Michigan State N ew s, E ast L a n sin g , M ich igan chess tches) n. a gam e played by two persons on(a checkerboard bu-reauc-ra-cy I bvoo rok re si > n. a gam e played by any num ber of persons in an a d m in istra tiv e body. king (k in g ) n. 1 . the chief piece in a g am e of chess. 2. a m an who holds by life ten u re the chief au ­ th o rity over a country and people. pawn tpon) n 1 one of the pieces of low est value in a gam e of chess. 2 . an u n im p o rtan t person used as the tool of another. rook (rooki n. 1 . a piece having the pow er to m ove any unobstructed d istan ce in a stra ig h t line. -v.t. 2 . to c h e at: fleece: swindle. S ta te N e w s p h o to b y M ik e B e a s l e y c h e c k m a te (chek' m at» n. 1 . a c t of putting the opponent's king into an in ex tricab le check, thus bringing the g am e to a close, -v.t. 2 . to d efe at: o v er­ throw . (F ro m the A rabic: shah m a t. the king is d e a d ) COLLAGE P erh ap s, as w e play, w e should p ause lone enough to re-ev alu ate our stren g th s and w eak ­ nesses. and above all else, our positions. Kings P o e tr y T .d ito r ................................ P h o to g r a p h y T .d ito r f.o r d o n M oore a r e fairly obvious c re a tu re s. But w hich o! us a re th e paw ns? And how m any paw ns does it ,, C o n t r i b u t o r s : T re d S h erw o o d . 7 -'» > < *«*''« £ - tak e to end th e g am e alto g e th e r 1 I a le r ie H e s tiv o . C liff k a c h in s k e . J im P o o s. \o r n m C reen . H o w a rd H ro d y . H ru ce S p itz. S ie v e K o b in , K a n d y D r o ll R ic h a r d T h o m a s. S h a rro n M a rks. I. C . (r o s s le v . J a m e s S h e r­ w o o d T ip to n . P e te r D o d g e. llh e r l D ra k e. J im S e r v is , J o s e p h D io n n e . C ollage is n o w a c c e p tin g m a n iis i n p ts f o r fu tu r e is s u e s . U r ite r s d o in g e x c itin g th in g s in p o e tr y , fic tio n , c o m m e n ta r y o r g r a p h ic s s h o u ld s u b m it m a te r ia l to th e D ir e c to r a t th e S ta te \ e w s o ffic e . S ta te N e r /s p h o to by M ik e B e a s l e y V T u e sd a y , O ctot}6r 2 2 , 1968 3 B l o c k f o o t n o t e s o n a n A m e r i c a n h a p p e n i n g b u t they all leak - badly! Both cam p s w orker, who still have not woken up to By RICHARD THOMAS have alien ated c e rta in p o ten tial ra d ic a ls the social control gam e,- and joined the The rad ic al m ovem ent today re p re se n ts a by th e ir m o re radical-than-thou attitu d e . black m o vem ent to keep tj) fir rad ic alism wide ran g e of very stra n g e te m p e ra m e n ts and C ertain black ra d ic a ls o p eratin g out of a from drying up. L e t's now hop to the directions, all claim ing legitim acy. E n em ies Super-B lack bag a r e so busy rein fo rcin g MSU c a m p u s . th e d irectio n w hich black of the m ovem ent have ceased being ju s t th eir non-p ro g ram m atic ro m an ticism th a t stu d en ts tak e shall neverA-.by> designed to e x te rn a l and have taken *on the m o re so­ the young black innocents go begging for win approval from w h it^ . r jdicals. Since phisticated position of various ca d res, w hich w an t of a program -linked social philosphy. black stu d en ts a re identifiât! ÿrith the black in and of itself would not be too bad if W hite rad icals, often so sm ug in th e ir com m unity, w h eth er they w d and contain perform and reco rd w ith the Chicago S ym ­ a loss to explain. m o re rh eto ric than substanr-/ I asked Stokow­ phony. Stokowski w as. a s usual, functioning “O nce I have resolved the in te rp re ta tiv e ski about this, p articu la rly \ h at a ttr a c ts him on all cylinders. H is pro g ram , a s usual, w as problem s of a com position, then m y job is to Shostakovitch? full of Shostakovitch (Sixth Symphony and to offer w hat I believe is th e tru e tonal and ” 1 sim ply feel th a t Shosts iovitch is one of Age of G old” Suite» and. a s usual, th e re w as a u ra l p ersp ectiv e of the work. S om etim es th is th e g re a te st com p o sers . , 1 history. I'm the inevitable blockbuster T his tim e it w as m av req u ire alterin g th e n o rm al seating a tta c te d to his ab ility to e* ;>ress th e sorrow the A m erican p re m ie re of K h atc h atu ria n 's arran g e m en t of an o rch e stra in o rd er to ta k e of his. life, co n tra ste d suddi nlv by o u tb u rsts 3rd Symphony a vacuous m o n stro sity calling ad v an tag e of the p a rtic u la r ac o u stical prop­ of joyous e x c ite m e n t.” for 15 e x tra tru m p e ts and an o rgan o bligatto e rtie s of a hall. " Then ca m e th e can ard th a ' had m e laughing designed to shake the p la ste r off alm o st any “ But. I d o n 't do this so often any m o re for inw ardly for quite som e tirn •. Stokowski e m ­ sym phony hall. All of th is is. of course, close I find th a t it tends to upset the p la y ers too phatically noted th a t he aj an affinity for to S tokie's h eart and a rt. m uch As for the sound, you d have to ask Shostakovitch because “ h e 't Slavic and I'm Be th a t as it m ay. I atten d ed the re h e a rsa l th e players. T h ey 're th e ones who m ak e S la v ic ” . prior to the concert w ith an eye tow ard in te r­ th e m !” "A s you know .” he saic “m y blood is viewing the v enerable m a estro . T hat I did. and W hat a re Stokow ski's view s concerning com pletely P o lish !" It s c m s th a t Stokie ■ '¡»so 1 ie of w hat he had to say av an t-g ard e m usic and co m p o sers“’ ; They re is very concerned about ha» tng people know - I'm afraid th a t w ith th e tensions all over m erely com posing m usic as they see and feel how P olish he really is. W hy^his is so escap es the world today and w ith the increasingly life to d ay .” he says. I co u ld n 't tell w hat m e. N evertheless, he once . .totm ed off of a high taxation throughout the w orld, luxuries the fu tu re will hold for m u sic o r how this new rad io p ro g ram when the ann( uncer introduced such as sym phony o rc h e stra s will one day m usic will look in h isto rical p ersp ectiv e. biographical inform ation w 'jc h sta te d th a t d isa p p e a r.” However, m usic m u st be allow ed to evolve. his fath e r w as Polish and his n oth er Irish. Our o rc h e stra s a re facing financial p ro b ­ A, People m ust be allow ed to com pose w hat N aturally, for the s^ke of show m anship lem s w hich a re becom ing m ore difficult they w ant and listen to w hat they w ant. daily, and i'm afraid , unless we a c t soon, (and Stokowski -is unqbub edly classical T here m ust be absolute freedom to c re a te , m u sic 's g re a te st showmap» t sounds b e tte r cu ltu ral life will be reduced or dam aged to an accep t and re je c t. If m usic is p erm itted to to have such affin ities “in (be I lood » « 4 Michigan State N ew s, E ast L a n sin g , M ich igan FICTION a re pouring in. A lreadv thev art* stackec By RANDY DROLL -B ut the next girl ex cites m e She is no out into the hall This is am azing. I say Ah. things w ere looking up for m e in my chocolate cake She is undoubtedly a c a r ­ to m yself a s I w alk from room to room jun io r year. Things had to be looking up ro t. but she is a beautiful c a rro t w ith m ost observing the horde's. 1 am ab le to a lle ­ since the atom bomb m ight fall and the but not quite all of the glorious e a rth w ashed v ia te the cru sh in the sm all room by ope*ning faint spring of m y A m erican youth is c re a k ­ off. and fu rth e rm o re she is sugar-coated a screen p artition. But alre ad y people a re ing and one m u st surely not throw aw ay the w ith the m ost delicious vitam ins. And she dom ing to m e and asking. 'W hat is in tim e one has in vain w ork and folly. And has sty le and I have style and all is fine th e re ? " When 1 speak tru th and say Suf­ indeed the girls a re surely m ore beautiful BuY she says. “ I'm so rry but I do n 't w ant fo catio n ." the'v do not believe but ask "Isn t this year. 1 have seen them walking through to lose mv friends, and d isa p p ea rs into the ;he light show in th e re !" I have to ad m it it th e cam pus, delicious m o rsels am ong the cru sh T ruly I sym pathize w ith h er for it is and exclaim to th e crow d. "Come one. com e tre e s, and h ere I am . a m o d erate m an sa tis­ is v ery bad to lose one s friends When w ith all--suflocate in th e light show. R ight th is fied w ith good plain food, tem pted to be sure on e's friends one is a m ighty c a stle re in ­ w ay. Light show. Light sh o w !" and the people by sw eets, but sure th a t sturdy c a rro ts a re forced by them . When alone it ta k es con­ pour in w ith no ap p reciatio n of m y irony w hich the best for health and vitality. And surely sta n t effo rt to keep the w alls from com pletely troubles m e since I value ironlv highly. And 1 had been punished enough for not going to crum bling aw ay and the tow ers a re in dis­ now even m o re people a r e com ing in only to the g irl's bed when she called--I w as young rep a ir. H ow ever I am a little disappointed crow d up the hall. The beautiful g irls a re and could not be expected to relish the she w as not tem ped a little m o re bv m e. 1 packed to g eth er and soon w ill have to stand thought of shaving a t the w heels of industry do not really need an o rn am en t, a sim ple on ea ch o th e r's sho u ld ers to avoid losing m aintaining brats. Also I had not been p riv a te 's strip e would do. Surely th a t would th eir friends. And I see an old acq u ain tan ce sufficiently instructed in Zorba s ru le so not endan g er her w alls. And alw ays th e re is and I say. "M r. Bellhop, th is is a d isa ste r; m y punishm ent should be m oderate. My the hope of bvMding a fa r m ig h tier ca stle and is the problem one of sp ace or overpopula­ very soul cried th a t the curse w as surely I consider m yself a c re a tiv e m ason. But tion.’ (I am now fairly flowing in iro n y ) rem oved. And so t seem s. The la st Union th ese m usings a re cut short by the stifling He ad m its th a t it is probably overpopula­ B oard m ixer is tonight. Two bands for 50 closeness of the crow d Many m o re people tion but squeezes aw ay 1 can sym pathize cents. 1 will not fail this tim e. T here have arriv ed . The room is nearly full, even w ith him since we a r e not quite th e sa m e w ill be a big crow d and I w ill ch a rm som e w ith the crow ding to w ard the front door to type and perh ap s he believes I despise his delicate girl into ornam enting m y life for see the band People a r e still com ing into am bition of having som e m oney and a cu te a w hile I w ill not m ake m istak e s since th e room . I decide 1 am hot and join in the girl. I do not p articu la rly w orship such a m b i­ 1 am an old fox. skilled in such m a tte rs and single exiting line. The room w ith the oth er tions. but I can ce rtain ly sy m p ath ize w ith knowing w hat I'm about. The m ix er is band is la rg e r and I am ea g er to check it them during th ese tim es. Selling one s goods b e tte r than I expected. I have seen the out. I am shocked to find th a t th is dance and giving to the poor does not g rea tly a f­ g irls walking to it. all beautiful. To be sure, floor is also quite full. This band playec fect the gross national product. th e re a r e m o re m ales but they a re all stupid, Motown and I never have liked th at. My But now the halls th em selv es a r e g etting th eir brains tell them lies and they stand e a rly u n appreciation of the S uprem es was «.crowded. The light show is flashing STP around. He who h esitates is lost is m y m otto, rein fo rced when they endorsed H ubert stic k e rs and I am en rag ed . My fa th e r dis­ b u t th e re is no need to follow it closely H um phrey and I d o n 't really like funky b eats trib u te s m uch b e tte r products. H as history since the opportunities a r e so im m ense. eith er. Of co u rse I could to le ra te it anc been re w ritte n ? W as the Novi not a failu re The first g irl does not like m e. w hich does the bigger room could be m y joyful haven if and did the tu rb in es not quit in the la st five not bother m e since she show's th a t stiffn ess th e o th er room b ecam e com pletely unlivable. m iles? W here a r e your m e m o ries b rav e of c a rria g e 1 fear like iron b a rs Adieu, And the g irls a re out in force. They walk people? I have had enough of this m adness. fa ir m aiden. I fly to o th er nests. around in tw os and th re e s and fours, all I tw ist and squirm to the exit. I see the gas Two m ore display no in te re st in being my beautiful. T ruly th e re has n ever been a y ear em e rg e from th e vents. The people a r e still orn am en t, but th a t is all right. They are like th is y ear. The y e a r's rep u ta tio n is quite looking for room to dance. I lunge to fre e ­ undoubtedly freshm en, and I acknow ledge the as se cu re w ith its g irls a s w ith its rio ts, w ars dom ju s t a s th e iron b a rs clang shut. A lready evil of trying to seize freshm en w om en and conventions. people a t the edges gasp and sink to th e floor. before they a r e quite m oved into th e ir dor­ But now I am tru ly concerned. People The o th e rs d ance; o th e rs y et d esire en tran ce. m ito ries. The gas co m es in g re a t clouds and I h u rry aw ay to avoid dying bv standing too close. It is v ery m uch a sh am e. We did not go to Chicago. I can survive E u g en e 's loss. I am cool and not a th rea t. ART And lo. th e re a r e th re e hum an n atu res. The second is stro n g est, but the th ird is m o st holy. Of course I do not really believe anything. E m o t i o n e x p r e s s e d i n i n k som ething and he has se v eral ex a m p le s ot his While m ost people a re busy underlining spontaneous a rtis try w hich tak e from 30 m in ­ th e ir textbooks w ith felt pens. Hooshang u tes to one and one half hours to com plete. Irav an i. an u n d erg rad u ate from T ehran. Iran, is draw ing flow ers, tre e s and w ate rfa lls w ith I guess I'm excited all th e tim e ." Ira ­ vani. standing am id st all his draw ings, said F o o tn o te s felt pens and ink. He has only been painting for one y ear, but Irav an i feels that he has found a new way a rtis tic endeavors a re p resen t in his fam ily to tra n sla te his em otions and feelings into H is two younger sis te rs paint q uite well, but (continued from page 3> colors and designs by using the com m on in a m o re classical style, acco rd in g to I r a ­ m edium of felt pen and ink. With the ad ­ ditional use of a glaze, he also re c re a te s the vani. m ust first striv e to u n d erstan d th e nature His fanciful w orks a re u n titled ’ becau se d elica te p a tte rn s of n atu re a s seen in the of the pow er relatio n s and the m ech an ism s Iravani feels th a t any nam e m ight inhibit of alm o st im p ercep tib le social control w orking veins of leaves. fre e in te rp re tatio n by the v ie w e r. iri th e black com m unity via v ario u s in sti­ As an a g ric u ltu ra l m echanization m ajo r. "What could you call th em ? D ifferen t peo­ Iravani has the opportunity to see and draw- tutions. e.g.. law and o rd er. T hese in stitu ­ ple see d ifferen t things in any one of my tions should be m odified to se rv e the needs all the asp ec ts of n atu re w hich in te re st him. d raw in g s." Iravani said. of black people or destroyed. T h erefore, He onlv draw s when he is excited about black stu d en ts should not feel obligated to know all about M arx or Che before d e­ veloping a rev o lu tio n ary mood. They ju s t have to re tu rn hom e and look a t m am a and daddy and v isit the police statio n on w eek­ ends. Knowing about black history in its relationship to the history of social control g am es, one of w hich is the cu rre n t call for f la w and o rd e r" , is w hat is m ost im ­ p a rta n t today - The last footnote is th e hum anism ce rtain blacks a re trying to develop This hum anism o ffers a functional stag e for those blacks who have g.m e through -heir h ate-w h i'ey sy n d ro n e.” It is a revolutionary hum anism th a t can speak soft like Dr. King and b reak backs like the B rothers. It u n d er­ sta n d s the W allace-as-Excedrin-folk and how they a re being used b ecau se of th e ir fe a rs and short-sightedness. But. they will not com prom ise ju stic e for pacification. They will not be bought off by clev erly devised schem es. They, in sh o rt, a r e for building a so ciety of all folk if th a t ch ance or a lte rn a tiv e is possible; if not. groovy! They will go on doing th e ir own thing - a beautiful, S ta te N e w s p h o to b y J im M ead full and black thing! r T u e sd a y , O cto b er 2 2 , 1968 5 W h o is t h e e d u c a t o r ? purpose of th e public school te ac h er. His A cadem ic freedom is usually asso ciated n ex t is to m ak e th e stu d e n t capable of be­ w ith the d e s ire of a stu d en t to r e je c t so ciety ’s By HOWARD BRODY com ing a productive m e m b er of th e econom y. values and see' b e tte r ones. B ut th e u n iv ersity O ccasionally a r a r e te a c h e r decid es th a t he could not a c t s an assem b ly line for social The line usually goes som ething like th is: ought also to te ac h his stu d e n ts to think, but co n fo rm ists a s to a la rg e d eg ree it does, "T h e se ed u c ato rs have put th e b e st y e a rs of th e sy stem tends to d isco u rag e this. unless the m a jo rity w a ite d ’ it th a t w ay. th e ir lives into the universities, and th e y 're The role of th e u n iv ersity , in the m ain, is T his m u st m ean th a t probably a m a jo rity by fa r the m o st experienced m en one could likew ise to tu rn out a d u lts who possess skills of stu d en ts do indeed w ish to be ed ucated w ant. S tudents should feel p rivileged to be th e society co n sid ers d esirab le, and w hose r a th e r than to ed u cate th em selv es. They able to a tte n d