VOLUME 92 NUMBER 49 AMi[T, CAMBRIDGE, MASSACHUSETTS TUESDAY,, NOVEMBER 21, 1972 FIVE CENTS__ r~~~~~~ .M

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By Walter ']. MiddlebrookApproximately 200 people

gathered at Kresge Auditoriumlast night to discuss the slayingsof two black students asSouthern University.

The rally at Kresge was theclimax in the Boston area of anationwide day-long protest andmoratorium concerning thedeaths of Denver A. Smith ofNew Roads, Louisiana andLeonard Brown of Gilbert,Louisiana. The other memorialservices ima the Boston area wereheld at Boston College, BostonUniversity, Harvard University,and Brandeis University.

Monday's actions were theresult of meetings which tookplace across the country duringthe weekend following thekillings.

Speaking at most of the ser-vices in the Boston Area wasSister Ama Saran, a student atSouthern University, at NewOrleans. As a representative ofthe thousands of students hi theSouthern University system, Sis-ter Ama, as she was referred toby her cormpany, reiterated thatthe stories that had been re-ported from the students on theBaton Rouge campus were true.She also -disavowed that therewas any truth in the reports ofthe police and state troopers,and the Governor's office.

Sister Ama also relatedaudiences how the situation is inLouisiana since the slayings. Shepointed out that the studentbody on the Baton Rouge cam-pus began a strike of classes onOctober 22. "A few days later,realizing the strugde of ourbrothers on the Baton RougeCampus, the student body onthe Mew Orleans campus vsotedto boycott classes for a day in ashow of solidarity for those inthe Baton Rouge campus. Butdue to a lack of response fromthe administration, the New Or-leans campus voted an all outstrike." Since that time, the sit-uations on both campuses be-tween students and administra-tion was in limbo with neitherside able to deal with the others,she reported.

last Monday be observed as aday of moratorium, and thatnext Monday be used as the firstday of a nation wide studentstrike.

Long before any ot the newsmedia in the city began to coverthe events at Southern in detail,WTBS began a grueling campaignfor support and facts regardingthe incident by way of one of itsprograms, the Ghetto. Sincetwelve midnight on Thursday,the Ghetto has been carryingconstant coverage of the eventsthat went on in Baton Rougewith recorded telephone reportsfrom the campus and interviewswith people who knew what wasgoing on in Louisiana and Bos-ton. The Ghetto and the BlackStudent Union of MIT have initi-ated "Project Concern" - a re-lief fund for the families of slainstudents and for the workers onthe SU campus who haven'tbeen paid in weeks.

On Monday, MIT PresidentJerome B. Wiesener and Chan-cellor Paul E. Gray issued a jointstatement supporting the feelingof members of the MIT com-munity who "condemn the useof deadly force at Southern Un-iversity and who mourn theneedless deaths which occurred.We suggest that individuals fol-low the dictates of their con-sciences concerning attendanceat class on Monday."

emeWhen asked about the sup-

port for the students from theblack community, she replied,"From the community our sup-port has been over-whelming,parents, workers, students fromother campuses in the city, andresidents of the state are doingall that can be done in ourstruggle." She was rather upset,however, at the lack of responsethat had been received from theblack faculties on the campuses.She did point out that somefaculty members had shownsome sense of concern and as ofthis date, six of those professorshad been asked to remove them-selves from the campus.

Since the wake of the BatonRouge violence, student organ-izations across the country havebeen carrying out thier own in-vestigation of the matter andpresenting their own protests ina solidarity movement for thestudents in Baton Rouge. OnSunday more than 100 schoolssent representatives to a nationalmobilization meeting on theNew Orleans campus. The Mas-sachusetts-Rhode Island BlackCaucus (MRIBC), an organiza-tion which includes most of theschools in the two states, sent acouple of representatives whoreported their findings to anemergency meeting of MRIBC.They reported that the Studentsof Southern U. preferred that

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By Bert HalsteadSander Vanocur, formerly of

NBC's "four horsemen" politicalconvention floor reporters, ana-lyzed the 1972 presidential elec-tion in a wide-ranging discussionThursday with members of thepolitical science faculty.

In addition to several politicalscience professors who were pre-sent, the small conference roomwas teeming with spectators,filling every available corner.

Vanocur began by reading aspeech he had written for deli-very at Yale on a future date,and a free-wheeling question-and-answer session followed.According to Vanocur, "thetrouble McGovern had was, hegot his message across." Hisproblem was that "people choseto keep what they had ratherthan jumping into theunknown."

One of the issues thattroubled Americans during theelection was the question ofMcGovern's competence togovern this country. It is noteasy to answer, however, thequestion of "'how can you mea-sure competence to govern?"Vanocur gave the example thatPresident LyndonI Johnson was

-good at running the Senate, butnot at being President, as hetried tO run the country by"sleight-of-mouth. "

He did observe, though, that"George McGovern cannot fireanyone," citing several examplesof McGovern staffers who hadleaked confidential informationor done other things to thedetriment of his campaign, whowere nevertheless with his staff

(Please turn to page 2)

By Storm KauffmanMIT and the American Broad-

casting Company harve almostcompleted negotiations for aseries of television specials onscience and technology. ABC hasalready begun filming oncamn.pus.

Thle series is to involve sixhalf-hour specials dealing withvarious aspects of science. Thefirst, the subject of which is tobe communications, is scheduledfor airing on the last Sunday inJanuary. The following two pro-grams are planned to be on citiesand healdh.

A crew- has been shootingbackground material around thecampus for several days but be-gan formal flmilng only yester-day. The site for Monday wasthe psychology building.

Provost Walter Rosenblith,who has aworked with Vice-President Constantine B.Shnonmides and Assistant to theProvost Joel Orien on the pro-ject, is "not yet sure if all of thelegal negotiations are finished."MIT made several stipulationswhich must be met if it was topermit filming. A letter was sentto the New York headquartersof ABC requesting confirmationof the latest agreement. Al-though filming has begun, noreply has been received.

·The agreement calls for MITto act as consultant and advisorfor the series. Rosenblith saidthat the Institute ;"would wel-

.come this opportunity to blend

science and technology withhuman affairs in one program."

The Institute will provide"'advice and expertise." Facultyand staff will be available on anindividual basis and MIT will inno way require anyone'sparticipation.

ABC and MIT are cooperatingin deciding the tonic of eachshow. The network is respon-sible for all broadcast technicali-ties including the legal clearingof the content, and the Institutewill check for scientificaccuracy.

The condition which held upnegotiations was MIT's inlsis-tence that it have control overcontent and advertising. Thereare to be no service or productcommercials, only institutionalads, during the programs.Rosenblith said that presentlyone sponsor is lined up for theseries. If any more are acquired,it will be at MIT's discretion.By Robert Elkin

The cost of Xerox copying tothe MIT community will be re-duced under a new pricingschedule announced by MITGraphic Arts on Friday. -

The new prices, effectiveDecember 4, will be three centsfor the first ten copies, twocents for 11-20 copies and onecent for 31-100 copies; theschedule starts over again atthree cents for orders over 100copies of a single original. Theold rate is 5-3o2 cents.

The new rates are aimed pri-marily at those customers whoneed a small number of copies ina short period of time. Bylowering the unit costs to de-partments, the Institute hopes toeliminate the more expensiveand smaller copying machinesfound in' many offices. Add-tional equipment is currentlybeing -added by Graphic Arts tohandle the expected increase inbusiness.

All members of the MIT coin-

muanity, including studenrts, canuse the Grahpic Arts Quaick-Copy copying facilities, locatedin the basement of Building-3,on a cash or charge basis.

James Coleman, Director ofGrahpic Arts, attributed the re-duction im prices to the con-tinued increase in volume. Arecently completed study re-vealed that the new rate sched-ule was economical if maximumproductivity continued to beachieved on the presentequipment.

It was recently reported thatthe Coop had been planning toinstall its own 3-2-1 copyingserice at its MIT store. It de-layed its installation upon therequest of MIT Vice-President ofOperations Philip Stoddard, whois also Clerk and Vice-Presidentof the Coop. Stoddard asked forthe delay so that his office andGrahpic Arts could complete thestudy which resulted in the newprice schedule.

Photo by Joe KashiConstruction began yesterday on the combined ATO and KS fraternity in the Burton Parking lot.

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* The Freshman Advisory Councilis. looking for undergraduates interes-ted ian becoming Residence/Orienta-tion Week Coordinator, The Coordi-nator is in charge of all phases of R/Oincluding spring planning, summerdevelopment, and September execu-tion. The Coordinator is expected tospend the summer in the Cambridgearea. The job is approximately fulltime from August 22 to September10..Salary is commensurate with thesix to eight week full-time equivalentcommitment. For more details seePeter Buttner or Nancy Wlheatleybefore December 1, at the FAC,room 7-103, x34-6771.

* A panel discussion, "Israel andthe Middle East" will be held onWednesday, November 29 at 8 pm inthe Mezzanine Lounge in theStudentCenter. Speakers will include NaomChomsky, Uri Davis, and Fawzy Al-Asmau. Sponsored jointly by theArab Club at MIT and the TuftsHillel Non-Zionist Caucus.

* Di. William G. Perry, Bureau ofStudy Counsel at Harvard University,will discuss "Causatio in Teachingand Resistance in Learning" at theMIT Education Division Colloquium,Wednlesday, November 29, 12 noon,room 9-150. Open to the public.

* Needed: One course VI graduatestudent to fill position as studentrepresentative- on the electrical engi-neering dept. Committee on Gradu-ate Students. This position is avail-able immediately. For more informa-tion, contact J. Samnson 26-311,x34174.

* The MIT Festival Jazz Ensembleunder the direction of HerbPomeroy, and the MIT Concert JazzBand, directed by Everett Long-streth, will present their annual faUconcert of modern jazz on December1, 1972 at 8 pm in Kresge. Freetickets will be available to the MIT'community in the building 10 lobbyduring the week of the concert.There will be a charge of one dollarfor tickets at the door.

figures" to support his policies.Then "those code words startedto get after McGovern." He waslabeled with words such as "acti-vist" and "radical" and charac-terized as supporting "busing"and '"welfare" and "beggingHanoi," words which have littlereal meaning, but carry dis-agreeable connotations.

Basically, though, accordingto Vanocur, people just do notwant truly honest, open govern-ment. He quoted the captionfrom a cartoon: "Listen, Nixon'snot dumb. If the countrywanted moral leadership, he'dgive it moral leadership!" Stated

Vanocur, "I cling to the notionthat... political leadership isjust that, political leadershiip,"but President Nixon said in oneof his speeches, "I totally rejectthis philosophy... I am goingto respect and reflect theopinion of the people."

Vanocur's reaction to thispolicy of '"followership" is thatalthough the President's powerto impose may be- limited, hispower to persuade is large, andshould be used. "The public. ..is looking for basic, reliableguidelines to guide them out ofthe social and e co nomicmorass."

Vanocur concluded, "I thinkthere is an erosion of liberty inthis country," pointing out thatdemocracy includes the protec-tion of minorities, too. In thisarea, though, he said, there isroom for leadership, as someactions may be unpopular butnecessary for the greater good ofdemocracy.

(Continued from page I)until the end. Vanocur asserted,"that is a reasonable measure ofcompetence," and not a veryreassuring one.

The prime example of htistendency is, of course, theEagleton issue. On that subject,Vanocur claimed that McGovernshould have decided immedi-ately what to do about Eagletonif he wanted to score points withthe American electorate. He alsofelt that the long parade ofpossibilities to replace Eagletonas the Democratic Vice-Presidential candidate didnothing for McGovern's public

image. V7anocur made the point,however, that "the bureaucracyruns the country -anyhow," andthat perhaps the role' of theWhite House should not be to"govern," bult rather to definenational goals.

Vanocur also addressed thequestion of '"when didMcGovern's thinking start to getradical," and why didn't he staycloser to the "middle-of-the-road"? Said Vanocur, citingwhat- he sees as the volatility ofthe Amnerican public, "I don'tthink there is any middle-of-the-road." Rather, claimed he,"McGovern just didn't have the

Dorchak on the phone. By mid-afternoon, having failed to reachDorchak, he called LarryEisenberg, former housepresident.

Sorenson told The Tech thathe "preferred to let housegovernment handle such mat-ters," and asked if they wouldbe willing to do so in this case.They were, and no other campusorganization took any majorpart in the rernoval of the plantsTfrom Burton. By 8 pm Fridaynight, one of the officers wasable to report. that- the matterhad been taken care of.

