Vol. 86, No. 31Judge orders apartmentswhere fumes killed manbe kept vacant until trialBy JOEL JAFFERCircuit court judge ArchibaldCarey yesterday ordered thecontinued vacancy of the 5325-49S. Kimbark Ave. building inwhich one person was killed andfive hospitalized January 19 whencarbon monoxide leaked into theapartments from a faulty gasfurnace.The family of David Norris,who was killed by the fumes, hasfiled a $1.5 million civil suitagainst the owner of the building,Robert Westphalen.Westphalen has been involvedin legal disputes with the citysince 1975, when he was broughtto trial for building codeviolations in the S. Kimbark Ave.building. Last September, fivetenants of the building werehospitalized for carbon monoxideinhalation, and litigation arisingfrom the incident has beenpending since October.Sixteen of the building’stenants have been relocated bythe department of urban renewalsince the January 19 incident.James Chapman, 84, has refusedto be moved from the building.Westphalen has fixed thefurnace within the last week, andcity building inspectorsyesterday found that the carbonmonoxide in the building has returned to safe levels. Othersafety hazards still remain,according to the inspectors.According to CorporationCounsel attorney John Mc¬Caffrey, the tenants would be “ingreat peril” if allowed to reenterthe building.Judge Carey extended hisJanuary 20 order of relocationsetting a trial date for the com¬plaints arising from the Sep¬tember incident for February 25.Westphalen received a permitfor improvements in the buildingin May, 1976, but the Chicagobuilding inspector revoked thepermit three business days later.Westphalen’s attorney, MaxRattner, maintains the permitwas revoked illegally.“They revoked it because of a1964 zoning decision which did notapply,” he told the judge. Cor¬poration Counsel attorney JohnVirgilio refused to disclose thereason for the revocation of thepermit.“We would not want to give outany information that would hurtour case at this time,” he said.Other sources said that theoriginal permit was not com¬plete.Rattner has appealed thebuilding permit decision tofederal court.The owner of this apartment at violations suits with the city for5325-29 S. Kimbark has been two years,involved in building codeISSC increases grants,submits record budgetBy PETER COHNThe Illinois State ScholarshipCommission (ISSC) has in¬creased the maximum MonetaryAward Program grants availableto undergraduates from Illinoisfrom $1500 to $1550. IIn 1976-77, 423 students in theCollege received ISSC grants.The grants are based on need andthe tuition level at the Collegeattended by the recipient. Over156,000 students applied for theawards last year, 60 percent frompublic colleges.Last winter, a tight budgetalmost necessitated an 18 percentcut in awards for the spring term,but a last minute appropriationfrom Springfield averted thereduction. Awards for summerschool were discontinued,however, and are likely to con¬tinue through this year The commission has thisyear'made the largest requestfor funding in the history of theagency,” according to WilliamHilton, administrative director ofthe ISSC.An increase in the ap¬propriation for the awards from$70 million to $82 million has beenmade, although approval of thefull request by the state board ofhigher education and thelegislature is unlikely. ISSC of¬ficials say that it is too early totell if the attitude of the state willchange with the Thompson ad¬ministration.The budget problems last yearalso forced the commission toreject applications received afterSeptember 7, although an Oc¬tober 1 deadline had been an¬nounced earlier. The ISSCestimates that at least 7,000applications were turned away. The University of Chicago Jf ^ Q 7/ Friday, January 28, 1977Watch fraudksuspect arrested,faces criminal and civil actionBy JOELJAFFERDennis Roberts, alias JohnRodine, president of Teletronics,Inc. appears in federal courttoday for a preliminary hearingon mail fraud charges arising outof a $1.8 million digital watchmail order swindle last month.Roberts was arrested lastFriday by postal inspectors, andhas been charged with placingadvertisements, through a phonyadvertising firm, for watchesthat did not exist. Ads wereplaced in The Maroon, andseveral national publicationsincluding TV Guide and Parademagazine, in the pre-Christmasshopping season. At least fiveMaroon readers were snared bythe scheme.Federal Criminal court JudgeJohn Crowley Wednesdaygranted Dennis Roberts, alsoknown as Jack Rodin, and FloydHighstrom, a reduction in bailfrom $800,000 to $500,000 cash,Ann Williams, assistant U.S.attorney, said. However, heremains in jail as of Thursday.Only $1.1 million of the $1.8 million netted by the scheme wasin two Chicago banks when thecourt froze the company’s Illinoisassets at the request of the stateattorney general 3 weeks ago.That office has received morethan 20,000 complaints fromindividuals who paid $16.95 forthe watches and from advertisingagencies across the country sinceDec. 23.Besides violations of federalmail fraud statues, the stateattorney has filed a civil suitagainst Roberts to recover themoney of the victims, and thegrand jury is preparing an in¬dictment, assistant postal in¬spector George Head said.“He surrounded himself with avery eleborate scheme to hidehimself,” Head said. “To findhim took three weeks of con¬centrated investigation and hardstreet work.“We had to interview everyonehe ever came in contact with untilwe were finally able to putenough information together forthe U.S. Magistrate to issue awarrant, he said.“We have no evidence that would suggest that anyone elsewas involved in the scheme,” hesaid. “However, we are stillworking on it.Head was not able to elaboratebecause the records used to findRoberts were still the property ofthe grand jury investigating thecase.Refunds possibleVictims can expect someamount of refund within 90-180days, Ass’t State’s Atty. JimMcPhee said. If they haven’talready done so, they should mailcancelled checks and anycorrespondence with the com¬pany to the consumer frauddivision of the Illinois attorneygeneral’s office, 134 N. La Salle,suite 204.In addition, the postal servicehas sued to withhold delivery ofseveral bags of mail toTeltronics, inc. until the officialdestination is known to befradulent or not.“That way, those personswhose checks are in the bags willbe returned to sender with noadditional problems for them.”Williams said.BmdM starts support fundNewsstand burns;owner out in the coldJames Coleman, owner of the newsstand at 55th and Kenwood thatwas gutted by fire last Sunday. (Photo by Phil Grew)By BARBARA PINSKY“I don’t know why anyonewould do it,” said JamesColeman, the ten-year owner ofthe newstand at 55th andKenwood that was gutted byfire last Sunday night. Theblaze caused $1600 in damages.Arson is suspected as theprobable cause of the fire. Awitness reported that the doorof the newsstand was w ide openwhen the fire broke out, andColeman says that he locked thestand when he left at 7pm.In the two weeks before thefire, the newsstand wasburglarized three times — theburglars, not finding any moneyin the stand, got away withnewspapers, books, andmagazines. The stand wasburglarized only once in the 10years until the rash of incidents.The demise of Coleman’snewsstand leaves 55th St. westof Lake Park without anewsstand. A stand at 55th andWoodlawn has been closed sincethe fall. The owner of the stand,Mrs. Spencer, was killed in atrain accident last week, ac¬cording to a bartender at theWoodlawn Tap.Residents of the communityaround Coleman’s stand haveset up a special fund with theUniversity Bank to raise moneyto help Coleman rebuild thestand. Former Universitypresident George Beadlestarted the fund.“I don’t know how much is inthe fund,” Coleman said, “butwhatever is lacking I’ll have to put in myself, and it will bequite a drain.” The newsstandw'as not insured.Muriel Beadle and herhusband bought newspapers atColeman’s stand regularly.“Mr. Coleman is the only onewho carries such a wide varietyof newspapers in Hyde Park.”Mrs. Beadle said. There iscurrently $100 in the fund, “Butw’e just got started,” Mr.Beadle said.There will be a specialcollection at the Hyde Park Union Church and AugustanUnion Church this Sunday toraise more money for the stand.Meanwhile, Mr. Coleman’spersonal service in sellingpublications ranging from TheChristian Science Monitor toScrew has been replaced by afamily of vending machines.“Everything being done forme by the community is ap¬preciated,” Coleman said. “Ihope to be able to serve theneighborhood again soon. ’’InsideOpinion, p. 3GCJ, p. 5 S Sports, p. 18■ mbh m a IThe Cook County Do-Dah Boys made merry last Wednesday at lunchtime in theReynolds Club. (Photo by Pan Newman) Bomb scareUniversity officials decided not toevacuate three major campus buildingsTuesday after receiving a call from a manwho said that bombs had been set to go offin 45 minutes in Cobb hall, the Ad¬ministration building, and Regensteinlibrary.A search of the buildings turned up nosigns of any bombs.The call, which was received shortlyafter noon by the University’s mainswitchboard, was the second bomb threatknown to have been received since late lastquarter when another male caller, hadwarned that a bomb had been set in Cobbhall. The building was evacuated but nobomb was found. A technician with the Chicago policebomb and arson squad, Officer Fleming,said that schools are often a target of bombthreats:“Schools seem to be a favorite target. Iguess its because they evacuate easier.It’s usually a disgruntled employee, orsomebody who wants some kicks, orsomebody who wants to get out of class. "Fleming said that it is up to the in¬stitution which receives the threat todecide whether to evacuate.D.J.R. Bruckner, vice-president forpublic affairs, declined to elaborate on theUniversity’s decision not to clear thebuildings, saying only that it was a“matter of tactics.”Wilson to visit Fermi labSG advises library usersNext time you return a book to thelibrary, ask for a receipt. That’s the of¬ficial opinion of the Student Governmentassembly.SG met last Tuesday and approved thefunding of advertisements which wouldrecommend that practice to all students,to insure that they would not be unjustlybilled for overdue books.Kathy Edwards, introduced the motionbecause “the library was trying to bill me$76 for a book I had returned. They said theonly way I could prove that I returned thebook was if I had gotten a receipt.” Ed¬wards says she was told that it is a librarypolicy, not widely publicized, to issuereceipts for returned books upon requests.Disciplinary boardFifteen students were elected to serve ona selection panel from which students would be chosen to serve, should the oc¬casion arise, on a University disciplinecommittee. Fourteen of the personselected said that they intended to voteagainst the imposition of any sanctions onstudents as a result of Disciplinarycommittee proceedings. At a previous SGmeeting, the assembly voted to selectmembers for the board only if they agreedto vote against any penalties imposed onstudents. The resolution was intended toshow dissatisfaction with the disciplinarycode which, the motion says, poses “apotential threat to the civil and academicrights of students at the University.’The regulations were passed in 1970,following a student sit-in in 1969. EdwardLevi, University president at the time,expelled 41 students for the incident.The assembly also approved theredrafting of the constitution, and thepublication of a newsletter, the SG Record.AXfe’ll give you a snowjob you’re gonna like.Ski Continentals Colorado.Prices per person double occupancy: la* airfare andKas for rental car are extra Drivers must be 21 or overmove our tail forCONTINENTAL AIRLINESThe Proud Bird with the Golden TailTired of the same old scene? Relax arthink snow. Colorado snow. Continentcan get you there on a wide-bodied DC-or spacious wide-look 727. Then ski yoiway through Colorado with one of 01great ski packages. Here's a sample:Breckenridge $144 - 5 days/4 nighAccommodations at Der Steiremark,skierized Avis rental car, 3 days of lifttickets, plus meeting service at theairport.Vail $261-8 days/7 nights Accom¬modations at Vail's Holiday Inn, a skierized Avis rental car, 3 days of lifttickets, plus meeting service at the airport.Don't forget to ask about how you cansave even more with our special discountairfares. For more information on Conti¬nental's ski package, call yourTravel Agentor Continental Airlines.2-The Chicago Maroon Friday, January 28,1977Y6t> noo-.6/Vi OfeSiirQ so • University President John T. Wilson willbe among the 53 University presidents atthe Fermi National AcceleratorLaboratory, Batavia, Illinois Friday,February 4.The University executives will meet todiscuss policies and select trustees for the Universities Research Association, Inc.,(URA), the corporation which operates theFermilab for the U.S. Energy Researchand Development Administration on acontractual basis.The presidents have not met at Bataviasince 1970, two years before the researchfacility was opened.Wilson press conferencePresident John T. Wilson hasscheduled his quarterly interview withcampus media organizations for nextWednesday afternoon. The Maroon andradio station WHPK-FM(88.3) will berepresented. The Chicago Journal, a newstudent publication that was invited tolast quarter’s press conference, was notinvited this quarter.Last quarter, a controversy eruptedover what constituted a campuspublication when The Red Gargoyle, published by the Society for AlternativeCulture, asked for an invitation to theinterview. Their request was turneddown by vice-president for public affairsD.J.R. Bruckner.The Maroon would appreciatesuggestions of questions and issues thatmembers of the University communitywould like raised at the interview. Pleasecall the Maroon office, at 753-3263, withsuggestions, or visit us on the third floorof Ida Noyes Hall.mDON’T GO HALFWAYMIDWAY'S*6522 S. COTTAGE GROVE AVE.PHONE: Ml 3- 3500 open daily til 8 p.m.SAT. & SUN. TIL 6 P.M.Discounton salesand servicefor all U of Cfaculty, staff& studentsMayorMan of visionaryimagination....By D.J.R. BRUCKNERReprinted courtesy of In These TimesCHICAGO — Last year a group of uswent to see Mayor Richard J. Daley, to gethelp for a project. His schedule was run¬ning 90 minutes late when we went into hisoffice just before noon. Our group wasmostly old, loquacious, reminiscing. ID.J.R. Bruckner is vice president forpublic affairs at the University and aformer reporter and columnist for the LosAngeles Times.asked whether he knew he had more than adozen more appointments on his sheet.“Don’t worry,” he said. “I see everyonebefore I go to lunch.” He went on listeningto our little group, at ease. He was nevercasual with the citizens of his city.That patience was an instrument ofgreat political intelligence. Seventeenyears ago as a labor reporter, I used towatch him arbitrating disputes aftereveryone else had failed. He would listento one side, and then the other, sometimesright through a day and a night; and hewould eventually know more about therealities of the dispute than even thelawyers knew. He settled dozens of casesin those early years in City Hall, oftenwhile those of us observing dozed in hisouter office.When he was in the Illinois Legislature40 years ago, and later when he was Gov.Adlai Stevenson’s financial director, hedid the same thing. He was the mostpatient person in any dispute; he was themaster of the legislative machinery; hewas tireless at hearings. He was alwaysthe one person there who knew what hewanted. Many of the things he did asmayor in Chicago you can find in embryoin the record of the programs he advancedwhen he was a freshman legislator.His great standard was performance,preferably dignified performance. Aninternational union president, new to thecity in the early ’60s, was in a deadlydispute with another international union,one to which Daley had deep debts. Daleycalled him in one day and said: “I want tosee a fair resolution. But understand me: Idon’t want to see any violence in Chicago.”It was a delicate way of opening a door forthe inexperienced union president, whoused the opening and won the fight.Inevitably, part of the understanding hehad of people in politics involved “offers.”He seems to have refused them allthroughout his career. When he was askedonce about such corrupt negotiations, hesaid only that “I have tried to understandwhat people wanted to accomplish.” Butthe makers of the offers then had theterrific fear of being known by someonethey could not quite understand. That, Isuppose, is one kind of rare power for aman to have.To many persons, Daley was a strangeand secret man. In part, this mystery wasan illusion. People did not easily un¬derstand his expressions, which reflectedcommon human experience. He couldinfuriate hurried or frivolous people, in¬cluding many reporters who mistookarticulation for intelligence and did not seethat his imagination operated almostexclusively on experience.After all, the knowledge possessed bythe people he knew best all his life wasknowledge forced on them by life; it wasnot fanciful or ingenious or theoretical. Heonce said that “every generation shouldhave the chance to build its city.” Bricksand mortar? I asked. “Yes,” he said. “Yousee, when my family (his forebears)wanted a new life, they moved to a newcountry, a new place. There is not roomany more for that. We have to find a way tolet people build their own cities for theirown lives.”That is rea’ visionary imagination. It isnot easy to talk with a man like that; hisideas of what he wanted to do were formedby his belief in his mission, in his owndestiny. I think he trusted the rest of us tofind our own; he despised no one. In our time he was a very unusual kind ofman. He had a wide view of the world andmuch experience, and he was not easilydisturbed by fads or by criticism. He waserrant in some ways, eccentric in some.But he did not define himself in the wordsof anyone else.'He was a tough Irishman, too, with awicked wit. Two years ago, when he hadsaid in very common language that hiscritics could pay homage to his backside, awell-meaning friend told him he shouldnot talk like that. With a smile, Daleypromised to be more elegant. So, the nextweek, he said he had pinned a sprig ofmistletoe on his coattails for the benefit ofhis critics. You had to be careful aboutadvising that man.He enjoyed a good joke, too. Recently Ibet him that, when the Treasures ofTutankhamen come to the city in thespring, they will outdraw the White Sox,the Cubs and the Bears in the same year.He laughed. “They might,” he said. “KingTut’sabigname.”The professional staff he built up in CityHall is as good an administrative group asyou could find, and he improved it everyyear. There was no waste in him: He grewand kept using his tremendous experience.And he did a good deal of that kind ofimproving of the politicians; using hispower in the Democratic machine, he cutoff many opportunities for aggrandize¬ment while he opened opportunities forelection. There, as in many other things hedid, he used influence and power to enforcesome rules of civilized conduct; but he hada basic respect for individuals and did notmanipulate or force them. Further, he hada shrewd judgment of human capacity andknew how much he could really do.Since his death, his doctrinaire liberalcritics have renewed their old charges.What they amount to is this: He had toomuch power but somehow cheated usbecause he named no successor; he did notknow enough to solve all our problems; hedid not let luminaries without political orsocial interests or organizations get muchinfluence with him; he was not intimidatedby snobs; he reveled in the city’s neigh¬borhoods whiqh some saw as ethnicpolarization; he kept his city strong andsolvent only by not taking on all the socialobligations everyone could think of.These critics remind me of the reactionof Gustave Flaubert to modern science inthe last century. “Truth exists,” thenovelist complained; “I recognize it, Ibelieve it, and I am opposed to it.”The only criticism that is intriguing tome is that Daley chose no successor. Whenhe himself fought to become Cook CountyDemocratic chairman 25 years ago andmayor of Chicago 22 years ago, he had todefeat the incumbents of his own day. Heknew there would be a terrible strugglewhen he himself was gone But I think hereally trusted the system to work, as one ofhis old friends said the other day. Hetrusted his successors to choose.As for the other criticisms, they areanswered well enough in the facts of hislife, and in the mighty fact of that greatmass of more than 100,000 people whostood for hours in the winter wind all nightlast week, just to have the chance to passhis casket. Whether that is an expressionof love, or whatever it is, it certainly isimpressive.In 1967, he gave some thought to aproposal that he cooperate with anhistorian or writer to set down histhoughts, his life, his own history. Henever did it. He would not even let theKennedy Library have the tapes he oncemade for it; he destroyed them. Lastspring, during a walk, he said to me:“Maybe I should do it — something like thetapes. I might try, but I don’t have muchtime.”