exhibit is quitediverse. All of the works employ clay orporcelain in some manner, though thismay not be evident in each of them. BillFarrell, faculty member at the Institute,has sealed slabs of wet clay in latex, ap¬parently molding within, and arrangedthese with latex-covered tree branches. Astudent of his, Nora Kyger, has cast latexwall hangings from textured slabs of clay.One of the more interesting pieces, by ArtInstitute student Brian Friedler, stands insand and gravel poured directly on thefloor, reminiscently of the RobertSmithson rock-salt works exhibited in the Renaissance Society Gallery last quarter.Still another, by Art Institute student CarolHammerman is electrical: Porcelainpellets vibrate over a square black sur¬face, leaving a faint pattern of dustytracks.The works of the U. of C. studentsMichele Corazzo, Cynthia Rust, Celia Sch¬mitt, and Nita Whetstone, and of theirteacher, Ruth Duckworth, differstrikingly from that trom the Institute.The U. of C. pieces are conservative incontrast to the innovations of the Instituteartists. But while the work of the Instituteartists tends toward the bizarre and ob¬trusive, the work of the U. of C. artiststends toward the subtle and sensitive. Anumber of the U. of C. pieces bearreferences to nature; to landscapes, or toocean waves; to forms to which claynaturally lends itself. Most of the U. of C.artists seem to be interested in thevariegation of texture and tone that can beachieved by, for instance, roMing the clayout on canvas, or sprinkling powderedglaze onto the clay while it is still wet. AsMichele Corazzo put it, the U. of C. artistsare interested in using clay in a clay-like. way.The exhibit runs through Jan. 27. Mid¬way Studios is located at 6015 S. Ingleside,and is open daily 9-5, weekends 12-5.Editor: Jonathan MeyersohnManaging Editor: Karen HellerAssociate Editor: Mark Neustadt. Mike SingerMusic: Lukacs LeBag, Toby Hofslund,Deborah Hughes, Bruce McLaughlin,Paul Gudel, Richard Brown.Theater: John Lanahan, Stephen Cohodes,Esther Schwartz, Christine Martinez,Charles HarveyArt: Carl Lavin, Chris Gauker, Julie Siegel,Jane Salk, 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.Now On Sale“laughing gargoyle” T-shirtson sale in the Mandei Hall corridor 11:30-1:30Monday - Fridayand at the Beaman Gallery 1:00-5:00 Monday-Fridaywhile the supplies last $4.00 OI/MBERLINk PRESENT! iMARILYNCHAMBERSResurrectionSEN PAY JAN. 167-CO 8 AS 10 Y>COBB HALLS1.50 $1w/this adHo one under 18 5811S. ELLIS AVE.UCID REQUIREDadmittedSAVE 33% rf you bring this adThe Grey City Journa'-Friday, January 14.197'Attend a IE speedreading lesson TONIGHT!At Tonight's Mini-Lesson you'll actually improve yourreading efficiency, both speed and comprehension,by using our techniques which have worked for over14 million people just like you.Whether you're a "Lazy Reader" unable to concentrate,a "Word-at-a-time Reader" who spends days, weeks,and months reading material that should take minutes andhours, a reader who can't remember anything you read,or a "Skimmer", who reads fast but retains little ..we can help you.All the advantages of Evelyn Wood Reading Dynamicswill be explained and demonstrated completely at theFREE Mini-Lesson. Stop wasting valuable time . . .you've got nothing to lose, everything to gain!Attend a FREEMini-LessonMost people go through life reading,without ever learning how! EVELYN WOODREADING DYNAMICS* r<FilmBy Karen HellerAdmission for Doc, NAM, InternationalHouse and week-end CE F films is $1.50. Onweekdays and Sundays, CE F single ticketsare$1.00. All Doc, CEF and NAM films willbe shown in Cobb Hall except Doc's Sun¬day Bunuel double-feature which will bepresented in Kent 107. I house films areshown in International House auditorium.The Big Parade (1925), directed by KingVidor. (Doc) Lazy Jim, denounced by hisfather, a hard-working aristocrat, andcoaxed by his sweetheart, enlists whenwar is declared and is billeted overseaswith his buddies. Romance developsbetween Jim and a French farmer'sdaughter. Unable to speak each other'slanguage, they communicate throughsignals and facial expression. BeautifulJohn Gilbert stars as the Yank. ReneeAdoree is his paramour who perfects thefine art of chewing gum. One of Vidor'sbest silents. Recommended. Tuesday at7:00.So Red the Rose (1935), directed by KingVidor. A well-made sentimental dramathat celebrates of the planter aristocracyin the old South. Beginning with scenes ofindolent luxury at the columned mansionthe film ends with desolation, humbledpride and the remnants of a house inmourning for the men it has sacrificed in adoomed cause. Unfortunately, the film isoften too sentimental to portray the truerealities of the war that destroys thefamily and annihilates the South. Tuesdayat 9:15.Born Yesterday (1950), directed byGeorge Cukor. Judy Holliday, one of America's greatest comediennes stars inthis hilarious film. A junk tycoon(Broderick Crawford) comes toWashington with his "doll." But she ain'tgot no cultcha or no class so Crawfordhires charming William Holden to playPygmalion. Holliday gives Holden a fewlessons of her own. Highly Recommended.Wednesday at 7:30.The Marrying Kind (1952), directed byGeorge Cukor. Ruth Gordon and GarsonKanin wrote the script about the domesticoroblems of a young married couple inNew York. Aldo Ray is a post office em¬ployee and Judy Holliday is an ex¬secretary. He in his way and she in herown inimitable style, reflect upon theirunion, its beginning and rapid demise.Judy Holliday is terrific as the New Yorkgirl who upon wedding Ray resolves, "I'mgonna think a half-hour every day." Hermother wants to know what she's going tothink about. Recommended. Wednesday at9:15.ATTICA, a documentaryby Cinda FirestoneMon. Jan. 17, Cobb Hall 7:15 & 9:30In September 1971 over 1500 inmates atNew York's Attica prison rebelled andtook control of the prison yard where theyheld 35 hostages, set up and governed theirown democratically-run community, andissued a "Declaration to the People ofAmerica" which read in part: "We are notbeasts and we do not intend to be beaten ordriven. . .The entire prison populace, eachand every one of us, has set forth to changeforever fhe ruthless brutalization anddisregard for the lives of the prisonershere and throughout the United States.What has happened here is but the soundbefore the fury of those who are op¬pressed." Four days later GovernorRockefeller ordered an assault which leftover 200 wounded and 43 dead, including 11 hostages—making it the bloodiestdomestic conflict since the Civil War.Cinda Firestone's documentary in¬vestigation of fhe rebellion begins wifh theconditions inside the prison during theearly hours of the rebellion, includingunique footage shot by two blackcameramen allowed into the yard by theprisoners. We then see the assault asfilmed fhrough the firing sighfs of the statepolice. Following the assault the film turnsto the McKay hearings on Attica inresponse to charges of governmentalduplicity—the testimony offers compellingevidence of the reprisals, torture, and"executions" that occurred after theprison was retaken. "Wake up," an ex¬inmate says, "because nothing comes to asleeper but a dream." Attica is one of thebest films of its kind — professional,revealing, and haunting.The Story of Adele H (1975), directed byFrancois Truffaut. (Doc) Truffaut'shaunting tale about Victor Hugo'sdaughter and her fruitless pursuit of aBritish lieutenant who does not love her.Isabelle Adjani gives a powerful anddisturbing performance as the youngwoman who eventually drives herselfcrazy. Truffaut's film frames fhe passionand emofions of Adele without everbecoming sentimental or unsuitablyromantic. Recommended. Friday at 6:30,8:30and 10: 0.The Man Who Fell to Earth (1976),directed by Nicholas Roeg. (CEF) Astrange looking creature from an aridforeign planet comes to