There is some dispute as tothe nlumber of plants involved.The persbn responsible statedthat they were "strictly for per-sonal use," although other infor-mation made the case soundmuch closer to the line betweencommercial and personal.Apparently everyone in the suiteinvolved knew about the plants,but thought it was a small affair.

D5orchak characterized it asan '-isolated incident" statingthat he knew of no other casesin the dorm. He added that therewas 'no widespread fear" at thetime of the removal in spite of

false rumors that the Cambridgepolice were involved or that a'bust of Burton was imminent."Authoritative sources pointedout that possession of suchplants is a crime, and that theirimmediate removal was nreces-sary; but that at no time werethe Cambridge police called in.

All persons involved called it'a very small incident," andstressed that it had been handledquietly.

By Paul SehiadlerA potentially dangerous situa-

tion involving a student InBurton House and his "garden inthe closet" was defused Fridaynight by Burton House officers.

Ed Dorchak '73, president ofBurton, who was, joined byEarry Eisenberg '74, a former-Burton president, and RichardSternberg '74 of Burton Jud-cormm were the house officersinvolved, in what Dorchakcharacterized as "a small thing,which we cleared up quietly andwith no sense of impendingtrouble."

The student,.according to re-liable sources, was growing a"fair number of plants" inwastebaskets in his closet, usingartificial light. Joseph P. Lynch,manager of Burton andMacGregor Houses, learned ofthe plants, and reported them tohis boss Eugene Brammer, headof housing and dining.

Lynch explained to The Techthat his call was a personal de-cision, "In mya opinion, it ;asnot a good.idea for thiis to begoing on in Burton. We haveoutside inspectors coming in allthe timle, and some of them areofficials. It could easily havebecome a ridiculous blown upfarce. I thought it could beended quickly and quietly." Headded, "It was a small actiontaken in a quiet way to dispelthis activity at the start."

Brammer told The Tech thathe followed what could be called"standard procedure" in callingRichard Sorenson, associateDean for Student Affairs.Sorenson got the call about 9: 15on Friday morning, and spentmuch of the day trying to get

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* Freshmen and npperclassmen:The Freshman Advisory Council hasinitiated a proposal to include stu-dent quotes in the 1973 edition ofthe Freshnwn iandbook. Studentsinterested in helping finalize the pro-posal, and (if the proposal is ap-proved) in gathering and editingquotes for the Handbook should stopby the FAC Office and see NancyWheatley.

* Six Units Credit Over IAP! Stu-dents interested in earning credit forinterviewing as few as six peopleresiding in their home areas are urgedto contact Neal Vitale (dl 8782), DanGantt (at 8786), or leave messages atThe Tech., x3-1541 immediately.

Thle Finance Board of theUndergraduate Associationwill hold a Special ElectionMeeting on Monday, Nov. 27at 8:30pm in room W20400.For further information, con-tact any Board member (seeTshe Tech, November 10, fornames) or call x3680.

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TE TECH TUESDAY. NOVEMBER 21,1972 PAGE 3

By Paul SchindlerTwo Delts .and a man from

DU distinguished themselves lastThursday morning in their pur-suit and capture of a young girl'sknife-wielding assailant.

The trio, Drew Jaglornm '74and Neil Lieblich '76 of DTDand Paul Benton '75 of DU,witnessed the stabbing of19-year-oid Robin Lefkcowitz onBeacon Street last Thursdaymorning at.about 1:40 am.

The process began with aphone call to the Dell house atabout 1:35 am/ by a voice whichsaid "If you want your swim-ming trophy back, check page97 of the phone book at Mass.Avenue and Beacon." Jaglomand Lieblich proceeded to thephone booth almost immedi-ately. (DU later admitted tohaving placed the call in anattempt to ascertain whether theDelts had, in fact, lost theirtrophy.)

Whenf they got there, theyfound three phone boothIs onone corner and two on another.As they checked the outside twoof the three booths, they heardLefkowitz in the center boothscreaming, "I'm not cominghome again. You can't talk meout of it."

At this point, the two Deltswalked across the street to checkthe other booths, with Leiblichkeeping a casual eye on the girl,whom he later described as"very upset." Finding nothing inthe two booths, they returned tocheck the booth Lefkowitz hadrecently vacated. As Jaglomchecked it, Lieblich suddenlynoticed a man near the girl,struggling with her (the man waslater identified as twenty-year-old Gerard SIater); he shouted"Look, there's sormethinghappening." The girl screamed.

At this point, Jaglom andLieblich ran to help the girl.Lieblich stayed with her whileSaglom chased the man downBeacon towards KenmoreSquare. He was joined byBenton, who had been watchingthe phone booth to see if some-one from DTD would reallyshow up. The two gave chase upto the point where Beacon andBay State Road split.

At this point the assailantstopped running, and was slowlybacking away from the pair. Inthe meantime, a group of DU'swho had been watching Bentonand the phone booth for actionon their hack saw the chase andcame down to assist. The groupwas able to subdue Slater, andwalk him back towards Mass.Avenue. He began to strugglewhen he saw the police coming,so five people grabbed him andcarried him to the waiting policecar (dissimilar reports appearingin the Boston Globe are, ac-cording to witnesses, untrue.)

Slater, who was obviouslystoned according to Jaglorn,Liebllich, and Benton, keptsaying that he had done nothingand taken nothing.

But Lieblich, who had stayedwith - the grl, noted bloodsoaking her blouse, apparentlyfrom some .wound in the ao-"domen (it latr proved to be alarge knife. wound). He placed·her on her back on the groundand applied pressure to stop thebleeding. People started to lookout their windows, so he yelled"Call the police, she's beenstabbed."' The 'police arrivedabout two minutes later, just intime to pick up Slater, who waspositively identified byLefkowitz.

In spite of her wound, the girlwas adamant about her addressbook which had fallen on theground. "Make sure my friendsget it. Don't let anyone else getit," she said repeatedly. Officialswere investigating the case as ofpress time Sunday night.

Lefkowitz was four monthspregnant, and had run awayfrom home. She was placed inthe hospital to recover from theknife wound; her parents werenotified, and she was reconciledwith them by her release thenext day.

Slater was arraigned on Fri-day, with a hearing set for No-vember 24. He was also slated tobe tested for his mental capacity

-to stand trial.None of the MIT students

involved in Slater's apprehensionwere injured: he apparentlydropped the knife soon after hestarted running.

write-in campaign conceived byH entry of MacGregor House,Phil Esposito placed fouLrth withover $95 as the "Ugliest Man onIce." Dan Dern received $85.35while Laura Lee Downs col-lected $54.33.

As the most repulsive crea-ture on the MIT campus, SteveZeitzew was proclaimed 1972UMOC in a small ceremony heldFriday evening in the StudentCenter. Aside from the obviousprestige afforded by this title,Zeitzew will also be awarded afree dinner for two, courtesy ofAlpha Phi Omega.

The entire proceeds from theUgliest Man on Campus cam-paign will be donated to CARE.

apparently anonymous donorwho chose Zeitzew at random.

A total of over $2055 wascollected through UMOC forCARE this year. Jeff Schweiger,APO chairman for UMOC, re-ports that, "we are very pleasedwith the amount collected, eventhough it is somewhat less thanlast year's total." He added thatperhaps the Bangladesh disasterhad helped bring in extra contri-butions for the 1971 contest.

Curtis Reeves, the frontrunner throughoat most of thecam p aign, finished a closesecond with a total of $556.78.The Appostrated Man came inthird with $503.43.

Spearheaded by a last minute

By Tom BirneyIn a closely fought campaign

Steve Zeitzew has emerged asMIT's most hideous being.

This year's UMOC contest,which began on Monday, cameto a climax during its final hourFriday as Zeitzew pulled in over$190. These last minute contri-butions gave him first place overCurtis Reeves who had led thefield throughout the campaign.Zeitzew's winning contributionscame from two major sources.Ninety dollars in pennies wasdonated by his fraternity, PhiMu Delta, who evidently recog-nize an ugly thing when.they seeone. Another $100 was donatedto CARE through Zeitzew by an

the microbiology division wasranked-second in the country bythe 1970 "Rating of GraduatePLrograms."

The divisions of biochemrnis-try, developmental biology,molecular biology, and physiol-ogy were ranked as "'disttn-guished and strong." And they

(Please turn to page I OJ

mrnuch interest in health care andmedicine, especially for' a stu-dent who sees medicine as amethod of helping people as wellas providing a well-paid career.

Another important reason forthe growth of the departmenthas been the general improve-ment of the department's facili-ties and reputation. Recently,

By Mark HaleyTlhe MIT biology'department

has expanded in recent years andcurrently has MIT's secondlargest undergraduate program aswell as a large graduate depart-ment and a variety of researchprojects.

Currently, 363 undergra-duates are majoring in biology.The electrical engineering de-partment still leads with 664students and the math depart-ment is third with 3 i 8 students.

Over 4.3 million-dollars wasspent by the biology departmenton research in the 1971-72 yeax.This amount has grown over50%0 in six years, and althoughthese research expenditures arenot as large as some depart-ments, they become significantin the amount and variety ofresearch which they cover.Usually many more experimentscan be financed in biology be-cause of the low cost of equip-ment, whereas fields such asfussion technology require_greater investments and there-fore require greater outlas forresearch.

Boris Magasanik, Head of thebiology department, says thatthe growth in the departmentclosely parallels the nationaltrends of an expanding healthfield.

He noted that there was

the pool for a couple of yearsknows how to get in afterhours." in this case, it seemsthat a large group of pool usersgot -drunk Friday night, andmade plans to go swimming inthe early morning hours. Themixed nature of the group wasdescribed as "inlcidental and al-most accidental." What went onwas swimming and fun, ac-cording to persons attending. Noaction is being planned againstthe participants.

About 15 male MIT studentsand several non-student womenwere found "skinny-dipping" inthe Alumni pool last Saturdaymorning at 2 am by CampusPatrolmen acting on a call froma night watchman.

Areas such as the pool areregularly patrolled by watchmenwho have time clocksto punch,and one apparently called thePatrol Campus Patrolmen inuniform and two in civilianclothes responded.

According to one participant,the five discovered the groupswimming naked in the poolwith the lights out, playingwater polo. Resisting invitationsto "come on in and join us," theofficers instead asked the partici-pants to get out of the pool andleave. Almost everyone therehad MIT identification, ac-cording, to another source, andtheir names were taken by theCP.

Usually reliable sources statedthat "Anyonte who hangs around

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gonism between the arts and science, andthat it was good to-af so many MITpeople gathered in an art gallery. In spiteof the artist's intuitive methods and thescientist's rational ones, the two groupshave much in common, he said, with theirdistinctions becoming blurred-by the pas-sage of time. He concluded by hoping formore understanding between the twodisciplines.

Tishman said that the Council couldbe responsible for the integration of thecurrently diverse and separated membersof the faculty working in the Arts here.H[e stated that if-the Council can accom-

plish just this it will be worthwhile. Hethen went on to talk about the Council'sfuture plans, including the symphonytour next spring (these plans have beencovered before in The Tech).

Lamson concluded the remarks for theevening by calling an MIT education "thebest education anywhere in the country."He also noted that MIT today is really acenter for rigorous thought, research, andthe use of the human mind; and thatthere has been tremendous growth increative thought and creative activityhere. He looks to the decade ahead andsees growth in the technology-art inter-face, with a whole new movementstarting at MIT. After stating that theInstitute has learned from the turmoil it-has undergone, he concluded by notingthat our "high standards will never drop."

Lamson is right. If Wiesner and theCouncil are right. And they are._z____.rp~I-·--·----·l- _ -·~--I~~·~

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PAGE 4 TUESDAY, NOVEMBER 21F 1972 Hi'TB.;. , --,

tradition or b) a, unique identity. Riht-now -MIT has boh, ad things wil

robably stay that way.

But what aboutthe Am? _.

Maintaining a unique identity as atechnological university does not meanthat the mix between "hard" science andengineering and "soft" humanities is per--fect as it -now stands. According to theDean Emeritus of the School of Humani-ties John Burchard, it is a "fluke ofhistory" that there is'only one humanitiescourse required per term during a student's fou undergraduate years. Yet theSchool- of Humanities andC Social Sciencehas never bee f-'able to caUise this numlber-to rise, nor has it had much success inmaking even that one course per term onewhich many students take willingly orwith interest.

