INSIDE CAVE MAN SPEAKSDivestment questionsand answerspage four FOTQ:hairstyles editionpage 21 GCJ P. 11The ChicagoVolume 95, No. 16 The University of Chicago Maroon©Copyright 1985 Friday, November 1, 1985Bill threatens animal researchBy Robert J. BlockContributing WriterResearch involving live ani¬mals in the city of Chicago maybe severely restricted if a pro¬posed City Council ordinance ispassed.The legislation, which calls fortightening the city’s control overthe use of live animals for re¬search, was proposed by MayorWashington as a result of contin¬ued protest from animal humanesocieties.The committee that has beenworking on the legislation,chaired by Alderman Niles Sher¬man, was set to hold its first hear¬ing last Thursday. The hearingwas attended by representativesfrom five medical schools, in¬cluding the University of Chica¬go, but the hearing was post¬poned by Sherman at the lastminute, because only four of theseven members of his committeewere present. There will be athirty-day waiting period (begin¬ning last Thursday) in which tosubmit written testimony on theissue.The ordinance as written wouldconstrict research with animalsin several ways. It would prohibitthe city pound from releasing liveanimals, mostly dogs, to institu¬tions for research or educationalpurposes, and would set up a newJonathan KleinbardTheaterBy Elizabeth BrooksAssociate EditorUniversity student theater or¬ganizations are in the process offorming a finance committeewhich will enable theater groupsto operate independent of the Stu¬dent Government Finance Com¬mittee (SGFC). The new fundingsystem has generated both enthu¬siasm and opposition frommembers of student theater orga¬nizations.In previous years, theatergroups have appealed the SGFCeach quarter in order to obtainloans necessary for production.These advances were rapid everyquarter and each theater groupmaintained its profits in its ownstudent activities account. Undera new financial system, the Con¬crete Gothic Theater, Other The¬ater Group and Blackfriarsgroups will each delegate amember of their organization tojoin a finance committee com¬posed of three students as well asSteve Schroer and Bob James,the Managing and Technical city commission that would havestrict control over all such re¬search operations and the author¬ity to crack down on practicesthat they find “inhumane.”The former aspect of the billwould not affect the U of C specif¬ically, as the University does notuse pound animals for researchat the present time. According toJonathan Kleinbard, vice presi¬dent for University News andCommunity Affairs, “we don’tuse pound animals because theyare required to be neutered uponrelease from the pound, and (theneutering) makes them unsatis¬factory for research.” But thesetup of a city commission on themedical use of animals wouldcreate difficulties for research atthe U of C and elsewhere.Under the current system, allresearch is inspected by federalagencies such as the National In¬stitute of Health, the Departmentof Agriculture and the Depart¬ment of Health and Human Ser¬vices. The proposed ordinancewould give additional control tothe city of Chicago. Bill Bulger,director of Public Affairs for theMedical Center, commented,“The legislation would create! anew bureaucracy — a new andunnecessary level of inspection —to a system that already has ade¬quate inspection (by the federalgovernment).”Kleinbard regards the legisla¬tion as a proposed final step in thecampaign by animal rightsgroups, among them the Anti-Cruelty Society, to put an end toall research that uses animals. Amajor argument of these groups,he said, is that animals can be re¬placed by computer simulation todo the same research. “Themajor finds on cures to humandiseases and ailments are madethrough the use of animals. If thisbill becomes law, most of themedical research that takesplace in this city — heart disease,AIDS, diabetes, accident inju¬ries, etc. — could not continue.”Because Chicago is a majorcenter for biomedical research,and most of that research usesDirectors of University Theater.The three student theater orga¬nizations have pooled their mone¬tary resources which, combinedwith a three-thousand dollargrant from the Quality of LifeCommittee, will constitute the fi¬nance committee’s initial capital.Every quarter each theatergroup will now present a budgetto the finance committee whichwill review the proposals andlend money to the organizationsaccordingly. At the end of thequarter, each group will returnits initial loan plus fifty percent ofits profits to the finance commit¬tee.In theory, the new arrange¬ment maintains several advan¬tages over the former budget sys¬tem. According to Irene Conley,Director of Student Activities,“One of the goals of this system isto ease the pressure on theatergroups to make money.” If, at theend of any production, a theatergroup is in a debit situation, itsdebts will be eradicated It ishoped that as each organization animals, the bill could result inpreventing crucialbreakthroughs in the future.Groups such as the Anti-Cruel¬ty Society and the anti-Vivisec-tionist, which protest using ani¬mals for experimental purposeson the basis of unnecessary cruel¬ty and death, have played an im¬portant role in the creation of thisbill. The director of the Commis¬sion on Animal Care and Control,Peter Poholik, said that the Of¬fice of the Mayor had pushed theordinance forward because thecontroversy caused by humanegroups “had reached hysteria.”In the recent past, researcherswho use animals have beenthreatened by such groups andtheir labs have been broken into.Many opponents of the bill haveexpressed concern over the detri¬mental effects it could have onthe city economy. Forbidding theuse of animals in research andteaching would cost the city closeto $200 million in federal funds —funds that go to research onAIDS, organ diseases, transplantoperations, all of which use liveanimals. It would also undermineefforts by the city to attract com¬panies that do work in biotechno¬logy. Furthermore, laboratorieswould have to close and the non¬professional employees that workfor them would be out of work.What is the prognosis for the or¬dinance at this time?The U of C and other instituteshave until Nov. 23 to submit testi¬mony to the committee. SaidKleinbard, “We’re cooperatingwith a number of other institutesand hope to present our side ofthe case.” He said, however, thatit is not definite that the U of Cwill submit testimony, notingthat news of the bill had “caught(the University) by surprise.” Heconcluded, “We are hoping thatthere will be a lot of thinkingabout the bill on all sides... whenpeople come around and reallyconsider the consequences of thislegislation, there definitelyshould be at least some revi¬sion.”continues to contribute fifty per¬cent of its net profits to the fi¬nance committee, the initial fundwill maintain itself even if a par¬ticular show incurs a loss. Conleyadds that the new system in¬volves “theater people reviewingtheater people’s budgets, so thatfor the most part groups will finda sympathetic and knowl¬edgeable ear to listen to them.”The implementation of the newtheater funding system has elicit¬ed diverse responses from stu¬dent theater group members.Laura Rebeck, a board memberof Other Theater, approves of thenew system, explaining that.“There is now a lot more cooper¬ation and necessary interactionbetween various members ofgroups and their boards.” The fi¬nance committee, she adds, rep¬resents “a sort of vote of confi¬dence from the other theatergroups.”Ben Weinberg, Abbott of Black¬friars, also endorses the newcommittee “All of the groups arecontinued on page threegains independence Law school constructionSee story page threeFaculty petitionagainst Star WarsU of C NationalBy Sam D. MillerContributing WriterApproximately seventy per¬cent of the University Physicsfaculty have signed a petitionstating that they will not partici¬pate in research on PresidentReagan’s Strategic Defense Ini¬tiative (S.D.I. or “Star Wars”)project.Physics graduate student JohnBeckover, who helped circulatethe petition through the Physicsdepartment, says the petitionmovement began at Cornell Uni¬versity and the University of Illi¬nois at Champaign-Urbana.These schools conceived the ideaof such a petition last spring, andformal nationwide campaigningagainst S.D.I. research beganthis past fall.The faculty signing the petitionadvance three major argumentsfor refusing to participate in theS.D.I. project, which seeks tobuild a high-technology active de¬fense system against nuclearwarheads. The petition statesthat such a defense is “not techni¬cally feasable.” U of C ProfessorSidney Nagel, who signed the pe¬tition, says that such a defensesimply “will not work.” Heargues that for S.D.I. to have anysuccess, the success must betotal, i.e. must thwart every at¬tack without fail, or else wholecities could be lost.Assistant Professor Tom Ro¬senbaum. another signer, addsthat “the proposal will never pro¬tect the cities” because there is“too great a margin of error.”The petition also maintainsthat S.D.I. research will “accel¬erate the nuclear arms race” and“undermine national security”by inducing a Soviet buildup of of¬fensive weapons. Nagel arguesthat the Soviets could greatly ex¬pand their offensive arsenal inorder to overwhelm an S.D.I. sys¬tem. and could do so at consider¬ably less expense than it wouldcost us to build S.D.I. in the firstplace.Finally, the faculty assert thatS.D.I research “would restrictcontinued on page three WASHINGTON, DC (CPS) -Increasingly widespread campuscriticism of President Reagan’sStar Wars program is not havingany noticeable impact oncampus-based research for theinitiative, Defense officials say.About 3,000 higher educationresearchers submitted grant pro¬posals to the department’s Stra¬tegic Defense Initiative (SDI)during the fiscal year that endedSept. 30, the Pentagon reports.Some 58 grants totalling $14million were awarded, and in nocase did any researcher offered agrant decline, SDI public infor¬mation officer Mary Pershaksays.Pershak says SDI officialshave had no difficulty finding uni¬versity researchers to do thework they are seeking from thehigher education community.However, physics professors onmany campuses have been circu¬lating a petition nationwide tothwart SDI college research.“It (the petition drive) hasn’taffected us one wit,” Pershaksays. “The proposals keep rollingin.”SDI is the Defense Departmentagency charged with implement¬ing President Reagan’s plan toput lasers and other high-techw-eapons into space to shoot downnuclear warheads heading for theUnited States.Critics, who charge Star Warsas an unworkable and dangerousescalation of the arms race, havecollected more than 1.500 signa¬tures from professors and gradu¬ate students pledging not to seekor accept SDI funds.University of Illinois physicsprofessor Michael Weissman,who helped organize the petitiondrive during the summer, saysuniversity researchers are re¬sponding to SDI the way onewould expect.“If I had $3 billion to throwaway, I could find researchers todo whatever 1 wanted them to,”Weissman says.Weissman simply hopes the pe¬tition drive will have “small im-Continued on page 20The Chicago MarooninvitesStaff members andall interested studentsto aJOURNALISM WORKSHOPwithWayne BraslerAward-WinningJournalismInstructoronSaturday, November 910 a.m.meet at room 303, Ida NoyesEVERYONE WELCOME Rockefeller Chapel5850 S. Woodlawn962-7000Sunday, November 3rd9:00 a.m. Ecumenical Service ofHoly Communion,with Sermon11:00 a.m. University MemorialService12:15 p.rn. Carillon recitaland tower tour.4:00 p.m. REQUIEM, OP. 48by Gabriel Faure’ORGAN RECITALworks by Alainand Durufle’.The Chapel Choir,Orchestra andSoloists, directedby Victor Weber.Wolfgang Rubsam,Chapel Organist.(Tickets: 962-7300)The Chicago Maroonis now accepting applications for aBUSINESS MANAGERA 20 hour/week position of responsibility withauditing, book-keeping, and general managementof Maroon business operations.•GAIN VALUABLE BUSINESS EXPERIENCE•WORK WITHIN A DYNAMIC, SUCCESSFUL ORGANIZATION•TRAINING WILL BE PROVIDEDAPPLY ASAP AT IDA NOYES HALL ROOM 304 The University of ChicagoProgram in Arms Control andInternational Security (PACIS)GRADUATE RESEARCH FELLOWSHIPSGraduate students who are pursuing research for the doctoraldissertation (normally they will be Ph.D. candidates) on topicssuch as those listed below may apply for dissertation researchfellowships:The limitation of conventional and nuclear armamentsThe determinants of peace and war and of internationalcooperation and conflictThe definition and strategy of national, regional, and globalsecurity, including military, ethnic, economic, ideological,religious, nutritional, and natural resource considerationsThe doctoral dissertation proposal and a budget specifying thecosts of the proposed research (including full AdvancedResidence Tuition for up to three quarters, a stipend of $750 permonth for up to 12 months, and direct costs of the research, not toexceed $ 10,000), and three letters of support from facultymembers or other suitable referees will constitute a completeapplication.Funds for fellowships are available now, and applicationsfor fellowships to begin during the current academic year(that is, before June 30,1986) should be submitted byNovember 15,1985.This program is made possible by a generous grant from the JohnD. and Catherine T. MacArthur Foundation.Proposals should be submitted to: Center for International StudiesPick 1042—The Chicago Maroon—Friday, November I, 1985Theatercontinued from page oneworking together by pooling their previousrevenue. We all now share costumes, propsand equipment as well as expertise. We arereally improving on organization and com¬munication.”It is hoped that theater groups will attainadditional creative freedom now that the in¬herent pressure to earn a profit has dimin¬ished. According to Steve Schroer, Manag¬ing Director of University Theater, “Wewould like groups to be able to put on showsfor artistic reasons even if they know theywill not make a profit.”Although the attitude towards the new fi¬nance committee among interested partiesis generally positive, some members of stu¬dent theater have opposed the implementa¬tion of the new system on the grounds thatthere will be an excessive number of admin¬istrative faculty members on the commit¬tee. According to Don McLellan, a boardmember of Concrete Gothic, “This type ofsystem should involve a student organiza¬tion with the administration acting only asan ex officio advisory aid...Philosophically,I am in favor of the idea. My contention isthe makeup of the finance committee be¬cause there are two administrators in¬volved in it rather than one...More studentsshould be on the committee so that aiterthey serve on the board, they can return tothe groups and help them with budgets."In response to student opposition towardsthe aspect of the committee’s forty percentadministrative component, Irene Conleysays. “I do not differentiate between the in¬terests of the administration and the inter¬ests of the students...percentages are mean-U of Ccontinued from page oneacademic needom. ’ £>uch research, theyemphasize, would be difficult to define as ei¬ther classified or unclassified. S.D.I. offi¬cials themselves confirm that they can clas¬sify a project at any time. This greatlydisturbs many researchers, who view clas¬sification as a violation of fundamental aca¬demic freedom.University officials point out that the U ofC maintains a policy forbidding classifiedresearch on campus. Walter Massey, VicePresident for Research Programs, empha¬sizes the policy, saying that the University ingless to me because everyone is on thesame side...Steve Schroer and Bob Jamesare two people without whose opinion Iwould not feel right administering a three-thousand dollar fund. I feel a real sense ofobligation to the Quality of Life Committee.I cannot conceive of the proper distributionof these funds without the input of either stu¬dents or these two faculty members.”Despite some objections to the proposedbudget system, all three theater organiza¬tions have signed an agreement which callsfor the institution of a forty percent admin¬istrative finance committee, and the elec¬tion of student committee members hasbegun.At present, the problem most frequentlycited by student theater members is the pe¬rennial lack of available rehearsal space. Itis hoped that with finer scheduling, thisproblem will be resolved in the near future.It was also widely suggested that the admin¬istration does not provide enough financialsupport to student theatre organizations. Inresponse to this criticism, Conley stressedthat, “The administration’s stand is to givemoney to established funding organizations.This way. students decide who gets studentmoney.”In spite of problems, the overwhelmingconsensus among all members of the the¬ater is that the prognosis for University stu¬dent theater groups is excellent. Represen¬tatives of all three organizations agree thatcooperation and communication within thetheater are improving and all report betterattendance at productions as well as ahigher turnout of students at auditions."strongly objects" to me classification ofany research. If S.D.I. research were to bedone at the U of C and were classified in theprocess, the University would cut fundingimmediately, according to Massey.Whether any S.D.I. research will actuallyoccur at the U of C is difficult to determine.Currently, no Chicago professors have ap¬plied to S.D.I. for funds. Among professorswho did not sign the petition, some statedthat they are against petitions, while othersrefused to comment.PEACE CORPSandTHE UNIVERSITY OF CHICAGOpresent“THE U.S. STAKE INWORLD DEVELOPMENT"a day-long symposium oninternational developmentNOVEMBER 4,1985opportunities to do constructivework in developing countries;alternative paths of development'self-help grass-roots projectswill be discussedas part of the symposium,Joseph Shortformer Executive Director of Oxfam Americawill give a public lecture"U.S. voluntary Assistanceto the Third World"3:30 p.m. Social Science 122for the day—lunch included—$20Joseph Short’s lecture open to the publicfor information or to register, callCenter for International StudiesPick Hall 104962-7721 Completion cfafe set for DecemberLaw construction underwayBy Mona ElNaggarContributing WriterThe expected completion date for the LawSchool library expansion has been pushedback from September 1986 to December1986, according to Doug Baird, associatedean of the law school.Although University Architect HaroldHeilman claims that the original plans forthe construction have not changed appreci¬ably,” he says that some changes have beenmade due to “architectural and cost sur¬prises.” These “surprises” led to thedelay.Delays were expected all along, accord¬ing to Baird, because this is typical of anyconstruction project. He said that delaysare especially prevalent in expansion proj¬ects in which surprises “shouldn’t really beunexpected.”One example of a change in plans was theshift from all glass walls to the alternatingof panels and glass on three of the walls inorder to conserve the energy that wasescaping when the building was being heat¬ed or cooled. “It turned out that the techno¬logy for building glass curtain walls was notas good then as it is now. We found out thatthey must be replaced” to conserve energy,explained Baird.The ongoing construction is the result ofover two years of planning and a four mil¬lion dollar grant from Dino d’Angelo. agraduate of the Law School, for whom thebuilding will be named, according toBaird.That four million dollars is being used toadd 48,000 square feet to the original build¬ing, according to Jim Gimpel, project archi¬tect for the university. The extra space willbe used to create more office space and alarger student lounge, but it is primarily tobe used for books.“The library was built in 1958 to handletwenty years of expansion. Now we haveover 150,000 books in storage, so we need thespace we’re adding to double the stackspace,” explained Baird.While Judith Wright. Law School librari¬an, contends that the construction projectwill be a “great improvement,” she saidthat it did not come without some inconven¬ience. “We (the office staff) had to work inthe reading room for a while. Then wecouldn’t use our terminals, so that reallyslowed our work down,” she related. Cost consideration for the d’Angelo Li¬brary also came into play as the Universityhad to work with a limited budget. “It mat¬ters whether you’re getting the requisitebang for your buck,” Baird pointed out.“First there is this thumping sound whichshakes the whole building at intervals of terseconds apart. Then there is the basicbreaking concrete sound which kind of sinksto your jawbone. The third is the most inter¬esting and horrible because it evokes feel¬ings of dentistry—like a dentist drilling atooth.”The first-year student who delivered theabove passage was describing the sounds ofthe construction. Some students felt thatthis noise was disruptive to their studyingsince construction is being performed at thebusiest times in the library. “The last coup¬le times I was there they used a wreckingball that shakes the whole building,” com¬plained one fourth-year student who fre¬quents the law library. “At least they used itin rhythm so 1 got used to it.”However, such complaining was minimal,according to Wright, who says that studentsonly complained at the very beginning.“Then I think they realized that we allheard it,’ and they just got used to it.”Most students believe they can live withthe inconvenience. Willing to dismiss thesound of the construction because “I have acapacity to block out the noises.” ConsolesMazorra, independent researcher said thatshe would appreciate the extra study spacethe addition will afford.Similarly, Scott Peters, second-year law-student, believes that the library “reallyneeds more space. The book stacks arefull.” The noise has not bothered him eitherbecause “since most of the studying is doneon the north side (while construction is onthe south side), there is enough of abuffer.”Looking ahead to job interviews. MikeTrier, third-year law student, said thatthere is not enough room for interviewing. ‘Ithink it (the expansion project) is worth itjust to get the room we need for interview¬ing.”Nevertheless, problems that have accom¬panied the expansion of the library havebeen acknowledged by Baird, who regardsthem as unfortunate, but necessary evils.