Alumni Assn, withdraws$10,000 FOTA subsidyFOTA’S May Day celebration last year.Classes jammedNo. of econ concentrators up 300%by Eric von der PortenA 300 percent increase in thenumber of undergraduateeconomics concentrators in thelast decade has led to overcrowdedclasses and to a shortage ofUniversity professors teachingeconomics in the College.216 undergraduates areregistered economics concen¬trators this year. FrederickMishkin, director of theundergraduate economics pro¬gram, said the department tradi¬tionally had approximately 50undergraduate concentratorsbefore a period of unprecedentedgrowth began in the late 1960’s.The increased number of concen¬trators led to an average enroll¬ment of 50 students in the sevenupper-level (200-level)undergraduate economics coursesoffered last quarter. The smallestclass had nine students; thelargest, 120.The number of 200-leveleconomics courses has increasedin recent years but not propor¬tionally to the growth in enroll¬ment. Thirteen courses were of¬fered in 1974-75 (excluding Sum¬mer quarter) when there were 105undergraduate concentrators.Twenty-one courses are scheduledthis year.Only 12 of the 21 courses aretaught by University professorshowever. Five are taught by lec¬turers, instructors, or post¬doctoral fellows; three by visitingprofessors; and one by a graduatestudent.Many graduate students are alsoemployed as graders and asdiscussion-section leaders in thelarger courses.Mishkin noted that ‘the Univer¬sity has a commitment to havingprofessors teachingundergraduate courses” but saidthat understaffing in theeconomics department has led to“much more teaching by post-docsand graduate students than isgenerally considered optimal.”Large classesCourse sizes have also beenlarger than optimal, Mishkin said."I’d like to teach in a smallerclass, even a class of 50 is better,”he said. But he added, “I thinkthere have been fairly good teachers at the undergraduatelevel. . . people are getting thetraining.”Because of the nature ofeconomics, class size is not alwaysthe most important factor in deter¬mining the quality of a course,Mishkin said, particularly in in¬troductory courses that are design¬ed as lecture rather than discus¬sion courses.Arnold Harberger, chairman ofthe economics department, said “Iwould personally like to expandour undergraduate offerings morethan we have; I would like to seesmaller courses. I think we havedone some in that direction and asour staffing situation permits; wewill do more.”Both Harberger and Mishkinsaid the economics departmenthas traditionally used post¬doctoral fellows for some teachingresponsibilities. Harberger said,“I don’t foresee that changing. Ithink they are a genuine asset tothe community.”“We rely very little on graduatestudents” for teaching. Harbergersaid, “and when we do they getvery good reviews fromundergraduates.” But he said, “asa matter of principle we like to usegraduate students only as a lastresort.”Harberger denied that visitingprofessors and post-doctoralfellows are being used to fill in forfaculty members on leave thisyear. He said, “there aresomewhat more leaves than nor¬mal this year and also somewhatmore visitors than normal.” But headded, “most of the visiting pro¬fessors would probably have comeanyway.”With rare exceptions. Harbergersaid, visiting professors and post¬doctoral fellows are not teachingcourses that would otherwise betaught by faculty members whoare on leave.Hiring problemsMishkin said, “the University istight on funds,” but said the “highquality constraint” is the biggestbarrier preventing a more rapidexpansion of the economics depart¬ment to accommodate the increas¬ed demand for professors.to 3 By Abbe FletmanThe Alumni Association rescind¬ed a $10,000 grant to the Festival ofthe Arts (FOTA) last weekbecause of “confused finances.”Acting Alumni AssociationDirector Peter Kountz said the ap¬propriation was not approved byVice-President for AcademicResources Jonathan Fantonbecause of a lack of funds. Thefunds were used to cover in partthe cost of 12 receptions heldaround the country for alumni toBy Jaan EliasLea Brilmayer. an assistant pro¬fessor at the University of TexasLaw School, will become the firstwoman to join the Law Schoolfaculty since the departure of SoiaMentschekoff in 1974.Gerhard Casper, the Dean of theLaw School, announced last Thurs¬day that Brilmayer has been givenan appointment as assistant lawprofessor. She will assume herposition July 1,1979.Brilmayer’s appointment comesin the wake of charges last yearthat the Law School’s hiring prac¬tices discriminate against women.Casper said the charges and subse¬quent agreement between theUniversity and the Department ofHealth. Education and Welfare(HEW) did not play a role in theselection of Brilmayer. The ap¬pointment was made, he said, ac¬cording to a long-standing LawSchool policy of selecting the bestqualified person for faculty posi¬tions regardless of race or sex. meet President Gray. Two Univer¬sity officials estimated the recep¬tions cost $50,000-$80,000.The $10,000 FOTA grant was “aone-shot deal,” said Kountz. TheAlumni Association had extrafunds from salaries becauseKountz, who also is assistant direc¬tor of the Center for Policy Studies,does not receive payment for theAlumni Association position.The Alumni Association will usesome funds from “programming”and from several small accounts. in addition to extra salary money,to cover the cost of the receptions.Despite the added budgetaryburden, the Association will notoperate with a deficit this year,said Kountz.Fanton, who is responsible forthe budgets of both the Develop¬ment Office and the AlumniAssociation, was unavailable forcomment.The Receptions were jointlyplanned this summer by the Alum¬ni Association, the DevelopmentOffice, and the College AdmissionsOffice. At that time. DevelopmentOffice Director Clyde Watkins saidhe would contribute funds for thereceptions. But he was later toldthat Development would not haveto help bear the cost of the recep¬tions. he said Wednesday.“We would have had to sacrificeother fund-raising activities,” saidWatkins, “and we were told not todo this.”The College Admissions officehelped plan the events, said Deanof Admissions Loma Straus, butthey never were expected to helppay for them.The oversight was “a very dumbthing,” said Kountz, but he addedit could not be blamed on a singleindividual or office.FOTA impactFOTA affiliates are divided inestimating the impact of the fundwithdrawal on the Spring festival,scheduled for April 20-May 20.“We will have a trimmed-backFOTO for sure.” said Student Ac¬tivities Program Director IreneConley. But according to FOTAchairman Cordelia Watson. “We’llbe okay.”Photo by Eric Von der Porten , qArnold Harberger, chairman of the economics department. w) OLaw School appoints a womanLast year, an HEW investigation part of its affirmative action effortfound the Law School ‘has failed to to recruit and hire two women fortake appropriate affirmative ac- its law school faculty w'ithin thetion in the recruiting and hiring of next three year period.” Theboth women and minorities in report calls on the University tosenior faculty positions, and in hir- make contacts with the Lawing women and minorities for Women’s Caucus to facilitate thisjunior faculty positions.” goal.The year-long investigation was Brilmayer joins 24 white maleinitiated after the Law Women’s faculty members at the LawCaucus, an ad hoc group of law School. Throughout the University,students, filed a complaint with women comprise 13 percent of theHEW. The Caucus held the school’s 1021 member faculty, according tohiring practices responsible for the Margaret Fallers. assistant vice¬absence of minorities and women president in charge of affirmativeon the faculty. action.Faced with the loss of federal Brilmayer received herfunds, the University signed a undergraduate education at thecompromise affirmative action University of California at Berkleyagreement with HEW on March 6, and her law degree from Columbia1978. The agrement sets up Law School. Her special fields areguidelines for University af- contract law. conflicts in law. andfirmative action programs, but statisticsallowfs the University to “select. Casper also announced thatpromote, and grant tenure only to Peter Martin and Steve Williamsthose persons fully and best will serve as visiting professors atqualified.” the Law School next year. MartinOne of the guidelines established is on the faculty of Cornell Lawby the agreement provides that School, and Williams is on the“the University will endeavor as faculty of Columbia Law School.GRADUATE STUDYinPUBLIC POLICYProfessional Degree ProgramAdmissions MeetingFor all students in the CollegeTHURSDAY, FEBRUARY 154:30 p.m.WIEBOLDT HALL, ROOM 301Professor Robert Z. Aliber. Chairman of the Committee on PublicPolicy Studies, will be on hand to answer questions about admissionsprocedures, fellowships in Public Policy, and financial aid.PROFESSOR EUGENE GENDLINDept, of Behavioral Sciences; The CollegeAPPROACHING ONE’S SELFPSYCHOLOGICALLY AND ALSOSPIRITUALLYFRIDAY, FEBRUARY 2nd, 8:30P.M.HILLEL FOUNDATION5715 Woodlawn Avenue An early sprin,photo by E. von der PortenWhen The Maroon went to press, the ground hog had not yet made its appearance.A roving Maroon reporter, however, cited these robins on the Quads early this week,indicating Spring is just around the corner.marian realty, inc.mREALTORStudio and 1 BedroomApartments Available-Students Welcome-On Campus Bus LineConcerned Service5480 S. Cornell684-5400 THE UNIVERSITY OF CHICAGOTHE COMMi ITEE ON SOCIAL THOUGHT(THE JOHN I). NEE FUND)announce o series of lecturesOTTO VON SIMSONProfessor of Art History-Free University of BerlinSYMBOLIC STRUCTURES INGERMAN 19th-CENTURY PAINTINGMonday February 5 • CASPAR DAVID FRIEDRICHWednesday February 7 • KARL SPITZWEGFriday February 9 • WILHELM LEIBL4:00 P.M.SOCIAL SCIENCE RESEARCH BUILDINGRoom 1221126 East 59” StreetAdmission is without ticket and without chargeStudy Languages atMIDDLEBURYSUMMER PROGRAMSMASTER OF ARTS and DOCTOR OF MODERN LAN¬GUAGES. In-service Workshops, Continuing Educationand courses for transfer to other Institutions.Upper level courses for Graduate credit in FRENCH,GERMAN, ITALIAN, RUSSIAN and SPANISH. Sixweeks beginning 26 June. 3 credits per course.Other courses offer intensive instruction in FRENCH,GERMAN, ITALIAN and SPANISH. Seven weeks begin¬ning 23 June. 3 credits per course.Special courses in CHINESE, JAPANESE and RUS¬SIAN. Nine weeks beginning 16 June. 5 credits per course.SCHOOLS ABROADGRADUATE programs during academic year in FRANCE,GERMANY, ITALY, the SOVIET UNION and SPAINJUNIOR YEAR programs in FLORENCE, PARIS,MADRID, MAINZ and MOSCOW. The program in theSOVIET UNION is for one semester only.I am interested in Middlebury’s programs. Please senda catalog and application.My particular interestName.State. -Zip-Return to: Sunderland Language CenterMiddlebury College, Middlebury VT 057532 — The Chicago Maroon — Friday, February 2, 1979Number of econ concentrators up over 300%from 1The economics department is traditional¬ly ranked among the top three in the coun¬try, along with those of Harvard Universityand the Massachusetts Institute ofTechnology, according to Mishkin. “Theprofessors here are among the top in theirfield," he said. “We don’t want to hire many(new faculty members) quickly” and riskdiluting the quality of the department.“The important thing in the appointmentsprocess is to maintain standards,”Harberger said. The current situation is “aspecial stimulus to seek in the market,” hesaid, and “if we find people of sufficientlyhigh standards, we will try to appointthem.”“I would hope that we wouldn’t have anyproblem getting the appointments approv¬ed," Harberger said.Two junior faculty members were hiredlast year and, according to Mishkin, “we’rein the market again this year, for bothsenior and junior faculty.”Harberger said, “I wouldn’t want to statenumerical goals because that is a wrong vi¬sion of what the department is to do it thatway. We’re not a primary school where youcount desks and figure out how manyteachers you need.” There is some flexibility within thedepartment however, Harberger said, and“we’re now on the side of being overwork¬ed.”There is some flexibility within the de¬partment however, Harberger said, and“we’re now on the side of being over¬worked.” He said he has tried to get moresenior faculty members involved in teach¬ing in the College and is generally satisfiedwith the response.“I would like in some abstract sense tohave more senior faculty teaching at the un¬dergraduate level but when you come downto making out schedules and see what would y ,have to be given up (particularly in terms of UlCSt rCtlirHCClgraduate-level courses offered) it’s not aheasy task,” Harberger said.The rapid increase in the number of un¬dergraduate economics concentratorsbegan about ten years ago, according to veiled off, we’ve continued to go up.”Harberger said the trend is the result of“several things happening at one time,” in¬cluding the end of the Vietnam War, the endof the draft, and the influx of “Baby Boom”babies into the job market. “And I wouldsay that a certain kind of prosperity came toan end in this decade,” Harberger said.“In different ways these forces haveworked to reduce total demand for college-trained people to reduce college enrollment,and to increase the urge to get somethingpractical,” Harberger said. Mishkin said many undergraduate eco¬nomics concentrators are interested in at¬tending business school or law school aftergraduation though there is “some increasedinterest in economics also.” The Collegeeconomics program has continued to in¬crease in size. Mishkin said, in part becausethe Graduate School of Business offers noundergraduate courses and because there isno pre-law program that would absorb someundergraduates."God knows when its going to level off.”Mishkin said.Kaplan speaks on S.AfricaHarberger. When he was a visiting profes¬sor at Harvard in 1971-72, they “were talk¬ing about a 50 percent increase and when Ichecked here the situation was about thesame,” he said.The number of undergraduates enrolled ineconomics programs has increased at al¬most every college, according to Mishkin.But “while everybody else went up then le- “South Africa was a great surprise,”Morton Kaplan said Tuesday night. “I ex¬pected polarization between revolu¬tionaries and reactionaries, but I foundthat almost everyone of political im¬portance agreed on two points: that thepresent system is untenable, and that theWestminster system ( one man, one vote’)is impossible.”Campus film groups to discuss datesBy Chris IsidoreA new system of assigning weekend datesto campus film groups will allow for thescreening of a wider selection of films dur¬ing weekends.The new system, which will be put into ef¬fect at a meeting this Monday, allows twodifferent groups to show films on each of thetwenty weekend dates. The DocumentaryFilm Group (Doc), NAM Films, the Inter¬house Council, and Law School Films willeach be allocated one weekend date forevery three weekday showings they spon¬sored last quarter. They will then take turnschoosing dates.The order of selection will probably bedetermined by lottery. There will be tworounds, with the reverse order being used inthe second round. A group may monopolize a date by signingup for both slots. But unless a group usestwo first round picks on one weekend date,there is a good chance that a choice of filmswill be offered on weekend nights moreoften than has been true in the past.If the new system works out, a “film con¬vention" will be held each Spring quarter todivide up dates for the following year.This change in procedure resulted fromcomplaints by some of the smaller filmgroups that DOC. the largest campus group,dominated the weekend schedule, par¬ticularly the lucrative dates early in eachquarter.“I think that it (the new system) is goodfor the campus for there will be more filmsto go to on weekdends early in the quarter,”said an LSF member. But he added. “Idoesn’t necessarily mean that they (Doc) are going to show a film of general campusappeal just because they have a secondweek, Saturday, no-conflict date.”Matt Nayden. president of Doc. said thenew system will not hurt Doc too muchbecause “relations between the groups areclose enough to avoid problems.' But he isconcerned about the method of determiningthe order of selection. “I would like to seethe element of chance removed.” he said.The new system is the work of a faculty-student committee formed last Fall at therequest of Dean of Students Charles O’Con¬nell. The committee comprises three facultymembers, two students, a representativefrom the University Dean of Students office,and the Director of Student Activities.The committee was created to evaluatefilm programming and facility use and tomake appropriate recommendations. It willnot dissolve upon completion of its firstreport but will meet a least once a year, pro¬bably just before the spring film meeting. Kaplan, professor of political science atthe University and internationally-recognized expert on international rela¬tions, recently returned from a five-daytrip to South Africa. His Tuesday lecture atWoodward Court was entitled “Moralityand Foreign Policy," but the question andanswer period during which he discussedSouth Africa lasted longer than the talk.“Every black leader I spoke to is oppos¬ed to disinvestment and the arms em¬bargo.” said Kaplan. They oppose the em¬bargo. he said, because it encouragesSouth Africa to begin building its ownweapons. Because arms production is acapital-intensive industry, it draws moneyfrom more labor-intensive industries andresults in a drop in the standard of living ofblacks, he said."Pressure from the United States (tochange the South African regime) is goodif it is even-handed.” said Kaplan. ButPresident Carter's South Africa policy is“absurd and counterproductive.” ac¬cording to Kaplan.Kaplan said he believes violence wasnecessary for the Civil Rights movementin the United States to be effective. But hecontinued, “Violence in South Africawould be not more than two steps awayfrom holocaust.” Pressure should be usedin place of violence, he said.Continuing his criticism of Carter.Kaplan said Carter’s treatment of theRepublic of China is “one of the most im¬moral acts ’ in foreign policy in tne recentpast.— Abbe FletmanBlue Gargoyle to providetutors for local schoolCampus film groups battle it out Monday. photo by T. BakerFOTA loses subsidyfrom 1FOTA has verbal agreements with twoperwmers, comedian David Steinberg andviolinist Daniel Heifetz, amounting to $8000.Legally, the group can back out of the com¬mitments. But because verbal agreementsgenerally are considered binding, extrac¬ting FOTA from the commitments will beembarrassing, said Conley.During a FOTA meeting Wednesdaynight, the group cut back the budget by$5,000 without radically affecting the qualityof the program, said one FOTA member.The group probably will come up with an ad¬ditional $5,000 from fund-raising efforts, andwill receive funds from the Student Govern¬ment Finance Committee. The Finance Committee probably will meet with FOTAwithin two weeks.Watson said she is confident FOTA will beable to sign the Steinberg and Heifetz con¬tracts.Limited weekendThe Alumni Association will sponsor aless lavish Alumni Weekend this year, dueto budget constraints. The Association hadoriginally planned to expand the reunion,generally scheduled when FOTA is in pro¬gress. to a full week of events.But said Kountz, “We can’t afford whatwe’ve done in the past. The reunion is a veryexpensive event.”Kountz said that although the Associationis not able to offer money to FOTA. it willdonate staff hours and will do mailings forFOTA. By Jacob LevineA program to provide short-term tutoringservices for Kozminsky Elementary Schoolstudents is being organized by the BlueGargoyle Volunteer Bureau. An organiza¬tional meeting will be held Monday,February- 12 at 8 pm at the Blue Gargoylefor People interested in becoming tutors,and will be followed by three trainingworkshops.The program is designed to provide atutoring pool, made up of Universitystudents, for students at Kozminsky to drawon, according to Andy Carter, head of theprogram and director of the BlueGargoyle’s Volunteer Bureau. Carter alsosees the program as a chance for Universitystudents to become involved in the HydePark-Kenwood community throughvolunteer work.Carter has developed the series of threeworkshops to train volunteers Two of theworkshops will emphasize academic train¬ing,. the first, focusing on improving mathskills, will be led by Max Bell, an educationprofessor, and the second concentrating onreading skills. The final session will bedevoted to the development of “positive,one-to-one communication and involvementbetween tutor and tutee.”A tutoring coordinator will be available atKozminsky twice a week for teachers andstudents to arrange tutoring services. The coordinator will find an appropriate tutorand arrange meetings between the tutor andthe student. Once a tutor has been ap¬pointed. a short term contract will be set up.establishing specific objectives to be ac¬complished within a few meetings. If bothwish to continue after the intial contract, anew contract can be made.According to Carter. Kozminsky has aspecial need for this type of program.Although achievement test scores at Koz¬minsky are just slightly below the citywideaverage, the difference between Kozminskyand the two closest neighboring elementary-schools. Bret Harte and Ray, is muchgreater. The student population at Koz¬minsky is 99.8 percent black and 30 percentof the families sending their children toschool there have incomes below the pover-tv level. _The Blue Gargoyle became familiar withKozminsky when the Gargoyle ran a Direc¬tion Sports program for Kozminsky studentslast summer. The school's principal gavehis support for the tutoring program follow¬ing the success of the sports program.Carter said he hopes to have 10 to 20University students committed to the pro¬ject after the workshops and have the pro¬gram in full swing by the end of the Winterquarter. Anyone interested in working as atutor but unable to attend the organizationalmeeting can call Andy Carter at the BlueGargoyle. 