Since the vast majority view humani-ties as a blight on their academic land-scape, something to be escaped ratherthan savored, something is obviouslywrong. That something is a combinationof factors which I will not presume toexplain. A learned council of men-andwomen from all over America has beencalled together to answer the "humani-ties" question at MIT,-and it would be

- ridiculous to create such a body if anyjunior could supply the answer offhand.

The mix, in terms of quantity, qualityand nature, of the "humnanizing" side ofan MIT education will probably change inthe years to come. Some people willoppose it, just as some people harvealways opposed change because it ischange. But if the President and the-Provost are behind it, and can bring thefaculty around, then the chances forchange are good.

Back, ten, to th prtyWiesner had every intention of

attending this meeting, buy turned upsick, asking Professor Roy Lamson' (whohad planned to talk anyway) tofill in forboth of them. The New York Alumni areat wealthy and influential group, and theirproximity to Boston has always increasedtheir chances of a presidential visitation.But not this time.

The Whitney is a wonder to behold; atleast .the fourth floor is, given the'benefitof three tables of hors d'oeuvres, two bar$ables, and passing ladies carrying trays of

:hot snacks. Al so present was the FL.Olmstead retrospective, which is a goodexhibit to see anytime.

Unfortunately for all attending on thisparticular evening, the good looks of theroom came first and the acoustics were anabortive after-thought, if they indeedreceived any thought at all. The "PAsystem"- is a-pair of speakers, a poor amp,and dangling wires, whose every electronwastes its dying breath moving a speakercone into an atmosphere that just doesnot care.

As a result, a single man at themicrophone was just no competition forthe normal level of cocktail party conver-sation. Only a select fewi standing close-by heard the remarks by Mr. Bauer, thehead of the Whitney, or Paul Tishman,Chairman of the Council for the Arts, orLamson. It was anl especial hardship forLamson, who had a carefully preparedsummary of the arts at MIT. After a fewfutile moments of reading his remarksinto thin air, he too was forced to addresshimeself, if only briefly, to the handfulstanding within range of his unamplifiedvoice.

Those few close enough heard Bauertell them that there should be no anta-

By Palm SPhindkrThe MIT Council for the Arts cele-

brated a birthday, of sorts, in New YorkCity last week, two days after electionday.

The event wasn't really billed as abirthday party for the Council (whichwas just one year old); it was actually justan alumni meeting put together by theNew York Alumni center. It was mostoften referred to as a "bash," and con-sisted of cocktails and chatter held in the

- enlightening atmosphere of the WhitneyMuseum of American Art..,This cocktailparty became a birthday, in a sense,because it was at a similar meeting of thesame group in a different museum lastyear that the idea for the Council of.theArts was first announced.

In a sense, the coverage in The Tech atthat time was indicative of one of theproblems that the Council suffers from.Although the'announcement was made ina gala splash on November 4, it tooknearly a month, until December 3, forany word of it to appear in the studentpress (Tech Talk covered it). People justdo not seem to be willing to place a greatdeal of emphasis on the arts at MIT, with,the exception of the people who arealready in them. Even Jerome Wiesner,who wholeheartedly supports the Counciland the concept of arts in a technologicaluniversity, took great pains last month atthe Council meeting to point out that thisnew initiative did not mean that MIT willbecome a "normnal" university. 'He isintent on maintasning its -uniquecharacter.

It is a good move on Wiesner's part. Heno doubt knows that the private univeresi-ties with the biggest problems, in terms ofnmoney and enrollment these days, are theones who do not have either a) an historic

To the Editor:The ar'dele by 'Mr. Sandier, "People,

Primaries and Conventions - Campaign'72 .. in retrospeet," contains numerousfactual errors,t misleading statements, andeasily disputable political judgements.

Sandler says 'C[On} ... April 25th...McGovern -did get the clean sweep of theState's. delegates... ? Not so. In point offact, the delegation included one un-pledged, seven Muskie, and four Chisholmdelegates. Whrat McG got was a sweep oftheir first ballot votes.

Later he says: "With the McGovernwin in California, the N.Y. primary andall the primaries and conventions betweenthem were simply formalities." To beginwith, there weren't any primaries be-tween Califonia and N.Y. And some ofthose state conventions, like Texas, werehard fought with plenty of delegates upfor grabs. More on N.Y. later.

The discussion of the Mass. primary isgenerally a joke. For example,.he spendstwo whole paragraphs on the supposedcompetition between McG and Chisholmfor the student vote, without even men-tioning that in several areas of the state(2nd& 4th, and 9th Congressional districts,as I recall) there were joint McG andChisholm slates.

Elsewhere, Sandler says, "[In] Cali-fornia... the battle between the twoienators [HHH and McG] who had cam~paigned in '68 on completely differentplatforms was bitter." In '68, those cam-paigning for the nomination wereKennedy, McCarthy and HHH.McGovern, and LBJ for that matter, didnot campaign in any significant sense ofthe word. McG entered very late, and ranin no primaries. By his own admission, heplayed only a minor role, being a rallyingpoint for those Kennedy delegates whocould not accept either McCarthy orHHH.

Mnother one of Sandler's total disasterparagraphs reads as follows: "From Mass-achusetts on, the McGovern campaignwas geared for a steady string of victoriesin the primaries, leading up to the crucialtests for the South Dakotan: Caiiiniiaand New York." Where. does Sandlet getbis facts from, anyhow? No "steadystream of victories" was anticipated, nordid one -ocur. After April 25th, andbefore June 3rd, there were twelve pri-

McG in popular votes? In addition, otherlater primaries - some more-importantthan Massachusetts -were ignored: Ohio,Michigan and West Virginia, for example,all -ad -improst ant lessons apparently loston Mr. Sandler. There was no mention ofall those state conventions, where McGgot many of kis delegates. Some wereinteresting in their own -right: Texas(showing the increasing polarization ofthe party), Missouri and Iowa (showingthe results of hard grass roots work),Washington (a lesson in the bad feelingsthat result when a major candidate triesto invade the home turf of a minorcandidate), and Maine (showing that McGcould actually be beaten at his own game)just to name a few.

Of course, some things are a matter ofopinion. Sandler says "The label of front-runanel had sabotaged Muslke's cam-paign." In November 1972 virtually nopolitical commentator believes that. IfMr. Sandler would like some elucidationon Muskie's collapse, I suggest he go backand read Hunter Thomrpson's coverage ofthe N.H. and Florida primaries in RolalingStone. I believe that Muskie lost becauseof poor local organizing, over-reliance onstate politicians (especially in Massa-chusetts) to help him out,"a lack ofidentificationa in the voters' minds withspecific issues and the perception of him.as emotionally weak. Being a front runnermay have been a slight disadvantage, butafter all, McG was generally considered tobe the front runner by the end of Mayand it didn't seem to harm, much less"sabotage" him. Or Nixon.

Or take Sandler's statement "It lookedas though the only opposition would befrom Muskie [in the Mass. primary], whoonly, campaigned briefly in the state, andbeing from Maine, would be the only oneto stand in the way of McGovern'svictory." "Being from M ,aine"9a??? Beingfrom a neighboring state usually helps,but Massachusetts and Maine aren't neigh-bors. And I can't se- airyone claimingthat just being a New Englander is anysignificant help in Massachusetts.

..I could go on and on -this critiquecovers only the first page, half the article.Doesn't anyone at The Tech believe inediting? I certainly hope the second partisn't as bad as the first.

Mark L Berch

manes, of w.hich McG passed up six. Ofthe remainder, he won three (Nebraska,Oregon, and Rhode Island) and he lostthree- (Ohio, Michiga, and Maryland).Since when is three out of 12 a "steadystring'of victories?",

As for N.Y,, it was not anticipated tobe, nor did it turn out to be, a "crucialtest." The Balot did not have a "BeautyContest" at the top of the ballot, toprovide a -visible choice among candi-dates. Al1 delegate.races on June 20 werelocal matters. McG from the start was farmore organizsed and fielded more slates.Muskie's withdrawal in April meant that,outside of a few scattered Jackson slates,and some Chisholm slates in N.Y.C., McGran against "uncommitted" slates. Thus itbecame mostly a battle between the McGorganization and the personalities (e.g.Averill Harriman) of the uncommitteddelegates'E Hardly a "crucial test."

Of course, Sandler later refers to theNew York primary as a "formality." Itwasn't that either. "Formality" impliesthat nothing of substance is at stake. Ahuge number of delegates were at stake.But in the sense that Wisconsin andCalifornia were crucial tests forMcGovern, N.Y. was clearly not.

Worse than Sandler's factual errors andquestionable political assessments, is theterrible balance of the article. What issupposed to be a "two part series on thecampaign" starts where? - with theMassachusetts primary! Preceding theMass. primary ifi time and probablyimportance were those in N.H. (whichshowed both the weakness of Muskie'swhole operation, and McG's ability todraw the blue collar vote) and Wisconsin(which showed that McG could actuallywin, knocked out Lindsay, and humili-ated Muskie).

Worse sti, Sandler dwells on trivia,and leaves out much that is important. Hewastes 15 lines on an insignificant pressconference in which McG denies that he'is the frontrunner. On the other hand', theastonishing Wallace successes are totallyignored. -Chisholm he discusses but, theWallace campaign,, and 'the importanteffects of his shooting, are never men-tioned. Is Mr. Sandler aware that, at lesi:until Califomia (where his name was-noton the btaot) Walace was far ahead of

*aP I -lm tha 'e,1

Continusous News Service-~

Since 1881

YVol XCCI Ao. 49 November 21, 1972

.Robert Elkin '73; ChairmanLee Giguere '73; Editor-in Chief

John Miller '73; Business ManagerSandra Cohen '73; Managing EditorBill Roberts '72, Carol McGuire'75;

Neal Vitale '75; A rts EditrorWalter Middlebrook '74, Paul Schindler '74:

N.ews Editors,Sandra G. Yulke '74; Sports Editor

Sheldon Lowenthal '74,David Tenenbaumr '74;Photography Editors

Joe Kashi'72, Tim Kiorpes '72,David Searls'-73;

Contributing EditorsDavid Gromala'74;

A dvertising Manager

Mark Astolf '73;'Associate Arts Editor

Storm Kauffman '75, Nor-man Sandler '75;Associate News Editors

Leonard Tower '73; ControllerDavid Lee '74;Accounts Payable

Stephen Shagoury '76; A ccounts ReceivableProduction Staff'

John Hanzel '76, Jim Miller '76Arts Staff:

John Kavazanjian '72, Bruce Schwartz '72,Rob Hunter '73, Steve McDonald '74,

Gene Paul '74, Paull St. John '74,Brian Rehrig '75, Wanda Adams

' News Staff:Drew Jaglom '74, Bert Halstead '75,Margo Levine '75, Jim Moody '75,

Seth Stein '75, Tom Birney '76,Ken Davis '76, Mike McNamee '76,Bob Nilsson '76, Wendy Peikes '76.Jon Weker '76, Linda Young '76,

Sharon Zito '76, Charlotte CooperSports Staff.

"Randy Young'74, Dan Gantt '75,Fred H. Hutchison '75

Photography Staff:Roger Goldstein '74, David Green '75,

Chzis Cullen '76, Krishna Gupta GCirculation Staff:

Scott Berg'73, Fred Zerhoot '73Staff Candidates:

Mark Haley '76, Alan Bale '75,Andy Farber '76, Michael Garry '76,Mike Matzka '76, Barbara Moore '76,

Michelle Petrofas '76, Donald Shobrys '75Jay Taller '76, David Wieman '76

Second class postage paid at Boston, Massachu-setts. Vie Tech is published twice a weekduriM ihe college year,' except during colegevacations, -and -once during the fist week ofAugust- by The Tech,- Room W2(483, MIT"Student -Cnter, 84 Mschusetts Avenue,Canbridge;.- M.ssachuwtts 02139. Telephone.(617) 253-1541.

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advantage of a chance to try tomanipulate the emotions of the inmatesand turn them against McMurphy - aprofoundly "disturbing" influence in herpeaceful and well-controlled ward. Theadvocates of social ccntrol could learn alot from the Big Nurse.

One Flew Over the Cuckoo's Nest is awarning really, a warning of what theultimate results of "law and order" couldbe (a frontal lobotomy for thenon-conforming). The Big Nurse repre-sents the ultimate development of thebureaucrat who cares only for maintain-ing the order of her institution no matterwhat the human cost - "healing" herpatients always comes off second bestwhen a threat to the order of "the littlemicrocosm" of the world, the psychiatricward, appears.

