—, ——■— -rrr-The Chicago MaroonVolume 93, No. 16 The University of Chicago ©Copyright 1983 The Chicago Maroon Friday, October 28, 1983Project 1984’ initiatedBy Frank LubyThe newly formed Center forCurriculum Studies initiated“Project 1984 — DesignIssues” this week in an effortto involve a large number ofCollege faculty and students ingenerating the best possiblethought about selected issuesconcerning the College pro¬gram. Jonathan Z. Smith andJohn MacAloon, current co-chairmen of the Center, calledProject 1984 the first year-longproject in the Center’s ongoingprogram to provide a forumfor discussion of general, col¬lege-wide educational issues.John MacAloon Funding for the projectcomes from the Robert Mayn¬ard Hutchins Fund, which re¬ceived a $50,000 grant Fridayfrom the Exxon Corporationspecifically for the study.The question of undergradu¬ate education has confrontedseveral smaller committees inthe past, but Project 1984operates on a different scalefrom previous attempts. AsMacAloon, a professor in theDivision of Social Sciences,commented, “it has been diffi¬cult to find the proper forumfor college-wide discussions ofcurriculum issues.” Thisyear’s project brings togetherstudents and faculty on indi¬vidual task forces to addressthe particular issues, but eachtask force, by the nature of theproject and the general natureof the questions raised, hasfreedom to follow its owncourse of discussion. MacA¬loon indicated also that, if nec¬essary, “groups may meet to¬gether if determined to beuseful, just as task forces maywhere interest overlaps.“We’ll do it in an atmop-shere conducive to freshthought rather than immediatesolutions to existing prob¬lems,” he said, adding that theproject marks an “attempt toproduce such rethinking (ofcurriculum issues) withoutties to, formally or informally,any administrative or legisla¬ tive agenda.”Each of the eleven student-faculty task forces will chal¬lenge one of the followingissues: the freshman year, thesenior year, foreign language,mathematical and quantita¬tive studies, historical and cul¬tural studies, college writing,course electives, student re¬search, creative work in thearts, physical education, andregistration and accreditation.The list does not by any meansexhaust all the possibilities forstudy under such an organiza¬tion, but as MacAloon pointsout, “we couldn’t do it all atonce.”The project also sets up, se¬parately from the eleven taskforces, committees on extra¬curricular activities such asOrientation Week, Kuviasung-nerk, Homecoming, and Festi¬val of the Arts, and commit¬tees in each of the CollegiateDivisions to examine the Com¬mon Core. All these groups willconsist of both students andfaculty.continued on page 12 Jonathan Z. Smith photo by neal cohenNew grant saves Work/StudyHeliport approvedBy Ravi RajmaneThe prospect of constructinga heliport atop the Universityof Chicago Medical Center wastentatively approved at theOct. 20 meeting of the ChicagoPlan Commission; however,some area residents expresseddisdain at the proposition, stat¬ing that a heliport could endan¬ger the community in a poten¬tial helipcopter accident andwould certainly create noisepollution. Final approval of theheliport is contingent on theoutcome of a December publichearing before the city councilzoning committee.The roof of the new BernardMitchell Hospital, 5815 S.Maryland, is the designatedsite of the heliport. Equippedwith an emergency helicopterambulance, the heliport will beserviced 24 hours a day bytrained medical aides. All up¬keep and refueling of the air¬craft will take place at MidwayAirport.The need for a helicopterambulance was justified be¬fore the Commission by Dr.Frank Baker, helicopter ser-ice director at the hospital, in tandem with state helicopterpilot Dwayne Moore. Theystressed the necessity of a heli¬port, noting that no-such unitexists in northeastern Illinois.The primary function of the he¬liport would be the transporti¬ng of patients from other hos¬pitals. Baker also indicatedthat the helicopter ambulancewould be used in accidentcases. continued on page 12 By Michael Elliottand Anna HupertThe Office of Career andPlacement Services (CPS) re¬ceived a supplemental allot¬ment yesterday of $77,000 fromthe Department of Education.The funding, which CPS direc¬tor Julie Monson called “asplendid bonus,” will allow 80additional students to partici¬pate in the Work/Study pro¬gram here.Before the allotment wasgranted, funds for Work/Studyhad been completely allocated,and approximately 70 studentswho had been notified of eligi¬bility for funds would not havebeen able to receive any.The Work/Study program isa federally-funded financial aid program designed to assistneedy undergraduate andgraduate students by payingthe salaries of students em¬ployed in on-campus jobs whileattending college. At Chicago,eligible undergraduates mayearn up to $1500 and eligiblegraduate students up to $6000annually.Those eligible forWork/Study must find employ¬ment on their own from a list ofWork/Study positions, andthen be referred back to Ca¬reer and Placement Services(formerly the Office of CareerCounseling and Placement) tocomplete the paperwork nec¬essary for their salaries to befinanced by Work/Study.Those who have completed this procedure would not have beenaffected by the shortfall infunds.Because of the supplementalgrant, about 80 students willstill be able to receive themoney for which they were ini¬tially considered eligible. Inother words, anyone who nowhas a referral appointmentwill probably be accommodat¬ed. For those who have notmade appointments yet, evenif they were notified of eligibil¬ity, the prospects of getting ajob through Work/Study are“grim,” according to Monson.In past years, there havebeen problems with eligiblestudents being unable to findWork/Study employment, andcontinued on page sevenComputation Center facilities and servicesBy Hilary TillThe following article on theservices provided by the Uni¬versity’s Computation Centeris the third of a four-part serieson computing at the Universityof Chicago.The Computation Centerprovides all manner of facili¬ties and services for the com¬puting needs of the Universityof Chicago community. Fromsoftware packages to specialassistance programs, theCenter supplies a diverserange of possible applicationsfor its computers. The main fa-InsideGCJ cilities and services are de¬tailed below.Hardware and softwareThe Center currently ownsthree computers, one IBM3081D and two DECsystem2060s. The two DECs areknown as “Chip” and “Dale.”With the assistance of softwarepackages, the computers aremost commonly used forgraphic production, documentpreparation, and statisticalanalysis.Chip and Dale are mainlyused by students, faculty, andstaff for running interactivesystem programs. Specifical¬ly, the DECs’ programs in¬clude those which are used for“statistics, graphics, text pro¬cessing, financial planning,and data management.” Also,one can do one’s own pro¬gramming on the DECs. Theprogramming languageswhich can be used on the DECsinclude Fortran, Pascal, APL,and Basic. The DECs are alsowidely used by students takingcourses offered by the com¬puter science department.The IBM 3081D is principallyemployed for running back¬ground jobs in a batch environ¬ment. Basically in batch com¬puting, the computer decideswhen a program is to be exe¬cuted after it is given a list of instructions. Some of the pro¬grams available on the IBMcomputer include statisticalpackages, a graphics system,and a text formatter. In addi¬tion, one orders high-speedprinting by the Xerox 9700printers through the MVS/IBM308ID system. Like the DECs,one can use any of a range ofstandard programming lan¬guages on the IBM.Terminal clustersIn order to use the Universi¬ty’s computers, one can go toany number of locations. Ter¬minals can be found at the Cen¬tral Users’ Site (USITE) inRoom 310 of Wiebolt, in Room201 of Regenstein Library, inRooms 121-126 of Pick Hail, onthe sixth floor of Abbott Hall, and in several of the Universi¬ty’s dormitories.Courses and seminarsFor those new to computing,the Computation Center pro¬vides many short, non-creditintroductory courses. “Theintro sequences are a verygood way to get started,” re¬ported one member of theComputation Center staff.Some of the many coursesavailable are the following:“Introduction to ComputationCenter Facilities and Sof¬tware,” “Fundamentals ofComputing,” “Introduction toText Processing in the IBMEnvironment,” and “Introduc¬tion to the DECsystem-20’s.”There is also a self-studyarea at USITE where peoplecan take multimedia coursesin computing and data pro¬cessing using DELTAK mo¬dules. The cost of renting a mo¬dule is $10. The courses thatwere available this past monthdetailed programming in PL/Iand Basic and described theuse of MVS Job Control Lan¬guage.Except for the longercourses, most of the coursesand seminars are free. Regis¬tration is required for allcourses and some seminars.For further information onContinued on page 14MIDNIGHT MADNESS RETURNSTO SPIN-IT!27 Hours to save on EVERY ITEM in the store!24% off our regular price!FRIDAY OCTOBER 28 • 1 Oa.m. - 2a.m. • 16 HOURS TO SAVESATURDAY OCTOBER 29 • 1 Oa.m. - 9p.m. • 11 HOURS TO SAVEHere are just a few of the items included in this sale:TOM BROWNEROCKIN RAOKDTOM BROWNEROCKIN' RADIOCASSETTEIncludes: ROCKIN' RADIOCRUSIN'TURN IT UP(COME ON Y’ALL)on Arista Records IncludesHOW MANY TIMESCAN WE SAYGOODBYE (Duet withLuther Vandross)GOT A DATEon Arista Records i SHEENA EASTONINCLUDING:on EMI/America Records STRAY CATS ■RANT 'N' RAVE WITH THE STRAY CATSINCLUDING (SHE'S) SEXY + 17,I WON’T STAND IN YOUR WAY TOO HIP, GOTTA GOon EMI/America RecordsELVIS COSTELLO& THE ATTRACTIONSPUNCH THE CLOCKincluding:Everyday I Write The BookThe Greatest Thing/Pills And SoapShipbuilding/The Invisible Man AL DI MEOLASCENARIOCULTURE CLUBCOLOUR BY NUMBERSincluding:Karma Chameleon/Miss Me BlindChurch Of The Poison Mind/Mister ManIt's A Miracle** THE MOTELSLittle RobbersfeaturingSuddenly Last Summer- Remember The NightsO^lsie Of You Into The Heartland including:Sequencer/lsland DreamerAfrican Night/Cachaca/ScoundrelTHE MOTELSLITTLE ROBBERS IvtBtBSFiytS COSTELLOpuhch rut clowQE39107 FC 38944on CBS Recordson CBS Recordson Capitol Records on CBS RecordsTHIRD WORLDALL THE WAY STRONGincluding:Lagos Jump/Rock And RaveSeasons When/All The Way StrongLove Is Out To Get YouPAT BENATARLIVE FROM EARTHincluding:Love Is A BattlefieldLive Versions 01Hit Me With Your Best ShotHeartbreaker/Fire And Ice THE ELVISBROTHERSMOVIN' UP BILLYJOEL®ANINNOCENTMANincluding:Its So Hard/Here We Go AgiHidden In A HeartbeatFire In The City/Santa Feincluding:Tell Her About ItUptown GirlLeave A TenderMoment AloneKeeping The FaithAn Innocent Man v BILLY lOEUan INNOCENTI manpat BENATARUVE t- KOM EARTHFV 41444 QC 38837on CBS Recordson CBS Records on CBS Recordson Chrysalis RecordsSPANDAU SALLflSPANDAU BALLETTRUEincluding:Lifeline/Communication/TrueFoundation / Pleasure6V 41403on Chrysalis Records We accept cash, checks, MasterCard and VisaSPIN-IT1444 E. 57th St.684-1505 4%,42—The Chicago Maroon—Friday, October 28, 1983OBS raffle winnersOn Oct. 2, the Organization of BlackStudents had the drawing for its firstannual autumn fundraiser. Six winnerswere chosen during the “End is Near”party.Edwin Kim, a student in the medicalschool, won the first place prize of aCommodore Vic-20 personal computer.The two second place prizes of ToshibaFM portable cassettes went to RubynnEnglish and Simone Johnson. Threethird place prizes of $25 gift certificatesto Spin-it Records were won by Ber¬nard Brady, Liza Hendricks, and DaveYntema.Crossroads AfricaA representative from OperationCrossroads Africa will be visitingcampus to speak about the organiza¬tion’s Summer Work/Travel/StudyProgram. The program involves gen¬eral community development workand specialized projects in the healthfield, anthropology and veterinarymedicine.The representative will speakWednesday from 12 to 1 p.m. in PickHall, room 218.For additional information, see orcontact Deborah Lipsett at 962-7042.Israelite literatureProfessor Warren Bargad will be theguest speaker on the “Breakfast withthe Rabbi” series, Oct. 30, at 10 a.m.,Congregation Rodfei Zedek, 5200 HydePark Boulevard. His subject will be“Israelite Literature.” Bargad re¬ceived degrees from Harvard Univer¬sity, the Hebrew College in Boston, andhis doctorate from Brandeis Universi¬ty, where he has also taught.His main field of interest is 20th Cen¬tury Hebrew fiction, and he is workingon an anthology of Israeli poetry intranslation. His articles on these sub¬jects have appeared in many publica¬tions. NEWS IN BRIEFDr. Bargad is currently Professor of'Hebrew Literature, and Dean at Sper-tus College of Judaica.Clinic for quittersA five-day “I Quit” Smoking Clinicwill be held from noon to 1 p.m. Nov. 1,2, 3, 4 and 7 at the Daley Center, Room2835, Washington and Clark Streets,Chicago.Sponsored by the Illinois Intera¬gency Council on Smoking and Diseaseand the Chicago Department of PublicHealth, the clinic is free and open to thepublic. Speakers from the ChicagoLung Association, Chicago Heart Asso¬ciation and American Cancer Societywill discuss such topics as “Why YouSmoke,” “Lung Cancer,” and “How toQuit and Not Put on Weight.”For further information and regis¬tration, please contact Marjorie Mo-lyneaux, executive director of theCouncil, 346-4675.Tryout LSAT packetA new service for students who arethinking ahead to decisions about post¬graduate and professional degrees andfuture careers has been announced bythe Law School Admission Council andthe Law School Admission Services.The new service is called The LawPackage.The Law Package will help studentsevaluate their interest in law school.Students can take a “tryout LSAT” andrequest that the Law School AdmissionServices score it for their eyes only.The Law Package can help studentsexplore questions about the admissionprocess and law school, the aims oflegal education, and the range of ca¬reers available with a law degree. Toassist those who decide to apply to lawschool, The Law Package provides aguide to the admission process.Freshmen and sophomores who areindecisive about their career paths willbenefit from this introduction to legaleducation and legal careers. Available from the Law School Ad¬mission Services for $10, The LawPackage includes a four-part programof publications, services and self-eval¬uation materials. For more informa¬tion write to: “The Law Package Bro¬chure”; Law School AdmissionServices; Box 500; Newtown, PA18940.WHPK broadcastWHPK 88.3 FM will broadcast the In¬ternational House conference on Sovi-et-American relations this Monday.WHPK will carry the entire conferencelive and unedited, starting at 8:30a.m.First SAGE meetingThe Student Association of GraduateEducation (SAGE) will hold its firstmeeting of the year Monday at 12:30p.m. in Social Sciences 305. All stu¬dents are welcome.SAGE is concerned with issuesraised by the Baker Report on Gradu¬ate Education as well as more generalmatters of graduate academic and so¬cial life.Talk on aging parentsThe Scottsdale Branch of the Chica¬go Public Library, 4101 West 79th St.will host a talk on “Dealing with Prob¬lems of Aging Parents,” Tueday at10:30 a.m. The talk will be presented by DianeColen, PhD of Family Health Special¬ists, 8100 S. Western Ave., a privatemedical facility affiliated with MountSinai Hospital.Colen will discuss the emotional andpsychological problems that familiesencounter with aging parents and rec¬ommend solutions to them.For more information on this or anyother program contact Caryn Amster,at 542-2473.Psychotherapy groupThe University of Chicago Depart¬ment of Psychiatry is now acceptingnew members in an insight-orientedpsychotherapy group. This treatmentgroup is part of the Adult PsychiatryOutpatient Department’s group pro¬gram and is led by a senior member ofthe teaching staff, a clinical psycholo¬gist, together with a resident physicianin psychiatry.The therapy group is limited innumber to eight young men andwomen, and meets each Monday eve¬ning from 5:30 to 7 p.m.Persons between 20 and 32 havingproblems with intimacy, self-esteem,making commitments, experiencingand expressing feelings, or overcom¬ing recurring anxiety-provoking situa¬tions are most likely to be appropriatefor this group and to find it helpful.Fees average around $20 per group ses¬sion; initial screening and evaluationinterviews are more.People who are interested in partici¬pating in such a therapy group are en¬couraged to phone Dr. Ed Cook at962-9683, or Dr. Robert Lipgar at962-1513 for futher information.The Adult Outpatient Clinic also hasother therapy groups (for recently hos¬pitalized patients, for divorced women,for patients 32 to 55) and other psychia¬tric services, including individual andfamily therapy. Such additional infor¬mation can be obtained from Dr. StanMcCracken at 962-6184.Student Government Announces:A TOWN MEETINGThe first of ongoing studentforums on campus issues.An Open Discussion of“ + /■ grading99 and othergrading issues that maybe considered by theCollege Council this year.All students andFaculty are welcome-Thursday, November 3at 4:30in Social Sciences 122Funded by SGFC —The University of ChicagoAlumni AssociationpresentsLIFE AFTER GRADUATION:People in Business for Themselvesan informal discussion of careers inbusiness for interested studentsGUESTSLouise M. WassoOwnerLouise W. (Executive Women's Apparel)Stuart BrentOwnerStuart Brent BooksManagerGeneral Book Department, University of Chicago BookstoreHans W. MorsbachOwnerMedici on 57thMedici on HarperMedici on Surf" Frog and Peach12 noon, Tuesday, November 1,1983Robie House, 5757 Woodlawn AvenueBring your own lunch (Beverages provided)The Chicago Maroon—Friday, October 28, 1983—3to taskThough the University of Chicago boasts a number of student or facul¬ty committees and organizations, the opportunity for students and fac¬ulty to work together on equal footing toward a productive end does not'■■ J .Project 1984 the first year-long project by the Center for CurriculumThought provides such an opportunity for students and faculty to offertheir opinions and ideas in an atmosphere of cooperation, and hopefullymore efforts of this type will follow in the future.For now, students throughout the College have been invited to par¬ticipate in Project 1984 as members of task forces which will addressfundamental educational issues in the College and its curriculum, andthe ideas generated by Project 1984 have the potential to affect pro¬foundly the future course of the College curriculum.The success of such an undertaking depends solely on participation,so should a student pass up this opportunity for interaction with the fac¬ulty and with other students, he misses a valuable educational experi¬ence, and forfeits an opportunity to have a voice in what an undergradu¬ate education at the U of C should be.In praise of Joe PolowskiTo the editor:The wise are never certain, the bravehave no fear, and the virtuous have no■ sorrows.' -This may be the conclusion from Mi¬chael Miner's article in the Reader ofOct. 21, about the life of Joe Polowski.the ex-U of C student. He fought forwhat seems impossible: to reduce thelevel of fear and danger in the world.“He had a vision of US-Soviet friend¬ship. and he endured a lifetime of debtand discouragement trying to makeothers see it.”WHPK ignoredTo the editor :Last Tuesday, WHPK sent a repre¬sentative to the Student Governmentmeeting to appeal the Finance Com¬mittee’s recommendation. Anothergroup appealed first, and lost. Afterthis, most of the Assembly left, withouteven adjourning. The WHPK represen¬tative had been waiting for over twohours to present the station’s case: hesat there in shock when the Assembly-walked out. He was not even given thechance to present the station’s argu¬ments. I find it difficult to convey thehumiliation that the organization suf¬fered as the result of this inexcusablyrude and shabby treatment. Onceagain, WHPK was not even treatedwith respect, much less grantedmoney.For years, WHPK has struggled —and usually failed — to make endsmeet. WHPK operates on a severely li¬mited budget, a budget much smallerthan other, comparable radio stations.WHPK is no longer able to functionwithout a realistic operating budget.WHPK appealed the Finance Commit¬tee’s recommendation hoping that thewhole Assembly would demonstrate itscommitment. Instead, they were noteven courteous enough to listen.WHPK thus assumes that StudentGovernment has no interest in support¬ing the student radio station. So whenWHPK disappears, ask Student Gov¬ernment about it.Thomas T. UhlStation Manager WHPK He may have failed to draw attentionof the media and of the public at large(like everybody else pursuing similarcauses). But life being what it is, fail¬ure and success can only be viewed asdifferent threads of the same cloth. Hissuccess consists exactly in his selflessstruggle for a noble cause.If his life resembles that of a camel’s,his fight was that of a lion’s, and hisdeath that of a child. The life of JosephPolowski makes someone breath, evenin this, “the real’ world.Evangelos Geronicolas %-cL COf&CLTCXetAcu^ ■ , .$&Acec\X> frLA/Jpy,hc*t cniets(OAtXivJCFffT/4•fH 1~6a4i£t:_uiCJfJ ! fJ Titcrfyj&uuet Aw%Of ■fo fvvfM'Oce i" ,,0p€tj ■, to4t,<rePWirt-pA-u.ciioWfAie(2tfoe&i- WO'^xohAlAfctHOTe (LorOrriLoL- .-ft? J2.667,15(7£rr4 ; to tjJAbtTt&U UBLXOUhtItocKeo ozr fT^ ftAU^W£S0 CO^OHCBY KEITH HORVATH‘Negative attitudes’ deploredPHOTO BY ara jelalianGen. David C. Jones To the editor:The article in the “Campus Voice”section of The Maroon (10/25/83)“South Side Stereotypes Mislead Stu¬dents” was. on one level, superficiallyamusing and at another, mildly irritat¬ing— like lint. What was charmingabout the article was that it carica¬tured the “white-conservative-yet-so-ciallv-conscientious” U of C student(another stereotype). One’s “small-Jones: a Kissinger connection?To the editor:I was unable to attend General DavidC. Jones’ Visiting Fellow lecture lastThursday. But I did read the Maroon’scoverage of the event.In their news article, Sondra Kruegerand Peter Osterlund quoted at lengthfrom General Jones’ analysis of the twosentimental and uncalculating ideolo¬gies that compete for control over USinternational policy, which I thoughtwas excellent:“When Carter came into office,foreign policy became a subset ofpsychiatry — if we could just talkto the Soviets, and cut our defensebudget to show we were serious —then things would sort themselvesout and tensions would be re¬laxed. But by the time he left, allthat had changed and the defensebuildup and grain embargo wereThe Chicago MaroonThe Chicago Maroon is the official student newspaper of the University of Chicago It isiblished twiceper week, on Tuesdays and Fridays. The offices of the Maroon are in Idajyes Hall, rooms 303 and 304. Phone 962-9555.Anna Hupert Frank LubySpor ts EditorPeter OsterlundViewpoints EditorAra JelalianPhotograph/ EditorJesse HalvorsenGrey City Journal EditorJeffrey TaylorManaging Editor ,Cliff GrammichNews Editor ■Sondra KruegerFeatures Editor -Purnima Dubey„ Assistant Features Editor■,Associate Editors: Michael Elliott, Koyin ShihStaff: Steve Barnhart, Zlatko Batistich. Mark Blocker, Jane Burke, Anthony Cash-man,Charles Coant. Spencer Golden, Wally pabrowski, Amy Eiden, Pat Finegan, Bob Fish¬er, Paul Flood. Keith Horvath, Kathy Lindstrdm, Jane Look, Jeff Makos, Ravi Rajmane,Leah Schlesinger, Nathan Schoppa, Hilary Till, Jeff Wolf.Brian MulliganGrey City Journal Editor Chris ScottAdvertising ManagerRobin TotmanOffice ManagerJoshua SalisburyBusiness ManagerLinda LeeProduction ManagerCampbell McGrathChicagoJLIterary Review Editor4—The Chicago Maroon-Friday, October 28. 1983 just a prelude to the tensions tocome.“Then Reagan came into officeand policy became a subset of the¬ology. All the problems sprungfrom the meddling of the evil,atheist communists. Now, eventhat has turned around. We’velifted the grain embargo, eventhough the Soviets are still inAfghanistan, and are pursuingarms negotiations.”I was similarly impressed by a pas¬sage on page 239 in Henry Kissinger’sYears of Upheaval (1982). In a chapteron detente, Kissinger wrote this:“The liberal approach treatedforeign policy as a subdivision ofpsychiatry; the conservative ap¬proach considered it an aspect oftheology. Liberals equated rela¬tions among states with humanrelations. They emphasized thevirtues of trust and unilateral ges¬tures of good will, Conservativessaw in foreign policy a version ofthe eternal struggle of good withevil, a conflict that recognized nomiddle ground and could end onlywith victory.”I think a clarification is in order ifany attributions to third parties byGeneral Jones in his presentation wereinadvertently left out of the news re¬port.Richard MattersdorffThird Yeard student in the CollegeWhile we acknowledge similarity be¬tween the two passages, a doublecheckconfirmed that Jones did not attributethe quote either to Kissinger, or to anyother third party. —ED townness” is no excuse for ignorance.The comments are not worthy of anyserious student of social thought. Thevery notion of the black community’s“ascent” toward the middle class is asdangerous to the black community asthe retarded thought of anyone whobrings to the U of C notions that everyblack he sees is a likely threat to hiswell-being/is on welfare/ is one of “adoomed people.” All of these ideas arebased on the negative racial attitudes,complacency and narrowness of visionso imbedded in American culture andso destructive to black people. Thephysical reality— the myth— obviouslyserves a purpose.What was irritating about the articlewas that it represents an attitudetoward race relations that currentlyexists on this campus. In this “haven”of critical thought and cultural relati¬vism, serious evaluations of race rela¬tions are not popular. Many (blacksand non-blacks) feel that racism doesnot exist here. Our experiences asblack students on this campus, howev¬er, do not support this attitude. We donot choose to argue that raw racism inits Jim Crow form exists here, but thatnegative attitudes about blacks per¬sist— and are just as harmful. The ideathat if one denies the existence of rac¬ism, it will go away (however motivat¬ed) is pathetic and dangerous. We can¬not afford to deny the existence ofnegative racial attitudes in the world,in our own house.Though the author admits to “thecomplexity of Chicago’s communities”she misses the point that people aresuffering. She is more impressed by the“well tendedness” of middle classhome than she is awed by the slumswhich are the product of racism. Thetone of her description of her “discov¬ery” of middle class homes on theSouth Side is one of revelation. This isreally quite offensive. The author re¬veals the negative racial attitude that:“I (a white person) can get along withyou (a black person) as long as you canmake me forget that you are black. Ican live and work and learn with you aslong as you will not remind me of your‘blackness.’ I can stand for you to be inmy presence as long as you can provecontinued on page 14'■5 VIEWPOINTSLebanon peacekeeping forceBy Daniel BattermanIf it is ever possible to recover from the outrageand horror we all feel towards the recent act of bar¬barism perpetrated against our marines in Lebanon,the need arises for a calm appraisal of the situationthere.One observation is readily apparent: that Ameri¬can marines are in a very untenable situation in Le¬banon. To note this is a considerable step towardsunderstanding the overall problem in that country.Not only does Lebanon serve as a military play¬ground for a myriad of conflicting armed militias,but the marines are unenviably caught in the cross¬fire.President Reagan initially dispatched the marinesthere to keep peace and then to aid in the successfulgrowth of the fledgeling government of Amin Ge-mayel. It was hoped that they would not have to en¬gage in combat; their mere presence would sufficein achieving the above goals. The logic here wasflawed in that it assumed that various armed fac¬tions would respect our presence and allow us toachieve our objectives, even if they ran counter tothese factional interests. Unfortunately, by virtue ofour confinement to a small area south of Beirut, andour policy of non-intervention in the civil war, themarines can do little more than act as a symbol ofAmerican interest in the region. As is brutally evi¬dent from the recent bombing, very little peace isbeing kept by the marines. In a country as fracturedand as regimented as Lebanon, it will take morethan our feeble symbols to keep the peace there. Aslong as the marine contingent remains as small andas confined as it currently is, they can never be aneffective peace-keeping force. Consequently, theleader of the Druze, Walid Jumblatt, can threaten todestroy incoming planes to Beirut airport and themarines, in concert with the Gemayel government,have no alternative but to respect their threat andclose the airport to air traffic.In terms of diplomacy, the President has been at¬tempting to secure the full withdrawal of all foreignforces within Lebanon, i.e. Israel and Syria. Once again, this effort assumes many things. For one, itassumes that the Lebanese army would be capableof maintaining control of the regions once the foreignarmies withdraw. At this point, the army cannoteven subdue the Druze militias surrounding Beirut.Even if the United States is successful in securingSyrian and Israeli withdrawal, the Lebanese armywould hardly be in a position to assume permanentcontrol of these areas. This is primarily due to thepresence of such militias as the Phalangists and theDruze, who would not readily concede their militarypositions witout considerable concessions by the gov¬ernment.The second misconception on the part of the Amer¬icans is that unilateral Israeli withdrawal from theareas she controls is somehow a precondition for thesuccessful reunification of Lebanon. Because of theReagan administration’s blind eagerness to distanceitself from Israel, it is foresaking an important allyin the region. The most recent example being the ad¬ministration’s inane refusal to accept the offer ofIsraeli medical aid after the recent bombing of themarine barracks. Instead, the wounded marineswere flown all the way to West Germany rather thanto Israeli hospitals only a half-hour away. Anotherexample of American irrationality vis-a-vis Israelpertains to the recent Israeli pullback from the areaaround Beirut. For several months the administra¬tion had been pushing the Israelis to withdraw. Whenthey finally decided to pull back, the administrationreversed much of its earlier bequests and literallybegged them not to leave, fearing an Israeli pullbackwould place the Druze within dangerous proximity tothe marines. Subsequently, the Israelis delayed theirpullback three times under American pressure be¬fore finally making the move south. The fact of thematter is that the Israeli presence in Lebanon, atthis time, serves as a stabilizing factor in southernLebanon as long as the Lebanese army is incapableof making any pretensions of national control.Therefore, the primary concern of the Reagan ad¬ministration and the Gemayel government must benational reconciliation, if that is possible in Lebanon,SG rep supports funding denialBy Joel GinsbergOn Tuesday evening (10/25/83) several membersof the student group CAUSE (Committee Assembledto Unite in Solidarity with El Salvador) came beforethe Student Government Assembly to appeal the Fi¬nance Committee’s decision not to grant them fund¬ing for their planned activities and general operatingcosts for the autumn quarter. The Finance Commit¬tee’s decision was upheld.I voted against the requested allocation because itwas my perception that such funding would conflictwith Article VI of the Bylaws of the Student Govern¬ment Finance Committee, in which it is stated that“the Finance Committee may not allocate StudentFunds, directly or indirectly, for religious activitiesor for funding of activities of a non-University politi¬cal nature.’’ Article VI stipulates that an activitymay not receive funding if its “major purpose...is topromote a particular ideology or particular view¬point,” though it further stipulates that “education¬al” activities may be funded so long as “they are notsubstantially concerned with changing laws or poli¬cies or campaigning for or against particular ideolo¬gies.”CAUSE requested a total of $494.50, $145.50 for gen¬eral operating costs and $349 to show three films,Target Nicaragua, El Salvador: Another Vietnam ?and Hearts and Minds. CAUSE claims these filmsare primarily “educational” and while I am surethat they indeed serve an educational function, itwas my impression that they (as a group) were“substantially concerned with changing laws or poli¬cies” — here, changes in U.S. foreign policy — andthis being so, are intended “to promote a particularideology or particular viewpoint.”Now the Finance Committee requires only that“the activity,” in order to receive funding, not pro¬mote a particular ideology or viewpoint. This is tosay that CAUSE could receive funding for their filmsif they could demonstrate either that the films arethemselves not biased in favor of one particularviewpoint or ideology or. another, or if these activi¬ties would include the formal presentation of oppos¬ing views (as in a debate or a “round table” format).This has been repeatedly suggested to CAUSE, butapparently they have found it impossible to find any¬one to defend the status quo.It has been suggested to me that the Finance Com¬mittee’s guidelines for allocating funds are unrea¬sonable, and perhaps this is so. Suppose we allowthat CAUSE should receive funding to show thesefilms. We might argue for this by claiming thatCAUSE is entitled to funding at least in proportion tothe number of its members. It might further be ar¬gued that not funding such groups as CAUSE (andothers which challenge the status quo) is as muchbiased political support as is funding them, since notfunding is effectively an endorsement of the statusquo.If 50% of the student body, however, belonged to a club or society whose activities were orientedtoward promoting only one viewpoint on a controver¬sial issue, we would have no qualms in refusing tofund the club, regardless of the size of its member¬ship. If we agreed to fund one sort of politically-biased activity, then we would be bound either to (1)fund any activities whatsoever regardless of biases,or (2) to formulate criteria to evaluate the inherentvalue of activities (and their accompanying ideologi¬cal bases) for which funding was requested.In the first case, Student Government might finditself supporting activities intended to promote par¬ticular ideologies or viewpoints, and in the second,the Finance Committee would be transformed intoan extremely powerful quasijudicial body whoseprime responsibility would be to rank activities ac¬cording to their “inherent” values and then to dis¬tribute funds on the basis of that ranking. If we inter¬pret not funding particular groups as indirectsupport of the status quo, and we wish to be fair andnot support some views at the expense of others, thensimply by not supporting all views we are unjustlylending support to one view or another, since simplefailure to support a view is seen to constitute opposi¬tion to it.Finally, one could argue that even if decisions notto fund are not interpreted as direct support of op¬posing positions, the Assembly’s decision with re¬gard to CAUSE represents a case of special discrimi¬nation, since Student Government currently fundssuch groups as GALA (Gay and Lesbian Alliance)and the Women’s Union, groups which are politicalwhere they commit themselves to particular laws orpolicies (pro-gay legislation, the ERA, etc.). Itshould be noted that the “activities of these groupsmust also conform to the requirements of Article VIof the Finance Committee Bylaws in order to receivefunding. But whereas GALA and the Women’s Unionhave received funds for general operating expenses,CAUSE has not. With regard to this objection, itshould be noted that political activity as such is notthe characteristic which defines GALA and tVWomen’s Union, whereas political activity is the cen¬tral concern of CAUSE. Membership in the consti¬tuency of CAUSE represents a purely politicalstance, whereas this is not the case for the consti¬tuency of GALA and the Women’s Union.I invite the members of CAUSE to attempt to per¬suade myself and the Student Government Assemblythat the activities for which they request funding areindeed structured so as to present positively a fullrange of views with regard to the issues with whichthey are concerned. Issues of foreign policy are of nosmall importance; CAUSE performs a great servicein working to keep these issues before us and in pro¬viding a forum for our reasoned consideration ofthem.Joel Ginsberg is a fourth-year Student in the Col¬lege and serves as an “Other College” Representa¬tive on the Student Government Assembly. insufficientand then foreign-troop removal once that reconcilia¬tion is realized. It would be pleasant to believe that itwould only take a simple dialogue between the op¬posing forces to achieve peace in Lebanon, but thehistory of that country suggest that such dialogueshave little long-lasting effect. The problem is thathatred and mutual mistrust between Muslims andChristians run so deep in the Lebanese psyche that atruly unified Lebanon would seem to be quite elu¬sive.Under the present constitution, it is stipulated thatthe president of Lebanon should be a Christian, thePrime Minister a Sunni Muslim and the Speaker ofthe House, a Shiite Muslim. Furthermore, the legis¬lature was to be apportioned in a 6:5 ratio in favor ofthe Christians, irregardless of demographic trends.The reasoning in this case was that if the Christianminority did not maintain an edge in government,they might be lost in a sea of regional Muslims andthus fall under their control. The system is designed,in effect, to assuage the fears of the Christians vis-a-vis Muslim intentions and thus maintain nationalunity. However, many groups such as the Druze arenot happy with the present arrangement and are de¬sirous of a democracy based upon majority rule. InLebanon, “majority rule” is seen by the Christiansas synonymous with “Muslim rule,” so they are dia¬metrically opposed to this arrangement.A possible compromise to this problem, and theone the Reagan administration might want to stressto both sides, is the idea of a federal system similarto that which exists in Switzerland. Under this ar¬rangement, Christians and Muslims would pursuetheir own internal policies yet unite under oneforeign policy establishment. Obviously, there arestill aspects of this proposal which would still be theobject of confrontation among the various factions,one being the role and composition of the army. Non¬etheless, federalism would have to be infinitely morepalatable than either total partition or, possibly, per¬petual civil war under the present system.Daniel Batterman is a third-year undergraduate inpolitical science.Pro-life ‘silliness’ |on zygotesTo the editor:The contention that a fertilized zygote should beawarded full human citizenship simply because it“contains the full complement of genes and hence aspecific program for development” is absurd. Everycell nucleus in our bodies contains a “specific pro¬gram for development” sufficient to reconstruct anentire human organism. If the above were true thenwouldn’t a biopsy be a form of murder? if each cellwere given human citizenship, how could we deny orgo on ignoring the gross injustices and inequalitiesinherent in any multicellular community? Heartcells, for instance, are forced to toil night and day tofeed the nerve cell’s gluttonous thirst for glucose andoxygen. And what about the lymphocytes who areforced to go around and clean up after everyone likejanitors or lavatory attendants?What if all these cells got into their heads that theywere complete human beings, born equal to pursuelife, liberty and happiness as they saw fit? I’ll tellyou what would happen — ANARCHY. Skin cellswould desert their posts and let our guts spill out onthe ground. Tissues would lose their organizationand organs would cease to function. We would all endup as puddles of wriggling, pathetic little amoebas.This “Right to Live” silliness must be once and for ;ail discounted. Right To Lifers must be shown exact¬ly how untenable their position is. Cloning must com¬mence on a large scale. The world must repopulatedwith identical human beings who have been asexual-ly spawned (e.g. paramecium). A Clone Party willbe formed to lobby for clone interests and clonerights. The Equal Rights Amendment will finally bepassed with a clone clause on it. God will get on thebatphone to the Pope and inform him of a more com¬prehensive interpretation of “Be fruitful and multi¬ply”This, unfortunately, is al logistically impossible atthe present time. I suggest that special attention begiven to virology research. If the DNA of, say, a skincell, of my skin cell rather, could be successfullytransplanted into live viruses, these viruses could betaken to selected douche factories and be transport¬ed via-douche to their prospective hosts or mothers.What would follow would be the immaculate concep¬tion of me-clones on a giant scale. Can you image themoral dilemma of a Catholic mother who finds her¬self impregnated by my demon-seed? Would abor¬tion become moral?John BowinThird year student in the CollegeThe Chicago Maroon Friday, OctoUri 28, 1983—5•• ••••v.v.w.*. :•:•:•:•:•:• :*:«:*:.:*r*:»x«;*:*:»x»!*:**«**,********»,»*»,»*****»*»*»******v******»,»* •••••••••* • • • • •• • •••••*.•Assembly denies CAUSE funding appealBy Nathan SchoppaFollowing a lengthy debate, the Stu¬dent Government Assembly votedagainst a measure brought up by theCommittee Assembled to Unite in Soli¬darity with El Salvador (CAUSE) thatwould have allowed that organizationto receive SG finances. During the twoand half hour session Tuesday night inStuart 101, numerous arguments fromboth sides were presented, ending witha statement by one CAUSE memberthat the decision would set a “danger¬ous precedent.”CAUSE had requested $494.50 for theexpenses of the quarter and three filmsfocusing on the issues in CentralAmerica. However, the Finance Com¬mittee (SGFC) had decided that the or-By John Vispoeland Cliff GrammichThe Illinois General Assembly hasgiven final approval to a “freedom ofinformation” bill sponsored by StateRep. Barbara Flynn Currie (D-26).With final passage of HB 234, Illinoisjoined the other 49 states in openingstate and local governmental recordsto the public. Final passage came afteran amendatory veto by GovernorJames Thompson.In its original form, Currie’s billwould have required government docu¬ments to be made available to the pub¬lic. Under the bill’s provisions, any citi¬zen could receive a copy of agovernment document within 7 to 14days of his request. Currie had soughtthe passage of the bill believing thatcitizens had a right to access to the doc¬uments as taxpayers and voters. Sup¬porters of the bill believe that it willalso create a universal policy for docu¬ment access which will allow the indi¬vidual agencies to operate by a regular ganization’s program promoted “aparticular ideology or particular view¬point,” as stated by Rick Szesny, chair¬man of SGFC, quoting from the SGFCby-laws, and the request was denied.In the first appeal against a FinanceCommittee decision this quarter,CAUSE failed to receive the two-thirdsmajority vote needed to win approvalof a measure which would have rein¬stated CAUSE’S budget onto SGFC’sbudget. The vote was 14-12 against theappeal.Before the actual vote there was adebate between the two sides appeal¬ing to both ideology and by-laws. DavidPost, a member and the main spokes¬man of CAUSE, was the first to presentthe rationale for the appeal that wouldprocedure.Thompson’s amendatory veto addedcertain classifications of records fromthose unavailable to citizens under theCurrie bill. Among the classes of infor¬mation added to those whose access isrestricted were staff memoranda,draft reports, and architectural plansfor buildings. Thompson said that re¬lease of staff reports would have a det¬rimental effect on staff assessments.He also removed criminal penalties forbureaucrats who illegally withholdpublic information.“Rep. Currie still feels that the billas amended is a good, strong bill,” ac¬cording to Currie aide Forbes Shep¬herd. “The amended bill is strongerthan the bill in Mississippi, and those inother states, for example.” Mississippibecame the 49th state to pass a free¬dom of information bill earlier thisyear. Shepherd said that Currie will“look at amendments to strengthen thebill in the future, and to keep it tip-top”in its future use. overrule the Council’s decision. Szesnythen defended the committee’s move inhis initial statement.Post’s first argument appealed to theby-laws; he said that SGFC’s decisions“should be guided by previous bud¬gets,” as stated in the by-laws. In thepast SG financially supportedCAUSE’S programs and the new policyrepresented a “substantial change inthe status quo.”He then attacked the by-laws of theSG constitution, calling them too vagueand a “weak leg to stand on.” The by¬laws say that money cannot be givenfor ideological activities, but it ex¬empts educational activities and insti¬tutions from its limits. He asserted thatthe films could be termed “education¬al.”The reasons for SGFC’s move werealso called erroneous by Post. First, hesaid his group was not political, and inthe past there were discussions afterthe films which involved “people fromvarious points of view.” Secondly, hepointed to a petition that 1200 peoplesigned last year supporting CAUSE’Sposition against US involvement inCentral America; that proved thatCAUSE is not a “fringe” group and hasa broad base. His final argument wasthat the films were not of an ideologicalnature. Two were public television doc¬umentaries and the other is an Aca¬demy Award winner. Post said thethree films (Target Nicaragua, An¬other Vietnam, and Hearts and Minds)were all “fair statements of fact.”Szesny argued that even though theFinance Committee did support earlierCAUSE films, these were included in abalanced program that presented bothsides of the issues in Central America.But this year, he said, both sides willnot be shown or argued.Unlike Post, Szesny called the group“ideological,” pointing to a letter fromthe organization that admitted that it opposed US involvement in CentralAmerica. Since the student fees are in¬volved, he wanted CAUSE to provideformal presentation of opposing viewsand open discussion of the issues.But he stressed that SGFC did notvote against the organization, onlyagainst the programs, including thefilms, that had been presented to thecommittee to date.In the debate that followed, most ofthe pro and con arguments were basedon two major issues included in Post’sand Szesny’s reports. One involved thenature of the films and programs andwhether they were ideological or edu¬cational; the other examined the groupitself.Concerning the first matter, CAUSEmembers, as well as a number of asse¬mbly members, refuted Szesny’s as¬sertion that there would not be discus¬sion by stating that raising thecontroversy “provokes healthy discus¬sion.”One person favoring CAUSE’S reso¬lution referred to another point of in¬terest, not directly related withCAUSE. He referred to an earlier Com¬mittee action that perhaps contradict¬ed with SGFC’s move against thegroup’s program. He questioned whythe Student Government would support“political” organizations such as the Uof C Democrats, Republicans, and theOrganization of Black Students when itwould not support CAUSE. Another as¬serted that it did not matter whetherCAUSE was political; only the filmswere in question.On the other hand, another assemblymember said he found that his consti-tutency overwhelmingly thought thegroup to be “very political” and thatthe validity of the group was, in fact,important since part of the money thatwas to be allocated was not just for thefilms, but also for the group.continued on page sevenInfo bill gets final approvalUniversity of Chicago Folk Dancers21 st InternationalFolk Dance FestivalNovember 4-6, 1983Folk Dance Workshops with:Andor Czompo (Hungarian)Moshiko Ha levy (Israeli)Atanas Kolarovski (Macedonian)Friday—8pmSat. & Sun—9am, 12:30pm, 3:30pmat Ida Noyes Hall—1212 East 59th St.Tickets: General Studentper workshop $4 $3.50weekend $29 $25Sat. only $15 $13concert $5 $4post-concert party $2 $1For advance tickets enclose a self-addressed,stamped envelope with full payment to:U of C Folk Dancers1212 East 59th StreetChicago, Illinois 60637 Folk Concert:Saturday, November 5, 8pm at Mandel Hall—1131 East 57th StreetFeaturing:Popovich Brothers Tamburitza Orchestra Flatley Studio DancersAtanas Kolarovski Victor Clottey African Dance EnsembleUkraina Natyakalalayam South Indian Dance Ensembleand OthersPost-Concert Party:Saturday, 10pm at Ida Noyes Hall For further information, callwith live Macedonian orchestra John at 324-1247 or Tom at 363-5214ft—The Chicago Maroon—Friday, October 28. 1983NiWSas Monson said, “Nobody guaranteesyou a job because you’re onWork/Study.” But this is the first timethe program had actually run out offunds. Monson mentioned the problemlast year when the Work/Study pro¬gram had too much money: “We had tohire 200 people during winter andspring quarters so that we didn’t havemoney left over at the end of the year,’’said Monson.Over the summer, the Work/Studyprogram also “got an allocation in¬crease from the federal government,’’according to Monson. These surplusesforced the office to increase the per¬centage of wages paid by the federalgovernment from 60 to 70 percent (withindividual departments providing theremaining 30 percent), and to cam¬paign actively for employers to createnew Work/Study positions so more stu¬dents would be eligible in the fall.“There was an enormous increase inthe number of employers wantingWork/Study employees,” said Monson.She speculated that a combination ofdepartmental budget cuts and activerecruiting by CPS had made these posi¬tions more desirable. In any case, “Wethought we had anticipated the in¬ crease and could put everybody (whofound a job) on the program,” saidMonson.But the expected increase from ap¬proximately 400 available positionslast year to 600 this year skyrocketed toalmost 1000, and students eligible forjobs found them with greater ease.Also, a computer error in the Office ofCollege Aid added 100 students onto theWork/Study program, an error thatwas not discovered until it could nolonger be rectified. Nonetheless, “Wedidn’t know that we were dealing withsuch numbers until the beginning ofOctober,” Monson said.According to Monson, only 43 to 45percent of those notified of eligibilityactually get put into a Work/Study po¬sition and receive a paycheck. Becauseof the computer error, an additional100 students were notified of eligibility,accounting for a large part of the stu¬dents applying for Work/Study fund¬ing. About 130 students notified wouldnot have been able to get Work/Studyjobs without the supplemental allot¬ment. Eighteen students who had re¬ferral appointments were actually toldthat, although they did have pros¬pective employers, the Work/Studyfunds to pay them were unavailable.After tracing these 18 students, CPSwill help them and others who are sche¬duled for referrals through Wednes-Thompson boosts loansBy Koyin ShihGovernor James R. Thompson re¬cently approved a bill which will in¬crease the Illinois State ScholarshipCommission (ISSC) bond limit by $75million to provide more funds for stu¬dent loans.The Senate Bill 47 raises the currentISSC bond limit from $100 million to $75million. Thompson said, “This actionfulfills a pledge I made last year to theeducation community and to the stu¬dents of Illinois who depehd on loans tofurther their academic careers. By ex¬panding the bond limit for the ISSC, more students can receive financialaid and attend Illinois colleges.” With¬out this hike, the ISSC would have ex¬hausted its entire available funds for fi¬scal year 1984.In addition to this bond limit in¬crease, the bill permits the Illinois De¬signated Account Purchase Program(IDAPP) to purchase more types ofloans.Widening the loan types will encour¬age more lenders to participate in pro¬grams such as the Guaranteed StudentLoan Program and will strengthen theprograms’s financial condition.The bill takes effect immediately.ARE YOU PREPAREDFOR YOUR FUTURE?Arrow Computer Centerswill help YOU prepare forYOUR future. By the timeyou finish your education,82% of all jobs will requirecomputer know-how.Here’s how to:* Become computer literate*Do your work more quickly•Get better grades•Graudate with an edgeover the crowdsAND...MAKE MONEY NOW!EPSONA AWe have the perfectcomputer for collegestudents.'No morecumbersome notes'No more rough drafts'No more typing'No more Imperfectpapers'Maintain your ownlibrary on classes!' We offer financing By participating In Arrow ComputerCenters’ student program, youhave the opportunity to qualify as acollege representative. You earn$200.00 on each of the first tencomputers you sell; you keep$350.00 from each one you sellafter that!If you only sell two units per month,in one year you’ve earned$7,000,001 NO RISK, NOINVENTORY EXPENSE.CALL TODAY FORINSTANT INFORMATION.675-8960Ask for Mr. Morris.Oh &u*lh*±h «** w tuA-a-CCOmPUtER CEnEER5A DIVISION OF VIDEO KINO STORES7360 N. LINCOLN, LINCOLNWOOD, ILLINOIS 60646 day. “For the remainder of the stu¬dents, we’re going to help by callingon-campus employers who were seek¬ing Work/Study students and askingthem if they can provide a departmen-tally funded wage,” Monson said.Students who were planning on buy¬ing books or eating with the moneythey earned had been surprised to findthat their future wages had evaporat¬ed. “This money’s important — it’swhat I live on,” said one afflicted sec¬ond-year student.“We’re doing everything we can tohelp students in the high-need catagory— they’re a priority,” said Monson,“but quite frankly, I think that first-come, first-serve is as equitable a wayas any to distribute these funds.”Taking a less Darwinian approachwas Eleanor Borus, associate director of the Office of College Aid, who saidthat students counting on this moneycould be “offered an increase in theirNDSL (National Direct Student Loan),if they have not yet borrowed the max¬imum allowed during their time as astudent,” and noted that “thus far I’veonly seen one student” who had foundan employer but could not be paid. Ifthey have borrowed the maximumamount allowed ($6000 as an under¬graduate) what will they do? “I havebrought this problem to the attention ofEd Turkington (associate dean of stu¬dents) and Julie Monson,” said Borus,“but they are not aware of any otheroptions.”When asked whether any studentsmight be forced to leave the Universitybecause of lack of funds, Turkingtonsaid “he did not know of any.”Fund denialcontinued from page sixJust prior to the vote and followingthe decision in an interview, Postwarned against the fact that the voteagainst CAUSE’S measure would “seta dangerous precedent for groups deal¬ing with controversial topics.” Hefeared that groups, such as those forcivil rights, would be threatened.Later, Szesny told the Maroon thatthe decision “will not cause a ‘danger¬ous precedent.’ Groups will only be af¬fected in the future,” he said, “if theypropose programs similar to those ofCAUSE.”The former was only one line of rea¬soning used by those voting against theappeal. Joel Ginsberg, other Collegerepresentative, based his decision pri¬marily on the fact that the measure inquestion involved funds allocated notonly for the films, but also for thegroup’s quarterly budget. Perhaps ifthe measure only involved the films,some assembly members would havevoted differently.Regular officers’ and committeechairs’ reports were also given at themeeting, but most of the time was fo¬ cused on financial matters. There wasanother case mentioned where theCommittee on Arms Control and De¬velopment was not granted their fund¬ing request because they, too. alleged¬ly did not present two sides of an issue.Although they had an opportunity toappeal, they did not.Interestingly, there was another ap¬peal against an SGFC decision, madeby the WHPK campus radio station,that was included on the planned agen¬da for the evening. However, after theCAUSE decision, a number of asse¬mbly members left the meeting, and aquorum was lost. David Kirschner, aShoreland representative, called thisincident “unfortunate,” and it showedwhy Student Government is “consi¬dered a flop by many students.” Ti¬mothy Wong, SG vice-president,agreed that the incident was “disap¬pointing,” but said that since there wasa lot of discussion concerning CAUSE,Student Government appears to bedoing its job.Student Government will considerthe issue of WHPK in a meeting nextTuesday night. And at the moment,until its program is redefined, CAUSEwill receive no funding from StudentGovernment.The Center for Far Eastern Studies’Committee on Japanese StudiesPresentsOE KENZABUROnoted Japanese authorIn Two Events:An Informal DiscussionFollowed by a receptionSunday, October 30thIda Noyes HallEast Lounge(2nd Floor)3 - 5 p.m.&“To EscapeWesternLiterature’’A TalkMonday, October 31 stSocial Sciences, Room 1224 p.m.The Chicago Maroon—Friday, October 28. 1983—7RockefellerChapelSUNDAYOctober 30,19839 a.m.Ecumenical Serviceof Holy Communion11 a.m.University ReligiousServiceBERNARD O. BROWNDean of RockefellerMemorial Chapel12:15Carillon tour and recitalmI :% y iA ' * .:t V‘ :>r S'*} * marlan realty,inc.REALTORStudio and 1 BedroomApartments Available— Students Welcome —On Campus Bus LineConcerned Service5480 S. Cornell684-5400 I enjoy my contactLenses made byDr. Kurt RosenbaumOptometristKimbark Plaza1200 E. 53rd St.493-8372 Studios, 1 & 2 BedroomApartments AvailableSome Nice Lake ViewsGood LocationHeat IncludedParking AvailableGALLHERBERT REALTY684-23335% Student Discounts9:00 A.M. -4:30 P.M.Monday thru FridayExceptionalManagement Opportunities.For exceptional College Grads (and those who are soon to be)CURRENTOPPORTUNITIES:• NUCLEAR ENGINEERING• BUSINESS MANAGEMENT• AVIATION • LAW• MEDICINE • INTELLIGENCE• CIVIL ENGINEERING• SHIPBOARD OPERATIONSSign up for an interview in the Career Placement Office.Interviews will be held in the PLACEMENT OFFICEQN 3 NOVEMBER 1985Get Responsibility Fast.ABLE HAS CANON FOR LESS!CanonMm-nPROGRAMABLE LOW PRICEThe canon AE-1 PROGRAM is thesophisticated SLR camera that’sfocus-and-shoot simple to use! Itscomputer brain is programmed to giveyou perfect pictures in any light—evenwith flash! 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Both began in Chicago — Golub is aproduct of the College — and both studiedat the School of the Art Institute. They nowlive and work in New York City.This interview was conducted by LenKlekner, Assistant Director of the Renais¬sance Society, and David Miller on the oc¬casion of an exhibition of the work ofNancy Spero at Rhona Hoffman Gallery.The show continues through November 3.Nancy, your current show is of works onpaper, in which a serial imagery is playedoff borrowed texts. How was it that youcame to juxtapose word and image in thismanner?Nancy Spero: I’ve actually been workingon paper exclusively since 1966. Beforethat I worked in oil on canvas but I just gottired of that. Everything got black; Iworked night after night on these can¬vases and they’d get blacker and blacker.I’d worked for a few months on them andnow I call them the black paintings be¬cause they’re so dark. They’re views most¬ly of lovers, sometimes a mother and chil¬dren, or prostitutes, timeless stuff likethat, sort of archetypal, existential-basedpaintings. I was trying to get to the es¬sence of the figure.The Torture of Women piece is 125 feetlong and 20 inches high. The one on exhibitnow in Chicago I did subsequently in 1979,Notes in Time on Women; it is 225 feetlong. It’s the same principle: I have col-laged painted images, printed quotes,typed collaged quotes, and printedimages. I have drawings transferred by «photo process into zinc plates. It’s almost |like rubber stamps. They’re inked with a -cbrayer and printed onto the surface of the |paper. “In The Torture of Women I wanted to in¬vestigate the world through the subject ofwomen. That’s why it’s the torture ofwomen political prisoners. In Notes inTime, it’s all about women, the figures are £■all of women, quotes by women, but most- =ly by men denigrating women through the oages. And the implications are pretty =grim. The only remedy I have for that, in-Estead of more rhetoric or return comment, ois to depict the figures in a more athletic 1manner; they started running, literally. I cdid a lot of them; I would do a printed fig- gure and perhaps repeat it frequently, per- ^haps a panel and a half or two panels of Jgthe image (with variations), a very athlet-1ic type running. It’s like Muybridge’s stu- §dies in motion: imagery is stopped but «when the prints repeat the figures appear 3in motion — sheer physical and mental >,force in overcoming what have been the S.historical implications of all these quotes. 2In making this work on women I just •don’t mean it to be only about women; it“refers to both sexes. But it’s investigatingthe world in another way than through themasculine mold which is the usual mannerof depiction because Man is usually theuniversal.Your pieces as long strips right away re¬call narrative or storytelling. But of coursethey don't display all the conventions ofnarrative; for example they don't providea climax.Spero: It’s not a narrative in the strictestsense; it’s almost...well I was going to saycyclical, but it’s not really that.Leon Golub: It’s between the two. Youknow that small Artaud painting — some¬thing like a cycle of time...Spero: Oh, “A cycle of the universe is fin¬ished.”Golub: It stops and starts. It’s both linearand nonlinear, all at the same time.Spero: Right. I feel that way particularlyabout the last piece, The First Language.It’s all image; printed image and printedfigure, and the painted image. I’m inter¬ested in simultaneity. And there is really -no strict narrative at all. Just by being inthis format, I realized that the viewer hasto become like a camera, or for the viewerfollowing it, it becomes cinematic becauseyou don’t just stand static in front of oneparticular part of the piece. You have tokeep moving.Golub: You have to go back and zoom in.Spero: In front of Leon's paintings —they’re huge. And they confront you. Andyour eye travels over the surface but nev¬ertheless I feel that his painting functionsat a more overt level; it is there, In front ofyou, and you can’t really escape from It.You can move a little bit because they’reso large.But yours invite Involvement on a morepersonal le*el. Above, Nancy Spero, To The Revolution,1983, (41 inches X nine feet); top, installa¬tion of Nancy Spero, Notes in Time onWomen, 1979, at Rhona Hoffman Gallery.Spero: Well, a different level. They moveon, give you breaks, particularly in thesubject of The Torture of Women. Thereyou’re talking about political prisoners,giving oneself a little breathing space. Inbetween I’ve left myself long gaps ofpaper just without filling them.But moments too of concentrated involve¬ment. You’re called to read, literally.Spero: That’s right.So when the viewer gets to the end he orshe is asked to think “What comesnext?”Spero: Well that’s right because in a senseit is unfinished, open-ended. It could go onsome more, but it’s stopped, really. I’vedone three large pieces, and the last one.The First Language, is without “lan¬guage,” I consider it the language of com¬munication and motion, of gesture. In thefinal panel there are two figures very ca¬sually in a nine foot panel space as ifthey’re meeting and are going to walk onand then it’s as if the whole thing could juststart, all over again.Golub: It ends on a note of...Spero: It's not definitive.Golub: No, but casual; not necessarily pas¬sive, but...they’re just there.Spero: Right.Golub: Whereas Torture of Women endswith two phrases, one of them is “KnifeCut?"Spero: Right. And with "Fascist Pig.”Golub; That’s a very different kind of end¬ing.Spero: v99 liuo printed graffiti...kind of Nancy Spero Leon Golublike an expletive.So, the viewer is brought to see, literally,and left with different things?Spero: Sure, sure. I had an idea of process.It’s grouped in different emotional regis¬ters.Golub: They often begin in the exclamato¬ry, or in some extreme way — with vio¬lence or that quote from the Aztecs. An ex¬treme situation at the beginning. Thenthere’s an unraveling, a movement in time,and they end very naturally. The dif¬ference between the beginning and theending is not acceptance so much as a real¬ization of the natural world. “Fascist Pig’’— an angry exclamation at what is goingon, or how a woman is getting divorced.The attitudes are less transcendental atthe end. Instead one finds an acceptance ofthe world as it is at this moment. All theextreme positions are still there butthey’re accepted; you know, “this is how itis.”At its most general, your art calls to mindbroadsides or walls covered with posters.And this, in combination with the multipli¬ cation of the image, injects almost an ele¬ment of desperation, as though time wererunning out.Spero: Running to the Revolution! That’s infact a generic title that I have beenusing.And this potency raises the issue ofwomen's spirituality; in your investigationof history have you discovered thatwomen have a very different view ofthemselves?Spero: I’m really not into it in quite thatway. What interests me most in thewomen's movement in the arts is the wayit allowed me to externalize what I wasdoing. But in a sense that’s what you’resaying, it’s in making these personalthings political, making them public, bring¬ing them onto a level of discourse that wasnever considered important before. Ihaven’t really dipped into mythology andstudied the witches, their potency, andwhat they were really into. But I thinkthat all of that goes along with this kind ofidea — that what women have thought andhave done has really been considered sec¬ondary. It hasn’t been considered a pri¬mary expression of what human nature re¬ally is. If it is different perhaps it'sbecause woman has been forced as TheOTHER to approach things a little dif¬ferently... not to function in let’s say thishierarchial way.Could you say the art's about makingspace for women? Not just a reappropria¬tion, but also a making of space.Golub: That’s a nice way to put itSpero: Yes it is, it really Is.What about the category of the Apoca¬lypse in your work, a concept almost all ofyour critics have focused on?Spero: The notion of course is that in thecontinued on page •Walter BurkertHOMO NECANS:THE ANTHROPOLOGY OF ANCIENT GREEKSACRIFICIAL RITUAL AND MYTHEdmund Leach & D AIan AycockSTRUCTURALIST INTERPRETATIONSOf BIBLICAL MYTH J *Seminary Cup BookstoreNOW OPEN SUNDAY FROM NOON TO FIVE JVlfPuebloFINE MEXICAN CUISINEJoin Us For Delicious Mexican Cuisinefor Lunch, Dinner & Cocktails"All our food is prepared FRESH"COMPLIMENTARY MARGARITA WjPURCHASE OF A MEALSi (with U. of C. I.D. only)Open Doily 11 o.m.-11 p.m.2908 W. 59th St.737-2700DOC FILMS • DOC FILMS • DOC FILMS • DOC FILMS • DOC FILMS • DOCFRIDA V:Tony Scott’sTHE HUNGERStarring David Bowie Catherine Deneuveand Susan Sarandonat 7. 9. and 11All Shews in Cobb Hall, 5811 S. Ellis - SA TURD A Y:Francis Ford Coppola’sONE FROM THE HEARTStarring TeriGarr Nastassia Kinskiat 7 30 and 9 30 SUNDAY:John Sayles’LIANNAat 8Admission $2 ($2.50 Friday A Saturday) - 962-8574MAROON962-9555r— 150< 50'SATURDAY NIGHT DINNERSPECIALSAVE50< ON ANYCOMPLETEDINNER(OVER *284)MORRY’S DELIINHUTCHINSON COMMONSSAVE THE BEST BUY ON CAMPUS SAVE■ ■■■■■■nHUiHHiUUMBUIUUHiUUUUMIHiUUHiAll Brands Importers Inc.. New Ybrk Sole U S. Importer C ————————————————————————————————— Sticks & StuffCOLLECTIBLES • ANTIQUES • USED FURNITURE •CLOCKS • LAMPS • DOLLS • JEWELRY • STAINED GLASSMINIATURE LAMPS • STAINED GLASS BUSINESS CARD HOLDERSHours:1749 E. 55tli St. Tues-Fri Noon - 7 pmSat & Sun 10 am - 5 pm 667-4610PUBLIC POLICY LECTURE SERIESTHE HONORABLE PAUTSIMONU.S. House ofRepresefetws22nd Congressional ii^rkji^niinois;Chairman, Subcommittee^tffc^JSecondary EducationQUAMW^ND ACCESS:fflGHE^EjwCATION’S CHALLENGEm&HE DECADE AHEADWednesday, November 2,1983 4:00 -5:30Breasted Hall, Oriental InstituteOF MOOSEAND MENImported Moosehead. Stands head and antlers above the restBRAKE FOR MOOSEHEAD. WHEN YOU DRINK DON'T DRIVE.2—FfiiDA f, OCTubtH 38. 1983— I Hfc UHtY Ul I Y JUUHNALARTJohn Knight Museotypes. The aesthetiche criticizes is the one necessary toappreciate this message. If the pre¬cious object is under attack, whypresent 60 more examples of it?They'd maybe look better insmaller, more irregular pieces. ThruNov 19 at the Renaissance Society,fourth floor Cobb, 5811 Ellis. Tue-Sat, 10-4; Sun, 12-4. 962-8670.Free. —JH/DMArt Delight This culinary effort is sortadry, even brittle. Overcooked, I’dsay, like it had come from a kilnrather than an oven. Still, if some¬thing must be overdone, art’s asgood a choice as any. Thru Nov 19 atthe Renaissance Society; other infoabove. —LaypersonFans This exhibition features 74pieces by 74 contemporary Chicagoartists, thematically linked by theiruse of the fan or fan shape motif.Apparently this theme was derivedfrom a decorative feature of thegallery interior, being several semi¬circular panels molded into thewalls. These panels are occupiedwith paintings, as are other gallerywalls, and many sculptural piecesare also displayed. The fan shape astheme, however, seems rather con¬trived, and the show as a wholestrains unsuccessfully at continuity.Still, there is some excellent work inthe show, and there is a certain ex¬citement in seeing work that is thiscurrent and this vital to our area.Some of the work is perhaps, of lessthan appropriate caliber, and thework is too densely hung. It is alsofrustrating to see only one piece byartists who inspire interest. Notablein the exhibition is the panel “CityMaquette With Murdered Man” byRoger Brown. The piece is a three-dimensional cityscape, and makesthe best use of the fan shape’s pan¬oramic mood, drawing us into its dis¬turbing revelation. Also, quiteworthwhile are the abstractions ofVirginio Ferrari and Dan Ramirez,as well as the sweetly classical ref¬erence of the paint-drawing, “KateOn Tuesday” by Irene Siegel. Ulti¬mately, the vitality of the show andquality of certain pieces make itwell worth seeing. Thru Nov 6 HydePark Art Center, 1701 E 53rd. Tue-Sat, 11-5. 324-5520. Free. -SBNew Image/Pattern and Decorationfrom the Morton G. Neumann FamilyCollection. Shows of “exciting”(hyped-up) contemporary works aretypical. So are shows from privatecollections. And so are shows organ¬ized elsewhere. But the combinationof the three is not typical of Smart;we’ve got to ask, “Why here andnow?” Does this transplant from thepages of Artforum to a local whitespace serve to ingratiate a certainGallery with a certain collector? Isthis typical too? Nothing in particu¬lar entitles me to make these obvi¬ous points explicit, • but nothing pre¬vents me either. Thru Dec 4 at theSmart Gallery, 5550 Greenwood.Tue-Sat, 10-4; Sun, 12-4. 753-2123.Free. —DMAlfred Stieglitz One of the curatorsstates in the catalogue that "Thepurpose of this exhibition and cata¬logue is to demystify Alfred Stieg¬litz; to strip away the lable ofprophet so frequently and uncriti¬cally applied to him, and through acomprehensive selection of his pho¬tographs and writings, to presenthim first and foremost as a photog¬rapher.” Well, a photographer, asnow conceived by the art establish¬ment, is an artist, and there is nocategory more mystified by it. Thisgiant <170 piece) show and cata¬logue (oversized and steeply priced)seem initially to foster mystifica¬tion; at the very least they intimi¬date. We know curators are artistsbecause they can’t explain theirwork either. Thru Jan 3 at the ArtInstitute, Michigan at Adams. Mon-Wed, Fri, 10:30-4:30; Thur, 10:30-8;Sat, 10-5; Sun, 12-5. 443-3500. Ad¬ mission discretionary except Thur,free. —DM1983 Chicago Chapter, American Insti¬tute of Architects Awards. Lastthree days to see this spiffy video¬tape, Sequences from two computer¬generated films: a three dimension¬al view of the buildings in downtownChicago; the history of architecturein Washington, D.C. Closes Oct 30 atthe Art Institute; other info above.Faberge: Selections from the ForbesMagazine Collection. Were these100 objects, including six of the Im¬perial Eggs, sent here by mistake?Weren’t they supposed to accompa¬ny the Yves Saint Laurent show atthe Metropolitan Museum in NewYork? Or maybe they’ll complimentthe Rubloff Paperweight Collectionrather nicely. Opens Tue Nov 1 atthe Art Institute; other info above.In Light of One’s Light (A PersonalCrossing). Performance by HydeParker Joe Woody Haid based ontwo crossings: people who have im¬migrated to the U.S. and the artist’sspiritual movement toward an"inner light.” This is circumstancial,but two of the three previous piecesin the current RAW Space perfor¬mance series have been well-con¬ceived, strong pieces (and the thirdunseen). Tonight and tomorrow at 8at ARC Gallery, 6 W Hubbard.266-7607. S3.Manipulated Images in Nigerian andHaitian Photography. Lecture byMarilyn Houlberg, Wed Nov 2 at 3 inrooms 211-12 of the School of theArt Institute, Columbus at Jackson.443-3710. Free.THEATERWarden of the Tomb and Sexual Per¬versity in Chicago: These two one-acts comprise Concrete Gothic the¬ater’s second offering for the fallquarter. The Warden of the Tombwritten by Franz Kafka, directed byDave Kiefer, is really just a frag¬ment of a longer play that he neverfinished. It tells the story of a newprince who has to deal with an al¬ready established hierarchy. Thisprince is very caring and a revela¬tion to the Warden who has had toguard against ghosts for the lastyears of his life. Sexual Perversityin Chicago, written by David Mametand directed by Barry Endick andJohn Hildreth tells the story of fourmodern Chicago single types whoseem to do little but bitch abouttheir exploits and day to day going-ons. At times it becomes truly emo¬tional when the men finally drop thefascade that they have erected toprotect them. Neither of these playshave yet to been seen by this re¬viewer. Fri and Sat at 8. Third FloorReynolds Club Theater. $3.00others, $2.00 UC students.363-5185. -SDThe Rise and Fall of the City of Maha-gonny written by Bertolt Brecht,directed by Warren Leming. The adfor this Remains Theatre productionin last week’s Reader had a pictureof a rock ‘n’ roller with an electricguitar. Forget Bobby Darin, we’retalking about Brecht gone newwave. Could be very scary. Pre¬views Oct 26-30, opens Nov 1. CrossCurrents Caberet, Belmont and Wil¬ton Avenues. For more informationcall 472-7884. — BMHay Fever written by Noel Coward,directed by Susan Dafoe. This playtakes place in the eccentric Blisshousehold. Coward's play is veryamusing English drawing room com¬edy. And very well done. Don’t eatthe fish. Wed thru Sat at 8, Sun 2:30and 7:30. Court Theater 5535 S EllisAve 753-4472. $10-13 with a $2student discount. —JHA Raisin in the Sun written by LorraineHansberry, directed by Thomas Bul¬lard. The Goodman Theater seasonis off to a good start with this 25thanniversary production of Hans-berry’s ground-breaking drama.Raisin is the story of the Youngers, ablack family living on the southsideof Chicago in the early '50’s. The ar¬rival of a check for $10,000 (the in¬surance money from the deceasedfather) sets off a struggle betweenmother and son on how to achievethe good life. The mother, Ruth, isdisgusted by her son's insistencethat money is the key to dignity andhappiness. Ruth believes that thesethings are found only within the se¬curity of the family and throughhard work. Besides this central con¬flict, Hansberry pays special atten¬tion to the problems of the blackwoman, who works as hard as herhusband yet still stands in tys shad¬Grey City Journal 10/28/83Staff: Steven Diamond, Pat Finegan, Joel Ginsberg, Jonathan Katz, Jae-Ha Kim, Bruce King, Lorraine Kenny, Michael Kotze, Madeline Levin,Rainer Mack, Jeffrey Makos, Nadine McGann, Vince Michael, DavidMiller, John Probes, Dan Sakura, Cassandra Smithies, David Sullivan,Christopher Wells, Ken WissokerProduction: Nadine McGann, David Miller, Abigail Asher, Brian Mulli¬gan, Jesse HalvorsenAssociate Editors: Abigail Asher, Stephanie BaconEditors: Jesse Halvorsen, Brian Mulligan ow. She also treats the whole ques¬tion of assimilation versus separa¬tion with a calm intelligence sorelymissed in the hysteria of the 1960's.This production is excellent andhighly recommended. Wed-Thur at7:30, Fri-Sun at 8 PM Thru Oct 30.Goodman Theater, 200 S ColumbusDr Information 443-3800. — BMIn the Belly of the Beast Letters fromPrison adapted from a book by JackHenry Abbott, directed by RobertFalls, the artistic director of WisdomBridge. Wed thru Fri at 8, Sat at 6and 9:30 and Sun at 3 and 7:30. Wis¬dom Bridge Theater, 1559 W Huron743-6442. $11-13.Bread and Puppet Theater A famoustraveling multi-media peformancetroupe, brings their newest work,“Diagonal Man: Theory and Prac¬tice" to Chicago. Opens Wed Nov 2.Goodman Theater Studio, 200 S Co¬lumbus Dr. $12, For more informa¬tion call 443-3800. 28 29 30 31 1 2 3FILMThe Hunger (Tony Scott, 1983) TonyScott, brother of Riddely (Alien,Blade Runner), is true to his roots asa commercial director in his first fea¬ture, The Hunger. Watching this filmis like watching a Bon Jour commer¬cial for 90 minutes. It’s slick, very,very slick. Scott cross-cuts from onemeaningless image to another as ifthey were somehow connected. Theyare not. He uses images of blood, an¬imal violence and flashing discolights to try to convince us thatsomething is happening. It isn’t. It ishard to imagine a film as vacuous asthis one is could also be as manipula¬tive. It plays with all our most mor¬bid fears of death, or more to thepoint, our fears regarding the lossof youth and, beauty. It's a nasty,cynical film. The stars, CatherineDeneuve and David Bowie, are bothvery pretty and almost thankfully,say very little. Is this the best DOCcould do for Halloween weekend?Fri Oct 28, 7, 9, and 11 PM DOC$2.50 -BMEveryman For Himself and God AgainstAll (Werner Herzog, 1975), popular¬ly known as Kasper Hauser, is atour-de-force in contemporary film-fnaking. Besides representing theepitome of German New Wave Cin¬ema, this film blends the flexibilityof the poetic style with the acute¬ness of the documentary style. Italso explores the paradox betweentolerance and free-thinking, posingthe question: can someone complete¬ly different survive in Western soci¬ety? Fri Oct 28 at 7:15 & 9:30 p.m.International House. $2. —BTThe Lady Eve (Preston Sturges, 1941)Charles “Hopsy” Pike (Henry Fonda)is a terribly unworldly ophiologist— he's also somewhat of a clod. Buthis father is a millionaire brewer, soM’s no surprise, while voyaginghome from a year in the Amazon,that he’s fleeced by professionalsharpsters (Charles Coburn & Bar¬bara Stanwyck). What is surprisingis that Stanwyck falls in love, onlyto be fleeced in turn. Get even Stan¬wyck does — in the guise of LadyEve, an elegant English peeresswhose unchaste, libertine past is un¬ravelled, in exquisite detail, afterduping poor Hopsy into marriage.Lady Eve is the perfect vehicle forSturges’ astonishing ability to lacesophisticated humor with slapstick,and it treats us to outstanding per¬formances by four of comedy’s bestsupporting actors — Eric Blore, Wil¬liam Demerest, Melville Cooper, andEugene Pallette. Don't miss the 1981Oscar champ's philosophy of for¬giveness: “A girl of 16 is practicallyan idiot anyway.” Remarks Stan¬wyck: “I need him like an ax needs aturkey.” Sat, Oct 29 at 7:30 & 9:30LSF $2 -PFOne From the Heart (Francis Coppola,1982) “Film Comment called it The¬atrical Realism. Coppola almostcalled it quits as a result of the film'sless than boffo Box Office. Whyworry? Francis Ford, designer DeanTavoularis, and Fraulein Teri Garrfashioned the greatest looking flicksince who knows when.” — The Ca¬talog of Cool. Too true. Coppolapaints his masterpiece in this viewof Las Vegas’s Neon Jungle of Love,as Teri Garr plays a Vegas dame fedup with her boyfriend Frederic For¬rest, a Vegas lug. When they splitup, she spends the weekend withsoulful-eyed Latin lover qua waiterRaul Julia, and Forrest pairs up withdoe-eyed sexpot Qua actress Nas-tassia Kinski. One of the most inter¬esting films of the last few years,Coppola’s experiment should beseen before being judged Sat, Oct29 at 7:30 & 9:30 DOC. $2.50 -MK,JM.Lianna (John Sayles, 1982) There aretwo sides to John Sayles: there’s histrasy, hip, funny side (Alligator, TheHowling), and then there’s his sensi¬tive, hip, funny side (The Return ofthe Secaucus Seven). Lianna is defin¬itely a product of Sayles's latterside. It is the story of a modern-daygay divorcee, a woman who uponleaving her husband finds herself deeply attracted to another woman.Frank, touching, and witty, Liannatreats lesbianism with a warmthand candor far from the realm ofHollywood product. Sun, Oct 30 at8:00. DOC. $2. —MKDead of Night (1946) British cinema’sfirst serious venture into the super¬natural was a remarkably effectiveepisodic thriller by 4 of Ealing Stu¬dio’s most promising directors —Robert Hamer (Kind Hearts & Coro¬nets), Charles Crichton (The Laven¬der Hill Mob), Basil Dearden (Khar¬toum), and Albert Cavalcanti(Nicholas Nickelby). Although criticsuniversally ranked Cavalcanti’s se¬quence about a deranged ventrilo¬quist (hopelessly bungled in Magic)and Dearden’s linking story (aboutan architect who finds himselftrapped inside an endless series ofrecurring nightmares involving acountry estate, its guests, and thedreams which they in turn relate tohim) among the eeriest footage everput on screen, it is Basil Radford andNaunton Wayne's (the 2 imperturb¬able Englishmen abroad in The LadyVanishes) admittedly trifling golfsequence which foreshadowed whatEaling would master — dark, droll,artful comedy. Spielberg & Landis,eat your hearts out. Sun, Oct 30 at8:30 LSF $2 —PFEl Dorado (Howard Hawks, 1967)Hawks's remake of the classic RioBravo pits John Wayne, as a noblegunfighter, against Robert Mit-chum, a drunken sheriff. James Caanplays the Ricky Nelson-like youth-figure who helps Wayne get Mit-chum back on his feet in order to ridthe town of some bad guys. It’s fast,it's funny, it’s philosophically pow¬erful in its exploration of the Man-ichean duality. Lotsa gunfights, too.Mon, Oct 31 at 8:00. $2. — JMUnder Fire (Dir.: Roger Spottiswoode).The 1979 overthrow of AnastasioSomoza serves as the backdrop forthis love-adventure story. It starsNick Nolte, Joanna Cassidy andGene Hackman as journalists insearch of a story in war-torn Nicara¬gua. Photojournalist Nolte is usedby the revolutionaries to help thecause. The film raises issues of jour¬nalistic integrity it never fully ad¬dresses. Realistic war scenes andfirst-rate cinematography make formuch excitement; but hokey ro¬mance, wooden writing and somerather implausible situations con¬fuse the film. The fine supportingcast includes Rene Enriquez as Somo¬za, Ed Harris as a mercenary, andJean-Louis Trintignant as a Frenchspy. Gene Hackman is at his sad andcynical best. — J. MeyersohnDuck Soup An additional performanceof this Marx Brothers feature hasbeen scheduled for Sun Oct 30 at2:30 PM. LSFTarget; Nicaragua (Saul Landau 1983).This film focuses on the attackswhich are being directed against Ni¬caragua along the Honduran border.Interviews with captured contrasand an Argentinian secret agentwho defected during the Malvinas(Falklands) war, outline the contras’plans, and the role of the CIA inthese attacks. Interviews with flee¬ing villagers bring the human conse¬quences of these attacks to life.Parts of this film were used in a PBSdocumentary. Ida Noyes E LoungeSun Oct 30, 7:30 Free.MISCThe Peace Museum If you are con¬cerned about hunger, social justice,militarism, racism, and nuclear war,you will enjoy the Peace Museum.The current exhibit, “Give Peace aChance”, focuses on the role of musicas a force for social change. Pic¬tures, sheet music, concert posters,letters, and records of importantpeace activist-musicians (WoodyGuthrie, Bob Dylan, Holly Near, TheClash, Bob Marley, and Phil Ochs, toname a few) are on display. There isalso interesting nostalgia fromvarious benefit concerts — Wood-stock, the Concert for the People ofKampuchea and Bangladesh, andthe June 12 disarmament concert.After thinking about Lebanon, Cen¬tral America, Grenada, and nuclearweapons all week, the Peace Muse¬um was a wonderful dose of inspira¬tion. I came out of there invigoratedand confident that, “We shall over¬come, some day.” Show runs untilJan 31 1984. Peace Museum, 341 WSuperior. $2.50. —DSMystic Festival of Music, Dance, Dramaand Wisdom. Featuring MandingoGroit Society, Suso, leader on SoloKora; Great King Ceasar Mystic,glass eater; Darlene BlackburnDance Troupe; Kofi Jantuah andRaymond Sylla, fire eafer.AfrikanDance for a New World. All this for$4 ($3, students). Center for InnerCity Studies, 700 E Oakwood Blvd.For more information call548-8159.ONE by Jeff Hagedorn, has the dubi¬ous distinction of being American'sfirst play about AIDS. As such, itwas the subject of articles and re¬views across the nation. But Hage¬ dorn, a Chicago playwright, has notcashed in on this largesse. His play isonly staged as a benefit for AIDS re¬search, and the sole actor is notpaid. ONE is a sensitive, provocativeaccount of one man’s coming toterms with his illness, at once funnyand biting, a little bitchy, yet verygentle. It gives a human face to adisease that is all too often present¬ed solely as a statistic. ONE is beingpresented here by the Hyde ParkAIDS Awareness Committee, oneperformance only, Thursday, No¬vember 3 at 8:30 p.m. $3.00 with Uof C i.d., $4.00 without. Blue Gar¬goyle. All proceeds go to the How¬ard Brown Memorial Clinic to fur¬ther AIDS research. — JKMUSICChicago Symphony Orchestra This weekthe CSO welcomes back the alwaysreliable, often-inspired Rafael Ku¬belik as guest conductor. Kubelikwill devote the entire program toone of his specialties, Bedrich Sme¬tana’s nationalistic epic, Ma Vlast(My Fatherland), featuring the hitsingle “The Moldau.” OrchestraHall, 220 S Michigan, 435-8122. Fri& Sat Oct 28-29 $5-25. -MKEnglish Chamber Orchestra, The ECO,one of the world's great ensembles,is joined by Sir Charles Mackerras,one of the world's great conductors,and Gidon Kremer, one of theworld’s great violinists, in what weexpect to be a pretty good concert.Music of Rossini, Holloway, Beetho¬ven (the Violin Concerto) and Haydn.Orchestra Hall, Sun Oct 30 , 3:00.