955-4108.The Chicago Maroon — Friday, February 2, 1979 — 3EditorialWhy not the best?For the University, February is the crudestmonth. It is at the beginning of this month thatUniversity trustees vote on the budget for thenext fiscal year.Budgetary decisions have become more omi¬nous in the past few years. Like all private un¬iversities, the University has come to a periodwhen fiscal austerity is a necessity. Fortunately,the University is in a better position than most.The quality of research here continues to attractgovernment and foundation dollars; the Univer¬sity has one of the largest endowments of anyprivate university; and, for the last three years,it has operated on a balanced budget.While the present is manageable, the future isquestionable. Much has been made of PresidentGray’s pronouncement last year that universi¬ties must “do more with less.” Gray’s solution istoo simplistic; it implies there are no choices tobe made.Given the recent illustration of the Alumni As¬sociation and the Development Office’s misman¬agement of funds, we must make clear that con¬servation and efficient use of resources arepossible. But these alternatives have limits. Incontrast, there seems no limit to inflation.With costs rising and enrollments declining,this university, and universities in general, can¬not continue to do everything they have done inthe past without somewhere sacrificing quality.Making choices, however, is difficult, tiresome,and dangerous. An evaluation of what the Uni¬versity should concentrate on in the comingyears carries with it the threat that the evalua¬tors may eliminate or cripple a significant de¬partment or committee.The University used to be a leader in the aca¬demic world. In recent years, however, it hasbeen accused of avoiding risks. The time for anevaluation of the aims and possibilities of highereducation in the 1980’s has arrived. Only if theUniversity can carry off such an evaluation in¬telligently will it continue in its tradition of lead¬ership and excellence. If the risks are not taken,the University will survive, but it will survive inmediocrity.A manageabletuition hikeReports have been circulating around campusthat the unavoidable tuition hike will not be morethan three percent greater than the rate of infla¬tion, nor three percent more than PresidentCarter’s inflation guidelines.For the past two years, students have had tobear the burden of tuition hikes greater than thecost of living rise. While we realize that tuitiondoes not begin to cover the University’s costs,University officials must be careful that, by re¬peatedly raising tuition by large increments,they do not sacrifice a diverse student body bypreventing middle-income students from attend¬ing.We urge trustees, who meet February 8 to con¬sider the budget, to veto any tuition hike greaterthan seven percent, the guideline set by Carter. Letters to the EditorBaffledTo the Editor:In response to Mr. Melchers’ letterin the Maroon of January 26th. may Isay “as a private citizen” that Ithink Mr. Melcher protests toomuch.I am sure than any “intelligent”person is convinced by noA" that Mr.Melchers’ challenge to AldermanRoss Lathrops' candidacy for Aider-man was non-politicallv motivated. Iam sure that Fred Melcher believesit. Frank Schwerin believes it. andLarry Bloom believes it. and evenFred Melcher’s mother mightbelieve it. I might possibly believe it... but then I also believe that ele¬phants fly.Unfortunately, Mr. Melcher. theBoard of Election Commissionersdidn’t buy your “I am doing this as aprivate citizen, and have no connec¬tion with any other candidate” shtik.And please. Mr. Melcher, don’tunderestimate the intelligence of thevoters in Hyde Park — Kenwood orany other part of the 5th Ward.Have no fear Mr. Melcher, no“other” candidate will be blamedfor your actions, and you will beblamed and praised accordingly. Aswe say in PR circles “You eitherdazzle ’em with your brilliance oryou baffle ’em with your bullshit.”So far, you’ve done a super job ofbaffling us. Keep up the good work.Milton FurgatchTalk is not cheapTo the Editor.On November 22nd the StudentGovernment Finance Committeeruled that the Student GovernmentActivities Committee cannot allo¬cate money to invite guest speakersto campus without the Finance Com¬mittee’s approval The FinanceCommittee further ruled that Activi¬ties Committee money should bespent primarily on social events andthat, in general, political or religiousspeakers will not be funded.Already the Finance Committeewill not allocate money for the ongo¬ing activities of political or religiousorganizations. With this bureaucra¬tic decision, aimed particularly atthe campus left, the Finance Com¬mittee has again attacked the demo¬cratic right of student groups tosponsor events on campus. TheSpartacus Youth League has al¬ready been denied funds, previouslyallocated by the Activities Commit¬tee, because of the new ruling.The undersigned organizationsprotest the new decision and de¬mand that it be rescinded.Spartacus Youth leagueNew American MovementWomen’s UnionYoung Socialist AllianceRevolutionary Student BrigadeAction Committee on South AfricaKaplan andforeign policyTo the Editor,I wish to express a few concernsregarding Mr. Morton A. Kaplan,the Chairman of the Committee onInternational Relations, and, in par¬ticular, his recent Woodward Lec¬ture.It appears easy to ascertain, givenMr. Kaplan, why the department is not highly respected and why itsgraduates are hard pressed to findpositions within the upper echelonsof the foreign policy community. Forone. that community is composedprimarily of people possessing adrastically different demeanor, at¬titude and behavior than can bewitnessed in Mr. Kaplan or hisstudents. The latter are eccentricand disquieting but reflect theirdepartment head who is quiteremoved from any degree of person-nal respectability. Secondly, Mr.Kaplan’s ideas are so irresponsibleand distorted, that the utter con¬tempt held by leaders in this field forthe department and its students isnot surprising. Examples of Mr.Kaplan’s ideas include his thoughtthat Kissinger wras a communistdouble agent in 1946. Further, Mr.Kaplan believes that neither Viet¬nam nor China would have been“lost” if the U.S. w'ould have com¬mitted more “money” to thesefaltering “democratic” regimes.These issues, however, are trivialcompared to Mr Kaplan’s super¬ficial and off targeted discussion of‘ Morality and Foreign Policy”, thetopic of his lecture. Mr. Kaplan findsit difficult to understand that themorality question centers on the pro¬blems of disregarding and con¬tradicting a country’s value systemduring the formulation of its foreignpolicy. Instead, he concentrates ondescribing immorality in terms ofan incomplete and peripheral con¬cept called “lying” during theimplementation stage of foreignpolicy. The real question of moralityin foreign policy lies in the domesticeffects of a contradicting valuestructure not in some thoughtless“lying” concept as expounded byMr. Kaplan. Succinctly, it is not sur¬prising to discern that a lack of in¬tellectual esteem is directed towardthe halls of Pick. They simply don’tdeserve any.A possible change to revitalize thedepartment consists of implemen¬ting a more progressive line ofthought consistent with a rationalextension of the relatively deter¬ministic orientation of this Universi¬ty’s history department.Charles E. WoodsNo monkeybusiness!To the Editor,The Chicago Tribune. Sunday,January 21, featured an article rais¬ing questions about research ex¬periments using animals. Whilerecognizing the value and necessityof some of these research methods. I also realize that in some cases thesuffering and deaths they entail mayhave produced negligible results andshould be discontinued or alter¬natives found. In 1978, the govern¬ment of India began a ban on furtherexport of rhesus monkeys to theUnited States, citing both the dwin¬dling native population of these an¬imals and also violations of agree¬ments concerning the use of thesesubjects. Among those named by theInternational Primate ProtectionLeague, called by the Tribune “afour-year-old w atchdog group whosemembers include many scientistsand especially primatologists (JaneGoodall, for one),” is The Universityof Chicago, which purportedly teststhese monkeys by “shooting them inthe face with high-powered rifles.” Iwould be interested in any verifica¬tion or denial of this story by appro-. priate departments within the Uni¬versity, as w;ell as any justificationfor such tests.An Organ GrinderBill MeyerFenced outTo the Editor,The Women's Fencing Club of theUniversity of Chicago is now7 in itssecond year of varsity competition,though not of varsity status,alongside the Men’s Varsity Team.We were therefore surprised to seeour record omitted from your articleconcerning a meet both the womenand men fenced January 13. ThatSaturday was the first time" thewomen have taken a meet, breakingout of the “close but no cigar” pat¬tern that characterized our fencinglast year. We practice with the men,and wre warmed up with them thatday as they prepared to fence theUniversity of Illinois, who had notbrought a women’s team, and againwhen they prepared to face North¬western. Even though we did notgain the fencing strip until late in themeet, we defeated MATC five tofour, sophomore Candlin Dobbs win¬ning all three of her bouts. We alsolost-closely-to Northwestern (3-6),probably the best women's team inthe area. Fencing were CaptainMary Samuels, Candlin Dobbs, andSandra Snook. We will also betraveling with the men’s team to Cir¬cle Campus for the next inter¬collegiate meet.The Women’s Fencing ClubWhat’s the use?To the Editor:What the hell is going on? Vainly Ihave tried to reach some sort of con¬clusion about everything but nothingseems to work! Finally I decided,“What’s the use?” and now I’m notfighting it anymore. Stay in thegroove,M. DicksonThe Maroon is the semi-weeklystudent newspaper of the Universi¬ty of Chicago. We publish on Tues¬days and Fridays. Our editorialand business offices are located onthe third floor of Ida Noves Hall.1212 E. 59th St., Chicago. Ill. 60637,Phone: 753-3263.We encourage letters to the Edi¬tor. They must be typed and triple¬spaced. All letters become proper¬ty of The Maroon.4 — The Chicago Maroon — Friday, February 2, 1979Viewpoint102 great ideas- no more, no lessBy John LeonardJohn Leonard is now a writer for The New York Times.The following article appeared in the National Review,March 26, 1963. It is reprinted with permission of the Re¬view, 150 E. 35th St., New York, New York, 10016. Mor¬timer Adler will deliver the Woodward Court lecture Sun¬day night at 8:30 pm.Mr. Nelson Algren, one of the finest living Americanwriters, once referred to Mortimer J. Adler as theLawrence Welk of the philosophy trade. Now that is a pro¬found remark, a many-faceted remark, one that I havestudied as I have studied maestro Welk’s bubble machine,over the years, with a good deal of awe. It is the sort ofremark to treasure, too, for the day may come when it canbe used to silence an opponent. That day came for me justa few weeks ago, when two young men in pinstripe suitsand shoulder pads, carrying briefcases, arrived at mydoor and told me they were engaged in a research projectfor the University of Chicago, and could I help them; Iinvited them in. They made themselves comfortable, andremarked on the furniture, and laughed pleasantly as ifthey were shuffling a deck of cards, and finally one askedme, with just a touch of condescension: “Have you everheard of Mortimer J. Adler?” “Why, yes,” I replied.“He's the Lawrence Welk of the philosophy trade.” Well,now, I can’t expect everyone to take quite as much plea¬sure in this anecdote as I do, and I wish I could finish it offwith melodramatic flourish — such as: they whipped outtheir pocket Syntopicons and — zap! I was sterile. Forthat’s what they were selling: the fabulous Syntopicon,and Mortimer J. Adler’s Great Books program, and theidea that you, too, can have the world’s wisdom triple¬cross-indexed and available only a whim away, for eachand every occasion. There is something insidious aboutthe whole idea, and it becomes more insidious the more Ithink about it, and The Great Ideas Today, edited by Mr.Adler and Dr. Robert M. Hutchins, is an aspect of that ex¬panding insidiousness.I should begin with a description of the book. It weighsthree pounds, and it is subtitled: “A dynamic new workwhich focuses the wisdom of the past upon the problems oftoday.” According to this book, there are exactly 102Great Ideas, no more, no less. We are never told just howthe pincer-like movement of the minds of Adler and Hut¬chins arrived at that curiously frightening number; it re¬minds me of the radio advertisements for a beer brewedin Southern California, which went through exactly asmany trial runs before being perfected. The 102 GreatIdeas are conveniently listed for us, and we are advised ina brief introduction that if we require additional informa¬tion or elaboration, at the end of each chapter will be list¬ings which detail pertinent passages to be found in theGreat Books, and the reference number in the Syntopiconwhich appertains. This is not to say that The Great IdeasToday is just a gimmick to push Adler's culture-by-pillsGreat Books program; or if it is such a gimmick, it comeshighly priced, nine dollars worth.Now I have no great objection to the contents of TheGreat Ideas Today, despite the fact that it is a monumen¬tal slab of pretentiousness. There is an interesting debatebetween Justice William O. Douglas and PeregrineWorsthorne on whether democracy is best suited for thenew nations. Einstein’s theory of relativity, John Dewey’sEducation and Experience, and inexplicably Moliere’splay, The School for Wives, are included in the text. Hut¬chins and Adler review the year in the light of the greatideas of the past; there are three essays by Arnold Toyn¬bee; and there are contributions by Mark Van Doren,Walter Sullivan, Edward A. Shils, Gilbert Cant andGeorge B. Grant. All this is at least as interesting as thecurrent issue of Harper’s magazine, and only sixteentimes as expensive. If I have an objection to this particu¬lar book, it is to the tone and the intention. Let me quotefrom a letter to reviewers which accompanied the book.The letter is signed by Mortimer J. Adler, and it beginsthus: “Dear reviewer: Many thoughful people have felt aneed for a book that would help relate the great thinkingand writing of the past to today’s problems. Through mylong association with the Great Books movement, I havebeen particularly conscious of the need for such a book.Readers have constantly expressed a desire for a workthat would bridge the gap between the past and the pres¬ent. To fill this need, Mr. Hutchins and I have collaboratedagain as editors to produce The Great Ideas Today. Wehope you tfill find it a significant contribution.” I intrudehere merely to note Mr. Adler’s phraseology. He says “tofill this need”; not to attempt to fill this need, not to makea noble stab at it, but to fill it. A little later on in the letter,in describing the debate on the new nations, Mr. Adlerwrites: “Here two experts take one of the 102 basic ideasand translate it into terms of today. The idea is democra¬cy, the place is Africa, the time is now. The result is a fastmoving debate that throws light on one of the most vexa¬tious problems of our time.” Mr. Adler’s letter to review¬ers concludes with a quotation from the indefatigable Clif¬ton Fadiman, who says of Mr. Adler’s book: “Here is anabsolutely new, gleaming educational tool. It does not sup¬plement the news; but. by viewing our current life against the rich, fascinating backdrop of 2,500 years of humanthough and experience, it makes the news — I think for thefirst time — intelligible.”Literary trompe-l’oeilAll right. I’m prepared to admit that some dour hack ina publicity office somewhere in the grey downtown wrotethis letter for Mr. Adler, and he signed it without readingit, and it might now embarrass him. This sort of thing goeson all the time, and, after all, Mr. Adler is a busy man. Hewrites books like How to Read a Book, and he is requiredto pose for photographs which always appear in maga¬zines accompanying advertisements for Syntopicon. WhatI would like to know is what on earth they think they’redoing at the University of Chicago. Why does the Encyclo¬pedia Britannica publish such a compendium, garlandedabout as it is with all these putrefying flowers of self-praise? And just what sort of soaring arrogance inspiresMr. Adler and Mr. Hutchins to play hero-savants bringingthe culture-serum across the wastes to the sick idiots andstarving minds of our land? One hundred and two GreatBasic Ideas! This is a con job, and it is no less offensive forhaving been perpetrated by the Lawrence Welk of the phi¬losophy trade and a middle-aged enfant terrible.photo by J. HardyMortimer Alder, who will deliver Sunday night’s Wood¬ward Court lecture.Americans are the last maimed children of the Enlight¬enment, and they still believe in the last great promise ofthose reasonable philosophes: they believe in education.Pick up the latest issue of any detective or girlie maga¬zine, and read the ads in the back of the book. They haveembarrassing pathos about them: they each hold out thepromise of a better life, an easier life, a more interestinglife, and most of them offer it through education. Learnhow to hypnotize for $1.98; take high school courses athome; play the piano; repair radios in your spare time:train yourself in the wily arts of hotel-motel management;acquire power through the secrets of the ancients; be aprivate detective, analyze handwriting, write songs, up¬holster your own home, grow cultured pearls, assemblepump lamps; learn to draw, to butcher meat, accoun¬tancy, jujitsu, spray painting, public speaking, piano tun¬ing, roof framing, bartending, yoga and incredible sexualprowess. I have taken all these examples from one issue ofone detective magazine: it is keys these people toss out intheir advertisements, keys to all the locked doors in smalllives. And Americans are childlike, and they believe inbettering themselves, and they clip the coupons and theysend in for the informational booklet and they pay moneyto learn to be better, more interesting, more powerful,more talented than they are. There is a hard gem insidethem that refuses to believe they can’t make it, and theirbrain like a fist closes over that gem, and they have faith.It is the same faith of faceless people who consign wholepaychecks to the coffers of hucksters in traveling reviv¬alist camps; it is the same faith, also, that moves parentsto leave the city in order that their children might grow upwhere there is air, and grow up into better people. At itslowest level, it is.terrible and sad; but it is also capable ofproud gestures. That is why when little men hiding behinddetective magazines take advantage of it, they dealcheaply with more than themselves; they deal with mate¬rials they have no right to touch, materials which involvesuch things as innocence, and deserve the same sort ofprotection. Instant wisdomAll right, again. What does this have to do with TheGreat Ideas Today ? Well, I think you can see where I'mleading. The same basic approach is involved. The sametrading on American innocence. The same cheap cashing-in on desperate dreams of being cultured and wise, ofmoving through life with the dreamlike ease with whichwitty young men and glamorous young women movethrough the pages of contemporary novels. Mortimer J.Adler has said you can’t be cultured on thirty minutes aday dieting, but in the promotional material for his GreatBooks program, and in this new work, he has implied thatyou can. and must. Every man can grasp the wisdom ofthe ages. There are only 102 Basic Ideas; memorize them;underline them in your newspapers and magazines when they crop up in whatever peculiar forms; chant them toyour friends as if they were a German vocabulary lessonand you were to be tested tomorrow. And so the youngmen in padded shoulders bring Syntopicons door-to-doorin big brown briefcases, and peddle packages of wisdomas if they were brushes or amazing new dentifrices orLuce magazines. You, too, can quote Machiavelli. Andwith Syntopicon, why, whenever an idea bursts full blownfrom someone’s bloody brow into your living room, youcan look it up in the cross-reference, and within minutespluck up the pertinent remarks from the gutted masterson the subject. I find this objectionable; I find it cheap;and I think it’s-only the beginning.Several months ago I made some remarks on paper¬back books and what was involved in merchandising cul¬ture, and many people thought I was attacking an in¬dustry that brought books to people who otherwisecouldn’t afford their own library. That wasn’t what Imeant. What I meant was that there is a growing tendencyto think that ideas are just like any other consumer prod¬uct, like frozen foods and bonbons and garden furnitureand a house with a view and a fallout shelter; that thegrowth of a great middlebrow class which looks upon liter¬ature and all the other cultural artifacts as something re¬ally rather ordinary, something comfortable, somethingto accompany the contemplative mood — that this growthhas brought with it an attitude that reduces art and litera¬ture to mere appurtenances. They are easily obtainableluxuries now, but they have nothing to do with the busi¬ness of life, and more and more we come to say about thenovel, for instance, that it doesn't have anything to do withBerlin, or Katanga, or Madison Avenue, or Little Rock, orthe Irish Mafia, or why improbable men like GeorgeChristopher are cast up out of the great maw of democra¬cy to misgovern modern American cities. Culture is allright for cocktail parties, for after-dinner conversation:just so long as it’s spayed, teethed, and house-broken. Ithas become so available it has nothing to do with our reallives. We read the right books in the same way we wearthe right clothes: because we have a right to do so. andbecause if we didn’t, we’d be conspicuous. Now this isn’tall the fault of Mortimer J. Adler by any means, althoughhe trades on it and exploits it. It is partially the fault of thewhole middlebrow set that presides over American cultur¬al manners, and sends down its civilized dicta via the NewYork Times or the Book-of-the-Month Club or whateverother oracle it may choose. Can anyone, for instance, everrecall a book that Clifton Fadiman didn 't like? These tiredtoothless tigers of culture prowl around their studies, andthere is about them the stink of after-dinner cigars, thestickiness of Cointreau, the smell of morocco-bound booksand green leather chairs and elbow patches on tweedreading jackets. Our domesticated literary criticism nolonger even bothers to talk about the content of books. In¬stead. it discourses on style; it expatiates on derivation; itsmokes a book in much the same way as it smokes a pipe— incidentally. And so our authors and critics alike, inorder to convince themselves that they have reached thepublic, that they really matter, are required to burlesquewhatever talent they might possess by becoming publicperformers. They must quip wittily on television panels;they must appear in the gossip columns; they must writearticles for Esquire. By becoming public personalitiesthey too may someday be elevated into American cultureheroes, like Carl Sandburg and Gary Cooper. And one cul¬ture hero always scratches another culture hero's back.Why is this? It is because their real work is never takenseriously, and they know it. and ever since Henry Jamesbothered to apologize for being a novelist by trying to de¬fend it, his insecure fellows have been on the defensive.Look at Salvador Dali; at the late Robert Frost!Today everybody is better read, every body goes to thetheater, everybody talks about Plato and existentialismand Lolita, but for all the noise, there abides a strangesilence. Because you can't spend all that time being a pub¬lic personality, revered by crowds and awarded plaquesand interviewed on quiz shows, and at the same time geton with your work, and do it decently. There is silence,and there is vacuum, and into the vacuum ease the Mor¬timer Adlers, each with his owti Syntopicon. each withiron dollar-signs tacked to the soles of his shoes, each pre¬pared to walk across the snow, to burn culture on thebland brow of America, and make a profit at it. If we werepagans, we would bring baskets of ears to the Universityof Chicago. But we aren’t. We want to believe. And ours isthat same pathos of the little old ladies sitting beside theirradio sets, combing their long grey thoughts. The room isstuffy, and the sweet heat curls languorously about us.and words intrude, and voices come to speak to us of se¬cret pleasures, the sort that used to titillate the kings; ofthe caramel of sex; of the young lyric poet w ho lies wound¬ed with words bleeding out of his side; of the incense ofsentimental music; of the dissolution of time in an exactand endless punctuation; of wisdom Mothers all. the littleold ladies, and the world drops, sticky with mucus, fromour loins, and we are unable to stop the blood, and the rushof life stains our sofas, our carpets, our lives. There are102 Great Ideas. Watch your step; you wouldn't want tosquash one of them.The Chicago Maroon — Friday, February 2, 1979 — 5!j • i iHEAR AGAIN STEREOSells guaranteed name brand usedand demo stereo components at 40%to 70% off regular prices.JANUARY CLEARANCE SALE NOW INPROGRESS, SPECIALS SUCH ASFISHER 4060 $149.00DUAL 1214 55.00PIONEER CT 6161 . 