“When you retire?” I asked.“Oh, I won’t do that,” Daley said. “Iwant to die working — but not too soon.” Daley:An AmericantotalitarianBy DON ROSE© 1976, Los Angeles Times Reprinted by permissionThere was a simple appeal for the left inthe battle against the late Mayor RichardJ. Daley and his still flourishing machine— it was the appeal of having a large,simplistic target around which a classic“anti” campaign could be built.Don Rose is a veteran political campaignorganizer, former editor of the Hyde Park-Ken wood Voices and a political writer.Daley’s brutal policemen smashing theheads of antiwar protestors at the 1968Democratic National Convention was oneof the major images. His “shoot to kill”order in response to riots following themurder of Martin Luther King wasanother. The coverup of the slaying ofBlack Panther Fred Hampton was yetanother.So gross and shocking were theseimages that major coalitions reachingfrom far left to very near the centerbecame possible; coalitions that in manyways could cut across racial as well aspolitical lines — although they nevercracked the class barrier to the extentdesired by their organizers.Yet those images and organizing lociwere relatively superficial — howevermonstrous they were in fact — for themore insidious and deeper engrainedsocial issues reflected by the late mayor’srule often were not understood as fully asthey might be.Daley’s reign and the politics itrepresents must, in fact, be understoodfundamentally as a native Americantotalitarianism.. One winces at the prospect of branding iteven more strongly as “fascist,” at¬tempting to avoid overheated catchwords,but the concept is not inappropriate inclassic political terms.Let’s examine some of the aspects.First, the political and the governmentalpowers were merged totally in clear-cutone-party rule; it would be difficult foranyone to determine where the politics ofthe Cook County Democratic CentralCommittee stopped and the government ofChicago began. Daley, as incarnation ofboth, unified both powers single-mindedlvand applied them with an iron fist. Hi'sphilosophy of government, to the extent itexisted, was to the right of the Americancenter.As with all dictatorships, there was nopublic dissent permitted within the partystructure — and dissenters from theoutside were dealt with in as repressive amanner as was possible within the elasticlimits of Daley-run law. The comicmanifestation of this, of course, wasDaley’s propensity for shutting off themicrophone of a dissenting independent orRepublican alderman at City Councilmeetings. (At various points, dissentersnumbered from two to six out of the 50aldermen.)But such gestures, also, were super¬ficial, contrasted with his absolutedomination of two other facets of thedemocratic society — the criminal justicesystem and the electoral process.The police, the county sheriffs office,the prosecutor’s office, the public defen¬der’s office, the local, state and untilrecently the federal courts and the prisonsystem'were all (except in a handful ofunusual cases) elected by him and hismachine or appointed by him andtherefore under his complete domination.If we define a police state as the use ofmilitary or police forces for politicalpurposes — not simply as the brutality ofoverzealous, old-style cops — then Daley’suse of police again was classic. Sup¬pression of civil rights and peacedemonstrations by the police wereclearcut political actions, scarcely ex¬plainable as being related to traditionalpolice functions. Similarly, the massive and still growing evidence of police spying,surveillance and dossier-keeping onpolitical opposition fits the mold perfectly.I think back to an exemplary case wherea band of civil rights marchers werepeacefully picketing the mayor’s home in1965; his neighbors were deeply offendedand began pummeling the marchers withrocks and eggs. The police proceeded toarrest not the white rioters, but thepeaceful marchers. It took a decision ofthe U.S. Supreme Court to reverse thedecision that was upheld by three levels ofDaley’s courts in approving the arrests.It was not enough for Daley’s machine tobe able to win elections through its ownprodigious and inherent force; it wasnecessary- for his Board of ElectionCommissioners consistently to reducepotential threats by throwing oppositioncandidates off the ballot and for hiselections judge to uphold the decisions ofthat board. It took a massive newspapercampaign, federal vote-fraud prosecutionsand a host of Republican-appointed federaljudges to begin to alter the process in lateryears.Repression was not limited merely topolitical dissent; it was aimed specificallyat minorities. Racial segregation anddenial of power was the official policy ofthe city. Segregation by use of publicpolicy has been documented in the courtsin the matter of the school system and thepublic housing — the latter firmly en¬trenching a racially segregated housingmarket in an incremental conspiracy withthe real estate industry. It was buttressedby a host of related land-use actions, in¬cluding the creation of expressways andother public works to create barriers toblack migration and to control thatmovement as much as possible.Ancillary- to that and exemplary again ofpublic policy is the existence of plannedsegregation in police and fire departmentemployment, facts also documented infederal courts.The net product is the most segregatedcity in the United States. That was noaccident. It is another product of the Daley“genius.”Again, in a manner that echoes GermanNational Socialism or the Spain of Franco,business and industry are the willingpartners of despotism. Thomas Coulter,chief executive officer of the ChicagoAssociation of Commerce and Industrywistfully commented to the press shortlyafter Daley’s death that a “benevolentdictatorship” was probably the preferredform of government for the city. He wasnot alone among the business elite inspeaking so badly of what Daley was andmeant — and what that means to business(which does not conceive of itself as ademocratic institutional form). Thesymbiotic relationship between govern¬ment and business serves the needs ofcapital and strengthens the powers ofgovernment.Organized labor — especially therightwing construction unions which grewfat under Daley the ’builder” — is anotherwilling part of the system. So too isorganized crime.Sinclair Lewis’ scare novel of a right-wing take-over in the U.S. was called “ItCan’t Happen Here.”In Chicago it didAnd there was and is a willing publicthat was not forced along, but went alongwillingly — sometimes joyously. Themotivations were racial in large part andwere encouraged by economic controlthrough patronage.Changing that — even piece by piece, ifpossible, where possible — is what some ofthe left was about in Chicago and what itought to continue to be about The rest ofthe country can’t be too far behindChicago.The Chicago Maroon Friday, January 28.1977 31-r EditorialCool both waysAnyone who has been outside recently willhave a hard time looking ahead to the season oflake bathing, tennis, and heat inversions. TheUniversity’s harried budget planners don’t haveany choice—foresight is a necessary tool forintelligent management.One decision now facing the budget plannersconcerns the use of such foresight. This win¬ter’s severe weather and the rapid increase inthe price of energy has put a severe strain on theenergy budget. Conservation measures arebeing taken, but short-term efforts are not likelyto result in major savings. The one question nowon the minds of the planners is air conditioninguse in May and June, and there is a realpossibility that air conditioning may not be usedat all.We submit that an air conditioning cut shouldbe made only as a last alternative. Studying in ahumid, stickly library or concentrating in asweltering class room are not pleasant ex¬periences. On the other hand, keeping thetemperature at 68, or even 65, doesn’t impose anunavoidable hardship — extra layers of clothingcan always be put on.We don’t want to make an uninformedjudgement on a complicated budgetary matter,but we vote for less heat now and a little coollater. Inside OutThe invisible manBy DAVID BLUMRobert Reneker is the chair¬man of the University’s board oftrustees, but he doesn’t want totalk about it.Ever since he succeededGaylord Donnelley as the chief ofthe governing panel of theUniversity last June, Renekerhas assiduously avoided contactwith reporters from The Maroon.Until December, his secretaryrefused to schedule an interviewwith a Maroon reporter. As of thisdate he has never been seen orheard by any member of TheMaroon staff.In December, the reclusiveEsmark, Inc. exectuive gave hissecretary permission to schedulean appointment with a Maroonreporter to discuss a broad rangeof issues related to the Board ofTrustees’ decision-makingdomain. Set for January 28, TheMaroon planned to devote timeand space to allow Reneker anopportunity to make positionsknown — but his secretaryphoned Thursday to inform thereporter that Reneker would be out of town, and could not keephis appointment.“Could we arrange anotherappointment now?” asked thereporter.“Well,” his secretary replied,“it’ll have to be in March,because he’ll be out of townduring February.”But rather than scheduling theappointment, the secretary in¬sisted that the reporter call backin March.“Perhaps those are the rules ofhis office,” said vice presidentD.J.R. Bruckner, whose positionas spokesman for the Board alsonecessitates access to the Boardchairman. “I do sympathize withyour problem.” He advised theMaroon to write Reneker a letter“My guess is that he reads hismail,” Bruckner said.Allison Dunham, recentlyappointed General Counsel of theUniversity and Secretary to theBoard of Trustees, also voicedconcern over Reneker’s apparentdesire to stay silent on the viewsand actions of the panel he heads.“I can understand yourproblem,” Dunham said. “Letme talk to him about it.” Reneker, as Board chairman,holds massive power, far greaterthan most people know, and hisinput in University policy canalter the careers of faculty andthe lives of students. The Boardholds veto power over mostmajor administrative decisions,including budget approval — andthe authority to make majorbudget cuts — as well as studenttuition increases.What would Reneker propose toinsure the maintenance of asuperior academic program inthe College? Does he believe thatthe solution to the problems offaculty size is to limit tenure tofull professors only? How does heplan to encourage alumni, friendsand others to contribute to thelagging, $280 million Campaignfor Chicago?His answers are important.Little can be done by anewspaper to encourage greatercommunication between ad¬ministrators and the press — andReneker’s reluctance to submitto questions from The Maroon isone more barrier being raisedbetween the administration andthe University itself.Collective problem solvingAt our notoriously apathetic University,students rarely take advantage of collectiveorganizations for the resolution of their com¬plaints. The residents of the Shoreland havemade an exception to the rule in their recentefforts to get the University to make changes inthe Shoreland shuttle bus, which has been theobject of widespread dissatisfaction among thehotel residents.Working through the Shoreland Council andresident heads, and with individual complaintsto the housing office and the plant department,the Shoreland students have been successful inbringing about a change in shuttle busoperations.The complaints have generally concerned thefailure of the busses to keep on schedule and thelimited number of stops the bus makes on itsroute. Although the scheduling problem is noteasily resolvable, the University housing officeand student representatives from the Shorelandare expected to agree on the scheduling of a newstop, either at 57th and Ellis or in front of thebookstore.Although dissatisfaction with the bus systemhas at times become heated, as in the case of apassenger who held up the bus at the Shorelanduntil she was taken away by city police, theexchange leading up to the new stop appears tohave been characterized by openness andwillingness to be helpful. The housing office andthe organized students of the Shoreland deservecongratulations for making the effort to improvethe bus system.The Chicago MaroonFounded in 1903Editor Peter Cohn Production Manager: Michael DelaneyMews Editor: Dan Wise Graphics: Chris PersansFeatures Editor: Jan Rhodes BusinessManager: NlkoMaksimyadisSports 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 Itzkovltz, 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,Mind* <0*37. The telephone number is 753-32*3. Letters to the EditorO’Connell:‘Oh my ’To the Editor:Oh, my... Two letters in lastFriday’s Maroon call for at leasta modest infusion of facts to putthe situations in proper per¬spective.1. It is true that I have not (yet)released $3,300 given to theUniversity for use in connectionwith Station WHPK. The requestfor the funds reached me onDecember 16th and I was toldthat it was imperative that thefunds be released at once so thatthe Station could convert tostereo operation over the Holidayinterim.. I demurred. I asked foran “outside opinion” of the costsby a professional consultantbefore releasing the funds. I didso because last year’s Stationmanagers had given me anestimate of well over $10,000 toconvert the Station to stereooperation, in contrast with thisyear’s estimate of $3,069.Prudence, if nothing else, wouldseem to call for some effort toreconcile these estimates beforeplunging ahead. This review isnow under way.2. In writing about the newAbram Harris Prizes in theCollege, another writer con¬cluded that the Prizes went to“students from wealthy families,with low SAT’s, low high schoolgrades, or low first-year collegegrades.” Although I was notinvolved in the selection of thewinners, I am assured thatregardless of their year in theCollege, only five of the 57 win¬ners of Harris Prize had over-allacademic averages below Dean’sList level, or 3.25. Most wereconsiderably higher. In addition,many were already receivingfinancial aid from the College,including federal loans. This isnot surprising, of course, sincealmost 70% of the students in theCollege receive some form offinancial aid — the highestproportion of any private collegein the country, as far as we have been able to ascertain. It is truethat in awarding the HarrisPrizes, the College took intoconsideration not only thestudents’ grade point average buttheir achievement outside theclassroom as well. The winnersdeserve congratulations from allof us.Charles D. O’ConnellYellow journalismMarquette ParkTo the Editor:Friday offered a fine exampleof yellow journalism; the Maroonmade use of a handful of lunaticsto slur an entire neighborhood. Irefer to the quote: “MarquettePark’s American Nazi Party”which appeared in This Week inthe Arts. The fact that a dozen orso radicals decided to build theirclubhouse on 71st street does notgive Tom Palazzollo, the Maroon,or anyone else the right toidentify their antics with anentire community.I plan to attend DOC Wed¬nesday night to see if Mr.Palazzollo’s camera hasanything to tell us about thecharacters from Hyde Park whomarched with the so-called“Martin Luther King Movement”and its suburban leadership, whochose to ignore the law and policewarnings so as to incite a fearfulneighborhood, a place whichmost of them had no doubt everheard of before. I also plan to askMr. Palazzollo if the presence ofhis and other’s cameras did notcontribute to the park’s becomingan ideological and physicalbattleground between the HydeParkers and suburbanites on theone hand and the Nazis (whosepaltry numbers are drawn fromthe north side and west suburbsin addition to a few south siders)on the other.It is unfortunate that theMaroon knows so little about thecity in which it is published.Austin Kelly Yellow journalismAbortionTo the Editor:I am incensed at the Pro-Life’sorganization’s presentation of adebate on abortion (MondayJanuary 24). The two speakers,Mr. D. Horan and Rev. E. S.Parsons, onlv oresented twosides of the argument. The thirdviewpoint was entirely avoided,that of abortion as a woman’sissue.The gentlemen behind thepodium included all of thepossible intricacies in theirdebate. They mentionedeverything from capital punish¬ment to damaged childrenwithout ever considering theever-present underlying factor.That this argument boils down toa conflict of mother’s rights vs.fetal rights. There are manypeople who side with the fetusbecause the mother, a func¬tioning and contributing memberof society, is simply a woman.It would be absurd to pretendthat we do not live in a patriar¬chal society. Our governmentwould never dare attempt totamper with male bodies andpsyches in this manner. This isevidenced by the fact that manypotentially harmful methods ofbirth control are on the marketfor women while no experimentsare done in a like manner onunsuspecting men.This is not to say that al>women should have a pro¬abortion attitude. On the con¬trary, the issue is that thegovernment, which alreadycontrols women’s social status,economic power and careeropportunity, must not control ourbodies. The debate reached anempty conclusion reflecting thelack of concern with thenecessary question of a woman’sresponsibility, right andobligation to her society and toherself.Sarah Schulman4-TheChicago^ ^ ^ ,r.