-MKJoanne Galler, A flutist (not flautist)will perform works by Bach, Ra¬meau, Mozart, and others. Sun Oct30 at 3:30 pm at Goodspeed RecitalHall. Free.Apollo Chorus A program of shortsacred works by Barber, Butler, Ga¬brieli, Haydn and Vaughn Williams.But are they short enough? Sun Oct30 at St Peter's Church, 110 W Ma¬dison $4. 960-2551. -BKThe Troggs And you thought they weredead. Appearing, appropriatelyenough, at a Halloween “Wild ThangCostume Party” on Mon Oct 31. Tuts,959 W Belmont. 929-9158. -BKCircle Jerks They're appearing ontheir “Golden Showers Tour” and,although that strikes this revieweras illogical — as the activity, theband’s name celebrates couldn’tvery well take place at the sametime as the activity referred to inthe title of the tour — this could be afun show if hard-core is your particu¬lar vice. Thur Oct 3 at Tuts, 959 WBelmont. 929-9158 — BKNoontime Concert Series NormanBinge, trumpet with Christopher Co¬leman, trombone: with Tom Barrettand Jay Rosenblatt on pianos per¬form a program of Honnegger,Schmidt, and Coleman. GoodspeedRecital Hall at 12:15. Free.Stray Cats Juding from a show givenlast year at the Aragon, the StrayCats are a lot more exciting in theflesh than on vinyl — should be a lotof smoke, sweat, and maybe evensome fun. Fri Oct 28 at 8. This show,which was originally scheduled forthe Aragon, has been moved to thePark West. 929-5959. -BKHMS Pinafore Calendar listings aren’tsupposed to be snide, so there’snothing to say about this one. Fri Oct28 and Sat Oct 29 at 8 729 S Dear¬born. $10. 922-4331. -BKCommodores A phenomenally dullband in flashy costumes. Sat Oct 29at 7:30 and 11. Holiday StarTheatre, I-65 and U.S. 30 . 734-7266-BKSolid Gold Saturday Night A live coast-to-coast broadcast emanating fromour own fair city of Chicago. Thisweek, the hits of Del Shannon will behighlighted. Invite your friendsover for a fun-filled evening ofradio-listening. From 6 p.m. to 12midnight on WFYR, 103 1/2 F M Onfree radio. —BKMoody Biues One of the most preten¬tious bands of recent memory dragsits aged carcass to the Metro Centerin Rockford on Sun Oct 30 at 7.-BKJuluka Although not as rhythmicallycreative as their fellow juju music-maker King Sunny Ade, Juluka is agood time on the dance floor — andsome of their lyrics are even in En¬glish. Sun Oct 30 at 8 Park West.929-5959. -BKDANCEAkasha and Company this moderndance repertory company performsworks by Chicago choreographers.The program includes premieres ofworks by Jan Bartoszek and KateKuper. Fri and Sat at 8PM. ColumbiaCollege Dance Center, 5730 N Sheri¬dan. $6, for more information call271-7804.MoMing “Gringo Girl and the DeathSong of Frida Kahlo” by SharonEvans, with Donna, Blue Lachman.MoMing, 1034 W Barry, 472-9894Fri and Sat Oct 21 and 22 at 7, $4THE GREY CITY JOURNAL—FRIDAY, OCTOBER 28, 1983—3ALL MOD FADSby Bruce KingIntroducing The Style Council, The StyleCouncil(Polydor Records)My first thought upon listening to Intro¬ducing The Style Council was that PaulWeller must be in the midst of an identitycrisis — the album’s first song is remini¬scent of Marvin Gaye, while the lastbrings to mind The Temptations. And in-between is a French cabaret number, afunky organ solo, a club mix, and two thatcould almost pass for late Jam. Luckily,things didn’t remain so white-soul simple.On the second listen, the songs weren’t soneatly classified, nor so easily dismissed.By the third listen, there was no doubt —The Style Council is up to somethingthoroughly modern (as if Paul Weller’smod credentials could have ever been indoubt). The Style Council — a combinationof Weller’s vocals and Mick Talbot’s key¬boards — is, like the Culture Club, an ex¬ample of current pop at its best. By draw¬ing upon and incorporating a number ofpop styles and by casting those styles innew contexts, the result is not simplymemories of Motown, but a sound which isboth unique and an active part of a greattradition of pop music.In sound and lyric, The Style Council fallssomewhere between the terrificallytrashy bravado of ABC and the sham ro¬mance of Spandau Ballet. But, just as itwasn’t quite fair to compare The StyleCouncil to Marvin Gaye or The Tempta¬tions, it’s not quite appropriate to classifythem with their well-groomed competi¬tors. The sound of The Style Council is lesssynthetic and less theatrical than that ofABC or Wham! U.K., while the lyrics areless self-consciously silly than those ofSpandau Ballet or Haysi Fantazee. Thealbum’s opener, “Long Hot Summer,’’ isThe Style Council at their best. Set againsta doo-wop chorus and hand-clap percus¬sion, Weller’s vocals propel a wistful taleof summer romance. Throughout the re¬cord, Weller displays a vocal range whichhas only been hinted at in his previouswork with the Jam. Whether accompaniedby the simple organ and guitar of “Head¬start For Happiness’’ or by the battery of trumpets of “Speak Like A Child,’’Weller’s vocals are consistently exciting.Even “The Paris Match," a song whichends up with Weller as chanteur, is sur¬prisingly effective (and I thought onlyBryan Ferry could sing in French). And, forthose of you who thought that fashion hasrobbed Paul Weller of his political convic¬tions, the album’s final cut, “Money-Go-Round,” combines a funky dance beat withsome surprisingly incisive lyrics. As thealbum notes say, “Not everyone’s cup oftea but get from it what is important toYOU!"For a “mini LP," Introducing The StyleCouncil is quite generous, offering nearly35 minutes of music (although that in¬cludes two almost indistinguishable ver¬sions of “Long Hot Summer,” the secondbeing a rather pointless club mix). So, notonly is the music great, but it’s a bargaintoo. My advice is to stay indefinitelyahead of pop fashion by listening to TheStyle Council....and a time to dance, Los Lobos(Slash Records)One a recent visit to L.A., a hip SouthernCalifornian friend convinced me to, see LosLobos — “the most happening band inL.A.” We proceeded to a small club in theheart of one of LA.’s hispanic barrios and,in a part of the country where Mexicanparanoia is at an all time high, a band ap¬peared to strike terror in the heart ofevery suburban Californian — four mean,fat hispanics in black jeans, black shirts,string ties, red bandanas, and cowboyboots. Then, in incredibly high poweredshow began and everyone — Mods andlow-riders alike — got up and danced. Forover two hours, Los Lobos managed to en¬tertain and exhaust an audience that wasas diverse as it was demanding.On record, Los Lobos doesn’t match theexcitement of their live performances, but...and a time to dance does provide a ser¬viceable introduction to Los Lobos’ uniquemusical style, one which combines Mexicanfolk, country and western, cajun, and goodold rock-a-billy. The main problem with...and a time to dance is the surprisinglysterile production by T-Bone Burnett andSteve Berlin who seem to regard LosLobos more as a museum piece to be re¬vered than as a flesh-and-blood danceband. Songs like “Walking Song" or Tom Waits and friends“Come On Let's Go" only begin to acceler¬ate where they should already be in highgear. Still, it’s difficult to object too stren¬uously to a record which can cram in somany musical styles and still find room foraccordian solos. So, until Los Lobos make itin person to Chicago, ...and a time to dancewill have to suffice.WAITING FOR WAITSby David SullivanSWORDFISHTROMBONES, Tom Waits(Atlantic Records)Rattle Big Black Bonesin the Danger zone,there’s a rumblin' groandown below.There’s a big dark town,it's a place I’ve found,there's a world going onUNDERGROUND!These words, chanted over a grindinglyabrasive percussion section, introduce thestartling album Swordfishtrombones byTom Waits. It is both the most eccentricand cohesive album Waits has ever made,combining a range of influences with themost sympathetic production he has re¬ceived. This is the first album which hewrote and produced himself, and he choseto accentuate the haunting images and hisraspy voice that have become his trade¬marks. In doing this he has stripped themusic of any pretension, so that it becomesa dense, atonal backdrop heavily in¬fluenced by jazz. This backdrop dramat¬ically sets off the off-center stories he tellsin the most expressive and controlledsinging voice he has had. The work onSwordfishtrombones unearths an old iron¬ic honesty that he was in danger of bury¬ing in carictature on his Waits-does-Waitsalbums of the late seventies. Swordfish¬trombones may be too quirky and unfo¬cused to be considered a great album, butit does show Waits struggling for a newself-expression both in his music and in hiswords, a struggle he had all but relin¬quished.Waits’ individual style, which crystal¬lized into a distinctively eccentric Ameri¬can voice on his seconchalbum The Heart ofSaturday Night, has always been a strug¬gle to balance two genres: musicals andthe blues. Waits employs the blown-upcharacterizations and obvious readablestances of the stage. He is fascinated withromantic story dreams, and the breakingof these dreams, in his songs. Waits hassung “Somewhere" from West Side Story,harmonized on a duet with Bette Midler,and been frequently backed by a full or¬chestra; yet this romantic story telling hasalways been undercut and balanced by adeep pessimism. A pessimism that comesfrom his New York City surroundings andthe down-and-out blues that influenced hissinging so greatly. On his seven previousalbums these two musical genres coexist¬ed side by side but never intermingled.This split became even stronger on his lastthree albums, Foreign Affairs, Blue Valen¬tine, and Heartattack and Vine, the lastalbum being evenly divided between theromantic ballads with an orchestra, andthe tougher gut bucket blues with hisband.Swordfishtrombones reunites the twopersonalities not by returning to therougher sound of earlier albums, but byheading in an entirely different musical di¬rection. The music evokes older styleswithout imitating them, fusing the roman¬tic and the pessimist by misquoting them.On this album the influences come fromcarnivals and jazz, yet each is twisted byWaits for the desired effect. The varietyof instruments employed is staggering:marimbas, parade drums, metal aung-longs, bagpipes, trombones, Freedombells, harmoniums, synthesizers, congas,dabuki drums, talking drums, etc. A musi¬cal potpourri held together by Waits’ su¬perb arrangements which lend the balladsa stark serious quality, and accentuatethe rythmic complexity of the uptempo numbers.On previous albums the music was fairlyconventional, Waits is an adequate gui¬tarist and a good pianist, but every instru¬mental felt like a filler, it was the voiceand the poetry that was important. OnSwordfishtrombones the three short in¬strumentals are each crucial to the pro¬gress of the album. The smalzy pumpingHammond B-3 organ in “Dave the Butch¬er" leads into a soft off-key ballad, whichwithout the segue would seem overly sen¬timental, while side two is braketed by“Just Another Sucker on the Vine,” whichis a more serious carnival tune, and “Rain-birds,” which is an homage to old musicalsand a nod toward Waits' new jazz.This music, however, would be of littleinterest without the encapsulated vi¬gnettes which Waits sings. He has movedbeyond the seedy inner city subjects of hisearlier lyrics to take on broader charac¬ters and more complex psychologicalproblems. In Shore Leave a distractedsailor wonders “how the same moon out¬side/ even this Chinatown fair/ could lookdown on lllionis/ and fine you there/ andyou know I love you baby/ and I’m so faraway from home." In Town with No Cheera tiny Australian town collapses when thetrain changes its schedule. In “Soldier’sThings” an ex-army man lists off his pos¬sessions that he is trying to sell as you lis¬ten. And you are addressed again by theprotagonist in “Johnsburg, Illinois’’,whose entire monologue is:She’s my only true loveshe's all that I think of,look here in my walletthat’s her.She grew up on a farm there,there’s a place on my armwhere I've written her namenext to mine.You see I just can'tlive without her,and I’m her only boy,and she grew up outside McHenry,in Johnsburg, Illinois.This last song exemplifies Waits’ newcommand of his art, it is a tightly writtenlittle ballad delivered in Waits quivering,struggled for falsetto, but the music formsa perfect counterpoint by employing thediscordanent notes of a jazz piano and awalking bass line. As on the rest of Sword¬fishtrombones the music undercuts as wellas enhances the simple story Waitssketches. The artist has finally managedto understand and fuse the two parts ofhis musical personality into a cohesivewhole.Swordfishtrombones is not cohesive inthe sense of being overly finished howev¬er, there is a rough feeling to the songs,and it is this quality of struggling thatmakes the album special. Waits is strug¬gling to define his characters, not refinethem into characterizations. They are elu¬sive personalities that he does not dredgeout to show off his knowledge of the see¬dier side of life, but, to honestly examineit. Occasionally he does lapse into stiffcharacterizations designed to shock us,but the majority of the songs are tersewithout being unsympathetic. They hint atmuch more than they reveal, as if a vastunderground network united them, but itis one we have to work at to understand.Swordfishtrombones may be the mostdifficult Waits album to gain access to, itdoes require work, but it is also one of thefew albums that is worth the effort. Therude atonal sounds and Waits' usualgrowth, make the listener feel they areentering into a distrubing disconcertingworld that only the singer is privy to. It isa world of physical tokens, half-caughtwinks, private jokes, and dirty puns. It isalso the world where Tom Waits is onceagain struggling to balance his romanticfascination and pessimistic horror at whathuman beings are capable of. In the mod¬ern world with its glut of technologicalgadgetry and false fronts it is good tohave someone who attempts to unearththe truth, even as he spins tales. The lastlines of the title track indicate Waits newunderstanding of the process of creation,GCJ BRUNCHSUNDAY AT NOON 5617 S DREXEL apt 2FEEL FREE TO BRING EDIBLESAND WE DON'T MEAN COMPLEXES 1ljrft.HA FRIDAY OrTORFR ?fi lQft3_THF GRFY P.ITY IOIIRNAIthe rewards of the struggle, and the diffi¬culties of ever telling the truth:Perhaps this yarn’s the only thingthat holds this man together...and if you think you can tell a biggertaleI swear to God you’d have to tell a lie.RECKLESS VIBESby Michael A. RockThe Reckless Vibes of Bobby HutchersonAs of this writing, the city of Chicago stillhas a thriving jazz music scene. If your rec¬ollections of last summer extends as farback as the time just before White Sox-mania had quite kicked in, you might re¬member the immensely successful five-dayChicago Kool Jazz Festival. This annualevent, for which admission is charged inmany other major cities, has alwaysplayed free of charge in Chicago, andalways to capacity crowds. Two other pe¬rennial favorites, the Southshore fest andthe FE’PA underground fest, also boastedbig turnouts. The summer festivals arealways important dates on the jazz calen¬dar, but what does a jazz fan do the rest ofthe year? The major universities in the Chi¬cago area all support jazz to some extent,and of course big-draw jazz and jazz-rockartists like Jean-Luc Ponty and Spyrogyraalways find their way to the larger audito¬riums in town, it is the clubs, however,which are the mainstays of the Chicagoscene, providing the most consistent influxof quality acts and, in my opinion, the mostfavorable listening environment.In all fairness, I think I can say that mostUniversity of Chicago students are obli¬vious to the city’s jazz scene. Some exhibitan almost deliberate ignorance of jazz.(Witness the notice for guitarist Pat Meth-eny in the music calendar of last week’sGCJ, which said ‘we don’t know anythingabout her.’ Get it? Metheny is a guy!). I’mnot sure why they think this way, but itprobably has something to do with the factthat jazz is one of the non-rock varieties ofmusic. The school does boast a small seg¬ment of aficionados, however. Of these,most limit their live music exposure to theuniversity or the immediate vicinity ofHyde Park, with infrequent forays to theclubs up north. I myself am not a great sup¬porter of the clubs either, but there is ahandful of musicians that I’ll go out of myway to see. Vibraphonist Bobby Hutcher¬son is one musician whose arrival I’d beeneagerly awaiting.For those unfamiliar with the vibra¬phone, it is simply a metal xylophone witha kind of vibrating hammer mounted justbelow the keys, acting upon all of them inunison, giving a throbbing, eerie, beauti¬ful sound when struck. Bobby Hutchersonemerged from California in the late fiftiesas an innovative stylist on the instrument,and quickly gained a respectable follow¬ing working with many of the biggestnames in jazz, including Herbie Hancock,Eric Dolphy, Dexter Gordon, Freddy Hub¬bard and Ron Carter, to name only a few.In the early sixties, he released his firstalbum as a leader, Dialogue, on the BlueNote label. Blue Note has remained hisprincipal label throughout his career. Alsoa prolific composer, he was soon recordingmany of his own compositions. Later in thedecade, he formed a quintet with fellowCalifornian Harold Land on alto sax andJoe Sample on piano. The group was one ofthe leading exponents of what came to becalled the “west coast sound.” In the se¬venties he released a few albums whichverged on the more popular and commer¬cially viable rhythm and blues sound, butthese albums, in retrospect, were moreserious and had more musical integritythan some of the more recent efforts bytrue “crossover’ artists such as HerbieHancock, Hank Crawford and Mtume. Hismost significant contribution to the eight¬ies so far has been the ethereal albumHighway One, one of the most accessibleand well thought-out of all his albums. Hut¬cherson prefers using only two mallets at atime, but seems capable of more with twothan many of his contemporaries who usefour. Compared to the staid, serious MiltJackson of the Modern Jazz Quartet, Hut¬cherson is much looser and wilder. Hisplaying is more soulful and emotional thanthe immaculate, almost sterile sound ofGary Burton, and if his raw technique isperhaps not quite as polished as that ofthe other two, he surpasses both in thedepth of his compositions, evoking eu¬phoria, enchantment, the mystery and ro¬mance of unknown lands.It was with mixed feelings of joy andsurprise that I read of Hutcherson’s en¬gagement at Joe Segal's Jazz Showcase,his first Chicago appearance in five years.It said he was to begin the very next eve¬ning, and here was the first notice I’d had!Somehow I felt cheated out of a week ortwo of delicious anticipation, having it tolook forward to, but I resolved to catch thegig on Sunday, his last night, in order totake advantage of the student discount.The Jazz Showcase occupies a formerballroom in the Blackstone Hotel at Michi¬gan and Balbo. Of the three clubs whichbook big-name jazz acts exclusively (the other two are Rick's Cafe and the relative¬ly new Georges), the Showcase has themost consistent and uncompromising re¬cord of booking fine jazz talent; but judg¬ing from the turnout at the early show, I’dsay the place was definitely sufferingfrom lack of support. Although the firstshow was supposed to start at eight, I ar¬rived about then to find the doors stillclosed and only one person waiting in thelobby. Happy as I was that it wouldn’t beovercrowded, I had really hoped to findmore admirers of Hutcherson’s brand ofjazz. By the time the doors opened at 8:30,enough people had gathered to form ashort line filing into the place. The Show¬case is spacious but cozy, like a big livingroom, with acoustics just a shade less thanideal. The walls are a subdued flat bluewith white trim, the small bar is locatedwisely in back, as far from the stage aspossible. On the wall behind the stage, ahuge photograph of Charlie Parker reignsover all, proclaiming this an enclave forjazz. Along the two sidewalls are raisedareas, upon which rest several very plushsofas, each with its own table. The showwould probably be best enjoyed from oneof these sofas, but with my rock-concert in¬stincts I chose front and center, amid nocompetition whatsoever for that particu¬lar spot. A gaunt, nervous looking manwalked on stage, fiddled with the vibra¬phone and left again. About twenty min¬utes later the accompanying trio took thestage. These were local musicians, the fin¬est the city had to offer. Jodie Christianplayed acoustic piano, Jeff Check took upthe acoustic bass and Wilbur Campbell,probably the best known and most record¬ed of the three, sat behind the drums. Theinstrumentation was exactly the same asthat used for the past twenty-five yearsby the Modern Jazz Quartet. Joe Segalwalked up to Christian, whispered some¬thing in his ear and then announced thethree, saying they would start by playingone by themselves. They immediatelylaunched into a straight-ahead jam, exhib¬iting perfect balance and cohesiveness. Icouldn’t imagine a better trio anywhere.After a considerable pause, the groupcharged through a second tune withoutHutcherson. Clearly something was amiss.Finally, the same gaunt man we'd seenearlier took the stage, only now he wasvery visibly inebriated. This, apparently,was our man. After an eloquent introduc¬tion by Joe Segal, Hutcherson led his bandinto a lively romp, but before long, hebegan to slip up. It seemed that Hutcher¬son was good only for short bursts, run¬ning into trouble over longer passages.Twice, he burst out laughing over god-only-knew-what. If the rest of the bandshared the humor at all, their stone facessure didn’t show it. Frequently he wouldknick the microphones with his mallet evenafter several attempts to adjust them.After only a brief period spent on stage,he stepped off for a drink and a smoke.This was to be the first of many such inter¬ruptions. At times he would come out andsit in the audience. Just before going backon, he would stand at stage right, arms ex¬tended with mallets, and warm up bygoing through the motions, appearing toplay the top of one of the first-row chairs,to the amusement of the audience seatednearby. Hutcherson’s first song of the eve¬ning was marked by his disproportionate¬ly small role in it.Throughout the set, Hutcherson con¬cerned himself more with displays of tech¬nique — isolated im provisationalflourishes and wild, dizzying cadenzas —than with playing a coherent, balancedtune. Sweating profusely, face a grimaceof rapt concentration, he would occasional¬ly hit upon brilliant interplays with histrio, but these lucid moments were all tooinfrequent. Every so often he would gointo a repetitive pattern which would beplayed blindingly fast — so fast that thepink ends of the mallets were a pink ser¬pent undulating wildly over the keys —over and over again until he lost it. Thetrio was just barely able to hold the gig to¬gether. As an admirer of Hutcherson’s com¬positions I was doubly disappointed. Theonly familiar tunes were ‘Bemsha Swing’by Ornette Coleman and Dizzy Gillespie’s‘Salt Peanuts’ and as far as Hutchersonwas concerned, these were the most memo¬rable.The show was fairly interesting but notnearly as good as it could have been. Theset wasn't mesmerizing enough. Hutcher¬son was far outshone by his trio. He neverplayed long enough to get things off theground. He had fewer solos and playedless than anyone else in the band. Howev¬er, I would still like to give him the benefitof the doubt. Here he was, his final night,and playing in front of a meager audiencein spite of the fact that this was the onlynight offering student and musician dis¬counts. Who could blame him for wantingto get trashed? By the time he was readyto take the stage, he was beyond worry¬ing about the scarcity of his audience, orabout anything, for that matter.Perhaps his career is truly in eclipse, but Idare to entertain hopes that he will re¬turn, in less than another five years, andtreat us to a set more reflective of his truecapabilities. I also hope he finds a moresupportive audience. — NContacts for Sale!What Is A Bargain?The 4 questions most frequently asked about contact lenses are:1. How Much Are Your Lenses?2. How Much Are Your Lenses?3. How Much Are Your Lenses?4. How Much Are Your Lenses?What is really more important, the lowest price, or the best fittinglenses? We think the 4 questions should be:1. Is the doctor really a contact lens specialist?