139.00KENWOOD KR 6400 * 249.00GARRARD GT 10 Demo 68.00ONKYO 7022 199.00SAE MK 30 ' 99.00DYNACO SC A 35 65.00AR XA 45.00KENWOOD KT 5300 Demo 95.00Complete systems from $75 to $750.60 day trade back privilege. Namebrand components for limited bud¬gets.HEAR AGAIN STEREO7002 N. California 338-7737For further information contact:Wagner College Study ProgramWagner CollegeStaten Island, New York 10301NameAddressSta te ZijpTelephone:7ftSdmHSKIING YOUP SCHEDULE theChicagoLiterary ReviewThe Winter, 1979 issue of TheChicago Literary Review will bedevoted to the photographic essay.Along with general articles andreviews, the issue will featureoriginal photographic essays, eithersubmitted or done on assignment.Photogranhers and essayists can bepaired, so there is no need to beskilled in Doth areas. Samples ofprevious work would be helpful. In¬terested photographers, essayists,and reviewers, in ana outside of theUniversity, are encouraged to contactthe Literary Review editor at theMaroon Office, 753-3265. Pleaseleave your name and phone number.LOOKING FOR SOMETHING BETTER?Wo will have several apartmet/s available forLea>e in the verv near future.2 to 3V2 room 1 bedroom apts.Starting at $225.Seeuritv and one-vear Lease required,e haw* a lot to offer. 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By Appointment OnlyRE 4-2111oTHE STUDENTCO-OPVISIT US DURINGOUR SPECIALFOLK FESTIVALHOURS: 7-10:30 P.M.Friday and Saturday,Feb. 2 and 3.Hundreds of Folk, Bluesand Jazz Recordsat our usualLow, Low Prices.DOWNSTAIRS ATREYNOLDS CLUB6 — The Chicago Maroon — Friday, February 2, 1979'I 1/The Grey City JournalFitzgerald wrote Zelda in 1933: “It’s odd that my oldtalent for the short story vanished. It was partlythat times changed, editors changed, but part of itwas tied up with you and me—the happy ending. Imust have had a powerful imagination to project it sofar and so often into the past. ” Terrorist Comedy p. 11McDavid on American English p. 9Ford, Archive, and Cartoons pp. 12-13“It grows increasingly harder to write becausethere is much less weather than when I was a boy,and practically no men and women at all. ”F. Scott Fitzgerald’s last <orchid-colored dreams’The Price Was HighThe Last Uncollected Stories of F. ScottFitzgeraldHarcourt, Brace and Jovanovich, 1979874 pages. $19.95By Melinda CoreyThe Price was High contains many ofthe successful magazine stories thatFitzgerald once discussed as “passablyamusing...a bit ota of date...but doubt¬less the so«*t that would have whiledaway a dreary half-hour in a dental of¬fice.’’Fitzgerald did not like these stories:the mass magazine format restrictedhis style, and writing these more thanfifty stories in over twenty years kepthim from his novel writing. Yet it waswith these stories that Fitzgerald madehis living.At his peak, during his marriage withthe Saturday Evening Post in the 1920’sand early 1930’s, Fitzgerald earned thetop price of $4000 a story —money thatwas sorely needed to finance his extra¬vagant way of life, and the hospitalstays (his wife Zelda was in and out ofsanatariums for several years, and Fitz¬gerald was frequently hospitalized foralcoholism) that were wrought by ex¬travagance.Although Fitzgerald wrote The GreatGatsby and Tender is the Night duringhis top magazine days, he never savedenough money so that he did not haveto depend on short stories for steadyincome. After his nervous breakdown,when he was writing what Hemingway!• * V, ^ J \ W t/. V*** A V called the “exhibitionistic,’’ “Crack-Up"stories for Esquire in 1936-37, for only$250 each, Fitzgerald still neededmoney to finance the writing of TheLast Tycoon, and to repay hefty debtsto his personal editor, Harold Ober.The editor of The Price Was High.Matthew Bruccoli, says that while “itwould have been preferable for Fitz¬gerald to have written anothernovel...he never really had that op¬tion." What we have instead are themagazine stories, usually written outof financial desperation, but alwayswith competence, and as Fitzgeraldsaid, “with an emotion—one that’s closeto me and that I can understand."In the 1920’s, in almost all ot hisstories, that emotion was representedin youth. “After all," he said, “lifehasn't much to offer except youth",since it gives us that easy confidencethat “there is plenty of time" to pursueour dreams. In the early stories, thecharacters pursue the dream of younglove. Tough but vulnerable “prom trot¬ters", (like Myra in Myra Meets HisFamily) and Southern Gentlemen (likeJim Powell in Dice, Brass Knuckles andGuitar fall in love with someone under“an Indian summer sun", lose them,and by a twist of plot, reconcile andride “out of sight, leaving only a faintbrown mist to show that they hadpassed."Since so many of these early stories(Myra Meets His Family, The Unspeak¬able Egg, Not in the GuidebookI de¬pend on an obvious twist of plot we have to look harder for that “littledrop of something" that Fitzgerald ex¬tracted from himself to' make thestories his own, and which came tocharacterize his best stories. Even in apredictable story like Diamond Deckand the First Law of Women, we seehow the memory of World War I issomething “so intense or dramatic"that will “never happen to our genera¬tion again." In the later stories, when“our generation" becomes the “pastgeneration", World War I will be amarker, like the ghost of a “rareblonde" first love, that characters likean aging Tom Squires in “At Your Age"use to recapture the “forgotten, yet fa¬miliar dreams and yearnings."Young love ceased to be a theme inthe early 1930’s, when Fitzgerald fol¬lowed his wife Zelda from France toSwitzerland to the United States on herhospital stays. While Zelda was recu¬perating in Switzerland from one of herbreakdowns, Fitzgerald financed thestay with stories uncharacteristically,but perhaps appropriately about unat¬tractive people who lived in “a countrywhere few things begin, but manythings end."Characters' memories became morepainful. Instead of remembering thelanguishing blonde from “That Land ofBlondes." they were haunted by "theunassimilable, indigestible memory ofa girl."During this time, Fitzgerald was de¬clining as a money-making writer. Onlyreluctantly did the Post buy the Swit¬ zerland stories; the editors felt thestories had “failed to make the readercare about any one of the characters."Post editors requested stories set inAmerica about the way Americanscoped with the Depression. Fitzgeraldcompiled, but thought that most ofthese stories — Bet of three and Four, AChange in Class and with their patentendings and far-fetched plots were atleast partial failures. As editor Bruccolipoints out, the required happy endingsmust have seemed incongruous to apublic “who did not always have a nick¬el to by the Post."Despite his waning dependence onmemories of young love, Fitzgerald stillturned to personal experience for hisstory ideas. The couple in his Depres¬sion story, A Change of Class who were“short and inattentive to each other,because the world in which they movedwas new and exciting" may well havebeen Fitzgerald and Zelda in the 1920’s.By this time, however instead of “thesweet darkness" of young love, theirmarriage had brought dissolution andpoor health. Zelda was permanently ahospital patient and Fitzgerald had be¬come an alcoholic.By the mid-1930’s, Fitzgerald felt thathis capacity for writing short storiesabout young love was exhausted. Hewrote Zelda:It’s odd that my old talent forthe short story vanished. It waspartly that times changed, edi-continued on page 9• * iiffSECRETARIES WANTEDAT THEMUSEUM OF SCIENCEAND INDUSTRYYou’ll never be bored again — notwhen you participate in the farranging activities of the Museum’smany functions. Good office skills,excellent typing and language flu¬ency are “musts”. Lots of on the jobbenefits and good pay. Call thepersonnel office for an appointmentfor interview at 684-1414.We are an equal opportunity employer"""Tourt^KSRoTIiSIN THE POORHOUSEBy Isaac SingerDirected by Abbie KatzandSEASCAPEBy Edward AlbeeDirected by Cindy OrnsteinJan. 26.27. 28 and Feb. 2, 3, 48:30 P.M. Sundays at 7:30P.M.Reynolds Club Theatre - 57th & University753-3581HYDE PRRK PIPE RND TOBACCO SHOP1552 E. 53rd - Under IC tracksStudents under 30 get 10% offask for “Big Jim,;• Mon. - Sat. 9 - 8; Sun. 12-5PipesPipe Tobaccos. Imported Cigarettes Cigars.ROCKEFELLER MEMORIAL CHAPEL5850 South Woodlawn AvenueSUNDAY • FEBRUARY 4,197911A.M.UNIVERSITY RELIGIOUS SERVICEBER YARD O. BROWNAssociate Dean of the Chapel“AUTHORITY AND BELIEF”5 P.M.SERVICE OF HOLY EUCHARISTCelebrant: The Rev. Charles D. BrownCo-sponsored by the EpiscopalChurch CouncilGOLD CITY INNgiven * * * *by the MAROONOpen DoilyFrom 11:30 a.m.to 9tf0 p.m.5228 Harper 493-2559(near Warper Court)Eat more for less.(Try our convenient take-out orders.)"A Gold Mine Ot Good Food"Student Discount:10% for table service5% for take homeHyde Pork's Best Cantonese Food S.lllMOd S1MOJ.S& Powell'sjBookstoreew Arrivals:5th Ed. BrittanicaOld Children’sBooksPolish Historyand LiteratureThe Interpreter'sBiblePowell’s Bookstore1501 E. 57th St.955-77809a.m. -11 p.m.Everyday Powell’s BookstoreWarehouse1020 S. Wabash, 8th fl341-07489-5Tue.-Sat.(take 1C to Roosevelt. hiwalk 2blocks)3EB ZHSThe Center forDecision Research ofthe Graduate Schoolof Businesswill hold an open lectureon Tuesday, February 6,1979. The speaker will beRichard Thaler, Associ¬ate Professor of Econ¬omics, Cornell Univer¬sity.TOPIC: An EconomicTheory of Self-ControlTIME: 1:30-3:20PLACE: Rosenwald 405,1101 East 58th StreetSNOW BIRDSpring Break March 24-31After you’ve died during finals week go to heavenlyspring powder skiing at Snowbird, Utah. RT air trans¬portation, transfers, 7 night deluxe condominium lodg¬ing (fireplaces, saunas, queen-sized beds, fully equip¬ped kitchens), 5 days lift tickets for only $390.00. Eat upthe 2900 vertical feet under the aerial trailway and the85” of fresh snow in March. Lift tickets are exchange¬able at Alta and Park City.Deposit is due by next Wednes¬day at the Utah Ralley, 7:30p.m., Ida Noyes.Other Trips This Quarter:Learn to Ski Night Feb 16. (Woodward Court Night)$17.50 members, $21.Gu not -m«T)il>ers. Sign up by 2-14.WINTERGREEN One day trip Feb. 17. $26.50 mem¬bers, $30.00 non-members. Deposits due 2-14.UC SKI CLUBRegular meetings are Monday and Thursday, 7:30p.m.-IDANOYES.CALI 955-9646 FOR INFO. OFFERGOOD 'TILFEB. 15SALESoft Contact Lenses»A<)50*A PAIRtie. 595‘INCLUDED AT NO ADDITIONAL CHARGE:* •* fcttiftfs * a* a4futtmmUh awaafafiaa A ifaiyi mm6 Imm mm nttractiM t WntmUTOW CONTACTS NOME THE SAME OATMOST POESOMPTIONS M STOCK36 S Wabash Ave 10th FloorSuite 1000 0*390 w 60603call 346-2323Court Studio Theatre presentsCZECHSA NEW PLAY BY Jan NovakDirected by Gerald MastFeb. 9,10, Hand 15,16,17,188:30 P.M. — Sundays at 7:30 P.M.Reynolds Club Theatre57th & University753-3581BAGELS AND LOXBRUNCHBACK AT HILLELSUNDAYS 11 AM5715 Woodlawnvaluable couponvniuno 1C V-VJUruiT »KODAK Color Enlargements jBeautiful KODAK ColorEnlargements of yourfavorite snapshots, instantprints, color slides, orKODACOLOB negativesmake great gifts, or deco¬rative accents for yourhome or officeAnd now is the time toorder them Because whenyou brder three, you payfor only two The thirdone is free1Stop in for completedetails, but burry, this spe¬cial otter ends March 14Model Camera1342E.55thChicago, IL60615VALUABLE COUPON—CUT OUI IIII8—The Grey City Journal —Friday, February 2, 1979American English:It’s alive and evolving, but not many people seem to learn or teach it anymoreMany of those who write and speak American En¬glish are notorious for malapropisms, tortured syn¬tax. roundhouse references, cliches, pompouscounter words, silly euphemisms, and meaninglessgeneralities—sometimes with intent to deceive,sometimes because they can't help themselves.By Raven McDavidThe first city vehicle to tackle the snowdrifts onBlackstone Avenue this month was a front loader.Don’t be surprised if you can’t find the word in yourdictionary; it’s not even in the big Webster’s ThirdInternational. In fact, whatever your field of inter¬est — from Aristotelian criticism to safecracking —you probably won’t find a lot of words you normallyuse.The “collegiate” dictionaries average aboue90,000 entries, depending on how you count them.The Third New International, our largest generaldictionary, has about 450.000. Since Americans insiston a one-volume dictionary for general use (it’s dif¬ferent with historical or research dictionaries, likethe Oxford, the Middle English, and the Dictionaryof American English), the Third is about as large avolume as can stand the wear and tear of libraryuse. Every new word or meaning or pronunciationFitzgerald from 7tied up with you and me—the happy ending. Ofcourse, every short story had some other end¬ing, but essentially I got my public withstories of young love. I must have had a pow¬erful imagination to project it so far and sooften into the past.Drawing on his knowledge of history, Fitzgeraldattempted to change at least the external subjectsof his work. In 1935, he wrote a series of shortstories set in the Ninth Century. These stories weredifficult to sell, partly because his reputation forwriting a very modern story, but also because theywere flawed by current colloquialisms and the im¬personality that came from Fitzgerald not drawingon his own experiences.Aside from a few stories about the Civil War(Thumbs Up) Fitzgerald gave up on researched his¬torical fiction, and turned to hospital stories andstories about his daughter, Scottie. Gwen, the char¬acter in Too Cute for Words was patterned after hisdaughter and was meant to be the first in an unfin¬ished series of “Gwen" stories for the Post. Stillabout young love, these stories are told from a dif¬ferent viewpoint—that of the bemused and worriedfather. In these stories, Fitzgerald shows on one or usage label put in must be matched by somethingtaken out.The Third cut out all words not attested after 1755(the date of Samuel Johnson’s Dictionary) exceptthose in major writers like Shakespeare and Milton.There was no other way to take care of the newwords and meanings that were considered impor¬tant enough to be explained. Whether John Simonlikes it or not, new words and meanings keep com¬ing into the language, as new things and new activi¬ties call for them. To take one example, a chemistonce told me that every year 50,000 new compoundsare developed and named.To take my own field, linguistics; semantics andphonemes are Twentieth century innovations. Ihave watched structuralism give way to transfor¬mationalism, which is only one type of generativegrammar (including generative phonology and gen¬erative semantics). Some transformationalists be¬lieve in deep structure; some don’t. Competing withthem are stratificationalists and tagmemicists. Eth-nolinguistics, hailed about 1950, is seldom men¬tioned now; sociolinguistics, with its awesome sta¬tistics, is in vogue. Each school, almost eachpractitioner, has its own terminology, sucn as tnemorphophone of the structuralist Henry Lee Smith,Jr.Often new things are given trade names, to es¬tablish a company’s advantage in the market. Mil¬lions of dollars are spent protecting such names asCoke, Fritos, Dacron and Xerox (DuPont didn’t regis¬ter nylon; anybody can use it). But frequent use hasput in the public domain such former trade names asaspirin, kerosene and thermos.Jet is an old word; for a type of aircraft it datesfrom World War II, for a passenger plane from thelate 1950’s, when O’Hare was built to accommodateit. Jet travel often brings jet lag, a disturbance ofwhat biologists call the circadian rhythm. A gate atan airport is nothing like one in a back yard fence;an airport concourse has no resemblance to GrandConcourse in the Bronx, once graced by MarjorieMorningstar.Ordinary living finds us introduced to frozenfoods, convenience foods, fast food service — andjunk food. Many apartment buildings have beenconverted to condominiums, a name I first new forthe joint British and French rule over the New He¬brides.The political shenanigans — including bribery, co¬ercion and slander — that brought down the Nixonadministration have become known collectively asWatergate, after the cluster of Washington apart¬ment buildings where some of Nixon’s henchmenwere caught at their high jinks. More recently,Koreagate ranks the generosity of Korean lob¬byists. With a presidential election over the hori¬zon, other-gates will open, to the embarrassmentof candidates. Even a local political term may spreadacross the nation, just as clout — originally a Chicagoterm meaning access to power — was spread by Timelevel a much more distanced view of the young girl“who pursued love with only a “certain disparitybetween the picture of herself wandering around acampus at night with rouged lips, and, a littlescene...when she had argued with her father thatshe wanted to set up her doll's house in her roominstead of having it sent to storage.”But by the time we reach the prom, w'here “a son¬orous orchestra proclaimed a feeling of ineffableromance,” all distance is forsaken, and we are “sur¬rounded,” engulfed ”, and “buoyed up" by this “or¬chid-colored dream” either because we are part ofit now, or, because with our eyes “far off on thegrey horizon”, we are “listening not to the band,but to that sweeter and somehow older time.”More than anything else, in The Price Was High,we see that Fitzgerald wrote about people who can¬not forget. From the melancholy men making lastpilgrimages to their hometown to the frail blondesmaking their first pilgrimages to a Princeton prom,these characters cannot escape their illusions.Many of these last uncollected stories, are tooweakened by required happy endings or predict¬able plot-twists to remain in our minds as anythingbut somewhat unsatisfying. But when a few of thestories do succeed, they leave the memory of theextravagant failures of an older generation or the“orchid colored” dream of a prom to both pursueand elude us. Wc cannot forget them either. Magazine in 1960, through its story on Mayor Daley.Some of these words are deplored by guardians oflinguistic chastity. But so were other words that wenever question — mob, to banter, bluff, Congressio¬nal, to belittle. Whether a word lasts or not de¬pends on whether speakers and writers want to useit. In the meantime, the language itself — a systemof linguistic forms — has undergone little change fortwo centuries. It is a complex and delicately at¬tuned instrument, admirably suited for all kinds ofpurposes; it is in good health and grown stronger, ifthe number of people who use it is any criterion.This doesn’t mean that everybody who usesAmerican English uses it well. Many of those whowrite and speak it are notorius for malapropisms,tortured syntax, roundhouse references, cliches,pompous counter words, silly euphemisms, andmeaningless generalities — sometimes with intentto deceive, and sometimes because they can’t helpthemselves. But these faults do not indict the lan¬guage itself, only those who use it badly. And in allages, a great majority of writers and speakers havebeen undistinguished in their use of the language.The only difference is that with a society requiringmore people than ever before to use the languageon public occasions, the poor speaker and writer hasa greater opportunity to be noticed and deplored.What would have passed forgotten in 1779 is nowpicked up by the networks and printed in the morn¬ing editions.If we are looking for someone to blame, perhapswe should look to our own profession, the teachersof English. More people are passing through theirministrations than ever before. But for some rea¬son, the English teachers are not demanding asmuch careful writing as early and as often as theydid in the past; nor do they insist on a standard ofperformance before sending the students on to thenext level. From elementary grades to graduateschool, the teaching of writing is neglected.This is where the buck stops. Until English teach¬ers insist on a standard of performance — and untilthe public demands that they insist on it, regardlessof the temporary consequences for little Johnnyand little Linda — too many of those who write andspeak will not have a competence in handling theresources of the language. When college studentsprefer greasy hamburgers and soggy French fries tobaef Wellington and peach melba. we don’t blamebeef and raw potatoes, or necessarily the fast-foodshops that produce the abominations. The blamerests solely on the students, and on those whofailed to teach them good eating habits. And habitsmust be learned early — in the use of the languageno less than in eating.Mr. McDavid is Professor Emeritus in both the En¬glish and linguistics departments and editor of theLinguistic Atlas of the United States and Canada. Heis also the editor of H.L. Mencken's The AmericanLanguage.The Grey City Journal—Friday, February 2, 1979—9DOC Peter Watkin’s Friday.EDVARD MUNCH February 2J |! Cobb Hall 7:00/10:30 P.M. S1.50WHPK188.3ROCKM-F 6,30 AM-4,30 PM^Sat. 6,30 AM-IO AMFOLKM-F 4,30-6,00 PMCLASSICALM-F 6,00-9,30 PMJAZZM-F 9,30 PM-3,30 AMLIVE, Sat. lO PM-1 AMR & BSun. 6:30 AM-1 AMOPERASat. 