“Anytime you have construction it’s an in¬convenience. Everything suggests that it isan inconvenience we can live writh.”Cronin speaks onNick LanyiContributing WriterOn Monday evening, Oct. 21, about thirtystudents had a chance to meet and talk withJames W. Cronin, University professor inthe Physics department. The “informal dis¬cussion” was hosted by Charles and SondraCohen, Resident Masters of Pierce Hall,and centered around the following topic:“Why build a new multi-billion dollar nu¬clear accelerator?”Cronin, who won the Nobel Prize in 1980for his work in sub-atomic physics, is one ofthe most distinguished members of the fac¬ulty and was recently featured in a lengthyChicago Tribune Magazine article about theUniversity, which undoubtedly helped ac¬count for the large attendance at the discus¬sion. Cronin chose to discuss the topic of nu¬clear accelerators in order to push his beliefthat the federal government should build anew $4 billion accelerator in the near futureand to receive feedback on the subject fromnon-experts. Beginning w-ith a short intro¬duction to the topic, Cronin then led a dis¬cussion of the pros and cons of the idea, in new acceleratorwhich almost everyone present participat¬ed.Physicists want a new accelerator be¬cause much higher levels of energy need tobe produced in the collision of particles in¬side the accelerator. These physicists wantone that would be at least 5 times largerthan the few currently in existence, includ¬ing the new Fermilab accelerator in Illinois.With the larger accelerator, Cronin con¬tends, scientists could better understand thetrue nature of suLatoinic particles, or“quarks,” which are the building blocks ofall matter.Objections to the idea of federal fundingfor the construction of the accelerator arewide and varied, Cronin explained. Somefeel that the great amount of money thatwould be spent on the project would bemuch better used to help the needy in soci¬ety, a view expressed by at least one studentin the discussion. Others object to the proj¬ect because its research would producenothing immediately useful or applicable toeveryday life, a claim which Cronin con¬cedes, but counters with a strongly held be¬lief — that any knowledge can be beneficialto mankind in the long run.CMzLAJ 1312 E. 47th St.(Across from Hyde Park Health Club)SUBMARINESCORNED BEEFROAST BEEFTASTY GYROSETC....BUY TWO GET ONE FREE with this ad538-4349The Chicago Maroon—Friday, November l, 1985—3TheStudent Maroonof ChicagoLETTERSMinority debate responseTo the Editor:Your 22 October 1985 article on minorityenrollment in medical schools was appre¬ciated for its insight into the problem of un¬derrepresentation in the medical schoolhere on campus. However, there were a fewglaring inaccuracies that detract from thearticle. First, the New England Journal ofMedicine article was reported as statingthat such a decline (in black applicant ac¬ceptance rate) cannot be explained bytrends in MCAT scores or applications.However, the article was also clear to indi¬cate that the reason that acceptance rateshave decreased since 1974 is reflected inpart by the fact that medical school classsize has increased without a proportionateincrease in minority enrollment. Instead ofthe single conclusion that the committmentof medical schools to affirmative action hasslackened, we may also conclude that medi¬cal schools may have indirectly appliedquotas to their acceptance policies. WhileDean Ceithaml says there is no quota em¬ployed at this medical school, the data pre¬sented in the NEJM piece would tend toargue that quotas may be used as a nationaltrend in medical school admissions and thatthey must be.Second, Dr. Mhoon, the assistant dean ofminority affairs is correct in his observa¬tion that minority applications are down to138 from 168 in the previous year. However,in my conversation with Molly McClain Ipointed out a telling comment on the figureswith respect to the medical school here.There are always a fair number of accep¬tances offered to prospective students, butfew of them matriculate here. This, I be¬lieve, should be the major focus of this uni¬ versity’s strategy to increase minority en¬rollment.Third, a small point, but one of substance,is the quote on my belief that the Universi¬ty’s admission problems stem from the factthat not enough qualified students apply. Iwas misquoted, for what I stated as my be¬lief was that the administration seems to be¬lieve that not enough qualified minority stu¬dents apply. This opinion implicitly holdsthat the larger the qualified applicant pool,the more acceptances will be offered. Thisis sound reasoning in the absence of quotas;but as I do not have access to the applica¬tions nor am I asked my opinion on the qual¬ity of the applicants, I cannot possibly knowthat too few qualified minority studentsapply. My belief that the administration isacting in good faith however, encouragedme to cooperate with them in the organiza¬tion of a minority application/admissionsworkshop which would could have served toincrease the number of good students whochose to apply that year. I think that thismust happen again so that potential stu¬dents realize that the University has somecommitment to improving its underrepre¬sentation problem. Whether this initiativecomes from the administration or throughsome combination of students as well, thismust happen before more students appreci¬ate this medical school as one to which theywould be comfortable in applying.I hope that these corrections help you inyour further understanding of the problemof minority enrollment on campus. Onceagain, thank you for your timely article.Sincerely,William McDadePlurality of thought praisedTo the Editor:I read Mr. Burnyeat’s article in the Oc¬tober 3rd issue of the Maroon with great in¬terest. especially given the hostilities be¬tween Straussians and non-Straussians onthis campus.First. Mr. Burnyeat does not seem to un¬derstand the value of accepting, as a start¬ing point, what the text says as true. Straus-sian or not. we each have the responsibilityto “think ourselves into the other person’sposition.” as Kant says in his Anthropology.Second, there is a plurality of approachesto thinking about a book (although youwould think there were only two on thiscampus) which find their expression in anacademic community. Even ideas which aswe as a people could find “morally repre¬hensible” or “simply wrong" serve somepurpose in allowing us to find within our¬selves our own assumptions about thewo^d. and either strengthen our faith inof COP''r'''1 1 ** *'>.»■Finallv i* we do not allow for plurality. and if we do not try to “think ourselves intothe other person's position”, we run the riskof “critical intellect’ becoming naught but afierce watchdog who guards the territory ofhis “individuality” against all intruders,who barks at any casually flung pebble. Andthe dog. as a consequence, never knows anyplace but his own small plot of earth. Toventure forth into the thinking of another re¬quires a certain amount of speculativethinking out of one’s own habits of thoughtand the methodologies of one’s own specialfield of training, that sort of thinking whichMr. Burnyeat would most likely find to beneither “true” nor merely “probable.” ac¬cording to his as yet unstated method of dis¬tinguishing the true from the false.Such fierce guarding of one’s own cornercannot ever serve to further the exchange of;deas among individuals in a community of•earning.Laura McClureDepartment of ClassicsThe Chicago MaroonThe Chicago Maroon is the official student newspaper of the University of Chicago.It is published twice weekly, on Tuesdays and Fridays.Mail subscriptions are available for $24 per year.The Maroon welcomes letters and other contributions from student:;, faculty, stall,and others. Anyone interested in doing writing, photography, or other work for theMaroon should stop by our office, Ida Noyes rooms 303 and 304, 1212 E. 59th Street,Chicago, Illinois, 60637. Phone: 962-9555.Rosemary BlinnEditor in-ChiefChris HillManaging EditorHilary TillSenior News EditorKaren E. AndersonDevelopment EditorPaul SongSports EditorMichael KellyPhotography Editor Terry TrojanekViewpoints EditorStephan LauTuesday Features EditorSusie BradyProduction ManagerPaul RohrCopy EditorAlex ConroyCalendar EditorGeoff SherryCollege News Editor Stephanie BaconGrey City Journal EditorGideon D’ArcangeloChicago Literary Review EditorPaul LuhmannAdvertising ManagerRuth MauriAdvertising ManagerJaimie WeihrichOffice ManagerAssociate Editors: Elizabeth Brooks, Kathy Evans, Molly McClain, Ciaran OBroinStaff: Arzou Ahsan, Ken Armstrong, Lupe Becceril, Tony Berkley, Scott Bernard,Mike Carroll, Dennis Chansky, Tom Cox, David Feige, Ben Forest, Andy Forsaith,Michael Gorman, Kelly Hayford, Jon Herskovitz, Larry Kavanagh, Ann Keen,Lauren Kriz, Lara Langner, Marcia Lehmberg, Meg Liebezeit, Charles Lily, JeanLyons, David McNulty, Frank Michaels, Melissa Moore, Lauren Murphy, Rob Nadel-son, Karin Nelson, Larry Peskin, Phil Pollard, Terry Rudd, Kristin Scott, MattSchaefer, Rick Senger, Frank Singer, Sue Skufca, Larry Stein, Frances Turner.Contributors: Robert Block, Tom Chong, Mona El Waggar, Beth Green, Craig Joe-seph, Nick Lanyi, Matthew Lenoe, Sam Miller. President GrayThe following is a continuation of the tran¬script of the Jennifer Davis-Hannah Graydebate on “Divestment and the Role of theUniversity. ”The final installment of the transcript willrun in our November 5 issue.Q: (inaudible)HG: The argument that not to do some¬thing is as much a political act, or as muchan implicating act as to do something. Ithink is . . .1 would dispute on the followinggrounds. We’re talking about, once again,an endowment. It is necessarily a set of re¬sources that are invested. They exist as aset of equities and as a set of securities, andso on and so forth. And, therefore, to saynot to divest them is a political act, I saythat not to divest them in general or others,again on grounds that might be external tothe purposes that it is meant to be held for,is not in itself a political act, unless you takethe position that to hold it and the positionthat the responsibilities of trustees and in¬stitutions vis-a-vis that are in some sensepolitical. So I think I would dispute the no¬tion that not doing it is political, just asmuch as doing it is political. Not doing it is, Ibelieve, in conformity with the purposes forwhich it exists, which are not political.Q: President, you have told us manytimes that you don’t know, and I believe youdon’t. You have talked about the businessesthat are involved in South Africa and youhave said 1% and that they’re doing a noblejob.HG: That’s not exactly what 1 said, but goahead.Q: Well, you said it’s normal.HG: I don’t think I said that.Q: Okay, in any case let us get to some ofthe things that seem to me that in ways say¬ing that the people who are making judg¬ments, or w'ho are making calls for divest¬ment are passing moral judgment whichprobably you don’t want to be involved mcause the University is not involved inmoral judgments. Now, all that I’m askingis who would know best about where theshoe pinches? Is it you, Sullivan, who neverconsulted with any South African, to myknowlege, or even most of the people whoare representatives of those people? Andalso to tie that up, how many of the peoplewho are helped out of the 33 million—not the23, because there are 33 Africans—arehelped as a result of the employment of 50thousand?HG: I don’t think that was a question. Irespect your point of view.Q: You called the policy of the Universitysomething called selective divestment, andyou said the University would divest from longer lending to South African entities ofany kind. There are banks that at one timedid lend to the South African governmentand are no longer doing so. There are bankswhich at one time were lending to the pri¬vate sector in South Africa and are nolonger doing so. There are companies thathave moved out of their South African facili¬ties or have sold them and that are no longerdoing business directly in South Africa. Andthere’s a great deal of this going on now; Iwould not claim for a moment that we wereindividually responsible for that. I thinkthat the way in which we feel, voter proxies,and so on has helped to contribute to a cli¬mate of opinion that has helped to encour¬age such steps.JD: I’d like to comment on that, ’cause Ithink realistically it is not the ten years orfifteen years of shareholder resolutions thathas impacted on banks, for instance, decid¬ing that they weren’t going to roll overloans, or on companies beginning to moveout. I think there were two elements in whatdid impact. The one was the divestmentcampaign, which began to do a number ofvery interesting things. For instance, ascities, like New York City, began to movehundreds of millions of dollars — New Jer¬sey is committed to moving two billion dol¬lars — that began to draw the attention ofthe corporations. New York City, for in¬stance, had a long communication with Mo¬torola. Now I think New York City is beingextremely slow in the way it moves, but,nevertheless, it told Motorola it was nolonger going to buy from any company thatsells to the South African police or military.And low and behold, Motorola has devel¬oped a new policy; it’s actually stated thisas a policy — first time — that it will not sellto the police and military. Now I think that’sa trememdous victory, but I think it’s thefirst step, and it’s the first time that we real¬ly got them to make such a commitment.The oil companies, when we asked them todo such a thing via proxies and so on, kepton coming back and saying “Well, we can’tdo that ’cause it’s against the law.” I thinkthat the pressures that we have generatedthrough the enormous mobilization of the di¬vestment campaign are able to have someimpact, because you begin to talk abouthuge amounts of money that are going to bemoved. And I think the selective purchasingthings that are being proposed in manycities are particularly powerful in makingbanks or companies take notice. The banksagain. I think it’s clearly a question where,for instance in New York City, where thecity said “We will not put our money inbanks that continue to lend to the govern¬ment.” That kind of things begins to have aneffect.Q: President Gray, you talked a lot thisafternoon about the responsibility of the“...it is in the political arena that the major shifts in policytoward South Africa are going to come.”companies which have shown some intenseform of unwillingness to change their poli¬cies, but can you point to any evidence ofany company policy change that the Univer¬sity has brought about which would justifythe continuing investment of the Universityin companies which support South Africa?HG: There are companies, which, havingbeen. . .and here I would not say that thisUniversity alone has been responsible forany of it, but I think that a number of institu¬tions, including universities and other insti¬tutional shareholders, church groups andothers, have helped to have an effect, ratherthan simply doing it. There are companiesthat have changed a number of policies, forexample, there are banks which are no University, and one of the previous ques¬tioners asked about the implications of whatthe University had done in terms of follow¬ing the policy that you’ve chosen. I’d like toknow whether you could explain what posi¬tive actions the University has taken as faras voting proxies, and whether that has, infact, merely been a passive role in terms ofresponding to other motions brought beforethe corporations, or whether the Universityhas taken an active role, also in terms ofproposing resolutions, and, also, whetheryou anticipate any further action in that re¬gard with the companies that the Universityhas stocks with.HG: The University has not initiatedproxy resolutions. Therefore, it has been a4—The Chicago Maroon—Friday, November 1, 1985questioned on divestment policymatter of the response of universities tosuch resolutions, and other than that it hasbeen from time to time approaching a givencompany when the evaluation of that specif¬ic company’s conduct has been less than ad¬equate, in that case initiating some dia¬logue, some discussion. The question as towhether the University might initiate reso¬lutions, the question s to whether the rangeof issues might grow and so on...thosethings are continuing to be discussed by theBoard, as it has reviewed and reflected onits policy. And, of course, I should mentionone other thing. The measures that we sawtaken by the Administration this summerwere partial measures, certainly partial incomparison to the proposed legislation, andeven in the context of the compromise legis¬lation, which the executive order then head¬ed off in a sense. However, even withinwhat, obviously, many will regard as a lessthan comprehensive approach, on the partof our government to issues 01 economicsanctions, let me remind you that it is nowillegal for computer technology to be sold tothe South African government, (that) it isnow illegal for such products that may beused directly in support and implementa¬tion of the apartheid system to be sold, andthat the actions that were taken and thathave made these things illegal, are actionsthat clearly have been shaped in the politi¬cal arena by the growing outrage and thegrowing pressure of public opinion on thisissue. So I would like, once again, to makethe point that the University, as an institu¬tion, has a different mission and can do onlyso much in what it does, though it should dowhat it can, but that it is in the politicalarena that the major shifts in policy towardSouth Africa are going to come.Q: This is directed to President Gray. Youtalked about protecting the institution as theresponsibility of the Board of Trustees. Therelationship between institutions needs tobe a healthy one in order to maintain thoseconvictions though. The institution ofapartheid is an unsound and unstable one,which doesn’t promise future profit. Whydoesn’t the University protect their invest¬ments by retreating from a dangerous, inse¬cure, and perhaps even doomed zone of in¬vestment?HG: The University certainly is going tosell its holdings in companies that it regardsas unsound. Obviously, the issue as towhpther, on economic grounds alone, com¬ panies should remain in South Africa is onealso to be tested. And it’s clear to those re¬sponsible for investments that a companythat a) does not behave responsibly withinits own workplace, and b) might be lookingat serious losses or taking seriousrisks...again on those grounds, of course,the investment is examined, because the ex¬tent of risk and the extent of soundness aretwo things that need to be looked at. I willremind you, too, that corporations are re¬sponsible to their stockholders, and thatthey’ve got an obligation to assess thoserisks and to make those judgements as well.But if you’re saying, “Well, if you’ve got acompany that obviously is in extremedanger, just given the political instability,it’s probably not one we should be investedin.” It’s true.Q: I too have a question for ProfessorGray. It’s a hypothetical question, and Ipose it in the hope of urging her to admitthat we have to draw the line somewhere,that at some point we have to take what shemight describe as a political stand, and it’sonly a question of where we choose to drawthat line. The question is this: Would it becompatible with the University’s position asa “responsible investor” to hold stock in acorporation that, hypothetically, fully com¬plied with the Sullivan principles, but sup¬plied ammunition to the South African Se¬cret Police?HG: My judgement would be that thatwould not be appropriate. There is one levelof abstraction on which I could say yes, but,in fact, it seems to me that that is so in¬herently incompatible, as I thought aboutthat question, so inherently incompatiblewith central values that we should not. AndI believe, also, that, yes, I believe thatwould be inherently wrong.Q: My question is once again to you, Mrs.Gray. It’s a two-part question, and the firstpart of the question is that you mentionedthat the University’s role in investing inSouth Africa would be to apply pressure tocompanies if the University decided that thecompany’s policies were inappropriate, and that would be for investment, to have thispower over the companies, well, to havecontrol. My question is, first of all. has therein the past been any case where the Univer¬sity has in any way gone to a corporationand said “We don’t like what you're doing inSouth Africa. If you don’t comply with whatwe belive in, we may divest, or somethingworse.”HG: Yes, it has. But, let me, if I can, cor¬rect what I think is a misconception in thelanguage. We do not invest in South Africa.We do invest in companies that have a pre¬sence or do business in South Africa. Thatrange of investments is not growing. Now,we don’t invest in order to put pressure oncompanies; we invest in a diverse universeof companies for the purpose of maintain¬ing, at a prudent and responsible level, anendowment. We would no more invest inorder to hold leverage over a company thanwe would disinvest in order to lose such le¬verage.Q: I wondered if there was any evidenceat all that other institutions which had un¬dertaken divestment had in any way lost orcompromised their academic freedom?HG: There has not been a divestment of auniversity endowment of a very large per¬centage of that university endowment’sholding. The universities where disinvest¬ment has taken place, those have been rela¬tively smaller endowments, and they haveinvolved relatively smaller amounts ofmoney. Michigan State. The University ofVermont has announced its intention ofdoing it, over again a period of a couple ofyears. We’re