(or is he an eyeglass salesman?)2. 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OCTOBER 28, 1983-5SPERO/GOLUBNancy Spero, The First Language, "*981(detail)Spero: Very occasionally.Golub: I am able to tap into a bell of alot of stuff that’s going on in theworld.And is your strategy to place this be¬fore one in a way that it just can’t beavoided?Golub: Yes. We both have the samestrategy but different tactics.What then was your strategy or tacticin the Sphinx paintings of the mid-50s?Like the Abstract Expressionists, yourearly reaction to the horror of the Sec¬ond World War made a lot of use of my-tical images. But the Abstract Expres¬sionists set out to build a new world;you, Leon, seem still to be there in theold one. Do you find this to be a symbolor representation of human limits?Golub: A sphinx is really a mutant. Mu¬tants occur through biological mistakes,through war; they’re freaks. They weregiven meaning by culture in its effort toexplore the irrational. There’s the levelwe re on now, the level of civility, thelevel of public and private normalcy.There are relations “below,” our irra¬tional impulses. And our higher im¬pulses, our ideals, utopias, our expecta¬tions of God and the future. Thisthree-part division has occurred in cul¬ture after culture and corresponds toour notions of what is possible. Art hasalways dealt with this kind of imagin¬ing. In the sphinx there’s a kind of con¬flict; there’s an apparent exactness inmythology in the way it actually statessocial facts and expectations. The irra¬tional sense of the sphinx correspondsto the subterranean prison where inter¬ rogators carry on theirhave a fascination for 1be an “unclean” fascinjbarrassed by this. Thesally tense things.Spero: I don’t think it’slot of other stuff too. 'iArt." You are bringingare protesting. In my <disappointment with 1more you know of theality, the more yoy kjust deep-rooted ps\terns. It’s an absolute reGolub: But that’s the saiSpero: Yes it is, but yothe individual obsessiorwhile you have extern,an extreme, to make ilsolutely with what isworld. When I did thehad just come back frcpainted in responseWar. That was becauseappointment with wfStates stood for. Of coing from my own pianger.It seems obvious thishown they’re both pelie. What’s not clear isthis “strategy" you hav(Golub: Take someboMotherwell and his serish Republic. In order tosaying about them —symbol of maybe testi<it js — you have to havicated awareness of tlhis intentions. And whecontinued from page 1year 1000 the world would end. It’sbeen relevant to lots of times, but it’scertainly relevant to us now. In 1975 Iwas invited to be on a panel in Wash¬ington at the College Art Association —women talking about other women ar¬tists. I picked Ende, the illuminator. Shehad done a book, The Beatus Apoca¬lypse of Gerona, with a male artist.Much information is lost. But in lookingat this Apocalypse and at other manu¬scripts I felt quite an affinity with theartwork. I think that has had some in¬fluence on my art.There are figures of drowning ani¬mals and people, their tongues hangingout. Years later I picked up the tonguemotif, but I didn’t show the tongueshanging out. The tongues thrust veryviolently in the War Series. Originallythere were heads extending out ofmushroom clouds, these heads had ton¬gues, and these tongues were spittingout poison, damaging the earth and thevictims. They were very gross and phal¬lic and obscene. And the bombs as¬sumed anthropomorphic forms. And atthe end of a penis I’d put a head with atongue — really obscene, to show the >>power, and the collusion of power with ®sex. I didn’t think there was any way I 5could show the obscenity of war except £by showing the obscenity of these sex- Eual gesturings of genitals. oThen, in the Artaud paintings, I used ^tongues. Artaud talked about tongues §a great deal. The language was very vi- £olent: the cutting off of tongues, the ob- Leon Golub interrogationscenity of the praying tongue, all sortsof imprecations. I thought that dove¬tailed with what I’d been doing in theWar Series although in a more exag¬gerated and defiant way. Then, lateron, in the course of reading the Frenchfeminists, they talk about the silence ofwomen, and the castration of women’stongues. And I thought “Ah-ha, that’swhat these tongues are all about.” Inone of my black paintings I have a clas¬sic head coming from the mouth and Icall the painting The Great Mother —she’s giving birth, but it has somethingto do with language. Someone ex¬plained how women talk, but they don’tspeak, meaning that women talkamongst and to one another but to real¬ly speak out is to have power, to havethe rest of the world listen.To be taken seriously.Spero: Right, right. So there are rela¬tionships in these tongue images. Some¬thing I figured out after the fact, butthey’re there. II, 1981 (10 x 14 feet)Both of you have been to an importantdegree protest artists. We've alllearned all too well that apocalypticand protest are difficult genres to sus¬tain. How do you do it? How is it thatthe intensity remains in your workwhen a lot of other people have given 5up the ghost? ^Golub: They may be obsessional. There °are unresolved situations in the psyche. 5Anything that lasts long enough, that <has tension, may take some of that £form. These stresses and tensions are 5very strong and often become stylized 5in art. The fairly obsessional nature of *abstract art might be as great as that «of an extreme figuration. It’s just con- °densed in a different form.We were talking about an artist weknow. He had a lot of fantasy in hiswork, violent fantasy, but it had no con¬nection to any issue outside of itself. Sothe fantasy is lost in the work, it be¬comes over-personalized, or it becomesestranged. This work has a very £strange look to it. It disturbs people in 5many ways; it’s overwhelming in one osense and yet it’s diffuse, incoherent. trSpero: It’s too internal. ^And yet it likely makes sense to theperson who made it, depending on howself-aware he is.Golub: Right. Certain texts in sciencefiction are like that:-they’re vehicles forfantasy without necessarily conveyingenough actuality. So, let’s say there isanger running through one; there arethese obscene things going on in theworld, and somehow you make the con¬nection between the two, your ownanger and your social and public anger. Nancy Spero, The First Language, 1981(detail)And they’re welded together; they’reinseparable. That’s where the level ofpower comes from.So you're explaining your art by refer¬ence to two things: the world, and your¬self. Why do these two make yourpaintings look the way they do ratherthan some other way? Nancy Spero, Mother and Children,1956Golub: You know Fairfield Porter; he’sgetting a lot of attention now. He didquiet scenes; a sobriety about them, re¬latively impressionistic. He’ll show chil¬dren playing on a lawn, a child ridingby on a bicycle, a dog frolics. He neverpainted a mercenary in his life. And Ihave never painted a child on a bicyclein my life. I would be incapable of show¬ing a child playing with a dog. I do nothave the representational skills to dothat, which is another way of sayingpsychic skills. And Fairfield Porter didnot have the psychic or representation¬al skills to do interrogations. I go aftertension. I search it out. That’s obses¬sional. I’m always going after it and Ialways find it. Nancy has more rangeactually; she is capable of the lyric aswell as of the obscene and violent. I’mnot capable of the lyric.5 FRIDAY, OCTOBCn 28, 1383—THE GREY CITY JOURNALleir dirty work. So IDr this, it may evencination. I’m not em-hese are obsession-it’s only that. It’s a). You say “Protesting up to light, youly own case it is ai the world. Thehe reality, the actu-i know they aren’tpsychological pat-3 reality,same thing,you’re emphasizing>ional aspect of thisjrnalized it to suche it correspond ab-is going on in thethe War Series wefrom Europe and Ie to the Vietnamuse of a great dis-what the Unitedcourse that’s corn-psyche, my ownthat once they'repersonal and pub¬is the character ofave in common.ibody like Robertseries on the Span-' to sense what he’s— he’s using thissticles or whateverave a very sophisti-the artworld anduhen you have that, Uruguay. nib/a soboiscgi- r j y d n>,jH w* a » yea/ old teacher?he did after beinv» Ctsubject-i t ‘ tie crusubmarine a methodof suff ocation with aplastic h cr cw th. headNancy Spero, Codex Artaud, 1972 (3 x10 feet)then you can say that the symbolizationis very intense. If you’re outside theartworld you’ll never know that thatrepresents that kind of thing. Youwon’t know this and you will not havebreached the gap between art and life.Within the artworld this is understood;outside it is not understood. Nancy andI are interested in an art which does nothave that kind of curtain between whocan understand it and who cannot andon what terms. That may not be poss¬ible to arrive at, but we work at it.Basically the kinds of things we do,and the ways we handle intention areavailable to most people, directlyavailable. They may not be as sophisti¬cated about the techniques, but theycan sense, to use my own work as an ex¬ample, my attempt to show what goeson, to indicate power use, they cansense pretty much everything that I in¬tend, in one way or another. And al¬though we have always had this inten¬tion we are better able to do this todaythan we were 15 years ago. There weretimes when we got confused too, be¬cause you are so subjected to this kindof artworld talk. It becomes over¬whelming in its defining of the bounda¬ries which one is often loath to con¬front.What then Leon is your tactic in your re¬cent paintings of mercenaries and inter¬rogators? How do they correspond withcontemporary events and with their au¬dience?Golub; My intention in my work is topresent the facts of the situation. Howdo I do this? You’re dealing with infor¬mation. The information system is rela¬tively open. We’re bombarded with thisvicious stuff. It comes from Argentina,Korea, Israel, New York City, Chicago,everyplace in the world. Who is exemptfrom the actions that go on with somesort of tacit governmental approval?We don’t torture here but we export it,which is the same thing. These eventsoccur constantly and we also have anamazing capacity to ignore them.I select out what I want from this in¬formation. I would like to condensethese occurrences. Painting is kind of astrange art. It’s very static. In film allsorts of things have happened — thehero has been reunited with his love,some tragedy has occurred — and youcan walk away from it. You can’t walkaway from a painting. The whole timeyou’re here you aren’t going to be ableto walk away from that (points to apainting on the wall). That object is im¬mediately in front of you; you can ig¬nore it but it is having some effect uponyou anyway.And its effect is psychological. What isthe psychological state you want to ef¬fect and how do you go about seeing iteffected? Nancy Spero, In Memorium: Nibya Sa-balsagaray, 1976 (detail)Golub: Among the sources I have used isthis sadomasochistic imagery, okay?Now I am making images that are not sodifferent from images of the Christianmartyrs. If I do a fellow in a CentralAmerican prison hanging upside downthat’s not so different from St. Peter,who was crucified upside down. It wasgiven a transcendental meaning — butagain it was understood that this iswhat men do to men. That was under¬stood all along. It represents howpower is used, how power is envisionedand understood. The skinning of Mar-syas, for example, a Greek image, is anequivalent experience. And we have tounderstand that the people who aredoing this are those in power, both forMarsyas and St. Peter and in respect totoday’s victims. Sadomasochism may ormay not be theater or play-acting, butoften it is pretty serious. Domination atanother level but it’s a related andequivalent phenomenon.Colby, who ran the CIA for a while, hedidn’t do these things himself. Colbysaid to some movie makers who weredoing a film on mercenaries, they toldme this, Colby said that “I am a goodman.” Maybe those weren’t the exactwords, but that was the idea. He goesto church, he loves his family, he’s aloyal American, he said all this to ex¬plain his own position. And he didn’t ac¬tually do any of these things himself,and he probably never committed a sa¬domasochistic act in his life, okay? Buthis agents, maybe they’re agents fivestages removed — nobody in the Pen¬tagon — did it. It went through all kindsof transmission belts, but at some pointsomewhere somebody was inflictingtorture. Now is that sadomasochism oris it just public policy?The obsessional needs of nations arestrange accumulations of the obsession¬al needs of the individuals within themand also of public policy directedtoward political ends. What is there togain by the U.S. or any other countryhaving colonial outposts? It’s not justmaterial stuff, it’s not just oil; it’s thesense of actually having power — this isone of the things they, “The Regime,”want: to be number one. That kind ofthing, but it’s also economic, it’s a de¬based notion of function. It’s how youoccupy space, how you carry on thefunctions of government, how you givecitizens those kinds of open spaces inwhich they can participate.I want to make paintings that imposethemselves, that are unendurable.They are unendurable because the factsof the situation are unendurable. Idon’t want them to just slide away, toget pushed to the edges of our con¬sciousness. In so far as I am capable Iwill force them upon the world’s atten¬tion.Now I’m not totally capable of doingthat; the world is also capable of han¬dling me, ignoring me. Even shuntingme aside in museums if necessary. Thewhole thing gets sterilized somehow.So it’s very important for me to be pub¬lic, to be social, in order for me to makethese points. I think of myself as a polit¬ical artist in this way.Nancy’s work if I may say so can bediffuse; you step closer, you step fur¬ther away, there are blank spaces. Herpower comes from a curious reiterationwith disassociation, it’s a staccatorhythm. She is unrelenting in a dif¬ferent sense. You go along and thenthere’s a pause, then she hits you on thehead again. Or she trips you or sets upa different kind of message. There’s noone way to do it.So you have the strategy and these dif¬ferent general tactics. These come fromyour desire to make the personal publicand thus expressly political. They areso far accounted for by reference to the Leon Golub, Siamese Sphinx I, 1954way the world is, the way you wish itwere, and your individual psychic or re¬presentational skills. But doesn’t an¬other consideration come into play,namely the artworld? Not this in termsof art history, but the structures bywhich nearly all visual artists mustpresent their messages, expressly po¬litical or not.Golub; Nancy first used the concept ofrepression, the repression of the artsystem as it effected us. There were awhole series of art doctrines that wouldnot admit that what we did was poss¬ible. The artworld can be very intran¬sigent, and it can be said that what youdo, no matter how you work at it, is notpossible. It was not considered possibleby many theoretical types, critics, orartists that one could do figurativework.Spero; Expression was a dirty word.Golub; The two dirtiest words were ex¬pressionism and surrealism. And youwere considered to be stupid to holdthose kinds of positions, I mean reallystupid. You had missed the train; thetrain had gone out of the station andyou were there and you were so stupidthat you didn’t even know you’d missedthe train.And now it appears that that trainhadn't left at all.Golub: Well it’s turned out that thereare a fair number of trains, and a fairnumber of destinations. And some ofthe trains have even managed tobreach that curious barrier, that invisi¬ble barrier, that was called the dif¬ference between art and life. That wasthe barrier you weren’t supposed tobreach, except maybe symbolically.You’re not allowed to watch TV and getoutraged and actually make a pictureabout it; that wouldn’t be cool.Spero: Right, exactly.Nancy, could you speak about your de¬velopment, and experience of the art-world's limits?Spero: Leon and I met here in art schoolat the Art Institute of Chicago. We gotmarried and I continued painting and Iguess I showed around Chicago. As thiswas happening, I was in a sense inter¬nalizing, hiding behind the nuclear fam¬ily. I was painting assiduously; Leonwas at that time emerging as a verystrong leader in the Chicago “MonsterRoster” group. I had no desire whatso¬ever to be associated with them yet onthe other hand I felt their rejection ofme. I felt I was being confined and iso¬lated, somehow; maybe I didn’t ap¬proach it in a practical way. I somehowdidn’t see how my art was related tothe world in any real way, but I contin¬ued to work. It’s an embittering situa¬tion; the ideals particularly at that timewere that you work and despite allhandicaps your craft improves. So I wasencouraged enough, particularly byLeon, and by a few artist friends.I’ve always been an underground ar¬tist, until recently, and considered my¬self so. I’ve been in the alternate scenefor a long time in New York and beforethat I was totally unseen. I figured no¬body was paying attention and I coulddo exactly as I liked. I didn’t like whateverybody else was doing; that’s why Istopped oil painting in the first place. Iwas fortunate enough to be able to in¬vestigate the world in another way.I have always felt that my work wasout of phase with mainstream art. I wasnever really able to articulate or ana¬lyze what was going on until theWomen’s Movement in the arts camealong in ’69 in New York City. I joined agroup called Women Artists in Revolu¬tion (WAR) and I realized that my situa¬tion was not unique at all. I had thoughtthat it was because of the nature of thework that I had been shunted aside, butit also had to do with the reality thatmany women were not represented inthe galleries or in museum shows. Therewas less encouragement and lesschance for women to get a toehold inthe artworld. I then joined a women’scooperative gallery in New York City,A.I.R. That’s how I established what Ialways wanted, a dialogue with the ar¬tworld.How, Leon, has it been different foryou?Golub: Over the years, because I wasaggressive and would look for theoreti¬cal jousting with critics...Your early slamming of Abstract Ex¬ pressionism?Golub: Yes, that stuff started veryearly. I was aggressive and, up toabout ’64, ’65, quite successful. I got alot of attention, relatively speaking.Even in the early days, in the ’50s,when people would come over, eventhen they had to acknowledge the oth¬erness of the work, the fact that it didnot correspond to what was going on inNew York, the place where things werelegitimated. So from the middle ’50sthey would acknowledge that maybewhat I was doing was okay.But then it became very hard forthem to accept Nancy. Her work wasdifferent too, in different ways; it wasalmost too much. So they’d have to holdthe line; it’s as if they’d say, “What,there are two of you now?” When I toldsomeone that they ought to look at herwork they would almost go out of theirway not to.Then from ’70 to ’79 or so she showedin A.I.R. and got a very good critical re¬ception. But from ’65 to '80 the ar¬tworld wasn’t very interested in mywork since Minimalism and Conceptua¬lism were the rage. During this period Iwas at my lowest and began to get afair amount of the treatment she hadgotten. Sometimes when Nancy wouldtry to interest someone in my work itwas, “Two of you?” again. Theywouldn’t take it.But now you are established, both indi¬vidually and together. And now figura¬tion and expressionism are back infashion. But of course, like the world, orlife, the artworld . much larger thanyou and not of youi ^aking. You'vebeen accepted in spite or it; you haven’tchanged it. Given the primary positionof the artworld in the presentation ofart, what more can be said of its work¬ings, its relations with other parts oflife?Golub: You’re dealing with a system.Any system, no matter how open, hasits informal rules of how things are tobe accomplished. The artworld is veryopen. It's not systematic in that sense,but it’s still a system. It still has certainexpectations in a very general way,even if there’re all sorts of contradic¬tions. And one of the things the systemwants is crude, rude young artists.That’s a system demand on a certainkind of level.The system is a very elite and highlyspecialized structure. It is largely notunderstood by the great mass of peo¬ple, including the great mass of middle-class, college educated people. Thereare some that pretend to understand it,and some that understand a great dealabout it. But when you get the minor ca-tastrophies that happen in the artworldand you can see by all the scurryingthat goes on and the desperate effortsto keep up, how scared people are bythe changes that take place. There’s lipservice paid to contemporary art, notreally deep, just skin-level. There was avery important dinner that happened, Iwish I knew the date, either in the ’30sor ’40s, when Nelson Rockefeller, andAlfred Barr, respectively the son of thefounder and Director of Exhibitions atthe Museum of Modern Art, New York,and Henry Luce, publisher of Time, Life.and Fortune, sat down to discuss mod¬ern art. Up to that point contemporaryart had not swept the media; it was con¬sidered outlandish, maybe European,maybe strange. Of course there werepockets where it was vastly admired;but it was considered communist bysome people, and subversive, or atleast incomprehensible. But the resultof that dinner was that Luce was wonover. Now he’s just one man, but hispublications are powerful. The winningof these publications, just like the insti¬tuting of the international program ofthe Museum of Modern Art, beginswhat is known as the triumph of Ameri¬can art. The way I’m speaking of it, it isthe triumph of it ideologically on theworld scene. In order to do that whatyou need are tolerance, means of disse¬mination, and a whole power appara¬tus to carry it out. It’s not a conspiracy,,it’s a genuine belief system. With thatgalleries develop, the media becomesextraordinarily involved, it gets moreand more complex. It becomes a hugecultural manifestation. All sorts of peo¬ple get dragged into it. It becomes anindustry with tens of millions of dollarsinvolved in it. And it’s more than that;it’s the selling of an idea. The idea wasthat the triumph of American art wasthe triumph of the American system.Because how can you have such greatart, unless the system was free enough,and open enough? And the internation¬al program of the Museum of ModernArt meant just that. And they weredoing it as honestly and straightfor¬wardly as they could; they believed ittotally; again it’s not a conspiracy. Theidea wasn’t even just to sell America,because the thing is greater than allthat...THE GREY CITY JOURNAL—FRIDAY, OCTOBER 28, 1983-7■jr ’At:. .-::'!>; ■■■- “'••. : a■ ■■•■■:;**-J . " S ■ '"v,&***&&> vaviiatig.. v,; ■; : ^ f: /■ '3k ■ '•;/ Sale Dates: 10/28-11/3LIQUORSMIRNOFF VODKA80° Proof750 mlBACARDI RUMLight or Dark750 mlJIM BEAMBOURBON750 mlGORDONS GIN750 ml $£69MARTELL3 STAR COGNAC750 mlCANADIAN MIST750 ml *12HENNESSY ^VS COGNAC $750 ml 11 99- ANNUAL WINE SALE *WINES FROM ALL OVERTHE WORLD REDUCEDAS MUCH AS 5%.LIMITED OFFER - SOMEITEMS CLOSE OUTS !™JBEER SPECIAL$229OLD STYLE6-12 02. cans(warm only)PARTY SIZERON CASTILLORUM1.75 Itr.XII CLANSSCOTCH1.75 Ur.SKOLGIN orVODKA1.75 Itr. $£99$g99*749COUPON SPECIALBORGENLIEBFRAUMILCH$1 991982750 ml JKLCOUPON EXPIRES 113-83mg IMBARK LIQUORS& WINE SHOPPE214 E. 53rd. 