12-4 PMNEW RELEASESROCK, Sat 6-7,30 PMJAZZ, Sot. 7,30-10 PMNEWSM-F, 4-4,30 PMCHILDREN’SSat 10 AM-12COMEDYSat. 4-5WOMEN’SSat 5-6 PMRequest Line753-3588 nnoiio^*^ DqdoTy no DqCKOHceDB<im?M cTSH-infc, npoBepqjt dopTOBKe‘ * *U TcncTe«i» v HaynHyic armyV COOdlL'eHrf.qw KOC\fOH*l3T<Kopvf’iJibHo* B ee novreiiitcq UejibCMS v JxaejieHpeKOHuy pa^oaeT'o xna kociOKcnepTTMeHTOB. B ozihojycjio^mx vopi .JieMeTpwqecKo"' rcH'fiopMqiinw»H UXV 'hj^KIX^OHnpyKJTnepqTypq n^toc 22O CTOJldq. Ce^OZTKq KBe^eHHFO 6 KOJIOr>HH0CKI?XJIKABTb 3 a DajL3tfT!*eM HKpVTa bH3yaaTfc-If you can easily read the above lines, you may have the kind of language talent that theNational Security Agency needs.Opportunities now exist for candidates skilled in the languages shown, plus certain otherunusual foreign languages as well. Those selected will be able to make valuable contributionsin the production of national defense intelligence.The National Security Agency offers a variety of challenging assignments for language majors... translation, transcription, area research projects, to name a few. Newly-hired linguistsreceive advanced training in their primary languages and can plan on many years of continuedprofessional growth.Intellectual challenge is part of NSA’s language, too ... plus attractive surroundings in oursuburban Maryland headquarters. Salaries start at the GS-7 level for BA degree graduates, plusall the usual benefits of Federal employment.U. S. citizenship is required.Schedule an NSA interview through your Placement Office.NATIONAL SECURITY AGENCYAttn: M321Fort George G. Meade, Maryland 20755An Equal Opportunity Employer m/f’NAMFllmc Sunday, February 4 7:15/9:30 ;Wim Wender’s THE AMERICAN FRIENDMonday, February 5 7:15/9:30 !Cobb Hall Sara Gomez ONE WAY OR ANOTHER ,1M10—The Grey City Journal —Friday. February 2, 1979Harper Dance Festival ReturnsRather than a precarious, restrained drawing-room grace, there is a bracing energy and intensity.Fourteen years ago. dance was not yet attractingcrowds and the Hyde Park Theater was not yetshowing terrible movies. In 1965. the Hyde Park The¬ater was the Harper Theater, a playhouse, andAlvin Ailey had just returned from a successful Euro¬pean tour, complaining in Time Magazine that hehad no place to perform. The owners of the HarperTheater. Judith and Bruce Sagan, invited Ailey toperform in Hyde Park, and the Harper Dance Fes¬tival, an organization which brought the Midwestseveral of America’s foremost modern dance com¬panies, was founded.For nine years, Harper Dance Festival presentedprobably the greatest challenge to the coastal mo¬nopoly of dance in this country, and wroughtchanges in touring procedures, changes that arenow taken for granted. The annual six week festivalnot only allowed Chicagoans to see performers theycould never have seen before without traveling toNew York or Washington, but elevated the dancers,from third class citizens, in terms of their salariesand prestige, in the performing arts community.The festival changed the standard tour from a onenight stand, to a week long series of performances,classes and lectures, an arrangement which promot¬ed mutual familiarity between audience and per¬formers. Merce Cunningham, Jose Limon, Erick Hawkins, Alwin Nokolais, and Paul Taylor performed,often unveiling premiere work at the Festival. TheFestival was funded by the National Endowment forthe Arts, and was so successful that the program be¬came the standard procedure touring for dancecompanies.After a four year absence, the Harper Dance Fes¬tival has become the Harper Dance Foundation, stillunder the direction of Mrs. Sagan. To celebrate thereturn of the organization Sagan has hired PaulTaylor Dance Company to perform at the Civic The¬ater downtown this weekend. Taylor’s is the onlyengagement the Foundation will sponsor this year,but Sagan plans a full season for next year.Taylor’s choreography has always been dynam¬ically lyrical, and unique. The designs and shapesare faintly reminiscent of those of ballet. Lines arerounded, arched, or rippling; the body maintains asmooth, fluid continuity from one dance phrase toComedians by Trevor Griffiths, directed by JuddParkin. Wisdom Bridge Theatre, 1559 West Howard; -Through March 11.By Bruce ShapiroMost comics placate their audience, increase itsassurance of security and worth. They don rabbitears or write situation comedy. A few comedians —such as Shaw, Brecht, Lenny Bruce — struggle to layhold of human folly, to drag it alive and screaminginto the light. They are what Brecht himself calledterrorists. Their comedy is a Medusa’s head: welaugh at the outline, but look directly and we turnto stone.Trevor Griffiths has laid hold on folly through thelives of working-class Britishers. His Comedians areyoung men, all from the industrial slums of Man¬chester, longing for escape through success instand-up comedy. They are enrolled in a night classtaught by Eddie Waters, a once-famous music-hallperformer, long since retired. The play takes placeat their final meeting. They are to perform at alocal bingo club; an agent will be present, possiblyawarding contracts. Waters has taught them to“work through laughter, not for it’’; the agent .wants "someone who sees what the people wantand knows how to give it to them.” This tensionforms the basis of the drama.COMEDIANS is about the community of suffering.Its characters are all the disinherited of English soci¬ety, slum dwellers, victims of the rigid class struc¬ture; there are constant jokes about Irish, Jews,blacks. For Eddie Waters, comedy is an instrumentof truth, a way for people to “discover their pain,and their beauty.” Some of his students don't sellout to the easy success offered by the agent. Onepresents a very funny, grim monolgue about life foran Irishman in England. Another, Waters favoritestudent, performs n macabre, terrifying pantomime the next, incorporating many port de bras se¬quences. But these flowing forms do not seem lilt¬ing or china-doll delicate, because they are execut¬ed firmly and with drive. Rather than a precarious,restained, drawing-room grace, there is a bracingenergy and intensity.Two works, Airs and Diggity will premiere thisweekend. Tonight, at 8:30 and Sunday at 2:30 pm,the company will perform Private Domain, withabout the frustration of working-class existence,moving from subtle humor to violence to revolu¬tion. In the end, Waters rediscovers and reaffirmshis own humor, his own pain and beauty, long lostin memories of Dresden and Buchenwald.The play is written with humor, care, and subt¬lety, at once angry and compassionate. Griffithshas an ear for language and dialect like the realistDavid Storey, but he also moves easily into themore stylized forms of comic monolgue. He choosessituations — a classroom, a tryout stage — full of in¬herent tensions and theatricality. Griffiths is alsovery conscious of symbolic detail. A tongue twisterbecomes a comedian's credo. Dresden looks likeManchester: Buchenwald, absurd with its "punish¬ment block” in the midst of hell, is like the crucibleof English society.COMEDIANS is steeped in English tradition, in thetradition of class hatred and poverty explored Dysuch dramatists as Osborne, Storey, Pinter, Rudkin;and in the great tradition of the music hall. Waters,in his youth, played the Paladium. Gethin Pricederives his pantomine equally from the violence ofManchester youth gangs and the work of the greatclown Grock, who spent his entire career shapingone routine and who could “shake our belief in thesecurity of the universe,” achieving the effect ofhigh tragedy as well as laughter, reproof as well assecurity.As Wisdom Bridge’s Gethin Price. John Green isfiercely funny and contentious. His movements areat once graceful and detached, and full of suffusedviolence and anger; character is found as much inthe set of his shoulders as in voice. His pantomine isgenuinely frightening. He appears with shaved —back scalp and flat, pasty makeup; practices somemartial arts exercises; plays a tiny violin and thendestroys it; mumbles something to himself aboutbreaking up a train. He tries with increasing frus-nversation vith >air r music by Xenakis, Cloven Kingdom, with music byCorelli, Henry Cowell, and Malloy Miller, andDiggity, with music by Donal York. On Saturday at8:30 pm and Sunday at 7:30 pm, the company will per¬form Airs, with music by Handel, Book of Beats, withmusic by Weber and de Falla, and Polaris, with musicby Donald York. Tickets can be purchased at halfprice at the Student Activities office, for $6.25 and$3.50. Call 346-0270 for more information.Hellposhly dressed dummies, finally pinning a carnationto the breast of one and drawing blood. “I madehim laugh though.” he says, and curls around themicrophone, eerily singing “The Red Flag.” It istruly terrorist comedy.The rest of the cast and production work smooth¬ly, though not without problems. I attended a pre¬view' performance, so some of these problems may¬be worked out; a few, though, seemed more fun¬damental matters of conception. Foremost was aproblem of pacing, which was too fast. Entrances,exits, light cues were accomplished with such speedand followed so soon on the heels of significantscenes and events as to rob the power of some mo¬ments; lines were delivered so rapidly, with so lit¬tle feeling for the silences between, that their fullweight was often not felt.The characterizations were generally quite good,though no one except Green seemed to me to cap¬ture the measure of understated pain and despera¬tion in these men. Weakest was Michael Hendricksas George McBrain, who sells himself to the agent:his voice was w-eak, his brougue unconvincing, hismovement lacking in security and presence — thoughhis monologue was quite effectively venal. NathanDavis as Eddie Waters held the cast together bysheer professionalism, but his speech and mannerwere more of the Oxford don than the Lancashirelad who could find his comedy in hunger, disease,and unemployment. Robert Doepal’s sets and TomHerman’s lighting were functional if unremarkable:certainly they served the drama well enough.Despite w-eaknesses it is an effective production.The play is an important one. reaching behind thefacade of easy laughter to potent social truths. CO¬MEDIANS is very funny, sometimes frightening, andoften moving.WISDOM BRIDGE THEATRE is a block east of theHoward ‘L’ station. It can be reached by taking the L,Wisdom Bridge‘s Comedians Laughing all the way toThe University’s V;John Ford: the man who shot 130 movies* The FilBy Richard I. MooreTuesday evenings this quarter, Doc Films is pres¬enting films directed by John Ford. Ford made morethan 130 films during a half-century career, and heis the only feature director to have won the Aca¬demy Award four times. He is arguably the greatestAmerican director of the sound era, the first tohave been recognized by European critics as an ar¬tist, and one of only three such men (with HowardHawks and Orson Welles) whose critical reputationsappear unalterably assured.The son of an Irish saloonkeeper, John Ford wasborn the youngest of thirteen children on February1, 1895 in Cape Elizabeth, Maine. He was christenedSean Aloysius O’Feeney and grew up speakingGaelic as well as English. After being denied accep¬tance by the Naval Academy, Ford left school andcrossed the country doing odd jobs and cowboywork. He reached Hollywood where his brotherFrancis was a director. In 1917, he directed his firstfilm, The Tornado.During the silent era, Ford primarily directedWesterns. The best known among these early worksare Just Pals (1920), Cameo Kirby (1923), The IronHorse (1924), 3 Bad Men (1926), and Hangman’s House(1928), the first film to star John Wayne.The next decade introduced sound to films, andFord responded with a feature titled Men WithoutWomen, an unconventional picture that offered ex¬actly what its title suggests. This gained Ford someslight notoriety and led in part to the big-budgetassignment of Arrowsmith (J931). Ford made threepictures with Will Rogers (DfcBull, Judge Priest, andSteamboat Round the Bend), and he directed an un¬likely combination of screwball comedy and filmnoir in The Whole Town’s Talking (starring EdwardG. Robinson in a hilarious dual role).In 1935, John Ford directed The Informer, his firstmajor critical success, which won an AcademyAward for Best Picture and established his reputa¬tion within Hollywood. He would follow in the nextfew years with such sociallj' conscious and criticallyrespected films as The Grapes of Wrath, The LongVoyage Home, Tobacco Road, and How Green WasMy Valley — the first and last earning him additionalOscars.The Hurricane (1937) saw Ford working successful¬ly in the unusual genre of the natural disastermovie, but it is perhaps the most morally complexfilm that Ford would make before World War II. Twoyears later, Stagecoach marked Ford’s triumphantreturn to his favorite genre and the begining of thegreat tradition of the modern Western.When the war ended, Ford again turned to theWestern in full force. Forsaking the critical reputa¬tion he had hitherto achieved, he strove after morepersonal projects and embarked upon the string offilms that are now judged among his most matureand lasting: My Darling Clementine, the calvarytrilogy of Fort Apache, She Wore a Yellow Ribbon,and Rio Grande, The Searchers, Two Rode Together,and The Man Who Shot Liberty Valance. Film criticAndrew Sarris writes that there was “a shift inFord’s sensibility . . . from socially-conscious alle¬gory to crowd-pleasing adventure, and from the liesof art to the half-truths of legend.”Ford would also return to his Irish roots in theselate years. The Quiet Man (which won still anotherOscar.), The Long Grey Line, The Rising of the Moon,and The Last Hurrah were similarly personal worksimbued with more than a slight Irish flavor. A per¬sonal work of another kind was The Wings of Eagles— Ford’s inspirational tribute to and biography of hisfriend and former scenarist Frank W. ‘Spig’ Wead.Seven Women, Ford’s final film, was made in 1966.Before his death on August 31, 1973, Ford receivedthe first Life Achievement Award from the Ameri¬can Film Institute.Ford has been hailed as both poet and social real¬ist; nevertheless, his films have been alternatelyaccused of empty pictorialism or excessive senti¬mentality. These criticisms are not entirely inaccu-'rate, but they ignore the epic force of Ford’s vision.The drama always unfolds within the mind’s eye setagainst the jagged, magnificent backdrop of Mon¬ument Valley.Ford’s films seem to stand not so much as singleworks, but as one sustained feat of cinematic story-12—The Grey City Journal —Friday, February 2, 1979 telling. The apparent inconsistencies and occasionallapses of tone that might appear within a singlefilm often become almost mysteriously resolvedwhen viewed against the context of the entire bodyof Ford’s work.Ford, for example, relied frequently upon ritualsof communal action — men united through song ordance, in prayer or in drink — to express deeply feltaffection between friends. The naive viewer mightat first resent such a sequence as an unbearablymawkish interlude while he waits for the “story” tobegin again. Only through repeated viewings overmany films, such scenes gain emotional force andare experienced as rituals by the viewer himself;then, the smallest gestures become meaningful asFord intended and finally integral to the narrativesense.Ford’s films are best not appreciated as singleworks alone for two other reasons. The first in¬volves the iconographic significances within a JohnFord film. Ford wTas a master at manipulating theiconographic elements of a well-defined genre —particularly the Western. Images themselves in aFord Western sometimes seem iconic to the genre —for example, the cavalry mounted in single fileagainst the setting sun, poised between the dubi¬ous battle of the present and the mythic heroism ofthe past.Ford also constructed his own personal icono-mmxxt'v -■ v-Ford also constructed his own personal iconographyof institutions and locations—including his frequentusage of Monument Valley. Photo from CheyenneAutumn.graphy of institutions and locations — including hisfrequent usage of Monument Valley. Ford em¬ployed largely the same company of actors, when¬ever possible throughout his career. These actors —Victor McLaglen, Ward Bond, Woody Strode, and (toan extent) John Wayne — maintain a figurative stat¬ure separate from any specific role within a particu¬lar film. Each of their performances echoes againsta core of remembered previous performances. Fordunderstood this process of contrapuntal resonanceswell enough to draw out fully individualized(though never stereotyped) characters with a min¬imum of effort. He was shrewd enough also to castfilms with these resonances in mind.In Fort Apache, Henry Fonda plays the obstinateegotistic Custer figure of Colonel Owen Thursday.We have previously known Fonda as Abe Lincoln(Young Mr. Lincoln), Tom Joad (The Grapes ofWrath), and Wyatt Earp (My Darling Clementine).Our attitude towards his unheroic behavior in FortApache is modified and made more complex by thisknowledge. We certainly do not expect him to leadhis men to massacre by Indians. Yet, this Fondacharacter remains an ambiguous hero in the epi¬logue, when we observe that the press has glorifiedThursday’s foolish suicidal charge into an act of un¬common bravery. In his book about Ford, JosephMcBride writes: “In the eyes of the nation, the in- By Amy KaneSo you despise the smell of popcorn in movietheatres and the noise of other peole shuffling intheir seats. Candy wrappers, coughing, and thecreep who’s fingering your knee-caps are, you feel,ruinous to the cinematic quality of film (not“movies”). If you sympathize with those who sufferthrough viewings in public movie houses then the U.of C. is probably the best place to be, thanks to theUniversity’s new Film Archive, where any studentor faculty member can privately view more thanfive hundred films.Open since September of 1978, the Archive holdsenough equipment for four simultaneous screeningsand was organized primarily by Gerald Mast, pro¬fessor in the English department. Patrons can re¬serve films and machines by signing up in Cobb 409or 425, and can use one of the two moviolas to studythe films at different speeds. Patrons can also seefilms projected conventionally in the Archive’sscreening room.The Archive can be likened to a listening library,a facility which most large public and University li¬braries have. According to Mast, however, The FilmArchive is unique. Tbe combination of a permanentcollection and analytical equipment is uncommon,even at universities where film is a major area ofstudy. Among the small group of schools which havesuch libraries, the idea of allowing open access tothe films and machines is apparently peculiar tothis university. Mast says that to his knowledge,this is the only university where undergraduateswho are not film majors can use moviolas and a per¬manent collection of films.“In the most places, films are rented for the filmclass, shown once, and sent away,” Mast said. “Thestudent can’t spend more time with a film; andthere are no machines that allow a student to lookMast says that to his knowledge, this is the onlyuniversity where undergraduates who are not filmmajors can use moviolas and a permanent collectionof films.at it in a more detailed way.”“Although there is an estimation that 200,000 stu¬dents in universities in the United States takeclasses in film and television, there are less thanten—maybe six schools with this kind of facility fortheir graduate students.”The films in the Archive are the fi/st part of a col¬lection which will contain a thousand films by theend of two more years. A committee, made up ofMast, professors John Cawelti, Thomas Mapp, andcompetent Thursday has become a legendary hero,‘the idol of every schoolboy in America,’ completewith iconography of portrait and relic of sword, du¬tifully caressed by one of the newspapermen.” Thisfictional iconographic status achieved posthumous¬ly by Col. Thursday parallels the simple iconogra-i -v .• f y j . * .»