The Charles Playhouse production is aterrifying one, and that's as it should be.With strong playing the company fans thespark of resentment in eveyrone: OneFlew Over the Cuckcoo's Nest isfascinating entertainment but it burns alittle too. You can't walk out of thetheater without feeling a little afraid thatthe psychiatric ward is closer to Bostonthan Bridgewater, Massachusetts.'"""'"" : " ' :';'"'";.:;.""': "' '"';.:;-.'-'.':_:i:i Lee Giguere.:-:.:.;

II

and Leo O"Kelly

Unfortunately, Lady Sings the Blues ismarred by poor screenwriting, tritecliches to be specific, and an unwarrentedlevity, destroying much of the tragicovertones of the film. When I heard "Youknow there ain't nuthin' in the worldyour momma wouldn't do for ya," Ibegan to think, "Oh, no, not one of thosemovies." Luckily, there are few otherlines quite that bad.

Apparently Sidney Furie, who direct-ed the mnovie, was not able to be moresubtle about the prejudices facing theblack singer. He resorts to two veryamateurishly done scenes: an attack bythe KKK on Ms. Ross, and a hanging of ablack man in the South. Also hamperingthe movie is a weak musical score accom-panying many of the dramatic scenes anda poor soundtrack which made much ofthe heavy black dialect difficult to under-stand. Behind this, are strong perform-ances by Billy Dee Williams and RichardPryor, as Bille Holiday's husband andpiano player.

The terror and tragedy of an addictionto heroin is presented compellingly byMs. Ross. Her anguish and frantic writh-ings create an atmnosphere of uneasinessand discomfort, as was intended. She isdeeply moving in this role.

The very opening of the film grasps amystery and perhaps fear of the situationbut as the credits end, the film gets off toa slow start. It begins to pick up by thetime Ms. Ross makes good in her Harlemnightclub, and by end of the film, onecan thank himself for not leaving early. Itis a good movie, with highly provocativeinsights into the affliction of the drugaddict. And to see singer-turned-actressDiana Ross, it is aindeed worth a visit tothe movies.A t the Cinema 57 Complex..*..... · "' *'"' ' "' -.:-: Andrew Seth Farber:-:

CtcUg90 Netoo

hi ing homeThere are a number of ways to turn a

novel into a play; they range from simplyusing the title (hoping.to capitalize on itsfame) to reproducing the original inboring detail. When Dale Wassermanwrote a play based on Ken Kesey's novelOne Flew Over the Cuckoo's Nest, he didneither. Instead, Wasserman has created aplay that deals well with Kesey's noveland yet is an original work in its ownright.

Wasserman, and the Charles Playhousecompany, directed by Lee D. Sankowichn,performing his work, appear to havewisely chosen to lay aside some of themore difficult aspects of the book -- itsconcern with institutions - to focus onthe strand best suited for the theater, theconflict between the two central char-acters of- Kesey's novel. The Big Nurse- ruler of the psychiatric ward - andMcMurphy - the brash, bold and willfulindividual - fight out the drama of theirstruggle on stage front; issues of institu-tions and insanity, while not banished,have been given a secondary role in theply.

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THETECH TUESDAY, NOVEMBER 21. 1972 PAGE 5

The battle is thrown into sharp relieffrom the very beginning. Randle PatrickMcMurphy (George Welbes) strides ontothe stage the very image of the blusteringhero demanding to know "Who's the bullgoose looney?" Never for a monent doeshe fall from view, a sort of independentman demanding our attention - andearning it with his straightforward be-havior. But the Big Nurse (DeAnn Mears),is far more insidious, and in her own way,as demanding of our attention, for theinmates never for a moment forget whather authority means. She has completecontrol over their lives.

In this way, thenzthe sides are linedup. The Big Nurse, Nurse Ratched, de-termined to maintain law and order, usesevery device one might Imagine to keepher charges in line. And placed squarelyin front of her is McMurphy, a man ofheroic dimensions (at least by his owndescriptions) who refuse to bow toauthority. The rest of the inmates,Harding (Roger Harkenrider), BillyBibbitt (Lawrason Driscoll), Cheswick(John Aylward), Scanlon (Jon Richards),Martini (William Preston) and ChiefBromden (Frank Savino), are the prizesfor whose loyalty they struggle.

Ars the play unfolds, it is hard not totake sides. Kesey's book and Wasserman'splay are both one-sided, in that there islittle doubt who they would like to seewin the battle for the mren's (and theaudience's) loyalty. For all his faults, hisbraggado and plain-faced deceit,McMurphy can't but come off as thehero. He is earthy - almost lewd butsaved by his straightforwardness and he isclever - almost a cheat but too much"one of the guys" to really harm his"buddies." The Big Nurse that Mearsportrays never smiles, never lets down herantiseptic front, and never fails to take

In the recent history of rock, it hasbecome clear that the truly superior,musically lucid bands have, by and large,hailed from the British Isles. Americacould never have produced a Move orElectric Light Orchestra, an ELP, a ICing

i Crimson, a Family, an Agent, a RoxyMusic, or a David Bowie. Even the best,most progressive of the US natives,Captain Beefhfieart and the Velvet Under-ground, reflect, as well as originally pre-saging, the decidedly Angloid avenuesthat ex-VU-er Lou Reed has been current-ly re-defining with Bowie. The music of theUnited Kingdom has always been aneclectic mixture; though decidedly unpre-dictable (diverse elements like GaryGlitter, T. Rex, Siade arid Roxy Musiccan simultaneously existintheir Top Ten),the results have provided a verdant oasisin the midst of the aridity of Americanrock.

One of the foremost of English labelshas been Chrysalis, led.by Terry Ellis.That name has been appearing on many arecord in the US, but until now, only inconnection with a hodge-podge of labels.The middle of October marked theemergence of Chrysalis records as anentity in itself, working through WarnerBrothers/Reprise. In the process, a fewbands formerly tied to labels such asA&M, are now under the wing of themassive WEA organization. (Ten YearsAfter is the major exception, havingalready signed with Columbia.) Perhapsthe vast promotional backing that stemsout of the Kinney Communications groupwill prove to be the. major boon for thenewly-associated groups ' like -ProcolHarum, Tir Na Nog, and Steeleye Span,who either had no prior vehicle into theAmerican market or were debilitated byinadequate promotional push. Thosethree-bands were teamed on a bill thatshowed the remarkable versatility anddiverse influences lodged in theuniqueness of music from the Isles. Andlater, another band, on Elektra (andtherefore affiliated spiritually with theChrysalis trio), played two nights worthof still more distinctly non-Americanrock - Lindisfarne.

The initial triple-bill proved to be littleshort of sensational on two counts, and ifnot brilliant, at least intriguing on thethird count. Making the situation all themore unbelievable in comparison to thetypical Boston concert was the receptionafforded to the two warm-ups. Despite aclear musical superiority for the openers,at least on that niht, a normal audiencewould have reserved much enthusiasm for

.....

Sonny Condel i

the group for whom they shelled outtheir $6.00. Even though Procol Harumwas eventually called back for twoencores, both Tir Na Nog and SteeleyeSpan wove suitable magic for enthusiasticreception by its noticeably more maturecrowd.

Leading off was Tit Na Nog, an Irishacoustic pair of Leo O'Kelly and SonnyCondell. Their sound is obviously rootedin the same Gaelic background out ofwhich their name (meaning "a Tear and aSmile," which is the name of their justreleased disc) grew, a harking back to thesort of medieval sound that would runthrough the evening's proceedings andinto Lindisfarne's act the following week.

It gets so I can't say enough about thispair of dry-witted Irishmen, either live oron record. O'Kelly, a dark-haired Leon

(Coantinued on page 9}

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It is rare indeed to see musical talentmerge with superior acting to produce astar. But in Lady Sings the Blues, featur-ing Diana Ross as the late Billie Holiday,one may witness the best acting broughtto the American screen this year. Ms.Ross, formerly of the Supremes, is aremarkable woman. Her performance,however, is but one of the redeemingfeatures of the movie.

Unfolding for us is the life of bluessongstress Billie Holiday: from the clean-ing girl of the local houses of ill-repute, tosuccess in a Harlem nightclub, to the lifeof a manically depressed heroin addict.

Frank Savino, George `/eibes, andDe Anan Mears in a scene from OneFlew Over the Cuckoo's Nest.

TiY Na Mog

PAGE 6 TUESDAY, NOVEMBER 21,1972 THE TECH :

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Jethro Tull, tracing the group's develop-ment from 1968, when their first LP,This Was, was recorded, to the present.The first thing I noticed was that thepersonnel changes made very little differ-ence. The only exception was the addi-tion of John Evan's organ and piano,which added some depth to the group'smusic.

More important in the evolution ofTull is a change in Ian Anderson. Whilehis musicianship has remained constantlygood, his lyric writing 'has improvedmarkedly. "Christmas. Song," recorded in1968, was an early attempt to make thesame statement made in "My -God." Themessage in the later piece is much moresubtle and better stated.

Accordingly with Anderson's increasedability, the lyrics have taken on a moreimportant role in Tull's music. The earlieralbums, especially the brilliant Stand Up,were primarily instrumental, whileAqualung and Thick As A Brick weremuch more lyrically centered. This hasbeen accompanied by change in mixingtechnique which has allowed Anderson'svoice to be more natural, and lessdomiated by the instruments.

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On the not-recorded-live side (side- ;two), -Taj switches to some baked-7pTexas-style blues. He does "Cakewalk[Into: Town," in which he smugly sings, E" [ I' mf eeling so_ good,: I could cakewalk into town." "Cakewalk!' is. slow and:alnmost -cocky, aind his interpretation seems to-fit the words, music.and mood exactly.

iThe Pointer Sisters do .the backupvocals on- side two, and their work com- plements "Sweet Home Chicago" nicely. "Sweeet: Home Chicago" is kind of a -come-onbaby-do-you-wanna-go song thatTaj simplifies with his basic National:steelguitar playing.' The version of "Sweet-Honne Chicago" -is' slow, and melloesw, almost yearnng,-and basic enough to bebluesy and effective.

'On "Texas Woman Blues," Taj singsand plays well, but the Pointer Sisters getcarried away somewhat. The song itself isreally fine, b t at times during the albumcut, the combination of the Pointers andTaj sounds like Dan Hicks and his HotLicks - gimmicky and schmaltzy. I prefersolo Taj from the live side of Recycling tobacked-up Taj on the second side. He isso much more effective alone, doingsimple, traditional blues than doing soup-ed-up versions of bluesy material that heshould stick to the basic stuff.

"Gitano Negro" closes the album. It isan instrumental song that 'starts offslowly and then builds up just enoughmomentum to get the listener moving."Gitano Negro" left me rocking, wishingsomehow that there were more to thealbum than just the few numbers that areoffered.

On the whole, Recycling the Blues iskind of 2 nice album, but I felt as if Iwere left hanging when it was over. Thereis just not enough to it. It certainly is notnice to build up one and then have thealbum end. But perhaps that is howColumnbia would have you buy more TajMahal records. And then, when Recyclingwas finished, you could get up-and putanother one of his albums on the oldturntable. That's what I did.

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Moody bees and blue gees ?

Seveth Sojourn -- Moody Blues(Threshold)To Whom It May Concern - Bee Gees(Atco)

These two bands have beenaround since the mid-60's, and are stillgoing strong as ever, unlike such bands asthe Airplane, Doors, Quicksilver, orRascals, all in varying states of musicaldecay. The Moodies and Bee Gees havebeen cranking out a steady stream of AMhit singles and solid, listenable albums,listenable providing you like their individ-ualistic styles. On neither Seventh So-journ nor To. Whom It Miay Concern havethose respective styles changed' muchfrom past efforts.

Seventh Sojourn is the Moody Blues'7th album, and if it differs from any pastefforts, it is only in the generally mellow-er, less-rocked-up overall feel of themusic. But the basic sound is familiar,straight- ahead yet somehow ethereal mel-odies, against an ever-present backdrop ofweeping strings and flowing lead guitarriffs. "You & Me" is reminscent of thingslike "Lovelv To See You Again," and"I'm Just a Singer (In a Rock & RollBand)" moves along nicely, too, but thevast majority of the material is slow,saccharine, pretentious metaphysics, greatif you like it, a yawn if you don't. Inshort, what we've all come to expectfrom the Moody Blues is what they dish out once again.