earth in search ofwafer for his dying family. Attempting toappear as a mortal, he miserably fails andcomes off looking like David Bowie. Noworry - great looks aren't everything andbesides, the visitor's brilliant (have youever seen a film where the visitor wasn't?)and makes a fortune off his inventions. The cinematography is beautiful and in¬teresting, but the plot, what little exists, isconfusing. With David Bowie, CandyClark, Rip Torn and Buck Henry. Saturdayat 7:15 and 9:30.Murder on the Orient Express (1974),directed by Sidney Lumet. (I House)Based on an Agatha Christie mystery, akidnapper of the baby of famous parents(strangely like the Lindburgh case) ismurdered aboard the Orient Express.Luckily, Inspector Hercule Poirot is onboard to investigate the case. Everyonehas a pretty good time hamming it up. Ajowled and WdX-mustached Albert Finneyheads the superb cast that includesMichael York, Lauren Bacall, IngridBergman, Sean Connery, and AnthonyPerkins. Saturday at 7:00 and 9:30.Land Without Bread (1932), directed byLuis Bunuel. (Doc) Doc says: "A socialand anthropological documentary aboutthe Hurdanos, a people who lived isolatedin the mountains of Spain. Bunuel'srealistic, nightmarish structuring of thefilm expresses the alientatin of the Hur¬danos without a trace of pathos, and, inrevealing their backwardness and misery,the notions of justice and civilization whichmodern man has constructed are, bycontrast, exposed as a thin andhypocritical veneer." Shown with LosAlvidosat7:15and9:30in Kent 107.Los Alvidos (1950), directed by LuisBunuel. (Doc) A realistic portrait ofpoverty and crime in the slums of MexicoCity is presented in this film which is partdocumentary, part narrative. Bunuelfocuses on a young boy whose mother haslong since abandoned him. Dominated byhis criminal partner who is also hismother's lover, the boy turns to crime asan outlet for his passion. Recommended.Shown with Land Without Bread at 7:15and 9:30 in Kent 107.Network ratings plummet. The network's directorsvote to kill him off on the air in order tokeep their viewership happy and wat¬ching.Network is not about how things are orhow they will be; the point Chayefsky istrying to convey is this is how things couldbe. In making his vision a believable one,Chayefsky creates a set of realisticcharacters and tenable circumstances.William Holden's experienced but tirednews director seems very much like Ed¬ward R. Murrow. Peter Finch's rejectedand lonely Beale might be the private sideof a contemporary anchorman. The net¬work's fight for the audience in order toget more money from the corporation thatowns it is no different than the three majornetworks' constant battle for higherratings and greater revenue from spon¬sors. The question Chayefsky appears tobe asking is if we can believe all of this,then why can't we believe them creatingsuch a nightmare. The existence of suchcircumstances and people seemsreasonable, even if they all do talk likeChayefsky writes, spouting ten dollarwords and quoting philosophers. Bui, it'shard to see how these things are capable ofcreating such chaos. But what is mostunbelievable of all is thaf we're supposedto take it all as seriously as Chayefskydoes.Network begins to get bad whenChayefsky gets serious. Howard Beale'ssermons are filled with appeals for justice,respect and human dignity. When WilliamHolden finally leaves Faye Dunaway aftertheir turbulent affair, he doesn't bid herfarewell or even yell at her, instead heSidney Lumet's Network is a novel filmfor fwo reasons. First, the screenplay byPaddy Chayefsky is the first ever to dealwith the interworkings of a televisionnetwork, the real-life threat to the filmindusfry. Second, fhe film boasts a woman,Faye Dunaway, as its star in an un-traditional female role But, as con- William Holden in NetworkGuide"The Seven-Per-Cent Solution" tells of ameeting between Sherlock Holmes andSigmund Freud, and needless to say, is notbased on an Arthur Conan Doyle story. Theplot combines Freud's efforts to cureHolmes of his addiction to cocaine withHolmes' efforts to unravel a mystery, andit's all very uninteresting. In addition todiscovering why Holmes is a cocaineaddict, Dr. Freud also discovers whyHolmes is a detective. It's all well andgood for Holmes to rattle skeletons inbaronial English manors, but to delve intothe mystery of Holmes' enigmaticcharacter and to come up with an all-too-neet explanation for his addiction ener¬vates our interest in Holmes.Since there's not much of a story line,the bulk of the film is carried by the setsand the actors. The sets are lavish,detailed, and engage the eye, while the eartries to maintain interest in the dialogue.The actors include Laurence Olivier asProfessor Moriarty, Vanessa Redgrave,Joel Grey, and Samantha Eggar, all incameo roles with lines that must havetaken al! of five minutes to learn. RobertDuvall gives an uncharacteristic less-than-satisfying performance as Dr.Watson, marred mostly by a gratingBritish accent that doesn't ring true. NicolWilliamson plays Holmes passably, but iscompletely outmaneuvered by Alan Arkinas Freud. Arkin's portrayal, which ismethodical, deliberative, and yet full ofenergy, may not readily correspond withthe audience's preconception of Freud, butArkin skillfully overcomes any suchbiases. Whereas Williamson gives a nevercompletely convincing interpretation ofHolmes, Arkin's performance is theredemption of an otherwise feckless film. Faye Dunaway and William Holden inNetworktributions to the film, Chayefsky's scriptand Dunaway's acting are so oftenhazardous that they distort what mighthave been a very good film.Chayefsky's vision of a network is anightmare come to life, almost like a largenebulous science fiction invention.Retiring anchorman Howard Beale (PeterFinch) threatens to blow his brains out ontelevision. After this announcement theratings skyrocket and Beale's position isretained as long as he continues to night¬ly rant and rave on the air. The viewingaudience finally grows tired of Beale'sendless preaching without action and theGrey City FilmCompiled by Karen Heller and JohnAikenSeven-Per-CentSolution lectures her on the state of the world. NedBeatty implores Beale to appease thecontrolling corporation by giving him ashort course on the history of economics,inferntiona! business affairs and humannafure. After two and a half hours, we'vehad more shoved down our throats than wecare to swallow We're not sure whose theprophet and whose the crazyman, and inthe end, it just doesn't matter.Faye Dunaway stars as the New Yorkchief of programing. Intentionally createdto be more than just a "woman's part,"she is smart and aggressive. She's alsowholly ambitious, self-centered, in¬sensitive and a failure socially andsexually. We know these things becauseshe tells us all this during her first tenminutes in the film. Dunaway's role andperformance is the only unbelievable onein the film. By creating a characterlacking mystery and a sexual sensousness,Chayefsky deprives Dunaway of her twomost attractive and distinquisabiequalities. As she shows in Network.Dunaway is not versatile enough to playthe programing chief as Chayefsky wroteher.Aside from Dunaway, the rest of the castin Network is excellent. As the frantic andinnocent Beale, Peter Finch is im¬peccable. Yet, even during his endlesscantations, he continues to fascinate andexpand his role. William Holden's well-worn face and voice are still as attractiveas ever. Like Finch, Holden epitomizesclass; he brings vitality and elegance tothe dialogue that Dunaway enervates.Robert Duvall and Ned Beatty are bothvery good in their respective roles as acorporate hatchet man and the head of thecontrolling conglomerate. All of theseactors under Sidney Lumet's adeptguidance make Network a good film;Chayefsky's constant serious lectures inthe midst of sarcasm and Dunaway'sinability to handle any of it well stops thefilm from beina great.King KongThis film has received maximum publicrelations hype as producer Dino DeLaurentiis displayed masterful adroitnessin promoting it. It's too bad that the sameamount of energy was not expended inmaking the film. De Lauretiis instinctivelyknew that a Kong re make would be a box-office success Kong is an inexorable partof American pop culture—you may nothave seen the original film, but there is noway anyone growing up in America couldescape seeing a photograph of Kongswatting airplanes from atop the Empire(continuedThe Grey City Journal Friday, January 14, 1977-°$ta*e tx. <fiAg. 3e Laurent s x-e* —a4nc*n ng -c* or —cress *e sc*ec a e *eonor a se 4-corseevs- * coy k"?