the schools. Why then should values re fle c t so ciety ’s values. B ut the uni­ fully a c ce p t so c iety 's v alu es,'a n d go to college th ese y o ungsters question the w isom of the v ersity does d iffer from the public school b ecause society ex p ects th em to. They study e d u cato rs? Why should th ey o b je ct to ru le s sy stem on th e p rim a ry and secondary level, only a s h ard a s they have to in o rd er to p a s s - th e ed u c ato rs se t up for the stu d e n ts' own and th e d ifferen ce is th a t th e u n iv ersity has or to g et into g ra d u a te school if th a t is good?" « som e d eg re e of ac ad e m ic freedom . The uni­ essen tial to th e ir chosen c a r e e r - a n d they w an t Some ad u lts have asked this question count- ' v ersity stu d en t usually has a t le a st th e op­ to have a s m uch fun a s they can along the less tim e s and su rely w ill continue to do so. po rtu n ity to becom e his own ed u cato r. way. T heir goal in life is to m ak e enough A cadem ic freedom will alw ay s be a m ean in g ­ I t is ironic th a t, in a so ciety w hich holds m oney to p a rtic ip a te in the affluence of our less concept to them . B ut w hen a stu d en t sa cred the p h rase "in d iv id u al in itia tiv e ," the econom y. a sk s such a question-^and a few stu d en ts who idea of a stu d en t ed u catin g h im self should support th e re c e n t tru s te e s ' reso lu tio n have be so h ard to accep t. It is a tru ism th a t a It m u st be c le a r from th e tone of the la st ex pressed w h at am o u n ts to th is position-- stu d en t m u st p ut forth e ffo rt if he is to p a ra g ra p h th a t I do not p ersonally a g re e w ith som ething is seriously wrong. At the risk le a rn : one cannot teach a com p letely p as­ th is set of values. But our^society supposedly of redundancy, th e m eaning of ac ad e m ic sive subject. B ut th e re is no reaso n why the o ffers each th if p u rsu it o f happiness. I m ay freedom m u st again be explained. stu d e n t's involvem ent m u st stop w ith taking tr y to convince a fellow stu d e n t th a t he is A ctually, th is old, p a t arg u m e n t is c o rre c t notes and studying te x ts. E d u catio n is sup­ pursuing it in the w rong d irectio n , but I in th a t it sta te s th a t the ed u c ato rs should have posed to p re p a re th e stu d en t to lead the kind have no rig h t to trip him up. control over th e educatio n al process. The of life he d esires. H e m u st d ecide w h at s o rt Thus it is not enough for» ac ad e m ic freed o m point is th a t th e tru e ed u cato r is not the ad ­ of life th a t is; he m u st se le c t w h at he needs to p ro te c t-th e individual pursuing his co u rse m in istra to r or the professor, b u t th e stu d en t to learn in o rd er to lead th a t life; and he m u st outside of social values; it m u st also p rev en t him self. If th e ed ucational p ro cess is sim ply ed u cate h im self in his chosen a re a s as an in tellectu al e lite from forcing its goals th e process of being educated , th en freed o m is thoroughly a s he d eem s n ecessary . He m ay and values on the 1 majority;* This e lite group surely extraneous. B ut w hen the p ro cess is be advised and guided, b u t his whole purpose would arg u e th a t in a d em o cracy no one has seen for w hat it m u st b e - th e p ro cess of is d efeated if he is led by th e hand. th e rig h t to be him self. educating o n e se lf-th e n a c ad e m ic freedom A cadem ic freed o m m ean s th a t th e stu d en t m ay m ake and a c t upon all these choices. Those who feel th a t a c ad e m ic freed o m is for the stu d en t becom es not only re le v a n t but ex tran eo u s a r e c o rre c t if th e / believe th a t the highly c ritica l. R also m ean s th a t th e re m u st not be any only leg itim ate learning tape's p lace w ithin the When a stu d en t em e rg e s from th e A m er­ a rb itra ry lim its to le g itim ate a re a s of four w alls of a le ctu re hall w h ere a p ro fesso r ican public school sy stem , he has been con­ learning. The stu d e n t's goal is life, and any ex perience is rele v an t to th a t goal, even those ta lk s and th e stu d en ts 1 ?ten. O r they a re ditioned to fit co m fortab ly into society. He ex p erien ces w hich society co n sid ers im m o ral. c o rre c t if they feel th a t (he u n iv ersity has w ill stand up when the flag goes by: he be­ T h ere is som ething h y p o critical about a relev an ce only a s a train iu g 'g ro u n d for social lieves th a t hard w ork is a v ir tu e : and he know s rev o lu tio n aries. But if th e ? u iiv e rsity w ere to th a t the U nited S tates is th e g re a te s t country society th a t condones re s e a rc h in th e m a n ­ be m ad e to conform w ith? e ith e r of th ese in the world. He has been in stru c ted and u fac tu re of nerv e gas, b ut would im p riso n a m odels, w hat w ent on th tr e could hard ly in doctrinated, but hardly ed u cated. stu d en t for a few ex p lo ra to ry puffs on a d eserv e to be called education This instruction-indoctrin atio n is the firs t m a riju a n a cig arette. THEATRE it T h e a t r e N o w and audiences did not m ind the length and Back in A nger". A bsurdity w as also d ea lt By STEV E ROBIN psychological w eight of O’N eill’s w orks. w ith, but the c re d it for th a t belongs to S tate N ew s R eview er B ut the following d ecad e w as bleak, and E u ro p ean s like Ionesco a n d : ie ck e tt. The A m erican th e a te r h as developed into th e g re a t m u lti-trag ed y “ M ourning Be­ So for se v eral year* th e A m erican one of the w o rld 's m o st resp e cte d show ­ com es E le c tr a " m e t w ith only lim ited th e a te r has been gropun-; for a new genre. cases. The tw entieth ce n tu ry h as seen success. O 'N eill then c re a te d “ Ah, Wil­ C ertain ly revolution itself is one of the nearly all this pro g ress, stem m in g from d ern e ss!“ - a com edy w hich w as w idely m a jo r preoccu p atio n s \ f th e m id-sixties, the m odern E u ropean influences to our and w arm ly receiv ed becau se it w as w hat b ut how is th is applied to th e th e a te r? own g re a t ta len ts a t the p resen t. P re s e n t th e audience could a c ce p t a t th e tim e. T he Living T h ea ter, under the d irectio n tim es, of course, differ from e a rlie r de­ A g re a t a r tis t in the new trad itio n , O 'N eill of Ju lian Beck and Ju d ith M alina, claim s cad es in m any w ays, specifically, the brought A m ericans a type of play th a t to be th e answ er. T h e 'tr o u p e is cu rren tly v ery re a l w aves of social revolution now w as new to th em : th e p sychodram a. And ap p earin g in New York I f te r a few y ea rs occurring. Social stru c tu re s are being he did th is w ithout uprooting the w orkable of self-im posed exile in E urope. Mr. shaken to th eir foundations, and th e th e a te r fram ew o rk b u ilt by e a rlie r playw rights. Beck and Miss Malij t and the o th e rs m u st d em o n strate th is if it is to be an y ­ F u rth e r d evelopm ents cam e in th e la te roam ed and sta rv e d , p erfo rm in g w here thing m o re than an antique. But w h ereas fo rties. A rthur M iller, w ith “ All My Sons they could, in order* to co n stru c t th e ir all fo rm e r pro g ress in d ra m a w as achieved and “ D eath of a S a le s m a n ”, elim in ated w orks of a r t in free« pi. R eturning w ith by experim entation, som e d ra m a tis ts today ela b o ra te production and m ade p sychodram a cre atio n s like th eir • in tig o n e", " F r a n k ­ would apply the concepts of revolution sta rk ly rea listic, playing heavily on e n stein " and " P a ra d is e N ow ", they do d irec tly to th e ir c ra ft. And th is cannot e lem en ts of universality. In a tim e of seem to have d ra/n attp ed revolution. But be done if any form o r definition of the post-w ar disillusionm ent, au d ien ces w ere th ey have throw n out all the old stan d ard s, th e a te r is to be retained . m o re than read y to a c c e p t M iller’s tr e a ­ w h eth er they w ere good o r bad, in favor B asic to d ra m a is th e p resen ce of tw o tis e s on tra g ic E v ery m a n them es. Tenne- of flim sy and only vaguely significant sta te s of m ind: th a t of the a r tis t, p o r­ see W illiam s, how ever, found a m a rk e t pieces o f , voice and m ovem ent. It is, tray e d on the stage, and th a t of th e audi- for plays dealing w ith the decad en ce of indeed, free. B ut in equating th e ir L iving tence. D ealing w ith the audience co llec­ tru th . In his “ The G lass M en ag erie” and T h ea ter w ith the living expression of tively. a playw righ t can alm o st c re a te "S u m m e r and S m oke", th em e is in tri­ a living revolution. Beck and M alina have, a successful w ork by appealing to the c a te ly developed w ith c h a ra c te r so th a t forg o tten to include living purpose. Spe­ in te re sts declared m ost vital by the