-»*-•» » * r ♦—aried Film Resourceslm ArchiveRobert Morrissey, along with representatives of theDoc and NAM film groups, chooses the films. Theybuy the movies through the Archive’s own funds,which are the result of an anonymous gift rumoredto be $300,000. A large proportion of the initial giftwent towards the purchase of projection equipmentand the remodeling of Cobb 425, but the committeehas managed to buy roughly half the number offilms that the Archive will house.What is in the collection? “A lot of good stuff, anda lot of junk,” said one student. Mast acknowledgedthat it was impossible to build an “ideal” collection.“We were guided by what’s available,” he said,“but the idea is to have a representative collectionof narrative, experimental, documentary, and an¬imated films. We have examples of the work ofmajor figures—Chaplin, Griffith, Renior, Eisenstein,for example—and works of historical importance,representative types of the development of film.”Some critics of the committee’s choices fear thatthe collection will reflect only Mast’s taste, which‘It’s a Wonderful Life', from the University’s FilmArchive.Photo courtesy of the Wisconsin Center for Film andTheater Research; the State Historical Society of Wisconsinlents and comedies, and neglects other genres likethe Western. They are quick to add, however, thatit is difficult to acquire any movie, never mind aperfect collection. Copyright laws, not price, posethe biggest obstacle to anyone who wants to own acopy of a film. Some movies were never copyright¬ed. notably most silent films, and also a few-knownones, like Goddard’s Breathess and Hitchcock’s TheLady Vanishes. These are in the public domain. Mostmovies, however, are copyrighted, with distributorsholding the rights.It might seem odd that & university without a filmdepartment, without film majors, aspires to be suchan important center of film study. Why here? Mastdoes not deny the suggestion that it is because he ishere. “I was basically unhappy where I was, at theCity University of New York. There were money pro¬blems, and the students were not of very good quali¬ty. I wanted quality students and a serious commit¬ment to teaching and research; but I also required thecommitment to the Archive.’’It’s a growing collection,” said Mast, “and I intendit to be not only an archive for the University com¬munity, but for the region...maybe the country.phic attachment that we viewers initially feeltowards Thursday as played by Henry Fonda. Wemust then return to the roles created by Fonda inthe earlier films and view them once more — thistime with a measure of half-cynical detachment.The final reason why Ford’s films seem to suggest, . . ' . T * • ‘ « » • * » T * - » ► Mickey, Bambi, and BugsBy Ethan EdwardsThe fiftieth anniversary of the birth of MickeyMouse and the showing of Bambi by Doc Filmsmakes this a good time to make a few commentsabout animation of the 1930’s -and 1940’s. A long,splashy television special filled with cameos by“stars” likeZsa Zsa Gabor and Charo, but with pre¬cious little cartoon footage, can’t hide the fact thatmost Mickey Mouse cartoons are just not that good.Certainly, they are crafted more carefully thanthose of any other studio, but Walt himself imposedconceptual limitations on them.Tales of Walt’s opium addiction notwithstanding,Mickey Mouse cartoons are rather tame. The earlyMickey Mouse cartoons are packed with gags, notall of them successful, and are infused with a raw,infectious energy that made Mickey Mouse Ameri¬ca’s favorite cartoon character. As the 1930’s pro¬gressed, the Disney directors began setting up thejokes more slowly and the animation style becamemore fluid.In one of the best cartoons of the early cartoons,Mickey’s Gala Premiere, Mickey dreams that hemeets Hollywood’s greatest stars at a Hollywoodpublic premiere of his newest cartoon. The film nice¬ly contrasts the rather two-dimensional and slap¬stick cartoon supposedly being premiered and the“real” action at the theatre. When Mickey wakesup from his dream revealing another level of reali¬ty, the audience knows it has seen a tight work ofart.With Disney’s search for naturalness in animationhis characters became more human in movementand action. Mickey appeared less and less as timewent on, with Donald Duck and Goofy taking moreresponsibility. Some of Disney’s best short cartoonswere Jack Hannah’s weird Donald Duck cartoons ofthe late 1940’s. *Disney’s other early cartoon series, Silly Sym-With Disney’s search for naturalness in animationhis characters become more human in movementand action. Mickey appeared less and less as timewent on, with Donald and Goofy taking more re¬sponsibility.phonies, went the way of Mickey Mouse cartoons.After the inventive and entertaining SkeletonDance, the series deteriorated until even theaward-winning cartoons Flowers and Trees and TheOld Mill are well-animated, but dreary produc¬tions.Is is not surprising that before the end of the1930’s Mickey was displaced by Popeye as the na¬tion’s most popular cartoon character. Popeye wasproduced by the Max Fleischer studio, whose othermajor cartoon character was Betty Boop. Popeye cartoons are less surreal than Betty Boop’s, butthey retain much of the urban, Depression-inspiredanimation style. Popeye came along at the righttime in the history of the Fleischer studio, for thesexy, aggressive Betty Boop was becoming less as¬sertive and more tied to traditional sex roles.Into all of this waded Warner Brothers (and later,MGM) with a new animation style and the craziestdirectors ever to oversee an animated cartoon. Inthe hand of a master like Bob Clampett, Tex Averyor Chuck Jones, a cartoon became the most directrepresentation of the human imagination in the vi¬sual arts. It is possible for a director to have greatercontrol over an animated cartoon than over a livefilm. Not only are cartoon characters free to defyphysical laws, but directors can guide all aspects ofthe production of a cartoon from the original ideathrough the drawing and editing. The WarnerBrothers crews were limited only by time, money,the censorship office and their almost unlimitedimaginations.Although Disney’s characters were usually ani¬mals, they were more human than some Hollyvaoodactors of the period. The characters of Tex Avery(creator of Daffy Duck and Bugs Bunny who replacedPopeye as the nation’s top cartoon character) mightexplode in a hundred pieces in one scene and putthemselves back together in another. Disney in the1940’s would never allow such defiance of physicallaws. During the making of Bambi the animatorshad a small zoo in the shop to help them draw theanimals in as natural was as possible. In one of myfavorite Warner Brothers cartoons, Avery’s pseudo-Disney I Love To Singa, several baby owls arehatched into the family of an owl who conducts clas¬sical music.All of the owls except one are cute Dis-ney-like owls who play classical instruments. Thelast owl is thrown out of the nest when he can’tstop singing a very casual, slightly off-key jazzsong. Although this seems to be the simplest of pre¬mises, such an anarchic character would have beenunthinkable to a Disney cartoon director.The Warner Brothers directors created a new an¬imation style by streamlining the drawing and set¬ting off the main characters from the backgrounds.This distillation along with creative use of exag¬gerated actions and reactions, makes for a quicker,cleaner narrative style. Because the charactersmove more quickly, jokes may be set up faster.Thus, unlike Disney cartoons, the form of WarnerBrothers’ cartoons advances the story-telling.While Warner Brothers was developing this newstyle, Disney was making technical advances of hisown. Disney’s wonderful 3-D film process, the multi¬plane technique, probably reached its zenith inBambi, yet this 1942 animated feature represents atriumph of form over substance. One wonders whysuch talent and money is poured into such juvenileclaptrap. What is most damning of Disney’s ap¬proach is that with all of his striving for realism inBambi, by far the best scenes are the most stylized,in particular, the forest fire; but, because Bambi isone of Disney’s greatest formal achievements, it isrecommended for those w'ho aren t allergic toDisney’s own brand of refined sugar.Among the other interesting cartoons beingshown this quarter is Popeye’s first adventure incolor, Popeye Meets Sin bad the Sailor, featuringMax Fleischer’s own crude 3-D process (Doc, Febru¬ary 14). Law School Films is showing several excel¬lent examples of Warner Brothers’ cartoons, includ¬ing Sahara Hare (February 6), Eight Ball Bunny(March 2) and Hip Hip Hurry (March 10).one epic canvas may be found in his consistentchoices of theme and subject matter. Visual andthematic cross-references are richly offered amongfilms, and each film represents a set of progressive¬ly mature variations upon Ford’s moral concerns. AllFord’s major films in some way center on the primalneed for human community ideally set within a soci¬ety that respects its own history and traditions. Thecommunity may extend from a single family to theentire nation, but it is always governed by a roman¬tic idealism by which it endures to maintain thefragile balance between unity and dissolution. Thenatural values of the past are celebrated — honor,strength, honesty — and these must stand opposed to the twin dangers of progress’ and malevolent,nature. The individual must often test himselfagainst the society in transition, and these naturalvalues provide the barometer of his worth. Some¬times the individual must personally sacrifice much— that the community (even if without him) mightcontinue to prosper peacefully.Film critic John Baxter wrote the following: “Noone sentence can sum up the complex mixture oi_philosophy, religious conviction, military custom,amateur sociology, Irish humor and respect for au¬thority that is at the center of Ford’s vision of theworld, but like the poems of Walt Whitman, an ar-Continued on next pageThe Grey City Journal —Friday, February 2. 1979-13IGet Out Your HandkerchiefsTwo men tried, but itBy Richard KayeThe French film Get Out Your Handkerchiefs(Preparez Vos Mouthoirs), which opens at theCarnegie Theatre today, is the best reason to get tothe North Side this week, maybe this year. BertrandBlier's lyrically comic romance rushes along withsome of the most finely-integrated great music in a re¬cent movie, and this film may easily win a popularfollowing not only for its freshness and originality,but because Get Out Your Handkerchiefs is a wonder¬fully serene, sexually dislocating film in the traditionof Truffaut’s Jules and Jim and Malle’s Murmur ofthe Heart.Handkerchiefs comes without Truffaut’s tragicconclusions, however, but this film’s extraordinarytwists of plot bring it close to fantasy — a Mozartianfantasy of a very peculiar kind, with Mozart’s music,a man passionately in love with Mozart, and a thir¬teen year-old boy who has a weird resemblance to theboy composer. It is certainly the funniest tribute to agreat composer, as well as to the experimental excite¬ment of romantic relationships, to come out of themovies in a long time.Handkerchiefs opens with a scene in a Parisrestaurant, where Raol (the French Brando,” GerardDepardieu) stares at his silent wufe Solange (CaroleLaure) and decides that she is unhappy and boredwith him. She is unhappy, though not necessarilywith him, as her pretty face droops down and shelistlessly spoons food into her mouth. Raol suddenlyexplodes at her, and them marches over to a strangerand solicits his support in making his wife smile.The stranger (Patrick Dewaere) is asked to sleepwith Solange, and he is at first confused, then shock¬ed, and then finally rather intrigued by the sugges¬tion. Soon he too becomes preoccupied with Solange’shappiness, and the two men spend a good part of the took a 13 tear-old kidnap victimfilm admiring her and worrying over her in mystifica¬tion.To them she is the woman as the Other, a mystery,and the two of them go to ridiculous lengths to drawher out of her depression. There is no reason tobelieve that Blier is being condescending or insen¬sitive to women (although the two chums seem tothink only the birth of a child will please Solange,their idea is made to seem ludicrous when she falls inlove with a child oT another woman). There is toomuch of the director’s blithe, good natured feeling forOne of Handkerchiefs’ best traits is its abidingrespect for the child as more than a half-person whowill one day be an adult.these people for anyone in the audience to be offend¬ed.The source of the film’s charm is the boy, Christian(Riton), whom the threesome meet while working ascamp counselors at a country camp for underprivileg¬ed kids. Christian is the thirteen year-old son of awealthy factory owner, and it is Christian’sautocratic father who sends him to the camp in order > make this woman happyfor the boy to become acquainted with his futureemployees. Christian may very well be a movie first— a precocious child who keeps his respectabilitywithout being a brat.He is adorable, yes, but he is not smart-assed; sowhen Solange falls in love with him and takes him toher bed the scene is not simply outrageous. It is open-minded (some have said “amoral”) in a way thatmight shock people into viewing the child-adultromance as nothing more than high comedy. It ismore than that; one of Handkerchiefs best traits isits abiding respect for the child as more than a half¬person who will one day be an adult.The scenes in the countryside have an open-air,pastel softness. When the Mozart-inspired GeorgesDelerue snatch of music conjes on the tract, andSolange moves her lithe body through a sunny field,the images on the screen remind one of Renoir thedirector and Renoir the painter, but in a fresh,unselfconscious way. Again and again thje film risesabove simple farce to something much more emo¬tionally arousing (hence the title). And yet Get OutYour Handkerchiefs is always waggishly funny,especially near the end, after the two men kidnap theboy Christian from his family in order to keepSolange grinning.The two audiences 1 saw leaving Handkerchiefslooked tremendously happy in a way one rarely seesan audience. American humor has been getting toonasty for a lot of people these last few years (AnimalHouse, Saturday Night Live, etc.) and this may ex¬plain the film’s smouldering success in every city inwhich it has appeared. Get Out Your Handkerchiefsconfirms an old art movie house dictum which statesthat certain foreign movies are able to transmit awhole range of emotions which most American direc¬tors — with their fat budgets and their high-pricedstars — either miss or choose to ignore.At the Blue GargoyleHenry Threadgill and the spectacle ofBy Curtis BlackHomeostasis: Once More the Scorpion, a spectaclewritten by Emilio Cruz with music by HenryThreadgill, is a poetic vision shared. To be performedthree nights this weekend at the Blue Gargoyle,Homeostasis uses film, music, movement and theJackie Wright and Pat Cruz in Homeostasis: OnceMore the Sdorpion, Friday, Saturday and Sunday atthe Blue Gargoyle'11 i.Thc.Crrv7?*hy' Jeunrrt - Friday i Ff/Twi'Ssro'7r spoken word to reveal the text, which marvels at thelushness and complexity of life. The themes ofHomeostasis incorporate the view of the universe as aself-devouring entity, an idea integral to somereligious philosophies. In a “Letter to Goya,” EmilioCruz relates to Goya, the nineteenth-century Spanishpeople’s artist, his impressions of man’s currentpredicament.Emilio Cruz, considered a major visual artist,wrote and produced A Musical Homage to Ants andOther Symbiotic Creatures in 1975. The New Art Ex¬aminer said at the time, “The content was tremen¬dously fertile — the possibilities for allegory, forreligious metaphor, for social comment, forphilosophic discourse, for psychic interpretation vir¬tually unlimited.” A Musical Homage was excitingand ambitious theatre. Chicago needs the kind of in¬formed energy and committed intelligence (Cruz) br¬ings to all his works.Threadgill, an early member of the Association forthe Advancement of Creative Music, has wonDownbeat's Critics Poll for flnJ,e and baritone sax¬ophone in recent years, and has been cited as a com¬poser. He is best known for his work with thephenomenal trio Air, with bassist Fred Hopkins anddrummer Steve McCall.Threadgill himself, throaty and direct on lowerreeds and sweetly lyrical on flute, is perhapsstrongest on alto, where his darting line explodeswith energy. A prodigious musician, Threadgill hasplayed with Muhal Richard Abram’s big band, onrecordings with Anthony Braxton, on campus lastyear with Douglas Ewart, and with bluesmen MightyJoe Young and Otis Rush. His appearances atWednesday night jam sessions at Valhalla last yearproved him an incomparable blues player and ver¬satile jazzman — a creative musician at home in theliving traditions of black music. Threadgill is also theinventor and main proponent of the Hubaphone, amusical instrument made of hubcaps.The music for Homeostasis will be performed byThreadgill with opera singer Jan Walker, and EmilioCruz on drums.Other performers in the spectacle are Eve Jor-jorian, Keithen Carter and Jackie Wright. This is ? HomostasisHenry Threadgill at the Hubaphone, his instrumentcomposed of hubcaps.very special event: Friday, Saturday and Sunday at 8p.m. at the Blue Gargoyle, 5655 S. University, admis¬sion is $5.the man who shot 130 moviesContinued from page 13tist with whom Ford has a great deal in common, hisfilms assert the essential rules of civilization andsociety, that are in Whitman’s words, ‘the enUrefaith and acceptance of life which is the foundationof moral America.’ ”On 1 eb. 6, Doc presents a rare opportunity to viewan early silent Ford, Straight Shooting, made in1917. Also to be screened that evening will be TheLong Grey Line, heretofore unavailable for rentalin its proper Cinemascope ratio. On Feb. 20. Doc hasscheduled two of Ford’s most important late works,The Wings of Eagles, and Ford’s final film, the chill¬ing Seven Women.New from the PressesThe following is a list of recent books from theUniversity of Chicago Bookstore and the SeminaryCooperative Bookstore. The books are suggested bythe bookstores, and the comments are those of thisreviewer.By Richard KayeThe Best of Aubrey Beardsley by Sir Kenneth Clark(Doubleday, $16.95) Clark tells of the personallytragic, although artistically victorious life of theEnglish illustrator who died at the age of twenty-sixafter having produced more than 600 unabashedlylicentious drawings. Included are 62 plates, each witha remark by Clark, who sees Beardsley as havingtransformed the history of illustration. Some of themore interesting drawings are Beardsley’s work onhis friend Oscar Wilde’s “Salome”, and designs for“The Yellow Boook”, which Beardsley helped toestablish only to be refused publication in its pagesfor his scandalous life. This is a handsome,reasonably priced book, and it serves to remind usthat Beardsley was a master of stylized, illustrativedecadence.Johnny Panic and the Bible of Dreams: Short Stories,Prose, and Diary Excerpts by Sylvia Plath (Harperand Row, $10.95) This posthumously published col¬lection will do very little to elevate Plath’s literaryreputation, since most of these stories were early,amateurish efforts at publication in less than respec¬table magazines such as the Ladies Home Journal.The title story does, however, demonstrate some ofPlath’s talent for delineating the obsessive thatwould culminate in The Bell Jar, and the book as awhole can probably be justified as a venture into anartist’s literary evolution. Ted Hughes, the poet’shusband and a poet in his own right, wrote the in¬troduction.Nocturnes for the King of Naples by Edmund White(St. Martins Press, $7.95) Shortly before VladmirNabokov's death, he named Edmund White as theAmerican author he most admired. This is White’s se¬cond novel and only his second published work of fic¬tion (the first was the highly praised ForgettingElena, which deserved more attention than it receiv¬ed when it was published five years ago). Here Whitepresents a poetic meditation on lost love and lyricalpassion. Each chapter (or “nocturne") is set in a dif¬ferent emotional key, and all revolve around themesof homosexual love, surrealism, cafe society, andreligious mysticism.Birdy by William Wharton (Knopf, $8.95) This firstnovel is being acclaimed as one of the best novels ofthe year, and it tells the astonishing story of a boywho struggles to fly free — quite literally — from hisshabby home in'the outskirts of Philadelphia. Birdycollects birds, convinces his family that they’relucrative, and teaches himself their language andhabits while strengthening his own “wing” muscles.Wharton’s novel has been hailed by The Village Voiceas wildly imaginative, a work of high art, and apowerful look into what the book calls a “cripplingand liberating obsession.”Secrets and Surprises short stories by Ann Beattie(Random House, $8.95) One doesn’t go to Ann Beattiefor grand revelations, but her stories of young peoplesuffering through post-sixties frequently disclose thesmaller illuminations which have earned her a suc¬cessful following in The New Yorker, where most ofthese stories appeared. There's Penelope in the story“Colorado”, who, we are told, “simply would notargue. She thought it took too much energy.” Afterflunking out of Bard and dropping out of Antioch andthe University of Connecticut, Penelope lookstowards Colorado because “she now knew all collegeswere the same,” and because Colorado is a good placeto ski, “or just ride the lift all day.” There’s a gooddeal of quiet, unrelieved despair in Beattie’s fiction,but stories such as “Shifting” — about the lonelywife of graduate student taking driving lessons tosurprise him, and perhaps win back his attentionsareas moving and beautiful as anything being writtentoday.Joseph Conrad: The Three Lives by Frederick R.Karl (Farrar, Straus, and Giroux, $25) The three livesare Conrad’s life as a Pole, as a sailor, and as awriter. Karl’s biography may become the definitivework on the man who did not learn English until hewas in his thirties, but who lived to be a master ofEnglish prose. The author attempts to link Conrad’sincapacity for full human relationships (often reveal¬ed in such instances as his partial portrait of his wifeJessie as Winnie Verloc in The Secret Agent) and his horrified awareness of evil and human solitude whichbecame the material for his art.Quintana and Friends by John Gregory Dunne (Dut¬ton, $9.95) This collection of essays and reportage bythe Esquire columnist contains some first-rate piecesalong with a few that could easily have been disgard-ed. There is a marvelous meditation on the author’sadoption of a girl named Quintana, and Dunne’sstreet-wise, abrasive style is put to great use when hewrites on Mad Milo, an outrageous Los AngelesBy Carol EicherIn 1960, Mike Fleischer threw a shoe at his televi¬sion screen, and the University of Chicago Folk Fes¬tival was born. Fleischer, a high-minded intellectualwho was disgusted with the state of commercial enter¬tainment, said, “All the songs ever say is ‘I love you,you love me, or I don’t and you don’t and you’re ahoun dawg.’ “ With Fleischer as their guru, thefledgling Folklore Society planned the first festival.Dedicated to the proposition that there was more tofolk music than “Puff the Magic Dragon”, they shun¬ned the “stars” of the folk music revival, and soughtauthentic, traditional performers, and made them thestars of the event.Busloads of college students arrived from all overthe country, and camped out in University build¬ings. The festival received coverage in the NewYork Times. There had never been anything like itanywhere. Bob Dylan showed up.When the 19th Annual University of Chicago FolkFestival opens tonight in Mandel Hall, there will beno chartered buses; other colleges have their ownfolk festivals now. But Mandel will be filled just thesame, as Chicagoans have come to recognize thevalue of their own festival. Most likely, there willbe no review in the New York Times; that the fes¬tival is approaching its twentieth year is not news¬worthy enough. And you probably won’t find BobDylan in the audience, although you may see JohnPrine or Steve Goodman.One element will remain essentially unchanged,however — the music. Throughout the years, theFolklore Society has maintained high ideals in itssearch for traditional performers. The notion ofwhat constitutes “traditional” may change slightly,but the Society has never yielded to the temptationto book “stars” in order to boost ticket sales. Andthere is still probably noting quite like it any¬where.Virgil Anderson is one of the most distinctive tra¬ditional performers to emerge recently. A native ofMonticello, Kentucky, this veteran banjo and guitarplayer has evolved an approach to mountan-stylemusic all his own. Though Anderson’s repertoire andcrisp style are rooted in the old-time tradition, hismusic nonetheless shows a strong blues influence.Barde is a Montreal-based band whose reputationhas spread from Vancouver to Cape Breton, but isonly now gaining recognition in the United States.Barde’s six members play intricately crafted ar¬rangements of Celtic tunes on fiddle, banjo, man¬dolin, dulcimer, recorder, bodhran, piano, concerti¬na and flute.The Cork Lickers from Banner Elk, North Carolina,are a vibrant young old-time string band, in¬fluenced both by old recordings by the likes ofUncle Dave Macon, the Carter Family, and Gid Tan¬ner and the Skillet Lickers, and by tunes learned atconventions and festivals. Although they are justnow gaining national attention, they have recentlyrecorded their fifth album.Big Joe Duskin was prevented from appearing atlast year’s festival due to inclement weather. Helearned the blues as a boy, during breaks in his gos¬pel piano practice. Duskin stopped playing “thedevil’s music” at the request of his father, for aperiod of 20 years. Only recently, with his father’sdeath, has he returned to the blues.Brothers Marvin and Turner Fedrell, are recentlydiscovered exponents of the Piedmont style ofcountry-blues characteristic of the Virginias andCarolinas. Excellent guitarists and vocalists, theirrepertoire includes songs by Blind Boy Fuller andBrownie McGee, as well as many unusual pieces.The Green Grass doggers, from Greenville, NorthCarolina, did not invent clogging, but they certainlyrevived it. Clogging is almost as much of an athleticevent as it is a folkdance, combining the foot-stomping rhythms of mountain-style buckdancingwith the complex patterns of Western square-danc¬ private eye, and Marvin Liebman, a former Com¬munist turned ultra-rightist. An amusing, ratherunflattering piece on movie critic Pauline Kael is alsoincluded, although its mild spite appears to have per¬sonal motivations. (Kael once wrote a scathing reviewof a book authored by Joan Didion, Dunne’s wife).Dunne presents some well-drawn portraits ofHollywood types, as well as a peculiar West Coastsensibility and an aversion to Eastern cliches aboutCalifornia.ing. In sets of eight, they will be accompanied byThe Cork Lickers and will be demonstrating andteaching their skills throughout the weekend.Joe Heaney, widely regarded as the finest singerof traditional Irish ballads, in both Gaelic and En¬glish, has recently returned from Ireland to theUnited States. A native of Connemara, he was origi¬nally discovered there by Alan Lomax and PeterKennedy. He has performed widely at festivalsacross the United States, but this will be his firstperformance at the UC Festival.Every “traditional” folksong was originally writ¬ten by someone, and Si Kahn is writing today whatmay well be tomorrow's “traditional” songs. Hissongs are in a traditional vein, but portray whathas been called the “New South”. Kahn is fromCharlotte, North Carolina.Marc Savoy, D. L. Menard and Doc Guidry are theLouisiana Aces, returning for their second Folk Fes¬tival performance. While many modern Cajun bandshave turned to electric renditions of C&W hits, theAces are among a handful of groups that have re¬tained the traditional instrumentation and reper¬toire of Southwestern Louisiana’s rich musical heri¬tage. Savoy is one of the few remaining craftsmento build the Cajun accordian, which he is a masterof, and doubles on fiddle as well. Guidry is well-known as one of the finest Cajun fiddlers, and Men¬ard's vocals have earned him the title, “the HankWilliams of Cajun music.”Buck White and the Down Home Folks, are notyour average family bluegrass band. Buck anddaughters Sharon and Cheryl form a tight vocal andinstrumental unit. Buck, on mandolin, Sharon onguitar, and Sharon on bass, are accompanied byJack (Sharon’s husband) Hicks on banjo, and JerryDouglas on Dobro©. Sharon and Cheryl are livingproof that women can sing bluegrass without imi¬tating Linda Rondstat.Mama Yancey and Erwin Heifer are making theirthird consecutive appearance at the UC Festival.Mama rarely performs, and it was Erwin whocoaxed her out of her lengthy retirement. In an agewhere the term “living legend” is tossed aroundwith all too much ease, it is nonetheless applicableto her. Erwin has been a friend of Mama’s for over 20years, and is well-known in Chicago for his fineblues and boogie-woogie piano.The Grey City Journal —Friday, February 2, 1979—15Folk Festival: Cajun and bluegrass;oral history and cloggingCampusArtDark Horses: Curated by Joanne Carson and Lan-nie Johnston, this show focuses on the off-time, pri¬vate activities of twenty-four Chicago artists. Basedon assumption that an artist’s individual sensibilityextends beyond his exhibited work into his person¬al life — collecting, sports, passions, friendships. In¬cludes written material. Closes today, Friday, Feb¬ruary 2. Midway Studios, 6016 S. Ingleside. Mondaysthrough Fridays, 9a.m. to 5p.m. 753-4821. Free.The Decorative designs of Frank Lloyd Wright: Fur¬nishings and light fixtures, tapestry and chinawareare among the pieces that make up this exhibit.Blown-up photographs, original plans, and well-written biographical material supplement. ThroughFebruary 25 at the David and Alfred Smart Gallery,5550 S. Greenwood. Wednesdays, Fridays, and Sat¬urdays, 10a.m. to 4p.m.; Tuesdays and Thursdays,open to 8p.m.; Sundays, noon to 4p.m. 753-2121.Free.Mesopotamia: Artifacts and displays arranged toemphasize the historical development of the an¬cient culture. Includes material recently uncoveredby the museum. Oriental Institute, 1155 E. 58th.Tuesdays through Saturdays, 10 to 4p.m. Sundays,noon to 4. Closed Mondays. 753-2474. Free.The Culture of the Camera: Nineteenth centuryphotography from the collection of Irving Leiden.Through February 9. Special Collections Corridor ofRegenstein. Weekdays, 10a.m. to 5p.m.; Saturday,9a.m. to noon. Free.FilmBy Ethan EdwardsEdvard Munch (Doc) Directed by Peter Watkins. Ed¬vard Munch’s oeuvre is currently the subject of amajor exhibition at the National Gallery of Art inWashington, D.C. This film has played to sellout au¬diences at museums across the country, yet it ismore interesting for those seeking to understandMunch’s pathological obsessions than for those in-LSF screens RebeccaThe Grey City Journalthe arts and criticism supplement to the MaroonEditor: Nancy CrillyManaging Editor: Melinda CoreyLiterary Editor: Peter EngArt Editor: Richard KayeThis Week in the Arts Editor: Karen HornickProduction: David MillerStaff: George Bailey, Curtis Black, Harry Doakes,Richard I. Moore, Bruce Shapiro. Charles Stone,Ethan Edwards, Steven Feldman, Amy Kane,Neurine Wiggin16—The Grey City Journal —Friday, February 2, 1979 This Weekterested in director Watkins’ moviemaking. FRIDAYat 7:00 and 10:30.Bambi (Doc) Something for everyone — cute charac¬ters for the kiddies, cute characters roasted in aforest fire for the adults. This film should spark in¬teresting discussions of metaphysical questions,such as, If a rabbit burns to death in a forest fire andno one is there to hear him scream, does he makeany sound? Or, on a more practical level (for thoseof you who haven’t completed the Common Core):Who bandages those cute animals’ little tiny feet?With some of the best animation of all time, Bambiis recommended. SATURDAY at 7:15 and 9:30.Rebecca (LSF) A classic Hitchcock thriller adaptedfrom the Daphne DuMaurier novel. This ultragothictale concerns a naive young girl (Joan Fontaine)who marries a wealthy widower (Laurence Olivier)and lives in the shadow of his first wife. The climaxinvolves the destruction of Olivier’s mansion byfire, so with Bambi in Cobb Hall and Rebecca in theLaw School Auditorium, Saturday night should be apyromaniac’s delight. I like it, the critics like it, andaudiences love it — but my friend Martin Pawleythinks it’s a piece of boring, melodramatic trash.Decide for yourself. SATURDAY at 7:00 and 9:30.An American Friend (NAM) A tramemaker fromHamburg accepts a contract to kill a mobster formoney to obtain medical treatment. In the courseof the hunt, he is befriended by a professional hit¬man played by Dennis Hopper. Wim Wenders is at itagain with another existentialist tract. SUNDAY at7:15 and 9:30.One Way or Another: (NAM) A film concerning lifein revolutionary Cuba by Sara Gomez. The film fo¬cuses on an affair between a middle class schoolteacher and a member of the lower classes, buttakes time out to examine the eradication of Ha¬vana’s slums. MONDAY at 7:15.Black Orpheus: (International House) MarcelCamus. Made in Brazil in 1960. Considered one of themost beautiful films ever made, Black Orpheus re¬tells the legend of Orpheus and Eurybice in a mod¬ern setting. In the black section of Rio de Janeiro,Orpheus becomes a streetcar conductor and Eury¬bice is a country girl fleeing from a man sworn tokill her. Set against the riotously colorful tapestryof Carnival tumult and excitement, its music andphotography are magnificent. SATURDAY at 7 and9:30.MusicHomeostasis: Once More the Scorpion: Also called“A Letter to Goya;” a “spectacle” of music, danceand other forms connected by the major themes ofthe Nineteenth Century painter: war and insanity,humanity and the lack thereof. Music written andperformed by jazz composer Henry Threadgill;directed by theater veteran Emilio Cruz; choreo¬graphy by Pat Cruz. Tonight, February 2, tomorrow,and Sunday. Blue Gargoyle, 5655 S. University.8p.m.$5.Pete Baron Sextet: A straight-ahead jazz group,two members of which are UC students. With AmyAhmoud, vocalist. Baron on bass; Curtis Black ontrumpet; George Nicholas on drums; Rick Swead-land on piano. Tomorrow night, February 3. The Pub,basement of Ida Noyes Hall. Several sets from9p.m.to midnight. No minimum, members only.Nineteenth Annual Folk Festival: See article else¬where in this issue.CONCERT SCHEDULEFriday, February 2, 8:15 PMGreen Grass CloggersCork LickersBardeSi KahnMarvin and Turner FedrellSaturday, February 3, 3:15 PMGreen Grass CloggersCork LickersJoe HeaneyLouisiana AcesBuck White and the Down Home FolksBig Joe DuskinSaturday, February 3, 8:15 PM •BardeSi KahnVirgil AndersonBig Joe Duskin Buck White and the Down Home FolksSunday, February 4, 7:30 PMMarvin and Turner FedrellJoe HeaneyLouisiana AcesMama Yancey and Erwin HeiferVirgil AndersonNote: Another act, in the process of being con¬firmed at deadline, will be added to the Friday andSunday performances. Virgil Anderson is appearingon Sunday rather than Saturday afternoon, as origi¬nally scheduled. The Gospel Jubilators will not ap-Dear as originally announced.Workshops, informal jam sessions, lectures, demon¬strations, etc. will be held in Ida Noyes Hall, 1212 E.59th St. on Saturday from 10-3 and on Sunday from12-6. All events other than the four concerts arefree. Concerts will be held in Mandel Hall, 57th andUniversity. For more information, call 753-3567.TheaterIn the Poorhouse and Seascape: Two short playsform Court Theater’s first production of the quarter.The first, taken from a short story by Isaac BashevisSinger, is directed and adapted for the stage byAbbie Katz. The second, by Edward Albee, is direct¬ed by Cindy Ornstein. Seascape won a Tony Awardin 1975 — the opening last Friday was the exact anni¬versary of the play’s Broadway premiere. Closesthis Sunday, February 4. Reynolds Club Theater,third floor, 57th and University. Fridays and Satur¬days at 8:30 p.m.; Sundays at 7:30p.m. 753-3581. $2,$1.50 students.Court’s AntigoneAntigone: Anouilh’s version of Sophocles’ classictragedy. Directed by Diane Rudall; set by MichaelMerritt; costumes by Joan Kleinbard. Written dur¬ing the Nazi occupation of Paris, Anouilh’s work in¬vestigates the moral obligations of rulers and citi¬zens. Closes March 4. New Theater (first floor ofReynold’s Club, 57th and University). Thursdaysthrough Saturdays, 8:30 p.m.; Sundays at 7:30 p.m.753-3581. Thursdays and Sundays: $4, $2 students; Fri¬days and Saturdays $4.50, $2.50 students.PoetryA poetry magazine (w/art): The sixth issue of thisundergraduate poetry-fiction-art magazine goes onsale Wednesday, February 7, in Cobb Hall. Featuredpoet is Rick Rutkowski; new work by three “Fol¬lowed Poets,” previously printed graduates of theuniversity. In conjunction, an Open Student PoetryReading. Anyone can read his work; anyone can at¬tend. This Thursday, February 8. The Library of IdaNoyes Hall. For more information, call editor NeilAlers. 324-5656.in the Arts CityArtRobert Rauschenberg: First one-man show in Chi¬cago of an artist many at the moment would argueis America’s best. All new work—paintings, draw¬ings, and “combinations” of diverse objects. ClosesMarch 3. Richard Gray Gallery, 620 N. Michigan.Tuesdays through Saturdays, 10a.m. 642-8877. Free.Works on Paper: American Art 1945-1976: Recom¬mended exhibit of works by a myriad of artist thatincludes Andy Warhol and Josef Albers. Closes Feb¬ruary 14. Arts Club of Chicago, 109 E. Ontario. Mon¬days through Saturdays, 10a.m. to 5:30p.m. 787-3997.Free.The Wasmuth Edition: Architectural drawings ofFrank Lloyd Wright. Floor plans and drawings of ele¬vations from an early, German published edition ofWright’s work. Through March 3 at the Archicenter,310 S. Michigan. Mondays through Saturdays, 9a.m.to 5p.m. 782-1776. Free.Arts and Crafts from the Abruzzo Region: A collec¬tion of handcrafted work from Central Italy. Muse¬um of Science and Industry, 57th and Lake Shore.Weekdays, 9:30a.m. to 4p.m.; Saturdays and Sun¬days, 9:30a.m. to 5:30p.m. 684-1414. Free.Ray Metzker: A retrospective of work (mostlyblack and white) by the photographer. Metzkerfinds surprising compositions within the contrastbetween natural and artificial landscapes. ClosesFebruary 24. Chicago Center of Contemporary Pho¬tography at Columbia College, 600 S. Michigan.Mondays through Saturdays, 10a.m. to 6p.m.663-1600, ext. 600. Free.Narrative Imagery: Works by twenty Chicago ar¬tists that do what art wasn’t supposed to do any¬more—tell a story. Various media. Opens this Tues¬day, February 6; closes March 3. At ARC (Artists.Residents of Chicago), 6 W. Hubbard St. Tuesdaysthrough Saturdays, 11a.m. to 5p.m. 266-7607. Free.Discovering America: Photographs from the mid¬fifties to the sixties that emphasize everydayAmerican life. Work by the late Life photographer,W. Eugene Smith is featured; also that of RobertFrank, Dennis Stock, Duane Michals, and others wellknown. Related is another exhibit,American Photography in the 1970’s: More than100 works that, as a group, represent importanttrends of the last five years. Through March 25. ArtInstitute, Adams and Michigan. Open weekdays,10:30a.m. to 4:30p.m.; open Thursdays to 8p.m.; Sat¬urdays, 10a.m. to 5p.m. 443-3500. $2, $1.50 studentsand children.FilmFour Pioneers: Third in a series of films that haveattempted to capture the spontaneity and theatri¬cality of dance. Features Doris Humphrey, MartheGraham, Charles Weidmar, and Hanya Hoi. Also,Humphrey in Air for a G String and Shakers, Appa¬lachian Spring, and to represent ethnic dance, Cere¬monial Dance of the Southwest. This Monday, Febru¬ary 5. MoMing, 1034 W. Barry. 472-9894. $1.50, $1students.The St. Valentine’s Day Massacre: 1967. Roger Cor-man, long hailed as King of the B-Movies, directedthis somewhat classier film about the most famousincident in Chicago’s gang era. Part of a seriescalled “Crime in Chicago.” This Sunday, February 4,at 2p.m. Chicago Historical Society, Clark andNorth. 642-4600. Museum admission.Marnie: Tippi Hedren stars in this 1964 AlfredHitchcock masterpiece as the archetypical Hitchcockheroine. She’s blonde and icy—the model for the Ma¬deline Kahn character in High Anxiety. Part of theActress on Film Series. Tomorrow, February 3 at5:30p.m. Art Institute, Jackson and Columbus.443-3737. $2.MusicHyde Park Youth Chamber Orchestra: Conductedby Michael Jinbo; Sue Iriye, concermistress. Pro¬gram: Mozart’s “Divertimento in D major, K.136;Handel’s “Concerto Grosso in G major, Op.6, No.l;“Britten’s “Simple Symphony.” This Sunday, February 4. K.A.M. Isaiah Israel, 1100 E. Hyde Park Boule¬ vard. Free.Juilliard String Quartet: The first of four concertsthat will cover the complete string quartets ofBeethoven. Tonight, the String Quartets in: Amajor, Opus 18, No.5; F major, Opus 59, No.l; and Csharp minor, Opus 131. Tonight, February 2. Orches¬tra Hall, 220 S. Michigan. 8:15p.m. 435-8122. Singletickets, $4 to $10; series tickets, $15 to $25.mmmmm. jf jf ■■ * ■*.*. **&**»&All Honorable MenTheaterAll Honorable Men: By Michael Chepiga. An his¬torical drama from the experience of C. JohnstonWhittaker, one of the first black West Point cadets.Closes February 18. St. Nicholas Theater. 2851 N.Halsted. Wednesdays, Thursdays, and Sundays at8p.m.; Fridays at 8:30p.m.; Saturdays at 6:30 and10p.m. 281-1202. $6, $7. A Dark Night of the Soul: Written by Robert Ei-sele; directed by Cynthia Sherman. A young manmust choose between becoming a priest and a“beautifuly young woman,” and it’s tormenting hisfamily—a self-professed melodrama. To vocate or va¬cate? Closes February 13. St. Nicholas Theater, 2851N. Halsted. Mondays and Tuesdays at 8p.m. 281-1202.$3. .Porch: The Chicago premiere of a comedy by theplaywright-in-residence at New York’s Actor’s Stu¬dio, Jeffrey Sweet. Tom Mula, the young Chicagoactor who upstaged almost everyone as Caliban atCourt Theater two summers ago, makes his debut asdirector. Opened last night; closes March 4. VictoryGardens Theater, 3730 N. Clark. Thursdays throughSundays, 8:30p.m. 549-5788.Comedians: By Trevor Griffiths; directed by JuddParkin. See review this issue.Poor Murderer: By Pavel Kohout. An actor be¬lieves he has killed a colleague during a perfor¬mance of Hamlet. At the advice of his doctor in theasylum to which he’s sent, he reenacts his life up tothe imagined murder. An intellectual and political,albeit highly theatrical work by the exiled Czechplaywright. Closes March 4 Thursdays through Sun¬days, 8p.m.; Sunday matinee at 3p.m. Pary Prod¬uction Company, 1225 W. Belmont. 327-5252. $4, $5.Sexual Perversity in Chicago and A Sermon: Bothby David Mamet. Mamet’s first Big One, Perversityis about making passes. Many theater-goers maywish to pass themselves, but this is a good opportu¬nity to experience Mamet for the first time. Jim Be-lushi stars. A Sermon is a new work, a monologue. Anew production directed by Sheldon Patinkin.Through March. Wednesdays through Fridays,8p.m.; Saturdays, 7 and 10p.m.; Sundays at 3 and8p.m. Apollo Theater Center, 2540 N. Lincoln.549-1342. $5.50-$8.50.DancePaul Taylor Dance Company: According to theNew York Times, Taylor’s dancers are “among thebest in the world.” See article elsewhere in thisissue. Today, February 2, at 2:30 and 8:30p.m.; to¬morrow at 8:30p.m.; Sunday at 7:30p.m. Civic The¬ater, 20 N. Wacker Drive. 346-0270. $12. $7.The Joffrey Ballet Company: Their annual wintervisit brings to Chicago for the first time a workcalled “A Wedding Bouquet,” with words by Ger¬trude Stein. Opens this Tuesday, February 6; closesFebruary 18. Program varies nightly. AuditoriumTheater, 70 E. Congress. 8:30p.m.; matinees at 2p.m.More info: 922-2110. $3.25 to $15.Photo by Charles StoneThe Grey City Journal —Friday, February 2. 