•aar.iwygarig)’17th Annual U. of C. Folk Festival• ••and you re wonderingwhat to do this weekend?Clockwise from top: Mark O'Connor, Red Clay Ramblers, U. Utah Phillips, CarlPerkins, Apple Chill Cloqgers.UL.This weekend marks the 17th annual U. of C. Folk Festival, which in-includes some old favorites and some new top names. The festival seemsto be expanding its boundries to include the best folk, country, and evenrock. The festival is always informative, informal, and tun, restoring ourfaith in the continuing growth of contemporary American music. In thefolk and country traditions of the East, South, and Southwest, the festivalbrings together performers who scan the range of popular music, fromcountry-rocker Carl Perkins and his band to the traditional Apple ChillCloggers from North Carolina. The Folklore Society has succeeded injoining various musical forces into one weekend of fine concerts andworkshops. For a schedule of events, see the Maroon calender.Highlights of the festival include Henry Townsend, an exemplary St.Louis guitarist who employs a crisp, ringing style, and has become alegendary blues figure. Townsend has done much session work, ac¬companying Sonny Boy Williamson and Roosevelt Sykes. With Townsendwill be his wife Vernell on piano and vocals.Also appearing are:Mark O'Connor, a versatile young musician from Seattle whose fiddle,guitar, and mandolin playing have won him the acclaim of both old-timeand progressive country musicians. He has been at the festival before,where he demonstrated his flat-pick guitar technique and his "Texas-style" fiddling that won him the Nashville Grand Master's FiddlingChampionship in 1975.The Red Clay Ramblers, a highly regarded old-time string band fromNorth Carolina, and have perhaps the most varied repertoire of any bandof this type. Their modern reinterpretations of the old-time string bandtradition, as well as their original compositions were one of the highlightsof last year's U of C folk festival.Ernest East and the Pine Ridge Boys, from Surry County, NorthCarolina, who represent one of the few old-time country music bands that continue to play as a unit in the stylistic strinq-band tradition of the1920's.Sammy Price, a veteran blues and boogie-woogie piano player, hasstruck European as well as American audiences with his excitingpolished style of urban blues piano. Regarded by many as the "New Yorkking of boogie woogie," Price was born in Honeygrove, Texas, but he nowlives in New York.The legendary Carl Perkins, singer, songwriter and guitarist, who asthe composer of "Blue Suede Shoes" (1956), a two-million record seller, iscredited as being one of the initial forces who made rock 'n' roll thenumber one form of popular music in the '50's. (Too bad those days aregone.) Perkins represents one of the seminal figures who souqht to blendelements of rhythm and blues with that of country music.A master of both white rockabilly and black rural rhythm-and-bluesstyles, Harmonica Frank Floyd honed his talent on harp and guitar as astreet musician and medicine show regular. A native of Mississippi,Harmonica Frank is one of the more enigmatic figures of blues lore. Ofextraordinary note is Harmonica Frank's uncanny versatility on theharp. Not only is he proficient at playing harmonica and guitarsimultaneously, but Harmonica Frank plays the harp without benefit ofthis hands or a rack.And: The Apple Chill Cloggers, who are a troupe of sixteendancers, composed primarily of students at the University of NorthCarolina in Chapel Hill. Formed in January 1975, the Apple Chill Cloqqersdevote themselves to the preservation of North Carolina dance traditions,primarily the art of clogging, a traditional style of dance derived from theCelts which employs patterns similar to those of western square dancing.Mama Yancey, a true "living legend" and widow of the legendary bluespianist Jimmy Yancey.The Grey City Journal-Frlday, January 26,1977-1HistoricalRecordsBy M. NeustadtWhen I was younger and bought recordsvoraciously, the word "bootleg" held acertain tascination. At that time I hadnever come across one, and I imaginedthey contained a more bewitching andsecret brew than that ottered in theregular commercial fare. The truth aboutbootlegs, as anyone who has ever pur¬chased one can tell you, is that they areusually poorly recorded, and the per¬formances are often mundane.The usual (rock) definition of a bootlegis a recording which is issued withoutpaying performance royalties. For myown purposes this definition is notadequate, and I would like to offer another.The whole mass of jazz recordings fromthe early '20's to the present form a certainhistorical continuum. They tell a story thatruns parallel to the history of jazz,although it may have very little to do withit. Every serious record collector I havecome across believes that anyone whocould listen to all the existing jazzrecordings would hear something wor¬thwhile.I don't propose, like many, that it isnecessary to own hundreds, perhaps athousand jazz records to gain a good un¬derstanding of the continuum of recordedjazz. Properly selected, TOO to 150 recordsis quite enough.What the jazz critics and many modernmusicians find in records is a certainhistorical tale, though bootleg finds noplace in this history.There are many reasons why a jazzrecord becomes a bootleg. Lack of arecording date is often enough, thoughmore frequently, it results from unknownpersonnel. The strangest is when a recordworthy in all other respects is assignedbootleg status merely because it does notconform to a preconceived interpretationof jazz history. The problem frequentlylies with an inane conservatism on the partof the critics, who have not acceptedrecordings that go against their mythicalview of jazz.A few years ago a recording made atMinton's of Art Tatum appeared on Onyxwhich went against all of the acceptedtheories about his art. Whereas it had beenthought that Tatum was foremost asuperlative technician of the piano, therecording showed him to be at his best asan uninhibited party musician. When thefirst criticisms of Tatum appeared, theyrelied heavily on his recordings for Nor¬man Granz. In order to encompass theMinton's recordings it would have beennecessary to rewrite the book on Tatum,something most critics were unwilling todo, Whitney Balliet being a notable ex¬ception. Today the album, entitled God IsIn The House, is still considered a blacksheep in Tatum's output; in short, abootleg. An opposite case is the Ornette Colemanset released last year on Inner City. (LiveAt The Hlllcrest Club, Inner City 1007) Thisis the earliest known recording of Ornette,and the only one on which he plays a pieceby Charlie Parker (Klacktoveedsedsteen).Instead of disturbing the preconceivedideas about Coleman's art, this recordconfirmed them all. In the words of criticGary Giddens, '-'it has already become aRossetta Stone for critics." The record fitright into the critics' notion of history andwas as such saved from the land of out¬casts, the bootlegs.It would be irresponsible for me torecommend that everyone run out andinvest in a large handful of bootlegs. Fromthe care put into packaging and from thefact that musicians royalties are rarely, ifever paid, one can assume the men whoput these records out are the dregs ofsociety, that they shouldn't be supported.But bootlegs do offer a special treat forthose seriously concerned with the historyof jazz on records. They allow his mind todwell in historical speculation without theconfines of an already existing canon.Occasionally they contain some very finemusic. Below is a short list of some of mypersonal favorites.John Coltrane, All Blue (although listed onthe album as Somethin' Else) BYG 529608History of Jazz Vol. 8, with Miles Davis,Wynton Kelly, Paul Chambers and JimmyCobb. Broadcast, Stockholm, Sweden.There is a popular theory thatMiles Davis insisted John Coltrane leavehis band for the last time in 1959 be¬cause Coltrane was becoming more andmore involved in avant-garde ex¬plorations. With the exception of this cut, Ihave never heard any evidence to supportthe theory. Coltrane's playing im¬mediately after he left the group is notradical enough to explain the parting, butthese five minutes may be.The number, which is not complete,fades in after the theme with the beginningof Miles's solo. After his solo comesColtrane's and the cut fades out.Coltrane's solo is more harmonicallyadventurous than anything he recorded forthe next two years; he plays ten chorusesof mostly one phrase played over and overagain, as if he were trying to destroy it. Hetotally leaves the realm of traditionalharmonics in favor of the polytones whichresurfaced a few years later.There is another rumor that Miles dideverything he could to squelch anyrecordings of this broadcast. It would beunderstandable, for Coltrane rips apartone of the finest standards Miles everwrote.John Lewis, Kenny Clarke,. Ben Webster,Milt Jackson. Ozone 22 Confirmation, Youare Too Beautiful, Lady Be Good, Near¬ness of You, Poutin', Cottontail, DannyBoy, Billie's Bounce. One merely has to peruse the per¬sonnel on his club date to under¬stand the importance and beauty of thisrecord. Of the three tathers of the tenorsax, Ben Webster is certainly the leastappreciated. His career seems to fade inand out of the spotlight and he has not beenthe recipient of the wonderful mthologywhich has been bestowed on the other twofounders, Lester Young and ColemanHawkins.This is the only recording I knowof onwhich Webster plays in a straight be-bopidiom. His solo on "Confirmation" is ef¬fortless and classic. For the rest of thepieces he is the undisputed leader in topform. Even without Webster this recordwould be of prime importance. There arenot nearly enough records of the MJQ intheir early years, when they were formingthe ensemble which would stand alone fortwenty years.Billie Holiday, My Man from DukeEllington, Ben Webster, Billy (Sic)Holiday, Ozone 12. (The record contains atleast two separate sessions. Billie Holidayis not accompanied by the other musicianslisted.)To my mind this is the only version of MyMan; all others pale by comparison. Itwas probably recorded in the mid-forties.The accompaniment is a solo piano.The Billie Holiday on this track is amature Holiday. The innocence of theearly recordings is gone, but not thebeauty, lo choose one track by BillieHoliday and say it excels above the rest isto make the highest praise possible. Thisrecording is deserving. It is a pricelessgem. Duke Ellington With His All-Star Band.Stardust SD-124. Jumpin' Punkins, Por¬trait No. 1, Portrait No. 2, Mood Indigo,Bov Meets Horn, Bakhim, Moon Mist.There is a strange hush in cri¬tics' circles about. Duke Ellington.There are many questions one would thinkwould be pondered by those interested injazz. For starters: how can an artist whorose to the heights of Ko-Ko sink to thedepths of The Queen Suite? Why didEllington go virtually unrecorded in hislater career? Why are records only ap¬pearing now, after his death?To answer these questions would take alot of thought and more musical evidencethan is widely available. But this record ofa concert performance sometime between1941 and 1945 goes a long way towardanswering some of them. For many yearsI thought the only major -ecorded concertpertormance by Duke Ellington in the mid¬forties was Black, Brown, and Beige, anundisputed masterpiece of which onlyexcerpts ever made it to vinyl. This recordis another, and the two are as different asnight and day.the soloists are in top form, withhighlights provided by Johnny Hodges,Rex Stewart, Ray Nance, Juan Tizol, BenWebster, and Sonny Greer, but the piecesare most notable for a lack of good taste.They are overly effusive and sentimental,the color effects are maudlin and soggy.The truth about Ellington may be hardfor critics to swallow. I have alwaysthought it a responsibility to deal with thisgreat American artist honestly andwithout sentiment. This concert is a good-to-great performance, but the seeds ofcollapse are evident. This totally un¬documented album is vital for anyoneinterested in Ellington. Unfortunately, Ican't be of any help in suggesting places tofind it.GENERALm Of) informalconversation u>rfHTITYAHU PELEDTUES Fte. I 3«-5S0»GENERAL PELED IS Dt RECTO A. OF f\PAb STUDIES ,UNW.TEL MH j FORMER COMMANDER OF SOUTHERN TERRITORY,(l<tet) ■, GOVERNOR OF GA-ZA SfRjf* JERUSAlEW IICHAiRPERSOW IbRAOL COUWai. R* ISRAELI-PALESTINE PEACE A Staged Reading OfHEARTBREAK HOUSEDirected by *H S & 5^““'IfLcJoJ JV< y^cJivujflJanuary830 PM.IM NOYES LIH^Yu.oo■for irformolion coilCOuaL, T kiatAV753-0581U.C. YAVNEH SHABBATON WEEKENDFebruary 4-5SPEAKER: Rabbi Moshe Meiselman,Friday Evening, Feb. 4CAPITAL PUNISHMENT AND JEWISH LAWCOST: $7.50 includes Friday Dinner, Saturday Lunch,Saturday Afternoon Shalos ShudosSIGN UPATHILLEL, 5751 Woodlawn Avenuebefore Wednesday, February 2 GOLD CITY INNgiven * * * *by the MaroonNew Hours: Open DailyFrom 11:30 cum.to WH) p.m."A Gold Mine Of Good Food”Student Discount:10% for table service5% for take homeHyde Park's Best Contone*5228 Harper 493-2559(rmt Hfptr Court)Eat more for less.(Try our convenient take-out orders.)2-The Grey City Journal-Friday, January 28, 1977Paging the TraneBy Lukacs LeBagThoughts on the night of a heat wave...Something's wrong with one's sense ofvalues when one is relieved to see the HydePark Bank thermometer stand at 23degrees. Something's wrong when onebegins to appreciate Charlie's Angels.Something's really wrong when one beginsto get excited about the Chicago Bulls.Really, it's very easy to get heavily intomediocrity in January in Chicago. One'sspirit can get anaesthetized — which is onereason why it is so good to have JohnColtrane around, if only on record. Anevening of Trane can get your head backon the straight and narrow: in very selectcompany among artists, he was nevercontent with the merely pretty or clever,never able to rest even on a plane muchhigher than any of his contemporaries. Herelentlessly sought out musical andspiritual purity in a muddy, complexworld. I could go on and on — but I'd soundmore and more like the books I want totalk about.There is a real mystique about Coltrane:his music became so intense it was hardeven for him to understand sometimes,and he died (in 1967, at the age of 41)without anyone who really knew him as aperson or as a musician. Yet his impactcontinues to be widespread and profound,and the problems he posed to anyoneinterested in Afro-American music, musicin general, or expression, are very in¬teresting. Someone whose head istogether- musically and with regard toAfro-American, American and Africanculture - can perform a great service to allof us who are moved and often perplexedby Coltrane by writing a good book abouthim.I have two efforts in that vein in front ofme: J. C. Thomas' Chasin' the Trane: TheMusic and Mystique of John Coltrane (DaCapo Press paperback, $4.95, reprint of1974 Doubleday hardcover edition) andJohn Coltrane by Bill Cole (Schir-mer/Macmillan, $12.95). It is always anadventure to read a jazz book, and oftensomething of a chore. Most cliches aboutthe incompetence of critics have beenleveled (often not without justification) atjazz writers, who often seem to lack thecultural insight, musical knowledge,and/or ability to write and speak Englishnecessary to do criticism. On top of thequestion of qualifications, three problemsunique to jazz pose themselves. First, jazzcomes out of an "oral tradition" (cf. Ben Sidran's Black Talk of 1971, for example)in which fhings premeditated and writtenplay a very minor role; it is more difficult,intrinsically, to sit down and writesomething about jazz than it is, say, aboutliterature — which comes out of a writtentradition, anyway. Second, even thosecritics who handle one period or artist well(for example, Andre Hodeir onEllingtonian "classic jazz" of fhe late1930's) are hard-pressed to deal Vvith thedynamics of jazz — that which makes it anart form almost continuouslyrevolutionizing itself. Third, jazz hasneither really a mass audience nor anacademic one: certainly, there are thoseout there who could be enlightened throughsome good writing, but it's hard to knowwho they are.So, there are a lot of pitfalls and un¬certainties involved in writing jazz. LeBaghimself, being a sensitive sort, must beliterally dragged to the typewriter toproduce. But jazz must be written about:like it or not, if one wants to deal with anysubject seriously in this culture (Americanculture as a whole), one is nearly obligedto write down what one wants to say,coherently and lucidly. More good writingwould result in more listening, and moreintelligent listening, going on. Any insighton Coltrane, being the enigmatic figure hewas, would be especially enlightening.Which is why I'm basically happy thatthese two books exist.A quick look at Chasin' the Trane doesnot raise one's hopes for an intellectualepiphany. The book is almost writtenscrapbook-style, highly anecdotal, withmany quotes from Trane himself, his co¬musicians, and seemingly everyone everconnected with him, from grade schoolpals to fans who once got his autograph tohis mistress. There are the almostobligatory descriptions ot his hometownand family, his drugs-and-alcohol habitand his decision to quit, his practiceregimen, the length and intensity of hisperformances, his relations with the musicindustry, interest in spiritualism, his toursaround the country and the world, hisphysical deterioration and death. There isno central theme to the book: it's a "fanbiography", not a critical one. But it'svaluable: Thomas is intelligent enough notto let his fanaticism get in the way of hissubject or his data. Some of the data in thebook is significant to our understanding;some can be discarded Thomas, obviouslyno musicologist, has shied away from anyclose musical analysis. The portrait ofColtane-the-man is where this book can beof service, and it is highly useful in simplylaying out life and a number of commentson it — eveff if there's not much attempt totie the whole thing together. Especially toa generation that perhaps was not tooaware of his existence when he was alive,it is good simply to have more informationabout Coltrane than what the liner notes onthe records say.Bill Cole poses different problems. Hisbook is much more ambitious thanThomas' in that it attempts to give anoriginal, imaginative interpretation to hislife plus present a sustained analysis of hismusic. Unlike most jazz writers, he hasbeen able to give an academician'sthought and effort to his project. Havingdone his araduate work in World Music at Wesleyan, and now teaching at Dart¬mouth, he's not just someone with adegree, but has had the advantage of beingin some of the rare academic com¬munities enlightened enough to support aproject like a work on Coltrane. One hasreason to hope for a book of power andscope. Unfortunately, John Coltrane fallsshort of the mark.Cole's thesis is that Coltrane wasbasically a "traditional man" of WestAfrica. Musicians in Wesf African societywere highly respected, very wise peoplewho approached their calling with single-minded devotion. It seems far-fetchednotion at best — but to say that he was justan American jazz musician doesn't ex¬plain all that much of Trane. One of his"signature songs" was a standard called"Out of This World"; despite his suit-and-tie dress, business acumen, and otherWestern-world qualities, there wassomething different about him.There is a lot to be said for an Africaninterpretation of Coltrane's music. Thedepth of African influences in Afro-American music was beautifully docu¬mented in Gunther Schuller's Early Jazz— one of the very few good jazz books.And Cole does have some useful things tosay on a musical level about the Africanconnection. Certainly it is easier to un¬derstand the Coltranean