tim es. audiences could easily escap e th e tim es cifically. they have forgotten the p resen ce Com bining this consciousness w ith his own and never see th em selv es on stag e. Both of th e ir audience. idea of story, m e ssag e and d elivery, the m en. though v astly d iffe ren t in ap p ro ach , The th e a te r is a rtiedium of production a r tis t can ex p e rim en t w ith new com bina­ w ere w ill-received for th e ir unusual ta len ts a s w ell as c r e a tio n .. In a m o re d ire c t tions of old elem en ts and add som e m o re and because of the confusion w hich c h a r­ m a n n er than m ost o th e r types of a r t, a of his own. F o rm , how ever, can n ever ac te riz ed the n atio n 's sta te of m ind at play re p re se n ts the ac tiv e m eetin g of two be en tirely d isregarded . th e tim e. m inds: th e a r tis t and the laym an. In o rd er E ugene O 'N eill's plays spanned tw o In th e p ast d ecade it has b ecom e alm o st to achieve an effect, if an e ffec t is de­ d ecad es of A m erican th e a te r history. im possible for the th e a te r to g et a foot­ sired , the a r tis t m u st fce concerned w ith D uring th is tim e the s ta te of m ind of hold in one fra m e of m ind. M iller and his audience. If no effe :t is d esired , the his audiences changed trem endously. In W illiam s continue to enjoy a good deal a r t has no purpose, und by definition 1920. O 'N eill's "The E m p e ro r Jo n e s' of success, but th e ir m e rits lie m ainly and co nstruction the - ti^ater is a m ean s m e t w ith w idespread ac claim and su ccess in th e ir p ast ach iev em en ts. A lienation got of com m unication. Thiv com m unication can and established the playw right as one of som e atten tio n on th e A m erican stag e, only com e about thr< j^ h co m p ro m ise of A m e ric a 's g re a t geniuses. The tw en ties p a rtic u la rly in the fifties, and due m ainly form and m ind, and co m p ro m ise m ak es w ere happy and prosperous y ea rs, how ever. to such im p o rts a s Jo h n O sborne s "L ook revolution unnecessary. ^ M ich ig a n State N e w s , E a s t L a n s in g , M ich igan BOOKMARKS M ike ex p erien ces physical and cu ltu ral By V A LER IE RESTIVO shock w hen he a rriv e s on ea rth . The re a d e r S tr a n g e r In I S t r a n g * * l . a n d by R o b ert m u st o vercom e cu ltu ral shock to co m p re­ H einlein B erkley P ublishing Corp. 1961 hend S m ith 's potential value. M artian is 95c not tra n sla ta b le into any T e rra n language. He m u st learn M artian to un d erstan d 2 0 0 1 r a S p a re O d y sse y by A rthur C. C larke M artian concepts. Signet. 1968 95c “2001" req u ires no such a d ju stm e n t to N estlings of the w orld, unite... sh a re o u r p rese n t conceptions of the universe. w ater. W aiting is. Som eday you m ay grok We know m an evolves, w h eth er by de­ in fullness all who a re your w ater-broth- sign of hum ans, gods, God, o r monolith. ers. Thou a r t God. We know m an is w eig h tless in sp ace and This is th e hope for m ankind ex p ressed th a t co m p u ters a r e becom ing m o re in­ in R obert H einlein's novel. S t r a n g e r i n a S tr a n g e L a n d . T here is a hero. V alentine telligent. It is, of course, m agnificent to allow th e sen ses to be c a rrie d through M ichael Sm ith. H is origin is T e rra n . his th e la st seg m en t of th e film . I refu se education M artian. The Old O nes have to a c ce p t th e hour or so sp en t w altzing sen t him to grok his E a rth bro th ers. It through sp ace a s a sig n ifican t s ta te m e n t is difficult, for he is only an egg. Like of th em e, or a provocation to deep thought. th e em bryo in 2 0 0 1, a S p a c e O d y s s e y . T ru e, "waiting is ," b ut th e re m u st be he m ay be savior of his species. He m ean in g in w aiting, o th e r th an m aking a is destined to a e s e rt his M artian m ission C in eram a sp e cta cu la r la st longer than an to found a new o rd er on ea rth . o rd in ary 2-hour flick. Mr. K ubrick said If m y language is stran g e , rea d and in one interview th a t he intended to s tim ­ le a rn w h at M ike S m ith offers. If you have u la te a “ v isc e ra l" response: A rthur C. rea d and learned, re-re ad and re-learn . C lark e hoped for m ore. H is “ novel," a f te r experiencing ‘‘2001." I believe th a t tak en from the screen p lay , c la rifie s th e m ­ H einlein's w ork succeeds w here "2001.'' a tic sta te m e n ts m ad e betw een w altzes on fails. S tr a n g e r in a S tr a n g e L a n d is a tech ­ screen . It is disappointing, p a rtic u la rly if one h as hread such novels a s T h e C i t y a n d nical success, although g re a te r econom y th e S ta r s , and C h i l d h t H n l ' s E n d , p ro d u cts of ‘of prose would im prove it. The m ethod a fin er C lark ean im agination. At th e risk of of introducing new vocabulary is clev er: an ap p earin g shallow to those who think I undefined w ord o r p h rase a p p e a rs and re ­ S p a ce O d y sse y profound beyond p erception. a p p e a rs until the re a d e r, absorb ed in its I found little to co n tem p late a fte r I left the context, begins to grok. T he exposition th e a te r or put the book down. The com plex­ is sim ilar. A passag e w hich is ap p aren tly ity is visual, not in tellectu al. Those who left irre le v a n t or co n trad icto ry becom es re l­ saying "I d id n 't g et it" m ay have looked ev a n t a s o th e r plot-segm ents fall into place. It is an a rtfu l puzzle. too far. . S tr a n g e r in a S tr a n g e L a n d is Within te m ­ U topian d re a m s a r e easily com e by. F ew achieve th e scope of th is one. H ere p o ral grasp. To grok in fullness m ay be a g en eratio n is a plan w hich req u ires m an to review aw ay, if you ac ce p t th a t Thou a r t God. his society, to rev ise his a ttitu d e s tow ards love, sex, religion, to a lte r his p ercep ­ tion of space and tim e... ultim ately , to reconceptualize his e n tire universe. Mike Sm ith transcends the b an alities of T erran cu sto m s and crises. At will he can re ­ duce his bodily p rocesses to a s ta te of .lim bo, o r in c re ase his fra il fra m e to P a p e r b o u n d s o n y o u r w eight-lifter proportions. T here is the concept of "waiting is” -the ability to m ove r e a d i n g lis t ? freely in tim e and space, to a c c e p t "d is- co rp o ratio n '' if n ecessary, knowing th a t STR AN G ER IN A one w ill live beyond one s body STR AN G E LA N D B y R obert A, H einlein By A. D. (Anonymous D onor) P ap erb ack . . . 95d QUIXOTE, " a n independent lite ra ry m a g a­ zine. published by students, alum ni, and drop­ ‘‘T h e sto ry of V alentine M ichael outs of the U niversity of W isconsin" grow s Sm ith, born and educated on M ars, bigger and b e tte r. M ost little m agazines who a r r iv e s on o u r planet su p e r­ have trouble finding m a te ria l for th e ir three- human in a b ilitie s and ignorant of sex four issues p e r y ear, but QUIXOTE, w hich a s we know it. He shocks the m o re s of e m e rg e s m onthly to tilt th e w indm ills of W estern cu ltu re by attem pting to set M adison, is BIG--108 pages, this is s u e - up a stran g e and fascinating d is c i­ and GOOD. Its bag is a r t and p ro test, as pline on E arth : the f ir s t step is seen in this p a rtia l list of co n ten ts: le arn in g to G rok . . . ” Interview s w ith L eaders of th e New L eft A Serm on, by John F ry (adviser. Black- stone R a n g e rs ) A Bibliography of Black L ite ra tu re R adical T h ea tre R ep erto ry , a L isting TH E 10 B E S T -S E L L IN G P A P E R B A C K S of R adical T h ea tre G roups R evolutionary L e tte rs, by D iane Di- 6. Seventh Avenue P rim a 7. T h e P lo t R eport on th e SDS Convention (of 8. T h e G ab riel Hounds w hich th e E d ito r notes: " B u t w e had 9. T h e Chosen a good trip hom e on the lake s te a m e r, 10. A M odern P r ie s t Looks w hich should house th e n ext convention . . . E a s t L ansing has fa r too m any At H is Outdated Church po licem en .") Log of the Seige of Saigon, by Sp 4 R oger Steffens A B eginner's G uide to the I Ching Quo V adis. A ra d ic a l U nderstanding of the U niversity ALSO: An e x tra c t from a novei-in- ookV orö p ro g ress: tw o sh o rt sto rie s: a play or tw o: sundry m anifesto es: a dozen book review s: and. am ong all of this, ap p ro x ­ im ately eighty-five (85!!) poem s. I know ot no o tn e r m agazines w here 75 ce n ts buys so m uch--and seven bucks g e ts you the m agazine for a y e a r (12 issues) plus a ll th e supplem ents, chap- O v e r 100 P u b l i s h e r s books. and books published by QUIXOTE S to c k e d in o u r W a r e h o u s e PR ESS. -A .D . 