talking about sums of 7 milliondollars, 11 million dollars, and so on. And.quite apart from the fact that I. personally,disagree with decisions of that kind, you’renot talking about the same level of risk andyou’re not talking about as high a level ofin those disinvestments. So I don’t think thatwe have, in fact, the experience of a largeendowment whose multinational holdings inthat Fortune 500 set of companies have beendivested. We just don’t have any experienceof that yet, really. Q: I’ve got two questions that are back toback. Yes, again. It seems to me thatthere’s some sort of double standard here,where you’re speaking of a university’s roleto educate the people, say, maybe directlyor indirectly in South Africa and to educatethe people in the US about the situation inSouth Africa, to tell them all the nastythings that are happening there. How do youexplain to these people that you are alsosupporting companies that support theapartheid regime? That’s the first one Thesecond one is: you say that you’d like to in¬fluence companies from within by beingshareholders. Is it not stronger to disinvestfrom them and pressure them anyway, say¬ing that the reason you disinvested was be¬cause they had investments in South Afri¬ca? Are you trying to say that we've gotsuch an inconsequential Board of Trusteesthat they would not have this impact?HG: Yes I am. No single Board of Trust¬ees would have such an impact.Q: And, by the way, would the argumentbe different if we changed the word aparth-ied to Nazi?HG: I happen to come from an academicfamily which left Germany in the Nazi re¬gime. and. one of the things that I learnedfrom my family and from the actions thatthey took was the importance of the auton¬omy of universities, the importance ofmaintaining the integrity of academic free¬dom in such institutions, the importance ofasserting the values in the context of themission. The German universities knuckledunder to an evil regime, and they were in asituation and in a structure where they al¬lowed that to happen to themselves by say¬ing that they were, of course, entities of theState and this and that and the other. So myconvictions about the importance of what isa very rare and fragile thing — and that hasto do with the purpose, and when it is doneas well as it can be. the importance in thelarger world of Institutions like this — saysto me ‘Do not politicize universities.” Whatdid American universities do in the periodof the Nazi regime? At their best, theyhelped to educate people about what washappening in Europe, which other peoplewere closing their eyes to. At their best,they welcomed refuge scholars and made itpossible for academic and intellectuals andprofessional people, who were escaping thatregime, to find their lives, to find newContinued on page 20“...the pressures that we have generated through thisenormous mobilization of the divestment campaign areable to have some impact”...AUTUMN QUARTERTheNORTH SIDEMAROON EXPRESSRIDES AGAINThe MAROON EXPRESS, our weekend coach service to the Loop and North Side,continues to provide affordable, dependable, and comfortable transportation for theUniversity of Chicago students, resuming Saturday October 5. The service will runfor 9 Saturdays, ending on Saturday, November 30!The Express will run to and from Ida Noyes Hall and the Shoreland nights, making3 departures and 3 return trips: the last two return buses will make additional stopsin Hyde Park. Buses will go to the Art Institute and Water Tower Place alongMichigan Avenue, and the popular Lincoln Avenue and Clark-Diverseyneighborhoods on the North Side.Tickets for the Maroon Express can be purchased with a U of C student ID at the IdaNoyes information desk, Reynolds Club box office, and the following dormitories:Burton-Judson, Pierce, Woodward Court, and the Shoreland. Individual one-waytickets cost $1.50 and can be purchased in lots of 10 or more for $1.25 each.Schedule for Maroon ExpressNorthbound6:30 pm 8:30 pm 10:30 pm6:40 pm 8:40 pm 10:40 pm6:55 pm 8:55 pm7:10 pm 9:10 pm7:30 pm 9:30 pmIda NoyesShorelandArt InstituteWater Tower Place•Inner Lake Shore Drive& Division•Clark & LaSalle(1700 N)Grant Hospital(Webster & Lincoln)Diversey & Clark 7:45 pm 9:45 pm 11:15 pm 1:45 pm•Courtesy drop-off stop: by request only. Note: No pick-up at this location.Southbound7:45 pm 9:45 pm 11:45 pm 1:45 pmMidnight 2:00 amDiversey & ClarkGrant Hospital(Webster & Lincoln)Water Tower Place(1. Magnin)Art InstituteShorelandIda Noyes 12:15 am 2:15 am10:30 pm 12:30 am 2:30 am8:30 pm 10:30 pm•Drop-offs throughout Hyde Park, including Shoreland and Ida Noyes. C.S.A.ELECTIONSPETITIONS AVAILABLE NOW IN MAILROOMPOSITIONS OPEN1215 ' 1HITCHCOCK & SNELL 1BLACKST0NEBRECKINRIDGEBROADVIEWBJ PIERCEWOODWARDSHORELANDOFF CAMPUS1 FRATERNITIES2 COMMUTERS* 223411Petitions are due in the mailroom by .Friday, Nov. 1 with 10 signatures. Positionsare open to any college student living in thegiven area. Questions? See the CSAmailfolder. Elections will be in themailroom 7th week.M commuter is anyone who has never lived in univer¬sity housing or has joined the Commuting StudentsAssociation (the other CSA).The Chicago Maroon—Friday, November 1, 1985—5mm mmmmIPC SOFTWARE MINI COURSES• Formerly available only to Graduate Schoolof Business students & faculty.• Now available to the entire University.pIntroduction to Micro Computer $20.00Session *5 Wed 11/13 6 30 -9 30 p.m. Stuart 101Session *6 Thurs 11/14 6:30 -9 30 p.m Stuart 104Introduction to Dbase II $35.00Session *2 Wed 11/6 6 30-9:30 p.m. Walker 310Set 11/9 9:00 a.m. -12 00 p.m Walker 310Introduction to Wordmarc $20.00Session *8 Sun. 11/10 1100 a m - 2 00 p.m Walker 310Introduction to Lotus 123 $35.00Session *8 Mon. 11/11 6 30 - 9:30 p.m. Walker 310Fri. 11/15 200-500 p.m. Walker 310Session *9 Sun 11/17 11:00a.m. -2-00 p.m. Walker 310Tues. 11/19 6 30-9:30 p.m Walker 310Session *10 Wed 11 /20 6 30 p.m. - 9 30 p m. Walker 310Sat 11/23 9:00 a.m.-12 00pm Walker 310Advanced Lotus 123 $35.00Session *3 Wed 11/136 30-9:30p.m Walker 310Sat 11/16 9:00 a m -12 00 p.m. Walker 310Session *4 Mon 11/186:30-930 p.m. Walker 310Fri. 11/22 2 00 - 5:00 p.m Walker 310NAMEPHONE *To Register:1. Identify a 1 st & 2nd choice for each class of interest.2. Attach a check payable to "PC-XPERTS” in the correctamount.3. Mail this ad and check to:PC-XPERTS5725 S. Maryland Ave.Chicago, IL 60637ORBring completed ad with check attached to theComputation Center, Business Office, 1155 60th St.You will be promptly notified of your successful class schedule.-Any questions? 324-1672 OUR FAMOUS STUFFED PIZZA IN THE PANc IS NOW AVAILABLE IN HYDE PARKcocktails • Pleasant Dining • Pick-up"Chicago’s best pizza!” - Chicago Magazine, March 1977"The ultimate in pizza!” - New York Times, January 19805311 S. 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WOODLAWN AVE.(For Tickets call 962-7300)one.one what?early one mornidescribe.one mornijp|||jthe orte ajfiiflj five eminent.five eminent statesmen.five eminent statesmen carrying five bombs.■five eminent statesmen carrying five bombs whichthey drop on five nations,five fire-filled nations.jaMajiatiopaLtelchiM tilth anflilarnsL- _five sky-winding columns of fatal flame,five massive flames which negate the night,five final flames,one.one world.one world destroyed,fivefive times,five times over.(both) one world destroyed five times over. th'nuphtti q w,f^nwhatthe si^iplI^HHHHHKomight.in morninaT^ppp^y^yes, dressedfPPSPfflfck.did its negritude seem engulfing to you?no more than the tempests which sleep within my fin- or blighted like the gout-riddenfuture looks bleak,foot of the over-wealthy,were there omens of great things?of things not to be underestimated at any cost,were they dear?no, the price was quite reasonable, in an oddly Cale¬donian sort of wayI assume you have considered the possibility of de¬feat.Unthinkable. Our strength is such that the oranges.IfaatftsaIvao aftngo km <»»o «fwfafwi98. - ■ "■■■■>gertips.jL how would y<- specify. A- One morniJilor.ouatiit Ittempt d' five eminent statesmentr nke erratic 1| on whistling§ vile burpingsf i see|- so you say. b insrstedmuch like at the request of five,five hundred.five hundred corporations,five hundred empires of deathre^atwhere to?to the land of divested vested interests, of well-divid¬ed dividends, of non-co rpo real corporations, and of nopngry rebellious dogs?fH>; they were much older than that, they had been tome Kilimanjaro and had training in the tactics of tran¬scendental disruption,the sixfold way and all that...quite, but less the mystical overtones and less than..ever and then some.found the whole matter verywhich?when I tafaa, p.pa ,c marm iAQUVimFoThe place |^here resource:the general welfare. replacesal, where produetfvfl|y te npt p1too much!to the contrary!to beg pardon,together? r.. |tune up.(both) toogfljHHEooalfep .4is no* laborious, WhergAraiand lor me, vfttwejfexxon isglobal, and the pralphets ofproddina.^^^ii:^^^^P mtouche1 h o*daily, two ,wsrfflssrmrrvM rnsn/r9 tllde^ibes of ugty and unpardonable empires___ reallHe^piWf doomPPPThen?I continued alonepml same six paths and never regret¬ted, for behind me lay the falsehood of waking whilst Imyself moved forward through the haze of self-con-jscious^#u(f©ffh8ft,and clear-sighted but little knownfree sources,welfare of the ten.ten what?0 let’s not go on anymore, we’re too wearywhat are we weary of?we’re weary of our words which wrap like woodenwinds around the walls of a war-warbling world; we’reweary of our lives which languish like lost liquids lap¬ping at a light.we're like leaves surrendering.Itke Itngertng leevesilike leaves surrendering.we’re weary of the death we cradle in our arms,yes. everywhere bells are clanging to an uncomfort¬able degree.and ice-cream cones spit helium into our eyes.once blue winds used to calm our distressed nervecenters.but now we vibrate within the keyholes, (pause).Jhe number seven that dangles from your ear was pur¬loined from a discredited theory! kzLm £bG*s> . Uik. xw' ■*«*»» ...^ta*a,fcrung a fatal leak!Iwhales have been known to copulate in your bathtub!*birds blow dogmatic dreams in your bed! (pause),who are you sir with your breath of ice?i am a golden doornob come to claim your life,why do you sit there in such puzzled grace?bec^^^^ny loins are^^^B^jocked from a tortoisedalization as inIpfut suffering can beoverthrow has explod-fina^^Hno life atafied like a dogI saw the light break over six mountaintops and rebel-lion flowthree.three what?three antelQthree ant«in a lattrinHsmoKtigM |f* 3ivfsmoktng^Bt? 4Jencyclop^Hs. wEF ^why?for relaxationoTWileft knee,what were they wearing?yellow leotards.nothing else? jAttKKAj|bow ties madepancakes and ta bit of perfumehow did theypxaerience time?with web-feet anflljlgfiepdish^what names did tl^HBM||two by exasperated iommf ™fruitbowl.do they have family?seven automobile tires pres;magnet&etfflHHtt|Oil in a igjdreamti^S^^r^^k pbt her^^kpe: ^jgpP ap mmwhere then?whose are they?Joyce’s. I’m afraid he just never got around to themyour hair?kgAsoldiers from itslair. LJban you calculate tliesccan you fMKf ir ■ 4e \can you siSjjjpr 1on youh|ca^HWwinto motionerratic you are!positivist i call you!bring me rn^^opers inj've h eedWnwhelwe i Wmk the other way?Is of dismay?and then...st week...* rememberhowr*just so—but it was strange,where?^^^^^frc wildly ae : heat or posset. ’ w e marvel-yes, and then the void was upon ue, as !* fro ‘ounfle hadfinally exploded PM half-hearted but neffectuai^speeches proclamations dreams. jso, they drove fOB to the realization of a futureJoyce isnolonger a brar7?Pname for floorwax afrowhere even mouldy porridge is deserving of better the se thin tracings of f h in fingersMth e sad murmuring' * sad Hpsopened torear- oain and grie'drumbesPWWilrci offstageand continues throughout).four wjmmmmMKKr •fourwhat fouW^fh'^'i’m not certain why i persist anymoreno, what four?those four.four wha^^MHHfe^for • * express puhpc - that we frastructares of reificahOn commodi:chywhat do you propose? the negationruthless criticism of verything <strutted, reconetruch ; de-destdSdesire^HHP^all imperitive, but none enough,then what?that we use those four. those bastards of bloo^^^^e done it agaui •mnk fthiYeame inoaditeWmre sleeugHithose ar t* ehcodst vp mtriPtiy rise. -w theroves, 'fv (hrou^ji^the coth# new tk»{■ taoidfi m riosntiy (m, paid for o-'f offensas HP-*- 1 the «orldl haa, waap- fi f■ : ■' ‘ ' t , ' " * ’ > .you dogs! you cen*t wrest the light ft ram our store?|i know a hawk Item a handshake. -■ mh deaths • 0wfsixtedTWHimy four, thirty^?""no no no this is not an IQ testsorry.‘ter. fetcht was pm andandithi^vin^ibs a-blqMbg a jack of Christ! there’s method in their madness!to each his ov^kSrpse: why shouid^vorry?^gulderjgtfmtTflto world^Pmwiti|aednes||Jisjf Mn g u a glPjjp uWary pnwor nt «si!rlTwnAadigBro in tn^Bablydesenbe th<> rovolu!formidable. dreten. is th!you weretrve victims oTa n*gh!y ctructurWcontinually increasing and self enthropizing paralysisof a socio-economic nature.something like that. 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BOTTLES389—WE ACCEPT VISA & MASTERCARD-STORE HOURS:Mon.-Thurs. 9 a.m. - 11 p.m.Fri. & Sat. 9 a.m. - 12 midnightSun. Noon <10 p.m.MUST BE 21 YEARS OF AGE-POSITIVE I.D. REQUIREDJoin the FOREMOST- Wine & Imported Beer Society .SAVE ON FINE WINES A IMPORTED BEERSNON-SALE ITEMS ONLYFALL PERM SPECIALIncludes: “Visible Advantage” PermHairshaping and Styling* Plus FREE Perm Care KitINTRODUCINGVISIBLEADVANTAGE•Includes: (Shampoo. Conditioner & Un-Mousse)2—FRIDAY, NOVEMBER 1, 1985—GREY CITY JOURNAL> 0 0 0 0 0 0 0> 0Q o o o otu> 40 coco \| T§)clooooof”c>0*00000000ononnnnn^ 000000000000000000000000000000000000000OOOOonnnon °00°000000000000000000000000000 OOO *0 0 0 0Qooof... ®® 0000000000000000000000000000000 |Ao 0 o ooooonno^0 00°o°oooooooooooooooooooo * »o o o o ol| lfm- 0 0 0oror.o^r.^^00000000000300000000 LX 0 0 0 ° mlflo o o o o\ Jot> 000Or ooo^o0® 0 0 0 0 0 0 0 0 0 3 0 0 0 0 0 0 0 0 0 0 0 0 0 000000000000 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 c*p»ooooooooooooooooooooo 0 Moooooooooooooom»Ioo oin>ooooooooMoooolilloo o <*^00 0 oo 0 o 0 °O0 o 0 o ^l#o 0 0 0 0 0 0° 0 o O o ooooooooo® 0 0 0 0 0 0000000000®^ 0 0 0000 00 000000OO 00 00 00 00 00 00 00 00 00OOOOOOOOOOOOOOOOOOOOooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo BpH o oooooooooOOOOOOOOooooooooo o'ooo oOOOOOOOOOOOOoooooooooooooooooo O 0 o 0 o o oMISC3 00 o 0 o o o crui ooo omoooo foooooooooooooooowoooooooooooooooooooooooooooocooooooooooooooooooooooooooooooooocooooooooo c^o o_o o _o oOOOOOOOOOOOOoooooooooooooooooooo o o o ooooo° 0 New Women’s Union Discussion GroupOur focus will be on issues of concernto wimmin relating sexually and/orspiritually to other wimmin. Tues¬day, 7:30 pm, Rm 201, Ida Noyes,1212 E 59th.The Second Annual Chicago Internation¬al Festival of Children’s Films the onlyCarmen (Carlos Saura, 1983) Laura DelSol portrays Carmen, a fiery, fickleand free-spirited temptress whoseirresistible appeal ignites men’spassions, jealousies and violent im¬pulses. Like a web of intricate de¬sign, Carmen is bounded by deftlychoreographed flamenco dances asit weaves its erotic tale of thedangers of obsessive desire. Fridayat 7:30 and 9:30 pm InternationalHouse. $2.50 — BTFloating Clouds (Mikio Naruse, 1955)concerns the fall from grace of Yuki-ko, a young sensitive woman, wholoses her innocence to Kengo, a mar¬ried officer, in a foreign land duringWorld War II. During the occupationof Japan though, Kengo, his ranknow undercut, resigns himself to re¬suming his family role and so re¬turns to his loveless marriage. Humi¬liated, Yukiko wanders aimlessly,selling herself upon demand. WhenKengo gains a new position on a dis¬tant island, he convinces Yukiko torun off with him, but their reunion isclouded with irony. Thursday at 8pm International House. $2 — BTMUSICBlues Kickoff A keynote (bluenote?)address on Chicago blues is followedby a showing of the 1979 documen¬tary film classic Maxwell StreetBlues. From the theatre, the audi¬ence will move to Preston BradleyHall for a performance by Koko Tay¬lor and her Blues Machine. The Chi¬cago Public Library Cultural Center,78 E Washington. Sat at 2.346-3278. Free.Chicago Symphony Orchestra Roughand Tumble action at the CSO; KlausTennstedt beats time, Kyung WhaChung grinds his axe. (Careful withthat axe, Kyung!) Orchestra Hall,220 S Michigan. Fri, Sat at 8.435-8122. Big bucks for sure.Southwest Symphony Orchestra MaxinChasnov (a U of C student) will befeatured soloist in the HummelTrumpet Concerto in the Orchestra’sFall concert. Also on the programare works of Semtena, Mendels¬sohn, Sibelius, and Gershwin.Mother McCauley High School, 3737W 99 St. Fri at 8. 422-2949. $6; $4students.Requiem by Gabriel Faure will be thesubject of the Organ Recital by theChapel Choir, Orchestra and So¬loists, directed by Victor Weber, andWolfgang Rubsam, Chapel Organist.Sun at 4 at Rockefeller MemorialChapel, 5850 S Woodlawn Ave.,962-7300.DANCECab Calloway's Cotton Club RevisitedTwo 8:00 performances featuremusic and dance of the legendaryCotton Club nightclub, starring oneof its brightest luminaries, Cab Cal¬loway. Friday and Saturday, at theAuditorium Theatre, 70 E CongressParkway, 751-2121.Folk Dance Festival featuring Balkan,Hungarian, Greek, Serbian, andMiddle Eastern dance groups, Satur¬day at 8, Mandel Hall, 1131 E 57th,324-1247.Rosilend Newman and Dancers "Danc¬ing so stunning that you can't quitebelieve what you’re seeing.” (—Village Voice) Fri and Sat at 8 at theDance Center of Columbia College,4730 N Sheridan Ave., 271-7804.In last week’s issue (10/25/85), bothphotos on page 4 were by Anjali Fed-son. Also, Barbara Ransby was in¬correctly identified as being from Co¬lumbia College; she is, in fact, fromColumbia University. U.S. competitive festival exclusive¬ly devoted to films for children, willopen on Friday, with the premiere ofone of the most successful films inCanadian film history, The Dog WhoStopped The War, produced by RockDemers and directed by Andre Me-lancon. At 7 pm at Facets Multime¬dia, 1517 W Fullerton Ave,281-9075.Meynardo Palarca, a member of the Na¬tional Council of the Kilusang MayoUno will speak on the Filipuniworkers situation Friday, 7 pm (din¬ner at 6 pm, $5 donation) at 2330 WSunnyside, 643-1095.Lesbian and Gay Graduate and Profes¬sional Students Brunch Vegetarianpotluck, Sunday 1 pm at 5141 SGreenwood fl, 493-9264.Susan Meiselas, Member of “Mag¬num”, a coalition of New York pho¬tojournalists, will discuss her work.Meiselas is a working photojourna¬list and is most known for her bookNicaragua. Tues, 6 pm, at The Schoolof the Art Institute of Chicago, Co¬lumbus Drive and Jackson Boule¬vard, 443-3700.Learn What George McGovern Learnedin the 1972 Presidential Election.Listen to his lecture from the OlinCenter’s series on America's Role inthe World on Wednesday, at 5 pm onWHPK, 88.5 fm.My Body, My Self will be the topic ofthe second talk in a four week fallforum entited “The Quality of YourLife” focusing on how to achievetotal health: physical, mental andspiritual. Thurs, 7 pm at Old St Pa¬trick’s Church, 718 W Adams,782-6171.THEATREAntigone by Jean Anouilh. See reviewthis issue. Nov 1-2 and 7-9, 8 pm inReynolds Club first floor theater.$4, $5.Heartbreak House by George BernardShaw. Your last chance this week¬end to see Court Theatre in thisproduction. (Hurry—seats are limit¬ed!) Thru Nov 3 at Court Theatre,5535 S Ellis. 753-4472, $12414.The Government Inspector by NikolaiGogol. Crooked mayors, bankruptcivil servants and comic devices—well, Vladimir Nabokov liked it.Thru Nov 10 at the GoodmanTheatre, 200 S Columbus Drive.443-3800, $15-$25.The Fir Tree by Hans Christian Ander¬sen. Puppets are used in this prod¬uction of the popular fairy tale (Ialways rather favored The LittleMermaid myself). Presented thruDec. 13 by the Theatre SchoolPlayworks at First Chicago Center,Dearborn and Madison. 732-4470.Seventy Scenes of Halloween by Jef¬frey M. Jones. Okay, so Halloween isover — that doesn’t mean you can’tstill be scared! Presented thru Nov17 by the Remains Theatre Ensem¬ble at the Goodman Theatre Studio,200 S Columbus Drive. 443-3800Wild Indian by Theodore Shank. Takenfrom his past and forced to live in afuture he knows nothing about —now wouldn’t you be wild too? ThruNov 3 at the Victory Gardens The¬ater, 2257 N Lincoln. 871-3000,$12415.Gardenia by John Guare. Life after theCivil War in a place called Aipotu.(Utopia spelled backwards—get it?)Opens Nov 7 and runs thru Nov 17 atthe DePaul Performance Center,2324 N Fremont. 341-8455, $4.50-$6.The Caretaker by Harold Pinter. JohnMalkovich returns to his Chicagoroots, directing fellow Steppenwolf-ites in this production. Thru Nov 10at the Steppenwolf Theatre Com¬pany, 2851 N Halsted. 472-4141,$13418.50.The Infernal Machine by Jean Cocteau.Sphinx riddles. Blind seers. Theghost of one’s father. And that’sonly the beginning of Oedipus’troubles...Thru Dec 1 at the Immedi¬Grey City Journal 1 November 85Staff. Steven Amsterdam, Abigail Asher, Steve Best, Heather Blair, Mi¬chele Bonnarens, Jeff Brill, Carole Byrd, Gideon D'Arcangelo, FrederickDolan, Anjali Fedson, Dierdre Fretz, Irwin Keller, Stefan Kertesz, BruceKing, Mike Kotze, Nadine McGann, David McNulty, David Miller, Pa¬trick Moxey, Brian Mulligan, Jordan Orlando, John Porter, Laura Re¬beck, Geoffrey Rees, Max Renn, Paul Reubens, Laurence Rocke, LauraSaltz, Rachel Saltz, Ann Schaefer, Wayne Scott, Mark Toma, Bob Travis,Ken Wissoker, Rick Wojcik.Production: Abigail Asher, Stephanie Bacon, Bruce King, Laura Saltz.Editor: Stephanie Bacon.Nov«mb«r 1,1985 • 18th Y«ar OOOOOOOOOOOOOOOOO OOOOOOOOOOOOOOOOOOOOOOO OOOO00 00 00 OO 00 00 000 00 00 00 OOOl-"ooooooooooooooooooooooooooooooooooooooooooooooooooooo00000 0000000000000 oooooooooo oate Theatre Company, 1146 WPratt. 465-3107, $10, $12. poAlcimero by Lawrence Arancjp,, Spiritsand sorcery in medieval oNaples.Presented thru Nov 17 by Pega¬sus Players at the O’Rourke Centerfor the Performing Arts, 1145 WWilson. 271-2638, $5410.The God of Isaac by James Sherman.Real live Nazis in Skokie? No, thatcan’t happen here. Thru Nov 17 atthe Victory Gardens Theater, 2257N Lincoln. 