trademarks oftriplet figures, extended polyrhythms,intense drumming, and repetition offigures with some insights into, forexample, the special nature of the tripletfigure in African music and religion.Fairly effective use is made of writtenmusical examples from Andrew White'sheroic transcriptions of his recorded solos,but Cole's explanations tend to be difficultto follow. Plus, I was disappointed to seejust fragments written out and not anentire solo. He is perhaps most successfulin his mostly-written description ofTrane's later works (from A LoveSupreme on); he does a nice job in giving apast, present, or potential listener a handleon some of the most challenging musicever.But Trane the man refuses to fit theAfrican mold cut out by Cole and hismaven. the Nigerian composer andfolklorist Fela Sowande. The impact of theAfrican-American connection, in breadthand depth, in this country is becomingenormous. Ask ABC. Ask A.C. Nielsen.Ask Alex Haley. But, for the Coltrane-as-traditional-African-master musician ideato have any power, it must go beyondmetaphor; a real link to the "ROOTS"must be found. Yet, the portrait of Traneby Cole is poor: basically, it reads likehero-worship. Tidbits and even rumorsabout the man become the basis for almostsaint-like qualities: for example, J.C.Tomas notes that Trane called his latefriend Eric Dolphy's mother in LosAngeles during the 1965 Watts riots to see ifshe was safely out of danger — just likemany people did. But Cole recounts theincident in the context of saying that "hecame to some conclusion in his wisdom atthat time." Besides the obvious gram¬matical problem, it is also taking the in¬cident a little far out of context. I don'tthink that the life of John Coltrane was tooclosely consulted to fit the Cole/Sowandeconcept. I'm not taking the idea too literally — an imaginative leap of faith issomething I'm willing to take in a case likethis. But, dammit, he didn't live in a tribalvillage, but in the wilds of Philadelphiaand New York, among hustlers andjunkies and businessmen. I just can't seethe quality of spiritual purity in him thatSowande puts on "traditional man."Overall, the book is very shaky: I don'tmind the use of Sowande as almost the solesource on African life, but some an¬thropologists might. While I admire Cole'sdecision to try to write the book in a simplestyle, there are nonetheless a lot of em¬barrassingly badly written passages in thebook. The list could go on, but still, it's aserious book and deserves at least someattention by those of us who are comfortedand challenged by Trane.I was disappointed that neither Thomasnor Cole in any degree touch on thedevelopment of the music, and thedevelopment of the attitude towardsmusic, that Coltrane started. The style(and to an extent the albatross-around-the-neck) he left to all saxophonists, thespiritual dimension to jazz that he left toPharoah Sanders and to others (manyAACMer's, for example), the drive he leftto Elvin Jones and McCoy Tyner — thesethings should be talked about in the con¬text of the life of Coltrane. Saying this, andhearing my editor banging on the door forthis article, makes me realize that I havebeen remiss also in sticking just to the starand ignoring those who have followed him.So, such discussion is for another timeand place. Meanwhile, if you have not seenMcCoy Tyner ever, by all means see himat Amazingrace this weekend. You will bethrilled and astounded. But if you haveseen him already, it's questionable howmuch you'll get out of it.SO. SHORE BEACH APTS.LUXURY ON THE LAKE7447 SOUTH SHOREStudio apts. from $ 1551 Bedroom from $1902 Bedrooms from $296rModern hi-rise bldg, in pleasant surroundings'|with central air cond., private beach, commissary,!fbeauty shop, indoor and out door parking avail.iFor an appt., call 768-3922 or visit our office1,M-F 9-4:30DOWNS, MOHLSCO.Equal Opportunity Housing PIZZAPLATTER14ML5MFAST DELIVERYAND PICKUP Young Designs byELIZABETH GORDONHair Designers1620 E. 53rd St.288-29007 Days A WeakHYDE PARK PIPE AND TOBACCO SHOP1552 t. 53rd - under 1C tracksAll students get 10% offask for "Big Jim ’Pip**Pip* Tofcaccos import** CJpor*»t*« Oe*r<The Grey City pmiimiiimiiimmimimiiimimimiiiiiiiiiiiiiiiiiiiiiiiiiiimiiiiiiiiiiiiiiiiiiiigBRENT HOUSE5540 S. YVoodlawn| SUNDAY:5 5:15 Vespers= 5:45 Social Hour6:15 Supper ($1.25)7:15 Dialogue with Rev. George Lamb s= minister to Chinese students= “religion and meaning in theChinese experience"1 WEDNESDAY:4:00 p.m. Brent House Theological Forum="Meaning and Modernity*\§ Phil Hefner. L.S.T.C. |I IN BREASTED HALLiiiiiiuuiiiiiiiiiiiiiiiiiiiiiiiiiiimiimuuNiiniiiiiiiiimiiiiiimiiimiimmniiiiiJournal-Frlday,January 28, 1977-3OAK FURNITURE-ANTIQUESAt IS16491.53*667-43601-4:00 PMTUES.-SAT. DtfkiTablesChairsDressersBookcasesMuchMoreWe Also DoReflnlshlng A FIN! CIGARCOMPUTES TOUR DINNERTRUT TOURSIIF #| \AND TOUR GUtSTSTNI ONIT ON! OF IT'S KIND IN TH! H.F. AREAAt Harper Court Shopping CenterSJ25 S. Harper C- 7 JM- 5151PIP©^Shop^{P1 Bring this Coupon °(/iThe Scholarship Shop1372 E. 53rd St. (493-0805)1 0% off on any purchaseGood through February 1977Open: Mon.- Sat. 10:00 AM • 4:00 PM (j FLORENCE WHERE IN THE WORLD ARE YOUGOING WITH YOUR EDUCATION?- answer -TO SYRACUSE UNIVERSITY IN:The 4 storyof the decade.The 4 bestsellerof our time.Now the 4 paperback.The Department of Musicpresents TheCONTEMPORARY !jCHAMBER PLAYERS!of The University of Chicago jRALPH SHAPEY. Music Director jDuo Piano RecitalARLENE and| ABRAHAM STOKMAN jj works by jj Igor Stravinsky*Scott Eggert»Elias Tanenbaum«Maurice Ravel j dCej TUESDAY# FEBRUARY 1,1977 **8:00P.M.MANDEL HALL#57th & University Avenue !,50AlKMUAFERBCkAdmission is without ticket and without charge ALLTOGETHERAt One LocationTO SAVE YOU MORERECENT ARRIVALSW. O’FLAHERTY, The Origins of Evilin Hindu Mythology, $15.00N. POUNDS, Historical Geography ofEurope 450BC-AD1330, $14.95H. ISAACS, Idols of the Tribe: GroupIdentity and Political Change, $4.50M. ROBERT, The Old and the New,$12.50A. CHASE, The Legacy of Malthus,$17.95R. LEWIS, Edith Wharton, $6.95We now carry the New York Times Book Review, 1 S' each.SEMINARYCOOPERATIVEBOOKSTORE5757 S. University752-4381 9:30-4:00 M-F * WACEN . CHEVROLET VOLKSWAGEN .SPECIAL DISCOUNT PRICESFor 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 sovingsDiscounts or, /oikswegen & ChevroletParts, accessories and any new orused Volkswagen or Chevrolet youbuy from Volkswagen South Shore orMerit Chevrolet Inc.IIMNAIN} * USVMSmOA UtOHAllOSALES A SERVICEALL AT ONE GREAT LOCATIONMERITCHEVROLETVOLKSWAGENSOUTH SHORE7234 Stony IslandPhont: 684-0400Opwn Dally 9-9 P.M. / Sot. 9-5 P M.Parts Opart Saturday too til 12 Noon• CWVS0LE1FRRNCI5 FORD COPPOLR’S Italian Language and Literature, History,!Fine Arts, Humanities, Philosophy, Social!Science. iMADRID Spanish Language and Literature, Anthro-\pology. Fine Arts, History, Political!Science, Social Science, Business/jManagement, Education, Philosophy,?Sociology, Theology. ISTRASBOURG French Language and Literature, German |Language, History, Fine Arts, Religion ?Political Science, Social Science |AMSTERDAM Dutch Language and Culture, Fine Arts.jHistory, Social Science, Economics, Man-!agement, Social Work, Human Develop-1ment, Anthropology. iLONDON English, History, Fine Arts, Political?Science, Photography, Advertising,!Newswriting, Drama, Art History, Studio jArts, Architecture, Teacher EducationMEXICO Spanish Language and Literature, Art jGeology, Geography, Sociology, Political.Science, History, Anthropology.ISRAEL Management Program with Liberal Artsjelectives .•Application Deadline for 1977 Fall Semester: March 1 st j•Financial Aid Available•No Language Background Necessary j•Summer Programs Offered In: jFor fijrthpr information snrj applicationSyracuse University JDivision of International Programs Abroad335 Comstock Avenue - Room NSyracuse, New York 13210 j(315)423-3471ATTENTIONMAROON ADVERTISERS USINGFAC EX FOR AD DELIVERYMUST ALLOW ONE WEEK FORTRANSIT. PLEASE ENCLOSE102 FORM WHEN APPLICABLE.In its February issue, National Lampoon sets outto answer a question that has been on everyone’smind since November 22,1963...WHAT IF 7<.K\M) 111 1H TERM INAU.l R.M. IsSl IFctorMat v W774 'THE GODFATHER. PRRTIIDoc Fri Jan 28 6:30 Er 10:00 Sun Jan 30 7:30 Cobb Sf .50Trying To Put it All Together: The Return of the JoffreyBeatriz Rodriguez and Russell Sultzbach Gary Christ, Christian Holder and Chathel ArthurBy Eden ClorfeneThe Joffrey Bailey, one of America'smajor ballet troops visits Chicago nextweek. *For the past few years Joffrey has beenin a financial and artistic rut. This year,however, it seems the company is makingan effort to climb out of it.Their repertoire includes "con¬temporary'' rock ballets, modern-dayclassics from the international repertoire,and most recently, works of Twyla Tharp.This variety is often pleasing, thoughsometimes frustrating. It is a wonder as towhat goes into Joffrey's selection process,and what the company is actually trying todo.Overall, directors Robert Joffrey andGerald Arpino have worked hard at car¬ving a truly American company. WhereasNew York City Ballet is the company of there-rooted Balanchine, and AmericanBallet Theatre is the dock for Europeanand Russian emigres, Joffrey is a group ofself-consciously American dancers per¬forming American ballets. Joffrey andArpino see themselves as chroniclers ofthe present American mood. Un¬fortunately, the ballets too often becomesubmerged in their effort to celebrate thenow and the relevant.The directors appear to have latched onto the great popularity dance has beenenjoying for the last decade. America'syouth has been greatly responsible forthis, the assumption being that youngpeople want to see ballet that speaks tothem. So, the Joffrey can brag of havingmore ballets in the rock idiom than anyother American company; it can also bragof being the first company to mount amultimedia ballet, "Astarte," whose sheernovelty and intentional irreverence earnedthe company a cover story in Timemagazine; and it does brag of being theonly ballet company that truly dances to(America's heartbeat.A company whose creed is comtemporaneity and timeliness is near¬sighted, as are all companies who placecredo before choreography. Not that in¬novation is wrong: it's just that Joffrey'sand Arpino's innovations fail to encompassanything that has to do with dance. GeorgeBalanchine, who has been choreographingin America for over 40 years is still star¬tling with his innovation because hisvocabulary of movement is ever-expanding. And Martha Graham wascertainly motivated by a credo, but it hadto do with an unprecedented emphasis onthe weiahted interior of the body.Take Arpino's ''Trinity," once the sig¬nature work of the Joffrey. Part ot thechoreographer's Berkeley Ballet trilogy, it is an energetic ballet of the turbulent '60's,reflecting thai timely anger and cry forlove and peace. We see clenched fists,show-stopping leaps, jazz, rock and balletall rolled into one. While "Trinity" is oneof the company's highlights—itsexuberance is most contagious—it tells usnothing new about dance, or about thetimes."Trinity" made a big splash when itpremiered, because it was one of firsttasteful ballet spectacles about the FlowerChild era. Watching it was like par¬ticipating in a peace march; you gotcaught up in the emotion ot the movementand had a grand time, but forgot the vowsyou made when you got home. Those daysare gone, and inevitably, so is "Trinity,"a good ballet whose attachment to thetrend of its moment would look quiteridiculous onstaqe today.The Joffrey's failure to be innovative isall the more striking because the companyis so concerned with innovation. There aretwo approaches to the unconventional:choreographers either see their work as anextension, a re-working, of the vastly richballetic tradition, or they see their work assome kind of radical departure. Those ofthe first approach often present somethingoriginal because their ballets shed newlight on our working conception of the art.Those of the second approach bypass thedifficult task of finding their place in theheritage with a quick, dishonest rejectionof it. The result is novelty for its own sake,which leaves the audience unaware ofwhat was wrong with the classics in thefirst place.Many of Arpino's ballets are pompous,theatrical spectacles ("Relativity ofIcarus," "Drums, Dreams, and Banjos,")whose dance element is subordinate to theidea behind them. His vision of the un¬conventional results in dance that is in¬stantly effective, instantly graspable, andoften, instantly forgettable.When Arpino forgets the topical anddevelops a good, old-fashioned idea, as hedid in "Clowns," he can be powerful. Or,when the idea is kept on a small, un¬pretentious scale, as it was in "Valentine,"he can be charming. His strictly classicalballets, "Kettentanz," or "Confetti", forexample, are nice, pleasing ballets andhere the Joffrey trademarks of vigor andstylish flair are the results, not the cause,of the choreography.Happily, there are ballets by otherchoreographers in the repertoire whichconform to Joffrey's image of the youthfuland trendy but use an eloborated dancevocabulary to express their differencesfrom the strict classic idiom. The bestexample is Twyla Tharp's "Deuce CoupeII," a complex, ambitious work set to music of the Beach Boys. Her theme isevolution, the miracle of the simultaneousoccurence of growth and continuity of ourdance heritage. The ballet succeeds inhonoring the present because it findsappropriate dance ideas, not far-outtheatrical ones. The other Tharp work,"As Time Goes By" is also fitting for theJoffrey. And the Jerome Robbins' pieces,specifically "Interplay," well serve thecompany's aim to cater to youth. Again asense of choreography preceeds a sense ofeffect.The modern-day classics constitute theother half of the repertoire. The samenotion of the present dominates thisselection, as they are ballets which wereconsidered avant-garde in their day, orballets which carry a political message,such as, Kurt Joos's "Green Table," ananti-war masterpiece. The cubist ex¬periment "Parade" (1917), which com¬bined the talents of Massine, Cocteau,Satie, and Picasso, was revived a couple ofyears ago.Other Joffrey revivals have made theirway into the repertoire because they are"period" pieces—excellent classicalballets that appear novel by virtue of theirdated look.Diversity is fine and well-intended, butin the long run disabling. A repertoire thataspires to be kaliedescopic, to representstyles ranging from the strictestclassicism to the brazen avant-garde isonly over-taxing to the dancers. Theirnatural talents become dissipated by beingpulled in too many directions, leavingthem ill-equipped to handle the demands ofthe classic technique. As a result many oftheir best dancers have sought othercompanies that put their talents to betteruse. Those who have stayed aredeadlocked in the Arpino amalgam ofmodern ballet.In 1977 this dual nature still exists, butnot to the extent that it once did. There willbe no rock ballets this Chicago season. TheJoffrey is solving its identity crisis byslightly veering toward the classics. It's awelcome turn.The most traditional work the Joffreyhas attempted yet, Balanchine's version of"Tchaikovsky Pas de Deux," will bepresented. It should reveal whether theirtechnique has arrived at a clearerdefinition.There will be a chance to enjoy a newproduction of Agnes deMille's "Cakewalk,a remounting of past revivals such asJerome Robbins's" "Moves," andBalanchine's "Square Dance."New to Chicago will be Twyla Tharp's"Cacklin' Hen," and Arpin's "OrpheusTimes Light," the second completed workin his trilogy based on Greek myths.Th* Grey City Journal / \The Joffrey Schedule:First Week:Tue, 2/1 - Moves, Rodeo, DeuceCoupe 11Wed, 2/2 - The Dream, AsTime Goes By, CakewalkThu, 2/3 - Square Dance, Feastof Ashes, Deuce Coupe 11Fri, 2/4 - Cacklin' Hen, Moves,Tchaikovsky Pas de Deux,Pineapple PollSat, 2/5 - Orpheus Times Light,Cacklin'Hen, CakewalkSun, 2/6 - (mat) The Dream,As Time Goes By, Deuce CoupeII (eve) As Time Goes By,Tchaikovsky, Orpheus TimesLight, RodeoSecond Week:Tue, 2/8 - Petrouchka, As TimeGoes By, CakewalkWed, 2/9 - Petrouchka,Tchaikovsky, Pineapple PollThu, 2/10 - Square Dance,Cacklin' Hen, RodeoFri, 2/11 - Pas Des Deesses,Orpheus Times Light, RodeoSat, 2/11 - (mat) SquareDance, Feast of Ashes,Pineapple Poll (eve)Petrouchka, Tchaikovsky,Deuce Coupe 11Sun, 2/12 - (mat) Petrouchka,Tchaikovsky, Pineapple Poll(eve) Cacklin'Hen, OrpheusTimes Light, CakewalkTicket prices range from$12.50 to $3.50; curtain times is8:00 in the evening, 2:00 in theafternoon, at the AuditoriumTheatre, 70 E. Congress. Call922-6634 for further information.V ,Friday, January 28. 