4B> T u e sd a y , O c to b e / 2 2 , 1968 MSU: Space Odyssey Py BRUCE SPITZ fo rm al, public or p riv ate, legible or il­ or g e t into th e ca fete ria. To ¡.e stopped legible. etc. The ab ility to control th is by a head ad v iso r or a cam pi $ policem an M ichigan S tate U niversity is not a c a m ­ g en erativ e pow er w ithin a com m unity is and to be unable to display lapel's a t­ pus com m unity nor an ac ad e m ic clo iste r the ability to co n tro l th a t com m unity. testin g to your ex isten ce would re su lt in nor a spacious hideaw ay w ith tre e s and This being th e case, I su g g est th a t we a v ery u n com fortable experie u j But it g ra ss and tow nsfolk sm iling benevolently pigeon-hole any polem ics concerning the is not so m uch your e x is te .M th a t is from th e ir fro n t porches. It is a city ; b eau ty or ugliness of the " c a m p u s ” and being questioned a s your soci il legibility. a city w hich has a resid en tial d ensity th a t we d ism iss th e big p ic tu re appro ach W ithout your labels and com pu *fized class­ th a t is four and a half tim es th a t of (of here-it-is-all-at-once-in-m ajestic- pan­ ification you a re co m m ittin g t.ie sin of P ittsb u rg h , an o verall population d ensity o ra m a ) and inspect the E a s t L ansing col­ being unidentifiable, th e sin of -eing opaque th a t is nearly tw ice th a t of New Y ork lege grounds a s five d istin ce citie s, five in a tra n sp a re n t environm ent. City, a bus sy stem th a t c a rrie d four over-lapping tra n sp a re n c ie s w hich yield the T H E PU B LIC CITY. Alan K o s tin m ost tim e s the am oung of p assen g ers th a t the re su lta n t im age of MSU. ap tly d escrib es priv acy a s "I -e claim of Boston R ailroad c a rrie d la st y ea r, th e hom e TH E L E G IB L E CITY. L egibility is the individuals, groups, or in stitu tio n s to de­ of an institution w hich sp e n t o ver 140 ab ility to read your en v ironm ent, to dis- te rm in e for th em selv es w hen, hj>w and to m illion d o lla rs in 1967, and a population tinquish betw een th e ty p es of buildings w h at e x te n t in fo rm atio n ab* jt them is over 70 p er ce n t of w hich fo rm e rly ca m e and s tre e ts and g en e ral design d ifferen ces com m u n icated to o th e rs...p ri acy is th e from u rban a re a s (i.e. S tandard M etropolitan w ithin a city, and from th a t to form a voluntary and te m p o ra ry wit) Iraw al of a S ta tistic a l A reas). It has adopted the type of conceptual m o saic of the physical person form th e g en e ral s o y i- y through u rb an c h a ra c te ristic s of anonym ity, of environm ent. It is the im ag eab ility of your physical o r psychological me^ e ith e r in loneliness, of control via secondary groups, world. A legible p lace in fo rm s you by a s ta te of solitude, o r s m f» group in­ and of tra ffic congestion, yet has stran g ely m ean s of physical cues a s to w here you tim ac y or when am ong larg e groups, in divorced itself from the heterogeneous a r e and w here you a r e going. It estab lish es a condition of anonym ity or a s e rv e .” It groupings, from th e v ariety , from the d irt, a feeling of em otional se cu rity and rid s is a n ecessity - w hat R o b ert A rd rey calls and from the d ynam ism th a t is so typ­ you of the frightening experien ce of being ‘‘th e biological rig h t of th e ind /id u a l.” And ically urban. The question, is why the lost in a m aze of d ark winding alleys. ' yet, th e re is no sp ace on th is t j p p u s w here divorce? Why does this city of th e young A person who had lived in C oldw ater, th e stu d en t m ay be by himt.>lf o r in a and the intelligent lack the v itality th a t M ichigan all his life would find MSU v ery s m a l l . group unobserved by tjj& rs. These it .should have? Why do its forty thousand legible, y et if he w ere placed suddenly grounds a r e designed so th a t a r e under stud en ts seem ingly sh eath e th e ir youthful in H arlem he would becom e lost in w hat co n stan t su rv eillan ce by o th e ' people^ It energy and involvem ent in a sc ab b ard of would ap p e ar to him a s a v ery illegible is not accid en tal th a t so m uch d ay d ream in g niiddle-age fatigue and indifferen ce? Why city. T his lead s us to an im p o rta n t dis­ goes on in our classe s, for onl / ;n anonym ­ does P e te E llsw orth ce le b ra te th e con­ tinction betw een personal legibility and ity of the crow d m ay th e stude it .ex p erien ce gregation of th re e p er ce n t of the stu d en t social legibility. The fo rm e r m ay be ex ­ an y privacy. In th e d o rm s, the n e a re st body a t a p ro te st rally a s an indication em plified by m y room . It is m essy ; it thing to solitude is your su iv?. H ow ever, of trem endous student support? has p o ste rs p la ste re d all o ver th e w alls: it ju s t so happens th a t thei “ * a r e th ree It is th e purpose of this se rie s to ex ­ and the fu rn itu re is arra n g e d a s I see o th e r people (and o cc asio n ally -f.v e o th e rs) am in e briefly th e n atu re of th e MSU u rban fit. A stra n g e r would be lost in it. Social who sh a re th a t sp ace w ith yor and no p a r ­ com plex. This a rtic le is d irec ted to the legibility, on the o th er hand, is the e a se w ith tition to se p a ra te you. no lo v ; -to prev en t ex am ination of the e ffec ts th a t MSU’s w hich both the in h ab itan t of a te rrito ry e n try by your ro o m m ates, ant“ 11w ays th e physical settin g (its a rc h ite c tu re and and stra n g e rs m ay find th e ir way, ala MSU. co n stan t know ledge th a t art R V can walk o verall design) has on its population, At th a t level, for exam ple, d o rm ito rie s in. You a r e told th a t you ar-A ^earning to w hich is fac ilita te d by tw o things. d estro y the expression of w hat is d is­ g et along w ith o th e rs but w -ere do you F irs t, MSU is a se rv ic e com m unity, tin ctly you so th a t o th e rs m ay feel secure. learn to get along w ith ytw 'self? G irls i.e.. one in w hich th e hum an being is E ven if a rc h ite c tu ra l d iso rd er b reed s com plain th a t th e re is no pU to cry or not only the m a jo r processo r of goods fe a r, in secu rity or a v ery re a l losing ot sc re a m or ev en throw up b " th em selv es but also the goods processed. In such th e w ay, it is fallacious to a ssu m e th a t w ithout th e w hole floor p o u l^ g in and an environm ent the hum an being becom es a w orld fre e of th is chaos is the answ er. asking them w h at is wrong. guys a r e the c e n tra l m old around w hich sp ace is Im ag in e a city w here ev ery path w as bothered by the fa c t th a t th ^ r ‘ca n n ever c re a te d . Both the g en e ral and the specific clea rly d elineated, ev ery shrub labeled, be alone w ith th e ir g irls (a^/1 for those of hum an needs and d esire s, and the ev ery building m ark ed , ev ery p atch of who a r e not a w a re ..no. s e x u a l d e sire s a r e socially ac ce p ta b le needs and o b jectiv es a re land u n m istak ab ly classified and ev ery not re stric te d to g ra d u a te s; jes*. th e re is ca refu lly , alm o st painfully, d elin eated in the p a r t d istin ctly and u n errin g ly re la te d to som e so rt of sexual in terp lay going on a t w ay in w hich sp ace has been form ed and th e other. Im agine th a t city and suddenly the u n d erg rad u a te level) a n t y e t som e­ allocated. U nlike in d u strial c e n te rs w here you a re rem in d ed of an arch eo lo g ical dig. thing so b asic a s th is is d e n e d th e dig­ a m a jo r segm ent of constru ctio n is built of P om peii and H ercu lan eu m , of to u rists nity and g ra c e and the m eani|£»fulness th a t to house and ship m a ch in e ry and raw and a guide, of arro w s and posted d es­ it, could have. E v ery evening' th e fo rm al m a te ria ls, the se rv ic e com m u n ity is strip p ed criptions. and of MSU. lounges re p e a t th e ir ren d itio n of an im al b a re to hum an accom m od atio n s and of­ It is sta tic , dead, and psychologically fa rm w hile the v estib u les a n fa ro lle d by fe rs an u nobstructed u ndisto rted glim pse uninhibitable. You do not, you cannot in te ra c t R .A .'s who re fe re e w restlin g m a tch e s a t a s to how a society concep tu alizes m an. w ith th a t type of environm ent. You obey it. closing hours. G u ilt ab o u t ..flijng som e­ how it d iffe re n tia te s betw een its m e m b ers, thing in public w hich w e have; *}>en train ed and p recisely how im p o rta n t the se rv ic es to a c c e p t as v ery p erso n al fo, y n s . A p e r­ This is the T.V. room, offered are . The se rv ic e co m m u n ity r e ­ so n 's sex b eco m es s e p a r a te d fro m ' th a t this is the fine arts room, sem b les a glass-encased a n t colony; for this is the recreation room, person; it becom es a w ay t m a n ip u la te in th a t tra n sp a re n t prison it is th e an t this is the formal lounge, o th ers o r a m o m e n ta ry rele*.sj of fru s­ to w hich our atten tio n is im m ed iately this is the grill, tratio n : and p a rt of the d< m ethic is d irected . T he w ay he m oves and w orks this is the laundry, born. It sta y s w ith