348-4000, $14, $17.Wait Until Dark by Frederick Knott. Thisis the sort of play that can reallyfuck with your mind if done well.Presented by Zebra Crossing The¬ater at the Leo A. Lerner Theater,4520 N Beacon Street. $7.How to Succeed in Business Without Re¬ally Trying Donald O’Connor takesover for Rudy Vallee — there’s amoral, or something, in there some¬where. Thru Dec 29 at the DruryLane Theater, 100 Drury Lane, Oak-brook. $18424. 00000000000000030000000000000000000000000060000000000000000n r. n n ^PP n n n n OOOO OOOOOOOOOOOOOO 0M OOOOOOOOOOis u u u u u u u i«u -- u u u OOOO OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO 0000000000000000000000006000000'■‘OOOOOOOOOOOOOOOOOOOOOOOOOOO0000000000000^> 0 0 o o o o o o o o o o o o C o o o o o o <dfooc O0% OOO o i>lo ooo 8^0 000 880 o o o &§■cs 000 o tm> oooo ftooo ojHo ooo no ooo 8%o o 0 0 «• <■>000 oWm ooo ooo o coo dQpo coo ooo <ARTJames Coleman Irish conceptual artistColeman works in video, installa¬tion, and photography. Thur Nov 17,at the Renaissance Society, 4th floorCobb, 5811 Ellis, Tue-Sat, 10-4, Sun12-4.Blue and White: Chinese Porcelain andits impact on the Western WorldThru Dec 1 at the Smart Gallery,5550 S Greenwood. Tues-Sat, 10-4,Sun 12-4.New Group Exhibition Past history hasshown that new artists showcasedat the HPAC may be next year's"’discoveries”. This show includesthe work of such illustrious unk¬nowns as Frances AndrzejewskaCox, David Davidson, JohnathanFranklin, Donna Hapac, Peter Hur¬ley, Alice Joyce, Sonia Katz, EllenLevin, Joyce Paul, Nancy Plotkin,Loiss Rubin, Gail Andrea Simpson,Carole Stodder, Darlene Tyree andFred Valentine. At the Hyde ParkArt Center, 1701 E 53rd. Tues-Sat,11-5.Michele Feder-Nadoff, Susan Frankel,Rebecca Shore, Kathleen KehoeOpening reception Fri Nov 1, 5-8 pm.Thru No 30 at Artemisia, 341 W Su¬perior. 11-5Joan Lyon, Sarah Krepp, Richard Roth,Kimbel Salon Large acrylic paintingsby Joan Lyon. Her characters enactdramas of power and control in rela¬tionships. Sarah Krepp's installa¬tion “Marked Time” reflects, inthree wall drawings, “the artist’sexperience with a dynamic balanceof inner turmoil with outer calm.”Richard Roth’s installation will be acomposition of objects, architecturalelements, color, space and light.Kimbel Sadlon exhibits large draw¬ings of human forms. Opening recep¬tion Fri Nov 1, 5-8 pm. Thru Nov 29at ARC Gallery, 356 W Huron.266-7607 From Seventy Scenes of HalloweenArc of Vision Performance presentedby Nicholas Sistler. A trilogy on thetheme of vision, from loss to sight tomystical apparation. Nov 1,2,8,9 atARC Gallery, 356 W Huron at 8 pm.$5, $4 studentsRichard Loving ‘Loving cuts his oppu-lence like a chef balancing the ele¬ments of a salad”, also “the psycho-sexual ramifications of plant forms”(—Peter Frank, from the press re¬lease). At Roy Boyd Gallery, 215 WSuperior, 642-1606.Left to Right Photographs by SigridCasey, Barbara Ciurej and LindsayLochman, Cheri Eisenberg, WilliamFrederking, ron Gordon, andFrances Robson. Thru Nov 9. at Ran¬dolph Street Gallery, 756 N Milwau¬kee. 666-7737The Figure in 20th Century American ArtFrom New York's Met, works by Mil-ton Avery, Thomas Hart Benton, Au¬drey Flack, Philip Guston, MarsdenHartley, Edward Hopper, Alex Katz, William de Kooning, Larry Rivers.Andy Warhol, others. At the TerraMuseum of American Art, 2600 Cen¬tral Park in Evanston. 328-3400Edward and Nancy Reddin Kienhola:Human Scale “Kienholz and Reddinliterally and physically combine aperson with an image of his/her ownabsence. Absence is then compound¬ed by the character’s apparent psy¬chological absence from his/her en-vironmet.” (GCJ, 10/18/85) At theMuseum of Contemporary Art, 237 EOntario. 280-2671Art-Mobile An exhibition of art by chil¬dren in Chicago area outreach pro¬grams (includes the Ray School).Sponsored by the Hyde Park ArtCenter and Lill Street Gallery. Open¬ing reception Nov 7, 12:15-1:15 pm.At the Express-Ways Children's Mu¬seum, fourth floor of the ChicagoPublic Library Cultural Center, Mi¬chigan and Washington. Info248-4414.PASSIONATE ANTIGONETypically, I don't find Greek the¬ater very accessible; there is toomuch spouting and speeches thatseem pat, and too great a conscious¬ness of its own theatricality. That isnot to say that it isn’t good; I person¬ally am just not touched too deeplyby it. Jean Anouilh’s version of An¬tigone, written in Paris during theNazi occupation of France, addressessome of the problems that I have.The theatrical consciousness is stillthere, but brought out much more,and thus instead of being a naggingproblem under the surface, it be¬comes a device that enhances theplot. In the prologue, the chorus tellsus, “Antigone must play her part”, astatement which is true for all thecharacters and which is referred tothroughout the play. Tragedy has atranquility about it, we are told, be¬cause everything is known and noth¬ing is in doubt. Antigone must buryher brother, Creon must sentence herto death, she (and her lover and hismother) must die This distancing re¬moves suspense, it is true; yet itallows the passions to come throughthe conviction. Anouilh has roundedout the characters playing out theirparts, they are very human charac¬ters.Antigone is a very passionatecharacter, in life and death. Her con¬victions never falter. “I don’t under¬stand,” she tells her sister Ismene, apretty but vacillating creature, morefrightened by death than Antigone.“I never could understand why Icouldn’t go swimming, just because Ifelt like it!” Ismene is much more con¬scious of what defiance of Creon'sedict against burying Polyneicea willbring—death and pain. When^shecries out against pain and sufferingin fear, Antigone is repelled Whento Ker, just be<or® Nn tigone’s condemnation, and begs tobe allowed to die with her, Anti¬gone’s answer is that she should notshare in the glory that the deathbrings if she did not share in thesneaking and the digging of thedirt.Creon is a complete contrast to hisniece. “Kings have other things todo,” he tells her, “than to surrenderto their private feelings.” His con¬cept of the right thing to do is bound¬ed by the law, by duty. Creon knowsthat this is right. Antigone feels thatshe is right. She is herself, and Creonis possessed by the law One of thecharacters describes Antigone's ac¬tions as “like a wild animal.” Creonis the law, justice, and rationality;Antigone, when faced with the truth,looks it in the eye, recognizes it, andreturns to her passion. We begin tofeel sympathy for Creon when headmits that he did not wish to beking. Thebes was in ruins when hecame to power, a power he does notdesire. “But,” he sighs, “it was myduty.” It is this pedantic attitude of“it’s a dirty job, but someone’s got todo it” that turns Antigone awayfrom him and turns off our sympathyfor him. He allows his passion to beobscured by duty. By the end, onefeels that perhaps he is sufferingmost of all, and maybe he deservesit.Creon's son, Haimon, is somethingof an amalgam of these two charac¬ters, as is Ismene to a lesser degree.Both weigh feeling against intellect.Ismene, like her uncle, is repelled bythe physical unpleasantness ofdeath. Haimon is swayed by the rap¬ture of his love for Antigone. Bothcould be considered reworkings ofthe main plot—the struggle of the ra¬tional and the emotional, what isright »nd whgt **@'6 right The play raises some difficult ques¬tions: is “no” a word for the coura¬geous or the cowardly? What consti¬tutes happiness, a happy life? Orperhaps most difficult, who is toblame? This question, however, ismoot in tragedy, according to thechorus (who«also serve as a sort ofconscience for Creon); these are theirparts, and they must be played tothe end.This production was brought to lifemost effectively by Mr. Wellisch ofConcrete Gothic and his troupe. Anti¬gone (Lyn Dohaney), is properly pas¬sionate (horribly put, I know, almostan oxymoron), a slendar pillar ofstrength, and is nicely balanced byCreon (Brian C. Young), who is veryunlike Antigone but made a much dif¬ferent choice. Both actors display re¬markable range (although Creon'sperformance was slightly weakenedby some fluffed lines). The support¬ing cast is good overall, individualsvarying in range from pretty good toexcellent. Haimon (Doug Ryan) is atis best when not trying too hard, hesuffers from making too great an ef¬fort, and is most sympathetic whenunderstated. Ismene (Mina Amir-Mokri) is more effective as the disci¬ple of the pedant then the passion.The guards (Lawrence DiPaoll, Jr.and John Lodder) are appropriatelysloppy and mercenary, and DiPaollwas almost frightening in his lasci¬viousness when he tries to take ad¬vantage of a handcuffed Antigone.The chorus plays an effective role;narrating the action without judging,though she does participate in it. Iwas most appreciative of this moder¬nization of the role of the chorus, andit was well carried off. Worth see¬ing? You bet, particularly if yourviews on Greek tragcuy are much♦h9 as min* Laura 0ebeciGREY CITY JOURNAL—FRIDAY, NOVEMBER 1, 1985—3Two Gills by Isabel Bishop, 193?by Ann SchaeferThe Figure in 20th Century Art, a reveal¬ing exhibition from the Metropolitan Mu¬seum of Art, is currently showing at theTerra Museum of American Art. The showconsists primarily of pairings, thoughsculpture and drawing are represented aswell. It's a broad sampling of “figurepainting” covering each decade includingthe 80’s. It’s refreshing to see some cur¬rent high quality figure paintings that arenot hyperbolically angst-ridden. Althoughexamples of valium realism are present,they are not the majority. A moderate sizeshow (about 60 works) covering the spec¬trum from straightforward portraits topsychological investigations to figure-en¬vironment relationships facilitates anumber of comparisons that are not as evi¬dent in one person or when the works areplaced in their appropriate chronologicalslot in the Met. Beyond the formal level,the show is about how a 20th century ar¬tist addresses the viewer through the fig-ure(s) in his/her work, and how in turn theviewer’s self-awareness changes.Philip Guston and Romare Bearden eachhave pieces that tend towards socialstatement. Guston’s “The Performers”(1947) is a group of four young musiciansstanding bunched together. The composi¬tion is primarily 2-d and crowded, leavinglittle or no space between the figures, thecoloring is grayish, value contrasts aresoft, and the feet are cropped off — onlythe bottom of one shoe is visible. Visuallythis adds up to a sense of immobility thatleaves the figures trapped in circum¬stance. Though they are physically crowd¬ed together they are emotionally isolated.The only gesture of contact is one guyholding a hat over the face of another. Theviewer does not identify with them as indi¬viduals, but as anonymous youth, repre-The Performer by Philip Guston, 1947. senting urban poverty. Bearden’s “TheWoodshed” (1969) also depicts the placeof a musician, but in a less harsh and moreanecdotal manner than Guston. In "TheWoodshed” one musician collaged from 3different men stands in the center. To theright behind him is a kitchen table withfood and drink, a child sits there eating.Standing next to the child is a womanholding a baby. The man, woman, andthings on the table are collaged from thesame source, giving the piece visual unityand by extention a sense of cooperationbetween the figures themselves and be¬tween the figures and their environment.A number of works portray a pair of fig¬ures; the most notable are those by Isabel.B^noo. Raphael Soyer, and John Storrs.These images are intimate. The distancebetween the viewer and the figures is am¬plified by the closeness of the figureswithin the works themselves. Bishop’sTwo Girls (1935) (which, by the way,graces the cover of Charlotte Rubinstein’sAmerican Women Artists)% shows twowomen engaged in conversation. Theimage brings to mind some Bergmanscenes from Autumn-Sonata and Cries andWhispers where one person is thoroughlyintent on getting through to another, andwhere that effort is usually met with painor futility. Soyer’s “The Artist’s Parents”(1932) is an image of warmth, of compan¬ionship, of an apparently indestructiblebond. The couple stares off transfixed onsomething we can’t see. It’s an image oftwo bodies and one mind. Storr’s sculpture“Teta a tete” (1917) explores struggleand compromise as elements in a relation¬ship. A certain attraction-repulsion comesacross visually as the figures simultan¬eously hold on to one another and attemptto pull away from one another. The rectan¬gle which encloses the sculpture trapsthem externally and suggest some sort ofinternal, psychological entrapment aswell.The distance between image and vieweris greatly reduced by Alex Katz’s paint¬ing “Black and Brown Blouse” (1976). Theconfrontational nature of this painting canbe attributed to scale and to an economicuse of form. The scale is imposing, in anaverage size gallery one has no choice butto look at it. The less referential informa¬tion a painting has (more economical ap¬proach to form) the more conscious theviewer becomes of the image as an imageand of himself/herself as a viewer, as aparticipant in the dialogue with the work.“Black and Brown Blouse” is a bit para¬doxical. On the one hand scale and formare quite demanding, but on the otherhand facial expression is passive and va¬cant. The painting sort of forces you into amute dialogue. The issue of vacancy, alack of dialogue, is also evident in PhilipPearlstein’s ‘‘Norman Loftis” (1974).Pearlstein’s painting confronts the viewernot with vacancy as much as the total iso¬lation and self-absorption of anotherhuman being, with another’s impenetrabi¬lity. Pearlstein’s figures in general andthis portrait in particular are treated asobjects, as a dehumanized form absorbingand reflecting light in ways not unlike apiece of furniture. Both Katz and Pearl- stein present figures with an absolute lackof identity.Images of a person in his/her workingenvironment are presented by EdwardHopper, Jacob Lawrence, and Thomas HartBenton. Hopper’s “Office in a Small City”(1953) shows a bored, isolated workerstaring out the window of his corner office.If you imagine yourself in the extendedspace of the painting you’d logically be inanother building right next to the one thisoffice worker is in (his office is aboveground level, so you couldn’t just be stroll¬ing along the avenue). And you’d proba¬bly be in some office working, just asbored as the man in the painting. It’s asort of depressing, sort of resigned viewof humanity as a collection of isolated,bureaucratic automatons. “The Shoemak¬er” (1945) by Lawrence examines the re¬lationship between a craftsperson and theobject of his/her craft. Lawrence uses scale;as a measure of importance; the shoemak-:er’s hands are extremely large, hence im¬portant, the shoes are small, hence, trivial.;.The colors are high key and the shapes flatand jagged. The countless pairs of shoesseem like anxious props. It’s not a state¬ment about the dignity of a craftsman whohas established a rapport with his craft asmuch as it’s a statement about the absur¬dity of a craftsman wasting 1/3 of his lifemaking red pumps to appease the mar¬ket’s vanity. There are. some workers,though, who are content with their work¬ing environment,; as in Benton's “JulyHay” (1943). The painting has a uniformlyrich and patterned surface. This surfacetends to enmesh the figures in their envi¬ronment, rather than isolate them from it.The rhythm of the farmers’ gesture echoesthe rhythm of the painted surface,; creat¬ing a harmonic whole.Now it’s time for a quality-kitsch com¬parison. In the quality painting corner isAlice Neel’s “Henry Geldzahler” (1967). Inthe kitsch corner is any Norman Rockwell,but in this case “Town Meeting (1943).Seeing the two in the same show is proba-.bly (I hope) a once in a life time experi¬ence. I can’t decide if this phenomenon is;, the result of an oversight, or just plainblindness on the part of the curator. Neelhas a way of painting portraits so that thesitter thoroughly engages and welcomesthe viewer, but does not readily divulgemuch information. Self-consciousnessabounds on the part of viewer and subjectalike. “Henry Geldzahler” appears to bescrutinizing both himself and the viewer.A sense of immediacy is expressed by theimage being cropped at the feet and lyingso close to the picture plane. The combina¬tion of bold coloring on the face and hav¬ing his glasses pressed awkwardly to hiseyes creates tension, the sitter seems anx¬ious to move; this anxiousness reinforcesthe viewer’s self consciousness. Rockwellis at best an illustrator of the false mythsof American Life. His peachy formula forimageryis entirely insensitive to and igno¬rant of the emotional and intellectualrange of the human psyche; it expects anddemands-nothing from the viewer. 1One of the strongest pieces in the show is ;Maurice Sterne’s sculpture “The Bomb,Thrower” (1914). It’s a cast head of a manwith a stony, blank face, with the blankeyes of cast sculpture (that usually look’i ^ 'stupid but here work well with the cold,empty face)-, and with helmet-like hair.;;;This is a case where the title provides es¬sential information y about the work. Itraises the question;yhow much of the. pertK * :nent information about an image is exteri¬or to the image itself? This piece begins toexplore the psychology of a bombthrower. The fact that it was made in 1914raises questions, like how much or how lit¬tle have people, changed in 70 years? Howdifferent, if at all. are postmodern peoplefrom modern people or from premodernpeople? This question is asked in severalpieces and by the show itself.- There are quite a few big names I didn’t ,get around to mentioning, like RobertHenri, George Bellows, John Sloan, Regin¬ald Marsh, Marsden Hartley, Gaston La-chaise, Elie Nadelman, Milton Avery, Jack- *fson Pollock. Willem deKoonmg Larr/ -Rivers, Audrey Flack, etc., etc.,... 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The arsenal produces ma¬chine guns and howitzer cannons, many nu¬clear capable, that are shipped to US-backed regimes throughout the world.(For example, the government of Guate¬mala owns 36 howitzers made at Rock Is¬land; South Africa has 40; the Phillippineshave 160. Arsenal weapons are also sentto the governments of El Salvador, Hon¬duras, Israel, Pakistan, Vietnam, andother countries.) The arsenal is also theheadquarter for AMCCOM, the computernetwork which controls the inventory andshipment of U.S. conventional, nuclear,and chemical weapons throughout theworld. (This includes the more than onemillion gallons of agent GN nerve gas,which are held at Toole Army Depot inUtah.)Polls show that 85% of the Americanpeople are opposed to the arms race, yetour government continues it. The govern¬ment is supposed to reflect what the peo¬ple want, but change will only come whenpeople demand it.Many complex questions face even themost committed and seasoned protester,especially when potential arrest is in¬volved. Although the ostensible purposeof our action was to “shut down the arse-nal’’, there was a great diversity of inter¬pretations of this goal among the protes¬ters. Some made the actual blocking oftraffic for employees to the arsenal theirgoal, and acted accordingly by engagingin mobile actions. These consisted of build¬ing blockades (of railroad ties, dumpsters,etc.) in the roads to the arsenal, and thenattempting to avoid arrest by runningaway from the action site, that they mightcontinue their activities as long as possi¬ble. (Among those who engaged in mobileactions, some were willing to be arrestedif necessary, while others preferred toavoid arrest at all costs.) Ideally, they ar¬gued, if all the Americans who are op¬posed to US military policy continued toclog the entrances to the arsenal, theycould effectively and directly shut it down.The power behind this motivation is that itis free of the ambiguity confronted bythose who saw their action as wholly orpartially symbolic. The weakness, howev¬er, in relying on this motive lies in the factthat this years’ demonstration delayednormal arsenal activity by a half-hour atmost. This weakness is not necessarily aflaw; there were simply not enough peo¬ple to overwhelm the police. The numberof people necessary to make a non-neglig-ible dent in arsenal production seems somassive that one wonders if perhaps thisis the wrong tack to take.Others felt that while the closing of thearsenal was a worthy goal, it was not re¬alistically possible this year. Their actionswere perhaps geared towards publicity,as in the event described below:Imagine the worlds largest weapons ar¬senal at rush hour. 10,000 employees aredriving to work in the pre-dawn dark¬ness.Suddenly, near the main gate, two carsturn crosswise in the street and 15 womenleap out of the cars into action. The womenchain the cars together, chain each car to alamp post on opposite sides of the street,and then each woman chains herself to acar. Everything is secured with locks in 15seconds. The entire street is blocked.The women begin yelling, “No Pa-saran.’’ That means “they shall notpass”—not the CIA-trained Contras on theborders of Nicaragua, and not the Arsenalworkers on their way to their jobs in thebiggest weapons factory in the world.The women successfully blockaded amain street leading to the arsenal for 30minutes, until they were arrested and thecars were towed away. This happenedMonday, Oct. 21. I know because I was oneof the 15.'We were part of the MidwestDirect Action to Shut Down the Rock Islandarsenal.By blockading traffic, our purpose wasto shut down the arsenal, and to raise theconsciousness of the arsenal workers.Every arsenal employee who came towork that day had to pass through a gatelined with police officers in riot gear, signscondemning U.S. imperialism, and bloodyeffigies of women and children killed byweapons produced at the arsenal.Our goal was also a shut down the arse¬nal, if only for an hour, or a day, or 15 min¬utes. We feel that any delay or disruptionof weapons production is valuable. Maybewe can save some lives by simply slowingdown the pace of the arsenal for one day.