And the Bee Gees, brothers Maurice :Barry, and Robin. They started out as theAustralian Beatle sound-alike band, broke up a few times, made a come-back in a big' way with "Lonely Days" a few yearsback, and now look as if they'll go onforever. Their songs are a lot moresentimental than they used to be, everdancing on the tightrope which separatesprettiness from wimpiness. But the GibbBros. harmonies are still great, and atleast a couple tunes on to Whom It MayConcern deserve to go on the list of all-time excellent Bee Gee songs. "Alive" is a stirring melodic ballad that would make a great AM single release; and "Paper Mache, Cabbages and Kings,"despite the pretentiously hokey title, is an eerie and sinister S minutes. Nothinginnovative or spectacular here, but ifyou're an AM freak or a Bee Gees BoosterTo Whom It May Concernis just fine. ·:':"':'"::-·-.".':::::':.:::':::'::':-- ..... -. " 'at .k Ast ofi :i:~::~: [.NZA X2; $2Q1X'i.;tIb;*.-* t~~~~~~~~~~~~..._

Two great new 45's have recentlybeen released, and if you never boughta single before in your life, this mightbe a good time to start. One is culledfrom Carly Simon's forthcomingalbum, and is called "'You're SoVain." And sure enough, that's' MickJagger contributing to the powerfulharmonies of the chorus. "Vain Man"is one of the tastiest, toughest,rockingest things Carly's ever -doneand if her album is anything like it,look out. Word has it that Paul &Linda McCartney also lend vocals onthe album.

The other single is two sides of raw,energetic, killer rock and roll courtesyof one of England's top bands, but onewhich has made nary a ripple State-side, The Move "DIo Ya," the A-sidewhich was originally'- the B-side, is theessence of Alice Cooper's "Be MyLover,' pickled in Kinks, Mott theHoople, David Bowie, Velvet Under-ground, and Who juices. Derivativerock at its best. Equally aztec' is theflip side, 'California Man," which has

.-more of a 50's feel, and is so loose thatit seems that bits are literally fallingoff the edge of the record when youplay it. With very little fuss made overMove albums here in the U.S., witholder albums virtually unavailable, andwith the Move/Electric Light Orches-tra/Wizard splinter groups to keeptrack of I have no idea from whencethese tunes come. But who's complain-ing. Call up WRKO and ask for "DoYa," why dontcha?

Nost only is Alice Cooper slated tostar in an upcoming segment of All Inthe Family, portraying a neighbor ofthe Burnkers, but the news out ofTexas is that he's been elected Home-coming Queen at the University ofHouston. Seems student Louis Araizamasterminded the hack when he dis-covered that University by-laws didnot specify the required sex of theH omecoming Queen. Ms. Cooper iscurrently touring Europe with hisband, raising hell, caught in a dream.

The Rumor Mill has been workingovertime, it seems for it has come tomy attention that two incrediblycheap, incredibly exciting, and in onecase incredibly incoherent, rock con-certs just possibly might be makingmusical history in the Boston areasometime in the next couple ofmonths. .

If the proposed "hyena rock" con-cert at Emerson College comes off asscheduled, it will be the clear adventof a rock and roll Ice Age. Alreadycoerced into performing at this quitepossibly transmnaniacon event are: KissThis, led by the lovely ConstanceLupo and his henous henrchmen,Panther Krause, Heavy Flo, and theDrum Chorus; and the well-seasonedSonny Snatch and the Swell Shoes,pretergroup misconception of tworock entrepeneurs whorm I won't men-tion here, as Neal and Loyd Grossmandon't deserve the publicity. At tencents a head, how can you win?

And one of these nights don't besurprised if you catch the killer strainsof Epic group Tranquility' seeping outof the Sala. This fine British bandrnight drop by and boogie for peanuts,accompanied by a mystery band saidto be America's answer to T.Rex.

My advice would be to buy yourselfa gas-mask and watch for furtherdetails. Somle people will kiss any-thing.

BKiss This and That: Mark Astolfiand Neal Vitale have become legallyseparated, fissioning into two sort-of-weekly columns. Double by-lines are ajournalistic pain in the ass.

One interesting song is "Wond'ringAgain," which takes the themes of"Wond'ring Aloud" from A qualung onestep further. The entire forth side of thealbum is extremely good.

The only disappointing part of Livingin the Past is the live side. On the firstsong. '"By Kind Permission Of," Evan andAnderson take five or six classical themes.and randomly string them together withEvan's own material interspersed. Al-though the performance is competent,the piece lacks real structure or con-tinuity. The other song, "Dharma forOne,;' is a generally unimpressive re-working of the tune off This PIas, despitesome good work by Evan and drummer

-Clive Bunker,::::::::::::::: : :::::::::::.;::.:;::::.:::::: Ken Davis :-::.: .

Ecology in musicI,..

Recycling the Bl4ues and Other RelatedStuff- Taj Pahal (Columbia)

Recycling the Blues revels in its ownsimplicity. Side One, recorded live atsome nebulous place not indicated by the-credits, is by Taj Mahal alone, accompa-nying himself on banjo, National steelguitar, or w-ith his own hand clapping.Recycling's strength, in fact, lies in itsintrinsic nature.

sTXa plays a conch solo to open the liveside. It is rather strange but yet somehoweffective. He then revives sorne sometimesforgotten blues favorites (hence thename: recycling). He does a fine, barelyaccompanied (just him and his Nationalsteel guitar) version of "Corinna" whichseems to impress his audience - as it doesme - appropriately. He does an a capellanumber which he introduces as a balladbut which seems to be more gospel-oriented than-anything called "Free Song|(Rise Up, Children Shake the Devil from,Your Soul)." His only accompaniment to'"Free Song" is his own hand clapping.

Jathro Tull ,

Tulll - today, and in the past

Few groups can equal the excitementgenerated by Jethrco Tull in concert. Tullperformed for two evenings at the BostonGarden, and gave superb show both mus-ically and visually.

The key to Tull's success is simplyquality, both in the .material and themusicians. Even with the personnelchanges that have made Ian Anderson theonly remnainling o r iginal member, thegroup has remained consistently excellentin execution. Ian Anderson, JohnEvan, Martin Barre, Jeffrey Ha/mmond-Hammond, and Barriemore Barlowe areall fine musicians who work extremelywell together.

The songs Jethro Tull performs areremarkable in that the lyrics and musicare both good, and neither is allowed topredominate over the other. The group isable to strike a fine balance betweenvocal and intrumental leads. Possibly theonly flaw in the performance was that thesolos, particularly the ones taken byBarre and Barlowe, tended to drag.

Many performing groups play theirrecorded songs note for note firm theiralbums or merely add solos that donothing for the songs save lengthen them.Tull managed to interpret their songs,"Tick As a Brick" in particular, in amanner which improved them. Part of theimprovement came from the theatrics ofAnderson and Hammond-Hammond, buta good deal was the result of creativeimprovisation by the group as a whole.

Tull opened the show with "Thick Asa Brick" -- for two hours. Andersonshowed his versatility on this piece,taking care of vocals, acoustic guitar,and. of course, his extremely fine flute.Definitely the star of this show, hestrutted across the stage, twirling his fluteoverhead like '-a- baton,. pulling guitaristBarre to the front of the stage to take alead, and generally dominating the pro-seedings. "Thick As a Brick" was punc-tuated several times - once by a ringingtelephone summoning a "ConstableGrimpace" to the stage, once to allowJeffrey Harrmmond-Hammond to give thenews and weather report involving asix-foot rabbit (or non-rabbit as the casemay be) and a g'orrilla, and once for amock brawl on stage under a stobe light.

After the two-hour romp, the groupmoved on to some shorter material, start-ing with "Cross-Eyed Mary," and con-tinuing with "Living In the Past" and"Aqualung." After the obligatory phonyending, Tull returned to do a fine encore,a medley of "Wind Up," "LocomotiveBreath," and "Witch's Promise" from thenew Living In the Past EP on Chrysalis.The encore was mnarked by some finefist-waving piano work by John Evan.

Tulll's American tour was timed tocoincide with the release of their newalbum. Living in the Past consists mainlyof older, previously unreleased materialalong with a few songs taken from otheralbums. Included are two live cuts record-ed at a concert Tull gave at Carnegie Hallin November 1970.

The album chronicles the history of

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- The Boston music scene has hadanything but a rich and glorious past.Admittedly, the :Cambridge folk cult:was -strong and thriving around theClub 47 in the: early -60's, withmusicians sucih as- Tom Rush and JesseColin Young springing forth. The dipthat characterized all :folk music whenrock elbowed in during the period of'65-'68 struck the locals, bit therenaissance of. the early 70's has alsobeen led aEnd. strengthened. by thefolkies in Cambridge I and Boston.National proniiience-. has "found Bos-ton-based singers Liv Taylor, JonathanEdwards, and- Bolnnie, Raitt; to a lesserextent Chris Smither has also made it.Others, like Paul.- Geremiah, ReeveLittle and Peter Johnson, still.makethe rounds of the local spots; placeslike the warms,' friendly Passim (whichcaters more to the moderately well-known types like Louder n Wainwright,Eric Andersen and David Bromberg)and the assorted bar/clubs like theClub Zircon and Jack's have becomethe focal points for the Cambridge/boston folk crowd.

But the rock horizon in Boston hasnot had a parallel history; on thecontrary, it has one of the moreignominious track records. In the sum-mer of 1967, then WBZ 'DJ Dick

-Summer had a show on Sunday even-ings called 'Subway." (This is back inthe days when the call letter WBCNaccurately stood for Boston ClassicalNetwork; an early underground show,the "American Revolution," was inlittle more than its infancy.) On anAM station, it led the way in featuringthe weirder rock of the day, things likethe Velvet Underground's "Heroin,'"Jimi Hendri's "Third Stone from theSun," ' The Wind" by Circus Maximus,and much early Cream that ordinarilywould never have made it on theeveryday airwaves of WBZ, WMEX, orWRKO (which was just a youngsteritself, in -these days.) UnfortunatelyDick Summer thought he had latchedonto a new sound, the answer to theLA/SF sounds known varyingly in its1968 peak as either the Boston, Boss-town, or Bean-town Sound. Take yourpick, any way you would lose. Groups,some of whom showed only the slim-mest bit of talent, came in a burst ofglory, signing contracts left and- right(mostly with MGM, which has sincefaded-from contention in the recordbusiness). The Beacon Street Union,Orpheus, Barry and the, Remains, theBarbarians and Ian Bruce-Douglas'Ultimate Spinach all came and went,with some seasonable music gettingshuffled over in the process, particular-ly by the Union. Few vestiges of anyof those bands remain mostly incut-out bins; little was truly worthsalvaging.

Dick Summer went on to becomeBoston's answer to Rod McKuen afterhaving demolished the city's chancesof becoming the new musical capitalof America and ruining a couple ofradio stations along the way (tWBZ andYWMEX); he, too, has since virtuallyvanished. But the rocking side ofBoston didn't fade out along with him.Out of that middle/late 60's periodgrew the J. Geils Band, a group whosesound strangely typifies what has be -come representative of this area -hard', rocking, blues-based funk. De-veloping outside the circle of fast-bucksigninags. Peter Wolf and friends re-mained unattached to any label, withonly the shit-poor quality-"bathroom"tapes to surfeit a dclamorig public.Through that relationship with there'cord companies they managed tocreate far better conditions for suc-cess, and now they find themselvesnationally known. Other local bandsseem to be following the same path; inparticular, the James MontgomeryBlues Band. Still negotiating, they'recalmly, methodically -recording in inthe suburbs west of Boston. Though asslick, if not more so, as J. Geils, theenergy of Geils is not reflected inMontgomery's group. Seeing themwind up topping a bill with Argent (an

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absurd situation stemming from powerproblems and airline committments),.my reaction was onle of having heard itall before, stifling a continual urge-toyawn. Yeah, well, they're tight. butI've heard J. Geils and . .. And themore I do hear Geils, the more thesame thing may be happeningg to them.Perhaps I hope for too much 'bythinking that rock should be morethan raucous banterings which purportto be bluesy, black, and ball-breakingrock 'n' roll, and which prove togain about the same authenticity andlegitimacy that Richard Nixon gives tomurder in Southeast Asia.