a g re a t n*jny stu d en ts and reproduces and lives w ithin his r e ­ w hen they m ove off cam p u s Bed-hopping this is t h e ........................................... stric te d environ. It suddenly becom es ob­ and th e nagging em p tin ess ^ ta t follows vious th a t th e a n t occupies sp ace, th a t the And a s each building is segm ented and a r e p a r t of th e M.S.U. style. m e re ex isten ce of his physical being p ro ­ classified so a r e the buildings th em selv es If you sim ply w ish to be one, if you vides a special population p re ssu re w hich and th e a r e a s in w hich they lie. You a l­ need to think things o v er a r d esire the m u st be m et. H is tunnels m u st ac co m m o d ate w ays know w h ere you a re . T his p lace sco rn s solitude and q u iet of a rooi go hom e. both his chitinous body and his so cietal th e re a l need to tak e a w alk and ‘lose your­ All th e sp a ce s accessib le to * tudents a r e dem ands, his ch a m b e rs m u st c a te r to se lf.' The a d m in istra to rs fail to rea lize m ad e for m o re than one: the- a r e plural. his six-legged, m ulti-appendaged fra m e as th a t the dyn am ics in h eren t in a n u rban R em em b er, w e re a c t to the pnsory cu es w ell a s to the social purposes for w hich situ atio n does not a ris e from c la rity or of a room an d w e g e n e ra te the type of they w ere built. If they do not, th e a r ­ precision but from our e ffo rts to c re a te atm o sp h e re of th a t sp ace a* asso cia tio n s ch ite c tu ra l s tru c tu re s a re useless and o rd er; it co m es from the confusion, the and socialization d ic tates. H r # can one the social unit collapses. I m ig h t add th a t conflict, and our te m p o ra ry conquests of feel alone w hen he is in a B i r g e em p ty it does not m a tte r w heth er th e a n t is chaos. M ake the w orld c ry sta l c le a r, classro o m w ith its m any c h a irs and tab les? black or red or g reen and w hite. cover the breed in g grounds of th e un­ We know th a t it is m a d e for. a group, T he second fac to r w hich v alid ates the expected, the personal, or th e inco m p lete th a t it is public and th a t o th e rs have ea sy ex am in atio n of th e physical se ttin g a s an w ith co n c rete and signals; tu rn the pulsating ac c e ss to it. I t does not m a te r if som e­ in d icato r of the social env iro n m en t is the four-dim ensional into a tw o-dim ensional one else is in it or not, yo i .know it is fa c t th a t w e " g e n e ra te " th e type of sp ace road m ap and you flatten m an into a one­ a classro o m and you r e a c t, to i t a s a w e ex perience, e.g.. a ch u rch does not dim ensional point. F o r you have m a d e w hat classro o m . If your fa th e r w ^s v ery sick e x ist in any absolute sense, it ex ists is his and his alone legible and c le a r to and you w ere deeply b o th er & I suggest because w e exist. We have been cu ltu rally any stra n g e r passing through. You have th a t a classro o m ir a study^ lounge o r a train ed to respond to the sp a tia l co n stru c t hom ogenized his w orld into a se t of s ta tic g rill would be the la st plat'-; you would of a church. When se ate d in one of the sym bols. T h ere is no p lace to hide. E v e ry ­ . go b ecau se you m ig h t w a n t’* to b e alone. pew s w e r e a c t in a very ritu a listic , a thing is known. T he dom inance of social In all fairn ess, how ever, ' Jnire is th e very public, a very “ legible fashion. legibility exposes the in d iv id u al's w orld to outside and w hen it is not ra i *;r,g and when The sa m e holds tru e to r a le c tu re hall, open inspection. N or do you e sca p e the it is n 't too cold and whei t is th re e a telephone booth, or a bedroom . We labeling. Y our n am e, your p erso n al q u al­ o 'clock in the m orning, you t n| ex p erien ce have associations, w e have social in­ ities, your aq u ain tan ces a r e a lm o st in­ the oneness of solitude. stru c tio n s and consequently w e respond significant. You h av e been given a stu d en t One final co m m en t, th is tin* . fro m Lew is to the physical cues and c r e a te the type n u m b er w hereby your location and all M um ford's T h e C i t y i n H t n ^ y : “ W ithout of sp ace w e a r e in. We g e n e ra te the o th e r ‘sa lie n t' fa c ts ab o u t you h av e been fo rm al o p p ortunities fo r i s o l i on and con- p a rtic u la r atm o sp h e re of th e room and elec tro n ica lly filed. T ry to cash a check d e te rm in e w heth er it is fo rm a l o r in­ w ithout it o r ta k e a lib ra ry book out (continued fro m p a n , 10) 8 PHOTOGRAPHY M .Tore T u e sd a y , O cto b er 22, 1968 9 POETRY F O R CH ERY L P art I In O cean P a rk s a lt a ir fills w ith Jo h n P. Susa : Laughing ch ild ren dip M arconi sloops, And schooners rigged by gaff, ASSUMING TH E POSITION And launch them (th eir tiny toes and fin g ers too) Into h er junebug pond, w h ere she should sw ay F ro m th is single window I see By the Stand, on the path, to jazz Jo h n ’s susaphone. ac ro ss the a irsh a ft one floor below the slate-blue steel ta b les row upon row P a r t II and on each a used ca d av er bloom ing to color, opened like a diag ram . They say: Love’s a sym phonic chord D eath, th a t m y s te ry - HOUSE Down the beach w here w e will lie but alre ad y I know bodies, sold to science N aked before the moon. O r black m y eye or pulled from riv ers, can be preserved H alf-w alls a re gone, If you'll find, m e im petuous. so p erfectly w ith red ru b b er injected through we sit p recario u sly L ittle ’s lo st; nor c a r e a t th a t; the w eb of veins, blue into each a rte ry , suspended Only le t th e Sea your m elody sing th a t class a fte r class cannot destroy on a floor (failing F o re m orn when V ivac', th e fandango, # il* d a n ce the outline th a t w as life. as a table To Z ep h y r's windy flu te; or L ’A llegro is ^ b b e d The stud en ts would then gnaw ed i. To plead a b elly ’s frivolity. 9 sw ing saw and scalpel like ap p ren tices: But d istu rb an ces com e ste el flashes its joke often; H er deep dark en ed pools re fle c t : through skull, skin, resistin g joint. we m u st not be The bicycling. d istu rb e d - the swinging One body lies so still th a t I can see ra th e r rec o n stru ct th e sliding. even from this d istan ce the com plexity c o n te n tm e n t- th e s i t i n g . of m apped lines red and blue, la y ers dinner for two, -n o t m e of yellow fat. corded m uscle, dark-pink som e d ry w ine; ielly of lungs, hard blue-w hite convoluted pay no atten tio n W as it the w ay she tossed h er h air plum bing, th e p a le tte of organs, and like to the wind. Flow ing like th e beachw eed dune. an egg, or a roof holding up the s oul, T om orrow When the fifth m odal thundered in th e c e n te r the stom ach. we will To m y h arm o n ic sh rill? O r w as it only, The skin clean th e cellar. H er sad deceived eyes w hich darkened is turned back like an opened bed, and hovering -Ja m e s Sherwood Tipton As h er seagull flew the buoy n ear, a s if they a r e lovers haggling, w earing B eneath the sea. ; , her own sh eet professionally, opening the abdom inal cav ity w ith a knife th a t seem s P a r t III a sim ple extension of fingernails, is th e m o st b eautiful girl in the w orld H er h arb o r fills w ith fogging sounds Of ghost ships and salty y a r n s ; I am h ere for the m oney: I g a th e r d ata, O r sounds a sudden w histle o ccassio n al'-- ea ch te rm in a l h istory w ill be coded And the lone buoy d rag s forever. for d iagnosis by com puter, a p ro jec t While the sc a rle t sun her g in g erb read - w ? : baffling a s the d eath w hich keeps m e b u sy - And em p ty children m iss the C o n certs m edieval w ork w hich pays re n t, buys g ro ce rie s, To trod her b aren stre e ts, in se arch of«pY>, brings our boy into th e w orld. L ost a t sea. i, I cannot question Science, nor m y p resen ce - A C \ ss ley in this g ray room overlooking those lovers, the tall rounded blonde whose scalpel TRY AND MAKE IT TO COLD MOUNTAIN cu ts e v e r closer to lim p, shorn genitals. s’ He and I a r e not prone to argue. you old fool on m ountain peaks On m y ta b le lies the case history sw eeping the w alks I'v e ju st fin ish e d : the subject, m ale, w hite, your la u g h in g - eighteen, bum ped his rig h t knee on a bum per the av alan ch e is full! and w oke six m onths la ter, the m em b er gone i a note says the leg w alks in a ja r would th a t i could be a s you Once in th e o ffic e ) and th erefo re KANZAN and JITOKKV sw irling child I a d m ire th e blonde's stead y h a n d : her cut idiots on the m ountain of a thousand sw irling oceans is sure, couched in objective rheto ric. th a t w ere so free to love She would be in te reste d to know ju s t how like Monkey e m b ra ce m e ta s ta se s sc am p ered from stum p to lungs, peeing on th e B uddha's palm th e b irth of any