(The night before the action of group ofpeople went around Davenport scrapingthe employee passes off of the front win¬dows of arsenal workers' cars. These em¬ ployees got turned away at the entrance.The creative, non-violent ways to shutdown the military are endless.)We believe in direct action as a methodfor change. We hope that in the future peo¬ple use direct action to bring aboutchange. This means they go directly to thesource of their problems, rather thanworking through the electoral proess orthe judicial system.One protester recounts:A group of us from the U of C arrived inDavenport the evening before the Rock Is¬land Demonstration, not really sure whatto expect and not having a place to stay.The Davenport Unitarian Church seemedto be the communications headquarters. Ina tour de force of decentralized planningwe were assigned for the night to thehouse of Margaret and John Volpe, two ofthe organizers of the demonstration. Theman making the housing assignments wasalso staying there.The Volpes live in a large wooden housenext to the train tracks, in a poor neigh¬borhood which they are working to renew.After adding our backpacks and sleepingbags to the others already in their livingroom, we talked for a while with theVolpes about their work in Davenport andthe upcoming demonstration. Margaret in¬formed us, with an ironic smile, thatMother Theresa had slept in the house.Mother Theresa’s avoidance of taking anypolitical stance, Margaret explained, wassure to be a safe position within the Catho¬lic Church, but failed to meet the funda¬mental needs of the people she served. Asour talk drifted toward the demonstra¬tion, John motioned for us to move out¬side. The house, he said, was bugged. Andthe phone. He told us amusing stories of in¬formation ‘leaked’ to the police via thephone and later heard over the policeradio. But there were also severalnumbers which the Volpes could not dial;the line would disconnect after a singlering.I couldn’t sleep. In the kitchen, John wasmaking popcorn and the man who hadmade the housing assignments was put¬ting on another pot of coffee. Sitting atthe kichen table was Paolo, a gentle, sixfoot two Italian student, looking more likea pasha than a protestor. His hair, short infront, fell below his shoulders. He woresandals, a pair of thin pale blue, cottonpants and an enormous sweater. In haltingEnglish, he spoke about the ‘manifesta¬tions’ which he had attended in Italy, par¬ticularly those concerning nuclear andother peace related issues. It becameclear, as he described the tactics used bythe police, why the Italians are known fortheir anti-terrorist squads. Paolo wouldbe one of the first arrested that nextmorning. He told me later that he had beenwalking on the sidewalk with the Volpeswhen one of the police called out to arrestthe man with the long hair. He wascharged with interfering with a trafficedevice. We were all encouraging him notto show up for his court date—it would betrouble for his visa, we were thinking. ButPaolo wanted to go. For him, it was a mat¬ter of choosing what was right.Many protesters felt that the purpose ofthe protest action was generally symbol¬ic—that we were there to provide witnessto the activities of the arsenal, and gainpublicity for our cause—the kind of public¬ity that acknowledges that peaceful peo¬ple have a right to be heard. While somepeople of th!s mien chose legal activities,such as leafletting, bannering, chantingand singing from the sidewalk, otherschose to demonstrate the seriousness oftheir commitment by allowing themselvesto be arrested, in traditional acts of civildisobedience.Our Affinity Group (authors Bacon, Bon¬narens, D’Arcangelo, Young, and a womanfrom Oberlin College) chose a non-violentcivil disobedience tactic, in which we werearrested (with the exception of Young, who was not arrested and acted as ourlegal support person) for traffic viola¬tions. When arrested we did not activelyresist, nor cooperate with the police, butrather went limp and were dragged to po¬lice vehicles.We were committed to promoting non-vi¬olence by non-violent means, and foster¬ing dialogue with the police and local peo¬ple (who are forced by staggeringunemployment in the area to seek work atthe arsenal). We felt that the mobile actiongroups virtually engendered violencethemselves, since they planned to avoidarrest by running away, and they knewthat the police would chase and attempt totackle them, and they planned to defendthemselves.We could not condone this use of vio¬lence, and furthermore, we objected tothese tactics because they served to alien¬ate. We felt that the small-town police ofIowa and Illinois had done nothing to de¬serve violent or violence-provoking treat¬ment. They weren’t the enemy—no onewas. Rather than dividing the issue up into"us and them" we sought honest responseto our peaceful statement.Authority is confusing. Who has it? Howis it gotten? What maintains it? How doesone recognize (notice/acknowledge) it?There were enough power symbols evi¬dent at the base to the Davenport bridgeto the arsenal October 21 to suggest thatat least one group thought of itself as “theauthority figure.” The ample supply of po¬lice in riot gear said a thousand words,and their German shepherds said a fewmore. But there were other manifesta¬tions of authority that kept people behindthe snow fences—or even kept them out ofthe Quad Cities altogether. Many werecurbed by attitudes established longago—attitudes that prompted partici¬pants to work on their beliefs, and alsoserved to hold them back in variousways.A faith in justice translated for manyinto a respect for the police, not out offear, but genuine trust. To go out into thestreet, though we were being asked notto, was to challenge ourselves in ways wehad not necessarily anticipated. An innerconfusion swept over the group as four ofus stepped into the street and in a matterof seconds were being dragged away bythe police. Suddenly faced with a myriadof questions with a powerful immediacyabout them, many of our responses wereguided by instinct, no matter how much wethought we had prepared.Do you give your real name? Do youwalk on the bus yourself? Walk off of itwhen asked? How do you face the photog¬rapher (if at all)? What questions do youanswer? Do you sign your l-bond? Do youshow up in court? Will you plead guilty?not guilty? no contest? Do you ask for ajury trial? Will you work with a public de¬fender? Do you pay the fine or accept ajail term? There are legal ramificationsfor certain choices—how will these be re¬sponded to?To go limp leaves you open to a furthercharge of resisting arrest, or the milder“interfering with the performance of apeace officer.” Too little cooperationmight anger the police, making the sceneconfrontational and hampering oialogue.Each choice made leaves one wonderingif the motivations were consistent, or ifdecisions were given enough thought orany at all. Was my decision based on fear?habit? What am I saying about the legalsystem and how it is working for oragainst peace, if it is involved at all?What role do the Davenport police have inthe production of armaments? Do I keepfrom acting until all my questions are re¬solved?Does one have to resort to a less-clearmotivation for action, the effects of whichare more difficult to trace? One could saythat the reason protesters blocked traffic that morning was to show people who feelas they do how they can take'action. Onecould say that their reason for action wasto voice their objection to what the arse¬nal represented, as opposed to remainingin silence. One could also say that makinga scene at the arsenal that morningbrought the question of the ramificationsof arms production to issue, so that peoplewould again be pressured into taking astand and developing their position moresoundly. At the basis of all these reasonsfor action is the communication of a mes¬sage. Press coverage, therefore, becomesa crucial -element in the overa>! effective¬ness of the action. Those who came solelywith the intention of actually shuttingdown the arsenal need not take into ac¬count media coverage when assessing theeffectiveness of their action. But anyonewho rests any part of their reasoning onthe value of the action as a symbolic ges¬ture to some degree depends on the pressas a vital part of their effectiveness.Did the press do what the protesterswanted? There was little coverage in localQuad Cities papers leading up to theevent, in a clear attempt to downplay theaction. There was considerable coveragethe day after, however, concentratingmainly on the few events of violence thathad occurred. Violence makes the news;the question is whether this is the type ofnews that is representative of the actionas a whole. A small group (relative to thenumber of protesters who had chosen toact non-violently) worked by covertly set¬ting up blockades and leaving the scene toact again. The anonymity of these actionsnaturally provoked the suspicion and mis¬trust of the police, and there was some re¬port of injuries incurred as protesters at¬tempted to escape arrest. A police officerand a protester ended up in the hospital.Meanwhile, in Davenport, 80 of 150 pro¬testers were arrested in volatile but non¬violent activity, with no reported injuries.The headline in the Quad Cities Timesreads “2 Injured, 120 arrested” and thatin the Rock Island Argus stresses that “De¬monstrators more violent than in '84”. TheChicago Sun Times’ coverage almost en¬tirely focussed on the violent action.Three-quarters of a short article were de¬voted to the injured, while a large-scalenon-violent action by nine women is men¬tioned in a sentence at the end of thepiece.It is interesting to note that in theArgus’ supplementary coverage of theDavenport action, which was totally non¬violent, the reporter who was stationedonly in Davenport is very sympatheticwith the activists. The reporter uses theprotester's own expression, “AffinityGroup”, and quotes their chants, like “Nopolice brutality.” In an action where therewas not one act of violence, the reporterwas free to give an in-depth and morehuman interpretation of the event.Since violence is so readily covered bythe press, those who plan to engage in po¬tentially violent actions must realize thatthey will virtually obliterate all coverageof non-violent action. This might be preci¬sely what they are seeking, in which casenon-violent activists must seek some wayof attracting more attention. The ChicagoTribune ran a photo of the women’s block¬ade at Davenport, which was a dramaticaction lending itself to a strong image.Maybe non-violent demonstrators shouldconsider upping the spectacle of the ac¬tions to pull some attention their way.Otherwise, they can be assured that oneact of violence will set the tone for all thepress coverage of their action.by Steven EIHs4 went tc Rock {stand wfth the Intentionof doing as much as t could to end, or atfeast disrupt, the everyday routine of thepeople who work there. This was not a fac¬ile decision, it came from years of politicalactivity, thought, reading, argument anddoubt. My Affinity Group was hastilyformed by people who did not altogetherknow each other. Some were friends, someacquaintances. I met two out of the sixonly the night before we left. Once we de¬scribed our individual goals, it was clearthat what 1 wanted to do was viewed bythe others (either firmly or hesitantly) asloo threatening and aggressive to be con¬sidered non-violent, i disagreed, and thiscreated tension that was never completelyresolved. Planning to barricade accessroutes to the Arsenal, and avoid arrestphysically, but non-violently, was too pro¬vocative for some people committed toCivil Disobediance. C.D. could be definedas the conscious decision to accept thelegal consequences of some legal viola¬tion, such as blockmg traffic with one’sbody, for the amount of time it takes thepolice to arrest one. and accepting that ar-continued on page 8GREY CITY JOURNAL—FRIDAY, NOVEMBER 1, 1985—7SO MUCH MEATAND • A • BEATby Mike KotzeIn art, conviction is all-important, andconviction can arise only from strength. Sowhen true artistic powerhouses are un¬leashed, any quibbles with the willfulnessor even perversity of their actions areswept aside by the sheer force of theirconvictions. I had this point unanswerablyhammered home to me last Friday whileattending, back-to-back, a performance ofLyric Opera’s new production of Handel'sSamson, starring Jon Vickers, and ascreening of the new movie, Commando,starring Arnold Schwarzenegger. Vickersand Schwarzenegger, these twin poles ofmuscle-bound magnetism, gave perfor¬mances that struck a common chord in thespectator: Vickers treats Handel’s vocallines in a way few would dream of, just asArnold treats jeeps, heavy anti-personnelweaponry, and hundreds of machine-gunbearing terrorists in a way one couldscarcely imagine. Things are not supposedto be done this way, but in the hands ofvisionaries like Vickers and Schwarzeneg¬ger, there is no denying their beauty.It’s just like the old five-hundred poundgorilla joke (What does a five-hundredpound gorilla eat? Anything it wants).Vickers and Schwarzenegger eat anythingthey want. Now, under normal circum¬stances, we wouldn't want to hear HandelHandel and his Hand sung like this, nor would we want ourshopping malls laid waste by Teutonicstrongmen. But in view of this pair’s awe¬some power, these actions are not only ac¬ceptable, but laudable. In cases like this,bigger is better, and biggest is best.Without doubt, these two are among thebiggest; let’s start with Vickers. Surelythere is no other singer able to conveysuch grandeur in operatic performances —little wonder he is more or less withoutpeer in the heroic tenor repetoire: roleslike Parsifal, Siegmund, Aeneas, and Otel-lo belong to Vickers. He does not havebeautiful voice, but it is uncommonly ex¬pressive; he manipulates this enormousvoice to achieve effects few tenors caneven attempt. He is a unique singer, andthe uniqueness of his approach causessome to view his performance as perver¬sely self-willed, unidiomatic, and justplain wrong. Personally, when faced withthe whip-crack intensity of his PeterGrimes, or the white-hot passion of hisTristan, such objections seem beside thepoint. His singing may sound a littlestrange, but there is no denying he is agreat, fiercely individualistic artist.Which brings us to Samson. Now,Vicker’s is the last kind of voice one wouldthink of in Handel’s clean-lined and precisevocal writing; his burly teno.' seems light-years removed from the well-scrubbed,well-mannered school of Handelian sing¬ing. Well, idiomatic or not, thank GodVickers was there, because he kept theshow going. Without him, the Lyric’s Sam¬son would have been a big snore.What was the problem? There wasplenty of good singing, handsome set¬tings, and clever, pointful stage direction.The problem was with Samson itself, orrather what had been done with it. Sam¬son is an oratorio, intended for concertperformance, and not presentation on theoperatic stage. Yes, there is a tradition,particularly in Germany, for staging ora¬torios, but such efforts generally bringmore glory to the stage director than theydo to Handel.You see, Handel wrote bothoperas and oratorios, and I think we canassume he knew what he was doing—theoperas are conceived operatically, andthe oratorios as oratorios. When you trickout Handel’s introspective, solemn musicfor Samson in the trappings of grandopera, what was moving and dramatic onthe concert platform can become stiltedand boring on the opera stage; this is nofault of Handel’s, for the music he wrote(and, it is important to add, Newburgh Ha¬ milton’s libretto to which it is set) is veryeffective in the context for which it is writ¬ten. When dragged into another setting, itbecomes problematic.So despite the intelligent and inter¬esting age-of-Handel staging of Elijah Mo-shinsky, right-on-the-money singing fromthe like of Gwynne Howell, Paul Plishka,and June Anderson, truly impressivechoral work, and Julius Rudel’s muscularconducting, the whole business was mis¬conceived. Even so, it was a worthwhileevening, and we can thank Vickers forthat. However fine many of its individualelements were, Lyric’s Samson would nothave added up to much had it not been forthe presence of Vickers, vocal warts andall. This was not a performance to pleasepurists, but the galvanizing anguish ofVicker’s fallen hero brought the Old Tes¬tament to life. It might not have been pre¬cisely Handel, but it was something tosee.The same can be said of Commando,though in regard to Handel, certainly notas relevantly. As the title would suggest,no question arises as to the suitability ofSchwarzenegger for this particular role;he is lucky in that, unlike Vickers, he is notrequired to buck the idiom in order to putacross his performance. No; if the titleCommando suggests an idiom, it is anidiom into which Arnold fits snugly. Whatthis minimalist, action-first title fails to in¬dicate, however, is the film’s greatbeauty, which is attributable to the bigman himself.It’s like this: Clint Easi /ood doesn’tlaugh at himself. Sylvester Stallonedoesn’t laugh at himself. Lord knows,Chuck Norris doesn’t laugh at all. Arnold,on the other hand, laughs—all the way tothe bank. Surely the introduction of Ar¬nold in Commando is a delirious send-up ofthe recent spate of pec-pix: Arnold is firstseen in a montage of abstract close-ups ofcombat boots, muscles (is it a thigh? anelbow?), and a chain saw— when the cam¬era pulls back to reveal Arnold in all hisglory, carrying an impossibly heavy-look¬ing tree trunk, no doubt weighted downby tons of phallocratic symbolism, youknow this movie is going to go all the waywith its mirth-provoking fetishism. Wow-total genre subversion! This supposition isconfirmed when later in the film, as Arnoldand an equally muscular opponent tradepre-fight taunts, the camera cut to RaeDawn Chong (in the airline-stewardess-wh o-becomes-Arnold’s-second-in-com¬mand role) who says “I can’t believe allthis macho bullshit!”, kissing off the genrein the process. After Commando, all thosepompous, self-important Rambos aregoing to have a hard time showing theirwar-painted faces.Luckily, this subversion never becomesMOBILE ACTIONcontinued from page 7rest without active resistence, aside fromgoing limp and forcing them to carry youin some instances. All this for somegreater moral good. My fellow activistsargued that the “witness” derived fromsuch an act could communicate a certaincommitment to the workers being blocked,the arresting officers and the community.To evade arrest was refusing “responsi¬bility” for one’s actions and “provoked”violence from the authorities.On late arrival at the dwindling meetingfor all involved, I tried to make contactwith an individual with whom I had dis¬cussed the possibility of working within aDirect Action Affinity Group. Severalhours later I found that s/he was in a plan¬ning meeting for an action that matchedmy goals more than the action my owngroup planned. It was hard to choose be¬tween working with the few people Iknew, but fundamentally disagreed with,and the people planning the type of block¬ade that I had decided to work on. I chosethe latter.Coming in late to a group of over 20 peo¬ple; young punks, forty percent women,three non-white, several older veteran ac¬tivists, (one of whom I knew well and onlyone other I had spent any time with) wasalienating in a different way than my pre¬vious group. They did not know me. Didthey trust me? No. Did I trust them? Hesi¬tantly. Quickly, after listening to the dis¬cussion, I realized this was a plan I couldget behind. Block the route to war prod¬uction, hurt no-one, delay the police, moveon. Do it again, get away, again, disperse,evade, coalesce, disrupt access, protect in¬dividuals by sticking together in largeenough numbers, grab back those caught,do not fight with the police, stay free, butdo what we could to actively and peaceful¬ly stop the production of weapons. Tempo¬rary as blockading may be, we might getthe message across that at least some¬body is not going to passively accept themurderous policies of this country.We walked, jogged and mostly hid whilewe made our way to a point across somerailroad tracks next to the route we weregoing to blockade later that morning.While one watched traffic, the other twocarried junked ties. After several trips myarms felt like stumps of pain, I could not catch my breath and I was sweating profu¬sely. It took my turn as lookout, warningthe others of approaching cars and signal¬ing when it was safe to move. In two hourswe were able to shift fifteen ties. Much ofour time was spent crouched behindvarious objects or scrunched down in theweeds and dirt whilj vehicles passedtwenty to a hundred feet away. The policeacross the road never spotted us in thedark but we were anxiously aware ofthem for the last half of the time we werethere! To go back we crossed the levy andwalked along the river for a bit. This gavethe first feeling of satisfaction and calmthat I’d had in twenty-four hours.Back with others, I had eaten a little,and picked up one plastic bag filled withflour, four traffic flares and a small can ofred enamel paint. I had a bandana maskfor anonymity, no ID, a fictitious name, ad¬dress and telephone number, and a singlelemon. The latter in case of tear-gas — cit¬ric acid on the bandana cuts the intensityof the gas. or so ! have read. Happily Ihave yet to test this information.Early in the morning the group scram¬bled onto the road with the rotting ties.Two were left two hundred feet up todelay the police. The rest were placed,spaced apart, in the opposite two laneswhich are the final approach to the localbridge onto the island. Someone lit a traf¬fic flare to warn approaching motorists.We stood among and in front of therailroad ties, bandanas over our faces.