^: avco*- 'C ov€*’s.*aoc'n. *he cas c audienceacoea of —e beac*h. c crce a-c hersimian suitor.¥«cr of '~-e c<_c efry ze-'e-ec aroundfle 49 loot mecfianicaf ICong and his in-2*802 -: 2 - ■ • :. ' 2 -: :c*2' a ec * - a - 2The r*gr* ►a-'*c turns - a strong per¬formance o*.* the —ecra- :a <c<-g ap¬pears CT SC'88- 43r or * “*C cr —ee SCOT*scenes 3 "C - ;r»e r4 ~«2S« **e s dead.Kong's or sc'ee" appearances a-e 5 most'e * cere :• 3 - 3' - 3 ~ « r 3. *Reauz.fng ™a* — s ©as a sec-e- -sa* cou 3y;*De*sc’ 3e * *2- s aeva*—aoe c. : a —c *Sa* *_e —-ar -*-e nor cev * * 35 e g : a *cr a-cde-se- . -g c* a- a race—v -*2'3 e.e*--a<* '-3 cred *s 5* — a s ^'"r- -g a"scec a corvfr c<-- or -c* a s ar ac*arpor-'av’-C Kcrg T>e 0rgrna < "C<png *32 a 2<-;o.C* C1* meva* • 8cinerratK *ec*- ?.e2 *T ~ —*e re*<orc s scec a e~e*r-; a'a so—-?'* -g *~.a*anyone a — = —a* "g ’C* arc a — . *—' cr rc a' budge* cc*. r cc"H^e -e* sc-ee-c 2. a—a . concerns*se 4 * — - a * S3. -02- rc of —-e er-vtrorr-.efT* a-c zzrzcr2*e dorr -a* cr 3*Arne--car *e c.* T*ese *cc cs -ece •eor y suce^oa cons os'a cr cas cp-c* o4 the s*or. $ pr :cac . kno*ri ever *3~C53 *-C " 2 .«r - t^c.- -3 cr 3 'a ft —arc noth ng < 20-.5 *c rcro^sa'? ‘or "2f!i — S C5rji-s SC* 3*' s.-sce-ae 1> s"Kf.nc Kong is cr y “C* a *y a -0"2<-f — t nc* mere s not*- ng *22 • "errorinspiring about nic- ore© *«•- ceccr-eaccustomed *c h;$ size Kang 3oea- *gene's’? fear ceca.se ne doesr * 222*22- *cce cacao e c4 ge-ui-e brutality. E .e-K^e"* -e * s * s c* 3* -ernes s * a 2 2*22-5*c oe —ere c4 a 'a**^- acc der* *-a-se oe'a*e -evengeJef* Br eges ea—es* y p-ays *-e ccr--e<rec -a*-ra s* C-a-es S-dc - s acaricature of a s —a-—y expiO'*er and-ess ca ..5-ge as —e eye c4 Kcrg s 4e sin it, *ocCarrie"r S*Cr »ardBr 5- ^e ^a -a s Carre *eof Ca-- e /* - *e a see 2 — s‘expe* e-ces c.' -c -e- se- C1- .ear c* - g-sc-oc <2 sac c. 2 staunch 1 'e c c».s—c*-e' Carr e s -e.e' *2.g-* —e -cr—asee 2 2-c —era ccr.a-* cr« s-a nearscorse-*2' «a c c—as —a* s-e c-* -a*a©cr- fea-s age r e emer*a-y sc-och she 5/ca- er<*s -a* * *s* — e-s*-.aca- cc s.-a s ca* c^ac cacs.sa -e- — c*-e--e *2- *c c 'a- acc--- See s c. -sa crnC-2- *'cr 4©2 2* * aO. C CCr' .C* '2'- —cue - c s *30 :• "a c*'e' s*.ca-*sere c - S.sa- taxes ptty or her arc as*s Nickelodeon The Last TycoonS s-s. Scace< ce*i - . — cec or - Carr ie*Ngr cc-*** a^*c *-e c-aa —cea* of —asc~cc *c *a«a Ca-r ~ to ’-a c--c— _ — acc*ea Scsa- re* —a* a-c**^ girt isp a— *c *o - c —a c-c— c .ee- 2 ec* or s-cZ-3" a n -« 3-c ce*s 2 C'-cxe- c4 c c sc cec 3. — cec cr -a- c.- ng -a- — e — 2-*c4 . ctory But 2 s -c* cs* 4er Ca-- 2pcssassas **e cc.'<e-- :* ’2 e« -es s **aas *0 ~ c.2 cc ars * ~ -e- - -c Herpo***a- -creases 2s "a - — o-cg-assasyrr* < ace *c -c* cr(y overturn3S.-*-ayS 2-C fcrea* C-*S 0*-* 3 SC S'2 —oocrs swerve 2-c *css cars a-c *--c-y»X- *2S -*C ccr.2- 2-* — C. ng CC 2C*SW'ha* s*3—s as 2 s — c 2 e aasa-* storyoecc-—es 2 s-.sce^sa 2-c -cr-cr 4' 2c 4i —*•* — 3 s.-cc* -c 2-c disturb -c 2-c ngI* s — 5 aoilfry -c create such chaos a-cS-.sea"sa out c4 sae— -g "2-c. % tha*— a«2s Carrs* 22sa" . s.-c- s -g De®a —2 c'23*es —ese c.a * 2s cetera *-ey 2v*2- anda-y 3e* :2 cr picv -2 .*' izes-« cces :ca- v ~-2 3 a- *c —-py* 3 g sp ccc 5 "crough . 3*cc--2-*2-3 ar hourca4cre • =<2S c aca A- , cess c 2 s* — cc sfixe p ccc :a-c 2s and *- *es 2-2recur-er*ty .sac - s,c- 3 y*ay —a* theviewer 5 3*2-2 c4 *-e * -ace* * c- V.s cis '-sec *rac;*ora y *c co-cr —e ac-propra*e sce-es Eve- *hecine—a*cg-ap-y s simp e a-c un¬pretentious y;-g Car-ie --2 c.e c4ce -c 2 — 2Ce-4Cr-*2 2* s c- — c • 2S;ssy Space* as Ca-- 2 a-c P ce- _aureas -e- --c—e- ccr— c-*e ;-ea* . *3Car-ie's cc-r Scace* c-c* ces 2*2-.— -g•-a* * -a "C ^ C* ^ t1**-*'*4 — charges 4'c-— 'c —e-ce *c s.see~sa«-c ncr-cr see s-.c* * charges — car_2.' 2 c .es c —2-s c- *c "a 2.5-ga ca*'- C- 25S t — C'* "8*2 bOChS 2 CC— C C”5'2C*2' ^a —2 —5 SS* ca*2C *'2 5' C'- C "C *-2— c * " 2 '"22*ec5 C * *sees - spa - sa = cec c ■ * c *ac ac"esses■ares Carrie 5 4as* —o* -cLiWlr - j,- 4' S cxeccecr '^resgrts * -e-.r- vfor— *’cr -2*2*' Bogcarcv ch a*har su«.—disas*ers as a- Lang - *s*"S cxe ccecr 5 aco.* a arc>.c or —maxe-s a of «*~o- '2 **- ~*« cusjnessby acc ce--' 3*2* —a •x-a** —c» as «a,“fstill s accasr era cr **cBcgca-c. cr captures <*a —atore c* —a a-3 53 * 5 char 2ic'ers—adi tec* cr iz'zrz 5•-«: car-arar-a*- c^^scc *arhex* *c — a<2 r — 5 c* ~ a arc a? crC-a c4 —a ■ — s —cs- “'eras' -c sc?'—asir.c .as —a —a- .“'22 :ac power c* •Ha-2 2- 2 «*'2-5‘-_c« audience ercourrersin "e ties- 3- actor —a * ‘.a <« .s* seer cra -<c«2 ccecr screen r-egea “>: • ch «—* •has **a c-aracter RyarsC Hea ccr- c «*?• *ignorec by — e c-cwc ~“a• -.aver* —as ig-*es* caa «~at *a -as *c cc xtmovies 2 ce * 2* —a* cc--* “a “ — sa-*rea y s.- * *cc ce-— 2 -Burt Re>,-c*:cs and Rvan O’ Sea c=*—as*3- a-c —a c -ac*-r <•* ■— cha-ac-*e-'za* ers > 3 -ec- ccccs *’*c- *c **a -usua screen 3a-s.cr.2e 5-2“ <2 — exes ;as *-a - .-4 3CC-2C 2 c*. • -c procuce-Ke'th is a f:-e cra-a-re- ec*cr 2-c-*“,6 scenes -a eccaa-s " ~*amovie ca-a4'*s c-ea* * 4*c— C«cSheer erg's aesanpa Instead y*e -a* 2Sfe a S*e>ens a- actress y**c :a- 2:*B ^ ttie 4i — s arc —a ca * c4 —enicxe ooecr -as cassac c €•-* -- *-aadven* of - - 4i-r°e — c. es ca— c. 2' ."The 5; —c* a Nartion came —a caatha* movies cou c a sc -2 *c oecome a- a—form. Bogdanovich O'.es movies 4-r me -ability to capture a-c preserve c aces :4time", and ne cere ws* —a* '—*>,'«recollection o4 me ea- ies* says c4American film maxing.Re*-c cs *r as *c -c d Nickelodeon -0 * s * s a-a.: -*c r: sea a f - w *^- . - -C CC. -C -c * *3 sc Sbcr* 34 -SAC.3.-.C3 cut^»clty *e-c*s a-c' *:>C \* :S .S. Z''Z<~" S ~C *3 r—'ac 2v'CrS 3c-?’3' *s c reocr 3 ~c 2 we* . x-ctv-«*' '?•* —a hi — cce~$ ‘“a o*er-n*n^. g '3 an- a-g 3CS-S pi ‘ 65 *3il *C.r -a E vca*:'3* er s z‘ a- e*ce an* 4' —«ar-, cara*u • packaged fit cnly *nprepva'c*- 3*2 ——ac 2 2 * — a.-— ec"“-e Tycoon c -acac c* E 5 Kaca-3 -s'cc ~ -*a- sc-ae-o ay casec or——>3 1™ - “ S“,A.; — ^ C C ** — *252*2 — COCX3;-c s'3" -g Rooer* De Niro. Rode-4t,i — 5 - - R 5 , V ard s"sx:rdofa«r — - s-2S everyth ng a-d de ye-s.?-< :*h'eThe Last Tycoon s roughly cased on theprocess ona :4e c4 Irving Thalbe-g and the—e—sc.