1977*5Theater |Playing:“Ragtime”By Esther Joy SchwartzBy all rights, ragtime should be dead orburied, or etherized upon a table formusicological autopsies. It had its shiningmoments from the Gay Nineties to theweek the United States entered World WarI — the same week Scott Joplin died.Even though in a time of electronicmagic tricks, ragtime continues with itsricky-ticky rhythms, upright, honky-tonkpianos and piano rolls; it just won't die.Ragtime not only lives but flourishes inragtime clubs, showboat festivals, moviesoundtracks, even on the concert stage.The life force of ragtime is in its vitality, inthe tension of a fixed form confrontingvolatile imagination. But ragtime livesmainly because of Scott Joplin, "King ofRagtime," whose compositions have beencompared with Chopin's. This comparisonis far from ludicrous. In the hands of anauthentic practitioner like Joplin, the ragbecomes a disciplined form capable ofastonishing variety and subtlety. Joplindid for the rag what Chopin did for theMazurka.What better legendary figure todramatize on the stage? The son of an ex¬slave who enrolled in college at the age oftwenty-eight to study harmony andcomposition, brought ragtime out of itsage of innocence and raised it to asophisticated musical experience. Joplinmade rags emotionally expressive throughharmonic invention, restless changes inkey and dynamics, surprising tempi andpenetrating melodies.Cashing in on the enormous renaissanceof Joplin — "mania"—the St. NicholasTheatre has eulogized Joplin in play-formand put ragtime where it belongs: back ona simple wooden stage in a hall jam-packed with adoring fans.And it can be enjoyed in the St. Nicholas'new production, Joplin: An OriginalRagtime Musical, a bouncy and charmingold-fashioned show. Written by Chicagopoet and librettist Kathleen Lombardo anddirected by the theatre's own ArtisticDirector, Steven Schacter, Joplinchronicles the life of America's firstnotable black composer.The St. Nicholas' production portraysJoplin as a decent, even-tempered manwhose emergence from poverty andprejudice was almost a miracle, and who,wanting to be taken seriously as a com¬poser, spent the last years of his life in afufile, driven attempt to get his majoropera, Treemonisha^ published commercially. (Joplin published the work athis own expense, and put on a concertversion of it in Harlem in 1915, with nosuccess at all.) He died two years later, inManhattan State Hospital for the Insanefrom a neurological complication ofsyphilis. He was a genuine example of agenius unappreciated during his lifetime.But the legend of Joplin is appreciated,even exalted in the St. Nicholas Theatre'scurrent production. The character sits well on his turn-of-the-century piano stool,in Julie A. Nagel's period clothing, andJoseph C. Nieminski's all-purpose set.From Southern Chruch, to musicpublisher's office, from riverboat gam¬bling den to variety hall stage, the setmoves with ease in and out of location andstyle, whether it be St. Louis, Sedalia, NewYork City, or Chicago.At the helm of this venture is directorSteven Schacter. A Chicago-based talent,Mr. Schacter was honored earlier this yearwittv a Joseph Jefferson Award for hisdirection of the St. Nicholas production ofArthur Miller's A View from the Bridge.Ann Burr's Mert and Phil, recently stagedby him at the theatre, has already gar¬nered eight Jefferson nominations, in¬cluding one for Mr. Schacter as BestDirector . There is an indelible stamp onall of his works and Joplin is no exception.The play is flushed with excitement. Thestory is handled simply and wisely andexudes freshness and warmth.The production benefits enormouslyfrom the authority and versatility of therepertory actors — four Chicagoans. AsSouthern plantation-owner, riverboatgambler, barker at the Chicago'Exhibition, and music publisher, TimothyOman is utterly convincing. He performswith charm and a real flair for comedy.Talented Steven Williams stereotypes the"southern-fried", illiterate black in hisminstrel dancing and his resonant bassvoice. Though at times he slips into a"Step n-Fetchit" mold, Mr. Williamshandles his one-liners and numbskullprankishness with genuine originality.Angela Reux's roles include a whorehousematron, dance-hall girl, and a Frenchcoquette. She dances wonderfully and herlyric soprano has an appealing woodwindtone which she uses regally. Hercharacterizations and timing are ex¬ceptional. Lastly, Jackie Taylor, asJoplin's mother and two wives, is trulyexcellent. This talented four-some projectsspirit and convincing involvement.The use of ragtime is limited toexhilirating dance numbers: "Maple LeafRag" at the end of Act I and "RagtimeDances" near the final curtain. Elsewhereone can find waltzes, spiritual hymns, andeven barbershop quartet music.Choreographer Siri Sat Nam Singh(currently seen at the Schubert Theatre in"The Wiz") contributes mightily to theperformance. There is an unmistakablyauthentic beauty to the "Ragtime Dances*'and especially to the sculpturedmovements of the "Cakewalk Contest"which opens Act II. The "sashay”, "thepas elle," "the allemande" are all part ofblack-heritage steps and are included inMr. Singh's choreography which has atouch of Broadway pizazz.The production's major and un-forgiveable flaw is the casting of HankBerrings in the title role. An import fromNew York, Mr. Berring's credentials readlike a minor "Who's Who", but his totalineptness and failure in the lead is em¬barrassing and blisteringly shameful. Ihave weighed the pros and cons over andover but still come up with harsh words.Certainly it is difficult to find a fine actorwho can also play the piano or a giftedmusician who can act, but in Mr. Berrings,the company finds neither an actor, amusician, a singer, nor a dancer. He walksthrough the role with two annoying looks:one smirky grin when he is happy and astone-face sadness when the plot thickens.He swallows and slurps all the key lines inhis solo monologues; when he tries to evoke emotion it is too stilted; he staresglazey-eyed out into the audience; andwhen he is seated at the piano, his eyesnever leave the keyboard or the music fora moments pleasure. Gone is any trace ofthe piano style which made Joplin great:the bouncing, thump-pah bass and theornate syncopated melodic line. Ragtimecollapsed in 1917 from overexposure andthe rise of jazz. With playing like Mr.Berrings, it would have extinguished yearsearlier.Though Scott Joplin is long gone, hismusic lives on in the hearts and minds ofcountless fans. The furor of ragtime isriding a new crest of the Joplin wave. Themarket for recordings of Joshua Rifkinand William Bolcom (the foremost in¬terpreters of Joplin's music) seem in¬satiable. Sheet music and "collectedworks" for the piano sell by the millions.The film The Sting made Joplin's "TheEntertainer" a national hit. Violinist Itz¬hak Perlman plays the "Pineapple Rag"in recital. Two years ago came the best¬selling novel Ragtime by E.L. Doctorow; acentral figure is the black ragtime nianist Coalhouse Walker Jr. As Walker sits downto play Joplin's "Wall Street Rag," Doc¬torow writes; "Small clear chords hung inthe air like flowers. The melodies were likebouquets. There seemed to be no otherpossibilities for life than those delineatedby the music." And now, we have the St.Nicholas Theatre's production of Joplin:An Original Ragtime Musical.At forty-eight in an asylum for the in¬sane, Scott Joplin died. But that's only oneway of puttinq it."Joplin: An Original Ragtime Musical"has a limited run from Thursday, January27 through Sunday, February 27. Thetheatre is located at 2851 N. Halsted. Forticket information call the box-office at348-8415.1rjr1r1ritir-kitNOTE: This critic saw a preview per¬formance of the play. Though the showis subject to change, it is not likely toalter the basic impressions of thisreview. A recasting of the Joplin roleis highly unlikely.i RIP-OFFAUTO REPAIRFOREIGN CAR SPECIALISTSSERVICE ON VW& AUDIWe Offer Top-Quality Mechanical ServiceTune Ups * Electncai * Brake SystemExhaust System * Other ReoarsConveniently Located at5508 S. Lake Park(Gateway Garage Bldg -Downstairs)Monday-Saturday, 9am 9pmCALL684-5166 j With This Ad Only2 drawers files $354 drawer files $45Drawing Tables $65EQUIPMENT&SUPPLY CO.8600 Commercial Ave.Open Mon.- Sat. 8:30- 5:00RE 4- 21116-The Grey City Journal-Friday, January 28,1977 DOC DOC. DOC DOCZ DOC DOtROCKEFELLER MEMORIAL CHAPELSUNDAY, JANUARY 309A.M.Ecumenical Service of Holy CommunionUniversity Religious Service11A.M.E. SPENCER PARSONSDean of the Chapel“OF MIRACLES AND REALISTS”4P.M.Rockefeller Chapel Choirand Orchestra in a pro¬gram of Johann Sebastian Bachmusic. The box-office opensat 3 P.M.DOC DOC 1C DOCHeartbreak House OpensBy Mike SingerHeartbreak House, by George BernardShaw, will be given three staged readings,starting tonight, in Ida Noyes Library.Directed by Katie Sparer and MichaelDorf, Shaw's play depicts leisured andcultured English society betore the out¬break of World War 1. Showing England onthe brink of destruction, HeartbreakHouse wasn't performed until after thewar was over. Shaw himself provides therationale for withholding the play from thepublic in his preface- "Truth telling is notcompatible with the defense of the realm".How much truth is contained in Heart¬break House has long been a point ofcritical controversy. Shaw's charactersare stylized and his situations exaggeratedfor comic and theatrical effects. Thecritical question is whether or not adidactic play, and Shaw does seem to wanthis play to be didatic in light of all hisprefatory remarks, can be fashioned froma dramatic depiction which is neithercompletely truthful to historical fact orrepresentative of characters that aretypical.Few critics, however, will argue aboutthe humor of Heartbreak House; Shavianwit abounds. In deciding to have a stagedreading of his play, co-director Sparerhopes to bring both philosophy and wit tolife. Since costumes and scenery are keptto a bare, imoressionistic minimum, the responsibility for bringing forth the energyof the play rests with the ten actors."There are no crutches to lean on," Sparersaid. "Vocal delivery and facial ex¬pressions count alot." "Most full, stageproductions of Heartbreak House," shecontinued, "are only tea-roomdiscussions." We're getting rid of the tea,and concentrating on the discussions."Tickets for Heartbreak House are onedollar and can be purchased at Ida Noyesbefore the performance.The city JournalEditor: Jonathan MeyeriohnManaging Editor: Karen HellerAssociate Editor: Mark Nevstadt, Mike SingerMusic: Lufiacs LeBag, Toby Hofslund,Deborah Hughes, Bruce McLaughlin,Paul Gudel, Richard Brown.Theater: John Lanahan, Stephen Cohodes,Esther Schwartz, Christine Martinez,Charles HarveyArt: Carl Lavln, 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.CARPET CITY6740 STONY ISLAND324-7998Has what you need from a$10 used room size Rug toa custom carpet Specializ¬ing in Remnants 8 Mill re¬turns at a fraction of theoriginal costDecoration Colors andQualities Additional 10%Discount with this ad.FREE DELIVERYUNIVERSITYBARBERSHOP1453 E. 57th ST.Closed Mondays684*3661HairstylingRazor cuts Ann’s House of Beautyand Boutique6738 S STONY ISIAHD.PHOHE 363-9398tanuary SalePERMANENTS Regular $35 00 for Tintedand Color HairFREE CONDITIONER for Dry.Brittle & Damaged HairFREE FACIAL with Every Hair StyleNow Only $15.00TUES & WED 10 -4 30WICUTS*WI6S CLEANED t STUE0JEWELRY.COSMETICS.Cfimo'rlr tim i)lREVLON COLOGNESfree TVLev W'h S50 00 P'j'rhnseUN DINNER SV •Hurt taiwir.aril tail P»i'.oiul Oerts WcmcIn* tnriMie ImhI*', Nnitjrn nwi N 0 C Wniriwi*' TAl~SAVt-MMCHINESE AMERICANRESTAURANTSpecializing inCANTONESE ANDAMERICAN DISHESOWCN DAILY11 A M. TO *30 P.MSUNDAYS AMO HOLIDAYS12 TO* JO PM.Or dm r% to lake out131 • tost AJrd MU 4*1063wih Saturday ClassesStart Feb. 5•Fine string banjoq 2 \ *Finger style guitarJftl •Recorder*AutoharpJnOp *Fiddle1 Six weeks $24ro S Registration still open for adultHatnpt r c^-guitar classes, Monday nights.woi-fow and Childrens guitar Wednes¬days By Charles ShilkeBook Review:Chicago Architects by Stuart Cohenand Stanley TigermanA bare-bones collection of books onChicago architecture should include CarlCondit's The Chicago School of Ar¬chitecture, any one of a number of studieson Frank Lloyd Wright, and a book on Miesvan der Rohe. Chicago Architects,published in conjunction with theexhibition of the same name held last Mayand June, must now be added to this list.Chicago Architects is a franklyrevisionist history of architecture inChicago. Its main thesis is that, lost amidthe skeleton-frame skyscrapers and thePrairie School and its adjuncts is an ar¬chitecture of considerable worth and evenbeauty. Why haven't we heard much aboutit before? Because this architecture doesnot jibe with the theories put forth in suchinfluential works as Nikolaus Pevsner'sPioneers of Modern Design or, especially,Sigfried Giedion's Space, Time, and Ar¬chitecture. The latter holds that the periodbetween World War I and the arrival ofMies van der Rohe in Chicago in 1938 was"essentially empty of significant Chicagoarchitecture with the exception of thePrairie School and the Gropius and MeyerTribune Tower design."Cohen and Tigerman's Chicago Ar¬chitects challenges this accepted view,pointing out the Crystal House, the im¬portant 1934 work of Chicago architectGeorge Fred Keck. It is described asembodying the spirit of the Machine Age,showing greater technologicalsophistication than Van der Rohe's con¬temporary European work. Even thoughSigfried Giedion knew Keck personally,Crystal House is not mentioned in Space,Time, and Architecture. Why? In Cohen'swords, "While the Crystal House wouldhave been acceptable to Giedion's historyas an avant-garde European occurrence of1934, its construction in Chicago before1938 makes it impossible to present it aspart of the European re-establishment ofChicago's architectural traditions."Having shown the limitations of at leastone major thesis of Chicago's ar¬chitectural history, Chicago Architectsexamines at leisure some eighty largelyoverlooked buildings of the past ninetyyears. Volumetric experiments, involvingthe sculpture-like shape of a work of ar¬chitecture, are first presented. EmeryStanford Hall's 1915 YMCA College, Ed¬ward Dart's 1965 Chicago TheologicalSeminary Housing (at the corner of 58thand Dorchester), and Stanley Tigerman's"Frog Hollow" residence are among thenotable other examples. Particularlyexciting is the work of Walter Netsch,designer of Regenstein Library. His ownresidence, detailed in Chicago Architectswith plan and pictures, is a structure ofamazing spatial complexity and vigor,showing Netsch to be perhaps Wright'sheir as far as adroitness in spatialmanipulation is concerned. In keeping with Chicago Architects'slightly underground quality is its treat¬ment of mass-produced housing inChicago. This section of the book is ofparticular value, since mass producedhousing has generally, in spite of thecurrent boom in mobile homes, proved tobe one of the lead balloons of the Americanbuilding industry. Since littleprefabricated housing has actually beenbuilt, it is difficult to gain much insightwithout the guidance of a competent ar¬chitectural historian like Stuart Cohen.The Dymaxion house of BuckminsterFuller and his misadventures with theStockade Building Company which lefthim bankrupt at the age of 32, and anexceptionally detailed discussion of theactivity of General Houses during theThirties are all to be found in ChicagoArchitects.Most of the buildings considered inChicago Architects are worthy of beingplaced in the mainstream of architecturaldiscussion, yet one cannot help get anagging feeling that Cohen, Tigerman, andBenjamin Weese — the organizers of theoriginal Time-Life Building exhibition —are out for a little free advertising fromthe book. While Tigerman and BenjaminWeese, as well as Weese's reknown ar¬chitect-brother, Harry, are doing first-ratework, and perhaps merit the attentionwhich Chicago Architects gives them,Stuart Cohen's own unremarkable, unbuiltand ugly Holiday Inn project simply doesnot belong in a book of this nature.Also to be criticized is Cohen andTigerman's historiography. Thoughjuxtapositions of photographs thatdocument relationships between past andpresent buildings, such as Wright's GaleHouse and Harry Weese's First BaptistChurch in Columbus, Indiana, are of somevalue, they would be much more valuableif the relationships had been made moreexplicit. How did Weese derive volumetricinspiration from Wright? Through somecollective unconscious possessed byChicago architects? Did Weese see theWright building, touch it, live in it?Granted, such facts concerning influenceare difficult to ferret out, but to leave thereader to determine relationships betweenbui’dings similar in appearance is to ob¬fuscate rather than to instruct.In fairness to Chicago Architects,though, its historiography is usually abovepar: the book's treatment of Wright'sinfluence in Europe, for example, ismeticulous and worthwhile. Other helpfulfeatures of Chicago Architects are itsnumerous references to essential ar¬chitectural readings and the inclusion ofplans as well as pictures of buildings — anabsolute must for complete architecturalunderstanding. In fact, the most annoyingaspect of Chicago Architects is its shoddybinding as the pages fall apart afterthumbing through it several times.Chicago Architects, though, is an essentialdocument in the history of Chicago ar¬chitecture, adding some unconventionalwork to the corpus of mainstream mid-American architecture. It is worth readinguntil it falls apart — which may be soonerthan you think.Carl PerkinsMark O'Conner & the Morgan BrothersSammy PriceUtah PhillipsHarmonica FrankMama Yancey & Erwin HeiferThe Red Clay Ramblers 17th AnnualUniversity of ChicagoFOLK FESTIVALJANUARY 28-30The Apple Chill CloggersHenry & Vernell TownsendGlenn OhrlinErnest East & the Pine Rioge BoysMelecio MartinezMelvin WineJohn & Elizabeth SloanConcerts: Fri. 8:15 Sat. 8:15Sat. 3:00 Sun 7:30Tickets on sale at Mandel Hall Box Office before each concert. Fri til 5:00;Sat a m., all day Sunday at Ida Noyes HallTickets: Eves $4, $3 / Matinee $3, $2 50Free workshops, lectures, folkdancing, jammingSaturday and Sunday: Ida Noyes Hall, 1212 E. 59th StSchedule available - More Information 753-3567The Saturday Concert is Sold OutThe Grey City Journal-Friday, January 26, 1977-7Bob Pittman, WKQX Program Director;John Bailie, WKQX Audio Engineer:“John Bailie and his new Optimod 8000audio limiter and compressor are helpingradio hit its highest highs”“Your kind of music needs more than good programming. You need great stereo sound. John, one ofradio’s best sound engineers, sees that WKQX delivers. He’s a fanatic about our signal quality.He demands new, unplayed albums in mint condition, so nothing distracts from the music. And he justspent a bundle for a system to make WKQX’s signal-to-noise ratio absolutely the best in town.Like the rest of us, and in his own way, John’s helping make WKQX 101 FM Stereo the best-soundingmusic around.We’re the station you asked for.”WKQX101 FMC(*]| City Journal-Frldoy, January 26,1977A Fine Performance by the CCPfTlusicBy Richard BrownThe Contemporary Chamber Players'first concert of the year last Friday nightwas a success in terms of audience turnoutand performance. I can't fault any of themusicians who performed — they all didan excellent job in realizing the difficultmusic on the program. Especially notableperformances were given by conductorRalph Shapey, who kept the ensemblework tight and the details clear, pianistShulamit Ran, who performed in thepremiere of her "Double Vision," sopranoElsa Charlston, who handled all thedemands of the graceless Birtwistle pieceeffortlessly, and flautist Jan Herlinger,whose fine performance also sticks out inmy mind. Miss Ran and Mr. Shapey aretwo of the University of Chicago's threeresident composers, and Mr. Herlinger isalso a member of the music faculty.The music presented before in¬termission made the whole concert wor¬thwhile. The first work on the programwas Anton Webern's "Concerto" for nineinstruments, Op. 24, which is one of thecomposer's most ascetic pieces. Alwaysnoted for his conciseness (Webern's totaloutput as a composer barely comes tothree hours of music), his "Concerto,"consisting of three movements, lasts onlyeight minutes, but perhaps left more of animpression than any of the other musicpresented that night. I had heard the pieceon record previous to the concert, andwent in with a prejudice against itspointilistic dryness, though the recordlacked one dimension that the live concerthad space. "Concerto" is most effectivewhen heard live, because only then canyou fully appreciate the expert way thethemes are tossed about by the variousinstruments. The orchestration broughtthe piece to life.Webern was a student of Schoenberg's,and "Concerto" is in the twelve-toneatonal tradition, and its musicalstatements are almost matter-of-fact.However, I found that although the piecewas fragmentary, it was not without itslyrical qualities; although it had itsangularity. I was certainly not ungratefulfor the instruments. My change of opinionregarding the piece says much about thedifference between live and recordedmusic.Second on the program was thepremiere of Shaulamit Ran's "DoubleVision," which was commissioned byContemporary Concerts, Inc. Written forwoodwind quintet, brass quintet and piano,Ms. Ran described it as being "sixvariations without a theme" — in otherwords a free variation with six themes.Although the composition was atonal, itwas more accessible than any of the otherRecordReviewsCountryMerle Haggard and the Strangers"The Roots of My Raising" Capitol ST-11586The cover of "Roots of My Raising" tellsthe whole slory. There stands Merleleaning against a silver Cadillac, glaringat the camera. The set-up is phony andunimaginative; Merle hasn't evenbothered to tuck his shirt-tail in. He givesthe distinct impression he would muchrather be someplace else. I suspect thesame feeling permeated the recordingsession."Roots of My Raising" is not really abad album — just a typical country album.It's the old story; a first-rate talent goingthrough the motions and delivering alackluster performance. The occasion forthe record is "Roots of My Raising," apleasant enough number, but not one ofMerle Haggard's best by a long shot. Therest of the album is country muzak—nothing offensive, but nothing memorable.Merle's mediocraty is understandable,with this kind of material, why strainyourself?On "Am I Standing in Your Way," he's afighting to stay awake for the finish. works performed at the concert. I coulddetect Stravinskian influences in themusic, especially in the ostinato variationsection of the fourth movement, played bythe brass."Double Vision" was very powerful, and"Colorado" has a nice, slow chorus, andMerle rises to the occasion; for one briefmoment he throws himself into the musicand the result is perfection. But the song'sverse is uninspired and the listener has towade through lyrics like: "There's a placewhere Mother Nature's got it alltogether"; and, "Have you ever beendown to Colorado? I spend a lot of timethere in my mind." "Cherokee Maiden"represents the only inspired writing on thealbum: imagine a western swing versionof Hank Williams' "Kaw-liga" with a saxsolo, and you get an idea of the song. I likeit, but it would have been better if itweren't produced as a novelty number.Country music and taste, while notmutually exclusive, do have abnormalconnections. For some reason it provedimpossible to record "Cherokee Maiden"without the musical equivalent of broadwinks to the audience.A little restraint would have saved thetwo Jimmie Rodgers songs which close outeach side. On "Gambling Polka DotBlues," Merle obviously feels at home withthe music and starts to cut loose. Sud¬denly, out of nowhere, a Dixieland banddrops into the picture. It happens aqain on"Mississippi Delta Blues," the song isn'tnearly as good, but the ricky-tickDixieland doesn't help matters. In bothcases, Merle's voice gets lost in theshuffle.It doesn't take much to show MerleHaggard to advantage. His voice has depthand resonance that won't quit. When hesings about suffering, it's believable — hisvoice positively throbs with emotion. Andthat image! He's the perfect country star: was the most substantial piece played bythe Chamber Players. From the begin¬ning, starting with the slow note bend andflurry of notes played by the flute, themusic held your attention. The music wassectional — the brass and woodwindon top but still struggling, full of roughedges, inner torment, and hostile resent¬ment. I'm sure he gets nasty after a fewdrinks. And he's even spent a few yearsbehind bars. All he needs is some decentmaterial, minimal back-up, no gimicks,and the rest will take care of itself. Untilthat happens, we'll all have to survive ongreatest hits albums.