1979 — 17NAVY OFFICER.YOU GET RESPONSIBILITYTHE MOMENT YOUGET THE STRIPES.A lot of companies will offer you an important soundingtitle.But how many offer you a really important job?In the Navy, you get one as soon as you earn your com¬mission. A job with responsibility. A job that requires skilland leadership. A job that’s more than just a job, becauseit’s also an adventure.If that’s the kind of job you’re looking for,speak to the Navy Officer Programs Officerwho will be on campus, in the Placement Office,on the 7th of February. Or give us a callanytime at (312) 657-2234, collect. • /$///ft /yf>/t//t wAr/t/dbill sargent presents A HILLARD ELKINS-STEVE BLAUNERPRODUCTION OF RICHARD PRYOR LIVE IN CONCERTProduced by DEL JACK and J MARK TRAVISExecutive Producer SAUL BARNETT • Directed by JEFF MARGOLISA SEE Theatre Network ProductionIn Association With COMPACT VIDEO SYSTEMS. INCReleased by SPECIAL EVENT ENTERTAINMENTCONCERT ALBUM AVAILABLE ON WARNER BROS RECORDS AND TAPES'9’9 SPECIAL EVENT ENTCR’a.nment all RiGmts »ESERVEDWorld PremiereNOW SHOWING EXCLUSIVELYAT THEIS Roosevelt ‘Varsity • ParamountDOWNTOWN EVANSTON HAMMOND. >ND.NO PASSES NO CHILDREN S TICKETS"Some Do is to The Women's Room what RubyfruitJungle was to Catcherin tbeRye."-caysUeekTIME: The late Sixties. PLACE:Berkeley, California. SCENE: Abattleground erupting with thepolitical, emotional, and spir¬itual upheaval of the decade.CHARACTERS: Seven voungwomen who came to Californialooking for moral meaning in aworld that appears to have* none."A rich and funny novel, Somal)o is part remembrance, partspoof, part analysis of thoseimprobable late Sixties whenradical feminism at last cameinto its own. DeLvnn illumi¬nates the contradictions andskewers the pigs of that madBerkeley scene. .— Mix kales Shiilman"...a witty book. DeLvnn sprose...is hard-edgedthroughout. [It’s] a rich, almosthypnotic book."—Tim Dlugos, (hrv.tnpher Street “Some Do is a wickedly intelli¬gent comedy....Women, gavand straight and all of theshades in between areDeLvnn’s real subject ...sheobviously knows and loves theirinfinite variety...”—Felice Pica no, (laysn eek“...vou can enjov the bookeven if you weren ’t a studentradical; even if you nev ersmoked dropped popped any¬thing; even if you w ere nevermilitant about anything in vourlife and feel no nostalgia forthat time. —Susan Dwnrkin, \ls. A novelby Jane DeLynnS4.9.T paperback, SS.b.’i hardcoverMACMILLAN AUDITIONforBLACKFRIARS PUB SHOWIda Noyes TheatreMonday, Feb. 5 —7:00P.M.COME ONE, COME ALL!!VisitAmerican ATHEISTMuseumPrides Creek ParkEntrance, RR 3Petersburg, IN 47567Send For Free Infn I •latterPick up onlyMI3-2800Voung Designs byELIZABETH GORDONHAIR DESIGNERS1620 E. 53rd St.288 2900 MEN! WOMEN!JQBS!''cruise SHIP'S FREIGHTER!No experiei.ve. HighpaySee Europe, Hawaii, Australia. So. America. Winter. Summer!Send $2.75 toSEA WORLD .Box 61035Sacramento, CA 95825: DOC FILMSCobb Hall PRESENTS...Walt Disney'sSpecial Showings, 2,00 - 3,30 BAMBIEvening Show, 7,15 - 9,30 SaturdayFebruary 3$1.5018—The Grey City Journal-^Friday, February 2, 1979IM ReportB-ball playoff system setMaroons squeak by Lawrencephoto by J. Wrightwin at the Field House last Saturday. Alleypaced the Maroons with 18. Last Thursday,Chicago travelled up to Lake Forest, wherethe Maroons took a 53-49 contest. On Jan¬uary 20, in Wisconsin. Chicago dropped a76-72 affair with the conference’s defendingchampion, Ripon.Maroon fans will have a chance to see arematch with Ripon. tomorrow afternoon atthe Field House, in a 1:30 game. TheMaroons have been playing well lately, andare still in the running for honors in their di¬vision. According to Angelus. when his teamis turned on, it is, “...good enough to beatanybody in the conference at anytime.” Youcan also hear the game on WHPK. 88.3 FM,beginning at 1:15 p.m.Fencers even recordBy Robert TompkinsThe Chicago fencing team raised its re¬cord to three victories and three defeatswith a strong showing at last Saturday’stournament at Chicago Circle. The Maroonshad a week of fruitful practice and cameinto the Saturday meet well primed. Theyweie initially stifled by the Badgers of theUniversity of Wisconsin. Madison. Along allfronts, the Maroons were defeated. Themen’s and women’s foil squads were totallydominated by the Badgers. The epee andsabre squads gave a better showing, but tono avail as the Big Ten champs over¬powered the Maroons 21 to 6.The host university, Chicago Circle, wasweaker than expected. They failed to field acomplete team, so the Maroons picked up anautomatic victory, thus evening Chicago’sperformance to one and one. The Maroonsthen faced Tri-State University. The sabresquad, which finished first, recorded the ini¬tial triumph: six victories to three losses.Paul Shea went 2-0 while Mike Stewart went3-0 against Tri-State. After hearing this news, epee responded to win eight and loseone. Brian Holmgren and Nathan Funk went2-0 and Rich Gallo went 3-0. Now with a totalof 14 victories, Chicago had already defeat¬ed Tri-State with the foil squad yet to finish.Following the example of the epee squad,foil overpowered Tri-State eight victories toone loss. Captain Edwin Levy, along withJohn Allen and John Nann. all overpoweredtheir opponents. The final was Chicago 22,Tri-State 5. The Maroons finished the day onan upward swing with two team victoriesand one defeat.The fencers have quite a test ahead. Theytravel Saturday to East Lansing. Michigan,to fence Michigan State, the University ofMichigan, Dearborn, and the University ofIllinois. Earlier in the season the Maroonswere handily defeated by the Illini and theyshould be prepared for fierce competitionagain. Michigan State was runner-up lastyear to Wisconsin for the Big Ten champion¬ship, so that team will also be quite a chal¬lenge The strengths of Michigan. Dearborncannot yet be ascertained, but rest assuredChicago will be prepared. By Howard SulsThis year the playoff system in basketballwill have a new twist ala the N'FL and WHA:the top two teams from each League andfour at-large teams will advance into theplayoffs in both the undergraduate resi¬dence and the graduate divisions. In theundergraduate independent and women'sleague only the top two teams will advanceto the playoffs, while in open rec the top twoteams and two at-large teams will ad¬vance.To be considered for an at-large berth inthe tournament a team must make its appli¬cation to the intramural office by Wednes¬day, February 7, and must be able to play onthe 15th. 16th.’19th, 20th, and 24th. In this sin¬gle elimination tournament the first placeteams receive a bye and the second placeteams each play one of the wild-card teams,with the winners advancing. The men's un¬dergraduate and graduate title games willbe played following the Maroon's final var¬sity game on February 24th in the CrownField House.Top ten action started on a bizarre note asboth *1 Jeremiah Joyce and »6 Dead Popesforfeited games. p2 Tar Heels won a gameby forfeit over WHBS. while #3 Stop KillingLizards held on to edge Business (#7) by52-48 in a Graduate Yellow matchup.Uranus & the Seven Moons stayed on theLizards tail with a 66-18 thrashing of Fibres.Montana Wildhacks («4) destroyed Hihow-doya do’s 51-24 in the Undergraduate Inde¬pendent while Zero the Hero walloped Yel¬ low Pig is Pink 64-10.In a key matchup in the undergraduate in¬dependent maroon league The Droogs man¬handled Strategic Air Command 47-30 totake first place. The two teams must squareoff again tonight. *8 Divinity school sur¬prised Med II 42-31. Med. who won the pre¬vious matchup, embarrassed Karlv’s Engelsearlier in the week by a 69-29 score. UpperRickert. new to the top ten this week, posteda 33-18 victory over Upper Flint and a 42-25crushing of Hitchcock.Other contenders included Dodd/Meadwhich edged Blackstone 22-21 and Bradbury25-21 in the undergraduate white league.Fishbein whipped Alpha Delta Phi 46-19,while Chamberlin defeated ThompsonNorth 37-32 and Henderson 51-20. There’s theRub rolled over SSA by a score of 49-23.Women's action had Tyrone Shoes overShorev 34-10, and the independent team ofTyrone Shoes beat Lower Wallace 38-14.Open rec saw Lil’s Hotshots II over LinnHouse 43-16 and Wilt’s Wimps over Comp¬trollers Office 42-36 in the red league In thewhite league Drunken Dunkers split a pair,beating General Service 38-32 then droppingone to McCormick Seminary 29-27. TuftsHouse & Co. also split, whipping Henderson61-26, then getting crushed by BogusBongers 48-28. Lastly, Coulter Cavaliersedged Henderson 29-17.Entries are due soon for badminton, tabletennis, and other sports so check with the IMoffice Also the racquetball tournament hasstarted and second round results are dueWednesday.remaining in the game. Chicago had out-scored Lawrence 25-11 in just over elevenminutes in the second half. The tie initiateda tight battle that lasted through the rest ofthe game and saw both the lead changehands and the score tied six times.After Gastevitch gave the Maroons theirinitial lead at 52-50 with seven minutes left,Mervin stole the ball and broke away for alayup to give Chicago its biggest lead at54-50. Four Piotrowski free throws tied thescore once again for Lawrence beforeMaroon center Bret Schaefer was able to hiton a layup off some pretty passing by Gas¬tevitch and Miller, giving Chicago a 56-54lead with four and a half minutes left.Maroon ballhandling was much improved inthe second half. Chicago showed poise inbreaking the Vikings full court press whichgave them more trouble than they couldhandle in the first half.Lawrence’s six-foot guard, Stu Hofen-sperger, scored six points in a row while theMaroons were producing two, to give theVikings a 60-58 lead from the foul line with1:22 showing on the clock. When Mervincommitted his third foul in less than twominutes, and fouled out, Cohen went to theline to try and build on the Vikes’ two pointmargin with 50 seconds left. Instead hemissed, Chicago got the rebound and even¬tually worked the ball to Schaefer who tiedthe game up at 60 on a jumper from the rightbaseline with 26 seconds left in the game.The Vikings attempted to freeze the ball forone last shot, but, with 13 seconds left, Ho-fensperger was called for travelling. After atimeout, the Maroons got the ball to Gaste¬vitch, who was about ten feet away from thebasket on the right side of the lane. Theblonde Indiana native moved up in betweentwo defenders and drilled the ball home forthe final two point advantage.Tod Lewis sealed the Vikings fate bystealing their inbounds pass at midcourt andclinching the Maroons third Midwest Con¬ference victory against three losses. Chica¬go is now 5-7 overall. Cohen wound up as thegame's leading scorer with 21 points. Alleyled a balanced Maroon attack with 20, whileMiller added 11. and Schaefer, who suffereda sub-par game, had 10.In other recent Maroon games, MarkHanzlik. the younger brother of Bill Hanzlikof the top ranked Irish of Notre Dame,scored 18 points to lead Beloit, the Confer¬ence’s Eastern Division favorite, to a 72-61By Andy Rothman“I just felt it going down,” were the onlywords Vladimir Gastevitch could use to de¬scribe his shot with three seconds left inWednesday’s University of Chicago-Lawrence game that lifted the Maroons to a62-60 come-from-behind win at the CrownFieldhouse.Gastevitch sparked the Maroons in a dy¬namic second half rally that saw them erasea 14-point halftime deficit. The 6’2” sopho¬more was inserted in the lineup at the startof the second half and promptly respondedby shooting five for five from the field andfive for six from the foul line to score all 15of his points in that half. Gastevitch’s driv¬ing moves and alert play on defense ignitedthe Maroons, who suffered through a miser¬able first half.The game, which started at the odd week¬day time of four in the afternoon, was origi¬nally set to be played on the afternoon ofSaturday, January 13, but had to be post¬poned because of snow. When the teams fi¬nally got together, Lawrence jumped off toleads of 9-0, and 15-8 in the first eight and ahalf minutes. With seven minutes remainingin the half, Maroon freshman backup;center, Rich Martin, was called on a fouland slapped with a technical foul for his en¬suing actions. Viking Jim Piotrowski thensank both shots in a one and one situation,and the technical foul shot. Lawrence thengot the ball and was able to work it into theirsix-five center, Rob Cohen for two points,and, in effect, a five point play. The se¬quence gave the Vikings an eleven point lead with six and a half minutes remainingin the half. When the nightmarish halfended, the MarooThs found themselves downby a score of 37-23. The Vikings had man¬aged to go 12-16 from the field for a clip of 75percent, while Chicago shot a lowly 33 per¬cent from the field. Lawrence also held a13-16 to 1-4 free throw shooting advantage atthe half.Chicago coach John Angelus knew itwould be tough to get his players psyched upfor Wednesday’s game because it is difficultto, “...go straight from the classroom to thecourt.” After the game he admitted, “I stilldon’t know what to do to get them turnedon,” but whatever he did at halftimeWednesday certainly flicked the switch.Forward Mark Miller picked up three foulsand was benched in favor of Gastevitch toget some firepower in the game. Angelushas said that, “Miller is the best pureshooter on the team, but I can’t get him tolook for his shot enough.”With Alley (five for seven from the field inthe second half) and Gastevitch heating up,Ken Jacobs playing another strong gameunder the boards from his guard position,and Mike Mervin displaying some fine de¬fense, things fell into place for the Maroons.Gastevitch scored the first five points of thehalf, and the Maroons had outscoredLawrence 9-0 with only 2:20 gone in the half.After another minute it became a 13-2 spurtand the score was 36-39.The Maroon’s continued to chip away atthe Vikings, finally knotting the score at 48-all on two Gastevitch free throws with 8:53SportsThe Chicago Maroon — Friday- February 2, 1079 — 19\ i * * VfZi'r V - i i r i 'GRADUATE STUDYinPUBLIC POLICYProfessional Degree ProgramAdmissions MeetingFor all students in the CollegeTHURSDAY, FEBRUARY 154:30 p.m.WIEBOLDT HALL, ROOM 301Professor Robert Z. Aliber, Chairman of the Committee on PublicPolicy Studies, will be on hand to answer questions about admissionsprocedures, fellowships in Public Policy, and financial aid.AUL Friedricho"Thb MBANr*r< or Aph roueth©oPOETR.Y ANTHROPOLOGY'oBaSTTAJHJD >4o<Z2>WSoAXSO*A I*A5L.($i£ £ax/ts: -V\*T'57 ^ocrnHL? '-3o • 5 :cx> ft:oc -^f:coB E-fL M uMCH ies (ioAajda/i£e' ^l/i£6/#csn/Real Estate Company 493-066656th and HARPERThree storv briek townhouse on Harper Avenue near 56th Street. You 11 like eightrooms, nieelv decorated, hardwood floors. Central air (it won t always be winter)patio. Possession April $118.000.SUBURBAN STYLE IN TOWN(seven minutes from campus)Wide vard with side drive has handsome family hriek residence. 9 rooms, plus huge3rd floor study - 3 sun rooms. Constance Avenue near 68th in Jackson Park High¬lands. Possession on closing immediatelv. $130,000 (will consider offer.)WOODBURNING FIREPLACEIdeal location 56th Kenwood. You own the entire floor, so take your pick of light.3 bedrooms, 2Vi baths, large modernized kitchen. Storm windows. Free parking.The place sparkles in mint condition. $79,500 for your co-op share.1979 BUT 1978 PRICES57th Blaekstone. second floor co-op. Sun lit living room has own outside terrace.Solid building, architect designed for self in 1906. Double width private backyard. Modern kitchen - 6 rms. $53,000. Immediate possession. OK to rent untilclosing, if desired.STUNNING VIEWSSunrise, sunset on 5.000 East End Co-op. Beautiful building, easy access to Drive.Big parking lot. 5 spacious rooms, fantastic large kitchen. $35,000.HIGH FLOOR FACING LAKE MICHIGANGenerous four rooms — perfect condition condo in Barclay. (50th-East End) mid40\s low monthly.Note: One bedroom apt. for rent on the lake at 1000 Chicago Beach Dr.$390. Garage space may be had with this.Note: Summer is coming. Large family residence in Booth Bay Harbor.Maine for entire season. Applications taken now.Note: House for rent on Harper Ave. for 15 months beginning June 15.Call for details.Charlotte Vikstrom, Sales BrokerKathleen Ballard. Sales Associate493-0666WHAT IS YOI R PROPF.RTY WORTH TODAY? CALI. FOR EVALUATION. THERE IS NOSPECIAL CHARC.F. OR FF.F TO DISCI'SS THE M ARKET. CharlotteSTUDENTGOVERNMENTELECTIONSMonday, Feb. 5,1979Tuesday, Feb. 6,1979VACANCIES TO BE FILLED:SecretaryWoodward Court RepresentativeBurton-Judson RepresentativeShoreland RepresentativePolling places will be open Mon. and Tues. duringthe following hours:Woodward Court: 5 - 7 p.m.Pierce: 5-7p.m.Shoreland: 6-8p.m.Reynolds Club: 11-1:30p.m.Law School: 11-1:30p.m..Cobb: 11 - 1:30 p.m.Burton-Judson: 5-7p.m.Questions should be addressed toLisa Archinow 753-2249 orS. G. Office 753-327520 — The Chicago AAaroon — Friday, February 2, 1979Women lose to Lewis, down N. ParkBy R.W. RohdeYou know the feeling. You think yourready for that test. Not only have you doneall the reading three times, but you’ve gotall the important formulas engraved on astick of bubble gum in your pocket. Thenyour prof hands out the exam and after onelook you realize your up against a lot morethan you bargained for.That’s the kind of feeling Marcia Hurt andher women’s basketball squad had lastTuesday when they met Lewis University.The women from Lewis, all eight of them,showed crisp passing. They showed fancyplay. But most of all they showed hotshooting and an all-around team effort. Sixof their players scored in double figures onway to a 86-58 victory over Chicago.It was the hot shooting that really hurt theMaroons. Chicago had a cold first half,shooting less than 30% from the field, butwent into the lockerroom down by only 14.As in their past four games, Chicago cameout in the second half and played better ball,hitting 15 of 33 shots from the field. Un¬ fortunately, Lewis improved too. Notsatisfied with a 47% shooting average in thefirst half, the eight came out to shoot over60% in the second half.On the brighter side, it was really only apractice exam. The only way the game willaffect the Maroons is when seedings aremade for the state tournament (whereCoach Hurt hopes to get another shot atLewis on a neutral court with a much moreexperienced team).Chicago took a step towards state last Fri¬day when they passed a test that counted,winning 67-53 at North Park college. NorthPark put a temporary scare into Chicagowhen they took a 25-22 halftime lead, butthen the second half Maroons came out andit was all over.Janet Torrey led the Chicago charge, pop¬ping in 22 points from her guard spot on thenight. Torrey was also high scorer againstSwimmers win again Lewis, with 16 points. Teammates Kim Cur¬ran and Nadja Shmavonian weren’t doingtoo bad for themselves either. The pair putin 27 points and pulled down 27 reboundsagainst North Park, and then came backwith an almost identical effort againstLewis, scoring 26 points and pulling down 27rebounds.The Maroons will get a look at one of theother teams that figures to challenge Lewisfor the state title when they meet GreenvilleCollege tomorrow night. Greenville came insecond to George Williams last year, butwhile GW lost all five of their starters,Greenville lost nobody. Chicago also travelsto Eastern Illinois tonight and then to Con¬cordia for a conference game Mondaybefore making one of their all too rare homeappearances next Thursday night in theCrown Field House.By Bette Leash and Michael RabinChurning in another strong performance,the UC swim teams dominated Illinois Ben¬edictine College in a dual meet Tuesday.The men swamped their opponents 72-38while the women squeaked by 76-53.The 400-yard medley relay of WayneHooper. Tim Iida, Michael Rabin, and JonRynning inaugurated the evening with aneasy first place and a solid time. In the sec¬ond men's event, the 1000-yard freestyle,Don Dowling set a personal record with atime of 12:13.54 and came in first. AdrianTrevino swam an excellent 200-yard individ¬ual medley and later helped sweep the 200-yard butterfly when Michael Rabin came infirst and he came in second. Coach Schweerwas pleased with Wayne Hooper’s strong200-yard backstroke which gave theMaroons another first place. Jon Rynningset a school record in the 50-yard freestyle with a time of 22.76 and went on to swim anexcellent 100-yard freestyle later in themeet. The Maroon's total victory was borneout by the final score of 72-38.After losing the first event the womencame back hard to win their meet. JudyBlank came in second in the 100-yard frees¬tyle with a great time of 1:02.3. Senior AnnMerry field swam extremely well in the 50and 100-vard backstroke and took second inboth events. Peggy Culp and Selina Longtook first and third in the 100-yard breast¬stroke and Bette Leash clocked her besttimes and took third place in the 200 and 500-yard freestyle. Excellent diving by CarolynLaGrange and Lisa Doane enabled theMaroons to win the meet 76-53.i5oth squads have meets this weekend. OnFriday the women will meet Mundelein Col¬lege at Bartlett Gym at 7:00 P.M. The menAill travel to a meet with DePauw College>n Friday evening.Womens trackopens seasonThe women’s track team had their first in¬door meet ever against the University of Illi¬nois at Circle. The meet was not scored, butboth teams did their share of winning.The most successful athlete of the nightwas Chicago’s Cindi Sandborn who ran allthree of her events in personal best timesand broke two school records. She won the3,000 meter run in 11:05.7. later won the 1,500in 5:17 flat and immediately after ran a legin the 1600 meter relay.The Maroon's closest battle was in the1,000, where Barb Horning edged out team¬mate Pattv Hansen 3:23 to 3:24.7 as the twotook the top two spots. Other second placefinishers for Chicago were Jill Shay in the3,000, Vicki Powers in the 3(H). Trish Briscoe in the 5.000, shot put. and high jump, andKaren Luh in the 1,500.The Maroons are home again this Satur¬day at 10 a m. for a three-way meet againstGrinnell and Joliet Junior College.IM Top Tenpoints1. Jeremiah Joyce. 