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You alsoneed beautiful skin and the right makeup. Now the “Total Look” expertsmake it so that you can’t afford NOT to look Great!THEtotalLOOKWith any regularly priced DesignerPerm you receive a ProfessionalSKIN CARE KIT...Absolutely FREE!In addition you canalso purchase thisUnique cosmeticTRAVELKITONLY at the a $50.00valueONLY $24.95fHE liHtY CITY JOURNAL1621 E. PEN 7 DAYSmmmm THE ODYSSEY IN OUTER SPACEning sci-fi novel, The Forever War wasby Vince MichaelThe Organic Theater’s The Forever Waris a classical Greek drama-cum-war moviewith punk haircuts. But more than an inter¬esting collage of genres and styles, TheForever War is an engaging, coherent playthat successfully fulfills the demands ofeach of its forms — science fiction, war nar¬rative, drama — without sacrificing the im¬portance of any of them. The forms are notoverlaid but harmonized to bring out theirthematic parallels.It’s not an easy task. The Organic hashad experience with the technical de¬mands of sci-fi, having staged WARP! — acosmic fantasy — in the mid-70’s. Much ofthe same crew has returned to lend theshow a technical flair that appears er¬rorless. A giant video projection, supple¬mented by three smaller screens, servesas a videophone — in which actors commu¬nicate with other spaceships (these aretaped, but so well-rehearsed you can’ttell) — a monitor displaying graphs andmachine readouts, and a computerizedwargame on which the essential battles ofthe war are played out. This last touch is anatural update to WARP!, utilizing the factthat video games are now common par¬lance, and the audience is more likely tosuccessfully read the screens and assessthe progress of the battle.The set itself is remarkably versatile,and together with the not-too-futuristiccostumes, creates an effective and natu¬ralistic future. The one virtue of moviessuch as Star Wars is that they treat theirfantastic technology with equanimity. TheForever War does the same, avoiding thetendency of bad sci-fi to spotlight the gad¬gets and contraptions. Instead, they aretreated by the characters as mundanefacts and tools. This quality of the effectsis important because it is essential to thewar-movie aspect of the story.Unlike WARP!, which featured comic¬book characters engaged in a cosmic strug¬gle between good and evil, The ForeverWar is about real people in a real war. In¬stead of gods above, we view the Trojansand Achaeans. Originally an award-win- adapted to the stage by its author Joe Hal-deman. The story was heavily informed byHaldeman’s Vietnam experiences. The fu¬turistic setting of the show never takesprecedence over the characters as theyare tested in the horror of an endless warwith an unseen enemy.The story goes like this. William Mandel-la is drafted to fight Taurans in the 22ndcentury. He is wounded and returns to aspace station near Earth. Since travelthrough space is limited to sub-lightspeeds (no cheapy shortcuts like warpdrive here) physical laws dictate thatwhile Mandella ages only a few months ona tour of duty, Earth ages decades and cen¬turies. Mandella returns and is chagrinedto find Earth still embroiled in the warafter almost two centuries. He is evenmore chagrined to find a new rationaliza¬tion of the social order.It is now 2360. To control populationgrowth, Earth has made homosexualitythe norm. As a heterosexual, Mandella isamong the fraction of a percent of humanswho are sociopaths and deviants. He ismade commander of a strategic outpostand is immediately caught up not only inthe tensions between his enlisted womenand men, but also in the gap between hisown outdated philosophy and sexualityand that of his regiment. Like a career of¬ficer in Vietnam, he is out of touch with hiscommand, who cannot trust a sociopath. Tomake matters worse, Mandella re¬members the beginning, and still spoutsthe long-forgotten reasons for the war.Add to this an ingredient necessary for agood war movie — love interest. We soonsuspect that the station’s doctor, Lt. DianaAlsever has a perverse inclination towardMandella and he toward her. As if thatweren’t enough to make an enlisted per¬son doubt his strength and ability, he in¬sists on dealing with insubordination ac¬cording to law rather than force, whichfurther erodes his credibility. The castplays these tensions realistically and wesee both the Vietnam parallels and the ef¬fective playing out of the inversion of thesocial order. The war story works together with the science fiction, giving it a point ofreference and realism.These multi-layered tensions all come toa head in the pitch of battle as Mandella’sauthority is challenged. In the climacticscene the holds are broken and the charac¬ters’ sublimated frustrations are let looseas the screens switch wildly from battlescenes to video records to function dis¬plays in pell-mell succession, parallelingthe duels between the Earthlings and theTaurans; between 24th and 22nd centurymorality; between the hets and thehomos.The resolution finds the survivors re¬turning to an even wierder Earth centurieslater, where they realize they have beenfighting a war unappreciated at home.While the play does not pass up on the hu¬morous possibilities of inverted sexualnorms, at the end we are left with a senseof the humanity of sexuality and the inhu¬manity of war.The technical wizardry of the productionis matched by well-honed performances.Gary Houston as Captain Charlie Moorecaptures the dark humor of the conflict,and Carolyn Pudry-Gordon is captivatingas the troubled and sensitive Lt. Alsever.J. Pat Miller plays a marvelously psycho¬pathic Private Graubard and Richard Lavin is effective as a private who eventu¬ally sees Mandella’s worth. Bruce Youngplays Mandella, the most accessible of thecharacters, with ease and conviction. I alsoliked Linda Kimbrough as the fiercely mili¬taristic Lt. Hilleboe. Sara Fox and Alex¬ander Kerr round out the onstage cast,and if you want to see a familiar face, Pau¬line Brailsford has a video appearance. Itis difficult to appreciate the quality of theperformances given the technical demandsof the show, but the fact that the producti¬on’s seams are well-hidden indicates theeffort that has been put forth.The Forever War is good science fiction:it recreates the world and assesses the so¬cial order and human condition according¬ly. As a war story it’s good, bringing thehidden dynamics of life to the fore by theimmediate presence of death. And it’s amodern, post-Vietnam, pre-Grenada warstory fraught with cynicism (what’re wefighting for?), dark humor distrust of au¬thority and bitterness. It’s a good dramatoo, though maybe not a great one. Thereare trite lines (Mandella utters some crapabout mom and apple pie) and some overlymelodramatic bits, but overall the playworks on a real, human level. So enjoy theshow. Besides, the haircuts are reallycool.Victor Marchetti and John D. Marks, TheCIA and the Cult of Intelligence (New York:Alfred A. Knopf, 1974)Report to the President by the Commis¬sion on CIA Activities within the UnitedStates. Vice President Nelson Rockefeller,chairman, 1975Judith F. Buncher, ed., The CIA and theSecurity Debate (New York: Facts on File,1977)Compiled by Dan Sakura—The CIA opened and photographed aquarter of a million first class letters be¬tween 1953-1973, producing a CIA com¬puterized index of nearly one-half mil¬lion names.—The CIA actively participated in the as¬sassination of Patrice Lumumbu of theCongo (now Zaire) and Rafeal LeonidasTrujillo of the Dominican Republic.—The CIA attempted to assassinate CubanPremier Fidel Castro. They tried to killhim with a poison ball point pen with ahypodermic needle too small to be felt,with a skin diving suit containing a poi¬sonous fungus that was offered to Castroas a gift with an exploding seashell leftnear the area where Castro swam, witha box of his favorite cigars that hadbeen contaminated with botulism toxin,with a high powered rifle and with ex¬plosives.—The CIA attempted to recruit dissidentIndonesians to kill Sukarno. They sup¬ported an insurgent movement in Indon¬esia. American pilots flew B-26s inbombing missions.—The CIA hires prostitutes to get informa¬tion from targeted opponents and laterblackmail them.—The CIA infiltrated scores of domesticpeace groups including:Students for a Democratic SocietyWomen’s Strike for PeaceAmerican Indian Movement (AIM)Clergy and Laymen concerned aboutVietnamStudent Non-Violent Coordinating Com¬mitteeWomen’s Liberation MovementNational Mobilization Committee to endthe War in Vietnam —Former CIA operative Victor Marchettiwrites; “The array of outlawed wea¬ponry with which we were familiarized(at a CIA training camp) included bulletsthat explode on impact, silencer-equipped machine guns, homemade ex¬plosives and homemade napalm forstickier and hotter Molotov cocktails.We were taught demolition techniques,practicing on late model cars, railwaytrucks, and gas storage tanks. And wewere shown a quick method of saturat¬ing a confined area with flour or fertiliz¬er, causing an explosion like a dustbin orgranary.And there was a diabolical inventionthat might be called a mini-cannon. Itwas constructed of a concave piece ofsteel fitted on top of a number 10 canfilled with a plastic explosive. When thedevice was detonated, the tremendousheat of friction of the steel turning insideout made the steel piece a white hotprojectile. There was a number of usesfor the mini-cannon, one of which was de¬monstrated to us using an old armyschool bus. It was fastened to the gaso¬line tank in such a fashion that the incen¬diary projectile would rupture the tankand fling flaming gasoline the length ofthe bus. It was my lot to show the rest ofthe class how easily it could be done. Itworked, my god, how it worked. I stoodthere watching the flames consume thebus. It was, I guess, the moment of truth.What did a busload of burning peoplehave to do with freedom?”—They have conducted 900 “major or sen¬sitive” covert operations since 1961,and several thousand smaller opera¬tions, none of which were subject to re¬view outside of the CIA.—CIA agents write articles, under cover,for American news agencies. They pub¬lish books and articles which were de¬scribed by one official as “the most im¬portant weapon of strategic prop¬aganda.” One operative wrote a CIA-sponsored book on China, and anotherreviewed it favorably in The New YorkTimes.—The U.S. Navy was involved in a highlytechnical submarine reconnaissance pro¬gram, often operating in unfriendlywaters. There were at least 9 collisionswith hostile vessels.—They spent $65 million supporting de¬mocracy in Italy in fear of Communistelectoral success.—The Directorate of Operations has in¬dexed some 7,000.000 names. U of CTHE CIA WANTS YOU!!!....to collect information, write papers,blow up bridges, poison government offi¬cials, supervise an invasion now andthen.What are “foreign area specialists?"And why is the CIA here trying to hiresome?Unfortunately, the Reagan budget aus¬terity program hasn’t affected the CentralIntelligence Agency. Though its budget is astate secret, any casual newspaper readerknows that the agency is busier than everthese days, especially in Central America.And its recruiters want YOU. The CIA willbe on the University of Chicago campus onNov. 1 and 2 to interview students whowant to be “foreign area specialists."That could mean anything — from pro¬ducing policy papers to directing covertmilitary operations. This is what the NewYork Times reported on Oct. 16: “The Cen¬tral Intelligence Agency recommended andhelped plan recent rebel attacks againstan oil storage depot and other industrialtargets in Nicaragua, according to ReaganAdministration officials. ” The U.S. role inthose attacks has been “official" for near¬ly a year, ever since the Reagan adminis¬tration began boasting of its use of the CIAto finance and direct the invasion of Ni¬caragua.The violent overthrow of a governmentis not an unfamiliar assignment to the CIA.The agency was set up 36 years ago to un¬dertake just such actions: the criminal andterroristic missions that the United Stateswould rather not be publicly associatedwith, but which are necessaty for “nation¬al security” purposes. The list is long andsordid, and solidly documented (by Con¬gressional investigating committees,among others): We know that it has helpedoverthrow governments in Iran (1953),Guatemala (1954), and Chile (1973); that ithas attempted to do so in Cuba and Nicara¬gua; that is has shoveled millions of dol¬lars into foreign elections in order to sup¬port “safe" candidates; that it has usedassassination and torture in the service ofU.S. national security. Last June, the gov¬ ernment of Nicaragua exposed a CIA at¬tempt to poison foreign minister MiguelD’Escoto.The CIA has also systematically engagedin secret operations within the UnitedSfafes, despite the CIA charter expresslyprohibiting such operations. The NationalSecurity Act of 1947 that established theCIA specifically forbade the CIA from hav¬ing “any law enforcement powers or inter¬nal security functions. ”Illegal domestic CIA actions includeOperation CHAOS, whereby the CIA spiedon tens of thousands of Americans doinglegal political work from 1967 to 1974.Currently, the Alliance to End Repressionet al. is bringing the City of Chicago tocourt for the allegedly politically motivat¬ed spying by the Chicago Police Depart¬ment's Red Squad in conjunction with theCIA, the FBI, and Military Intelligence,directed against groups lawfully exercis¬ing their First Amendment rights.As part of its illegal domestic activities,the CIA covertly hired university employ¬ees to spy. According to a 1976 U.S. Sen¬ate committee report, “...university offi¬cials and professors provide leads forintelligence purposes; scholars and jour¬nalists collect information. ”The CIA is clearly not like any privateemployer in the United States, or anyother public agency. Far from defendingU.S. security interests, it has been a signif¬icant source of instability in the worldsince 1947. The governments it hasoverthrown have been followed by someof the most bloodthirsty dictatorships theworld has known. By intervening, crimina-ly and covertly, in the political and eco¬nomic affairs of other nations, the CIA hasdone far more to defeat democracy than toadvance it.Please join us on Nov. 1 and 2 at a silentvigil, protesting these activities of theCIA. The vigil will take place at ReynoldsClub (where the CIA will be conducting in¬terviews), from 9:30 to 11:30 AM, Tues¬day Nov. 1, and from 9:30 AM to 1:30 PMon Wednesday, Nov. 2. This issue concernsnot only the nature of U.S. foreign po icy,but also the role of the University of Chi¬cago in world affairs.— Bob Holden, Cassandra Smithies,John Conlon and Dan SakuraTHE GREY CITY JOuRNAl—FRIDA Y , OCTOBER 20, mj—yDISHING UP ARTby Jonathan KatzIt’s usually pretty clear how you’re sup¬posed to look at an art exhibit. You simplyfollow the walls, taking in each work se¬quentially, preferably with a catalog orcheck-off sheet firmly in hand. Some ex¬hibitions, like the recent Vatican Collec¬tion, have a definite, predetermined be¬ginning and end. Other shows are lessprescribed. But in any case, strollingabout at random is usually unproductive,if not discouraged.So when you go into a museum or largeexhibit, they give you a floor plan. And ifthey don’t, I always ask for one. It’s afunny custom, for it doesn’t help you to un¬derstand or appreciate the art any better.All it does is tell you what’s there. Butthat’s what art museums and exhibits do— they order art.Grouping objects together by country oforigin, period, movement or style, muse¬ums help to interpret and categorize art.When a museum docent passes out a floorplan that puts all eighteenth centuryFrench work in one room, we understandthe significance of that action. There’ssomething that makes these works go to- _gether, something eighteenth century and =French. After all, they didn’t put all the 2landscapes or all the portraits together. 2John Knight made sixty bone-china din-3ner plates with museum floor plans onthem for the Renaissance Society exhibitcalled Museotypes. The floor plans, fromsixty different museums all over theworld, are drawn to scale in regal blue onan eggshell colored background, lookinglike nothing so much as a series of comme¬morative plates from the Franklin Mint.It’s a formidable exhibit.You don’t get a floor plan when youwalk in. There is a check list, but it's notreally much help, it helps only to identifywhich floor plan corresponds to which mu¬seum. And besides, it takes a while to findthe numbers that identify each plate. Theyare placed near the floorboards so as notto guide the experience of each piece. Inthe absence of floor plans, labels canmake a good substitute. But John Knight isonto us.Moreover, you’re really not sure how towalk about this exhibit. The plates are not John Knight at Renaissance Society openingplaced on the wall in numerical sequence,and certain plates are singled out for dis¬play in cases (one such grouping, of theMuseum of Modern Art and the Mouse Mu¬seum floor plan plates, seems to be a trib¬ute to the Oldenburg brothers — Claes,who created the Mouse Museum, and hisbrother who directs the MOMA). Museo¬types doesn’t begin and it doesn’t end, itdoesn’t develop a point or move toward aconclusion. It says everything it has to sayat once, at all times. This is not to say it'seasy, which it certainly is not, but that itworks as a whole. The sixty individualplates (and the pun on art book reproduc¬tions, known as plates, I suspect, did notescape the artist) are themselves not thesubject of this show. Rather, it is the con¬cept of stenciling museum floor plans onplates that matters. The work is funda¬ mentally conceptual.Conceptual art had its heyday in the Six¬ties and early Seventies, around the timeJohn Knight began his career. Some con¬ceptual art of the time was simply writteninstructions or plans. Other artists createdobjects, but aesthetic or formal considera¬tions were rarely to the point. The objectwas devalued; art became essay.But as I set about wandering the gallerylooking at each plate, certain plates — orfloor plans, if you will — caught my eye.The Open Air Museum in Zurich made for abeautiful plate. I could discriminate andjudge among the works. I could see theplates as aesthetic objects themselves, aswell as conceptual tools.But the work is equally strong in concep¬tual terms. The name of the show, Museo¬types puns on the word monotype — a print technique calling for the reproduc¬tion of but a single copy, using the sameindirect means of execution that could po¬tentially generate thousands. So in Mu¬seotypes, we have reproductions of floorplans that probably exist in innumerablequantities, and yet each piece, painted asit is on a dinner plate, is unique.Knight’s plates also firmly straddle, andobfuscate, the distinction between art andnon-art. They are, after all only dinnerplates, yet each displays a strong image,accomplished in a high art manner. Theplates are also displayed in a museumspace — and in a museum way, hung onwalls, not set on tables — adding a furtherart context to their already suspect non¬art status. And ironically, the subject ofeach plate is the museum itself, that pow¬erful institution that, through its displays,makes or breaks an object as art, yet onceadmitted, leaves its status unquestioned.Even if we don’t readily view these platesas art, their placement in the RenaissanceSociety Gallery tells us otherwise — andwith a force far more powerful than ourmere opinion. In short, John Knight dis¬plays the displayer, in point of fact and inmore metaphoric terms. He turns contextinside-out, playing it with its own devices.Thus, the catalog and invitation to the ex¬hibit are stamped with the floor plan ofthe Renaissance Society Gallery.In Knight’s hands, floor plans become akind of logo, a shorthand for each muse¬um, all the while begging the question ofhow a floor plan can serve anything but it¬self, how it can represent a museum (walls,art, board of directors, groups of schoolchildren) and not be read simply as a nicedesign.But we cannot forget that these platesare also nice designs. This is Knight’sstrongest work thus far. In its mixing ofthe aesthetic with the conceptual, that is,of object-making with idea-making, it re¬inforces both.It’s not at all clear how you’re supposedto view this exhibit. Not only is it difficultto determine how to walk through the gal¬lery, but also how to think through it, aswell, through this mix of critical cate¬gories, at once aesthetic in the particularand conceptual as a whole. But then, thereis no floor plan.Night-NightDaddy, where is my voice?I only hear you singingstoically in the doorway,while Marc and I sit facingthe deep, off-key quivering thatsends us to sleep, puts us awayfor the night. And lateryou turn the lights out,suck your cigar 'til it glows,and carve with its embervanishing circles of lightthat burn little worldcomets into our retinas.Comets burning for hours, cleavedby the length of your arms’ pull,leaving pale orange after images.Comets that smell of burnt leaves,the ashpit in the Fall.—David Sullivan THE RULESOF CRITICISMby Joel GinsbergLast week, the Grey City Journal pub¬lished a review of the Concrete GothicTheatre’s production of Yvan God’s Meth-usalem, written by Rainer Mack. In his re¬view, Mack describes the production as “aregrettably cloudy and brusque presenta¬tion,” with ‘‘some notably flat and mis¬guided performances,” though he addsthat it was ‘‘worth seeing — if only to sup¬port the continued performance of worth¬while modern drama by, and for, stu¬dents.” Mack also saw fit to devote aconsiderable amount of attention to a par¬ticular actor, whose acting is characterizedas “flat,” “melodramatic,” “near-ineffec¬tive,” “overly-stylized,” and “Not perti¬nent to God’s play.” “Commendably,” hegoes on, “the ill-effects” of this actor’sperformance were “lessened” by some“inventive” directing.I was quite struck by Mack’s review, notbecause it was convincing — on the con¬trary, I thoroughly enjoyed the show —but because of his apparent delight in cast¬ing about depreciative adjectives and hisfailure to consider the propriety of hissharply-worded criticisms with regard tohis audience. Of course, not ad of Mack’scomments are so distinctly derogatory. Itis odd to note, however, that where Mackintends to be generous — when he charac¬terizes performances as “workable” or"satisfactory” — his terms are so generaland so strikingly lacking in force that theysuggest not praiseworthiness but medioc¬rity.Mack’s criticism of this productionseemed to me inappropriately harsh. Onemay argue that actors and theatrical prod¬uctions are “fair game” for criticism in apublic forum because of the public natureof the activity. I agree with this in princip¬le, but I would like to suggest that our crit¬icism of “public figures” must be in someway reasonable proportionate to the ex¬tent or range of the public figures’ ren¬own. Thus I suggest not that we shouldalter our standards of excellence accord¬ing to the degree of public exposure butrather that we should consider that wherepublic criticism of a public work is neces¬sarily limited, the weight of that criticismis bound to be accentuated, and that thecritic, therefore, must observe particular¬ly high standards of disrection and sensi¬tivity with regard to his subject.Now people in positions of high visibilityare especially vulnerable to attack, and insome sense, this vulnerability is justified because public figures become effectivelypublic institutions insofar as they are re¬garded as being “in the public domain,”and thus, can and should be examined crit¬ically as are other institutions in a free so¬ciety.We (most of us, anyway) relate to suchfigures as Nixon, Jane Fonda or Jerry Fal-well as institutions, as images and reflec¬tions; where their importance to us is afunction of their public natures; we arefree to discuss their doings and exposethem to criticism which we would not directtowards “private” citizens (since, if any¬body “asks for it,” these people do).Now what does this discussion of our re¬lation to public figures have to do with stu¬dent theatre, with Rainer Mack’s reviewof Methusalem? I speak about public fig¬ures and institutions in the hopes of mak¬ing it clear that Concrete Gothic (or anyother group or individual in a similar rela¬tion to the public) is not in that same classof remote individuals and institutions aswidely-known theatrical ensembles or mil¬lion-album rock musicians or world-classathletes; nor are they “professional” —they are not paid for their efforts. Thesepeople are right here, in our classes, in curdormitories, and in our apartment build¬ings. Now I do not mean to suggest thatstudent actors should be immune to criti¬cism. On the contrary, public works de¬mand a public response. But actors areparticularly vulnerable to criticism sincethey, unlike writers, musicians, or otherpractitioners of the fine arts, are regular¬ly reviewed, and nobody loves a good re¬view so much as they relish a nasty one. Inwriting critically about the works of ournot-so-public peers, we should not betempted to publicly respond (as in re¬views, for example) as we would to theworks of more generally recognized “pub¬lic figures” for our comments may carry adisproportionate weight if they be theonly views to be publicly expressed.A final word: As anybody who has everbeen involved in a theatrical productionknows, reviews do not only serve the pur¬pose of advising the public as to whichshows to see and which to avoid. The peo¬ple who make shows devour reviews;when a review is good, they are ecstatic;when it is bad, they are publicly dis¬graced. My comments here will not, I’mafraid, be of mu(^ value to the cast andproduction staff of Methusalem since mypurpose here has not been to re-reviewthe production but to comment on the na¬ture of the responsibilities involved in re¬viewing student theatre. The members ofConcrete Gothic Theatre should recognize,however, that my defense of their prod¬uction was inspired by the fact that I foundit to be energetic and stimulating & highlyentertaining. I congratulate ConcreteGothic Theatre on their recent efforts and Iwish them many continued successes.10—FRIDAY, OCTOBER 28, 1983—THE GREY CITY JOURNALBIOLOGICAL/PHYSICAL SCIENCES ...You're NeededAll Over theWorld.Ask Peoce Corps volunteers why rhey ore using rheir Sciencemajor, minor, or aprirude in heolfh clinics ond dossrooms inMoloysio. Why do they use them in fish pond culture projectsond experimental forms in Western Somoo? They'll tell yourheir ingenuity and flexibility ore os important os their degrees.Ask them why Peoce Corps is the roughesr job you'll ever love.See our filmFed, Nov 2ndat 4 p.m. in theCareer Counseling& Placement OfficePEACE CORPS st. gtiGgopiy of nyssaluthenan paRi'sbat tbe university of ChicagoWorshipping in Traditionaland Modern FormsSundays at 10:00 a.m.In the Cloisters5757 S. University Ave.In this Luther anniversary yearplease join us forMartin Luther’sdecitscbe messefestival op the ReformationOctober 30( ^DR. M. R. MASLOVOPTOMETRIST• EYE EXAMINATIONS• FASHION EYEWEAR• AIL TYPES Of*CONTACT LENSES• CONTACT SUPPLIESTHE HYDE PARKSHOPPING CENTER1510 E. 55th363-6100.13 Amencjr C^nomemc AaocatonV 'w- /Dr. Kurt RosenbaumOptometrist(53 Kimbark Plaza)1200 E. 53rd St.493-8372Intelligent people know thedifference between advertisedcheap glasses or contact lensesand competent professionalservice with quality material.Beware of bait advertisingEye ExaminationsFashion Eye WearContact LensesMORRY’S DELIINHUTCHENSON COMMONSNOW SERVINGFULL BREAKFASTSas low as9907A.M. to 10A.M.THE BEST BUYON CAMPUS! tv THECENTURYChevy Chase and his partners are arms dealers.They sell second-rate weapons to third world nations.But they’re not out to stick it to anyone.CHEVY CHASESIGOURNEY WEAVER GREGORY HINESA WILLIAM FRIEDKIN FILM A STEVE TISCH-JON AVNET PRODUCTIONIN ASSOCIATION WITH BUD YORKIN PRODUCTIONS“DEAL OF THE CENTURY” Music by ARTHUR B. RUBINSTEINExecutive Producers JON AVNET, STEVE TISCH, R\UL BRICKMANProduced by BID YORKIN Written by RAI L BRICKMAN Directed by WILLIAM FRIEDKINPGlMKOTAl GUOMCf SUKSTtOtom mnmtt «m«n« WIUW m f ROM MRMR BROS __A WARNER COMMUNICATIONS COMPANY Q© '9fc fra. *fx U Igfr <frinwOPENS AT A THEATRENEAR YOU NOVEMBER 4thTHE GREY CITY JOURNAL—FRIDAY, OCTOBER 28. 1983—11NOVEMBERM T w T F JOHN PROBESs s6thWEEK 1 2 3 4 5 67th 7 8 9 10 11 12 138th 14 15 16 17 18 19 209th 21 y 22 y 23 y 24 25 26 27/ 28 / 29 / 3012—FRIDAY, OCTOBER 28, 1983—THE GREY CITY JOURNAL✓'nm.JBBw INTERNATIONAL® NEWSSTANDSSERVING CHICAGO SINCE 1965OPEN EVERY DAY OF THE YEAR3000M, AND F0REI8N PERIODICALSMANY NARD-TO-FIND PUBLICATIONS’ POSTERS•POSTCARDS■PAPERBACKS3000SENSITIVE AND SIZZLINB SHEETING CAMS(And at Bob's, when you buy \5 cards, you get 1 FREE /4CHICAGO LOCATIONS ALL OPEN LATENEAR NORTHCLARK A DIVISION684-5100 943-1977HYDE PARKSI at* LAKE PARKNEWTOWNCLARK A OIVERSEY ROGERS PKDEVON A BROADWAY883-1123 743-1444CHEAP CIGARETTES!take the B busto the best rotisserie chicken in town — at the Hyde Park Diner & Deli. Feaston tender, young chicken roasted to juicy perfection in the Diner’s specialovens, then basted with one of their tasty sauces.Choose from a hot and spicy Texas bar-be-que, honeybar-be-que or an Athenian olive oil and herbmarinade. The Diner’s hot and tasty rotisserie chicken— for lunch, dinner or carry-out. Get on the bus. Hyde Parko DinerOLDeli5319 S. Hyde Park Boulevard ♦ 288-2600Noel Coward’sHAY FEVER“Enduringiy outrageous” Chicago Tribune“Giddy.. .Sty lish.. .delightfully daffy "...Chicago Sun-TimesMany performances already sold-ouf!Extended to October 30 to meetticket demand!Sept. 29 - Oct. 30Wednesday - Saturday,8pm753-4472Visa/MC/Amex Court TheatreThe University ofChicago5535 S. Ellis Avenue •COLONY THEATRE •^ 59th and Kedzie £PresentsLIVE IN CONCERT• Fri., Oct. 28th •“Joe Perry Projectand the B’zz”>10.00• Fri., Nov. 4th •“The Kind”with Tough LoveALL TICKETS $7.00 - 1 SHOW 8 P.M.