— Addison DeWittSoulAny Way You Want ItThelma HoustonTamla T6-345S1"Any Way You Want It" offerssomething rarely found in soul musictoday—soul. Thelma Houston is Duredynamite, with a voice that can do nowrong. She combines thp power, range andease of Aretha Franklin with the breathysensuousness of Gladys Knight; the resultis electrifying.It's always a little surprising whenMotown does something right. After all,this is the company that waged a never-ending struggle to whiten soul musicthroughout the sixties. Motown must nothave cared enough about the first side ofthis record to mess it up Whatever thereason, side one begins perfectly and getsbetter. The producers had the intelligenceto realize the sheer beauty of ThelmaHouston's voice, and the hornarrangements are clean and driving, thedrumming is tight and funky, the bassplaying (always a Motown strong point)imaginative, always pushing. The stringsmanage to remain discreetlv in the sections alternately offered their colors tothe music, with the piano serving as aninteresting sort of bridge between the twoquintets. The piano part was quitegraceful, and the composer proved herselfa fine pianist, especially during the vir-tuosic solo piano section in the thirdmovement. Also notable in thirdmovement was Ms. Ran's original use ofquarter tones, and an interesting duetbetween the clarinet and bass clarinet.The audience received the piece en¬thusiastically.After intermission the music becamemore difficult to perform and listen to.Harrison Birtwistle's "Entr'Actes andSappho Fragments" was an uninteresting,'inexpressive work that illustrated well thegreat paradox that confronts moderncomposers: that, while writing in amodern, atonal style it is very easy tocome up with music that's full of cliches,sounding as if it's been around for ages andis already hackneyed. The great leaps inthe vocal part, the wierd humming, thetasteless viola notebends, certain per¬cussive uses of the strings, the stop-startfragmentary quality of the music . . . I'mnot even sure if it's a lack of originalitythat was the problem. Whatever the case,modern music is more difficult to controlthan tonal music, and the Birtwistle pieceis one of modern music's monsters. It'salso a shame that we didn't get to hearMrs. Charleston's voice in all its beauty,although she did get to show off her greattechnical abilities as a singer.The last work given at the performance,Allan Schindler's "Cirrus, and Beyond,"was in my opinion a cop-out, and was morea free improvisation with random effectsthan a composition. I was especiallydisappointed because the program saidthat Mr. Schindler had studied with RalphShapey and had gotten his Ph.D. incomposition here, and I was expectingsomething worthwhile. The piece is scoredfor flute, cello, percussion and tape, thelatter seeming to have the greatest role, ifnot the greatest volume. Coming from thetape, intermittently turned on and off, wasa barrage of every conceivable syn¬thesizer effect, from sequencer runs tonoises approximating a busy day onO'Hare airport's runways, all done in acliched way and never repeated twice.Conductor Ralph Shapey spent most of histime counting off seconds, and the three"live" musicians did their best to coor¬dinate the length of their passages with the"computer sounds" on the tape. Mr.Herlinger on flute, and Ken Slowik on cellodid have difficult passages to play over thedin, which they performed with finesse,and percussionist Edward Poremba alsodid a fine job jumping from one percussioninstrument to another. However, themusic lacked true musical organization,and was also interminably long. Mr.Schindler was present at the concert toaccept the polite applausebackground, together with all the assortedeffects that inevitably turn soul into disco.The material on side one, by Gamble-Huff and Stevie Wonder, couldn't bebetter. The second cut, "Don't Leave MeThis Way," begins sounding suspiciouslylike "My World is Empty Without You," itstarts with bass and xylophone, andHouston gets a Supremes-style vocalbackup. But the song quickly becomessomething the Supremes never dreamedof. Thelma actually shouts.If albums only had one side, "Any WayYou Want It" would be a masterpiece.Unfortunately, cooler heads prevailed andside two contains nineteen minutes of thesmooth and bland concoction you hear allday on WVON. The album is divided into a"Groovy Side" and a "Dreamy Side andthe dreamy side is a real disappointment.The problems are obvious from the outsetFor one thing, the writing quality takes anose dive. Evidently the writers operate onthe Joni Mitchell principle: if you don thave a gift for melody, turn it into an as¬set; let the melodic line wander all overthe map and maybe people will think it'sprogressive. The strings, somehow held incheck on the first side come back with avengeance, accompanied by assortedcelestial effects. In other words, the stageis set for a male falsetto voice, and theunfortunate Thelma Houston has to dealwith the situation Houston has poise aswell as interpretive talent, so she doesn tcome off too badly. Her valiant attempts toturn second-rate material into real musicshow that she deserves no share of theblame.Addison DeWittBy Karen HellerAdmission for International House andweekend CEF and Doc films is SI.50. Onweekdays, CEF and Doc single tickets are$1.00. Doc's Sunday showing of Vidor'sStreet Scene will be shown free of charge.Admission to the India Association'sSaturday showing is $1.00 for membersand $1.50 for non-members and will bepresented in Judd hall, 5835 S. Kimbark.All Doc and CEF films will be shown inCobb Hall. All International House filmswill be shown in I House auditorium.The Godfather, Part II (1974), directedby Francis Ford Coppola. (Doc) If youloved the first one, you might like thesecond. It's sort of difficult to make asequel to an original film in which almostall the central characters were killed off.The film looks at what preceded TheGodfather, the story of the young DonCorleone and what followed it (him). A!Pacino repeats his original role, takingover after the Don's death. Marlon Brandoisn't in it but Robert DeNiro is, an ex¬cellent move on Coppola's part, as DeNirouses neither method nor madness in hisportrayal of Corleone. Overall, the film'sjust too slick for its own good. Friday at6:30 and 10:00. Sunday at 7:30.Stay Hungry (1976), directed by bamRafelson. (CEF) Rafelson's film is about ayoung drifter (Jeff Bridges in his upteenthdrifter role) who gets involved in the worldof body building. Set in and around Bir¬mingham, Alabama, there are glimpses ofwhat remains of the Old South. SallyFields ("Gidget", "Flying Nun"), as thecountry sweetheart, abandons her habitand shows she is a good actress. ArnoldSwarzenegger flexes his biceps and pec¬toral muscles as (what else) a muscleman. It would be nice to see a movie abouta drifter that doesn't star Jeff Bridges (orvice versa). Saturday at 7:15 and 9:30.Ninotchka (1939), directed by ErnstLubitsch. (I House) Greta Garbo stars as aRussian commissar sent to Paris to takeover the duties of a comically flounderingthree man mission entrusted with the saleof former court jewels. Paris in the Springbeing what it is and Melvyn Douglas, as aninsidious capitalistic meddler, being whathe is, comrade Ninotchka forgets aboutRussia, buys a frivolous materialist hatand falls in love with Yankee Douglas.With a script written by Walter Reisch,Charles Bracket and Billy Wilder. Thur¬sday at 7:00 and 9:30.Music Room, directed by Satyajit Ray.(India Association). A film by the out¬standing Indian director. Saturday at 7:00and 9:30 in Judd hall.Street Scene (1931), directed by KingVidor. (Doc) Vidor's film version of theElmer Rice play about a jealous husbandwho kills his wife and her paramour. Thehusband escapes and the daughter (SylviaSidney) is left alone, rejected by thecommunity and the man who loved her. Allof the action takes place outside the brownstone where the tragic family lives.Admission is free of charge. Sunday at5:30.The Wedding Night (1935), directed byKing Vidor. (Doc) The»story of a thwartedromance between a gin-soaked novelistand a Polish farmgirl in the Connecticuttobacco country. Beautiful Anna Sten,Sam Goldwyn's favorite actress, is thedoomed heroine who marries a man shedoes not love. Gary Cooper is the romanticnovelist whose wife will not divorce him inorder that he may marry the immigrantgirl he loves. Tuesday at 7:30.Stella Dallas (1937), directed by KingVidor. (Doc) Stella is a mill-hand whomarried a gentleman, but never became agentlewoman. Her husband leaves her totake up with a woman of his own class. Asa mother, Stella is selfless and ideal,ultimately realizing that she is not ahealthy influence for her proper daughter.Barbara Stanwyck is good as Stella.Tuesday at 9:00.Hands Across the Table (1935), directedby Mitchell Leisen. (Doc) Carole Lombardis a cynical manicurist whose ambition isto defy the call of love and snare herself amoneyed husband. Fred MacMurray is animpoverished playboy who plans to wed anheiress for the same reason. Guess whathappens? With Ralph Bellamy. Wed¬nesday at 7:30.Murder at the Vanities (1934), directedby Mitchell Leisen. (Doc) Strange goingson occur at a music hall. Sandbags drop,mirrors shatter, spotlights drop and thebody of a woman private detective isdiscovered in the rafters. These items arefar more interesting than the plot, whatlittle of it there is. With Carl Brisson andKitty Carlisle, who never achieved fame inthis or any other movie/ but for askingabsurd questions on To Tell the Truth.Wednesday at 9:00.Even Dwarfs Started Small (1968),directed by Werner Herzog. (CEF) "Ameticulous stage by stage analysis of atiny revolution when the inmates (alldwarfs) of a remote reformatory breakfree during the director's absence. Herzogis one of German'ys most importantdirectors, and with Dwarfs, he manages tomake one of the most genuinely disturbing— and fascinating — films ever made."Thursday at 7:15 and 9:30.The Discreet Charm of the Bourgeoisie(1972), directed by Luis Bunuel. (I House)I'm not sure I understand why this film isbeing shown on campus for the fourth timein two years (this is the third time it hasbeen shown at I House) but whatever thefilm going public wants, it rightfullydeserves Bunuel's film, which is abouttalking about eating, planning to eat,starting to eat, and eating. The film isappetizing the first time, still spicy thesecond, but four times is a little too fillingfor even the hardiest film gourmand.Thursday at 7:00 and9:30.Th* Grey City Journal-Friday, January 28, 1977-10 “The Last Tycoon’:Cinema aBy Henry SheehanIn the early days of the film industry thedirector was king. Men like D. W. Griffith,Thomas Ince and Erich von Stroheimcontrolled every aspect of film production,and were the final authority on everyquestion. They were answerable to no oneand no one dared to question their right tomake movies exactly the way they wantedto. In the twenties, however, this began tochange.Back in New York the men who ownedthe distribution companies and thebankers who put up the money for filmproduction were worried because filmswere losing money. They wanted someway to guarantee their investments, so asystem had to be devised where movieswould be produced in such a manner that aproject that looked like it would prove toocostly to make a profit would be scrubbedbefore it began to lose too much money.Metro-Goldwyn-Mayer came up with thesystem that would finally be adopted inone form or another by every other studioin Hollywood.But no one had it quite as bad as MGM.Under this system the studio appointed aHead of Production to oversee all the filmsin progress at the studio. Under him weremen who supervised individual produc¬tions, making sure they did not go overbudget and that they filled the stylisticdemands of the studio. Directors werereduced to the level of craftsmen whoknew how to move a camera around butcontributed very little in the way of per¬sonal vision or idea. Writers were highlysought after and highly paid, but whenthey arrived at MGM they discovered thatat least three or four writers worked oneach film until all traces of the individualwas lost. MGM stamped out all thesetraces of personality because they spentmore money on pictures then any otherstudio. They had the biggest stars, andthere was no way they could take thechance of tampering with all that money,so they came up with a formula for makingpictures: sumptuous sets, big stars andspace for them to contrast with oneanother.This system was wholly invented byIrving Thalberg who was the first Head ofProduction at MGM. When F. Scott Fit¬zgerald was working in Hollywood he wasinspired by Thalberg to write a novel, TheLast Tycoon, about a character namedMonroe Stahr, based on Thalberq.I have mentioned these facts not becauseThe Last Tycoon is roman a clef butbecause to understand the Iasi tycoon youhave to understand the enormous power hehad. Absolutely nothing could be donewithout his say. Every film at Metroreflected Thalberg's personal taste, andwas in his power to raise to stardom ordestroy careers. In The Last Tycoon everypicture at International World Picturesreflects the tastes of Monroe Stahr.I have never read the novel, or ratherthe unfinished story, but the film is acomplex rendering of what happens whena man, and not a bad man either, tries tore-create reality to his own taste.Throughout the film devices are usedwhich at first appear to be distancingdevices. When a water tower breaks openafter an earthquake it breaks over a setfor a south sea island.And just before theearthquake a tour guide played by JohnCarradine explains how earthquakes areproduced for the screen. Even the use offamous actors in minor parts (Carradine,Dana Andrews as a director, Jeff Corey asa doctor) seem to remove us, seem toremind us that we are watching a movie.These methods, however, are used tocreate a confusion between screen realityand reality.Monroe Stahr is obsessed with a womanwho looks like his dead wife, a formermovie star. He first sees the girl (IngridBoulting) floating through a flooded set onthe top of a floating Buddha. When he runsinto her later at a party, she stands apartfrom him, masked by water jetting upfrom a fountain. At all times she ispresented like a girl out of a dream. Later,when after much pursuit he finally seducesher, it is in his unfinished house by the sea,at night, where their faces and bodiesappear out of the darkness away fromanything real. When Boulting undresses, nd Realitythe camera caresses her body, much as ifshe was being glorified as a movie star.The film is notable for this wedding of styleand content, which, frankly, I find sur¬prising. Elia Kazan, who directed, isfamous for his near hysterical style, full ofquick cuts and overhead angle shots. Herehe restrains himself and I must assumethat this is because of the influence ofHarold Pinter, who wrote the screenplay.This obsession of Stahr's is made moreplausible by the way he is able to make hisfantasies real, shown through histreatment of the other characters, all ofwhom are brilliantly delineated. A screenwriter asks why his concept of a characterof a girl was changed. Stahr explains thathe wanted a characterization of the perfectwoman. Tony Curtis plays Rodriguez, theleading man of the studio, a great screen% lover. Beset by impotence and unable tofind help anywhere, he turns to Stahr, theman who created his persona. ForRodriguez is in reality a very happilymarried man, not the lover type at all.The key to the picture is when a com¬munist writer, Jack Nicholson, comes outto Hollywood to unionize the writers.Stahr, who has lost his girl, his dream, getsdrunk and tries to fight it out with thewriter. This is the first time in the moviethat Stahr loses his self-control and it leadsto his demise as studio head. As he ex¬plains to the writer, "I don't think mymind is any better than theirs (thewriters), it's just that their minds belongto me." When the means of creating hisfantasies are taken away from him, hesees his world crumble for he has made hisfantasies his world.Robert DeNiro and Ingrid BoultingThe performances are uniformly goodand some range to brilliant. Even TigeAndrews (of the Mod Squad) gives a goodperformance as an explosive member ofthe board of directors. Ray Milland iscooly WASPish as a New York lawyerquietly watching with beady little eyes.Jack Nicholson is only on the screen for abrief period of time but his cool laconicperformance is one of the best in thepicture. In contrast to Nicholson's mellowapproach is another Donald Pleasenceneurotic and explosive appearence as anEnglish writer newly employed at thestudio. The women in the picture do notfare as well; Ingrid Boulting creates anexception to my previous statement thatall the performances are good. JeanneMoreau plays a bitchy selfish aging moviequeen as if she were a bitchy selfish aqinamovie queen.Robert DeNiro plays Stahr perfectly,and although for me he does not transmitthe excitement he does for others, hisperformance is very good and probablywill get him an Oscar nomination. But formy money the class performance of themovie belongs to Robert Mitchum. Longtype-cast in action roles, Mitchum provesagain that he is one of the most versatileAmerican actors ever with his portrayal ofPat Brady, the president of InternationalWorld Pictures. With quiet un¬derstatement and an authority that only hecan give a role he exudes power, passion,contempt, jealousy, any.emotion an agingexecutive fighting off a young competitorwould feel.CalendarFridayMeetingsMiddle East Studies Center: Faculty-Student Lunch, 12:15pm, East Lounge, IdaNoyes: Ha-Sadnah, 2:30pm, Harper 130;Arabic Circle, 3:30pm, Pick 218; PersianSociety, 3:30pm, Pick 118; Sherry Hour,4:30pm, Kelly 411.Folkdancers: 8pm, Ida Noyes.Hillel: Adat Shalom Shabbat Dinner, 6pm;Creative Services, 7:30pm, Hillel House.LecturesHillel: “Jews in a State of Siege: Argentinaand Chile,’’ Joan Przeworski, 8:30pm, HillelHouse.Geophysical Sciences Colloquium: “SomeComputer Techniques for Studying Three-Dimensional Shapes,’’ John C. Tipper,1:30pm, Auditorium, Henry HindsLaboratory.Christian Forum: “Abortion: Wages, Sin,Death?’’ 