sea-child God The files hold fifteen hundred sm all d eath s m avbe I shall, yet. - P e t e r Dodge now m an. th a t I'v e only begun to read, falling through tim e, paycheck to paycheck, Now a r e the oceans em p ty ? w hile ce lls change. E ach day the sta irs I ca n still evoke a drop seem ste e p e r: each day the blonde cu ts on. of w ate r L ater she will free the shriveled penis not s a lty - neatly, rep la ce it w ithout a s e a m : But enough, anyw ay, discuss d etails neither em otional nor obscene to c a tc h th e light D angerous as d eath, th is rh e to ric stan d s th a t falls on th e low back to view the ro rsc h ac h of lungs, side of a leaf. # th e voracious leucocytes gnaw ing blood to w ate r, Enough light to know or boring in m arrow . A stilted diagnosis light n eith er cu re nor solace, w here ce lls of w ords brow n seaw eed a rm s tu rn upon them selves. They d eftly ignore i cling to you the stru ck k n e e 's pain, the fire in th e m irro r E L E G Y FO R A PLAYTHING m y son, w hen a boy. eighteen, unable to conceal innocent fish not son guilt, u nderstands his foolish leg m u st com e off. th e black button eyes or And la te r le arn s th a t even th is is not enough of the angry doll should i say sc re a m te a rs drow ned I have got ten y e a rs beyond th a t boy. a t least, a t th e bored w indows I cling som ehow kept elusive cells in o rd er, k ep t free and the g arish light brow n seaw eed of plague cu rren ts, avoided th a t bum per th a t ro am s patchw ork d ress son the city dealing death. w rinkles w ith indignation drow ned. I'v e even m anaged to pay m y bills, k ep t a b re a s t - J i m S ervis w ith th e ledger w hich w ea rs us thin through (th e dangling a rm s daily d ea th s: som e days I alm o st seem to win. a re u seless now. And so. I u n d erw rite d eath having nothing to clutch to live, and learn th e re a r e a s m an y w ays but w hite cotton a i r ) to die as work, and w hat it com es to w ill not be on the c o m p u te r's c a rd s: in th e o th e r room an o rderly existence on those row s of tab les the dark ey ed child w here, pum ped full of ru b b er, the body en d u res plays w ith tw o p ale d aisies y e a r a f te r y ear, c e le b ra te s th e atten tio n s know ing som ehow of the m o st b eautiful g irl in th e w orld. th a t it is e a sie r -A lb e rt D rak e to love th em to d eath -S h a rro n M arks Michigan State N ew s, E ast L a n sin g , M ich igan MSU: Segmented City biology lab. th is is the fine a r ts room , ten ce of anyone who is not a m echanized in te r­ (continued from page 7) th is is the judo room . etc). changeable p a rt And for the an sw er to th a t tem ptation, opportunities th a t req u ire en­ F o rm al sp ace has two ad v an tag es. F irs t, question I re fe r you to O rdinance 21.00 — closed space, free from prying eyes and it offers the secu rity of reg im en tatio n and L oitering: No person shall lo iter or tr e s ­ extraneous d istractio n s, even the m ost expected behavior. It does not leave the pass in any building, co n stru ctio n a re a , extro v erted life m ust eventually suffer. individual in a quandrv as to w hat to do building under construction, stre e t, tunnel, The hom e w ithout such ce lls is but a One p a tte rn of action will suffice. r e s t room s or sleeping room a re a s of p e r­ b a rra c k s: the city th a t does not possess Secondly, fo rm al p laces aid in group eo- sons of the opposite sex or a re w here he is not them is only a cam p In the m edieval hension. They evoke cerem o n ies w hich ev e ry ­ assigned for living, work, organized re c re a tio n city the sp irit had organized sh e lte rs one can p a rtic ip a te in and ex p erien ce the or study purposes, i em p h asis added > and accepted form s of escape from w orldly TH E DISPLAY-CASE CITY When you w holeness' of com m unity. im portunity in chapel or convent; one But the ex isten ce of too m any fo rm al sp aces ponder the lack of co m m unity sp irit, the m ight w ithdraw for an hour or w ithdraw p rese n ts d istin ct disad v an tag es. A person s m e ag e r response to stu d en t g o vernm ent, for a m onth. Today, the degradation of the ab ility to be c re a tiv e is stu ltified His thought and the g en eral lack of v itality th a t we a re inner life is sym bolized by the fac t th a t p a tte rn s becom e m uddled a s he hops from one experiencing a s a group, you s ta rt to con­ the only place sa cred from intrusion is ritu a l to the next. The n um ber of ro les he sider the possibility th a t sp aces designed the p riv ate to ile t.” The to ilet doors in m u st assu m e cau ses his self concept be be­ for com m unity dialog a r e in fac t dvs-func- the m e n 's room in the Union and oth er com e so dim inished, so d ecen tralized th a t the tional show ca se s e re cte d to a ssu re the stu ­ buildings have been rem oved. H alf the question. "W ho a r e you? is e ith e r m eaning­ dent th a t they ex ist but designed so th a t they d o rm ito rie s on this cam pus have floor less or vague or so frightening th a t it has to a r e inoperative. The sq u are is a c a se in johns. Think about it: the public toilet. be dism issed. The d anger lies in the fac t point. The following is taken from P au l TH E FORMAL CITY. To be inform al is th a t you do not need ev ery sp ace to be fo r­ G oodm an s ( a m m u n i i a s : "A c ity is m ad e by the ability to relax, to c re a te , to be m al in o rd er to c re a te a com pletely ritu a l­ the social congregation of people, for busi­ spontaneous and unstru ctu red . Inform al istic society. J u s t deny the individual privacy ness and p leasu re and cerem ony, d iffe ren t ac tio n s take place in spaces freed from and p resen t him w ith a g re a t m any of those from shop or office or p riv a te a ffa irs a t stru c tu re d societal expectations. We a re places and he will not know how to use an hom e. A person is a citizen in th e stre e t. ta u g h t th a t in c e rta in places we m u st inform al setting. We have g rills -s o w hat. A city s tr e e t is not a m ach in e for tra ffic follow explicit ritu a ls w hile in o th ers We have lots of g reen g r a s s - s o w hat. The to p ass through but a sq u are for people to (inform al or p riv ate places» it is not cu m u lativ e effec ts of our daily m u ltitu d e of rem a in w ithin. W ithout such sq u a re s—m a r ­ n ecessary. A bedroom , a gam e room or ritu a ls and seg m en tatio n of a c tiv itie s a re k ets. ca th e d ra l places, political fo ru m s - a civilian sq u are (e.g. W ashington Square) m aking those places inoperative. The te n ­ planned m o re or less as enclosures, th e re a re all inform al places, p o tential d elta sion p rom ulgated in a public, legible, fo r­ is no city. " T h ere is not one sq u a re on th is deposits of zanev actions and the un teth ered m al city in c reases w ith class ad v an cem en t cam pus. B eaum ont T ow er is a sym bol, an disreg a rd for the expected and the so th a t by the tim e you rea ch the blessed obelisk, but it is not a con g reg atin g point. ■civilized . T hese spaces a re m ark ed by sta te of being a senior, you a re a nervous W hat about the sid ew alk s-w h y a r e n 't th e re th e ease w ith w hich we in te ra c t w ith them . w reck. I'v e never known so m any nervous m o re benches located along those co n c rete O ur im prom tu actions define them . e.g.. w reck s as ex ist in the class of 69 It is p ath s: places th a t s a y - s it down and ta lk '1 a gam e room p asses through phases of ju s t th a t w e have lost the ability to relax, Why a re alm o st all th e benches located a t being a card ro o m . a b ar. a fix-it shop, a to face ou rselv es calm ly, and to be infor­ buiiding en tra n ce s? W hat about the fo rm al reading room . etc. F o rm a l spaces, on the m al. The univ ersity has c re ate d the stage- lounges? A re they th e re ju s t to im p re ss our oth e r hand, dem and th e observance of set th a t denies the ex isten ce of the individ­ p are n ts? And a r e n 't the co ncepts of " fo rm a l" specific cerem onies. You not only p ray ual. of love, of loneliness and of p riv acy and and "lounge " negations of each other. F in ally in a church, but you a re expected to p ray has replaced them w ith the "L e a rn to G et if we lack the sq u ares and co ngregating in the p a rtic u la r style of th a t p a rtic u la r Along " code and the co m fo rt of ritu als. p laces th a t tie a com m unity to g eth er and. church This so rt of ritu a listic behavior You would ex p ect th a t a u niversity allegedly in fact, define a city and w hich a r e too is not re stric te d to our te m p le s for it pledged to the education' of the student densely settled and populated to be consider­ is rep eated ly enacted in our classroom s, would be all but void of fo rm al spaces, would ed a town, w hat a re w e? T his lead s us to in our dining halls, a