Yet, there axe exceptions to thispattern. Paul-Pen has established him-self to a small degree in a veryHendrixian. mold; Orphan, at one timean obnoxious multiple member band,has pared down to two obnoxiousdudes who have nonetheless madethemselves a name. The north shore'sGuns and Butter are perhaps the mostinnovative and progressive group in thearea, although their Cotillion discwouldn't really support that claim.Guitarists have come and gone, andmore personel changes may be in theworks, but playing along with.theNorthshore Philharmonic Orchestra aweek or two back in Lynan, the skilland potential of the band was mostadequately displayed. The light gos-samer' of much of Guans and Butter hasbeen replaced by a manic,' dense,chaotic nature more on the lines of aMahavishnu Orchestra, only withRichard Ploss' flute/sax work.takirngthe place of John MacLaughlin'sdouble-necked Gibson fireworks.Berkeley student Ploss' "Concerto for,Rock Group and Orchestra" was awell-conceived vehicle for this most

·sensitive of blerndings, a mixture thatcan well explode in the face of thebest 'of musicians (i.e., KeithEmerson's fiasco with the Nice, andJon Lord and Deep Purple's disaster).The band carried everything. throughwith a tightness that transcended thesemi-professionality of the orchestra.Acoustics and the sound system triedto make things even more difficult,but the ultimate result proved to benothing short of a triumph for Gunsand Butter. Watch them.

And still another band worthwatching is Johanna Wild. In a fewrespects, they bring back memories ofthe 'J. Geils progression - as yetunsigned-, their only significant record-ing is a demo out of Eastern Studios inToronto; they rock and roll, totteringprecariously on the untamed energy ofthe Geils band; and they, in fact, carrythings to a better outcome, usingsomeone who is really a Negro to dowhat white Peter Wolf can only at-tempt. The resulting concoction is aheady brew, a melange of influencesthat range from Humble Pie to'JimiHendrix to Steve Miller to Who, butwhich still retain a unique quality.

Unlike the greasiness that pervadesseemingly all Boston bands JohannaWild features the best of the English

.mixed in'- John Butcher is a clear-cutcandidate for superstardom. Light-eyed, tall, lean in his silver high heels,he seems a dead ringer for a star cutalong the lines of Hendrix, a fact thatis probably to his best advantage in acommercial quest for fame. But thatcomparison is his loathing; he sold hisfavorite guitar, a sparkling white Fen-der, just because of the similarity. He'snot the guitarist Hendrix was, but themoves; vocal style (not voice, asButcher's is distinctly clearer and high-er). and looks are close - combined,they're perfect for a rock 'n' roll bandlike Johanna Wild. Jon Sokolski onbass glimmering in his white suit andlong, wavy brown hair, prances andjumps about on the other side of thestage, balancing Butcher's stompingand wiggliag. Second guitarist/writerJeff Linscott is the John Entwistle-type a rigid fixture on stage, thoughhe looks to be a renegade from aBunch of 'English bad-boys fresh outof Borstal or the lead singer for Slade.Together, it's a most formidable com-bination visually. Add the solid,catchy rock of tunes like "You're Notthe Only One" Looks Like Rain,"and "Suzanne" (not to be confusedwith Leonard Cohen's song) andyou've got nothing short of a "killer"band. But it seems that would be toomuch of a cliche to use in regard toJohanna Wild - they are good; anasskicking, rocking band that etchesits songs on your mind, so that youwander off humming them. They getoff, and they get you off, makingeveryone feel good and wanting to boparound a bit - a band like that is arare commo dity in today's self-propa-gating field of dreary rock. They'renot a phenomenal bunch of musicians,and at times, songs tend to lose theiruniqueness but they can rock, whichis more than most groups nowadayscan say. The artistry of, say, Guns andButter, is lacking - but the honestythat is missing in a J. Geils or JamesMontgomery comes through inJohanna Wild, riding on a crest ofhigh, torrid power, bringing waves ofrelief to your-ravaged eardrums.

Boston has not yet spawned asound close in magnitude or ultimateimportance to that of the West Coastor England, and it is unlikely that itwill But a strong undercurrent of finemusic runs through both the folkcamp and the rock battlefield. Thefolkies may have the upper hand ar-tistically, at the moment and maypossibly retain that advantage, but the..rock 'n' rollers will be heard. They'lljust crank those amps up a bit and getlistened to around town and loudamong those names shouted ,over thesubsequent din will be those of Gunsand Butter and Johanna Wild. Forsure.

Two:iikords of the Band at-its best

Rock Of Ages- The Band (Capitol)Albums as good as this live, two-record

set just don't happen along often. enough.Despite the fact that all but three songshave been previously released, Rock OfAges is a must for Band fans; in fact, fansof tight, solid rock that is unique amidstthe efforts of other groups. With an AllenToussaint-led horn section giving theBand a truly-different sound and feet,they ali rock' off, celebrating the passingof 1971 into 1972" with a grand version ofthe Holland-Dozier-Holland number"Don't Do It." (An unreleased studiorendition is likewise very fine.) Pros-eed-ing on through songs off Music FIom BigPink, Stage Fright, Cahoots, and especial-ly from The Band, all carefully culled soas to include only the best, only one ofthe new tunes shows any weakness. "GetUp Jake," .while by no means awful,would probably have been better leftunreleased.

The horn section adds that special,slightly sleazy, bar-room quality through-out,. perfectly complementing the excel-lent performances of the likes of GarthHudson, Robbie Robertson, Levon Helm,Rick Danko, and Richard Manuel."W.S. Wallcott Medicine Show,".. "StageFright," "The Night They Drove OldDixie Down," "Across the Great Divide,"the list goes on and on, right up, to side 4.Wrapping up with Garth'Hudson's con-valuted organ intro to "Chest Fever"(including a bit of "Auld Lang Syne" asthe clock struck midnight), the Bandleaves the Academy of Music, only toreturn for a finale of priorly unreleasedtunes, a little bit of unadulterated rockIn' roll boogie. "(l Don't Want To) HangUp My Rock and 'Roll Shoes" takes RockOf Ages out the same way it came in -rockin' like a tiger. That pace is likewisesustained in between, with only melow-ings in and out of that musical stance. Arecord quite this fine is hard to come by-listen and enjoy.:-:-::.:::.-:.:.:.:-:.Ne Vitale .;:-

Santana's sacrificial affering

.Cavavanserai - Santana (Columbia)Santana's latest sacrificial offering re-

presents. a change from their previousreleases. That's not to say it's unrecog-nizable as Santana, just that the band isnow developing styles that appearedbriefly on earlier. albums (e.g., Abraxas).The percussion section, -'though morerestrained, is still as powerful as ever; andCarlos Santana's guitar work retains itsunique flavor.

Basically what is different about thisalbum is- the overall effect. It is one of agrowing number of records that has abandoned the traditional two-side/multiple separate track organization. In-

-stead, there is little 'or no space betweentracks; all possess continuity within theframework of the whole album. The onlything wrong with this is. the annoyingdelay in turning from one side to thenext!v

As well as the new format, the musichas a new mood and tone. Most of thetime it is restful and highly evocative (ofwhat is up to the, listener). There is noneof the surging, irrestible power of "SoulSacrifice"; yet it possesses a differentkind of power, more subtle and refined.

Other changes include' the organ,which is now better integrated with therest of the band;'and the vocals, which,though still not very good, are at least lessobtrusive than before. The result of allthis is a tight, well-executed album that isa development of previous work, ratherthan a completely new style.

On the debit side there are the poorvocals, as mentioned above; and whatseems to be a lack of direction to themusic at times, which may or may notbother you. Apart from these, and thelack of startling originality already men-tioned, it is hard to find fault with such afine album. The more I listen to it, the.more I find to listen to.

This record certainly deserves yourattention; and if you haven't likedSantana before, Caravanserai may wellchange your mind about them. This may "

-not be the best that they're capable of,but it Certainly helps to fill the gap tilltheir "best'" comes along.-.' .::".-:'.:-:::.:.: Moray Dewhurst:::;::-- _

lSrulz TIrlpu .,

John Buther of Johanna Wild

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concoction of easy listening accompaniedby uneasy ideas;-Pop apparently strikesthese guys' Fancy every now and then as"Thinking Of You" rolls on and offbefore you know what's happening. "JustBefore the News" is a short instrumentalallusion to the heydays of the FlyingBurrito Bros., a sunny little countrykicker..

The 'most obvious result of listening tothis album or watching Loggins and Mes-sina in concert is the feeling that you arewitnessing .innovative, tight musicians. Inthe middle of performing "Vahevela" inconcert, the six of them went into arather extended' jam which graduallyquieted down to almost nothing, only tosuddenly explode into full-fledged rock,leaving you totally amazed about wherethe change came. Listen to "Angry Eyes"on this record if-you want further proofof the quality of the individual andcollective talent of the performers. Theexcellent musicianship is matched onlyby the increasing song-writing ability ofKenny Loggins and Jim Messina. Beforethe concert, Messina remarked that heand Loggins are going to stick togetherfor at least another album, and all I cansay is if it continues'in the trend startedby Sittin' In and Loggins and Messina,their next record should be fantastic. Butin the mean time you should try this oneOn for size.=.::;:;:;::;::;:.;::=.:::::.=::.::======== :.teve M CDoald ;:::I

TYA - back in the groove ._J

Rock & Roll Music To the World -- TenYears After (Columbia)

When Ten Years After shifted over toColumbia records last years, and releasedA Space In Time, their music likewiseshifted - to a more commercial, Top40-oriented bent, as "I'd Love To Changethe World" illustrated. But Rock & RollMusic To the World seems to have re-gained the sound that made Ten YerasAfter back when they were on Deram.The blues-rock style has returned intact,perhaps improved now that ChickChurchill can be heard (and is playingwell enough to deserve being heard),having added some of the newer electron-ics to his battery of keyboards. AlvinLee's guitar work still fits into that soundperfectly, and those weird electricalnoises that he always used to lead in andout of songs with acre still great. "TurnedOff T.V. Blues" is the best cut from Rock& Roll Music; it's a tune that sounds asthough it were pulled off a vintageFleetwood Mac record, with Lee's guitarblazing throughout. "Standing At theStation" gets pretty hot and heavy, aswell, as does "Choo Choo Mama" and thetitle cut. 'There are bits and pieces ofmany of the funkier bands mixed in withTYA's own sound (there are definitesnatches of groups from the Doors toSavoy Brown interspersed). But even so,nothing waters down the solid rocking ofRock & -Roll Music To the World. It'sgood to see Ten Years After back wherethey belong.

I

IIIand the Band's Levon Helm on drums as

token "heavy name popstar," seem to be'partly either one or the other. "Loser'sSamba" describes a kid like you or mewho falls prey to Demon Budweiser, and,as his friends put it, " 'Jesus Christ, he'ssuch a bore/ he don't take dope or eventalk about the war.' ." "Parily Marion" isalso done to a South-of-the-Boader beat,as it tells the tear-jerking tale of.a spinsterwho never married because her ring fin-ger, along with two other fingers (unl-specified in the song), got lopped of by awashing machine whern she was 17. And"Miami" describes itself with the lines"And when you hear the melody youmight get ill/it's what you hear in eleva-tors in Brazil."

But the madness doesn't stop there."Livin' Above My Station" is pure MerleHusky Ferlin Haggard stars 'n' .stripesglittering country puke. "Dancing In theNude" is my favorite cut on this dizzy,madcap 2-sided record, for its in the styleof the above-mentioned Dan Hicks andhis immitators, Manhattan TransferAsleep At the Wheel, etc. Ultra-camp30's/40's soundings, like the Bonzo DogBand used to do until they moved on toother things. Mmmm-hmmmm, dat's nice,Marty. "Margie the Midget" is straightout of the movie El Topo (philm phreaksknow what I'm refering to, I hope), withlots of lovely whistling and lines like "Shemake me feel about 11 feet tall/h'eavenlooks after the folks that are small." Idunno, maybe some people might thinkits in poor taste; if I ever meet Martin, I'!1ask him how many wee people wrotethreatening letters vowing to cut off hislegs. Which reminds me of "Eggs," onesmall step for food-rock, one giant leapfor your stomach. And on and on.

To be perfectly blunt, this record isthe musical equivalent of the 3 Stooges'famous line: "My sister was engaged to aman with a wooden leg but she broke itoff." "What, the engagement?" "No, theleg." Martin Mull is as diverse as it isperverse, at once slapstick and subtle,outlandish and down-to-earth. Martinsings like someone's uncle. His record is ararity: genuinely funny music, vulgarwithout being obscene, campy withoutseeming posed. One can only hope andpray that this is only the first in a longline of albums. -Who knows, maybe thedude will turn out to be the Danny Kayeof the 70's.:.'::..--..':...'.':.' Mark Astofi::::::::

Loggins and Messina - quite a pair

Loggins and Messina (Columbia)I don't know. It almost, seems as if the

real drive behind Poco may have been JimMessina. Now that Kenny Loggins andJim Messina have been together longenough to cut two albums, it is becomingobvious that Messina has found a perfecthome in which to put together his music.But Messina isn't alone by any means,because Loggins is a perfect complementand, together with the help of the otherextremely talented musicians who makeup the band, some fine music is put into

plastic on their latest effort, Loggins andAessinarr.