(Photographs of such actions can and havebeen used to identify and convict partici¬pants.) Shouts of, “Cops! Hold it, stay to¬gether! There are only two of them!”"Don’t Run!” The two officers got out oftheir car, we stood up the road in the otherlanes shouting, “Shut Down the Arsenal!”They moved a tie so they could drive upparallel to us. When they started to ap¬proach we faded off, leaving a couple ofburning flares.Roaming the area we pull traffic bar¬riers (left by road construction crews) intothe lanes which lead in the direction of thetown bridge-head for the arsenal. Most ofthese sites are on one-way streets so wedo not face the dilemma of blocking trafficleading away from the island. The hea¬viest object we move is a telephone polethat takes twelve people to roll, shift andcarry onto and across the main route tothe arsenal. An approaching arsenalworker tries to intimidate us with his pick¬ up, but as we place the pole in the roadand walk past him, he decides to sit stilland then cross the meridian divider intothe oncoming lanes in order to circumventour telephone pole. Later it was reportedthat we had torn the pole out of theground! In fact it was lying on the groundbeside the road.One of our group is grabbed by an of¬ficer. We pull the person back but soonafter another is captured and this timethree officers are involved. We cannot doanything but stand by as they are beatingtheir victim and will clearly smash anyonewho tries to help. Someone lights a flare, a“peace officer” shouts, “Watch Out, FlareComing!” he responds, “Don’t Worry! I’mnot going to throw it at you. It’s just so wecan see what you’re doing to him.”We run directly into the arms of two un¬iformed men, as before we try to stick to¬gether but they are too many and we aretoo few. I head for a fence io the back-left,see that most of the group is going for¬ward and around the two ahead, so I turnback, dodge the first and accelerate awayfrom the second who is just paraliel andbehind me. One copy jumps and smashes ayoung person in the head. Those nearbystart shouting, “What are you doing tothis person! Quit hurting this person!” astwo or three more “protectors of order”arrive and give their arrestee a workingover with boots and clubs.Unable to rescue our two capturedfriends, we run off through yards andalleys, over fences. I dive over one andsmash into the ground on the flat of myback, due to the terror and exhaustionovercoming me.By this time we had been reduced to asmall group and everywhere we turnedwe faced the law. After some more run¬ning we came to a block in which road con¬struction prvented driving on a certainsection of street. We took a briefbreather, decided to clear out or hide, andheaded off as soon as we were spotted. Ihad just said “We’ve got to go to ground,”and the opportunity arose in the form of adense cypress bush at the front of a house.All of us pushed our way in. I ended upstanding between the bush and the housewith someone sitting underneath me and awoman standing in front, or rather on myfoot. Whisperers were hissed at, “ShutUp!”, and for what seemed like two hoursbut was probably thirty or forty minutes,we waited. My entire body was vibrating Arnold and his toolcute or precious, and we can thank Arnoldfor that— Commando is a solid, well-pacedaction potboiler, providing all the thrills,chills, and broken glass the genre re¬quires. Their credentials assured, Arnoldand Commando can afford to laugh at itall; this isn’t the weak-kneed sniping ofmany Hollywood “spoofs,” but rather thelaughter of the gods, with Arnold as kingof the hill, watching the proceedings withthe good-natured detachment only theview from Olympus can provide.A formal thematic analysis of Samsonand Commando could follow, but it sufficesto say that both are strict moralist tracts,stressing the importance of community,both familial and spiritual, and the injunc¬tion that the wages of sin are death, im¬portant messages to remember in thesedays when materialistic values are ram¬pant and perverted notions of “old-fash¬ioned morality” are invoked by self-serv¬ing authority to justify all manner ofinjustice; Samson, apparently, did not de¬stroy all the Philistines. But despite thesestern warnings, both Samson and Com¬mando are optimistic works, showing theupright triumphing over the wicked; in thewords of the final chorus of Samson, “Lettheir celestial concerts all unite/ Ever tosound his praise in endless blaze of light”,or, as Arnold more succinctly puts it, “Let’sparty.” Might may not necessarily makeright, but it is tough to argue with themight of Jon Vickers and Arnold Scwar-zenegger. Their conviction carries the ora¬torio and the action movie into the stran¬gest places, and thanks to that conviction,we're happy to see them there.from the combination of terror, adrenalineand exertion. I was embarrassed that mybody was giving away my fear to theothers near me. More for my own sakethan hers, I briefly grasped the fist,clenched around a branch, of the woman infront of me and gave her a tight nervousgrin. I watched the sky lighten, the tops ofthe bushes trembling-threatening to giveus away — a spotter plane passed over¬head at least three times. Hoping theywere not using infra-red, we waited.Every car driving near by sound like a po¬lice vehicle, the slow ones probably were.Listening to people come out of theirhouses, get in their cars, and leave forwork, we waited. At last, the woman infront of me, having shifted off my footsometime before, eased out of the shrub¬bery and checked out the view. No cops. Ittook some strident whispering to convinceeveryone to emerge from the bush andeven more to decide to break into groupsof two and try to walk out by separateroutes.My partner and I walked down thealleys, side streets, through yards and fi¬nally on downtown city streets. Wepassed, or were passed by five or morepatrol uniio. We felt absolutely conspi¬cuous. We were, but they did not arrest usfor walking down the sidewalk and obey¬ing traffic signals.Did we provoke violence from the po¬lice? Perhaps. They certainly escalatedtheir violence as time went on, and theirfrustration led them to become more ag¬gressive. Press accounts claim we tried totake away a gun. The police are the cre¬ators of this story. These kind of reportsare as accurate as the claim that we pulleda telephone pole out of the ground. It tookall of our effort to move it across thestreet!As for our provocation of the cops, Iwonder about the scratch (small though itwas) across the cheek of one of my originalAffinity-Group members which she re¬ceived after walking into the road intend¬ing to be arrested. I was not out there tomake it easy for the police while I demon¬strated. I have done that often enough,and there comes a time when passive pro¬test seems as useful as doing nothing. Iwill continue to demonstrate for andagainst the things which concern me. Oftenpeacefully, passively, respectfully, butmy reading of history tells me that chancecontinued on page 128—FRIDAY, NOVEMBER 1, 1985—GREY CITY JOURNALTHE VISITING FELLOWS COMMITTEErequest sussestions forFUTURE MARJORIE KOVLER FELLOWSPrevious participants have been:John Paul StevensJ. William FulbrightAdlai Stevenson IIIJoseph A. Califano, Jr.Michael S. DukakisColeman YoungHans A. BetheMeg Greenfield Dixy Lee RayLeonard WoodcockFrank PressKingman BrewsterWalter WristonMary McCarthyCharlton HestonElizabeth Holzman William F. Buckley, Jr.David C. JonesJohn Kenneth GalbraithMarvin GoldbergerRosalyn S. YalowArthur LafferBeverly SillsWilliam RaspberryPlease give your nominations to any member of the VisitingFellows CommitteeR. Eric Lombard, Chairman (2-8091)Stuart M. Feffer (288-6917)Sandra Feldstein (288-7713)Jan E. Goldstein (2-8388)Tasso Kaper (947-0747)Francoise Meltzer 2-8474)Terri y. Montague (753-2261)Jonathan L. Rosner (2-7694)Charles E. Cohen, ex officio (753-3880)F. 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Also present were bassistBarry Adamson (formely of Magazine)and drummer Mick Harvey (formerly ofthe Birthday Party, and currently withCrime and the City Solution, as well as theBad Seeds). Non-band members presentwere Jeff Brill, Leah Mayes, and PatrickMoxey.JB: On the Firstborn is Dead album, thepredominant subject of the lyrics seems tobe the American South. You are from Aus¬tralia, what exactly does the AmericanSouth mean to you?MH: I think that there is a dispute in thefirst place that it is mostly about theAmerican South. I don’t think that is thecase at all.NC: No, neither do I.BA: Me neither.MH: I think that is something that’s beenput across by the press for some reason,they seem to have decided that that’sNick’s obsession.JB: What is the predominant subject of thelyrics?NC: Sex and death, as usual, with a littlebit of violence thrown in.JB: How do you think that you are pre¬ceded in the country?NC: Sexy, deathy, and pretty violent.JB: There are, or at least were at one time,a lot of people who copy your image bycutting their hair like yours, wearing thesame types of clothes you wear, etc. Whatdo you think of these people?NC: We think they are assholes.MH: I used to get quite embarrassed some¬times, when we’d come out on stage. Allthese people in the audience had Nick’shairstyle better than he had it.NC: But, by the end of the night, their hairwas all flat.JB: You have said before that you believein God. Would you care to elaborate onthat?AAAAVTVVAAAAVVVVVINYLby Rick WojcikFleshtones Speed Connection II (I.R.S. Re¬cords) , .I hate to give in to I.R.S.’s billing this re¬cord as a party on vinyl, but it’s true. Re¬corded live in Paris during March of 1985,Speed Connection II is far superior to thepreviously released Speed Connection, aFrench import from the same tour. OnSpeed Connection II, the Fleshtones showhow their garage rock has made it fromthe back streets of Queens to the night¬clubs of Paris. The Fleshtones play so well,and in such an unpretentious manner thatit’s hard not to be taken up by their music.hey also seem to be having so much funplaying that one feels guilty about con-emning anything they do.The album has some nice surprises, in¬cluding two extended medleys, one con¬sisting of old Kingsmen tunes and theother featuring the Fleshtones' own com¬positions. Pete Buck of R.E.M. joins theband in covering T-Bone Burnett’s “Whenthe Night Falls’’ and R.E.M.'s “Wind Out".' li in all, Speed Connection II is a lot of funto listen to. It conveys the re?i “feel’’ of aconcert that so many other live albums aremissing. Why can’t all I've albums be likethis?Todd Rundgren A Capeila (Warner Bros.)I have always felt that Todd Rundgren'sgreatest asset is his voice, and it seems,after hearing his latest album, that he hascome to the same conclusion. A Capeila,the title of the album, should be taken forwhat it claims, as all. of the songs aremerely sung by Rundgren with no instru¬mental accompaniment. Some of the songsare obvious manifestations on the theme,using multitrack recording to create a doo¬wop effect. Other songs, however, makeuse of a new computer (I think it’s called avocatron or something like that) whichprocesses the human voice to create in¬strumental sounds. At times this is reoog-nizable, such as when Rundgren sings‘boom-boom’’ in pjace pf a drum beat, but■ ' me. •.instance* however, '> b™ NC: Well, I was being paraphrased, but Ido believe in an after-life.JB: What do you think about love, and howdoes that effect your music?NC: I think that love is the most importantphonomenon one can experience, and themost painful, yet, uh... oh shit, I don’tknow how to say it.MH: I don’t think it is painful, necessari¬ly.NC: I do.JB: Do you think love is what usually in¬spires creation?NC: Not necessarily.JB: Do you think that there is anythingspecific that tends to result in the creationof art, or do you think it comes from every¬day experiences?NC: I think that for me it is a fairly nega¬tive process.MH: I think that it is mortality more thanlove which causes creativity.JB: Do you think that good art is the resultof a bad life?MH: No, I do not believe that you need tohave led a bad life in order to be motivat¬ed to be creative.NC: I don’t know what a bad life is, exact¬ly.JB: I mean, do you think that art is the re¬sult of pain?MH: It can be.NC: Yes, I think it is...Yes.MH: For him maybe, not for me.NC: Yeah, but you’re just the fuckin’...MH: Musician?JB: Who do you think likes your music,other than the people who only like theimage and ignore the content?NC: I don’t know that there are that manypeople who are into it, other than thattype of people, and I think that that ispretty fucking depressing.MH: I don’t think that's really the case an¬ymore. It’s not really the scene to come seeus anymore.JB: What do you think of Elvis Presley?NC: I think he’s... But, for the proper an¬swer, he’s the king. That is the title of ournext album, by the way, the King and I.JB: Do you listen to him at home? Do youthink that he is musically interesting?NC: I listen to him constantly. I personallythink that he is the greatest singer ever tolive. And I say that quite seriously. He isbetter than me.JB: You have said before that you listenmostly to American blues. Is that true?NC: My tastes are dictated mostly by whattapes I get sent by people. I am not one toshell out a lot of money for music. I listenbasicaly to the tapes I get for free. Mostpeople read interviews and send me bluestapes, and quite a lot of Elvis ones aswell.JB: Who would you list as important influ¬ences other than Elvis Presley, and otherthan American blues?NC: Tom Jones, the Pop Tops, (sarcastical¬ly) Black Flag, God. (Nick kicks standingduced anything of that calibre in years.It’s a shame, really, because the vocaltricks on this album are interesting, butmost of the songs don’t bear repeated lis¬tening.Darol Anger and Mike Marshall Chiaro¬scuro (Windam Hill)It seems as if the people at Windam Hillare realizing that one can only own somany albums of “impressionistic” guitaror piano solos. To compensate, they havebeen producing more albums by ensembies than by solo artists. Such is the casewith Chiaroscuro. The album is a collaboration between Darol Anger (violin) andMike Marshall (guitars and mandolins)Also included are Todd Phillips, BarbaraHigbie, and Andy Narrell. These peoplehave all played together before (most notably at the 1984 Montreux Jazz Festival),so they perform well as a group. Eventhough these artists are pretty big namesin folk music, they seem to play in a jazzymanner. Did that make any sense? What Imean is that the arrangements on Chiaro¬scuro are very full and lively, with a stylemore characteristic of jazz than of folk.The album works well, and its complexi¬ties make it more interesting than just an¬other album of guitar solos.Minutemen Project: Mersh (SST Records)I realize this record is a couple of monthsold, but it was lying around the officescreaming, “Review me! Review me!”, so Idid. I don’t know that to make ot thisalbum. The cover depicts a bunch of recordexecutives in conference over the Minute- Nick Cave glowersashtray)JB: What was your family like?NC: Upper middle class, with a strongCatholic bent.PM: What motivated you to go from Aus¬tralia to London? Had you heard aboutother groups going there and doing well?MH: No, it’s not that we had observed peo¬ple doing well there or anything. It’s justthat we couldn’t survive off what we weredoing in Australia, so we went to Londonand give it a bash.NC: We wanted to be bigger than we werein Melbourne.PM: How did you hook up with the Immacu¬late Consumptive? (The Immaculate Con¬sumptive was a performance revue put to¬gether for Halloween of 1983, consistingof Marc Almond, Nick Cave, Lydia Lunch,and Clint Ruin/Jim Foetus).NC: Well, I didn’t really hook up with it. Itwas really the other way around, butthat’s just a matter of ego, and if minewere anymore bloated, it would explodeall over this room.PM: Where were you at the time?NC: In London.PM: And Lydia was there?NC: Yes, and Jim and Marc were there aswell. It was great fun. It separated themen from the boys.PM: Are you still in touch with them?NC: Yes, I saw Jim and Lydia last week inNew York. Marc, I haven’t seen forawhile.JB: What do you think of New York?NC: It’s great. It’s a great place.MH: I love it.JB: How about Chicago?NC: It’s also great.MH: We never really stay in Chicago. Wejust come and stay one night and leave.LM: You were here for a couple of daysonce.MH: Yeah, but I was sick then and just laidin bed.PM: Where are you coming from on thistour? Where did you play last?MH: Last night we played Toronto. Tomor¬row we play L A. Then we leave thecountry.JB: Do you like being on the road?NC: Well, we’re not really on the road. Weare only doing six U.S. dates, then five inJapan, eight in Australia, and then it’sback to England for the English tour.onds in length. The second difference is inthe musical style. The tempo has slowedown considerably. This music really can'tbe/ labelled as hardcore, it’s merelygarage style rock with socially consciouslyrics Not that that’s a bad thing, however; the songs on Project: Mersh are veryeffective in getting their message across.The lyrics are in the Minutemen's typical,rambling, “this is what I think” style. Asusual, this style works, and works well.For example in “King of the Hill”, a songabout world power, guitarist D. Boonsings “Is it peace to point the guns, is itwar to fire the guns? We would run withali of our might, push the King off to takethe hill and to learn who was King andwho made the better serf.” To sum up: de¬spite the change in musical style, Project:Mersh maintains the usual high quality 'Ofthe Minutemen’s previous works.Jonathan Richman and the Modern LoversRockin and Romance (Twin-Tone Records)This record is kind of old too, but I kindof wanted to talk about it. It seems likeJonathan Richman has come to terms with JB: Have you ever played in Japan be¬fore?MH: Nope.JB: What type of crowd do you think youwill attract there?NC: A yellow crowd.MH: I think that they’ll mostly be girls.NC: Girls on drugs.JB: Sounds dangerous. What’s your advicefor your musicians?NC: Watch out for the fat man with thecigar.JB: The music business is a business knownfor its sleaze. Would you care to discussyour experiences with the music busi¬ness?NC: No.MH: The best idea is to sign as few con¬tracts as possible. The only thing a con¬tract is for is the record company.JB: Why do you write songs?NC: Because.MH: I don’t know.JB: Word has it that you are going to putout an album of all covers. What is thatgoing to be like?NC: Word sure spreads fucking quickly.How the hell did you know about that?LM: I told him.NC: How did you know?LM: Someone told me, but I don’t re¬member who it was.MH: Well, we haven't actually started thework on it yet.JB: I have also heard you have a book inprogress. What will that be like?NC: It will be about 450 pages. It will be infour parts.JB: Is it a novel?NC: Yes.JB: Where is it set?NC: In the south of America. It is aboutsex, death, small town ignorance, alien¬ation, and pain.JB: What do you read?NC: (very sarcastically) William Faulkner,Flannery O’Conner, and a little bit of JohnSteinbeck.PM: Do you read the N.M.E.?NC: I read it when I am in it. It makes forpretty poor reading.JB: What do you do for fun?NC: Are you offering me something?JB: I probably don’t have anything youwant.NC: I don’t know. What do I do for fun? Ican't answer that.MH: I have fun doing everything.PM: Do you go out to see groups?NC: Very rarely.JB: Do you like doing gigs, or would yourather not have to?MH: I love playing live.NC: I really hate it.JB: Do you find it hard to work with otherpeople?MH: Sometimes.NC: Yes, I do. I find it very hard.his late teens, in which he assumed a muchtougher role (“She’s cracked. I'm sad. Buti won't.”) It’s hard for the Jonathan of1985 to be tough, especially when hisheart ‘‘goes bumpity-bump” over a“cruddy little' chewing gum wrapper”.Of his recent albums, Rockin' and Ro¬mance is Jonathan Richman s lyrical best.It contains such amusing tracks as “My(Jeans” and “The UFO Man”. However,there is one big flaw on this album: the ar¬rangements. Jonathan’s voice is incontest¬ably his best feature, yet on Rockin’ ands Romance he seeks to cover it up with innu¬merable hand claps and “doo-wahs’Mrm amost• he album itself^jndg'en’s music. It i.f pop songs, love tmental” tracks that tut for the pa3t tdlvyila wonderful song, ms obvioue” off ofe first nqtice<|fc>leage sQhg length. .1ant doesn’t> buy Rock-musical vir-as a testaGREY CITY JOURNAL-FRIDAY NOVEMBER 1, 1985-11I am pleased, nay gratified, that WayneScott is “not condemning Apartheid acti¬vism" in his recent article. And I am alsorather taken with his suggestion that weread Black writers and talk to our Blackneighbors in an effort to come to termswith our own racism and racism in Ameri¬ca.But I am seriously troubled that in hisrather confusing Grey City Journal articleScott seems to be casting aspersions onthose who would work to end racism. Indiscussing anti-Apartheid activists, hewrites “no one has confronted the subtlerbind (sic?) of attitudes and experiences —like, deciding to come to a predominantlywhite school, or the lack of awareness thatindeed, this is a very white school; or thefact of living and learning in a school com¬posed mostly of white people — that color(his word not mine) our discourse on thecomplicated struggle against racial in¬equality.”If I understand this correctly — and I’mnot sure anyone could make such a claim —it appears that in having elected to cometo this bastion of whiteness in the firstplace, anti-Apartheid activities reek of hy¬pocrisy, or even worse, complicity in thevery systems they seek to modify. (Likecivil rights workers living in the South, Iguess. Or maybe, shades of an earlierScott article, gay activities living in astraight society.)Just what this has to do with anti-Apartheid activism, I’m not quite sure, butI gather that Scott was offended thatthese activities sought to hold America ac¬countable in their plea to end racism worldwide. But why claim that these acti¬vists "feel themselves in the absolved (sic)position to call other people racists." Theyare simply recognizing that racism existsall about us, in South Africa, in our institu¬tions, as well as in our private lives — andthat this racism is also in no small measureresponsible for the horrors of Apartheid.A reasonable claim.Nobody is “implying their moral immuni¬ty to racism,” nor using that, as if it werenecessary, in "valorizing their demandsfor divestment.” We are all racists. Scottis indeed to be commended for his sensi¬tive and searching account of his own rac¬ism. But in calling for an end to racism inAmerica, as we all agree is a worthy goal,we must neither impugn the motives ofother voices for justice nor indict them forchoosing to work within this admittedlyracist system. Nor, for that matter, shouldwe react defensively when their criticismcuts a little too close to home.Jonathan KatzTo the Editor:I am writing in response to WayneScott’s article “Racism At Home!’ (GCJ,10/25). Scott concludes that racism athome is best combatted by individual stu¬dents raising their consciousness, readingAfro-American literature, and treatingtheir Black neighbors like regular folks.By reaching that conclusion, he has onlyreached the beginning. While it is true thatthe U of C has plenty of proto-yuppie Rea¬gan youth for whom Hyde Park meansshopping facilities and the thrill andthreat of living in an “integrated urbanneighborhood”, it is also true that thesesame are (and will remain) immune to Mr.Scott’s rejection of liberal guilt. But it isalso true that there are many other stu¬dents who realize that Hyde Park’s “inte¬gration” consists of a resident white popu¬lation primarily attached to theUniversity, a large transient white stu¬dent population, and a south side Blackpopulation for whom Hyde Park means asafer neighborhood, better schools fortheir kids and better retail outlets—whorealize that the “racism” being foughthere and abroad is a glossy label for thedialectical relationship between culturaldiscrimination and class antagonism(towards which John Comaroff’s paper onthe subject provides an insightful under¬standing), and who realize that the anti-Apartheid protest presents one of manymeans with which to fight racism at home.For students who seek other fronts of bat¬ tle, you can join Operation PUSH (locatedat 950 E. 50th St, meetings every Satur¬day morning) or join one of the literacyprojects in Chicago (both the Chicago Pub¬lic Library and Columbia College haveone). Raised consciousness is the first steptowards collective action which in turn isthe first step towards the end of racism athome.Micheal CarrollTo the Editor:Wayne Scott’s article “Racism at Home”(GCJ 10/25) reflects a point of view whichwe feel needs to be addressed, and raisesseveral issues which require clarification.To begin with, many of Scott’s errors area result of the underlying assumption ofhis article: that all anti-Apartheid acti¬vists on this campus are white. This as¬sumption is both incorrect and racist. Itleads to the notion that such slogans as‘End Racism at Home and Abroad,’ andsuch demands as more active Universityrecruitment of minority students were de¬veloped by white students, purely as away of “absolving” themselves of theirown racism. This is fortunately not thecase. Linking the issue of racism here, inthe US, in Hyde Park, in our own lives, toracism abroad, in South Africa as well asthroughout the world, is—for example—aproject which derives specifically from theinput of Black and third world members ofthe movement—both on its broadest scale,and, specifically, historically, on thiscampus.Furthermore, Scott assumes but doesnot—cannot—provide evidence for the ac¬cusations he makes. He says that anti-Apartheid activists “feel themselves inthe absolved position to call other peopleracists,” “evade the issue of... moral com¬plicity,” “simply decide who the villainsare” and "valorize their demands for di¬vestment by implying their moral immuni¬ty to racism.” We do not see, and neverhave seen, making demands for change areplacement for working through theproblems of racism as they occur withinand affect our own personal lives. It is notwe who “locate ‘home’ in several campusbuildings,” but, in fact, Hanna Gray—whose concept of the University seems toinclude no students, no faculty, no campusworkers—in other words, no people-leaving, one would suppose, only theempty building structures. How shouldScott presume to know whether or not we“confront the subtler bind of attitudes andexperiences” that constitute the intrica¬ cies of racism. He chooses to write out his“experiences” in the newspaper: weprefer to work them through in theprocess of doing anti-Apartheid work. Forthose of us within the movement who arewhite, it is precisely the experience ofworking through these issues as we workon them that is important to us. As we planout activities and the beliefs which wechoose to give voice to, as we strive for co¬alition and mutual understanding, we areforced to confront the connections be¬tween the ways racism works in our per¬sonal lives, and the ways in which it rever¬berates throughout the larger politicaland economic system of the US and theworld.Clearly, we do not argue with the thrustof Scott’s point that we must deal with rac¬ism “in (our) own lives.” Those of us whoare not white have no choice in the matter.We fully endorse his somewhat veiled sug¬gestion of adding black voices to “ourcourse reading lists.” However, we findhis notion of “strategy” a bit peculiar: trysuggesting to a black student who hasbeen harrassed by campus police, Mr.Scott, that he or she read Alice Walker.We don’t think this will solve the prob¬lem.Unfortunately, despite Scott’s sensitivephrasing of the “complicated,” “subtler,”“unconscious” elements of racism, the toneof his article is ultimately that which he ac¬cuses the anti-Apartheid activists oncampus of having. It turns morality intomoralism, self-examination into self-ob¬session, self-“validation” into self-“valorization.”The most important point to be made, ofcourse, is that the movement must moveforward on all fronts simultaneously.Those of us working in coalition realizethat we tread a fine line between trying toinclude the concerns of as large a consti¬tuency as possible, and making responsi¬ble, principled “judgements” about whatspecific beliefs to articulate, which partic¬ular actions to take, at any given time. Weencourage everyone to join us in this con¬tinuing struggle for freedom and justice.Amandla!Nadine McGannSahotra SarkarAction Committee for a; ' Free South AfricaTommie FryeAnti-Apartheid StudentAllianceMeyer BlankThird World Political ForumooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooOOOOOOOOOOOOOOOOOOOOOOOOOOOOooooooooooooooooooooooooooooOOOOOOOOOOOOOOOOOOOOOOOOOOOOoooooooooooooooooooooooooooooooooooooooooooooooooooooooo mmsm 0000000000000000000000000ooooooooooooooooooooooooo0000000000000000000000000000-000000000000000000000ooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooocooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooby Bob TravisLike a lyrical essay, Dim Sum, a new filmby Wayne Wang, surveys the orientalenigma only to reveal the subtle tensionsamong Chinese-Americans in transition.This is a “slice-of-life” film, in wnich Wa/igfocuses on characterization (mise-en-scene) and on the social ties that pull andpush and thus create a certain sense of am¬bivalence.Briefly, the action concerns the relation¬ship between an aging widow, Mrs. Tam(Kim Chew), and her middle-aged, unmar¬ried daughter, Geraldine (Laureen Chew).A fortune teller once told Mrs. Tam thatshe would die at 62 and upon reachingthat age in the film, she makes plans tovisit China to “pay her la^t respects” andto find Geraldine a husband. Uncle Tam(Victor Wong), a family friend, conspireswith Mrs. Tam to marry Geraldine off sothe mother can end her parental dutiesand “put her mind at rest.” Geraldinemoves out, Mrs. Tam lands in the hospital,and later they are reunited under oneroof. Upon returning from China, Mrs. Tamrelates that she revisited the fortuneteller and was told that her luck hadchanged — she was not going to die just yet. Mrs. Tam excitedly invites Geraldineto remain at home and Geraldine is at aloss for words.Wang immerses the viewer in the Chin-ese-American experience and does it well.One particular scene (that may call forthrecognition by those from immigrant fami¬lies) depicts adults and children gatheringaround the dinner table celebrating theChinese New Year. Uncle Tam gives out“lucky money” (he puts a quarter in eachenvelope ad gets teased for it). Mrs. Tamthen jokes with the youngest children inChinese and they do not understand her.One precocious child asks what was saidand all the adults break out in laughter.After the dinner a neighbor asks how itwent and Mrs. Tam succinctly replies:“Everybody ate and everybody left.” Inanother scene that suggests the ambiva¬lence Chinese-American men and womenfeel toward each other, Julie, a friend,tells Geraldine that Chinese-American menare not worth marrying (Geraldine hasbeen seeing a Chinese-American doctor forseveral years): “Chinese men are realdeadwoods when they marry. All theycare about are their sons and which mov¬ies to betamax.” Dim Sum may be consi¬dered a sociological treasure chest on eth¬ nic and intra-ethnic relations.Though Wang renders clear the Chinese-American character, he also cleverly linksone scene to the next with what (for wantof a better term) I shall call “point-of-departure montage.” For instance, Wangcloses one particular scene by showing astripped sheet fluttering in the backyardbreeze and opens the next scene by show¬ing Geraldine carrying in a birthday cakewith an American flag stylized in the icing.In another scene Wang depicts Geraldineby her mother’s side, gently tossing amagazine to the foot of the bed while tuck¬ing her mother in; then Wang opens thenext scene with Auntie Mary, a familyfriend, leafing through a magazine as shetalks to. Mrs. Tam over the backyardfence. Wang’s use of this type of montage,moreover, is not overdone, and adds a cer¬tain thoughtfulness to the film.In essence, Dim Sum is like a haiku poem— brief, meditative, and ironic. Waveringgolden light on a calm, blue fragment ofsea introduces the film, with Geraldine sit¬ting alone on the sea wall, looking out¬ward. Later the image of parallel linescrossing a slate patch of sea precedes Mrs.Tam’s contemplation of her daughter’s de¬parture, as Mrs. Tam stands dumbfound¬ ed before a veiled window. Other, moremodern visual poems lace this film. Of par¬ticular note are the images of escalatorlines that carry Geraldine upward andsuggest a crossroad in her life, and verti¬cal lines along a window that confine one’svision — all revealed simply and withoutpretext in the department store whereJulie and Geraldine shop.I think Wayne Wang has now emergedas a young American director who is ableto sort out the substance of life from thejumble of cultural stereotypes. In his firstfilm, Chan Is Missing (1982), Wang was un¬able to do this: the film was poorly con¬ceived, filled with diatribes, havingabrupt transitions, and highlighted bystale jokes (for instance, what does a Chi¬natown cook sing when he cooks? “Fry meto the moon.”). On the other hand, DimSum improves on this meager start: itsearches for insight into the uncertainty oflife, but avoids the caricature evident inhis earlier work. As Uncle Tam notes, giv¬ing out pieces of tea lunch to his extendedfamily, Dim Sum means “a little bit ofheart.” And that is just what Wang re¬veals to us — the bittersweet soulfulnessof individuals who are close, but who mustnow let go.GREENWOODSUNDAYNOONIB MOBILE ACTIONcontinued from page 8is brought about through conflict. I will tryto minimize conflict but not at the price oftolerating status quo exploitation, repres¬sion and state terror. The threat of violentoppression is real, and for many, so is thefact; we cannot ignore it and hope it willdisappear as a result of internal entropy.Resistance is not merely reaction, it is, aswell, the active creation of freedom.“Happy" does not describe how I felt atRock Island, frustration with the dif¬ferences between the others I intended towork with and myself, not knowing manyof the people I did work with, anger at myerrors of judgment, fatigue, physical dis¬comfort (temporary as that was) and theharrowing action, all affected me. Mostlyit was the sense of how little we really did,just an hour or so one morning in an entireyear. Someone from the area told me,“Just so you keep it peaceful.” They couldnot realize (and I did not emphasize it be¬cause of my desire to keep communicationgoing) that it can’t be kept peaceful — it isalready violent. That’s why anyone consi¬ dered protesting or blockading. I still feelunhappy, not because of what I did, butbecause of what I could not and cannot do;especially alone or in a small group.Ending violence is something that re¬quires everyone. As long as some useforce to control and benefit from the suf¬fering of others, the others will defendthemselves when forced to. As NelsonMandela said when offered his freedom inexchange for the renunciation of violence,(this is a paraphase) those who began theviolence must desist and renounce it be¬fore I give up my right to defend myselfand my people. A facile, blanket denuncia¬tion of all violence is irresponsible andnaive, violence must first be understood inthe context in which it arises before wecan decide who has unjustly initiated itand who is only trying to survive attack.Of course, the lines get blurred, yet thisdoes not mean that a difference does notexist. A pacifism, either philosophical ortactical/strategic, must distinguish be¬tween aggressor and defender.A final note: the last thing I did, due tothe luck and privileges that I have, was totake a long, hot bath, drink a beer, andstumble into bed to sleep for twelvehours12—CRIDAY, NOVEMBF" 1, <985— GREY CITY JOURNAL«I UNIVERSITY OF CHICAGOHILLEL HOUSE PRESENTSHILLEL CINEMA:REGENTROPFEN - RAINDROPSIH'SJ£™ETRUE STORY OF THE GOLDDACH FAMILY, TEXTILE MERCHANTS WHOMOVED TO COLOGNE IN 1930 HOPING TO OBTAIN A VISA TO THE U S ACO-DIRECTORS: HARRY RAYMON (THE BOY IN THE FILM), MICHAEL HOFFMAN.FULL LENGTH, BLACK AND WHITE, GERMAN WITH ENGLISH SUBTITLESAdmission SeriesHillel Members and Contributors: $2.00Others: $3.50Series Tickets for Hillel Membersand Contributors Only: $3.00Dote: Thursday, November 7Time: 7:30 p.m.Place: Hillel House, 5715 Woodlawn Ave.-752-1127Kill11111■■cmnc TALK MBA^ with over 75 schools.wmin nw>neow,t* In one place. In one day.Here's a rewarding opportunity to meet with representatives from many of thecountry's leading graduate management schools to discuss admissions, curriculum,financial aid, career development, and placement.Daily registration for the MBA Forums and Workshops is S5 payable at the door.1985 MBA Forums - ChicagoPalmer House • 17 East Monroe StreetFriday, November 8 / 12:00 - 7:00 Sat., November 9 / 10:00 - 4:00One-Hour WorkshopsTHE MBA AND YOU MBA CAREERS DOCTORAL PROGRAMSFriday 1:00 and 5:00 Friday 1:00 and 5:00 Friday 3:00Saturday 11:00 and 2:00 Saturday 11:00 and 2:00 Saturday 12:30For more workshop information call 800-524-1802 (in New [ersey 609-734-1539]. A°V-Stanford MBA-iPLAN FOR YOUR FUTURETHURSDAY AFTERNOON, NOVEMBER 14A representative from the Stanford GraduateSchool of Business will be on campus to discussthe exceptional educational opportunity of theStanford MBA Program with interested studentsin small group sessions.Appointments may be made throughThe Career and Placement Services OfficeThe two-year general management program isdesigned for those interested in developing senior-level management skills and perspectives appli¬cable to the private, public, and nonprofit sectors.GRADUATE SCHOOL OF BUSINESSSTANFORD UNIVERSITYStanford, California 94305-2391DR. MORTON R. MASLOVOPTOMETRIST•EYE EXAMINATIONSVIOLIN LESSONSDavid My ford/O i/earx Jbrg^e&sittna/arc/extra/ &:Jbec/agogica/experience.3tm/io in J/ge/e i&ir/iytffirc/aZ/e ratex01. 324 -7<9po •FASHION EYEWEAR(one year warranty on eyeglassframes and glass lenses)SPECIALIZING IN• ALL TYPES OFCONTACT LENSES•CONTACT SUPPLIESTHE HYDE PARKSHOPPING CENTER1S10E. 53th363-61009 For One Week OnlyOct. 28 to Nov. 7Help El Lugar Celebratethe 1st Anniversary ofour new Dining roomand Cantina.20%Discount off the price of your dinnerEnjoy the Best Mexicanfood you’ve ever tastedand save 20% off theprice of your dinner.Offer good on all dinnercombination plates.Monday thru Thursdayonly, 5:00 p.m. to Close.You must have aUniversity ID to takeadvantage of this offer.HOUSE SPECIALFREEMARGARITASFor groups of six or more, thefirst Margaritas are on thehouse. Simply Great TastingMexican Food.U.LuSar.MEXICAN EAT ERY1601 and 1603 E. 55 th StreetChicago, IL 60637Phoae: 684-6514The Chicago Maroon—Friday, November 1, 1985—19College newsBy Geoff SherryCollege News EditorAnti-Fraternity Sentiment Heats Up...(CPS) Three fraternity fires within aweek at two separate Colorado campusesseem to be the work of arsonists enraged byrecent reports of widespread misbehaviorand sexual abuse on the part of fraternitymembers across the country.The Chi Psi house at the University of Co¬lorado had $60,000 damage done to it on Sep¬tember 24 as it became another victim inwhat some authorities fear to be growingtrend of anti-fraternity violence.On Sept. 18, the day of the first fire atDenver, a Boulder newspaper reprinted anarticle from Ms. Magazine in which the au¬thor characterized fraternities as “refu¬gees” for sexist attitudes that spawn gangrapes and other forms of sexual miscon¬duct.Robert Marchesani of the National Inter¬fraternity Conference regards these acts asa serious form of terrorism. “For every badfraternity that does things we agree are ab¬horrent, there are several fraternities that contribute to a university in many positiveways.”College Women Get Naked...The second annual Co-ed Calendar, fea¬turing nude photos of women from NorthernIllinois University, University of Illinois,and Illinois State University, is due for re¬lease next month according to an article inthe Daily Northwestern.Sidestepping many angry women’sgroups and numerous petitions, Northerngraduate Frank Trebusak says 20-35 womenfrom each school have applied to modelnude or topless for his calendar. However,he claims he is selective and is only lookingfor women in the “36-24-35” range.Who You Gonna Call?...Six entrepreneurial freshmen at our fac¬simile in the East, Harvard University,have formed a late night delivery service —and it is not pizza. Calling themselves“Sperm Busters”, these gentlemen will de¬liver condoms to any student’s door. TheHarvard Crimson reports that these youngIvy Leaguers will deliver condoms from8:00pm-2:00am with a specialized ratestructure. The regular rate is 75 cents (de¬Divestment policyhomes, to have an influence. At their best,in short, they used what they exist to do inorder to do what they could, and, onceagain, there were public forums, as well, inwhich, as individuals, academics andothers, might take action and might expresstheir views. Now on the issue as to whetherthe worlds of economic power would not col¬lapse if our Board of Trustees were to saywe don’t want any of your stock, you can’t believe that. That’s not the way the worldworks; that’s not the way in which the worldwould react even to our very excellentBoard. And I say to you again, that the useof a presumed economic power in order toenforce a particular view or a particular ac¬tion on a corporation would also put us in theposition of not really having a very good ar¬gument when they tried to do that to us. AndI take that very seriously. livered within 30 minutes) and the “God INeed It Now” rate ($1.50 and deliveredwithin 3 minutes).The group’s motto is “We guarantee tocome before you do.” Needless to say, theadministration is not pleased.Some Kind Of Party...Four University of Maryland students, su¬spected of being members of a bizarre Sa¬tanic cult, have been arrested on numerouscounts of animal cruelty along with variousdrug charges.It seems that the students like dead ani-BLOOM COUNTYThe management of thisFe/rrm, m conjunctionwith bio no peaches"poseurs the followingAEROBICS INSTRUCTIONFOR TUB PUBLICS BENEFITA HEALTHY UNO FIT CONICSREAPER ISA LAUGHING ANPJOYOUS COMCS REAPERSOME MA Y WISH 10 CONSULTA PHYSICIAN BEFOREATTEMPTING THESEEXERCISES.BLOOM COUNTYA goop m to winpUP YOUR 3T0 MINUTESOF SPECIAL BLOOM COUNTYAEROBICS IS TO SPENPAN HOUR OR TWOpumping a urne iron .C'MON ' LET'S GETPHYSICAL FLABBYCOMCS REAPERS ' mals. Police found 29 cat heads floating in a“foul smelling liquid” in a 55-gallon drum.Sources also say the pelts of cats, goats,rabbits and dogs were found stapled to thewalls and floors, along with satanic paint¬ings and devil’s faces painted on the doork¬nobs. (And we thought things like that onlyoccurred at BJ.)The university suspects that the animalswere taken from the zoology lab, yet it isquite difficult to prove. Police acknowledgeit is possible that the animals were deadwhen the students obtained them, and if so,cruelty to animal charges will be dropped.by Berke BreathedThank you for joining along /PEACHES HAS XHEPULEP THENEXT WORKOUT FOR TUESPAYAPRIL 9, ZOtH SEE YOU THEN 'by Berke Breathed...IFWEIGHTS AREN'TAVAILABLE ALMOST ANYTHINGHEFTY WILL SUFFICE ' l\r THE SAME VME, WORK OFFTHAT POST-AEROBIC TENSION WITHA JAUNTY. BRISK WALK / RHP THEN REWARP YOURSELF WITH IA CUCUMBER SALAP ANP AV0CAP0 \YOGURT. .. YOU RESERVE IT. MR HEALTHY'Nationalpact” on campus SDI research by encour¬aging those who have qualms about StarWars to delay seeking SDI funds.“We’ve already heard from a number ofpeople who are sitting on the fence,” Weiss-man says.“If they thought Star Wars was unstopp¬able, they'd give up and take the money.”Last week, for example, 28 of the 47members of the Ohio State physics depart¬ment signed the petition. The signers pledgenot to take any Star Wars research money.About a third of Harvard’s physics de¬partment faculty also signed the pledge lastweek, stating they didn’t want receipt of agrant to imply they support the program.At some schools, however, the petitiondrives have triggered a counter movementof sorts.The University of Michigan trustees ap¬proved a resolution last month encouragingprofessors to accept SDI contracts after onetrustee suggested some professors might beinhibited from doing so because of the wide¬ spread criticism of Star Wars.The two teams of Michigan professorshave accepted SDI funds.The primary goal of the anti-Star Warspetition drive, Weissman says, is to under¬mine the program by undercutting publicand congressional support for it.