-a c'23 — s and romanticism of- ce'2 3 Monroe Stahr ' Rober4 DeN -c —a ”-a serg character, is 4he boy-wcrce- producer of a major film com-periy A« *he film begins, Stahr is alonea-c -dependent,, his actress-yyife having3 ac sc —2 years ago and the other studioc- e4s *oc busy with their personal affairs*c y*orry about making movies. StahrBecomes passionately intrigued by a- ys*e-’ous young woman, Kathleen(Ingrid Boulting), that arouses his-om an*icism and passion. Kathleens:mu ‘aneously taunts Stahr while askingnim to eave her alone, a disturbing habit*ha* seems to be the trademark of all- »2cerad heroines. Although the films*ops where Fitzgerald's book does, theending seems apparent, almost pre-des4ined: Monroe Stahr is doomed for atrag c, violent and quick end, bringing thestudio and the whole studio system down tothe crave with him.Lost in Kazan's Tycoon is the emotionand passion that was the center of Fit¬zgerald's novel. All the vitality, the love offilms and filmmaking, and romanticism ismissing in the film. There is no real senseof the fragility of the times, the feeling thatit was fading while it occurred, the ideathat nothing was ever finished because ofpersonal choice and will, but simply endedbecause the energy and passion died.Even though Pinter's script is auitefaithful to the original script, it still lacksmany of the qualities in Fitzgerald's book.After sc many faulty filmed versions ofFitzgrald's works, I begin to wonder howmuch they lend themselves to film. Thecomplexity of his characters, the sym¬bolism, the deceptive clarity and lucidityof his prose are difficult to capture on film.And yet, De Niro's Monroe Stahr holds somuch of that subtlety and depth, thefragile poise and temporary elegance, tha4it may prove this argument fallible.BRENT HOUSEEcumenical Ministry~'cz, - a 30-6 - S^e~. -0‘j*Sjt.csy-515 - Vespers5 A 5 - Scos; -C'jr6 * 5 - Scope- S' 257 15 - F t hi Oscussiorp^cre i Pnnc z e — All Welcome —Weekday WorshipBOND CHAPELTuesdays 4:30 - EvensongThursdays Noon - EucharistZZZ-ZZC-i’ j~jr ,C-TC I \ \7*e ’ln\5hcp O51*0 S ‘"•arper*<W Har-pt r ’ GUITAR CLASSESstarting Monday. January 24Youth and adults, beginnersand intermediates Also Saturdayclasses in banjo, recorder, auto-narc advanced guitar and fiddlebeginning Feb 5Register now and reserve yourc<2ce *n classRIP-OFFAUTO REPAIRFOREIGN CAR SPECIALISTSSERVICE ON VW & AUDIWe Offer Too-Ouai.fy Mechanical Se-viceTt/ie Utxs ' Electron * Sra^e Syve-E x*-arjst Sys'e— * O^^'^eoa -sC 'S'.+r ——35508 S. Lake Park* »< in'■/tr 'y. —v-v, >-0. 2ar- Vy-CA*_L684-5166 With This Ad Oniy2 drawers files 5354 drawer files 545Drawing Tables S65c BRAND } EOUIPMINTASUPPLY CO.$600 Commercial Ave.Opon Mon.- Saf. 8:30- 5:00RE 4- 2111 ROCKEFELLER MEMORIAL CHAPELSUNDAY. JANUARY 16. 19779 A.M.ETurr.er.irai Service of Holy CommunionUniversity Religious Service'll A M.E SPENCER PARSONSDean of the ChapelTHE COMMON MINISTRY"1 VORGAN' RECITAL AND HYMN FESTIVALPAULMANZOrgan*st. ^ Church MusicianPresented tn co-operation with the Lutherar School of Treoiogy and the Augustana.Christ the Mediator and Lebanon LutheranChurches 'A'ithout ticket.10-Trve Grey C *y Jourra F*- day January '4,1977CalendarFridayMeetingsHillel: Adat Shalom Shabbat Dinner, 6pm;Creative Services, 7:30pm, Hillel House.Christian Forum: “In Defense of Sec¬tarianism? Reflections on T.S. Eliot andMax Weber.” 8pm, Brent House.Crossroads: Ice-skating on the Midway, hotchocolate afterwards, meet at Crossroads,7:30, 5621 S. Blackstone.UC Folkdancers: 7pm, Ida Noyes.LecturesHillel: “Prospects for Peace in the MiddleEast,” Morton Kaplan, 8:30pm, HillelHouse.ArtsSmart Gallery Exhibit: “The ClevelandTuti-nami and the Origins of Mugal Pain¬ting (16th Century Indian Manuscript)”,10am-4pm Tues.-Sat., noon-4pm Sun.DOC: “The Story of Adele H„” 6:30, 8:3010:30pm, Cobb.Rockefeller Chapel: Edward Mondello,University Organist, in recital, 12:15pm,Rockefeller Chapel. Free.University Clocks: Discover the interestingand antique clocks at the University in atour led by the Caretaker of Campus Clocks.Tour begins 11:45am, lobby of Ida Noyes.Sign up in INH 209, or call 3-3591.Ray Still, one of the world's premieroboists, will perform at Woodward Court'sFirst Chair series on Wednesday, January19th, at 8 pm. Admission is free, and fheperformance includes a lecture-demonstration. For anyone interested inthe workings of the most beautiful in¬strument in the world, the concertpromises to be first-rate. SaturdayMeetingsSki Club: Ski team race, Sundown, Iowa.Call Steve 955-0380.Crossroads: Saturday night dinner, french,6pm, 5621 S. Blackstone Ave.Calvert House: Medical Ethics Program(dinner included), 5:45pm, Calvert House.LecturesCompton Lecture Series: “Hyperons, CrabEyes, and Solar Energy: From BasicSciences to Practical Applications,” EarlSwallow, 11am, Eckhart 133.ArtsInternational House Films: “Murder on theOrient Express,” 7:00 & 9:30pm, In¬ternational House.CEF: “The Man Who Fell to Earth,” 7:15 &9:30pm, Cobb.Festival of Fantasy: “Peter Pan,” forchildren 8-12 years, 11am, Mandel Hall.MAB: Steve Goodman with Jim Post,8:30pm, Mandel Hall.SportsMen’s Basketball: UC v Lake ForestCollege. 7:30pm, Bartlett.Men’s Swimming: UC v Monmouth College,2pm, Bartlett Pool.SundayMeetingsChanges: Workshop on human sexualityThis WeekIf you are in need of a Bluegrass chargeto get you through a wintery week, theUnity Bluegrass Band will be performingon Wednesday, January 19th, at ReynoldsClub. The concert will be at noon, andadmission will be free.Shapiro CollectionFor those of you that were unable toborrow a work of art from the ShapiroCollection due to inclimate weather,scheduling conflicts, internationaldiplomatic ties, conjugal bliss, etc., we arehappy to make the following an¬nouncement on behalf of the Student Ac¬tivities Office:For your pleasure and enjoyment athome, there will be another chance toborrow art work from the Joseph R.Shapiro Art-to-Live-With collection.Paintings, Drawings, Lithographs, Et¬chings and more will be distributed bet¬ween the hours of 11:00 am - 4:00 pm onThursday January 20, 1977 in Ida NoyesHall. This opportunify is limited to thefaculty, students, and staff of theUniversity of Chicago at a fee of $4.50. Forfurther information call 753-3591. lead by Dorothy Johnson, 7pm, BlueGargoyle.Hillel: Lox and Bagel Brunch, 11am, HillelHouse.Computer Club: 1pm, Reynolds ClubLounge.Tai Chi Chuan: Master George Ling Hu,instructor, 6:30pm, St. Paul’s Church, 50th& Dorchester. All are welcome.Crossroads: Bridge, 3pm; informal meetingto discuss suggestions and ideas forCrossroads programs, 7:30, CrossroadsStudent Center, 5621 S. Blackstone.Brent House: Vespers, 5:00pm; social hourand supper, 6pm; program/discussion,7:15pm, Brent House.Calvert House: Rev. Richard Jurgensen willspeak on Christian Unity at the 11am Massat Bond Chapel.Rockefeller Chapel: Ecumenical Service ofHoly Communion, 9am; UniversityReligious Service, “The CommonMinistry,” E. Spencer Parsons, 11am,Rockefeller Chapel.Folk Dancers: 7pm, Ida Noyes.ArtsChamberlin House Films: “Resurrection ofEve,” 7:00, 8:45, & 10:30pm. Cobb Hall.Rockefeller Chapel Recital: Paul Manz,organ recital, 4pm, Rockefeller Chapel.DOC: “Land Without Bread,” “LosOlvidados,” both shown at 7:15 & 9:30, bothin Kent 107.Medieval Feast: 5:30pm, HutchinsonCommons.MondayMeetingsBreira: Alternative policies for Middle-Eastin the Arts from American Jews. 8pm, Hillel House.Marketing Group: Tatham-Laird & KudnerAdvertising Agency, “Wake Up to MorningStar Farms,” case history of MilesLaboratory’s Morning Star Farms, BrianHurley, Account Executive, 3:30pm,Business East 105.Hillel: Class in Buber’s Moses, 3pm;beginning Yiddish, 7pm; Talmud, 8pm;advanced Yiddish, 8:30pm, Hillel House.Judo Club: Work out, 6pm, 1st floor, Bar¬tlett Gym.Undergraduate Philosophy Club: “IsGenetic Information in the Gene and AreMeanings in the Head? — Fallacies ofFunctional Localization in Genetics andPhilosophy,” Prof. William Wimsatt, 4pm,Cobb 302.Chess Club: 7:30pm. Memorial Room, 2ndfloor, Ida Noyes.UC Folkdancers: 7pm, Ida Noyes.Leaded Glass: Basic techniques forbeginners, sign up INH 209.LecturesCurrent Trends in Musical Theory: “TheThematic Dimension in Music,” JohnRothgee, Eastman School of Music, 3 pm,Regenstein 264.Chemistry Seminar: “Low TemperatueReactions of Li-Atoms with CO, with R20,and with Unsaturated Organic Species,”John L. Margrave, 4pm, Kent 103.Calvert House: “Introduction to Paul’sEpistles,” Rev. Joseph Sittler, 7:30pm,Calvert House.SportsWomen’s Basketball: UC v MundeleinCollege, 7pm, Ida Noyes Gym.Among the workshops being offered thiswinter by the Student Activities Office is aseries of ten sessions on Greek manuscriptillumination that will provide an in¬troduction to the art of