The well-deserved success of their firstalbum,' Sittin' In, is matched on thisalbum, with songs that range from purejumping boogie rock and roll to themellow strains of Kenny Loggins' moodpieces to the flavor of good old countryhoedowns. Worthy of its current pop-ularity on AM, "Your Mama Don'tDance" is not only the best cut on therecord but probably the easiest rocker tomove to and sing along with that hascome around in a long time. It has itssequel on the second side of the album ina slightly more country vein with "Holi-day Hotel;" both are fine mixtures of thebackup instrumentation of Al Garth andJon Clarke on sax, Michael Omartian onpiano, and Messina's rocking lead guitar.When the band played the Aquarius acouple weeks ago, these songs and theirearlier hit "Nobody" had the cops walk-ing up and down the aisles telling every°one to sit down. Kids will be kids, I guess.

On the softer side, Loggins is backwith "'Whiskey," a mellow little numberdedicated to the advice that you'd bestnot play anything mellow if you play theWhiskey-A-Go-Go in L..A. "Golden Rib-bons" tells of those fortunes of war thatleave "wives and sweethearts alone withtheir memories," and extrenmely effective

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PAGE 8 TUESDAY. NOVEMBER 21. 1972 THE TECH

II

Buffalo Springfield reincarnated

At Crookced Lake - Crazy Horse (Epic)In that great artist pick-up of a few

months back, in which Columbia/Epicscarfed up groups and soloists as if it wereFilene's basement, one of those signed wasCrazy Horse, cut loose by Warner Broth-ers/Reprise. Though only a mediocreband after their split with Neil Young,the label change seems to have performedsome miraculous metamorphosis, as hasthne simple addition of two brothers,Michael and Rick Curtis. With BillyTalbot and Ralph Molina the two remain-ing originals, and mid-stream joiner GiegLeroy rounding out Crazy Horse, one canonly marvel at just how fantastic A tCrooked Lake really is.

Much of the band's sound and enor-mous energy stems from Leroy's guitarwork, which even showed interesting glim-

merings on the previous record, Loose.But the undeniable fact of why I like thisalbum so much is the incredible similaritybetween the current Crazy Horse and thesum total of Buffalo Springfield overtheir three albums. The resemblance al-most carries down to individual songs.Torrid, ear-searing rock like "Rock andRoll Band," "Don't Keep Me Burning,"and "Don't Look Back" are straight fromthe mold that gave us "Mr. Soul" and"Rock & Roll Woman." "Vehicle" hasmany an effect that seems spawned by"Expecting To Fly" or by the Byrds insome of their more electronic offeringsdespite lyrics bordering on pretentious-ness. Much of the rest of At CrookedLake is just fine country music, all ofwhich has obvious roots in BuffaloSpringfield; there are even vocals thatnearly match Steve Stills' sound. "We,Ride" features excellent acoustic work,and there's many a lead that could bemistaken for Young or Stills. Only thewords show off a weakness of the band,and the area where the comparison fallsapart, as they can't match the Spring-field's writers' efforts. But without car-rying things to that fine a level, a remark-able analogy can be made twixt the twogroups.

Yet the nature of such a match-upserves only to highlight the essential pointat hand - At Crooked Lake is a great/record, no matter who or what its setagainst. If country-rock infused withscads of electricity and power is your cupof tea, you'll love Crazy Horse's latest.':·;: _ _. '. i; :. ' .-' .' e: - .::. :. : Neal Vitale .:

Blue-haired, blonde-eyed Mr. Mull

Martin Mull (Capricorn)Martin Mull is 29 years old, blue hair,

blonde eyes, and originally from Ohio.Judging from his first record album,Martin Mull, he is insane, but ingeniouslyso. He might not quite be the DannyKaye of the 70's, but at least he's theworking man's Dan Hicks and His HotLicks. Martin is not a transvestoid, fromouter space, nor is he a recent graduateof the ELP School of ExtrasensoryMusique. He's simply a very whacked-out'guy who's written some incredibly bizarrebut humorous songs, recorded them, andoffers them to you in exchange formoney. Buy his album, for Chrissakes!You'll love it. The songs, in order, areabout: ventriliquism, eggs, Miami,pumpin' gas, alcoholism, dancing in thenude, amputation (fingerwise), reincar-nation, marrying a midget, love, andwriting songs. Not only is it refreshing tofind songs that bring into the open thesetopics, long surpressed (with the possibleexception of love) by the world's music-ians in general, and rock-and-rollers inparticular, but Mull's warped genius liesin the touching, insightful way in whichhe ensconces his ballads in music. Yeah,the music is the thing, kooky, screwballgoin'-to-hell-on-a-sled compositions whichalternately reconstruct and demolishmost of -the major musical styles of thiscentury, including the theme f rom A Mlanand a Woman.a.

I'll be dipped in banana creme if Icould ever remember the difference be-tween a Rhumba and a Samba, but halfthe songs on this record, incidentallyperformed to a tee by Martin and his mobof excellent side musicians, not the leastof which are legendary Bostonian Bo-nhulnks Travis Shook and the Club Wow,

:: _ N e d~~~~Ne Vitale':::

I hnoto by Fol!

Kenny Loggans

Kenny kLons and Jim Mesina

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t (C n inued from page 5)Russell or Shmwr Philips on guitar andvocals,. and ..Condell on tablas, clavinette,guitar, and vocals complement each otherjust so perfectly. Each writes and singstheir own tunes but the extra bit addedby the other. is that which makes a goodsong great. At the Aquarius, virtuailly allthe material was off A Tear and a Smile,an album that is- nothing short of tre-mendous. Starting with the first cut,'Come and See the Show," the record is

just a string of highlights and bits ofgenius - "Daisy Lady," "When I CameDown;" "Lc oking Up," "The Lady ILove," "Lady Ocean." Touches of Don-ovan mix with very Indian soundingrhythms and soft, beautiful acousticguitarwork/jharmonized vocal embroidery.The total.effect is an elfin, enchantingcomposite; the crystalline purity eitheron record (and therefore, with.strings andbass/drums back-up) or live is terriblyinfectious, forcing you to hum or singalorig. Old traditional influences creepinto the music and lyricism of Tir NaNog; the audience at the Chrysalis con-cert loved it all, only to be a bit takenaback when the pair returned to do anencore of Dylan's "Maggie's Farm." Thatnumber would be the first in a line ofsomewhat unusual encores; that whole setwould be the first by that excellent duo.The beginning of December will see themreturn (to the Passinm); don't miss them.

Steeleye Span followed a delightfullybrief intermission, and the tone shiftedeven more deeply into the old folk musicof the United Kingdom. This group worksnearly totally in updated versions oftraditional tunes; their sound is veryreminiscent of Fairport Convention (ex-Fairport member Tyger Hutchings spent abrief period with Steeleye) and its variousoff-shoots, and of Pentangle. SongstressMaddy Prior blends the characteristics ofJacqui McShee, Sandy Denny, and JudyCollins into a liltingly distinctive vocalstyle; the solid, somewhat sea-faringsounding combination of Bob Johnson'selectric guitar and RickE Kemp's thick,imaginative basswork shore up underMaddy's vocals and the various stringedinstruments (violins, dulcimers, guitars,etc.) of Peter Knight and Timn Hart. Whatresults are fantastic up-to-date renditions

by waves of leaden soaund. Likeas,having Brooker abandon lis piano for abanjo, and the rest of the group (bassistAlan Cartwright, drummer B.J. Wilson,organist Chris Cropping, and newguitarist, replacing Robin Trower's re-placement Dave Alh, Mick Grabham)picking up acoustic guitars and morebanjos, and playing old English barroomsing-alongs (which eluded much of theAmerican audience) proved nothing morethan boring. But the group's classics, "ASalty Dog," "Conquistador," "Shine OnBrightly," "'A Whiter Shade of Pate," anda couple of inappropriate old rock tuneencores (which they had first done withMountain, then abandoned, but whichcontinued the night's trend), including"Good Golly, Miss Molly," really clicked,though the interesting tastes from GrandHotel were such that the record may verywell be excellent. But at the Aquarius,Procol Harum dragged too much, thelapses were too distracting, and the loose-ness too great to create as great a set astheir previous one, in April. A superbeffort was needed to be as impressive aswere Tir Na Nog and Steeleye Span, and,for all the musical skill displayed, thateffort wasn't there.

Lindisfarne was the lead-off for theKinks the following Saturday and Sundaynights. Boston is notoriously Kinks"country, and this.folky/protest/rock bandthat would normally be topping the billin England, found itself a warm-up groupfacing a crowd there to see only RayDavies. The first evening, everythingseemed destined to make things evenworse for Lindisfarne. Though Sundaynight was supposedly much better, thesound system and the Aquarius' shittyacoustics made the normally smoothharmonies and single vocals excessivelyshrill and very unpleasant. The type ofmusic which last spring had fit inreasonably well on a bill of Lindisfarne,Fairport Convention, and Kinks now hadbeen superseded by songs off Dingly Dell,abandoning the triple mandolin work thatmarked the prior outing. Similarly, whathad had strong signs of the old Englishfolk music was preempted by the rockingof the new material.

After Fog on the Tynze, Lindisfarne'ssecond release, and a rather boring disap-

of numabers rarninb I'omn the Latin hymn,"*Gadete"9 from the "Pine. CantioRnes"(which they do in unaccompanied five-part vocal- format. and which hushed anamazed Aquarius audience), to modern-ized jigs. Their album, Below the Salt, acombined version of two previous Englishefforts, is replete with excellent -music."King Henry," featuring Kemp's massivebass, is great; the harmonizing in "Rose-bud in June" is likewise sensational, as isthe nautical flavor of "Sheep-crook andthe Black Dog." Nothing less than re.markable musical skill and dexterity ima,pressed that Boston audience; perhaps,though, the incredulous high point wastheir encore, a fantastic cover of FrankieValli and the Four Seasons' '"Rag Doll."After that little more could be said ordone than stand and cheer Steeleye Span.

pointmenrt, I wasn't expecting much fromDingly Dell. But Messers. IRod Clements,Alan Hull Ray (Jacka) Jackson, SimonCowe, anda Ray Laidlaw had a surprise uptheir collective sleeve. The newer disc ismore political, more rock 'r' roll than theearlier ones. Blatantly politicized tuneslike "Brlrng Down the Government," "AllFall Down," and "Poor Old Ireland" areintermingled with numbers like Clements'driving "Don't Ask Me," the sleazy,bar-room, almost Band-like "G1o Back,"the fifties-ish "Court in the Act" (withsome politics mixed in), and the record'stitle cut and tour de force, Dingly Dell.The latter cut is dark and sinister, revivingthe magic of "Lady Eleanor" off Lindis-farne's first, ]rcely Out of Tune. Butdespite the fact that the group is par-ticularly good on its latest effort, smooth-ly combining all the diversive elements ofits music within the versatile context ofthe band members,' that same qualitydidn't rub off on the evening's perform-ance that I witnessed. "Lady Eleanor"was speeded up, other songs off DinglyDell succeeded in only bumming out thegroup and crowd. Only Ray Jackson'sharp solo in the midst of "DingleRegatta". got anyone off to any extent;not even the gorgeous "Clear WhiteLight" from Out of Tune produced anyexcitement. Though perhaps not on thatnight at the Aquarius, Lindisfarne doescarry things off very well; they playhappy-go lucky music that is sometimesmisleading in light of the connected lyricsand their meaning. Dingly Dell is a fineTecord; one shouldn't be put off by whatwas admittedly a bad evening for allinvolved. Alan Hull's comment as regardsthe record is truly accurate, "I really feela bit proud about this album, because it'sbetter than anything that's come before."

Boston will undoubtedly hear more ofthese and other bands from the BritishIsles over the upcoming months. Someonehas to start picking up on the genius ofthat area's rock, as it supersedes anythingAmerica has come through with. Wemight as well be the first to start diggingit all - the more who latch onto it, thebetter the chances of upgrading thequality of US rock.

:::::::::::::::::::::::::::::::::::::::::::::::: Neai Vitale: :.':-:::

After what were nothing short ofa marvelous two sets by Tir Na Nog andSteeleye Span, Procol Harum proved tobe anti-climactic. Having seen GaryBrooker and friends play three previoustimes, chronologically in the settings ofwarm-up for Mountain at the Music Hall,following the revised, tightly-boogeyingSavoy Brown on the Common last sum-mer, and playing a magnificent gig at theAquarius this past April, their latestventure left me wanting more.