t our football gam es. allow for m axim um thought and cre ativ ity , our final classification. In fact, m o st of the spaces on this c a m ­ and would em phasize th e articu la tio n of the TH E IM M EN SE CITY '. We a re all pus have specific ritu a ls assigned to them self. H ow ever. I find it questionalbe a s to (again, this is a T.V. room , th is is a (continued on page 12> w hether the m achine acknow ledges the exis­ RECORDS C h e a p T h rills : e x c itin g m u s ic m usic, w ith the exception of " S u m m e rtim e .” special m ention, not becau se they a r e b e tte r By C L IF F KACHINSKE th e th ird song on the first side, is u n reserv ed ly th an the o th ers, w hich a re uniform ly fine, C heap T hrills. Big B rother and the Holding rock, displaying no jazz. E a ste rn or otner but because they prove beyond a doubt the Com pany. influences. v e rsa tility and m usicianship of Big B rother Colum bia R ecords KCS 9700 (stere o ) no The g u ita r w ork, w hile not b rillian t, re p re ­ and the Holding Com pany. " S u m m e rtim e ." m ono release. sen ts w hat is b est in W est co a st g u itar, and originally w ritte n by G eorge an d Ira G ersh ­ Big B rother and th e Holding C om pany's it is c lea r th a t the g u ita ris ts a r e fam iliar w ith win, is p erfo rm ed in a w ay th a t those tw o S ep tem b er re le a se on Colum bia, ( h e a p the m u sic and each o th er to a g re a t deg ree tin-pan alley g re a ts nev er conceived in th eir I h r ills , is easily the best re le a se of a long Also, though one g u ita rist is d efinitely playing w ildest im aginings. Behind J a n is Jo p lin 's u u i i m u s i c a l sum m er. » h e e ls o j fir e DV lead on ev ery cut. the second g u ita rist m ay pow erfully plaintive singing, th e firs t g u ita r C rea m opened this su m m er, but the album play single strin g lines of his own or tra d e two plays an extended jazz-like run in acco m ­ w as a t best, a g re a t disappointm ent. A late b a r lines w ith the lead p layer. T he quality panim ent. w hile the second g u ita r plays m uch Ju n e re le a se by the B utterfield Blues Band, of the b ass and d ru m work a r e d ifficult to sh o rter. louder and rock-like lines th a t in My oirn Dream, w as a very co m p eten t co m m en t on. how ever, since the bass and p u n ctu ate and in stru m en tally " a n s w e r ” the album , dem o n stratin g th a t B u tterfield is d ru m s a r e recorded a t too low a level to be m aking re a l p rogress tow ard in teg ratin g the heard easily and on the first cu t of the album elem e n ts in his new band. B ut technique by a re dow nright m uddy. But w hen they can be "T u rtle B lues.” unlike a num ber of songs itself does not m ake a g re a t album : a c e rta in c le a rly heard, both show a t le a st passable w hich a re blues in n am e only, has a tw elve am ount of m usical e x c ite m e n t is also im agination and technical ability. b ar blues chord stru c tu re and in c o rp o rates a required. No review of ( h e a p t h r i l l s is com plete piano, m istak en ly called "v ib e s " on the a l­ W hat se ts ( h e a p t h r i l l s a p a rt, then, is th a t w ithout som e m ention of J a n is Joplin, for bum ja ck e t, playing funky ru n s in ac co m ­ it is not only very com p eten t (at le a st as h er ta le n ts a s a vocalist a re g rea tly resp o n si­ panim ent. The g u ita r solo and acco m p an i­ m uch as the B u tterfield album ) but also ble. w ith all the above m entioned featu res, m en t sound a g re a t deal like unam plified very exciting, it is a live p erfo rm an ce of a for the su ccess of ( h e a p t h r i l l s P arad o x ically T exas blues and th e song as a w ‘> a- n « 9? 2.3* s s | & cd fi) *j N SS. I ST P. ■ * O CD**1 + * * — V « > "’ 2. o 3* § .r ç & 3 ® **3 o -a * 3 o S' §. — <» *3 cf 00 ■> fi) •^■ ro C/3rr fi) tn tn ST e•i Q. C 2 yfi) ’3wr'aCD O o> CD T3 3 ft « O e fi) çrCD 3CD N » 9) s ? * O ft O C/3 3CD> afi) e3 C O .Qfi). C /3 Q. cw *< ' ' *< CDO O O 33 CD C3/3* CoDO 9 *T\ 3* çfi)*- CDa C/3; o ro • ss. ° £S a «j C : f i r* : >vT 5 O crP O. 50 C D- rfi)*- 3 fi) CD O o a O ¡a Sr 5° û) s » HT *3* ^ C DJ* 3 * 0 0 2 - «i o< *!3 C— fi) *3 rts 33 c/3 ; a* *o CDD• 3b U) "V-5* é > * * î * i + ? O « o ro *1 o/3 S.® G S C r » « ^ : Â c. w ;n « = rs 0 a. °—— (Ç 00 C 2 O C CD *-l *3 3 w D. Ü \ 3- £ 1 B) ^ s 3 " 5* S ? : o O a. &) : f l i t ÍÍ *< i&s o 3- o ^ a or Í5 £ -0) C1D *3 > s S *“ Ío CD3" y 3 C/3 / 0|K|| > :•:> & r* • &*1 V f iV Z t M ich ig a n State N e w s .'lf a s t L a n s in g , M ich ig a n 1 2 * *‘t u é s d a y ; *Oc\òb*éi-22Vl96tf fi w& tnifiee' ANpX 41MT ANAPchist Jl>ST WHKTUN p u i e e'TneR- H ey diddle daw k, A dove and a hawk. M cC arthy reach ed for th e moon. C onservatives balked S e g m e n t e d C i t y At th e Irish m an ’s talk. B ut the M achine had it w rapped up by June. ysis for th e m o st p a rt is a c c u ra te , then we (continued from page 10) m ay s ta te th e following: W hen a hum an be­ fam iliar w ith the physical en o rm ity of th is ing ex ists in a physical environm ei t th a t is “ A labam a, A labam a, have you an y b la ck s?” cam pus. You need to pack a knap sack if designed so th a t he is only exposed to fo rm al, “ No s ir, no sir, ju s t p a rty hacks. you live in H ubbard H all and a r e planning a legible, public, p lu ral sp ace, and w hen he Som e for Big G eorge and som e for B e ar B ry an t, w alk to R a th e r H all: in fact, if you live in is denied the privilege of g en eratin g any But all for law and o rd er to keep the n ig ras q u ie t.” H ubbard you m ay not even know th a t R a th er Other type of sp ace, h e h e r o i n e s t h a t s / n i c e . exists* The la rg e buildings th a t have been He tran sc en d s th e B uber relatio n sh ip s of e re cte d in the la st d ecade a r e not so m uch Thou and I-It to an It-It positioning. No lon­ Old M ayor D aley w as a m e rry old soul and a .m e rry old beyond the hum an sc ale a s ign o ran t of it. g er a hum an being. No longer a living being. No longer d istin ctly se p a ra te d from his soul w as he. T hey do not exhibit th e fine d e ta il or th e rich He called for his cops and he called for his m a ce and he te x tu re of c ra ftsm an sh ip th a t in fo rm s the physical w orld. He a c ts w ith the sa m e p re ­ put them a ll on TV. individual th a t he has been considered. All d ictiv e ex a ctitu d e a s the in a n im a te cage The new s w as rep o rted from hospital beds th a t the b ru tality th a t we a re exposed to a re the b lah n ess of w ithin w hich he dw ells: a d e p a rtm e n t sto re w as the sh am e of the nation. co n crete blocks, w hite tile s and b a re sta n ­ m annequin, alw ays on display and alw ays And yippies painfully held th e ir heads on the w ay to dardized fixtures. If a hum an being is th ru st read y to be strip p ed , re-d ressed , and placed incarn atio n . into a sta rk m aze of giant w hite w ashed w alls, into position. F o r those of you who m ight If the scene in the s tre e ts w as d istu rb in g ly raucous, his faceless w alls soon becom e a p a rt of a think th is am azing, consider w hat type of the w orst they had yet to tell, faceless w andering. thing vou would becom e if you w ere r e s tr ic t­ As the sp lin ter group d eleg ates held th e ir firs t caucus The conclusions of this c a th a rsis a re ed to th e college grounds, and the type of in a th irty -first p rec in ct cell. ra th e r in te re stin g i for if we a c c e p t the fac t thing you a r e becom ing becau se of your th a t we g en e rate the type of space th a t we freq u en t but te m p o rary exposure. Then ask H um phrey D um phrey sa t on a w all experience, th a t MSU as a serv ice com m unity yourself if it is ju st p a rt of growing up. ’Tw ixt doves and haw ks he fea re d he m ig h t fall. has e re cte d edifices w hich sym bolize its B ru ce Spitz While L B J’s fo rces and L B J’s m en conceptualization of m an. th a t MSU has Senior, U rban Studies C ouldn't save H um p from th e p a rty ’s m ayhem . learned how to control the special g en e rativ e M aplewood, N .J. pow ers of its inhabitants, and th a t m y a n a l­ “ T ricky Dick T he old politic. How does your cam paign ru n ? ” " I t runs on ball bearings And se v eral red h errin g s W e’ve d ragged a c ro ss issues we sh u n .” L ittle Ron R eagan O nce earn ed his bacon In flicks now seen on the la te shew B ut the W est C oast leaned R ight And the celluloid knight Rode shotgun into S acram ento. A tille r, a telle r, N elson R ockefeller, W hat m akes you run so soon? The ra c e w as over by ten o’clock And yoi left the blocks a t noon. L ittle G eorge W allace C cm e blow your horn. T h ere's c rim e in the evening And d issen t in the m orn You say it would end I f you w ere to rule F o r you'd ja il all the pinkos Who lectu re in schools. Y ou'd w hip the Viet Cong .vu u K >t nation Safe tro m subversion And desegregation.