Byzantineiconography. The workshop is beingconducted by Stathis Trahanatzis, one offewer than ten iconographers working inthe United States today.This quarter's workshop will be pat¬terned after a course taught by Mr.Trahanatzis at Rosary College last year.Participants will be introduced to thetraditional techniques used in the paintingof icons since the Byzantine period. Whilethere are many whose art may emulate ordraw from the traditions of thaf period,there are few who adhere strictly to thematerials and techniques that are a part ofthe traditional Byzantine iconography.For this reason.. Mr. Trahanatzis’workshop represents an unusual op¬portunity for members of the Universitycommunity to share in some of theknowledge and skill that is possessed by atrue iconographer.The first session will be held onTuesday, January 18, at 6:30 p.m.,followed by a second session on Wed¬nesday, January 19. The sessions will beheld on Wednesday evenings at 6:30 p.m.thereafter. The cost for all ten four-hoursessions is $40.00, and includes alimaterials except brushes. The workshopwill be held in Ida Noyes Hall, and youmay sign up in the Studeni Activities Office. Room 209, INH. Or call 753-3591 formore informationBob Pittman, WKQX Program Director:“You said you wanteda rock station with less talk.How’s no commercialsfor two months?”“We’re the rock station you asked for. WKQX 101 FM, Stereo. A new, different station. □ Different because we askedthousands of people, you and your friends, what music you wanted to hear. □ You said: Today’s best albums, fewercommercials, less talk, more music.’ □ You get no commercials at all for the first two months, no hype D.J.’s and muchmore music. □ Try WKQX 101 FM, Stereo. We think you’ll like what you hear.”WKQX101 FM16 The C^ 'ragr ^dfoon rriaci,, ■*'Moses from 4not usually the reason a student chooses Chicago. Tothe uninitiated the Core is a dressed-up set of“distribution requirements” (although in the Ad¬missions Office this phrase is practically aprofanity). The student beginning college looksforward to freedom; it is hard to convince him thatthe people who design the Core courses know what isbest for him. I remember one student who said that ifthe first two years were to be largely required (I wishshe had said “inquiring”), she might as well go to ajunior college and transfer later.The message of the Admissions Office, in otherwords, is selectively received. This is not just amatter of the Core. A growing group of studentscomes here after a careful comparison of colleges,with well thought out reasons which we tend to thinkof as bad reasons. These students look beyond collegeto graduate schools and careers; they select Chicagobecause it seems a sure avenue to medical school orlaw school, or offers joint degree programs with theUniversity departments or professional schools.They know we are expensive, and they try to estimatethe long-range dollar return on the investment theyare making. To a practical young person, the life ofthe mind comes in many price ranges; it is notsomething one can get only at Chicago.I think we are wrong to consider these careerconcerns as improper, to reject these reasons as badreasons. We need to listen to all the reasons ourprospective students give for wanting to go to anycollege at all. We should then take another look atwhat it is we are trying so hard to sell. We candistinguish between are goal of opening young mindsand current means of achieving that goal. As weassess those means and their adequacy to the ex¬pectations students bring us, we might find that weshare a goal with out “wrong-headed” applicants:preparing them for a demanding and ch anging post-College world. Taubfrom 4exacerbate that sentiment. One is the opening up of300 level courses, or, similarly, the giving of coursessimultaneously to graduate and undergraduatenumbers. By itself, this is not a harmful practice; thebest and most professionally committed students canmake much of the opportunity. However, an in¬creasing number of undergraduates are not planningacademic careers, and the kinds of specializationwhich graduate level courses encourage leaves themvery much at sea.One of my colleagues is fond of remarking thatundergraduates seem to want to have their handsheld, and he has little patience with it. What hedoes not preceive is that the undergraduates, in fact,do need to be taken by the hand — not to be stroked —so that they can be led over terrain which is bothrocky and often dimly lit. These students do not sharehis assumptions, nor his aspirations — he wants themto start where he is, rather than to find them at theirlevel and bring them along. These issues becomeexacerbated in graduate-undergraduate courses — inwhich some proportion of the students are, in fact,traveling along with their professor — but they alsoexist in other courses where professors betray im¬patience about questions which are not part of theirspecialized culture and where professors are notavailable to discuss those matters after class. Thenumber of students who report that they are afraid toask questions, to seek answers even after class (so asnot to “disrupt” the smooth flow of things) is alwaysunsettling.The University Administration has tried to dealwith undergraduate discontent in ways which areadmirable and quite creative. These efforts,however, have the paradoxical consequence ofemphasizing just how much on the periphery (that isin terms of the core intellectual values of the in¬stitution) the students really are. For example, thefunding of the Major Activities Board and the massively increased programs of entertainment forstudents fit into this category. There is little doubtthat they have improved the quality of student life.Nonetheless, they have done so by concentrating onexternal matters; they do nothing to strengthen at¬tachment to the central values of the institution. Inthe bread and circuses tradition, they serve to en¬tertain rather than to do something at the core of theinstitution.The Harper Fellows program, in many ways ad¬mirable, fits into this mold as well. Why do studentsobject to the Harper program when it is increasingthe number of good teachers available to them?Because the Harper Fellows are themselves out¬siders. They will have no careers in this institution,and they are not connected to the sources of thecreation and dissemination of knowledge. The un¬dergraduates are camping in dorms here for two orthree years. Their teachers are just passing throughas well. Many of the Fellows have had almost nocontact with members of departments here, forexample, whose specialty is their own. They areattached to the system to fill a need, but are notorganically related to it. Nor do they have any powerover it.What still seems to be missing, then, is demon¬strated concern that the undergraduates are im¬portant — in and of themselves. This concern can bedemonstrated by the promotion of serious intellectualvalues in ways which are related to their needs.7 Days A WeakHYDE PARK PIPE AND TOBACCO SHOP1552 E. 53rd- under 1C tracksAll students get 10% offask for “Big Jim"Pip*»Pip* Tobaccos Imported Clear*tt*s ClearsALLTOGETHERAt One LocationTO SAVE YOU MORE* WAGED • CHEVROLET VOLKSWAGEN .SPECIAL DISCOUNT PRICES ^For ALL STUDENTSAND FACULTY MEMBERSJust present your University ofChicago Identification Card.As Students or Faculty Members ofthe University of Chicago you are en¬titled to special money savingsDiscounts on Volkswagen & ChevroletParts, accessories and any new orused Volkswagen or Chevrolet youbuy from Volkswagen South Shore orMerit Chevrolet Inc.UltlMK) • N39VMSN10A 1HOHA3H)SALES & SERVICEALL AT ONE GREAT LOCATIONm MERITCHEVROLETVOLKSWAGENSOUTH SHORE7234 Stony IslandPhoiw: 684-0400Op*n Dally 9-9 PM. / Sat. 9-5 P.M.Parts Op*n Saturday too til 12 Noon I•CHEVROLET JOSEPHSITTLERwill speak atCalvert