A good part of the set was turned overto new material off their upcoming (inFebruary) release, Grand lotel. Bits andpieces were most ponderous, overly remi-niscent of their next-to-last A&M disc,Broken Barricades, and clearly not theirbest. Attempts at reggae in a tune,"Robert's Box," tended to drown, theLatin/Caribbean influences covered over

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PAGE 10 TUESDAY, NOVEMBER 21,1972 THE TECH

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(Continued f'rom page 3)were ranked, respectively sev-enth, sixth, fifth and seventh inthe country.

The growth of undergraduatebiology majors has also helpedincrease the size of the graduateprograms and it has also in-creased the number of facultywho teach biology. Currently,there are 114 graduate studentsin the department.

Also, the department has anumber of post-doctoral stu-dents who work under pro-fessors. These post-doctoral f-lows are following a tradition inthe field of biology in which oneworks under a professor much asan intern studies beforebecoming a doctor. The "stu-dent" can then go into teachingor research.

All of these groups in thebiology department - the facul-ty, post-doctoral fellows, grad-uate students and some under-graduates - are working on anumber of research projects.Most of the research centers oncell biology and molecularbiology.

One project within this fieldis cancer research. In fact, DavidBaltimore, associate professor ofbiology, discovered reverse trans-criptase and this became a focalpoint for research into the causeof cancer.

The growth in the under-graduate program has been quitelarge in the last few years. Therewere only 140 majors in Septem-ber 1968 compared with the 363majors today.

A quick look at a few morestatistics reveals the magnitudeof this growth. General Biology,7.01, a basic required course,was taken by only 240 studentsin 1968. This number increased

to 700 students last year. Gene-ral Biochemistry increased from11 0 to 280 students.

Miany of these lew studentsare planning to become doctors:,Yet, even though about 50% ofthe biology majors apply tomedical -school, the percentagerelative to previous years hasremained about the same. There-fore, there has been an increased'interest in many aspects ofbiology.

Of course.the growth of thebiology department .has takenaway students from other de-partments. But ProfessorMagasanik does not see it as

competing with the School ofEngineering as much as withinthe School of Science itself. Hesaid that it is very hard .topinpoint where a student wouldotherwose have majored.

The general trends as listedby the registrar, however, showthat the biology department'sgrowth has been accompaniedby a decrease in the number ofphysics majors. Since 1965, thebiology departmnent gained 247students while the physics de-partment decreased by 141 stu-dents. These aggregate figures,though, can only serve. as ageneral guide to the trends.

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Women's Sailing -The MIT women's sailing

squad had one of its best seasonsever, placing first in five of theeight major regattas it participa-ted in. Major credit to thisimpressive record goes to MariaBozzuto '73,:team captain, andfirst place finisher -in the NewEngland Singlehanded Cham-pionships, who sailed to firstplace finishes in five of theregattas she entered. Also im-portant as a key figure in theMIT victories was ShellyBernsteini '74, who led the Bdivision in mzany of the races andplaced fourth in the single-handed comnpetition.

The women's sailing results:September- '16 Stonehill Regatta 1st30 Conn`f:/CG.Regatta 2ndOctober -1 Captains,,--'Go;@.- Jackson Ist14 & t5 '"an.-Labs Tropliy @

MIT lst21 CCT Regatta @ MIT 1 st28 & 29 Victorian Urn @ Rad-

celifie stNovember5 BU1 President's Trophy 2nd12 Co-ed Dinghy Inv. @ MIT

5th

SoccerDespite a 2-1 loss to Tufts

which eliminated them from theGreater Boston League playoffsand consequently ended theirseason, the Tech boaters fini-shed their best season in eightyears with a 6-8 won-lost record.

Although the MIT varsity ele-ven was a young squad (onlytwo seniors) the team as a wholeexhibited excellent team work.Fine play by goalie RitchieStraff '74, team captain and oneof the finest players in the GBL,Erik Barkdis '74, and Tech's twoleading scorers, Gus 'Arboleda'74 and Shin Yoshida '76, ledthem to a GBL first place tiewith BU & Tufts. The soccersquad got off to a slow start bylosing their opener by a toughHarvard eleven, 0-$. The squadbounced right back, however,and beat one of their perenialrivals, Holy Cross, l-0. Themonth of October waas filledwith close contests as the-engi-neers won 5 and lost 3. Al-though the team didn't win anyof its November contests, itshould be noted that thesegames were all decided by onegoal.

Soccer season summary:September27 MiT 0, Harvard 530 MIT 1, Holy Cross 0October3 MIT 2, WPI 17 MITI , Trinity 314 MIT 2, Middlebury 3 (oat)18 MIT 2, Brandeis 0

By Fred HI. Hutchison,David I. Katz

and Sandy YulkeWith the sailing of the MIT

men's last regatta at the NewYork Maritime Academy lastSaturday and Sunday, fall sportsat MIT have come to a close for1972.

Most of the fall varsity squadslived up to their expectations,and the following is a summaryby The Tech sports staff of theperformances of the variousteams.

Men's SailingThe MIT men sailors started

the season on the right foot witha win at the Tufts InvitationalRegatta on September 16. Therest of the month saw the Techskippers sailing to second andthird place finishes in severaltrophy events. October was thebusiest month for the sailingsquad, as the MIT- teamparticipated in 14 regattas, pick-ing up the Jack Wood Trophy atCoast Guard, the Hoyt Trophyat Brown, the Fowle Trophy atCoast Guard, the Staake Trophyat MIT, and winning the Obergregatta sailed at MIT.

November saw the teams win-ning the Coast Guard Invita-tional and later their mostimpressive victory of the seasonon Saturday, November 4, as theTech varsity sailors defeated thenearest rival by 42 points to winthe coveted Schell Trophy Re-gatta at MIT.

Following is a complete lis-ting of the men's fallperformances:September16 Tufts Invitational Ist17 Sloop Elim. @ CG 3rd17 Invitational @ BU 2nd24 Hap Moore Trophy 3rd30 F.J. Lane Trophy 3rdOctober1 Jack Wood Trophy I st8 Invitational @ Tufts 2nd7 & 8 Danmark Trophy @ CG

3rd'9 Oberg @ MIT 1 st15 Hoyt Trophy @ Brown 1st14 & 15 White Trophy ~ CG

3rd21 & 22 Fowle Trophy @ CG

Ist21 & 22 Staake Trophy @ MIT

Ist28 Open Invitational @ MIT

2nd29 Donaghy Bowl @ HolyCross 2ndNovember4 Invitational @ CG 1 st4 Shields Invitational @ CG

4th5 Tufts Invitational 2nd12 Co-ed Dinghy Inv. @ MIT

5th18 & 19 Fiske, Harriman andSleigh Trophy @ NY Maritime

21 MIT 4, Lowell Tech 225 MIT 2, Boston College 028 MIT 0, Springfield 43 l, MIT 1, Tufts 0.November4 MIT 2, Colby 37 MIT-0, BU 11 MIT 2, Coast Guard 313 MIT 1, Tufts 2 (ovart)

Water PoloWhen the MIT water polo

squad started the season with asecond place finish in the MITInvitational water polo tourna-ment, all indications pointed toanother winning season for thetankers. Then came two quickdefeats at the hands of Brownand Northeastern and a win on aHarvard forfeit. --

In the New Englands theMIT team placed third by defea-ting Exeter 10-8, losing to atouch Harvard squad, 3-9, andthen beating Northeastern 4-7.This third place finish enabledthem to play in the Easterns,which were held at Yale onNovember 4 and 5.

Plagued at the Easterns byerrors of the scorers and refer-ees, including having to play twogames with only an hour's restbetween them; the water poloteam was only able to come upwith an eighth place finish,losing to -Fordham, Army andNortheastern.

Fall water polo 1972:October6 & 7 MIT Invitational Water

Polo TournamentMIT 10, Brown 5MIT 1O, Northeastern 7MiIT 9, Bowdoin 2MIT 4, Harvard 7

1 1 MIT 8, Brown 1 118 MIT 7, Northeaster 1424 MIT 1, Harvard 0 (forfeit)27 & 28 New England Water

Polo ChampionshipsMIT 10, Exeter 8MIT 3, Harvard 9MIT 9, Northeastern 6

No'ember4 & 5 The Easterns at Yale

MIT 5, Fordham I 1MIT 8, Army 9 (ovt)MIT 4, Northeastern 7

Cross CountryPlagued by injuries through-

out the season, the MIT thin-clads were only able, to complea 3-6 won-lost record, comparedto the 1 1-2 compiled by lastyear's varsity.

The top runners for the Techsquad were John Kaufmann'73,captain, Al Carlson '73, a trans-fer student from BrighamYoung, Pete Borden '72, andTerry Blumer '72.

The harriers started their sea-son by placing second in theEngineer's Cup behind WPI.They then took two 'losses,

31-26 to Coast Guard and 38-23to Boston College. The thincladscame right back to take a 27-30victory fromn the University ofNew Hampshire. The team wasplagued by injuries and conse-quently lost to Tufts, Williamsand Brandeis. They then finishedthe season by placing eighth inthe Easterns, fifth in the GBC's,and fourteenth in the NewEnglands.

The Varsity Cross Countryseason in summ.ary:September'30 MIT 43, WPI 24, RPI 53October7 MIT 31, Coast Guard 2613 MIT 38, BC 2318 MIT 27, New HampshiLre 302i MIT-54, TuLafts 28, Williams4224 MIT 41, Brandeis 40, BU4528 MIT 8th place in Easterns3i MIT 5th place in the GBCNovember6 MIT 14th place in New

Englands

Fall BaseballThe MIT varsity baseball

squad had a winning season thisfall, as they compiled a 6-3-1record. Although plagued attimes by inconsistency theengineer nine played well for- afall campaign.

The baseball team started theseason with a loss to Massachu-sf£ts Bay Community College.MIT then defeated GrahmSunior College twice, Quinsiga-mond Junior College, and lost toMass. Bay. The varsity nineended their season with twowins over BC and another overQuinsigamond. The last game ofthe season saw MIT going downto -defeat at the hands of HolyCross 8-5.

Some outstanding playerswere discovered during the fallseason. These include: KevinRowland '74, .the season's lead-ing hitter; Herb Kummer '75, agreat clutch hitter; Dave Yauch'75, Tech's leading pitcher; andRick Charpie `73, captain andone of the 'best catchers in theGBL.

Fall basebal.1 final results:September22 MIT 2, Mass Bay Comm.

College 525 MIT I 1, Grahm Jr. College

again. This year, with most ofthe varsity of both squads retur-ning, this fall was spent building'for the spring. MIT's varsityheavryweights took a first placein the Elite Fours event of theHead of the Charles. The otherheavy varsity entries finishedwell in the intermediate Eightevent.

The Lightweight Varsity,fresh from a stunning victory inthe Intermediate Four event atLowell Tech's Fall Festival Re-gatta, finished third and sixth inthe Lightweight Eight's.

For the freshmen, this hasbeen a very successful fall. Thelightweight's, after taking a threesecond loss to the heavyweightsduring Class Day, came back thenext week to wipeout Harvardwhen they practiced together. Inthe only distance work they did,the MIT frosh lights pulled outto a length lead in only 500meters.

The frosh heavies have yet tolose this fall. After a disap-pointing average finish in theHead, they came back next weekto beat the frosh lights. The nextweek, they took up on BU andwalked away, finishing 12seconds in the lead.

GolfThe MIT varsity golf squad

finished the fall season with a3-3 won-lost record. The threewins came over Assumption,Bentley College of Waltham andPlymouth State College of NewHampshire, while the threelosses were at the hands of St.Alselm's of Manchester, N.H.,Bryant College of Smithfield,R.i. and Boston College.

The men to watch in thespring include: Bob Keeth '73,captain and playing No. 1 in thefall campaign, Pete Wolczanski'76, Warren Sherman '73, BobHarrison '76, Bob Orloff '73,Jeff Vining '76, and Dave Becher'74.

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28 MIT 7, Quainsigamond Jr.College 3

29 MIT 4, Mass Bay 4 (calledfor rain)

October2 MIT 6, Boston College 33 MIT 8, Quinsigamond Jr.

College i-6 MIT 4, Boston College 29 MIT 5, Holy Cross 8

Fall CrewFal crew is usually a time to

build a frosh squad and to letthe varsity get used to the waterPhoto by Krishp,3a Guptai'

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