“Up to now. people have been snowballedwith ail this crap that it will solve the nu¬clear war threat,” Weissman says.“We’re trying to let them know what afraud it is, and in that respect we’re on theright track.”CorrectionThere were two errors in a table onUniversity enrollment that ran in our Oc¬tober 29 issue. The correct figure forAutum 1980 College enrollment was 2755students, and 2569 for Autumn 1980 profes¬sional schools enrollment.The Maroon regrets the error.* Crime Map•BURGLARY — BATTERY 4 THEFTThis information was compiled from 24-hour crime reports obtained from Chi¬cago Police dated October 25-30. Put the pastin yourfuture!LIVE IN AN HISTORIC LANDMARKThoroughly renovated apartments offer generous floor space com¬bined with old-fashioned high ceilings. Park and lakefront providea natural setting for affordable elegance with dramatic views.—All new kitchens and appliances—Wall-to-wall carpeting —Resident manager—Air conditioning —Round-the-clock security—Optional indoor or —Laundry facilities onoutdoor parking each floor—Piccolo Mondo European gourmet food shop and cafeStudios, One-, Two- and Three-Bedroom ApartmentsOne-bedroom from $555 • Two-bedroom from $765Rent includes heat, cooking gas and master TV antennaCfOmdermerejftoMse\&A 9 ITao* 41642 East 56th StreetIn Hyde Park. across the park fromThe Museum of Science and Industryfyual Housing Opportunity Managed by Metroplex. In.20—The Chicago Maroon—Friday, November I, 1985Ofl/ QbpQbaoid&€£& and\A£uAaelJsormcvt ^^*ertaluudcomnicntnty onpereonal/koctalpresentation I“Hair care consciousness is sweep¬ing the nation/* exclaim the foremostsociologists of our day. Mousse, gels,weaves and ornaments abound. But itis so difficult for some of us more pe¬destrian types to visualize a new hair¬style, one that takes advantage of thosegodsent innovations. Heavens, it ishard enough to imagine oneself with adifferent tint or part.FOTQ has prepared this exercise tohelp liberate you from your hairstyledoldrums. Cut out the styles shown andpaste them on the pictures of thesecampus figures. Evaluate the hair¬styles in terms of practicality, original¬ity and flair. Finally, repeat the exer¬cise with a snapshot of yourself. Sharewith friends and explore those hair¬styles you and your friends find mostattractive.The Third StringWorld Series coachesBy Dennis A. ChanskyA CLASSIC RESIDENCEINACLASSIC LOCATIONFIFTY-TWO HUNDREDSOUTH BLACKSTONETHE BLACKWOODLuxury, high rise apartmentbuilding in the Hyde Park area nowoffering a limited selsction of oneand two bedroom apartments.Situated near the Illinois Central,University of Chicago, HarperCourt and only a short walk fromdie lake, our apartments feature cen¬tral air conditioning, individuallycontrolled heat, ceramic tile, securi¬ty intercom, new appliances andwall to wall carpeting. Onebedrooms from only $450, twobedrooms from $575. Ask about ourstudent and faculty discount.684-8666TFOTQ'i'ESSAY iTo Win a $25 Marshall Fieldlsift certificate, Lunch with |the authors and ■Publication with Icritique, write on |j"What Fashion}LMsau&jtftMe"!Rugby team tries to recoverThe University of Chicago Rugby Foot¬ball Club hosts Loyola this Saturday at 1:00in an attempt to salvage a season marred bythe loss of 11 starters, numerous nagging in¬juries, disorganization, and questionablescheduling.After a competent but unspectacularshowing in the season opening CARFU tour¬nament, the inexperienced ruggers havebeen streamrolled by premier sides fromNotre Dame and Elgin before making astrong showing last Saturday against theWest Side Condors. Playing teams alreadyin mid-season form is an ubiquitous prob¬lem for U of C teams starting their fall sea¬sons which has been aggravated by the lossof so many experienced players. Only thislast weekend has the Maroon passing gamebegun to reflect an organized intent to ad¬vance the ball.The club has begun every game this failconducting tests for the benefit of somnatu-listic athletes and, typically, fell behind 16-0to the Condors before charging back to a 16-13 halftime deficit. Wing-Forwards MikeEttinger and Ed Michaels led the revitaliza¬tion in support of strong passing along theback line. Ettinger, in partial reparation forthe dismal showing of his rookie season asMatch-Secretary, scored all Chicago’spoints on spectacular dashes of 25 and 32vards, complemented by kicks of 22 and28.Despite constant pressure, Chicago wasunable to break the Condors’ defense duringthe second half. With fullback Clive Landissidelined with a concussion, a fortuitousbounce off a Condors punt resulted in a trythat drained the spirit from the Maroon sideand concluded the scoring at 20-13.Although disappointed, the young Chicagoteam gained valuable experience both onthe field and in the subsquent party. In thelatter, President Douglas Hadley led theMaroon Crew Team to a surprise Victory,along with a comparatively painless loss inthe short singing session that followed. Dick and Whitey, Whitey and Dick. Whichone should I write about first. Dick. I alwaysthought Dick was a loser. I guess I waswrong. It turns out that Dick Howser is justa slow winner.I tell you, if the baseball season was still154 games, no one would ever know aboutHowser. He has never managed a team thatfinished lowrer than second, but his teamsusually take 160 or 161 games to reach firstplace. I suspect that if, God forbid, the sea¬son was extended to 173 games, Howser’steam would never finish lower than first.The reason I thought Howser was a loserwas the fact that his post-season recordstood at 0-11 with two different teams beforehe got his first win. In the previous threeLeague Championship Series Howser wasin, his teams were swept 3-0, 3-0, 3-0. Thisyear, the first LCS to be played 4-of-7,Howser’s team fell behind 3-1. If it were anyother year, Howser is still a loser. But due tothe owners’ greed for extra televisionmoney, Howser had the time he needed towin.Then he finally got to the World Series,where it’s always been 4-of-7. No problemfor Howser. Spot the Cardinals a 3-1 lead,but still win, four games to three. That’sgood stuff.But, if Howser keeps winning four gamesto three, he will have to win four moreWorld Series to even off his post-season re¬cord.But how about that White Rat. I havealways disliked him. I think the Cards should have fired him after the awful ’83season they had. Whitey was out of controlthat whole season, and if you don’t re¬member what the Rat looks like when he isout of control, just look at a tape of the sev¬enth game of the Series. It was a horriblesight, to be sure. Not a single person on thatteam knew where to look. And where wasWhitey? In the shower, with his number twostarter.But, the worst thing about the Rat is hisability as a general manager. He stinks as aGM, no question about it. He failed to real¬ize that the Cardinals had won nine WorldSeries because they always had one or twopeople to look to to get done whatever had tobe done. In the thirties, they looked toDucky Medwick. In the forties, Stan theMan carried them on his back. In the six¬ties, Lou Brock and Bob Gibson rewrote theWorld Series record book. In 1982, KeithHernandez and Bruce Sutter were the pointmen.But Whitey turned the Cardinals into ex¬actly the team he wanted. He sent awayHernandez and failed to resign Sutter. Hetrusted that Jack Clark would turn out to bea winner. Well, there was no evidence to in¬dicate that Clark was a winner, and therereally is not any now. Sure, he hit that homerun in game six against the Dodgers, butMarshall hit one to put the Dodgers aheadthe previous inning. But neither guy is goingto be getting a diamond ring with his nameon it come September.And Whitey found out the hard way aboutJohn Tudor. But once a Red Sox, always aRed Sox, save Babe Ruth. You just cannotbelieve that a guy who has been a loser hiswhole career will wake up one morning inhis thirty-first year and suddenly be cap¬able of being a winner. If you noticed, theDodgers were right about Rick Sutcliffe,weren’t they. Next year, another .500 pitch¬er will have the year of his career, and foolafrery body until the big money is on thetable. I just hope that his manager is a littlemore aware than the Rat was.But these are the closing honors for thebaseball season. There will be no more untilApril. Hold tight, college basketball beginsin another few weeks. Until then, save yourmoney. You’ll need it to bet against Mary¬land with.I you’ve been wanting the AmericanExpress' Card for some time, this is sometime to apply.Because if you’re a senior, all you needis to accept a $10,000 career-oriented job.That’s it. No strings No gimmicks.(And even if you don’t have a job rightnow, don't worry. This offer is still good for12 months after you graduate.) Why isAmerican Express making the Card alittle easier for seniors to get9Well, to put it simply, we be¬lieve in your future. And this isa good time to show it—for we can help in a lot of ways as you graduate.The Card can help you be ready for busi¬ness. It's a must for travel to meetings andentertaining And to entertain yourself,you can use it to buy a new wardrobe forwork or a new stereo.The Card can also help you establishyour credit history, which can help inyour future.So call 1-800-THE-CARD and ask to havea Special Student Application sentto you. Or look for one on campus.The American Express* Card.Don’t leave school without it.SMc tWj Amti-.su L,^(uTfivcl Coin^t*Varsity SchedulesFootballNov. 2 at St. Norbert College* 1:30 p.m.Men’s Cross-CountryNov. 2 UC Varsity/UCTC Open 11 am.VolleyballNov. 1-2 at Conference Championships TBA*Can be heard live on WHPK 88.5 FMTBA - To be announced22—The Chicago Maroon—Friday, November 1, 1985CLASSIFIEDADVERTISINGClassified advertising in the Chicago Maroon is$2 for the first line and $1 for each additionalline. Lines are 45 characters long INCLUDINGspaces and punctuation. Special headings are20 character lines at $3 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 IL 60637 ATTN Classified Ads. Our office is in Ida Noyes Rm. 304. Deadlines: Tues¬day & Friday at 5:00 p.m., one week prior topublication. Absolutely no exceptions will bemade! In case of errors for which the Maroonis responsible, adjustments will be made orcorrections run only if the business office isnotified WITHIN ONE CALENDAR WEEK ofthe original publication. The Maroon is notliable for any errors.SPACEAPARTMENTS AVAILABLEStudios, one, two & 3 bedrms some lake viewsnear 1C, CTA & U of C shuttle, laundry,facilities, parking available, heat & water in¬cluded. 5% discounts for students. HerbertRealty 684-2333 9-4:30 Mon. Fri. 9-2 on Sat.GOVERNMENT HOMES from $1 (U repair).Also delinquent tax property. Call 805-687-6000Ext. GH-4534 for information.Two Bedrm Two Bath Exc. Sec. Immed. Oce.New Carp. Ref. Req. 864-8082 or 440 4360.Female roommate wanted to share double.Live cheap and close to campus at DU. 5714Woodlawn. Call Betsy 753-3444.Seeking student to share H P apt private rm &bth. Fml. blk or 3rd world pref. 667-8532.Roommate wanted: M/F to share sunnyspacious 2 bedrm apt. Near Co-op, 1C. A mustsee apartment. Laundry in building. $325/mo.Avail. Nov. 1. Call 684-3178 for Don or 288-5248(message)3 Furnished Rooms Avail. Imed. For Rent59th. St. Blackstone Call Eve. 667-6597.SPACE WANTEDGrad seeks apt or room near 59th. Will acceptvariety of arrangements, after 6pm. 896-7357.PEOPLE WANTEDGOVERNMENT JOBS $16,040-559,230/ yr.Now Hiring. Call 805-687-6000 Ext. R-4534 forcurrent federal list.ACTIVIST STUDENTS and others. Earn $165-S300/wk helping low income citizens fight forjobs, housing and justice. Full/part time. CallACORN 9-noon 939-7492.Security guard Must be advanced grad stu¬dent. Study on the job. Must be flexibleWeekdays, graveyard 4.25/hr. Call Jim 752-8990 after 4.After-school child-care. My home on campus.3-4days/wk. May share. Good pay. Male ok.Call 241-7545 aft 6pm.Secretary with good word-processing skillsneeded by research professor. Please send vitato ISBP, 5741 Drexel, Chicago, 60637.SCIENTIFIC WRITER to assist in the writingand editing of scientific literature. Part-time,self-starter, good writing skills, ability to workindependent ly/2-6690.Film Study Center seeking work-study eligiblestudent interested in film to fill 10 hour perweek position beginning the Winter quarter.Many perks to the job for someone interestedin film. To apply-call C. Mirza at 962-8596 or536-7054.Photographers copy writers and all around funpeople needed for yearbook staff contact S.Koening or leave mesg in Ida Noyes 208.Japanese speaking guide. Flexible workinghours. No experience needed. Call 363-6214 Sue.Interested in learning Japanese harp? Pleasecall Emi 241-7068.Mystery shopping for fast food chains. CallMiss Brown, K&A Research, 1 800 826-1602.PART-TIME SURVEY ASSISTANT fordowntown management consulting firm. Mustbe excellent typist w/experience working in office setting. IR, B-School, Hospital Admin.Students would be ideal. 10-20 flexiblehours/week. 7.25/hr. Call Ellen Bernstein, 782-5589.SERVICESJUDITH TYPES and has a memory. Phone955-4417.LARRY'S MOVING & DELIVERY. Furnitureand boxes. Household moves. Cartons, tape,padding dolly available. 743-1353.UNIVERSITY TYPING SERVICEWordprocessing and EditingOne block from Regenstein LibraryJames Bone, 363-0522Trio Con Brio Classical & light popular musicfor weddings & other events. Call 643 5007.Humanology therapy creates mental spiritual,physical strength for you. Call R Gilkey RHTNLP 493-7JZ8. Disc, to staff, tac, & stud. BOOKCASES-Custom-made from solid oakbirch or pine, and delivered stained, oiled, var¬nished or painted. Call David Loehr at 684 2286.Professional typing service. Good reliable service large or small projects. Reasonable competitive rates. 752 6972.Typing: Exp with student papers. 684 6882.FOR SALEDo you send videos to friends or relativesoverseas? Convert them to PAL or SECAM atVideo Conversions International. Call forspecial rates! 726-6556.WOODEN DRESSER 5'x3', nine drawers goodcondition. $30.00. Twin mattress $5.00. DeskLamp $5.00, Metal Shelf three tier $8.00 538-4815.83 caprice wagon, 9 passenger, all power greatshape, 35k miles, $7000 268 9573.77 Chevy Nova 1500 or best offer 752-2003 or 6646177 keep trying!SCENESFICTION READINGS Come to Jimmy's 1172 E55 every Sunday 3:30-5. It's better than a Play!Overseas Development Network, a student-rungrass-roots international developmentorganization, will give a slide show and presen¬tation in Pick Lounge, Monday, Nov. 4, from11:30 to 12:00. All interested in internationaldevelopment please come!PETSChange from earlier ad: When we went to thepound to redeem Midnite, she was not there.Presumably she has been euthanized, althoughthe City has no record of her other than therecord of her capture. In memory of Midnite'sfriendship, a donafion will be made to Save-A-Pet, Inc. of Palatine. 1FREE ORGAN RECITALSThomas Wilkman plays the beautiful baroqueorgan at Chicago Theological Seminary 12:30PM every TUES. FREE. 5757 S. UniversityAPHERES1S DONORSWe Need You. In the past if you have been anapheresis donor or if you would like to be one,call the Univof Chicago Blood Bank 962-6247.THE MEDICI DELIVERSDaily from 4p.m. call 667-7394.UNSURE ABOUTABORTIONDO YOU HAVE OPTIONS?Free pregnancy counseling with licensedclinical social workers. Free pregnancytesting also available. Call 561-5288.FEELING DEPRESSED& DOWN?If so, you may qualify to participate in a studyto evaluate medication preference. Earn $150for your participation in this 4-week study. In¬volves only commonly-prescribed or over thecounter drugs. If you are between 21 & 35 yearsold and in good health, call 962-3560 between8:30 & 11:30 a m. for further information.Refer to study D. Ask for Karen.AMIGA IS COMING256K ram, only $1,295.Call Cybersystems, Inc. 363-5082.COLUMBIA UNIVERSITYIN THE CITY OFNEW YORK SCHOOLOF INTERNATIONALANDPUBLIC AFFAIRSFor those interested in the Master of International Affairs or Master in Public Administration, MarJean Knokey, Assistant Dean of theSchool of International and Public Affairs Col¬umbia University will be on campus, Thursday, October 31, 1985. Sign-up at Career Placement Center, Reynolds Club 200. Small groupmeetings from 12:00 to 2:00.MACINTOSH512K UPGRADE $299Upgrade your 128K Macintosh for only $299.Full 90 day warranty on parts and labor. Freepick-up and delivery in Hyde Park area. Toorder please call 363 5082.Cybersystems, Inc.Developers Of COmontpr h^rdu/aro anH ccMware. EDWARDO'SHOT STUFFEDDelivered right to your door! Edwardo's-thesuperstars of stuffed pizza. Open late everynight. Call 241 7960 1321 E .57th St.-241-7960.LOX! BAGELS!Hillel has a brunch every Sunday 11 to 1pm at5715 S-Woodlawn. Lox, bagel & cream cheeseplus Sunday Trib, NY Times, coffee, tea & OJAll for $2.00ANTIGONE-CGTCONCRETE GOTHIC'S LATEST PRODUC¬TION. Tickets on sale NOW in Reynolds Club.Discounts for advance sales. $3.50 with UCID.$4 & $5 at door, call 684 2319 for res.FICTION WORKSHOPA few seats open. Intense, unique, proven. Sunnoon. Fee $195. Call Molly: 667 0673.OVERSEASDEVELOPMENTNETWORKa student-run, self-help, grass-roots international development organization will be oncampus Monday, Nov. 4, from 11:30 to 12 inPick Lounge. Anyone interested in international development or in starting an ODNchapter at U of C is urged to come.GRADUATING? UNSURE?No one will ever believe you graduated if youdon't get your picture in the YEARBOOK signup Nov 4-8 Reynolds Club 1ST FL 10am-3pm.ARTISTIC BRAINSTORMIf you are interested in working on or have anyideas about F.O.T.A., Festival of the Artscome talk Mon. Nov.4 in Ida Noyes 218 6:30pm.JEWISH WOMEN INSCIENCEDr. Susan Meschel, will speak at Hillel FridayNovember, 1, 1985 8:30pm on Jewish women inscience she will speak about several womenfrom the 1st century until the present.PERFORMANCE TICKETSThe International House has discount ticketsavailable to the performance of CATS on Fri.,Nov. 8, and to Lyric Opera performances, AN¬NA BOLENA on Thurs., Nov. 14, and ICAPULET & I MONTECCHI on Fri., Dec. 6.Call 753-2274.BABYSITTER WANTEDExperienced babysitter needed to sit part-time(15-20hr/wk) beginning now mothers helper toshare newborn/toddler call evenings 667-8429.FOLK DANCE CONCERTUC's 23rd International Folk Dance Concertfeatures dance groups Wakayagi Shiyu, ukrania, Serbian Youth Ensemble,, The FlatleyBrothers, and more. 8pm Sat. Nov 2, MandelHall. Tickets $6, $5 students. VARSITY SOFTBALLOrganizational meeting for anyone interestedin playing varsity softball Tuesday, Nov. 5 at6pm in the Henry Crown Field HouseClassroom. Contact Coach Vance if you cannotattend. Bartlett Gym 127 962-9556FANTASY GAME RSThe Fantasy Gamers meet Saturdays at noonin Ida Noyes. Stop by for a day of role-playing,board or war gaming. Pendragon, SpaceMaster, V&V, AD&D weekly. Diplomacy,Champions often.BRADLEY ORIENTALCARPETS FIFTH ANNUALOPEN HOUSE-SALESATURDAY-SUNDAY NOVEMBER 9-10 11A M.-7 P.M. I am happy to announce my fall1985 showing. Having completed my fifth yearat the U of C and a summer filled with travelsabroad, I have returned with high qualityhand-picked carpets. Each piece is unique andselected from small family-run workshopswhere meticulous care has been taken increating each carpet. The exclusive selectionto be shown includes carpets of all sizes, colorsand designs. Unlike commercial carpetretailers who purchase rugs UNSEEN and inMASS quantity, I feature one-of-a-kind carpetsfor less. Having sold to Hyde Park residentsand U of C personnel for years, I have impec¬cable references and numerous satisfiedcustomers. Recently a major Chicago shopping guide awarded me with a FOUR-STARrating. FOR ADDRESS INFORMATION,PLEASE CALL DAVID BRADLEY AT 2880524.POETRY READINGThe Morton Dauwen Zadel Fund of the depart¬ment of English presents a poetry reading byGjertrud Schnackenberg, author of TheLamplit Answer, Thursday, Nov. 7 at 4:30pmin Harper 103. A reception will follow thereading.DISTRIBUTORS WANTEDFull/part time, students accepted. Sellgrowline of herbal health & beauty products (ie diet skincare, etc). Need money in im¬aginative, want to set your own hours. CallAudrey, Glover Enterprises, 304-2356.While you waitFlyersBroadsidesHandbills100 4.50500 16.50lOOO . . . 25.508 : x 11 BondFrom Your Camera Ready CopyVIVID COLORS AVAILABLEFOLK DANCE FESTIVALLearn ethnic dances from the best at thisyear's Fall Folk Festival, featuring Dick Crum(Balkan), Andor Czompo (Hungarian), andDavid Henry (Greek), Nov 1-3 at Sunny Gym,5823 S. Kenwood. Workshops Fri 8pm, Sat, Sunat 9, 12:30 and 3:30. For more info call John324-1247 or Tom 363-5214. Copyworks LtdTHE COPY CENTER INHARPER COURT5210 S Harper • 288 2233MON FRl. 8 30 6:00 - SAT 10The Chicago Maroon—Friday, November 1, 1985—23UNIVERSITY OF CHICAGO EMPLOYEESTHE HYDE PARK-KENWOODCOMMUNITY HEALTH CENTERjoinsMICHAEL REESE HEALTH PLANEffective January 1, 1986The Hyde Park-Kenwood Community Health Center, 1515 E. 52nd Place,will become part of Michael Reese Health Plan on January 1, 1986. Physi¬cians, staff and hospitals currently associated with the center will continueto serve members at the same location. The center previously has beenavailable through HAP.RATES(fulltime employees)Michael Reese Health Plan Individual $0Family $00* Open House. Michael Reese Health Plan invites you to check us out atan open house at the health center of your choice.Ford City Lincoln Park North Oak Park Logan Square4901 W. 79th St. 1003 W. Wellington 1515 N. Harlem 2551 N. MilwaukeeThurs., Nov. 7 Thurs., Nov. 7 Tues., Nov. 5 Wed., Nov. 6Thurs., Nov. 21 Thurs., Nov. 21 Tues., Nov. 19 Wed., Nov. 206 - 7 pm 6 - 7 pm 6 - 7 pm 6-7 pmHyde Park-Kenwood Lakeshore Evergreen Southeast1515 E. 52nd PI. 2545 S. King 9435 S. Western 2315 E. 93rdCall for an Wed., Nov. 6 Tues., Nov. 5 Thurs., Nov. 7individual tour Wed., Nov. 20 Tues., Nov. 19 Thurs., Nov. 21643-1600 6 - 7 pm 6 - 7 pm 6 - 7 pmFor more informationCall 842-2936 Open EnrollmentNovember 4-724—The Chicago Maroon—Friday, November l, 1985