HouseMonday, Jan. 17at 7:30 p.m.Topic:INTRODUCTION TOPAULDorothy SmithBeauty Salon5841 BlackstoneHY 3-1069ODen 7AM-7PM,Mon thru Fri.closed SaturdayHair Cutting Wedgies ■ etcTinting • Bleach.ng - Perms.only the bestCall for apptTAI~$AVf-M!tCHINESE AMERICANRESTAURANTSpecializing inCANTONESE ANDAMERICAN DISHESOPCM DAILY11 A.M. TO t:30 P.M.iUNOAYS AND HOUOAYS12 TO 4:30 P M.Ordmr* to tab* out1 JIB fast AJrd MU 4-10*3CARPET CITY6740 STONY ISLAND324-7998Has what you need from a$10 used room sire Rug too custom carpet Specializ¬ing in Remnants & Mill re¬turns at a fraction of theoriginal costDecoration Colors andQualities Additional 10%Discount with this odFREE DELIVERY THE UNIVERSITY OF CHICAGOTHE COMMITTEE ON SOCIAL THOUGHTannounces another public lecture inthe John l . "^ef seriesbyPROFESSOR MARY DOUGLASl niversitr (.ollpgp LondonIS ANTHROPOLOGY ALUXURY?WEDNESDAY, JANUARY 19.19774:00 P.M.Social Science Building. Room 1221126 East 59th Streetid mission is without ticket and without charge“The Sudden Wealth Of The Poor“co»» People Of Kombach" * "•* “■SATURDAY, JANUARY 14th, 8:30 P.M.HILLEL FOUNDATION, 5715 Woodlawn Avenue$1.00 Hillel Affiliates • $1.50 OthersThe Chicago Maroon-Friday, January 14,1977-17Men beat RooseveltBy GENE PAQUETTEThe University's men’s basketball team,paced by Daryl Bradley’s overtimeheroics and Jay Alley’s streaky but ef¬fective shooting* eked out an 81-75 victory-over Roosevelt University Wednesdaynight at Bartlett gym.Alley finished with 33 points, most ofthem from the outside, the biggest onescoming in the last four minutes ofregulation when he hit three long rangejumpers to pull the Maroons within onepoint.After relinquishing a solid advantage inthe first half, the Maroons rallied to takethe lead in the final minute. Roosevelt tiedthe score on an offensive rebound with 30seconds left, but the Maroons could onlymanage a desperation shot at the buzzer,and the game went into overtime.In overtime, good Maroon movementaround and through a tight Roosevelt zonefreed Bradley inside to score two basketsone after an offensive rebound, the otheron a turnaround and be fouled on anotheroccasion Bradley converted both freethrows, sending the Maroons ahead forgood. 75-73.Icing the victory required threesparkling defensive piays; steals by GregDaryl Bradley (54) puts up a lay-up inhectic overtime against Roosevelt.(photo by Dan Patterson)Women open Retzinger and Mark Miller, and asatisfying blocked shot by Bradley onCraig Smith. Roosevelt’s* high scorer.Smith was one of several players to burnthe Maroons’ man to man defenserepeatedly on spectacular, oftenplayground, one on one moves.Meanwhile. Alley scored his last fourpoints on 2 foul shots and a breakawayfrom Steve Shapiro, Roosevelt’s Smithcountered on another breakaway, butMiller converted two free throws with onesecond remaining, making the final score81-75.The intensity and frenzy of the lastminute of regulation play and the overtimemay have been enjoyed by the partisanhome crowd, but from an objectiveMaroon standpoint it was totally un¬necessary. The team had several chancesto put the game away in the first half asgood passing and movement aroundRoosevelt's zone gave Alley. Miller, andBrent Scheaffer easy perimeter shots.But just as often the team suffered of¬fensive and defensive lapses. Too muchdribbling by the guards and too littlemovement by the big men led to bad shotsand turnovers. This, along with a gam¬bling and sometimes unsuccessful half¬court press by Retzinger and Shapiro,enabled Roosevelt to get back into thegame several times.These Maroon problems became morepronounced in the second half, when of¬fensive movement and passing came to astandstill, resulting in extremely poor shotselections.Roosevelt, on the other hand, wassparked by guard Tony Herman, whoscored all of his 12 points after halftime.Taking the lead soon after the half started.Roosevelt held onto it through most of therest of regulation Led by Herman, Smith.Adrian Berry, and Dan Signore (the latterthree combined for 55 points), Rooseveltput on an impressive display of aggressivedrives and good inside moves, utilizing itsoffense properly to clear a side for one ofits players to work one on one, severaltimes successfully.Depending on this type of offense canoften lead to problems, however, and eventhough the Maroons’ offensive crutch, theoutside jump shot, might be just as risky,in this case it proved more effective. Theirdefense eventually quieted the Rooseveltcage season Steve Shapairo (14) drives the lane to score against Roosevelt, (photo by DanPatterson)offense to some extent by playing thebaseline, harassing the guards, andwinning the boardsThis victory- ties the Maroons’ record at4-4. This Saturday night they face LakeForest College at Bartlett Gym starting at 7:30 pm. Play by play for this game, andfor the remainder of the home schedule, isexpected to be broadcast live over WHPK-FM, so tune in to Keith “Mary Albert’’Weissman and friends if you can’t make itto Bartlett.Sportss /The columnOut to 0-2 start Swimmers prime forBy DAVID RIESERIt looks to be a long winter.The University women’s basketballteam opened their season this week withthree games against their toughest op¬ponents. in three days, and after 8 straightdays of practice.As of this writing the Maroons hadalready dropped two of those contests.Results for the third game against theUniversity of Illinois were not available by-press time.Maroon skill was not terribly evident inthe opening game Tuesday night againstChicago Circle. Although the teams stayedclose until the end of the first half, dismalMaroon shooting allowed Circle to open upa sizable lead. The home team eventuallywon, 53-36 Freshman Janet Torrey hadthe high point total at 11. The team shotonly .246 for the gameAlthough play was better in the gameWednesday, the result was still the same.In a very-* physical game, the Maroonsstayed close to a Chicago State squadmade up entirely of athletic scholarshiprecipients The teams stayed tied until thelast eight minutes when the Cougarsfinally pulled out to win 55-40.The problem was essentially the same inboth games “We’re just not attemptingenough.” said Coach Pat Kirby.•Everybody’s doing a little but no one isdoing a lot.*” She also cited a certain lackof confidence.This lack is surprising because on paper,the squad looks excellent Ten veteransfrom last years squad are back includingthe entire starting five Three time MVPVadis Cothran will be back at center Agressive, mobile, and an excellentshooter, the 5’11’’ senior was voted the bestcenter to oppose the University of Illinoisteam last year She will be joined in frontby seniors Gaire Omer and EmilieTownes, both with four years experienceon the teamSharing backcourt duties will be starguard Laura Silvieus. who does just abouteverything well, and Helen Harrison, whosat out last season with a broken foot.Paula Markovitz. took over Harrison'sspot last year and can come in at eitherguard or forward.Pushing the vets will be five talented andambitious freshmen. Janet Torrey. CherylFlynn and Kim Curran all had superb pre¬seasons. with Flynn and Curran coming inat forward and Torrey taking over atguard.If nothing else Chicago will have thedeepest bench around, something they willdesperately need with a schedule of 20games in seven weeks. Still, the Maroonshave an excellent shot at improving on lastyears 13-8 record and fourth place finish inthe state championshipsCoach Kirby, who knew those firstgames would be tough is still not worried“I don't care what the wins and lossescolumn says,” she said. “I’m optimistic,enthusiastic, and I think we have the bestteam in years.”The first chance for Chicago fans to testthe truth of this statement will be thisMonday when the team takes on Mun¬delein at home. Their first real contesthowever will be the following