8pm, Brent House.The Marketing Group: “Ms. Magazine,Marketing, and the Role of Women,’’ PatCarbine, editor-in-chief & publisher, 3pm,Business East 101.Department of Biophysics & TheoreticalBiology: “Chemoreception in E. coli,”Gerald Hazelbauer, 4pm, Cummings 101.ArtsCourt Theatre: Staged reading of “Heart¬break House," 8:30pm, Ida Noyes Library.Rockefeller Chapel: Edward Mondello,University Organist, in recital, 12:15pm,Rockefeller Chapel.Folk Festival: Earnest East and the Pine—Weimer ConcertOn Thursday, February 3 at 8:00 theDepartment of Music presents pianistsSandra Carlock and Eric Weimer in aconcert of music for two pianos in MandelHall. The program will consist of theMozart Sonata in D, Debussy's “En blancet noir'' (a major work from the com¬poser's late period), and the BrahmsSonata in f, Op. 34a (a two-piano version ofthe Piano Quintet).Sandra Carlock received a bachelor'sdegree in music from the Oberlin Con¬servatory of Music and was a scholarshipstudenf af the Aspen School of Music inColorado, where she sfudied wifh RosinaLhevinne. Affer graduate work at theJuilliard School of Music, Ms. Carlockcompleted her Master of Music degree atthe State University of New York at StonyBrook, where she continued her studieswith Martin Canin. In 1967 she was a prizewinner in the first International EmmaFeldman Competition. She concertizedwidely under the management of fheNational Music League, Inc. of New York.For two seasons she was pianist with theChamber Symphony of Philadelphia,Anshel Brusilow conducting, and, withthat orchestra, has recorded for RCAVictor.Erioc Weimer studied piano at the CurtisInstitute of Music and completed his un¬dergraduate work at Haverford College.He is currently a PhD student ofmusicology at the U. of C., where he is alsoAssistant Director of the CollegiumMusicum. iRidge Boys, Glenn Ohrlin, Mamma Yanceyand Erwin Heifer, The Apple ChillCloggers, Melecio Martinez, & Melvin Wine,8:15pm, Mandel Hall.DOC: “Godfather, Part II,” 6:30 & 10:00pm,Cobb.SaturdayMeetingsCrossroads: Saturday Night Dinner, 6pm,Crossroads International Student Center,5621 S. Blackstone Ave.Change Ringing: Handbells, 10-llam; Towerbells, llam-lpm, Mitchell Tower RingingRoom.LecturesCompton Lecture Series: “Hyperons, CrabEyes, and Solar Energy: From BasicScience to Practical Applications," EarlSwallow, 11am, Eckhart 133.WHPK (88.3 FM): Third of four-part serieson health care costs, with Virginia Knauer,consumer advocate, 7am; “Context," a half-hour discussion of the week’s news with UCfaculty and others, Jim Ruddle, host, 8am;“Your Doctor Speaks," Dr. Louise Riffspeaks on encephalitis, 8:30am.ArtsInternational House Films: “Ninotchka,”7:00 & 9:30pm, International House.CEF: “Stay Hungry," 7:15 & 9:30pm, Cobb.India Association: “Music Room,” film bySatyajit Ray 7:00 & 9:30pm, Judd Hall.Court Theatre: Staged reading of “Heart¬break House,” 8:30pm, Ida Noyes Library.Folk Festival: Fiddle Workshop, 10am;Blues ’Workshop, 11am; CloggingWorkshop, 1pm. All workshops held in IdaNoyes. Afternoon concert, Carl Perkins,StITmny Price, Mark O’Conner & the MorganBrothers, Henry & Vernell Townsend,Glenn Ohrlin, and Earnest East & the PineRidge Boys, 3pm, Mandel Hall. Evening concert, Harmonica Frank, The Red ClayRamblers, Henry & Vernell Townsend, TheApple Chill Cloggers, Carl Perkins, andMelvin Wine, 8:15pm, Mandel Hall.SportsFencing: UC vs MATC, Cluver, South¬western, 10am, Bartlett.SundayMeetingsRockefeller Chapel: Ecumenical Service ofHoly Communion, 9am; UniversityReligious Service, “Of Miracles andRealists,” E. Spencer Parsons, 11am.Hillel: Lox and Bagel Brunch, 11am, HillelHouse.Changes: “Existential Communication withMental Patients," Gary Prouty, 7pm, BlueGargoyle.Computer Club: 1pm, North Lounge,Reynolds Club.Tai Chi Chuan: Master George Ling Hu,instructor, 7:30pm, St. Paul’s Church, 50th& Dorchester.Crossroads: Bridge, 3pm, Crossroads In¬ternational Student Center, 5621 S.Blackstone.Brent House: Vespers, 5pm; social hour andsupper, 6pm; program/discussion, 7:15pm.Folkdancers: Folkdance marathon, 12noon-6pm. Guitar Workshop, 11am; StorytellingWorkshop, 1pm; Hootenany (open mike),2:30; Lecture, Harlan Daniel, 2:30pm, IdaNoyes. In concert, Mark O’Conner & theMorgan Bros., Utah Phillips, John &Elizabeth Sloan, Sammy Price, HarmonicaFrank, & The Red Clay Ramblers, 7:30pm,Mandel Hall.MondayMeetingsFolkdancers: 8pm, Ida Noyes.African Studies Seminar: “In the Name ofAllah," a film dealing with life in FezMorocco, 3:30pm, Pick 016.Chess Club: 7:30pm, Memorial Room, IdaNoyes.Judo Club: 6pm, Bartlett Gym.Change Ringing: Tower bells, 6:30-8:30pm,Mitchell Tower Ringing Room.Undergraduate Philosophy Club: “WhatMay We Mean By What We Say?" RichardEldridge. 4pm, Cobb 302.Student Tutors Elementary Project (STEP):Tutoring workshop at the home of PhilipJackson, 7:30-9:30pm, 1357 E. 56th St. Allinterested people are invited.LecturesDepartment of Chemistry: “Studies onEnzymatic Reaction Mechanisms,” Emil T.Kaiser, 4pm, Kent 103.ArtsRockefeller Chapel: Works of JohannSebastian Bach performed by theRockefeller Chapel Choir and Orchestra,4pm, Rockefeller Chapel.Court Theatre: Staged reading of “Heart¬break House,” 8:30pm, Ida Noyes Library.DOC: “Godfather, Part II,” 7:30pm, Cobb.Folk Festival: Banjo Workshop, 10am; Current Trends in Musical Theory:“Diatonic Sets," John Clough, 3pm,Regenstein 264.Pharmacological & Physiological SciencesDepartment: Barbara Jones, 12:30pm,Abbott 101.WHPK (88.3FM): “Your Doctor Speaks,"9pm; “Talk to the People," Judson Hixontalks with Robert Williams of the ChicagoUrban League about voter registration andthe upcoming special mayoral election,9:30pm.~~~~ ~~ ~ — - ■ • —— NThis Week in the ArtsPlant LecturesBy Barbara PlampinChirTtas, episcia, Saint Paulia? Strep-tocarpus, pelargonium, lithops? Sinningia,haworthia, gesneriad? Why can't plantlovers talk about their darlings in plainEnglish, anyway? The three lectures onindoor plants to be presented on the firstthree Thursdays in February (February 3,10, and 17) from 7:30-9:00 p.m. in the Co-opMeeting Room, Hyde Park ShoppingCenter, 55th and Lake Park, will explainwhy it's easier to use these names. “Manygesneriads — a group of plants whichyou're going to see a lot more of — havebeen introduced so recently that they haveno other names,'' says Wilbur Schroeder,Master Horticulturist at the University ofChicago Biology Greenhouse. His lecture,“African Violets and Other Gesneriads,"will open the series, which is sponsored bythe Hyde Park-Kenwood ConferenceGarden Fair Committee. Schroeder willdemonstrate the care, propagation, andexhibition of these plants by showing livespecimens from his own collection of prize¬winners.Susan Yamins, the U. of C. A.B. in mathwho became the Director of the U. of C.Biology Greenhouse, will lecture onFebruary 10 on “Cacti and Succulents."Her chief interest is in lithops or “stone"plants. “They stay small, so I can growlots," she says. (“Lots" means some 300specimens in her own apartment.) How todistinguish cacti from succulents, how tocultivate and propagate them, and how tofind out more about these plants frompublications and from clubs will make upMiss Yamins' illustrated talk.Pelargonium, in every day talk, meansgeranium; and “Scented-Leaved and Other Geraniums" will be the third lectureon February 17. Caroline Jacobsen,Garden Club of Illinois Approved Lecturerand grower of fifty varieties of scentedgeraniums, will discuss the origin andhistory of these plants, their propagationfrom seeds and from cuttings, and theirtraining into standards. “Pelargoniumsmake excellent house plants because theydon't need high humidity," says Mrs.Jacobsen whose interest in these plantsgrew from several colonial gardenprojects. Mrs. Jacobsen will also showspecimen plants.Admission to each lecture is $1.00;students with I.D. and senior citizens, 50cents.The HPKCC Garden Fair Committeealso sponsors the Fall Mum and Bulb Saleand the Mother's Day weekend GardenFair in May. The chairman is Bam Postell.Organizers of the lecture series are Mrs.Postell, Betty McCarthy and BarbaraPlampin. PerformanceFebruary 4th through March 11thMidway Studios at the University ofChicago will host a show of PerformanceArt. Performance Art is an area of recentexplorations that has grown fromtraditional art concerns and draws fromthe sciences and humanities as well asfrom theatre.Midway Studios will provide a locationand a period of time for eleven artists to doa new piece. The performance will bebracketed on either end by talks. The firsttalk will be given by Ira Licht. past curatorof the Museum of Contemporary Art;currently Director of the Arts in the ParksProgram for the National Endowment forthe Arts. The closing talk will be given byLeon Regan Upshaw, PhD Candidate inArt History, University of Chicago. Theartists who have been invited to par¬ticipate are: Chris Abiera, ElizabethBoettger, Phil Berkman, Leif Brush,Michael Crane, Jeffrey Deutsch, MaryJane Dougherty, Bruce Gunderson andBob Clerk, Tom Kovachevich, RobertLombardo, and Bob Peters.11-The Grey City Journal-Friday, January 28, 1977The Major Activities Board is pleased to announce:A NewNIGHTCLUBin Ida Noyes Hall, (Cloister Club)Every Saturday Night in FebruaryFeb. D - Ben Sidran - Jazz - formerly with the Steve Miller BandTony Bird - A folk singer from MalaniFeb. 12 - Tracy Nelson and Mother Earth - Traev is one of the strongestvoices in Hock & RollTom Bishop - A local Chicago folkie-Feb. 19 - Bill Quateman - The hottest national rock act to come out of Chicagoin the past 5 yearsJimmy Spheeris - An up and coming rockerCBS wants you to get a listen to.Feb. 26 - Cecil Taylor - Great black music on the University of Chicago CampusV on Freeman - One of the main men of Chicago jazz.Show times: 8:00 p.m. 10:30 p.m.Sandwiches, Soft Drinks and ... doors open at 7:30YES - BEER AND WINE WILL BE SERVED(Persons under 19 years of age mav not be sold alcoholic beverages)Cover S5.00. SI.00 discount w/activities feeNo minimum1212 E. 59th St.753-3563 24-hour concert infomj Notice: We can only accommodate 300 per shou'yy..yyyy-.yjfnuiyyTh* Grey CKyJoumaf-Frlday, January 28, 1977-12Tuesday, February 1stTHEJoseph Guastafeste, BassCHICAGO SYMPHONY ORCHESTRAFIRSTIn a lecture-demonstrationCHAIRBurton -Judson8pmAdmission free! voulez—vous.VANS? • •1977 FORD CRUISING VANWe’ve Got Them...PLAIN OR FANCY.■LeslyMotors Inc.2347 South Michigan AvenueChicago, Illinois 60616Area Code 312/326-2550SALES PARTS/SERVICE LEASINGCAMPUS BUS SCHEDULE CHANGESBecause of low ridership and after consideration by theCampus Bus Committee, the following changes are being madein the Campus Bus schedule:EFFECTIVE - MONDAY - JANUARY 31,1977EAST-WEST - The 7:00A.M. E-2 Campus Buss will be discontinued.Present riders should use the 6:55 A M. E-l Campus BusSOUTH SHORE -- The 2:20P.M. S-5 Campus Bus will be discontinuedMonday Wednesday, Thursday and Friday. It will still operateon Tuesdays. Present riders should use the 2:20P.M. S-4 CampusBus.SOUTH SHORE -- The 5:25P.M. S-4 Bus will be discontinued.Present riders should use the 5:15 ^.M. S-5 Bus. 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 lag in Todesbanden'THIRD SUITE IND MAJORFOR ORCHESTRATickets: Reserved S6.00 Chancel Seating $5.50General Admission 55.00 Students 52.50Group rates available upon request. For information call 753-3381On Sale: Cooley’s Corner, 5211 Harper CourtReynolds Club Box Office, 57th Street and UniversityMail Orders: Rocheteller Memorial Chapel59th Street and Wood lawn AvenueChicago 60637Picas*: make chicks payable to The University of Chicago and enclosestamped, self-addressed envelope.17-The Chicago Maroon Friday, January 28,1977Maroons lose in closing minutesBeloit deals cagers second conference loss, 55-51By Frank MerriwellThe University men’s basketball teamamply proved Wednesday neight that wasno pushover to a cocky Beloit team thathad blown the Maroons off just over threeweeks ago. Unfortunately they fell short inanother home-court thriller, 55-51.Once again, a game played in BartlettGym was decided in the final minute, and,dishearteningly, for the second time a lateMaroon effort was not enough. Even moreJan Alley (42) had a good first half andwas big scorer at 18 points, (photo by DanPatterson)frustrating was the fact that the lossprevented the Maroons from tying theirMidwestern Conference rivals, who im¬proved their league-leading record to 4-1.The Maroons fell to 2-3, 6-6 overall, andshould probably set their sights on asecond place finish in their first year in theconference.The Maroons scared the overconfidentBeloit squad by exploding to a 10-1 lead atthe start of the game, and maintaining thelead through most of the first half.At times the Maroons were quite ef¬fective with their passing, penetratingBeloit’s various switching defenses to feedeither Jay Alley on the baseline or BretSchaefer underneath. Alley shot 7 for 9 inthe early going, and even with sevenminutes left in the half he was outscoringthe entire Beloit team single-handedly.The column The Maroons led at this point 22-12, butthis margin, the largest either team heldthroughout, was not to last long. Up untilthen, Beloit’s various defenses, par¬ticularly the 1-3-1 zone, were forcing theMaroons into repeated turnovers, but lackof a team effort on offense and poor shotselections prevented Beloit from takingadvantage of the Maroon errors. Towardthe closing minutes of the half theMaroons’ plight grew worse — theyfinished the half with over 15 turnovers —and Beloit started to hit Dave Grady insideand pull back into the game.The Maroons could not penetrate the ballat all and sorely missed Bret Schaefer’sinside work after the 6-6 center got intoloul trouble and was benched. Beloitoutscored the Maroons 11-4 over thisstretch to trail by only 26-23 at halftime.Beloit opened the second half with anaggressive fullcourt press, and thestrategy paid off. Beloit’s offensive guns,who aside from Grady were stiffled in thefirst half by the Maroons’ man-to-mandefense, began to loosen up and providediversified scoring power. Alonzo Jacksonpenetrated, Mike Kujak started hittingfrom his favorite 20 foot spots, and Gradycontinued his rampage inside, enablingBeloit to rally and take the lead throughmost of the half.The Maroons, nevertheless, did not fallapart completely. Though they often hadtrouble with the press and even moretrouble penetrating once Beloit fell backinto a zone, they depended on another finedefensive performance by Greg Retzingerand the return of Bret Schaefer to stay inthe game and even tie it at several points.Schaefer, in particular, was awesomeinside, clearing the defensive boards andgetting timely offensive rebounds.With less than four minutes left and theMaroons down by four, Dan Hayes con¬verted two free throws and a minute laterscored on an inside turnaround to tie thescore at 49. With just over a minute left,the teams exchanged two points. Beloit’sMike Hanzlik scored on a drive after aJackson steal and fast break, but in doingso committed a player control foul. SteveShapiro, who did a good job of maintainingdefensive position, hit both free throws.Beloit, using a spread out, four corneroffense, worked the ball around well, ateup the clock, and with thirty seconds leftKujak hit Grady inside for the bucket andthe lead.When Alley missed at the other end,Schaefer rebounded and was fouled. Butafter a Beloit timeout, Schaefer missed thefree throw, setting up a frantic butfrustrating ending for the Maroons. Retzinger hustled for the loose ball afterthe shot, got it to Shapiro, who drove andbarely missed a tough, double-pumplayup, resulting in a foul by Hayes in thefight for the rebound. Steve Ream hit bothfree throws with just six seconds left, icingthe game and extending his perfect freethrow string to 22.Dave Grady paced the winners with 19points, while the second half efforts ofMike Kujak and Mark Hanzlik enabledthem to finish with 13 and 8 pointsrespectively.Jay Alley cooled off in the second halfbut still led the Maroons with 18 points.Schaefer contributed 16, with about 15rebounds to lead everyone in thatcategory. Dan Hayes added 10. Once againRetzinger and Shapiro deserve credit fortheir defensive play, as does Tod Lewis,who came off the bench to give Shapiro anextended breather in the second half.By Gene PaquetteThe University wrestling team won itsfirst dual meet last Wednesday as theybeat Concordia teacher’s college 22-20.Exciting and close fought the meet wasnot decided until the final heavyweightbout. But many on the Maroon squad wereslowed by injuries and the resulting lack ofpractice, thus making many of the mat¬ches closer than usual.The meet started out with Concordiagiving up points, as they forfeited the firstweight. Maroon 118 pounder Bob Michell’had creamed their boy last weekend asMichell was making his way to winning hisclass at the Elmhurst Invitational. Only afreshman, Michell has pulled in his firstchampionship of the season.The match continued Chicago’s way asfreshman, Keith Milliken won a 15-2decision at 126 pounds. Milliken totallycontrolled his opponent and his inability toput him away has been left to inex¬perience. He too has a good four years oflearning ahead.In the 134 bout was much more exciting,Maroon Frank Valentine used hisphenomenal quickness to dominate hisopponent in the opening minutes. But,slowed by injuries, he could not keep upthe pace, was in trouble by the third round.Easily the best wrestler in the team,Valentine’s missed practices showed, buthis skill was also apparent. He was able tooutlast his opponent to win a 10-6 decision.Mitch Martin was also coming off aninjury and spent the last round face down,trying to avoid being put face up. Despitethe screams of, “get up Mitch’’ he wasunable to pull off the reversal that wouldhave won him his match. His bout ended ina 2-2 tie.The Maroons suffered their first losswhen Joe Cullen could not pull out his 150pound bout. Cullen, who had taken fourthat the Elmhurst meet fell behind earlywhen his opponent gained two points on afine take-down in the first period. Down 3-4 Steve Shapairo (14) played another gooddefensive game, (photo by