• Fri., Nov. 11th •“Elvin Bishop”>8.50 - *10.50 - >12.50• Fri., Nov. 18th •“Rick Nelson ”>10.50 - >12.50 - *14.50• Sat. Nov. 19th •“Frank Marino”of Mahogany Rush Also“Tough Love”*10.50 - *12.50 - *14.50Tickets on sale at Ticketron outlets and the Box Office.To charge tickets call teletron 454-8500.Reserved Seating Only. All shows 7 p.m. and 10 p.m.DINNER/THEATRE PACKAGES AVAILABLE.For Concert 0^1 C QHQQInformation Call J/ OsAmple ParkingThe new branch of the Seminary Coop Bookstore,designed with the general reader in mind, is now open at1301 E. 57th St.Monday-Friday 8:00am-10:00jvnSaturday 10:00am-MidnightSunday 10:00am-6:00pmNew York Times available dailyAutographing party next Friday, November 4, forNatalie Zemon Davis, author of The Return of MartinGuerre, from 4:00-6:00jvn684-1300The Chicago Maroon—Friday. October 28, 1983—9A\ SPORTSMaroons maul Beloit, 5-2By Anthony CashmanThe U of C soccer team, paced by for¬ward David Ansani’s hat trick,snapped their four-game losing streakWednesday, as they hammered confer¬ence rival Beloit, 5-2, putting on theirbest performance all season.Beloit scored first when midfielderCharlie Hollerith passed the ball tofoward Shaw Rezai, who drove it homefrom the twenty-yard line.Despite the goal the U of C did notsuffer a let-down, as in a number ofpast games. The Maroons reciprocatedwhen Todd Silber scored an unassistedgoal from about ten yards away. Thenearly perfect shot hit the goal postand went in.The Maroons scored two more un¬answered goals in the first half. Thefirst occurred when Guido Sabelli, re¬cently repositioned at the sweeperspot, took the ball from midway be¬tween midfield and the penalty box andfound Ansani alone on the breakaway.Ansani then lifted the ball over thechallenging goalkeeper for his firstgoal of the afternoon.The third goal of the half came whenAlvin Marr took* the ball down the wingand crossed it to Jason Pressman, whodeposited his sixth goal of the year inthe right corner. One player remarkedabout the first half, saying “that’s thebest 45 minutes of soccer we’ve playedall year.” Pressman commented aboutthe Maroons’ play in the first half:“we’re beating them to the ball andmaking good runs.”The U of C continued its dominationin the second half, when Ansani scoredhis second goal of the game on a per¬fectly executed give-and-go with ToddSilber inside the box. Ansani droppedthe ball for Silber, who returned it tothe streaking Ansani. Ansani beat twodefenders and put the ball under thekeeper.The U of C then appeared to suffer alet-down, as the team slowed down andallowed Beloit to attack. During thistime, Beloit scored its second goalwhen Hollerith lifted the ball over aMaroon wall on a direct free kick. Thenormally sure-handed goalkeeper JoeMario became indecisive on how heshould play the ball, and he mishan¬dled it. Beloit striker Kevin Nelson wasthere to tap in the goal. Mario stated,“I was just going to short hop it. I sawthe man there and I tried to get it. Istarted leaning forward, and I mis-played it badly.” .lo had a chance to redeem him¬self several minutes later when the ref¬eree awarded Beloit a penalty kickfrom the spot, after Mario fouled aman on a breakaway. He made a div¬ing ground-level save on the shot byHollerith, and covered up the rebound.Hollerith then received a red card forkicking Mario in the face during thescramble for the rebound. Hollerithcommented on the save by saying, “itwas a nice save. He guessed the rightway. I put it where I wanted it but Idon’t think I put enough on it.”“I felt the added incentive to stop thepenalty kick,” said Mario.The Maroons then came alive andput the game away. Tom Ramseyplayed the ball down the wing to MarkScolforo, who carried it toward thegoalie. The keeper made the initialsave, but Ansani knocked in the re¬bound for his third goal of the game,and his team-leading seventh of theyear.Coach Barry DeSilva was obviouslypleased with his team’s play. “Every¬body has to get off their duffs and run,”said' DeSilva. “When they’re playing,they could play with anyone.” DeSilvaalso added that “we should giveAurora a tough game.” Chicago fin¬ishes its season next Wednesday awayagainst highly-ranked Aurora College.Dave Ansani (right) looks for anopen man with his headerWednesday against Beloit.IM swim meet a tight raceBy Frank LubyClose action in three of the four intra¬mural divisions highlighted the annualIM Swim Meet, held a week agoWednesday in Bartlett Gym. WhileUpper Rickert and Lower Rickert bat¬tled to a 35-35 tie to lead the men’s resi¬dence undergrads, the Medical Schooland the Biological Sciences Divisionsplit the top spot in the graduate divi¬sions, as the Med School capturedmen’s, 68-57, and BioSci took thewomen’s, 64-54.Only Upper Wallace faced little com¬petition. The defending overallwomen’s undergraduate IM champi¬ons’ total of 53 points placed them over20 points ahead of Lower Wallace, theirnearest competition.Lower Rickert made strong show¬ings in each of the eight events, thoughtheir only victory came in the 80-yardsweatshirt relay. Upper Rickert, how¬ever, placed first in two events by lessthan half a second to pile up enoughpoints for a tie. In the 40-yard freestyle,Leif Rosenquist won for Upper Rickertwith a time of 18:73, just one fifth of asecond over the next finisher. And inthe 40-yard butterfly, Paul Glaser ofUpper Rickert edged out JonathanEvans of Lower Rickert by one tenth ofa second.Chamberlin finished third with 28points and a victory in the 80-yardinner tube relay, while Hitchcock tookfourth with 18 points, taking first inthree of the events but picking up noother points.Upper Wallace, helped by victories10—The Chicago Maroon—Friday, October 28, from Susan Benson and Vivian Eschen-bach, ran away with the women’s un¬dergraduate title. Upper Wallace hadpeople place in every event, and inthree of the events they had two ormore of the top finishers.Ellen Brown accounted for 10 of sec¬ond-place Lower Wallace’s 32 points,as she took first in the 40-yard butterflyand second in the 100-yard freestyle.Compton House, with first place inthe 80-yard sweatshirt relay and the 80-yard inner tube relay, took first overallin the coed competition.* * *In touch football’s undergraduateresidence action, it appears that divi¬sional leaders Dodd/Mead, Compton,Hale, and Lower Rickert will make theplayoffs, which begin Tuesday.Dodd/Mead defeated Chamberlin, thesecond place team in its division, by a6-0 score, marking the first time Cham¬berlin has lost a game against an un¬dergraduate team since 1979.Hale clinched its division Wednesdaywit a 2-0 victory over Upper Rickert, asthey scored a safety on Upper Rick-ert’s first offensive series.In undergraduate independent play,Fiji leads the pack with a 4-0 record,followed by Hit and Run at 2-0, and PsiU at 2-1.The Bovver Boys, the defending All-University touch football champions,lead their graduate division with a 4-0mark, while Spikes Gang rests atop theother division at 3-0.The regular season finishes tomor¬row afternoon, and the playoff pairingswill appear in Tuesday’s Maroon.1983 PHOTO BY ARA JELALIANMaroon stopper John Culbertson tackles a Beloit attackerRuggers stomp NIU, 16-6By Kittie WyneThis week the University of Chicagorugby football club, the defending 1983Midwest Collegiate champions, defeat¬ed NIU, 16-6, to even its season recordat 2-2. The previous week Chicago wonone and lost one in tournament play,defeating Kankakee, 9-4, and losing tothe West Side Condors, 10-6.The first score in the NIU gamecame on a ten-yard burst by BobbyGreene. Pat Waresk then tacked on theffrst of his three conversions on the af¬ternoon. The second score, though,came at the end of a pretty play, as theMaroons made seven consecutivepasses on the play without losing theball, with Terry Connors, a rookie, fi¬nally going over to score.Waresk made the third score, takingthe ball in from a five-yard scrum.The team received good pack playfrom Vince Michael on lineouts andmarauding play in the loose. MarcelloDabos, Dale Whitebloom, and Jeff Mel-gard, a rookie who was quite notable Saturday, showed aggressive initiativein ball play and tackling.Good back play came from KevinTrammel on receiving and runningwith the ball, and from Dan Medina,who made some especially fine runsand kicks in tight situations. On oneplay Medina lost his shorts on an unu¬sually vicious tackle.In the B-game, John Nussbaum, aback who has played in the pack thelast four games, Kevin Donohue, andRick Elsworth showed outstandingplay which demonstrates a natural ap¬titude for rugby. The B-side has an un¬usual number of talented athletes whoare learning quickly and have alreadyimproved the A-side. As these rookiesgain more experience, the club will beable to replace the losses from injuriesand graduation.This weekend the UCRFC takes onFox Valley, then on successive Satur¬days they will play two games at homeon North Field.Intramural Touch Football StandingsUndergraduate ResidenceDodd/MeadChamberlinMichelsonBlackstoneDudleyLower FlintComptonDeweyHitchcockFishbeinFilbeyFallers B 4-03-12-11-10-30-43-02-12-21-11-30-2Intramural Swim Meet ResultsUndergraduate Men’s - upper Rickert 35,Lower Rickert 35, Chamberlin 28, Hitchcock 18,Henderson 15, Breckinridge 4, Dewey 4, Michelson4. Dodd/Mead 2.Undergraduate Women’s - upper Wallace53, Lower Wallace 32, Dodd/Salisbury 22, Michel¬son 9, Hale 8, Breckinridge 6, Compton 3.Graduate Men’s - Medical School 68, Biologi¬cal Sciences 57Graudate Women’s - Biological Sciences 64,Medical School 54Undergraduate Co-Ed - Compton 24, Mi¬chelson 12, Tufts 10, Bradbury 8, Hitchcock 8,Upper Rickert/Lower Wallace 8, Linn 6Graduate Co-Ed — Biological Sciences 32,Medical School 28. Hale 4-0Thompson 2-1Upper Rickert 2-2Bishop 2-2Breckinridge 0-2Tufts 0-3Lower Rickert 3-1Greenwood 2-1Henderson 2-1Shorey 2-2Bradbury 1-2Upper Flint 0-3Graduate LeagueSpikes Gang 3-0Assumption of Risk 2-1Soviet Airspace 2-2Mad Dogs 2-2Yings B & G 2-2Sample Photo 1-1Butchers 0-4Bovver Boys 4-0Cinema Face 2-0Still Stiff 2-1IM Champions 1-1Men w/o women 0-2Lightning Dolls 0-2Metal Shear 0-3Undergraduate IndependentFiji 4-6Hit and Run 2-0Psi U 2-1Jerry’s Kids 1-1-1Trim Hunters 1-2-1Exiles 1-2Wolf Bait 0-2Aiko 0-3Maroons edge Lake ForestStrong servingbeats v-ballersBy Spencer ColdenLast Tuesday night the University ofChicago women’s volleyball team con¬tinued playing in their recent pattern,performing well against a good Whea¬ton College team, but losing in the end,3-1.In the first game the Maroons got offto a slow start. They managed to winjust one point, as Wheaton took thegame, 15-1. The second game was a dif¬ferent story, however. The Maroonsstarted very quickly, had many goodblocks en route to taking a lead theynever relinquished, and took the game,15-10.The third game, however, was theexact opposite, as the Crusaders tookan early lead which the Maroons wereunable to overcome, and won the con¬test, 15-10. In the last game the Cru¬saders leaped out to a 14-2 lead, and thegame looked like it was over. TheMaroons fought back to a 14-8 mark,but Wheaton managed the final pointand took the game, 15-8, and the match,three games to one.The problem that plagued theMaroons the most was receivingserves, and serving. Coach RosieResch commented, “They were a verygood serving team, and we had someproblems with their serves.” The Cru¬saders seemed to fare very wellagainst the Maroons’ serving because“they get to practice against one an¬other.” Another problem with serving,as Resch pointed out, was that it creat¬ed “very few attempts for attack.” TheCrusaders’ better serving seemed toeliminate most of the opportunities theMaroons would have had.The Maroons take on Concordia Col¬lege Tuesday at 7:30 p.m. at the HenryCrown Field House. Colleen Thorne (left) and SheilaDugan battle Wheaton TuesdayBy Anna LeiderLast weekend members of the Uni¬versity of Chicago Co-ed Crew Clubtravelled to Boston to compete againstteams from all over the United Statesand Canada in the 19th annual Head-of-the-Charles Regatta. The Men’s Ligh¬tweight Four finished sixth out of 28teams in their event, well ahead of bothHarvard and Yale, while the womenbeat Smith and Wellesley, placing 23rdout of 40 in the Women’s Open Four.Starting in the 28th position, themen’s four (Carla Pritchett, cox; JonPritchett, stroke; Mark Sexton, 3;Greg Prince, 2; Ted Beutel, bow) over¬took five boats to finish the three-milecourse in a time of 17:45.2. Thewomen’s four (Ian Sweedler, cox;Sarah Potter, stroke; Anna Leider, 3; By Beth LaskyNature provided the great field hock¬ey weather Wednesday afternoon, andU of C provided some great hockey.The Maroons travelled to Lake ForestCollege prepared to play well and con¬trol the ball against what is usually atough and somewhat physical Foresterteam, and that is just what they did, asthe Maroons defeated the Foresters2-1.Throughout much of this season, Chi¬cago has played good defense and hasdominated the midfield, but has hadtrouble capitalizing on scoring oppor¬tunities. This week Coach Linda White-head made some changes in the posi¬tioning of the starting line-up in aneffort to make her team more attack-oriented.Ingrid Hunt, 2; Adena Schutzberg,bow) improved greatly over last year’s35th place finish, rowing the samewinding, upstream course in 20:21.9.Some 720 boats, carrying over 3000rowers, race in 18 events, making theHead-of-the-Charles not only the ol¬dest, but also the largest regatta of itskind in North America. The partici¬pants range from high school and col¬lege teams to Olympic hopefuls andworld class champions.While the Charles is certainly thehighlight of the fall rowing season, itdoes not mark the end. This weekendthe men’s lightweight four travels toKnoxville to defend its title at the Headof the Tennessee. It will be joined by awomen’s novice four and a men’s no¬vice four. To set up this attack, the Maroonscontinually cut faster and beat theiropponents to the ball, making theirpassing game much more effective.Lake Forest did not put much pressureon the ball in the midfield, which al¬lowed the Maroons more time to passor use their stickwork to maneuveraround the defending players and dri¬bble upfield.During the first half, the play re¬mained mostly in the midfield. Chicagomade just eight shots on goal, whileLake Forest had only one, and at half¬time the score was still 0-0.Just over three minutes into the sec¬ond half, the Maroons quickly took theball into the shooting circle, whereArzou Ahsan scored on an assist fromDiana Kaspic. Lake Forest came backwith several breakaway plays to pro¬duce seven more shots on goal. Despitegoalie Maureen Breen’s aggressiveclears and saves, Lake Forest man¬aged to tie the game 1-1. With five min¬utes left, Helen Straus slammed theball into the goal on a penalty cornerhit from Anne deMelogue to put Chica¬go ahead 2-1. The frustrated LakeForest team was not able to come backafter that.The Maroons played well as a teamunit, with everyone contributing tomoving the ball upfield on offense, andeveryone recovering on defense to pickup open players. The result was one ofChicago’s best games and a win.The Maroons will host the NCAAGreat Lakes Regional today and to¬morrow, at Stagg Field.U of C success at CharlesThe Third StringIf nothing else, this past weekend’s 20-12 loss to theRipon Redmen showed the Maroon football team onething — they are capable of playing good football. Inthe second half of Saturday’s contest, the Maroonsput on an awesome defensive performance and un¬leashed an offensive attack that moved the ball veryeffectively, especially on the ground. Certainly the192 yards of total offense churned out by Chicagorepresents their best offensive performance inweeks.Hopefully, all of this improvement is a sign thatthe Maroons are in for a big game this weekend, be¬cause they’ll need one if they hope to contain thehigh-powered attack of Lawrence University. Theblue-and-white shirted squad from Appleton, Wis¬consin currently boasts a 5-2 overall record, and is ahealthy 3-1 in conference play. Lawrence, whichseems to have a penchant for scoring a lot of pointsagainst the Maroons, is coming off a big loss to LakeForest this past weekend, 17-14. The loss all but as¬sures the Foresters of the Northern Division crownin the Midwest Conference, and leaves the Vikingsout in the cold for the second straight year.And if past years are any indication, the LU squadshould win its last two games. Since 1975, not onlyhas Lawrence never had a losing record, but theyhave never lost more than two football games in anyof those seasons. So the Maroons will definitely havetheir hands full when they step onto Stagg Field to¬morrow afternoon.But there is very good reason for optimism on theChicago side. Lawrence is “very predictable,” ac¬cording to Maroon head coach Mick Ewing. If pre¬dictability of the opponent’s offense is any indica¬tion, remember that Ewing also referred to theRipon squad with the same adjective, and the de¬fense put on an excellent show. Their run-to-set-up-the-pass offense should be nothing new for theMaroon defense, which hasn’t seen much of anyaerial attack from its opponents all year long. Lastweekend Lake Forest intercepted seven LU passeson route to victory, so it appears likely that the Vik¬ings will keep the ball on the ground most of the dayagainst Chicago.The Maroons will probably play essentially thesame game as they have played in the past, perhapstrying to open up the passing game more than theydid in the rain at Ripon. One change you can bank onis that the Maroons will try a healthy diet of screenpasses in order to offset the blitzing defense of LU.The Viking defense is an experienced unit and when¬ever necessary they blitz a variety of people, so thesolidity of the offensive line will be put to the test.The rushing game, which hasn’t been particularlyproductive this season, was the main cog in the UCoffense this past weekend, accounting for 157 of theteam’s 192 yards. According to Ewing, the increasedrushing numbers are due largely to a change in the signal calling. Against Ripon, the Maroons ran alarge number of plays out of the “set” count, allow¬ing linemen to get off the ball and get into positionmuch quicker. Bruce Montella gained 72 yards underthe new set-up, the most by any Maroon this sea¬son.One element the Chicago offense will have to cutout of its game this weekend is the long-yardage loss.“Just when we get a good drive going we have a longyardage loss to kill it off — we self-destruct,” saidEwing. He attributes these big losses to eithermissed assignments or foolish penalties, andstresses that “we must improve in this area.” Hepointed to the drive in the first quarter Saturday as aprime example of the problem. On fourth and one atthe Ripon 31, the Maroons were forced to punt afterthey were charged with a delay of game penalty,converting a fourth and short to a fourth and longfrom the 36.Assuming they can eliminate some of these morecostly errors, the Maroons should give Lawrencequite a battle. An upset is not totally unconceivable,especially if the Maroons play the entire game theway they did in the third quarter on Saturday.And speaking of last week’s game, here’s the list ofMaroons receiving accolades for their showing atRipon: Special Teams Player of the Week: TomWeber, Hit of the Week: John Steedman, Def. Line¬man of the Week: Andrew Jaffee, Def. Back of theWeek: Dennis Werner, Linebacker of the Week:Dave Baker, Off. Lineman of the Week: MikeMarietti, Off. Back of the Week: Bob Dickey, andReceiver of the Week: George Donovan.* * *Pro notes: Altough the individual awards havebegun rolling in for the White Sox (LaMarr Hoyt wonthe Cy Young award, the AP named Tony LaRussaAL manager of the year), final season stats point to1983 as one of the most successful years for Sox teamaccomplishments.“I believe the ingredients are here,” LaRussa saidafter the ’82 season. “All we have to do is keep thenucleus of this club together, and a lot of things canhappen next year.” His words then seem prophetictoday.In winning the AL West, the 1983 Sox enjoyed thesecond best season in the franchise’s history with a99-63 record (the 1917 world champions had a 100-54mark). Their victory margin of 20 games over thesecond-place Kansas City Royals established a newAmerican League record for largest winning margin(the ’36 Yankees won by 19%, the ’69 Orioles finished19 up).The season’s end found the Sox at or near the top ina great number of statistical categories includinghome wins, runs scored, RBI’s, wins, and fewestwalks allowed.Although the Sox put forth a good team effort, it is fitting that LaRussa and Hoyt should be the first toreceive individual honors. LaRussa has improvedthe club every year since coming to the Sox. Aftertaking over for Don Kessinger in ’78, LaRussa led theteam to a 27-27 record the rest of the way. Since then,LaRussa has guided the Sox to 70-90, 54-52, 87-75, and99-63 records. He has given Chicago its first winningteam since the ’77 “South Side Hit Men”, and its firstdivision champion.LaMarr Hoyt also got overdue recognition. Al¬though he led the AL in wins last year, Hoyt receivedno votes for the Cy Young award. This year, the Sox’ace won his last 13 straight, got the only Sox win inthe playoffs, and led the major leagues in wins with a24-10 record.“With the success we’ve had the past coupie ofyears, a feeling has developed on the team that wecan contend year in and year out,” LaRussa said. “Itshould not take much to put us over the top now; thechanges we hope to make this off-season will consti¬tute a process of fine tuning.”* * *Another Chicago division champion, the BlackHawks, are imitating a Sox characteristic: homewinning, streaks. The 5-1 Tuesday victory over theBruins gave the Hawks their 14th consecutive victo¬ry at home, and they played for their 15th straightvictory Thursday against the hapless PittsburghPenguins. The only NHL teams with longer homewinning streaks are the 1929-30 Bruins and 1979-80Flyers, who each won 20 straight at home. TheHawks’ hot home start has given them 7-3 record,and a 2 point lead over the St. Louis Blues.Although the Hawks’ home victories have been im¬pressive, including Tuesday’s win over the Bruinsand an October 16 win over Minnesota North Stars,(expected to rebound from their poor start and com¬pete strongly for the division crown), they have yetto win a game in their three road appearances. Inthree consecutive Saturday road games, the Hawkshave lost at St. Louis, then at Toronto, and again atSt. Louis. The trend will have to reverse itself if theHawks expect to lead the division in November. Fol¬lowing Sunday’s game at the Stadium against theHartford Whalers, the Hawks play 11 of their next 15games on the road. Including in that stretch aregames at Minnesota, Montreal, Buffalo, New YorkIslanders, New York Rangers, and Quebec. TheHawks’ home games in that stretch aren’t easy ei¬ther, as they face Montreal, Edmonton, St. Louis,and Minnesota in the Stadium. Sunday’s Hartfordgame starts at 7:30 p.m. in Chicago Stadium, 1800 W.Madison St. * * ,Answer to last week’s trivia question: GeneBanks, Mike Gminski and the rest of the 1978 DukeBlue Devils hosted the University of Chicago. Thatyear was also the year the Blue Devils lost to Ken¬tucky in the NCAA Finals, 94-88. Mark BlockerCliff GrammichThe Chicago Maroon Friday, Octobci 28, 1983—ilProject 1984continued from page oneThe task forces will meet in Gates-Blake 102 throughout the year and willhave their final reports prepared by orduring the summer. These reports willform the basis of a major Project Con¬ference, scheduled for September,1984. Also, the task forces will meet inplenary session during the mid-winterbreak (February 13) and at some latersession open to all the students and fac¬ulty of the College.A major difference between thisproject and other such attempts lies inthe method of selecting the task forcemembers. Smith, the Robert 0. Ander¬son Distinguished Service Professor ofHumanities, described the differencehere as “a one-time broadcast invita¬tion to all instead of a small group ofself-selected individuals.” This broad¬cast has reached the faculty in theform of a release, and the students viaa release distributed through the Col¬lege mailroom in the basement ofReynolds Club. Smith hopes that “thestudents will take seriously the invita¬tion.”“We hope that students who get in¬volved will represent a wide range ofthe constitution of the College, and rep¬resent a diversity of opinion as the fac¬ulty will,” said MacAloon, who alsostressed the importance of student in¬volvement in the project. “There hasbeen consideration to deepen studentinvolvement (in such issues),” he said.“This represents one such attempt —the discussion can’t get far withoutboth groups participating.“We suspect there’s a renewed inter¬est in students’ getting together,” hecontinued. “In issuing this kind of call,we’re willing to accommodate as manystudents as can be involved:”Donald Levine, dean of the College,amplified the importance of studentparticipation. “It’s important to getstudents more aware of what’s goingon — it’s a part of education that shouldbe available.” He added, “As con¬sumers, it’s important for students to have a voice in their educational pro¬gram. Not necessarily the last word,but to have their views representedand taken seriously.”As Levine’s release to the facultysays, the immediate impetus for theproject came from two reports, one bythe College Divisions and the other bythe Standing Curriculum Committee ofthe College. The former concerned theDivisions’ “internal governance proce¬dures” and resulted in newly con¬structed committees; the latter repre¬sented nearly three years of interviewsand analyses dealing with the generaleducational components of the Collegecurriculum. These reports, along withquestions raised about many College¬wide features of the curriculum,prompted Levine, on advice from theCollege Council, “to organize the ex¬ploration of these questions...throughthe agency of a new structure designedto permit maximum faculty and stu¬dent involvement in their examina¬tion.”Levine has set the presentation of theproject against the background ofGeorge Orwell’s novel, 1984. The proj¬ect, he said, “signifies the Universityof Chicago’s response to the threat ofNewspeak and all that by a concentrat¬ed reaffirmation of its dedication to en¬hancing the powers of independentthought in the context of a genuinelycommunicating community.”The tone of the description of theproject’s genesis hints at an immediatenecessity for such a grand enterprise,but as MacAloon and Smith point out,no major problems or “crises” threa¬ten the College. “The College is fine,”said Smith, “but the question is that in¬stitutions periodically need to pauseand talk about themselves.” Accordingto Smith, the last time such scrutinytook place, 1966, resulted in the presentstructure of the College curriculum,but “the College has never had a no-holds-barred discussion of what we’redoing...never had a chance to sit backand talk.”MacAloon reiterated. “The Collegeis stronger now than in the years I’vebeen associated with it,” he said, con-London School off Economicsand Political ScienceA chance to study and live in LondonJunior-year programs. Postgraduate Diplomas.One-Year Master's Degrees and ResearchOpportunities in the Social Sciences.The wide range of subjects includesAccounting and Finance • Actuarial Science •Anthropology • Business Studies • Economics •Econometrics • Economic History • EuropeanStudies • Geography • Government • IndustrialRelations • International History • InternationalRelations • Law • Management Science • OperationalResearch • Personnel Management • Philosophy •Population Studies • Politics • Regional and UrbanPlanning Studies • Sea-Use Policy • SocialAdministration • Social Planning in DevelopingCountries • Social Work • Sociology • SocialPsychology • Statistical and Mathematical Sciences •Systems Anaylsis •Application blanks fromAdmissions Registrar. LSE. Houghton Street,London WC2 2AE. England, stating whetherundergraduate or postgraduateCCAUGUSTANA LUTHERAN CHURCHSunday-8:30 a.m. and 10:45 a.m.•SERMON & EUCHARIST9:30 a.m.•ADULT FORUM“Bondage of the Will”1:30 p.m.•CEMETARY TOUR6:00 p.m.•SUPPER ($2 per person)Tuesday, November 1•EUCHARIST-5:30 p.m.at Episcopal Campus MinistryBishop Brent House5540 S. WoodlawnSPEAKER: MARTIN MARTY•SUPPER ($2 per person) • 6:00 p.m.5500 S. Woodlawn - 493-6452 eluding that “we can conduct this with¬out the pressures of crisis and respond¬ing to this or that immediate need.”“You have these discussions onlywhen you’re nervous or when you’renot nervous,” said Smith. “This is de¬finitely the latter.”Given the broad scope of many of thequestions — which range from theplausibility and desirability of certaincollege-wide educational institutionsand objectives, to the structure of thecurriculum itself — one wonders whatresults Project 1984 can produce, espe¬cially since MacAloon indicated thatthe project is not tied to “any adminis¬trative or legislative agenda.”