Fridayagainst Illinois State. Both games will beat Ida Noyes Gym and will start at 7:00 Another new era?This time it is the men’s swim team thatis claiming the millenium. Under thetutelage of former assistant coach Randy-Block and with the additions of some very-strong swimmers, last year’s team hadone of the best records ever. Times werebroken and set at almost every meet Andalthough the team has lost Block theswimmers are looking for this year to bebetter“The spirit out there is reallvsomething. " said Coach Bill Vendl, “Thoseguys are so charged up it’s incredible.”The charged up guys also happen to bepretty good swimmers which helps. In thefreestyle Dave Kavrell. Jon Rynning. andWayne Hooper, will be taking the sprintand distance duties with Mike Dunigamand Dave Johnson swimming the middledistances. As freshmen last year Rynningand Hooper made up half* of a recordbreaking free relay. Kavrell is a newaddition and has a good reputationCaptain Chris Gomez will be swimmingthe breaststroke and individual medleyevents He will be pushed by ThomasWilbur in both events and Charles Hurst inthe breaststroke In backstroke. EricLindbloom has personally guaranteed hisbest times ever, with Cal* Cooper backinghim up, just on case.The team does have its weak spots Thetwo top divers just transferred and thesquad is not as strong as it should be inbutterfly. But if they can get with whatthey have in those events, they have a goodchance to win any meetTheir first chance will be this Tuesday against a tough squad from the College ofDuPage. The meet will be held at Bar¬tlett and will start at 4:00.Already down 0-1 in dual meet scores,the prospects for the women’s swim teamare looking better than everWith only 12 to 14 swimmers and nodivers at all. new coach Randy Block doesnot figure to win many meets. What hedoes intend is to send for four members ofhis team to Nationals. One relay team isail he needs.Exactly one quarter of this has alreadybeen accomplished. Senior Noel Bairevqualified for the 50 and 100 yard freestylein the meet next weekend. This marks thefirst time she had qualified since her fresh¬man year. Since then she has beenlanguishing under school, small pools andbad training Having gotten this farhowever. Bairev also plans to qualify forthe 200 and 500 free.If all goes well. Bairev w ill be joined atNationals by Ann Merryfield. KathyWeber and Chris Dahl Together, they willtry for the 4X50 yd free and. perhaps the4X100 yd free.I ntil then the team will have a season ofall but impossible dual meets to cope with.Hampered by numbers and facilities sosmall they have to split into two groups towork out. there will not be much chance tobuild an imposing season record But assophomore swimmer Betty Leachdeclared, "we will go out in a blaze ofglory.”The team s next chance for glorv w ill bethis weekend against Northern* IllinoisUniversity and George Williams College18 The ChicagoMaroon-Fridav, January 14, 1977CLASSIFIED ADS GAY PEOPLESPACE SCENESRoom avail, in 6V2 rm. apt., w/2 gradstudents. 51st & Greenwood, $90/mo.Call 752-6151.Spacious Hyde Park apt. wantsroommate. Call 955-5932.Lge. Bedrm. & bath in pvt. Kenwoodhome for single std. Rm., bkfst.,dinner in return for maint. work,babysitting. Must be neat and willingto work, call Mcdermott 924-1282.Single Student University Housingavailable. Male or Female Grad orUndergrad call Ann 241 7005. Leave amessage if I'm not there.5 rm. apt. & porch 2 bed. 53rd 8. DorChester. $240.493 3664You too can live on Hyde Park's onlycurved street, Kenwood between 52nd-53rd. Six rooms, share with twostudents. Call 288 5342.Roommate wanted for large 2 bdrm.apf. 2 blks. from campus. 955 5189.5 & 6 room apts. in building beingrehabilitated. 5 min. from U of C on61st st. Coleman Corp. 373-1800.PEOPLE WANTEDEARLY PREGNANCY DETECTIONPregnancy 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.Delinquency research project needsseveral people to aid in the contentanalysis of case records. (15-40hours/week). Upper level un¬dergraduate or graduate students withsocial science research interestswould be preferred The job starts$3.25/hr. Contact Bob Bursik at 3-2518.Undergraduate with strongprogramming experience to programminicomputer (Nova 3/12) 15 or morehours/week. 753 2363.Woman attendant for retired, handicapped woman physician living nearUniv., one Friday (Eve. to Sat. AM)per week and/or one weekend permonth (Fri. eve. to Mon. AM) atreasonable salary. If interested call726-6509 weekdays 10:30 AM. to 5P.M , or 268 2507 eves. 7 to 9 P.M., andweekendsSubstitute teachers, alternativeschool, 5-9 yr. olds. Hrs. vary. Call 28851178:30 9 & 3 • 3:30 BREIRA MEANS ALTERNATIVENational organization for mutualrecognition of Israeli and Palestineanrlghfs. First Chicago MEETING:MONDAY, Jan. 17, 8 p.m. Hillel (5715Woodlawn).Friends (Quaker) meeting for worshipevery Wed. noon. Chicago Theol.Seminary, 5757 S. University. Visitorswelcome.The UC Tai Chi Chuan club meetsevery Sunday in St. Paul theRedeemer's Church NE corner of 50th& Dorchester at 6:30 On Jan. 16at6:30Master George Ling Hu, the in¬structor, will demonstrate Tai Chi 8,Kung Fu. All are welcome. $1donation.ACT, Assertiveness Training Coursesoffers 7 wk. "A-T for Col lege-AgePeople," 935-1948. GAY PEOPLE'S RAP GROUP meetsiTues. evenings at 7 p.m., Sun Porch,Ida NoyesWOMEN'S CENTERPARTYWomen's Center Party on Tues. Jan.18 at 7:30 p.m., in the Blue Gargoyle,(third floor). PUCINSKIFor mayor752 1000 Contact Shoreland 1007HOMERIC SOCIETYProf. John Wright of NorthwesternUniv. speaks on Arrow of Pandarusand Fall of Troy Tue. Jan. 18, 4:30.Classics 10.AAASSAGEWORKSHOP PERSONALSThe best way to get a good massage isto learn how to give one Workshops inSwedish and Rumanian Deep musclemassage begin MON. JAN 17th 12-1:30 & THURS JAN. 20th 7:30-9:00 atthe Gargoyle. TEXT—Downing's TheMassage Book. 7 sessions $35 Yogaprecedes massage on Thurs. 5:30-7:15,$5 off for both. Call Dobbi 643 3595 Dear Marilyn—Meet you at Cobb thisSunday 7:00, 8:45 or 10:30 PM for your"Resurrection." Chamberlin.Oppose Book Worship!CHESSFOR SALEStereo Equipment KLH 103 MarlboroSpeakers $375 pr. Sansui AU 555AAmplifier $175 or best offers. GREATPRICES on new equipment, also Call752 5863BICYCLES: Men's 5-speed, Women's3 speed. $40 each. 752 38401 Bdrm. Cooperative apt. Vicinity:55th 8, Woodlawn Near U. of Chicago.$12,000 or best offer. Call 736-3696 after5:30p.m.ITS. LOW-COST Charter Flights toEurope. 327 2858 4-6 p.m.MARILYNCHAMBERS IS BACKDon't miss the uncut "Resurrection ofEve" Sun., Jan. 16, Cobb.LOX 'N BAGELSYou are Invited to Hillel brunch at 11A.M. on Sunday morning. $1.75 getsyou two Lox 'N Bagel sandwiches,good company, and all the Sunday NYTimes you can eat. Come and enjoy.752-1127. 5715 S. Woodlawn. NearCampus.LEADED GLASSMeets Mondays in Ida Noyes $17.Learn to make your own window. Allmaterials furnished. Sign up in INH209. Annual UC open speed chess cham¬pionship—Mon., 1-17-77, 7 p.m., IdaNoyes Memorial Room. 25 cents entryfee. All entries go into prize fund.Everyone invifed.STATISTICS MATHPHYSCI TUTORI can help you with these subjects. Call947-8184 around 6.PAN PIZZA”DELIVERED LOST: WOULD THE PERSON WHOFOUND A UC BOOKSTORE SHOPPING BAG CONTAINING—Durkheim, ELEMENTARYRELIGIOUS LIFE Weber, THEPROTESTANT ETHIC; Burke,PERMANENCE AND CHANGE-KINDLY TURN THEM IN TO AD¬MINISTRATION LOST & FOUND INEED THE BOOKS AND WOULDRATHER NOT HAVE TO REPUR¬CHASE TEM THANKS.dese dem dos dat Daley for mare '77.If you just want to play some goodraunch 'n' roll, call 288-5342,ask for Joel.tome/'tom/ n (MF or L, fr. Gk tomossection, fr. temneim to cuit; aking to Ltondere to shear, Gk tendien to gnaw)1: a large scholarly bookDating service. Over 1200 members.Low Cost. 274 6248 or 274-6940The Medici Delivers from 10 p.m.weekdays, 5-11 Saturday, 667-7394.Save 60 cents if you pick it up yourself. Ralphy, you pigeon faced toe stubber,come on home, all is forgiven.Crackers & Dove tailBOOKS BOUGHT Alan, please come back. 1 promise 1won't laugh this time. C.K.Books brought 8. sold everyday,everynight 9-11, Powells, 1501 E. 57thSt. Writers' workshop (PLaza 2-8377).1 am obsessed with you wherever youare.YOGA Lost: one hairless wah-wah.Relax, energize, unify body-mind-spirit. a perfect balance tor the life ofthe mind. Yoga begins on campusMon. Jan. 17th for continuing students,& Thurs. Jan. 20th for beginningstudents at the Gargoyle. Taught byDobbi Kerman on campus since 1971. 