Dan Patterson)The next three Maroon games are on theroad, and they return to Bartlett GymFebruary 12 to face Lawrence University.going into the third round, Cullen startedfrom the up position and could not pick upthe points. He lost 6-3.Joe Leonard’s 158 pound match wasprobably the most exciting of the meet.The freshman went out to an early 5-0 on atake-down and a near pin, but his opponentreversed and almost pinned him to gain a5-5 tie. Leonard made some of it back totake an 8-5 lead in the third period, but bythe end of the round the score was tied at10-10. Although time had to be called tostop his bloody nose, Leonard rode hisopponent long enough to pile up the finalpoint to win 11-10.The next three matches were not asgood. Joe Osheffsky got into trouble earlyin his 167 pound match and never got out ofit. His pin, late in the first round was theonly one of the met. Ken Zintak started at177 pounds but never finished as his badknee collapsed and left him screaming onthe mat. Dennis Thatcher moved slowlywith his bad knee and lost 2-0, leaving theMaroons down for the first time in themeet, 19-20.The stage set for a climatic heavyweightbattle, freshman Stagg Scholar JoeKnurek came out to do the honors. Aftertwo fine periods of wrestling. Knurekstarted the third period up 2-1, but down onthe mat. All he had to do was escape andstay out of trouble. Wonderfully he did justthat and Chicago pulled out the meet 22-20for their first win of the year.After allowing as how that first win didfeel pretty good. Coach John Schael wenton to point out how the injuries which hadkept many team members off the mats,were past. “As we approach the Con¬ference meet we’re right on target,” hesaid, “The guys have a lot of desire andcourage, and should be able to get ittogether.”The guys’ first chance to bear out thisprediction will be this Saturday as theytravel out to beautiful Grinell, Iowa to takeon Grinnell, Coe and Illinois Wesleyan.Today’s armory wants to join youSports Grapplers win first meetBy David RieserThe Armory.Grey and hulking it squats like a south-side cockroach on the edge of CottageGrove. If you look northwest from theupper reaches of Regenstein you can seeit’s militaristic mass disturbing the quiettranquility of Washington Park.Inside, olive drab machines of war sit,dusty and old, but ready for the fight.Jeeps, trucks and howitzers, all used bythe remnants of an American traditionknown as they state militia, now known asthe National guard, the weekend army.Inside, is the only thing resembling anindoor track around. And while the fieldhouse is being rebuilt the University trackteam practices there.One uses the term “track” advisedly.The Chicago Maroon-Friday, January 28,11 What there is is a yard wide space betweenthe first row of the bleachers, left therefrom earlier days of football and polo, andthe elbow high rail, protecting thebleacherites from the 15 foot fall to themain floor. It is 320 yards around, 5Ms lapsto the mile. The corners are 90 degrees ofsheer hell.Other attractions include the necessityto run in single file. The only possible placeto pass are the short sides, but the movehas to be quick, and unchallenged. Thisproblem is aggravated by the presence ofthe other high school teams that work outthere.There is also the atmosphere whichcontains no uncertain amounts of carbonmonoxide, both from the weekendmanuevers, and from the daily warmingup of the guardsmen’s cars. This latterM8 often takes twenty minutes each and hasled the team to some very seriousdiscussions about demolition. It is enoughto make one yearn for the good old dust ofthe field house.Still there are advantages to the place,the greatest being that it is not outside.Team members who run to the place fromBartlett have been close enough to theelements to know exactly what they areescaping.Coach Ted Haydon, is sanguine enoughabout the merits of the Armory itself, buthas been outraged that his search for anindoor facility ended up there. Simplystated there are none in the city. A surveyof high school teams revealed that theyeigher practice in the school halls or not atall. The city indoor championship wasusuallv held at the field house might have to be held partly in someone’s halls andpartly in the suburbs.In response to this Haydon has begun tomake noise. At the University of ChicagoTrack Club dinner two weeks ago Haydonoffered a resolution suggesting the needfor Chicago to have some sort of facility —even a portable board track and thedisgrace of its absence. There were nodissents and the resolution was sent to theproper authorities.So far, the team has had mixed results inmeets as most of the runners have only runin one so far. The team’s first dual was lastnight at North Central which has a 147.something yard tartan track. It is a con¬tinual turn on which a man could get dizzy,but it has one of the same advantages ofthe Armory.It is, after all, inside.CLASSIFIED ADSSPACERoommate needed to share sunny, 9rm. apt w/2 working students. CallKarl, 288 5799, eves, or weekend.l'/2 room w/util $160. 5455 Blackstone,just painted. Call Leslie 753-3581.Avail, immed.Want M or F to share ig moderntwnhse, own rm, nr m'bus, 363-2013Fern to share Ige 2-bdrm. apt. ex. loc-56th & Kim. Well maint. Avail 3/1 orsooner. Pref. grad stu or work'g worn.Rent $135. Util a. $5. Call Kay, Sophie493 4057. Suggest 5-10 pm.Quiet fern grad student to share apt at56 & University own 2 rooms. FromAAarch 1. $110/mo. Call 947-9305 eves.Need roommate April 1. Share w/malegrad own big rm. $106/mo. 56th 8,Kimbark, 947 8851.Spacious Hyde Parkroommate. Call 955-5932. apt. wantsPEOPLEFOR SALESCENES• Eye Exanmations• Contact Lenses (Soft l Hard)• Prescriptions FilledDR. MORTON R. MASLOVOPTOMETRISTSHyde Park Shopping Center1510 E 55th363-6383Dorothy SmithBeauty Salon5841 BlackstoneHY 3-1069ooen 7 A M -7 P M.Mon thru Fri.closed SaturdayHair Cutting Wedgies • etcTinting - Bleach.ng Permsonly fhe bestCall for aDPt FOLKDANCING is the poetry of thefoot—come join U of C Folkdancers atIda Noyes 8pm Sun., general level andAAon., beginning level, 50 cents; alsoFriday all levels. Except Fri. Feb. 11,every week.Folkdance AAarathon Ida Noyes Jan 3012 noon to 6 pm. No folkdance Sun eve.Jan. 30. Go to the folk-festival! Clogging workshop Sat. Jan 29,1 pm.EUROPE/WORLDWIDE academicdiscounts year round. SATA 4228 First,Tucker, GA 30084 ( 800-241-9082).OVERSEAS JOBS-Summer/yearround Europe, S. America, Australia,Asia, etc. All fields. $500 $1200 monthlyExpenses paid, sightseeing. Freeinform, write: International JobCenter, Dept. 11, Box 4490 Berkeley,CA 94704. PUB KITTENSHave 3 semi-kittens that mustgood homes. Call 753 3597 or seein the Pub. They have had theirand love people.FOR SALE5 & 6 room apts in building beingrehabilitated 5 min from U of C on 61stSt. Coleman Corp. 373-1800.Large turn. rm. avail in congenial HPapt. Feb 1. 91-66 + util -f deposit convto shop-non smokers only call 493-9493eves.PEOPLE WANTED$2.00/hr. Subjects wanted for psychol¬inguistics experiments, Department ofBehavioral Sciences. Call 753-4718 toregister.Babysitter needed in our home full¬time 8:30-4:30 weekdays two children-no housekeeping. Pleasant location55th at lake salary negotiable. Call753-1813.Subjects for a research study of thestructure and physiology of muscle.Subjects will be paid $100. For furtherinformation contact Dr. John Craytonat 947-6415.SECRETARY with excellent typingskills, shorthand, and/or dictating-machine skills needed immediatelyfor new law office in South Shore.Legal experience helpful but not re¬quired. Call Nan Gold, 567-5053.ADAAINISTRATOR needed for new,highly innovative law office in SouthShore. Community organization andpublic relations skills as well as officemanagement skills required. Salarycommensurate with training and ex¬perience. Call Nan Gold, 567-5053EARLY PREGNANCY DETECTION.Pregnancy accurately detected beforeyou miss your next period. 5cc of bloodwill be drawn. Medical research pro¬ject test is free Call Sandy at 947-6620or 947-5550.For exp piano teacher of all levelscall: 947-9746.Thesis, Dissertations, Term Papers,INC. Foreign language gen-corres.Latest IBAA corrective Sel IItypewriter. Reas. Rates. Mrs. Ross,239-4257 between I lam & 5pm.French tutorials with expd. Frenchnative teacher-324-8054.TYPING SERVICE/HY PK./667 4282Edgar Cayce Group now meeting formeditation and discussion. Call days:Judy Rettich 346-3167.The free store at the Resource Centeris overstocked with quality clothing.Take what you can use. 10am 4pm dai¬ly. 6102 S. Blackstone. Recycle samehours.Friends (Quaker) meeting tor worshipevery Wed. noon Chicago Theoi.Seminary, 5757 S. University. VisitorsWelcome.J/a/re J2.eer)2e6tauzantDelicious cantoneje FoodFast Special luncheon:$1.95Mon Ttiur$ 11:30 AM 9:00 PMFri. & Sat. 11:30 AM 9:30 PMSun. 3:00 AM 9:00 PMCLOSED TUES.643-3407 1316 E. 53rd St.VERSAILLES5254 S. DorchesterWELL MAINTAINEDBUILDINGATTRACTIVE 1 Vi AND2% ROOM STUDIOSFURNISHED or UNFURNISHED$138 to $225Short TermBased on AvailabilityAll Utilities includedAt Campus Bus StopFA 4-0200 Mrs. Groak CONSCIOUSNESSAND CULTURE1971 Buick Skylark-green, V-8, A/C.Body fair, engine good. $750. 288-6568.FORD FAIRLANE 62, V8-engine, 4 dr,new tires, clutch, snow tires on rims,$ 150/offer. Call 753-8033.1966 Plymouth Valiant, stick, newbrakes, clutch 753-4428 (days) 375-7435(eve.)Recondt IMB ModC Prestige EliteFabric Ribbon, Upright Freezer,Humidifier, File Cabinets, Chairs,Bedroom Suites, Dining with CaneBack Chairs, Book Cases. Call 924-9268.6V-2 ft. brown canvas couch/bed. 4matching pillows $120 or best offer.Room-size carpeting (15 ft. x 10) incldsfloor padding $40. Call 241-6475.Superscope-300 receiver; EPS 80speakers (2); Garrard 40B w/cover,turntable. Call Niko643-5881.Apt. Sale: carpets, dbl. bed, desk,sec'y chair, floor lamp, humidifier,etc. New 6700 BTU air conditioner, 3241999.Bunk Bed sturdy wooden 3 drawermattresses incl $120. 241-5314.Radio-Tape Player NationalPanasonic A/C Battery 2SW 1MWBand one year old cassette. Call 753-0300 early or late. Keep trying. $50.All brands stereo equipment atwholesale prices. Ph 752-3818. RIDE WANTED2 of us need ride to Madison,Wisconsin Leave Fri. 2/4, return Sun.or Mon. 753-0517. Share driving expensesDUNE ACRESMagnificent view of Lake Michigan 5br. split level completely private$175,000Lake 5 br, 4 baths, $115,000. Bertha219-926 1664, Beverly 787-8494 RobbinsRearick 926 1138CHILDCAREWe are looking for native English-speaking mothers and their (approximately) 13-16 month-old infantsto participate in a year long study ofearly language comprehension at U. ofC. The study will provide free timewhen we will care for your child athome. To know more about it, pleasecontact Dr. Httenlocher's office, 1-5pm, 753-3836, or eves, 538 7022.WOMEN'SMAGAZINEPrimavera, a women's literarymagazine, is on sale in all Hyde Parkbookstores & Bob's Newstand. Volume# is out! WOMEN'S UNIONThe Women's Union will hold ameeting on Wed. (Feb 2) at 7:30 pm inthe Blue Gargoyle, rm 22.WHEELCHAIRCourt Theatre needs old wheel chairfor NIGHT MUSIC, opening Feb. 25.Please call 753-3581.BOUNDARYWATERSCan we save the Canoe Country? National experts on the issues will leadsymposium Feb 5, 1-4 pm at Nor¬thwestern Univ. Coon Forum 2001Sheridan, Evanston. Plan to attend!Free! Info: 955 2223eves.TENNIS LESSONS!Rackets Prov. All Ages & Levels. ProLessons as Cheap as $10 for 8 Lessons.FREE LESSONS if on Public Aid orGreen Card. From 52nd to 103rd St.Small Group & Private. College, YM-CA, etc. Certified Pro with 22 yearsexp. Call Jim Smith 667 4038 NOW!THEATERNeeded for play one pair black tieshoes size 14 tickets in exchange foruse of your shoe 955 4408. u.s.a.Via American Ailine<California*149 TO$169ROUNDTRIPPathfinder (312) 752-2348At least 35 days aheadFull in-flight meal service*24 hours a dayIII ' m* >:«< •»EYE EXAMINATIONSFAHSHION EYEWEARCONTACT LENSESONLYPHONE-MATEBuy for less the answer machine thatoutsells all others combined. Allmodels. Call PL 2-2348 (24 hrs.)INSIDEHYDE PARKCUE IN the activities of the HydePark-Kenwood Community Con¬ference. The annual meeting is a greatchance to share your concerns withother folks involved in the community.7pm Sunday, Jan. 30, KAM Isaih-Israel, 1100 E. Hyde Park Blvd.BSCDSTUDENTSSummer jobs at Michael ReeseHospital. Forms available MARP 213.CREATIVESERVICESCreative Sabbath Services are heldevery Friday at 7 30 pm at 5715 S.Woodlawn. For more info., Call752 5655BOOKS BOUGHTBooks bought & sold everyday,everynight 9-11, Powells, 1501 E. 57thSt. 3rd Annual H.T.A Conference.1/27-1/30. CCE, 1307 E 60th St. Fee753-3188INDIAN FILMIndia Association show Satyjit Rayfilm MUSIC ROOM Sat. Jan. 29 JuddHall 5835 Kimbark. 7 p.m.; 9:30 p.m.,members $1, others $1.50.PAN PIZZADELIVEREDThe Medici Delivers from 10 p.m.weekdays, 5-11 Saturday, M7-7394.Save 60 cents if you pick it up yourself.HEARTBREAKHOUSEStaged reading Jan. 28, 29, 30. IdaNoyes Library 8:30p.m. $1. 3-3581.LOST & FOUNDLost my eyes in Pierce. If found con¬tact S. Deck Shoreland 1026.LOST at Greenlake, Wise, lastweekend: one pari Danner hik¬ing/climbing boots, dk brown w/tanlaces, size 11. They were left inPillsbury Hall after the square danceSat. night. Please call John at 493-2556.LOST Cowboy hat in Ida Noyes Pubaround Thanksgiving. If you have seenthis had or are wearing it please callJon at 493-2556.PERSONALS1 saw you at Regenstein. Our eyestouched. You were reading Plato and 1was reading Aristotle, but 1 still thinkwe can get together. Same time?Yes, but can she lock her ankles?Writer's Workshop (Plaza 2-8377).DATING SERVICE Over 1200members. Ladies join free. 274-6248 or274-6940.Pregnancy Testing Sat 10 2 AugustanaChurch, 5500 S. Woodlawn. Bring 1stmorning urine sample $1.50 donationSouthside Women's Health, 324 2992HEY KID!HAVE A HAPPYWEEKENDSEE YA SOON KENNEDY, RYAN, M0NIGAL & ASSOCIATES, INCGDR. KURT *ROSENBAUM $Optometrist |(58 Kimbark Plaza) §& 1200 East 53rd Street!HYde Park 3-8372 $* >mk >«• IITCraft & Mini-ProgramsArts • Crafts• HobbiesFor enjdyment theyear aroundFeaturing non-creditprograms inStained Glass,Calligraphy, Wood,Astrology , Cooking,Pottery, Tennis,Dancing, Yoga,Macrame, Theatre,Fencing, Guitar,Women’s StreetDefense& MORECall for free brochure567-3077Registration:Jan. 18-Feb. 12Illinois Instituteof Technology m m y \mm j/m k\\ jjinil KS rf! am 111II nil M iwl niilrffl 11IIJDirectory of ValuesWe Know Hyde ParkReal Estate Inside OutHOUSES FOR SALETHE POSSIBLE DREAMA new house in Hyde Park!Of the seven town homes tobe built at 54- Blackstone forSummer occupancy, only oneremains unsold. See our scalemodel and floor plans forthese exciting housing opportunities. Each homefeatures 3 or 4 bedrooms, 2 or2V? baths, in- house garage,solarium and many morefeatures to insure com¬fortable and conventionalliving.GRACIOUS ANDINVITING11-room residence in lovelysetting Nat. fireplace inlarge living room. 6bedrooms - library -solarium. Cent, air, un-dergrd. sprinklers. 3-carbricK garage. Side drive.Upper 60's. Call Mrs. Ridlon667-6666.SPICANDSPAN6 rm., IV2 bath townhouse.Large stainless steel kitchen.Deep back yard. Off-streetparking for 2. ExcellentSouth Shore location on busroute. $28,500. Call CharlotteVikstrom at 667-6666LIVE BY LAKE4 BR brick home along SouthShore Drive. Back yard nextto park and beach Only$47,500. Please call MargaretKennedy at 667-6666 PRAIRIE SCHOOLMANSIONThis lovely 15 room brickmansion has great potentialfor a super Kenwood home. 5baths, 2 car garagesurrounded by period ironfence. For information or tosee, call Richard E. Hild 667-6666 or 752-5384PERFECT STARTERTwo king-size bedrooms, IV2baths. Like-new townhomeCarpeting, all appliances,free parking included. Quiet,charming design approx.1,800 sq. ft. One block fromLake Michigan near 74th.$26,000. Charlotte Vikstrom667 6666KENWOOD LOCATIONA 2-story house with 7 largerooms, large kitchen, 2 baths,woodburning fireplace, 4bedrooms, full basement,new furnace, new roof. Lotsize 35 x 150. All for $49,500.Call Don Tillery 667 6666.49th & GREENWOODBest block of Kenwood. Well-landscaped 6 BR, 4V2 bathhome w/study, billiard rm.,w/b/fplc. Beautiful con¬dition. $125,000 asking. Tosee, call Mrs. Haines 667-6666.APARTMENTS FOR SALEBACHELOR PADWalk to campus. Less than$100 per month living costs!Modern kitchen, game room -and more. To see this brightclose-in co-op, please callRichard E. Hild 667-6666 (res.752-5384)5000 EAST END CO-OPSuper coppertone and walnutkitchen. 5 larqe rooms - 2baths - high floor - sunsetviews. Financirtg available.$21,500 Charlotte Vikstrom667-6666AGREAT UFESJYLEIn this deluxe apartmentcondo-3 bedrooms, 2 baths-parquet floors, carpeting,custom shutters, sauna, pool,24-hour security-all in CornellVillage. Asking $60,000. CallDon Tillery 667-6666.COZY LIVINGNEAR U. OF C.Four large rooms plusstudy/sun porch, modernkitchen with built- in dish¬washer and appliances.Modern bath with ceramictile, monthly assessment$96,00. To see call FrankGoldschmidt 667-6666. Hi RISE CONDOSpectacular 14 floor view ofthe lake and city. 3 bedroocns,2 full baths - like new kitchenwith dishwasher, doubleoven, side by side refrig, andfreezer, complete with break¬fast area. LR has diningalcove and study alcove. CallJ. Edward LaVelle 667-6666.WORKINGFIREPLACEDelightful four room condosouth of 55th on Blackstone.Superior condition Availablefor immediate occupancy.New kitchen and many ex¬tras. $31,500.CLASSIC BEAUTYThat looks out over park &lake. 5 rooms w/2 baths,private parking, beamedceiling & WBFP in liv. rm.Mo. assmt. $109. Full price$13,900. Call Mrs. Ridion 667-6666HYDE PARK BLVD.3 BR & study condo homew/2 full baths. Modern kit.w/DW, stove, ref. incl.Laundry rm. Off-street pkg.$33,900 To see, call Mrs.Haines667 6666APARTMENT BUILDINGSAND LAND FOR SALESOUTH SHORE DRIVEBrick 3-flat with extra deeplot. 3-7 room apts. in goodcondition. 5 car garage Formore information, please callMargaret Kennedy 667-6666BLOCK LONGVacant land near 84th &Stony. Transfer good titleimmediately. $125,000. CallCharlotte Vikstrom 667 666o8 UNITAPARTMENT BUILDINGExcellent Hyde Parklocation. Good income.Double plumbing. Newwiring. For information sheetand to see, please callRichard E. Hild 667-6666 (res.752 5384).G1461 East 57th Street, Chicago, Illinois 60637WINSTON E. KENNEDY312/667 6666Rea* EstateTREND TOWARDINVESTMENT69th & Clyde 6 flat - excellentsystems. All 6 rooms - modelavailable to view. Brickgarages to match. $50,000.Charlotte Vikstrom 667 6666EXCELLENTBUSINESS LOCATIONVacant parcel of land $21.00.78x125. Transfer good titleimmediately. Call CharlotteVikstrom 667 6666INVESTMENTOPPORTUNITYCentral Hyde Park apt bldgExcellent condition, 30 apts. -4's, 5's and 6's. Annual in¬come $90,000. Asking$325,000i19-The Chicago Maroon-Friday, January 28,1977LAST WEEKEND OF WHITE SALEFRENCH WHITE WINESGERMAN WINESLIEBFRAUMILCH 52.79501 5th AND UPREG. SALE$J93$296JOHANNISBERGER ERNTEBRINGER $3.99KROVER NACKTASH $2.99TRITTENHEIMER ALTARCHEN SPAT $4.49AND A LARGE VARIETY OF OTHERSWINE SPECIALTYDANDELION WINEWHITE CHEESE SALEJARLSBERG (NORWAY SWISS)PURE FRENCH GOATS MILK CHEESECAMBREE (BLEND OF CAMEMBERT AND BRIE)ALE CURED ENGLISH CHEDDARCANADIAN WHITE CHEDDARMONTEREY JACK SOFT, MILD AND NUTTY $221$332FIFTHGOURMANDISE.... .. CHERRY, WALNUT, ORANGE, $029*375!$039$295$045Mm POUND$]75*1 POUNDPOUNDPOUNDPOUNDPOUND89POUNDGARLIC, PORT WINE)WHITE SPIRITSSCHENLEY VODKA half gallon *6"DEWARS SCOTCH half gallon ^12BARCARDI WHITE RUM half gallon *8"The Party (Kart2427 East 72nd Street BA 1-9210Th« Chicago Maroon Friday, January 28,1977 20