“We hope these reports will contri¬bute to imaginative proposals forchange,” said MacAloon. “Whetherthe task forces choose to translate theirideas into legislation is up to them.”“The best outcome,” said Smith,“would be ten wild cards, all disagreei¬ng with each other, so someone elsewill have to step in and take a look. It’san enterprise of imagination.”Both linked the task forces to groupsattempting to create a college, and dis¬cussing what that college “ought to belike.” They also agreed that it would beimpossible to conduct this study, asMacAloon said, “in a vacuum,” andthat the discussions will feel some in¬fluence from the present College struc¬ture.“There is a paradox of educationalinstitutions,” said Smith. “They love totalk about critical inquiry, but neverinquire into educational institutions.This is sort of a cosmic seminar, to lookat ourselves like we look at everyoneelse.”“A lot of people have their own petideas,” said Levine, “but my own in¬terest (in the project) is in engaginglarge numbers of faculty and studentsto think about these issues and come up with good arguments.” He also saidthat he won’t be “particularly pleasedor thrilled or outraged at any particu¬lar outcome,” but he does hope for“fresh thought” in the discussions.“We don’t want to see a prematurerush to concreteness,” added Smith.“If we look practically, we don’t getanywhere.” He doesn’t consider theproject as a means to produce an eval¬uation or a description, but rather anattempt “made to free the discussionfrom curricular reports” which, asSmith puts it, “presume the presentlandscape” of the College.Commenting on the several commit¬tees on extracurricular activities, Le¬vine termed them as “an importantpart” of the Campaign for the Arts andSciences, which has given money forrenovation of, in particular, Ida Noyes,the Reynolds Club, and the Computa¬tion Center. He said that “it’s a matterof encouraging students with ideas toparticipate more actively.”The Center for Curricular Thoughtwill remain after the completion ofProject 1984 and will provide in futureyears agendas for discussions of issuesnot part of this year’s work. As Smithsaid, from year to year the “formatwill vary as a function of what is up fordiscussion,” and next year may fea¬ture a smaller enterprise.Heliportcontinued from page oneTwo community meetings about theproposed heliport have already beenheld by Baker. In addition, the topicwas discussed at an Oct. 18 publicmeeting sponsored by the South EastChicago Commission. Since no seriousobjection to the proposal surfaced atthe meetings, construction of the heli¬port will be underway upon final ap¬proval by the city.CHICAGO CHILDREN’S CHOIR5650 S. WOODLAWN CHICAGO, IL 60637 (312)324-83006th AnnualAUCTIONSATURDAY, NOV. 5th, 1983FIRST UNITARIAN CHURCH, 5650 SO. WOODLAWN5:30 WINE AND CHEESE PARTY and AUCTION PREVIEWWHITE ELEPHANT TABLE$3.00 in advance$3.50 at door6:30 GENERAL VIEWING-FREE ADMISSION7:00 AUCTIONProfessional auctioneer BOB HALEY ofH&H AUCTION SERVICEPHONE 324-8300 VHeed blankets?We've got you covered!* year-round thermals*soft velours*new, brilliant jewel colorslike sapphire, ruby andemerald* Strawberry Shortcake, Snoopyand Muppets children's prints*all designed to be seen...notkept under wraps!blankets 13.99 twin solidsos low os....15.99 kid's printslet there be linen5225 S. 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Cathedral ceilingwith roped-off gallery above, wood¬buming fireplace below. 1 largebedroom, office and family room inbasement. A backyard and off-streetparking, too. In the $70’s.DO YOU NEED SPACE? Want astudy and a guest room, this 5bedroom 3 bath condo offer’s thatand much more. Upper $70’s.C3 REALTY GROUP1365 E. 53rd St.355-1800The Chicago Maroon—Friday, October 28. 1983—13V ‘Attitudes’continued from page fourthat you, too, have a ‘well tendedhouse,’ and so, are really just likeme.”We would have liked to think that theeditors of the Maroon might havethought about the inner scandals thatthe article reveals (especially since itwas the top story under “CampusVoice”). But it becomes more andmore evident that the editors are justas confused as the author of “SouthSide Stereotypes...”— and just as nai¬vely irresponsible.Kenneth FoxFrancis KingHarry DouglasTillman criticizedTo the editor:Who are David Sutton and ToddFlanders? Well, let’s start with whothey are not. They are not S. BarrettTillman. Despite this serious draw¬back, they may still be qualified tospeak to the issue of the abolition ofpublic...nuisances.It is a crying shame that this govern¬ment continues to fund our publicschools, when we all know that they arebreeding grounds for commies (ren¬owned communist leader MartinLuther King went to public school,too). But. of course, the contradictionsof the Reagan administration are welldocumented. They’re willing to put anupstart jungle like Grenada in itsplace, but when it comes to the bigcheese, the Russkies. they let ‘em offwith a slap on the hand. Clearly the keyto solving the problems facing our pub¬lic schools is to take all the pot-snort¬ing, coke-smoking delinquents out ofschool (where they don’t do anyone anygood) and ship ‘em off to Lebanonwhere they can beat some peace intothe heads of those religious fanatics.These points were summed up well byMilton Friedman in Free to Choose(XVII:IV): “Who says I’m short?”In the recent Maroon article“Against the egalitarians who areagainst the poor” (soon to be a majormotion picture) the age-old questionwas raised: who is S. Barrett Till¬man?? Is he qualified to write aboutpublic education? Is he qualified to sellhot dogs at Wrigley Field? S. Bar¬rett...those who knew him during hislifetime compared him to Christ, So¬crates, Mohammed, Gandhi, Nero,Hitler, Ronald Reagan and HaroldWashington. Tillman...a legend des¬tined to last a lunchtime. He was bestdescribed by his contemporary JamesJoyce: “Tillman, again! Take. Bus-softlhee, memormee! Till thousandsth-ee. Lps. The keys to. Given! A way alone a last a loved a long the” (Till¬man’s Wake, p.324).Finally, no one among us can forgetthe day when S. Barrett met another Grenada sovereigntyliving legend, William Buckley. Whatwas going through their minds at thatmoment? We may never know. All wedo know is what was said:Tillman: What is your vision of Uto¬pia, Mr. Buckley?Buckley: Seig Heil! Seig Heil! SEIGHEIL!David SuttonTodd FlandersSecurity thankedThe following is an open letter toDavid O’Leary, director of Universitysecurity.Dear Mr. O’Leary:I would like to publicly thank Univer¬sity of Chicago Security Officers Er¬nest Brooks and Frank Peoples fortheir extraordinary helpfulness duringan emergency medical situation lateon Thursday night October 20th.The courtesy of these officers and ofthe entire security force, and their wil¬lingness to provide service beyond thecall of duty is not recognized oftenenough. To the editor:The United States government’s ani¬mosity toward post-revolutionaryGrenada culminated last Tuesday inan armed invasion of that country.Once more, militarism prevails overdiplomacy, unlawful behavior over re¬sponsible conduct.We, students in the University of Chi¬cago, condemn the invasion of Grena¬da as an act that violates internationallaw, as it is outlined by the Organiza¬tion of American States Treaties andthe United Nations Charter. Theseagreements pledge the use of peacefulmeans to solve problems, non-inter¬vention, and respect for self-determi¬nation among affiliated nations.The invasion of Grenada, one moreon the list of US military interventionsin Latin America and the Caribbean,discredits the Reagan administration’scalls for a political solution in the Cen¬tral American strife and makes the US an unreliable partner in the peacefulovercoming of that conflict.The US cannot contribute to interna¬tional understanding and peace, norask for respect in the community of na¬tions when it continues to resort to im¬perialist military operations as the pi¬votal tool of its international policy.We demand the urgent action of theOrganization of Artierican States andthe United Nations to ensure the imme¬diate withdrawal of invading forces.We hope the American people willpressure the US government to preventfurther violations of international law,and to avoid the useless waste of bothAmericans’ and other peoples’ lives.Oswaldo AlfaroGraduate studentHistory DepartmentMichael HertzGraduate studentPolitical Science DepartmentSabah J. Abdul-AmirCAUSE: calling a spade a spadeTo the editor:I am wondering if the author of theletter on behalf of CAUSE, the “Com¬mittee Assembled to Unite in Solidari¬ty with El Salvador,” is aware of thecontradictions present in his piece. Theletter does everything to convince methat Mr. Szesny is correct in his deci¬sion to cut Student Government fund¬ing of the group.Mr. Hertz writes “in the past wehave made serious efforts to presentopposing viewpoints.” Such as? If theauthor is attempting to convince thepublic, surely he can come up withsome concrete examples. “We at¬tempted to organize debates betweenfaculty members representing differ¬ing viewpoints about issues concerningCentral America.” Surely with $300and an academic community as largeand as varied as the University’s, itmust be possible to find two professorswilling to debate.Further, the implication that be¬cause films have been shown on publictelevision or have won an AcademyAward they therefore do not representa particular viewpoint is questionable.The very titles of two of these films —“Target Nicaragua” and “AnotherVietnam” — reflect a very obvious po¬litical bias. Let’s call a spade a spade.If, in Mr. Hertz’s words, CAUSE “op¬pose! s) the US administration’s Cen¬tral American policies,” then clearlythey are espousing a particular view¬point, in direct contradiction to thecited by-laws. Having a particular biasis not wrong in itself, but if a group thatis supposed to provide a “formal pre¬sentation of opposing viewpoints” cangive no evidence that it has done so, and if a representative of that grouppublically asserts a very particularbias, then that group is not deserving ofStudent Government funding.Paul D. EllenbogenComputerscontinued from page one“the topics and content of...(theCenter’s) seminars and courses, (one)should contact the Center’s Education¬al Coordinator, Don Crabb at 962-7173.”(The new Computer Science Depart¬ment also provides courses in comput¬ing. It offers basically three full yearsequences in programming for credit.The sequences are an introc^uction toprogramming, the theory behind pro¬gramming, and the theory behind com¬puter science as a whole. More infor¬mation on the computer sciencedepartment will be given in the next in¬stallment of this series of articles oncomputing.)Special assistanceWithin the New Services Analysisgroup of the Computation Center, sev¬eral people assist University depart¬ment offices and administration officesin office automation. (Office automa¬tion includes computerized text edit¬ing.) One function of the group is toidentify where office automation mightbe useful.Commencement of computerusageIn order to use the U of C computers, Veronika KotStudent in the CollegeJuan MoraGraduate studentHistory DepartmentPrimitivo RodriguezPhD candidate in Historyone can obtain a Personal ComputingAccount (PCA). Among others, all reg¬istered students are eligible for PCA’s,which last a year and are worth $100 ofcomputer time. There are severalother ways to obtain University fund¬ing for computer usage. Student Re¬search Accounts and Class Accountsare two such examples of alternativefunding. If nothing else, one can obtainan Internal Deposit Account and “payfor his or her own computing ex¬penses” directly.In addition to acquiring a computeraccount, one needs to obtain a Person-ID and Project-ID to use the Universi¬ty’s computers. One can obtain theseidentification codes at the Business Of¬fice of the Computation Center.(The reporter would like to thank thewriters of the “Student Computing atthe University of Chicago ComputationCenter, Fall 1983” brochure, for muchof the information in this article whichwas derived from it.)Next week: the concluding article ofthis series on computing at the Univer¬sity will appear in next Friday’sMaroon. It will describe the Universi¬ty’s new computer science departmentand will also give information on thenewly formed U of C chapter of the As¬sociation for Computing Machinery.NEWSFRIDAYField Hockey: Stagg Field.Rockefeller Chapel Music: Sing Along of Luther’sGerman Mass. 8 pm Rockefeller Chapel, SI donationScores provided.I-House Film Society: Kasper House, 7:15 & 9:30 pm$2 Includes popcorn.DOC: The Hunger, 7, 9 & 11 pm Cobb $2.Career & Placement: US Robotics recruiting.Square Dance Club: 7 pm Ida Noyes Hall.Microbiology Dept: Tissue Specific Expression of aMicro Injected Immuno Globulin Gene in Transgen¬ic Mice. 2:30 pm Cummings 1117. Coffee servedAfter.Crossroads: Nosferatu. 8:30 at crossroadsHillel: Yavneh (Orthodox) Shabbat Service at 5:45pm.Hillel: Egalitarian Traditional Shabbat Service at5:30 pm.Hillel: Adat Shalom Shabbat Dinner at 6:30.SATURDAYField Hockey: Stagg Field.Cross Country: 11 am UCTC Open Five Mile Run 12noon Washington Park.Football: 2 pm Stagg Field.LSF: The Lady Eve. 7:30 & 9:30 *2.DOC: One From the Heart, 7:30 & 9:30 Cobb $2Hillel: Yavneh (Orthodox) Shabbat Service at 9:15am.Hillel: Upstairs Minyan (Conservative) ShabbatService at 9:30 am.Crossroads: Potluck Dinner followed by pumpkincarving.Up-South Chicago Emergency Land Fund Day, 1-7pm St. Mark’s United Methodist Church, 8441 S.Lawrence. SUNDAYOriental Institute Films: Preserving Egypt's Past, 2pm Museum Auditorium, free.LSF: Dead of Night, 8:30 pm $2.DOC: Lianna, 8 pm Cobb $2.Hillel: Bagels & Lox Brunch, 11 am $1.75/sand¬wich.Macedonian Dance workshop, 8 pm Ida Noyes, 33student, 34 other.Rockefeller: 9 am Ecumenical Service of Holy Com¬munion, 10:00 am Religious Instruction for Chil¬dren, 11:00 Univesity Religious Service, 12:15 Caril¬lon Recital and Tower Tour.UC Folkdancers: Teaching 8:00 pm. Request 9:30 pmIda Noyes Hall.Music Dept Afternoon Recital: 3 pm Goodspeed.Bach, Rameau, Mozart, Meyerbeer, Head, Hender¬son, Roussel, and Ravel. Free.MONDAYHAPPY HALLOWEENDOC: El Dorado, 8 pm, Cobb 32.UC Folkdancers: teaching 8 pm, Request 9:30 pm IdaNoyes Hall.SAGE (Student Association on Graduate Educa¬tion): First meeting. 12:30 pm Social Sciences 305.Hillel: Yiddish Class 6:30 pm. Jewish Choir, 8 pm.Chemistry Seminar: 4 pm HGS 101.Chess Club: 7 pm instruction. 7:30 games.1 OE KENZABURO: To Escape From Literature 4 pmssl22.Committee on Human Nutrition and Nutritional Bi¬ology: Does Selenium Protect the Liver AgainstAcute Alcoholic Injury in the Rat? 4:30 pm J-135.Microbiology Dept: Characterization of Infected¬cell and capsid Proteins specified by Herpes Sim¬plex Virus. 2:30 pm Abbot 101, Coffee at 2 pm CLSC860. 5 x 7 or 8 x 10COLOR ENLARGEMENTWITH EACH ROLL OF COLORPRINT FILM DEVELOPED AND PRINTElmodel camerak 1342 E. 55th 493-6700 A14—The Chicago Maroon—Friday October 2R i<wnCLASSIFIEDADVERTISINGClassified advertising in the Chicago Maroon is$2 for the first line and SI for each additionalline. Lines are 45 characters long INCLUDINGspaces and punctuation. Special headings are20 character lines at $2 per line. Ads are not ac¬cepted over the phone, and they must be paidin advance. Submit all ads in person or by mailto The Chicago Maroon, 1212 E. 59th St.,Chicago, III. 60637 ATTN: Classified Ads. Ouroffice is in Ida Noyes Rm. 304. Deadlines:Wednesday noon for the Friday issue, Fridaynoon for the Tuesday issue. Absolutely no ex¬ceptions will be made! In case of errors forwhich the Maroon is responsible, adjustmentswill be made or corrections run only if thebusiness office is notified WITHIN ONECALENDAR WEEK of the original publica-tion. The Maroon is not liable for any errors.SPACEAVAILABLE IMMEDIATELYTwo & 3 bedrm. apts at 54th & Woodlawn $435-$490/mo. Contact Mr. Quinn 493-2329 Parker-Holsman Company 493-2525.5218-28 WoodlawnOne & 2 bedroom apts. from $360-435/Mo. Call643-6428 or Parker-Holsman Co. 493-2525.Coop For SaleTwo bedrm., 1 bath coop on 58th St. 8iBlackstone. Located in a well maintained 3story walkup. $49,500. Call Mr. Wardian, 493-2525 Parker-Holsman Co.CONDOMINIUMTwenty-four hour security desk clerk & luxuryliving in a traditional Hyde Park setting. AHampton House, 1 bedrm. condo provides thisand more for a price of $43,750. For furtherdetails, Call 493-2525. Ask for Mr. WardianParker-Holsman Co.FOR RENTTwo Bedrm. 1 bath condominiums completelyremodeled. Floors refinished. Some apts. withsunporch. Rent $550. For inspection contactMr. Wardian 493-2525.2 or 3 bedroom condo 57th & Kenwood $550/mo955 9355 or 241 62412br rehabbed condo 54th & Greenwood $495 241-7208 or 241-6241 available immediately.FOR RENTThree Bedrm, 2 bath condominium on HydePark Blvd. In excellent condition. Close toUniversity 8> public transportation. Rent $750& security Deposit. Contact Mc< Wardian 493-2525.South Shore Deluxe lbd/conv 2bd Sunparlor,Formal dng & more 510 incl. heat. Eve. 978-7516Best of Hyde Park Avail. ImmediatelyMassive 7 room/3bd/2 ba sunporch-steps fromlake, parks, 1C, shopping. Dishwasher,washer/dryer in apartment.54 Cornell 750/mo includes heat & parking.Eves 978-7516IMMEDIATE OCCUPANCYStudio on 56th Kenwood in very quiet securebuilding. $285/month utility inc. $50 bonus callMark HY3 8651CONDO FOR SALE56th & Kimbark: 2Bdrm, eat in kitchen, pan¬try. Full Dr, can be used as 3rd Br., Oak Firs.Sunny, Courtyard, $57,000. Call 876-3512 Days.Female rmmate wanted to share spacious, It2br apt. Convenient loc; $205 752-1512 eves.Fu Rm Nov 1 Ki Priv Util No Smo $250 363 3458LARGE 2 BR CONDO FOR RENT/SALE. Cen¬tral HP on UC Buses Quiet Laundry $575Karen after 10/29 4 752-5033 W. 996 4472 or 996-9030.WINTER QUARTER SUBLET available Jan1 to Mar 17. Rent $500.00 for entire quarter. 5min. to Reg. Contact Dave 962-9477 days, 752-6748 evenings.Near Univ 2br 2bth Ige rms laun unit in kit allappICPR 54,000 955-0341 wkdyaft6.Female roommate to share large, modern 2bedroom/2 bath apt at 5050 S. Lake Shore. 947-0332 till 10pm.One Bedroom Apartment (Basement)$325/month 56th and Dorchester 667 7094 or781-2234.SPACE WANTEDI am an undergraduate looking for a room inan apt. Call Judy at 472-4184 after 9 pm.FOR SALEHOT DANCE RECORDS for sale! Bali!Africa! Arabia! Orient! DON'T MISS THESEImported LP's!! For Discographic Catalogs,Contact: J. Templeton, Box 172 Prince Stn,NYC 10012, Or call message (212) 673-8405anytime.Used Minolta SRT 201 Body $99.00Model Camera 1342 E. 55th St. 493 6700Free Film!!!Receive One Roll of Film Freewith every color Negative FilmPrinted and Processed atModel Camera 1342 E. 55th St. 493 6700Olympus XA with Flash $139.95Model Camera 1342 E. 55th St. 493 6700 BICYCLE, High quality 25" chrome-molyframe, full Shimano 600EX incl. 6sp cassettehub freewheel, Avocet saddle, full braze-ons.Bottle and pump incl. $400 Charles 947-0974.COLLECTABLE 50's Paul MCCOB diningtable; 6 chairs; Herman Miller desk, sidechairs 493-3131.TDK SA 90 Tapes 10 for $29.90. Model Camera1342 E . 55th St. 493-6700.MOPED $400Gibson Elec Guitar $275 AcousticGuitar $50 X-C Ski Outfit $75 Davis tennis rkt$30 3spd Bicycle $45 Tent $30 BathtubWhirlpool $35 Snow Tires G78-14 $60 MechanicsCreeper $10 Grease Sun $3 Desk $25 RattanServing Cart $10 Roll Up Shades $7 Bedspreadand Bolster Pillows $15 Suede Jkt $35 FatiqueJkt $5 4 Planter Boxes $10 Bulletin Board $5241-7125.YARD SALE Furniture, bicycles, kitchen¬ware. silverplate incl antique, lots for studentpats SAT OCT 29 10-3,5540 Blackstone.74 Mustang: V6 Power steering & brakes A/Cand auto trans. Muffler, tires, just tuned. 90,000miles, some rust needs carb. Great Hyde Parkcar $950 ? Call 241-6737 eves.73 Pontiac Catalina, automatic, air, powersteering & brakes, very reliable, $795. Call 241-7810 after 6 pm or weekend.TOSHIBA AZ-8 STEREO. Single unit turn¬table, cassette player, AM/FM tuner. Separatespeakers excellent condition. $295 Call 752-4559.WANTEDRLR MEMBERS! Cobb 130 Sun 10/30 7:30 pmCOME!PEOPLE WANTEDPeople needed to participate in studies onmemory, perception, and language process¬ing. Learn something about how you carry outthese processes and earn some money at thesame time! Call the Committee on Cognitionand Comr nication, afternoons at 962-8859.Subjects needed for psych experiments ondecision-making $3.50/40 min Call 962-6026$10.00/HOUR : NEED TWO strong STUDENTSto help us move. 4hrs. Sat. Oct call 955-5327anytime. «Psst! Adult literacy tutors training begins Nov1 at the Blue Bargoyle. Call now, 955-4108,before EVERY BODY finds out! Hurry!PART-TIME worker in copy center near cam¬pus. No experience necessary. Call Mr. Joseph371 3033 8:30 to 10:30 am.Healthy Non-smoking paid volunteers soughtfor research into the common cold. Call 791-3713.New parents needed for study of how couplesor singles cope with child rearing and dualcareers. Grad students and faculty wanted forresearch interview(s). A support group isavailable for participants. Call Ms. Strawderat Michael Reese Hospital, Psychiatry 791-3861-63.Healthy non-smoking paid volunteers withonset of common cold within prior 24 hourssought for research project. Call 791-3713.EMPLOYMENT WANTEDEnergetic Mother of 2 Wants to Care for 1 Toddler Full Time. Call Sally 363 6678.SERVICESJUDITH TYPES - and has a memory. Phone955 4417.JAMES BONE, editor typist, 363 0522.TYPING by Experienced Secretary. Thesis,Manuscripts, Tables, etc. Grammar Cor¬rected. 667 8657.TYPIST Exp. Turabian PhD Masters thesesTerm papers Rough Drafts. 924-1152.PROFESSIONAL TYPING. Reasonable 6846882.PASSPORT photos while you wait. On Cam¬pus. Other photo services available. 962-6263.ENROLL NOW. Thai and Chinese cookingclasses. Bring appetite & enthusiasm. Ex¬perienced ter.Wendy Gerick 538 1324CUSTOM CATERING. Let me create theunusual for you. Far Eastern & Europeanspecialties.Wendy Gerick • 538-1324I CLEAN apts., houses, etc. Quick, thorough,expier., local ref. Dave684-5835 keep trying.TEMPA'S TYPING SERVICE Fast, accurateservice at reasonable rates. Call 324-1660anytime.Typist Editor. Good Rates, Fast. 667 7895.MOVING SERVICE LOWEST RATES from$12/hour. Man with a van, or helpers for rentaltrucks. Free estimate. CALL ANYTIME.LARRY,667 8327.Experienced Bartenders available for privateParties, Charles 643-5149 or Vee 241-6796.MOVING AND HAULING. Discount prices tostaff and students from S12/hour with van. or helpers for trucks. Free cartons delivered N/Cpacking and loading services. Many other ser¬vices. References BILL 493-9122.Typing. Term papers, theses, etc. IBM Correc¬ting Selectric. All projects welcome. 791-1674.GUTTERS CLEANED $15.00 roof repair 24 hrservice call Bennett 255-1800.SCENESWRITE RS' WOR KSHOP 752-8377Students for Israel meeting - Tues., Nov 1, at6:00 pm in the library at Ida Noyes. There willbe a guest speaker on various aspects of Israelmedia.ISRAELI DANICNG Saf Oct 29 8:30 For Gradprofessional students. Beginning and in¬termediate instruction. At 850 N. Lake ShoreDr. INFO 328 3323.Fantasy Gamers Newsletter will be late. Lookfor it in student mailing envelopes next week.PERSONALGo for it, Hitchcock! Romp Filbey tomorrow!LOST AND FOUNDLose tickets 10/21? If so call 947-8917. Ask forLiz.RESEARCH SUBJECTSNEEDEDEarn $215-260 for participating in a 9-weekstudy of the effect* of drugs on moodMinimum time required. No experimentaldrugs or needles involved. Must be between 21and 35 and in good health. For more informa¬tion, call 962-1536 weekdays between 10:30 and3:00BEAUTIFUL ORIENTALCARPETSARE BACK!This fall, my fourth year, I offer carpets per¬sonally selected from abroad as well as NewEngland estates. All carpets, whether new orantique, are in superb condition. Included are:4x7, 5x11, 9x12 antique Rose Sarouks; elegantroomsize Ersari (elephant-foot design) in deepburgundy; subtly-colored Persians; assortedprayer rugs, camel bags and village rugs; an¬tique Caucasian and Turkman carpets. I alsohave a small collection of rare antiqueTurkman silver jewelry. As usual, prices arevery fair. You may phone for an appt. or attendmy fall OPEN HOUSE on October 22 & 23.David Bradley 288-0524 (evenings &weekends).LONELY OR UPSET?If something is bothering you, and you want totalk, the Hotline is willing to listen. You cantalk to us between 7 pm and 7 am, on any day,even Sunday. Our number is 753-1777.LIFE AFTERGRADUATIONPeople in business for themselves an informaldiscussion of careers in business for interestedstudents. 12 noon, Tuesday, Nov. 1. RobieHouse, 5757 S. Woodlawn Ave. Bring your ownlunch (Beverage provided)WAITERS & WAITRESSESMellow Yellow is looking for high energy,business minded people for our busy & growingrestaurant. We need you to be full time, ex¬perienced, & have checkable references. Apply 1508 E. 53rd St. Mon-Fri 9-llam Ellen orElizabeth.UNIV PARKFOR RENTYou'll hear some surprising news soon. ThePub, however, will continue to serveAugsburger Lt & Dk on tap. Members 21 +PUB VIDEOSRock on Chicago: Billies Joel & Idol, Earth,Wind Si Fire, Midnight Oil, etc. Fri 11:30 21.30Members, 21 +DOES YOUR MINDMATTER?It does to us. Right and left-handed peopleneeded for paid participation in studies onright-left function. Call 962 8846 9-5 M F.FICTION WRITINGUnique/intense method releases yr creativeenergy. 1st session free. Sat noon. Call ShouriDaniels, 667-0673. $150 for 50 hrs.STUDENTS FORISRAELStudents for Israel meeting- Tues., Nov. 1, at6:00 PM in the library at Ida Noyes. There willbe a guest speaker on various aspects of Israelimedia.GAY? LESBIAN?The GALA coffeehouse will not meet this Tues,Nov 11. We encourage you instead to attend theHyde park AIDS Awareness Committee's pro¬duction of the play "ONE". See other listings.HPAAC PRESENTSHyde Park AIDS Awareness presents a benefitperformance of "ONE", a nationally acclaim¬ed play about one man’s battle with AIDS. Allproceeds will go to the Howard BrownMemorial Clinic for AIDS research. One performance only-Thurs Nov 3, 8:30 PM at theBlue Gargoyle$3 with UC ID, $4 for others.CAREER PLANNINGWORKSHOPSThree career planning workshops for graduatestudents: Thursday, November 3, "Self-Assessment"; Wednesday, November 9,"Developing a Job Objective"; and Wednesday, November 16, "The Job Search and the In¬terview". All workshops held from 4 to 6 pm inthe Career Library, Reynolds Club 201.BAGELS &LOXCome to Hillel's BAGELS AND LOX BRUNCHES for the best food, the best conversation,and the best prices in town! Only $175 per sand¬wich. Every Sunday, 11:00 am to 1:00 pm atHillel House, 5715 S. Woodlawn.DANCETERICA...A student owned and operated professionalD. J. and party service is, for a limited time, of¬fering to the University it's Disk-Jockey ser¬vice at less that half the regular rate. For only$99 you can hear four hours of your favoritesongs played over a $5,000 sound system! Forreferences or more information, please callMike Conte at 241 -6458.PHI KAPPAPSIhas a new home! 5440 Ingleside, 241-5139.f ^ C&a/'/o//e y^b/sem/ &ea/ (Dj/a/e ^V 493-0666 • CALL ANYTIMELUXURY PRESTIGE LAKEFRONTYour mansion in the city, over 4700 sq. ft.Round-room solarium overlooks PromontoryPoint at Hyde Park’s 55th and the Drive. Naturalfireplace; kitchen quite new. MANY formalrooms. WHY DRIVE SUBURBAN DISTANCES?To settle estate<148,500View from your apartmentThe Chicago Maroon—Friday, October ?8, 1983—15BACKSICK BABKO mOIlElHBICHABD MAKOEt 6ABTH HBBSOIWITH THE CATE BROS.SUNDAY, NOVEMBER 6th, 8:00 PMMANDEL HALLPLUS TICKETS ON SALE AT THEREYNOLDS CLUB BOX OFFICE 962-7300FRIDAY OCTOBER 28 & 29 (STUDENTS ONLY)MONDAY OCTOBER 31 (NON-STUDENTS)STUDENTS $ 8NON-STUDENTS $15LIMIT: 2 PER UCIDA MAJOR ACTIVITIES BOARD PRESENTATION1C—The Chicago Maroon—Friday, October 26, 1963