7sessions $30. Followed by a massageworkshop. Thurs. $5 off tuition forboth. Call Dobbi 643-3595Ass't. teacher, day care center nr. ■ i^n ADUVcampus, 3-6 p m. daily, also subs, hrs LALLIvjKAr H Yvary. 324 4100 Some exper. withchildren pref. CREATIVESERVICESTypist needed/wages negotiable. Day642-3500, eve 241 7452, Evelyn.FACULTY SECRETARY McCormickTheological Seminary. To providesecretarial services to facultymembers; typing of syllabi, shortmanuscripts, letters; ability totranscribe from tape, plus generaloffice procedures To begin at onceReply with resume, Dean Lewis S.Mudge, 5555 So. Woodlawn, Chicago,60637 or call 241-7800PEOPLE FOR SALEInterested in typing evenings in myhome. Will discuss price. Barbara 373-3594 after 5:30 pm.For exp. piano teacher of all levels call947-9746French native teacher offers tutorialsph . 324 8054Thesis, dissertations, term papers inc.Foreign Language gen corres. LatestIBM corrective Se II typewriter Reas,rates. Mrs. Ross 239 4257 Bet. 11 a mSi 5 p.m. Beg. $15, Intermed. $10 All materialsand text included. Thur. eves, at 6:15and 8. Nine weeks, starts Jan. 13 in IdaNoyes.GREEKILLUMINATIONLearn the techniques of the Byzantineiconographers. Taught by StathisTrahanatzis, well-known in bothGreece & US. Ten 4 hr. sessions. $40Meets Weds. 6:30 in Ida Noyes. Sign upin INH 209 3 3591 Creative Sabbath Services are heldevery Friday at 7:30 p.m. at 5715 S.Woodlawn. For more info., call 7525655WOMEN'SMAGAZINEPrimavera, a women's literarymagazine, is on sale in all Hyde ParkBookstores and Bob's Newstand.Watch for Vol. #3! Hey-Ho all those with noble blood andhigh ideals come join K Arthur on hissearch for the Holy Hairless Wah-Wah.EYE EXAMINATIONSFAHSHION EYEWEARCONTACT LENSESDR. KURTROSENBAUMOptometrist(58 Kimbark Plaza)1200 East 53rd StreetHYde Park 3-8372JCL CLASSIntroduction to operating system concepts, tape 8. disk usage, basic JCLstatements. 6 sessions $20 Computertime provided. Come to Comp Centerto register—call 753 8409 for info. Classstarts Jan. 25.^ane J2.eeiZeAtauzantDelicious iontone$e FoodFosf Special luncheon:$1.95Mon Thure 11:30 AM 9:00 PMFri. A Sat. 11:30 AM 9:30 PMSun. 3:00 AM 9:00 PMCLOSED TUES643-3407 1316 E. 53rd St. VERSAILLES5254 S. DorchesterWELL MAINTAINEDBUILDINGATTRACTIVE 1% AND2 % ROOM STUDIOSFURNISHED or UNFURNISHED$138.. *225’ Short TermBased on AvailabilityAll Utilities includedAt Campus Bus StopFA 4 0200 Mrs. Groak WANTED!Students interested in government & public af¬fairs. Students who would like to have a voice indetermining public policy discusions. Interviewswill be held to discuss graduate studies at theSchool of Urban Affairs, Carnegie-Mellon.Friday, Jan. 14,1-4 p.m. atthe Office of Career Counseling REAL ESTATE REAL ESTATESHABBATONSponsored by The Bayit and Hillel FoundationJanuary 21 Friday Eve Shabbat Dinner at Hillel, 5715 Woodlawn, 6:30 P.M.Cost: $2.50January 22 Followed by Singing and Student Initiated Discussion:“WHAT ARE OUR RESPONSIBILITIES AS STUDENTS TO ISRAEL?’For Reservations contact Hillel (752-1127) or The Bayit (752-2159)Saturday Afternoon Oneg Shabbat with Faculty -- 4:00 P.M.at The Bavit - 5458 Everett Avenue. fe&ol C$tjte-£cn$f(J & eaf 5tcTc75sfwcJKEPJPJcDY, RYAN, MONIGAL & ASSOCIATES, INC.cDirectory of ValuesWe Know Hyde ParkReal Estate Inside OutHOUSES FOR SALETHE POSSIBLE DREAMA new house in Hyde Park! Of theseven town homes to be built at 54-Blackstone for Summer occupan¬cy, only one remains unsold. Seeour scale model and floor plans forthese exciting housing op¬portunities. Each home features 3or 4 bedrooms, 2 or 2’/2 baths, in-house garage, solarium and manymore features to insure com¬fortable and conventional living.GRACIOUS AND INVITING11-room residence in lovely set¬ting. Nat. fireplace in large livingroom. 6 bedrooms - library -solarium. Cent, air, undergrd.sprinklers. 3-car brick garage.Side drive. Upper 60's. Call Mrs.Ridlon 667-6666 PRAIRIE SCHOOLMANSIONThis lovely 15 room brick mansiorhas great potential for a superKenwood home. 5 baths, 2 cargarage surrounded by period irorfence. For information or to seecall Richard E. Hild 667-6666 or752-5384SOUTH SHORE DRIVEBrick 4 BR home. LR, formal DRLarge enclosed porch. Extra largeback yard next to Rainbow Beach.Asking $47,500. For more info.,please call Margaret Kennedy,667-6666SPICANDSPAN6 rm., V/2 bath townhouse. Largestainless steel kitchen. Deep backyard. Off-street parking for 2. Ex¬cellent South Shore location on busroute. $28,500. Call CharlotteVikstrom at 667-6666.APARTAAENTS FOR SALETWO BEDROOMSIN THE SKYImmaculate 5 rm. 2 bath condohome at 50th and the Lake. Manydecorator extras. Ready to moveAn ideal high-rise home for thediscriminating buyer.BACHELOR APT.This bright 4 room co-op 4 air con¬ditioners, new super gourmet kit¬chen, community rooms forworkshop and relaxation. A brightrehab, third floor apt. To see callRichard E. Hild 667-6666 (res.752-5384)COZY LIVINGNEAR U.OF C.Four large rooms plus study/sunporch, modern kitchen with built-in dishwasher and appliances.Modern bath with ceramic tile,monthly assessment $96,00. To seecall Frank Goldschmidt 667-6666.HI RISE CONDOSpectacular 14 floor view of thelake and city. 3 bedrooms, 2 fullbaths - like new kitchen withdishwasher, double oven, side byside refrig and freezer, completewith breakfast area. LR has diningalcove and study alcove. Call J.Edward LaVelle 667-6666 STARTThe New Year in one of these mosthandsome 5 rm-2 bath apts.w/new kitchens - appliances -carpeting - 24 hr. doorman - park¬ing. Immed possession. 2nd or25th floor Cali George Bilger orHenrietta Ridlon667-6666.WORKINGFIREPLACEDelightful four room condo southof 55th on Blackstone. Superiorcondition. Available for im¬mediate occupancy. New kitchenand many extras 531,500.CLASSIC BEAUTYThat looks out over park & lake. 5rooms w/2 baths, private parking,beamed ceiling & WBFP in liv. rm.Mo assmt. $109. Full price $13,900.Call Mrs. Ridion 667-6666AGREATLIFESTYLEIn this deluxe apartment condo-3bedrooms, 2 baths-parquet floors,carpeting, custom shutters, sauna,pool, 24-hour security-all in CornellVillage Asking $60,000. Call DonTillery 667-6666APARTMENT BUILDINGSAND LAND FOR SALEINVESTMENTOPPORTUNITY BRICK 3-FLAT3-7 room apt along South ShoreCentral Hyde Park apt. bldg. Ex- JJJY* f|- lot 5 car garag!cel lent condition, 30 apts. -4's, 5's ^7'500: ldeal for owner-occupied,and 6's. Annual income $90,000 9ur. sales associates can help youAsking $325,000 Call 667-6666BLOCK LONGVacant land near 84th & Stony.Transfer good title immediately.$125,000 Call Charlotte Vikstrom667-6666V151 East 57th Street, Chicago, Illinois 60637667-6666Daily 9 to 5 Sat. 9 to 1, Or call 667 6666 AnytimeThe Chicago Maroon-Friday, January 14,1977-19■ 1JANUARY WHITE SALESome white wines are reduced by asmuch as 50%. A rare chance to beassured of our usual excellent qualityat very low prices.WHITE CHEESE SPECIALSPER POUNDONLY5 VariedWHITE GOURMANDISE *1"BRIE *1"PROVOLONE *1"DANISH TYBO *1"BEL PAESE *2"BIANCO $1"NORWEGIAN TILSIT $1S9F1FT„WHITE SPIRITSBACARDI WHITE RUM half gallon *8"nPWAR'4SCOTCH WHITE LABEL half gallon ’12"ANISETTE. . WHITE ONLY J289SMIRNOFF 80 PROOF VODKA HALF GALLON $929 FIFTHNOT ALL WHITE WINES ARE ON SALETice Ptttbj Wcw£2427 East 72nd Street BA 1- 921020-The Chicago Maroon-Friday, January 14, 1977-