19th Ward (2) 472. Tar Heels (2) 453. Stop Killing Lizards < 1) 434. Montana Wildhacks 305. The Droogs 286. Dead Popes 277. Business 238. Divinity 179. Med if 810. Upper Rickert 2Votes: Dudley. SAC. Fishbein, Psi U. Zerothe Hero & the Pothead Pixies. There’sThe Rub. Uranus & the Seven Moons,Dodd-Mead. photo Dy c. MuaenmundWrestlers fall to ElmhurstThe Chicago wrestling trip to St. Louiswas cancelled last weekend, and instead thematmen hosted Elmhurst College Saturdayat the Crown Field House. Elmhurst won themeet 42-10, but not without several solid ef¬forts by Maroon individuals.After forfeits by Chicago at 126 and Elm¬hurst at 118. Mark Handel (118) faced Elm¬hurst's 126 pounder. Handel wrestled wellagainst his toe of the higher weight bracket,pinning him at 1:27 into the match. The win,Mark's first, was a psychological boost forthe team.At 134 pounds. Chicago’s Bob Michelldominated his quick opponent by a 12-4 deci¬sion. At 150 pounds. Steve Rubin made astrong first effort of the season, losing by de¬ cision to a heavier opponent in a tough 8minute match. At 158 pounds. Eric Robinsonwrestled toughly; tied 13-13 with very littletime left, his Elmhurst foe scored two pointsto squeak out a 15-13 decision.Losses by R Ferguson (150. exhibition),K. Bronson ' 142>, J. Leonard 167i. M. Ep¬stein (1771, H Greenblatt (190). and R.Meade < Hwt.) were due primarily to inexpe¬rience and wrestling in too-heavy weightclasses.Coach Melschen’s Maroon wrestlers faceU. of Missouri <St. Louis) tonight at 7:30 inCrown Field House, and then travel to Con¬cordia College Saturday for a tournament.All are invited to attend tonight, theMaroons’ last home meet of the seasonphoto by C ->tuOenmundThe Chicago Maroon — Friday, February 2 N79 — 21CalendarFRIDAYPerspectives: Topic: “Roles for Women as Conductors ofContemporary Orchestras” guests, J eanne Schaefer andBarbara Schubert, 6:30 am, Channel 7.Dept, of Economics: Seminar- “Job-Search and TradeAdjustment Assistance in the U.S.” speaker. GeorgeNeumann. 9:20 am-12:00 noon, Rosenwald 301.Office of Career Counseling and Placement: RecruitingVisits-Analytic Services (Anser), Arlington, Va. Callext. 3-3286 for Appt.Undergraduate Journal Club: “Functional ProgrammingLanguages”, speaker, Linas Vepstas, 12:30-1:30, Eckhart209, Free hamburgers and french fries.Geophysical Sciences Colloquium: “Climatic Effects ofIncrease CO2 — Discussion of Atmospheric FeedbackProcesses”, Speaker, V. Ramanathan. 1:30 pm. HindsAuditorium.Inquiry Open House: 3:00 pm, Ida Noyes Library.Editors will be present to answer questions.Refreshments.Center for Middle Eastern Studies: Arabic Circle(discussion in Arabic), “Intellectual and Political Cur¬rents in Egypt During the 1940’s”, speaker Prof. Assemel-Disouky, 3:30 pm. Pick 218.Economic History Workshop: "Factor Biases andTechnical Change in Manufacturing: The AmericanSystem”, speaker Louis Cain, 3:30-5:00 pm, SS 106.Center for Middle Eastern Studies: Bizden Size (discus¬sion in Turkish) “The Current Business Climate inTurkey”, speaker, Niso Abuaf, 3:30 pm. Cobb 104.WHPK: James Williams of the 5th Ward DemocraticOrganization will be interviewed on “Local Beat”, 4:00pm.Women's Union: Meets at 5:30 pm in Ida Noyes, abovethe Frog and Peach.Hillel: Adat Shalom Shabbat Dinner, 6:00 pm, Hillel.DOC Films: “Edvard Munch”, 7:00 and 10:30 pm, Cobb.Karate Club: Meets 7:00-9:00 pm in the dance room of IdaNoyes.Christian Fellowship: A sharing meeting and respondingto the retreat, 7:30 pm, Ida Noyes Hall.Folk Festival: Concert- 8:15 pm, Mandel Hall. For fur¬ther info, call 3-3567.Hillel: “Approaching One’s Self Psychologically and Spiritually” speaker, Prof. Eugene Gendlin, 8:30 pm,Hillel.SATURDAYWHPK: Chuldren’s Hour with Mary Gleiter, 10:00-noon.Arms Bazaar Teach-In: Held in the auditorium of theLutheran School of Theology 10:00 am-2:30 pm (w/lunchbreak). Speakers include Ron Freund and Sarah Stagg.Table Tennis Club: Practices 10:00 am 01:00 pm on the3rd floor of Ida Noyes.Overeaters Anonymous: Meet at 10:30 am in theWashington Park Field House.WHPK: Saturday Opera, noon to 4:00.Hillel: Oneg Shabbat for students and Hyde Park’sJewish Community, Bayit, 5458 S. Everett, 3:00-5:00 pm.Folk Festival: Concert-3:15 pm, Mandel Hall. For moreinfo, call 3-3567.WHPK: “Success Without College: Comedic Humor”,4:00-5:00 pm. “Fine Women and Song: Music a WomanCan Identify with”, 5:00-6:00 pm.Law School Films: “Rebecca”, 7:00 and 9:30 pm, LawSchool Auditorium.International House Films: “Black Orpheus”, 7:00 and9:30 pm.DOC Films: “Bambi”, 7:15 and 9:30 pm, Cobb.Folk Festival: Concert-8:15 pm, Mandel Hall. For moreinfo, call 3-3567.Hillel: Disco Party, 9:00 pm, Hillel.The Pub: Live Music-Pete Baron Sextet (I azz^ Blues),9:30-12:30 pm.SUNDAYWHPK: Finest in Rhythm and Blues, 6:00 am-Midnight.Rockefeller Chapel: University Religious Services, 11.00am, Bernard O. Brown.Hillel: Lox and Bagel Brunch, 11:00 am, Hillel.Smart Gallery: "Decorative Designs of Frank LloydWright”, Jan. 10-Feb. 25. Open Tues, Thurs 10-8, Mon.Fri, Sat 10-4, Sun noon-4.UJA Mini Mission: Speakers and tours of Chicago’sJewish Federations funded projects. Dinner at BernardHorowich Center JCC. Meet at Hillel 2:45- for more info,call Naomi Bayer 947-0065 or Art Lustig 947-5071.Overeaters Anonymous: Meets 3:00 pm, Illinois CentralHospital, 5800 S. Stoney Island, 4th floor.Rockefeller Chapel: Service of Holy Eucharist, Celebrant: The Rev. Charles D. Brown; co-sponsored bythe Episcopal Church Council, 5:00 pm.Tai Chi Club: Meets at 6:30 pm, 4945 S. Dorchester (enteron 50th).NAM Film: "The American Friend”, 7:15 and 9:30 pm.Cobb.Folk Festival: Concert-7:30 pm, Mandell Hall. For moreinfo, call 3-3567.Folkdancers: General level with teaching, 8:30-11:30 pm,’Ida Noyes Cloister Club.Woodward Court Lecture: “The Problem of ProvingGod’s Existence”, speaker Mortimer Adler, WoodwardCourt, 8:30 pm.MONDAYPerspectives: Topic: “Learning Disorders: What AreThey”, speakers, Dr. Peter R. Huttenlocher, Susan C.Lechey, and Anne Morency, 6:30 am, Channel 7.WHPK: Wake up with WHPK Rock Music, 6:30-9:00 am.Crossroads: Free English classes for foreign women,10:00-12:00 am.Bourgeois Capitalist Running Dog Lackey Society: Willbe having a memorial Service for Nelson Rockefeller, 12noon, Tuesday, Feb. 6th in the central Quads.Fluid Mechanics Films: “Secondary Flow” and “Chan¬nel Flow of a Compressible Fluid”, 12:30 pm, Eckhart133.Committee on Social Thought: Nef Lecture- “SymbolicStructures in German 19th-Century Painting: CasparDavid Friedrich,” speaker. Prof. Otto von Simson, 4:00pm, SS 122.WHPK: Classical Music witji Alec Dike, 6:00-9:30 pm.Chess Club: U.C. Winter Round Robin, 4 or 5 round tour¬nament in sections of 5 or 6, round begins 7:30 pm, IdaNoyes Hall.Karate Club: Meets 7:00-9:00 pm in the dance room of IdaNoyes Hall.Women’s Rap Group: Meets 7:30 pm in the Blue GargoyleWomen’s Center (3rd floor). For info, call 752-5655 or 752-5072.Ski Club: Meeting at 7:30 pm. Sign-ups, info, etc. IdaNoyes Hall.Baptist Student Union: Meets 7:37 pm in the 2nd floorEast Lounge of Ida Noyes Hall.Folkdancers: Beginning level with teaching, 8:00-11:30pm, Ida Noyes Cloister Club.THE MAJOR ACTIVITIESBOARDREGRETS THEPOSTPONEMENTOF ITS FEBRUARY 9CONCERT, EARS — JAZZOF ALL ERAS, FEATURINGDALE CLEVENGER OFTHE CHICAGO SYMPHONYBECAUSE OF A CHANGE EM HIS SYMPHONY SCHEDULE,DALE CLEVENGER IS UNABLE TO PERFORM ON THIS DATE.MAB HOPES TO RESCHEDULETHE CONCERTIN THE NEAR FUTURE.22 — The Chicago Maroon — Friday, February 2, 1979CLASSIFIED ADSSPACELooking for tenant or apt? Come toS.G. housing Referral Service. Weeklylist available in S.G. office in IdaNoyes Hall. Open 12:00-3:30 Wed.,1:30-5:00 Thurs.ROOMMATE SOUGHT Malenonsmoker. Furnished bedroom/ studyand kitchen privileges. Good location.$125/ mo. plus utilities. 493-6291 even¬ings. 753-2905 days.Rare in Hyde Park- great apts nearUC 1 and 2 bdrms- BU8-0718 aft. 12noon. Sundeck.Hyde Pk. Lrge 1 bdrm apt. Feb. 15$250/ monw/ ht and w. 667 2127.Roommate wanted: M/ F own bedrmin E. Hyde Park apt. $125/ mo and secJoe 644-3100 x549 (days), 288 3113(eves).Immed. Studio sublet: 57th andBlackstone! $165 a month includesgas, lights and heat! Well kept bldg, ingreat local. Very secure. Call 684-5198.For sublet: Attractive studio apart¬ment $165 utilities included 5118 S.Dorchester #207. 324 3939,Room w/ private bath. Furnished,near campus bus $130 mo. avail imm¬ed. For more info call 538-1324.F wanted to share w/ 2 F own bdrmand bath. 52nd and Dorchester.493 2767.Wanted to rent in Hyde Park. Room tobe used as workspace by art student.Call 288 4685.PEOPLE WANTEDMANUSCRIPT TYPISTS (3) Parttime (12-15 hours/ wk). School year,summer if desired. Will be trained totype camera ready copy on IBMcomposers. Must type 55 wpm, Abilityto type Spanish or French desirable,not essential. Top student rates.Contact George Rumsey, Communityand Family Center, 753-2518.OFFSET PRESS OPERATOROperate Davidson press, bothblack/ white color. Experience makingnegatives and multi-color workdesirable. Contact Kurt Robson, Com¬munity and Family Study Center,753-2518.Babysitter needed 3:30-5:30 p.m. 3 ormore weekdays, call Deborah at955-2148.Right and left-handed subjects - Testyour Preceptual Abilities. Earn $2.50per hour. Call 753 4735.SINGLE PARENT SUPPORTGROUP wants to expand. Join us:meet people, share feelings, discuss-problems. Call Barbara 363-2519.Faculty, Professional and other Am¬bitious Couples and Singles. Save$1000's buying what you now buy, fromyour own no risk, no investment,unlimited potential six to ten hrs. aweek, part time business. Solid, Bookabout bus. made NY Times best sell¬ing list Royalty Income. Profit Shar¬ing. Tax Savings. 667-4038 5 p.m. to 9p.m.Part time graduate student preferredTV atendant hospital ih area. No TVknowledge necessary. Call MrsEastman, 676-2226.Subjects wanted for psycholinguisticsexperiments. Will be paid. To register,call 753-4718.RESEARCH TECHNICIAN 20 hrs perweek, to conduct studies involving theeffects of psychotropic drugs on moodusing human subjects. Duties includesubject recruitment, drug preparationfor blind administration, record keeping of procedure and results, and dataanalysis. Must be able to work independency. Data analysis requires an ability to use computer, specificallythe Dec 20 (using basic 2). Call RonDurnford, THE UNIVERSITY OFCHICAGO dept, of Psychiatry,947 1794. An Affirmative action, equalopportunity employer.Space for 1 in small baby sitting groupnear campus. 493 9475.MEN! WOMEN! JOBS ON CRUISESHIPS AND FREIGHTERS No ex¬perience. High pay! See Europe,Hawaii, Australia, So. America.Career Summer! Send $3.85 for Infp. toSEAWORLD, ER Box 61035,Sacramento, CA 95860.Babysitter needed: Mondays 3:30 to6:00 pm. Call 947-0087.ATTENTION ARTISTS: Have yourwork printed and appreciated bymany! FOTA needs a unique posterdesign for its 25th Anniversary Calendar. $100 Prize! Stop in Ida Noyes rm218 or call 3-3562 or 3-3598 for moredetails. Deadline is March 2.Healthy males with proven fertilityneeded for semen donors. For more in¬formation, call 947-5364.WANTED Person to carry signs andhand out numbers for presidents' dayspromotion at Hyde Park shoppingcenter. 3 or 4 various hours (to suityou) per day- Wed. Thurs. Fri. Sat.and Mon. Feb 14, 15, 16, 17, and 19.$3.50 per hour. Contact Bob Salomon at943-1300.EXTRA MONEY- Earn up to $6 perhour by participating in a research ex¬periment in the Psychiatry Dept. Sub¬jects must be over 21 and must beavailable on Tuesdays and Thursdaysbetween the hours of 8:00 and 11:30 ir3:00 and 6:30 for the next three mon¬ths. For further information call947-6983 Monday-Friday, 9:00 to 5:00.FOR SALE2 wooden oboes in good condition. CallKathryn, 363-3150.PIANO. Everett upright 3 yrs old Ex-cl. cond. Must sell. 667-2127.Antique ladder-back rocker Victorianmirror ant. maple chair etc. Call363-2519 eves, wkends.PEOPLE FOR SALETyping done on IBM pica by collegegrad. Fast, accurate, reliable. Termpapers, theses, law papers,manuscripts. Lincoln Park West area.Call 248-1478.FRENCH native prof offers Frenchtutorials- all levels Ph. 268-9262.ARTWORK of all kinds-drawing,calligraphy, illustration, handaddressing of invitations, etc. NoelYovovich, 493-2399,Theses. Dissertations, Term Papers,Inc. Foreign language, gen-corres.Latest IBM corrective Sel IItypewriter. Reas, rates. Mrs. Ross239-5982, bet 11 am and 5 pm.Need papers typed? I'm located oncampus. Call Debi, 753-3574.SCENES"DREAM MAGIC" Makes Life aDream! Easy, enjoyable method. Setown fee. B. Frieden, 643 2826 (Ans.machine calls returned).ARTISANS 21ARTISANS 21ARTISANS 21Special Gifts for special people.Gallery and shop open Thurs. Fri.11:30-3:30, Sun. 12-2. In the UnitarianChurch, corner of 57th and Woodlawn.Come to the INQUIRY OPENMEETING 3 pm today at Ida NoyesLibrary. Editors will answer questlons. Refreshments served. DANCES OF UNIVERSAL PEACE onFeb. 5 at Lincoln Park Pres. Church,600 W. Fullerton. For info. 281 8523.Sufi Order.OPEN STUDENT POETRYREADING All are invited to par¬ticipate in an afternoon of poetryreading on TUESDAY, Feb. 7th at 3pm in Ida Noyes Library.GILBERT AND SULLIVAN'S THEMIKADO presented in Mandel Hall,Feb. 23 and Feb. 24 at 8 and Feb. 25 at2. Tickets at Mandel Hall Box Office.Editors of college quarterly INQUIRYinvite essays for winter issue. Submitsoon at Ida Noyes Cloakroom. Queslions? Call Adam 955 6033 or Jintae753-3777.PERSONALSPASSPORT PHOTOS While U Wait,MODEL CAMERA 1344 E. 55th St.,493 6700,Writer's Workshop (Plaza 2-8377).Dead tapes to trade. Have 30 hourswith access to much more. Mike752-2107.WOMEN'S UNIONWomen's Union meets every Friday at5:30 in Ida Noyes Hall above the Frogand Peach. Everyone welcome.GAY PEOPLEThere will be a Gay Coffeehouse Fri¬day, Feb. 2 at 8:00 in the Ida NoyesLibrary. Enjoy coffee, California OJ,and entertainment. All are welcome.AUDITIONSBLACKFRIARS Pub Show AuditionsMonday, Feb. 5 at 7:00 p.m. in IdaNoyes Theatre. Everyone is welcome!TEACHERNEEDEDJewish Sunday School needs an ekperienced teacher for Grades 1 and 2Call 752-5655 and 324-0352.NON-RUNNERSCLUBMeeting at the Pub in Ida Noyes.Walk, don't run.CLERK-TYPISTOffice position, full-time/ part-timeavailable immediately for energetic,self-directed individual who enjoysmuch contact with people. Includeswork in fund raising, contact withphilanthropic groups, scheduling fordoctors, typing public information,correspondence and records. Poisedoffice style as well as 45 WPM typingwith high accuracy required. Monday-Friday work week. Stimulating,demanding environment requires flex¬ibility, initiative, interest in growth.Setting is southside children'shospital. Please call: Personnel Direc¬tor, La Rabida Children's Hospital andResearch Center, East 65th Street atLake Michigan, Chicago, III. 60649,363-6700, ext. 233.ARTISTSAre you a Talented Individual? Whynot direct your skills toward a pro¬fitable venture? FOTA is looking fordesigns for its Annual Poster ArtsCalendar $100 prize! For more Detailscall 3 3562 or 3-3598.FESTIVALOFTHE ARTSFestival of the Arts is celebrating itsPART TIME JOBSExcellent pay...workwhenever your havetime...no obligation.Write: SUMCHOICEBox 530, State Colllege,Pa. 16801 ... and startearning next week.VERSAILLES5254 S. DorchesterWELL MAINTAINEDBUILDINGAttractive 1V2 and2*/2 Room StudiosFurnished or I nfurnished$189 - $287Based on AvailabilityAll Utilities includedAt Campus Bus Stop324-0200 Mrs. C.roak FLAMINGO APTS.5500 S. Shore I)r.Studio One BedrmKuril. c\ l ufurn.Short Lniij! irriii KrnlilU8200 - 8400Barking jmhiI. restaurant,valet, deli and trans¬portation. ('ar|Htingdrape- inel.752480QMEN! — WOMEN!JOBS ON SHIPS! Amer¬ican. Foreign. No exper¬ience required. Excel¬lent pay. Worldwidetravel. Summer job orcareer. Send 13.00 for in¬formation. SEAFAX,Dept. F-8 Box 2049. PortAngeles, Washington98362. TAl-£AM-VAMCHINESE AMERICANRESTAURANTSpecializing InCANTONESE ANDAMERICAN DISHESOPEN DAILY11 A.M.TO 8:30 P.M.SUNDAYS AND HOLIDAYS12 TO 8:30 P.M.Orders to Take Out1318 Eatt 63rd MU 4-1062THE GREATESTFAVOR YOU CANDO FOR AFRIEND IS TOTAKE HIM TOJIMMYS big 25th Anniversary with a bang.FOTA will be sponsoring comedianDavid Steinberg; Mark Twain, a oneman show; Daniel Heiftz, classicalviolinist; FOTAFEST: The annual pic¬nic on the Quads; Plus FOTA's series-of series, "The Great Books On Film",the noontime, midnight and Perform¬ing Arts workshop series. To make thisyear's Festival the best ever we needpublicity people to organize mailingsto all city publications, radio and TVstations that offer free calendar orclassified ad listings. We needdesigners for display ads in theMaroon, Chicago Journal, and HydePark Herald. We need people toorganize special mailings And finally,we need designers to create the over 45posters that cover the UC campus dur¬ing the Festival. We need your help, ifyou are interested. Call 3-3562 or 3-3598or stop by room 218 or rm. 210 IdaNoyes Hall.JOIN SKI CLUBDon't miss all the Winter fun 7.50 getsyou ail the discounts, parties, andevents. Call 955-9646 for info; meetingMon. and Thurs. 7:30 Ida Noyes Bringa friend.RESEARCHSUBJECTSWANTEDEarn up to $165 as a research subjectin Psychotropic drug studies in thedept, of Psychiatry. Studies will beginin January through March. Minimaltime required. Must be between 21-35and in good health. Call Ron Mon.Thur. mornings between 9-10 a.m947-1794.THEATRE-MANAGEMENTThe FOUNTAIN SQUARE FOOLS, anitinerant troupe of Christian actors,dancers, and musicians, seeksbusiness manager. Responsibilities in¬clude fund raising bookings, andpayroll. Call 363 1948, ask for Fr.Michael. SUFI SEMINARSUFI SEMINAR on Mastery thruAccomplishment, Feb. 3 and 4, Sat.10am 8pm, Sun. 1:30-6. Sufi dancing,spiritual walks and meditation led bySufi Sheik Buraq. Lincoln ParkPresbyterian Church, 600 W. Fuller¬ton, 281 8523. Seminar fee $20 or $15Sat. $8 Sun.WOMENDrop by the Women's Center at theBlue Gargoyle for information aboutwomen's activities Open Wed andThurs. from 7:30-10:00. Rap Group isnow Mondays at 7:30, 3rd floor. Themore the merrier, 684 3189.GILBERTAND SULLIVANTHE MIKADO at Mandel Hall Fri.Feb. 23 at 8, $3.50 and $5; Sat. Feb. 24at 8, $4.50 and $6; Sun. Feb. 25 at 2, $3.Tickets at Box Office.GAY-LESBIANSPIRITUALITYMeeting; Calvert House, Monday,8 00 pm-2/ 5. Agenda Peer Counsell¬ing and Coffee House.MONTEGO BAY,JAMAICARent a villa fully staffed with pool.Rates low as $28,00 a day per person.Villa accomodations for six. Inf. andresv.call312 783 8034FICTIONand more in #6. PHOTOGRAPHYand more in H6.ARTWORKand more in #6.CAR WANTEDWant to buy Honda Civic. Good shapeonly. Calude 753-0119.ECLIPSE 79See the total solar eclipse on Feb. 26;Astronomy Club planning session Tue.Feb 6, 8:00 pm, Ryerson 251, or callJoe Ulowetz 3 8548.POETRYand more in #6.FOLKDANCINGEvery Sun. and Mon. eve. at IdaNoyes. New time Sun. only: 8:30(general level). Mon. 8 00 as usual(beginning level with teaching). Joinus!ISSUE #6A POETRY MAGAZINE (W/ ART)featuring Rick Rutkowski; sales star¬ting Wed. the 7th in Cobb from 10-2,Reynolds on Thurs. and Fridays from11-1, and in bookstores.WOMEN'S CREWlEARN TO STROKE with us. For afree opportunity, join us tomorrow forrowing at U. Wisconsin in MadisonFor information, call 955-5253. We takeall types.Photo by Charles StoneTTT m]' ' p7 i\LAUREN BACALLHAS ARRIVED!BUT NOTBY HERSELF!We’ve got new booksbv ERIC HOFFER.F . SCOTTFITZGERALD,and others, too, inHARPER LIBRARY’SPOPULAR READINGCOLLECTION•Eye Examinations•Contact Lenses (Soft 1 Hard)•Prescriptions RiledDR. MORTON R. MASLOVOPTOMETRISTSServing the UniversityCommunity for over 40 years.Please bring University Cardfor discount.Hyde Park Shopping Center1510 E. 55th363-6363 UNIVERSITY OF CHICAGO, bookstorePHOTO DEPT. 753-3317* COURT TbOATKC570b S University Avenue Chicago Illinois tiOb3~ 753 35t!Open Discussions of Anouilh'sANTIGONELed by David BevingtonAfter the performance onThursday, Feb. 8In the RC North LoungeThe Chicago Maroon — Friday, February 2, 1979 — 23The Folklore Society PresentsThe 19th AnnualUniversity of ChicagoFOLKFESTIVALFebruary 2, 3 and 4,1979• The Green Grass Cloggers• The Corkliekers • Barde• Marc Savoy Cajun Band• Mama Yancy and Erwin Heifer• Virgil Harrison • Joe Heaney• Marvin and Turner Foddrell• Big Joe Duskin • Si Kahn• Buck White and the Down Home Folks• The Cook Counts A CappellaSinging ConventionConcerts in Mandel Hall57th St. and University Ave.Fridav. February 2 at 8:15 pin — $4.00Saturday. February 3 at 3:15 pm —$3.50 / students $2.50Saturday. February 3 at 8:15 pm — $4.50Sunday. February 4 at 7:30 pm — $4.00 Free workshops, jam sessions,lecture, folk-dancing, etc.in Ida Noves Hall1212 E. 59th St.Saturday . Feb. 3 at 10:00 am — 3:00 pmSunday. Feb. 4 at 12:00 noon — 6:00 pmTickets on sale at Mandel Hall Box Office.Call 753-3567 for more information.l The Glorious Soundof Red SealJAMES GALWAYAnnie’s Song, andOther Galway favoritesincludingBachianas Brasiletras No. 5/Liebesfreud“Carmen" Fantasy/La plus que lenteCharles Gerhardt/ National PhilharmonicRED SEALCBL2-2965 Ain't Misbehavm Original CastARL1-2499 Julian Bream v«ia looosThe 12 Etudes and Suite populate bresiiienneARM1-2766 Enrico Caruso/Tne CompleteCaruso Voi 4LSC-5014 Van Cliburn'Chopm s Greaies’ HitsARL1-2698 Close Encounters ot the ThirdKmd/Star Wars/Charles GerhardtFRL1-0149 Concerto for Classic Guitar andJazz Piano 'Boning/LaGoyaCRL1-2064 Arthur Fiedler A legendaryJames Galway Man with mePerlormerLRL1-5094Golden FluteLRL1-5131 James Galway'Tne Magic F uteof James GalwayARL2-2631 Rampal and LaGoya m ConcertARL1-3003 Guarneri Quartet'Schubert GuartetNo 15ARL1-2548 Vladimir Horowitz GoldenJuoiiee Recital—Liszt Sonata m B MinorCRL1-2633 Vladimir Horowitz GoldenJuMee Concert—Rachmaninoff Concerto No 3ARM1-2716 Vladimir Horowitz /Tne HorowitzCollection—Chopm. Voi 1ItCJI ARM1-2952 Vladimir Horowitz The HorowitzCollection—Pronotiev' Barber/ScriabinARM1-2953 Vladimir Horowitz The HorowitzColiection/Chopm Voi 2ARL1-2949 Eugene Ormandy/PhiladelphiaQrchestra/Dvorak New World SymphonyCRL3-2931 Jean-Francois Paillard/EnglishChamoer Orchestra/ Mozart The Seven LastSymphoniesARL1-2743 Peter and the Wolf David Bowie/Eugene OrmandyARL1-0485 Andres Segovia My FavoriteSpanish EnccresARL1-1323 Andres Segovta/~he InornateGuitar 2ARL1-2602 Andres Segovia ReveriesARL1-0864 Andres Segovia The intimate GuitarABL1-2610 The King and l/Onginat CastFRL1-5468 The Pachelbel Canon/MaunceAndre Paillard Chamber OrchARL1-0f58 Tomita/Pictures at an ExhibitionARL1-1919 Tomita/The PlanetsARL1-2616 Tomita/KosmosARL1-1312 Tomita/FirebirdARL1-0488 Tomita/Snowtiakes Are DancingRED SEALWhere artists become legends & * Ik) mE SHOPSCobb Coffeeshop and MoviesThe Cobb Coffeeshopwill be open during and followingthe film BAMBI. This Saturday,J 72/3 9 P.M. until 12 Midnight.PLUSLIVE ENTERTAINMENTFEBRUARY 3rdDavid YoungermanFolk Guitar and VocalsNOW THRU FEB. 15SPIN-IT isHAVING A SALE ONRCA’S ENTIRERED SEAL LINE.$7.98 LP’S ARE ONLY$4.79.SAVE NOW - BEATTHE WINTER MESS ANDENJOY SOME GREAT MUSIC. 1ym "tr —-V- 'V'** •y-** yi—> wB/t