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14, 1972 MIT, CAMBRIDGE, MASSACHUSETTS FIVE CENTS

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TUESDAY, MARCH- ~~~~~~~~~~~~~~~~~~~~~~~~~~-

By Alex MakowskiThree days of SDS/UJAG can-

vassing and leafletting to opposea visit by social psychologistUrie Bronfenbrenner climaxedwith his appearance here Fridayafternoon' before an overflowcrowd of 600 im 26-100.

Under the apprehensire gazeof all of MIT's top administra-tors and four Campus Patrolmenthe Comnell professor presentedhis prepared statement on daycare. SDS members and sympa-thizers had occupied seats near

: the frong and peppered Bronfen-brenner with questions thsough-out the talk.I The SIDE has taken exceptionto Bronfenbrener's allegedlyracist views on Negro child de-vellopment, charging that state-mnents from such experts "'at-tempt to give racism an aura ofacademic and scientific respecta-Hity." Early leaflets threatened" to prevent Bronfenbrennerfrom speaking," but by Thurs-day aftemnoon plans had beeninade to3 force Bronfenbrennertoa set aside his prepared discus-sion and debate the SDS memn-bers.

Aware of the SiDS opposition,the Psychology Department,which together with the Educa-tion Research Center had invitedBronfenbrenner, and the admin-istration decided to go aheadwith- the scheduled appearance-The talk was moved to 26-1(00when 'the crowd in the BuishR3oomn sweated to nearly 200 wellbefore Bronfenlbrenner was dueto arrive. Near the Building Tenlobby a command post of sortswas established as a center foradministration and CampusPatrol control.

Both sides cliamed victory

M Bi~ g .-- - * * Phoay David 'Penne5nbazum

Dr. Urie Bronfenbrerner (left) faces a questioner after his talk on,hild care Friday in 26-1 (li SDS/UAG -had repeatedly attacked3ronfenbrenner's views during the previous week.

~_ P f. _,;?i a- t - Photo by David Tennenbaum

SDS climnaxed a week-long campaign against Dr. Urie Bronltenbren-ner's views on child care by "conlfronting" him in 26-100 Friday.Among those present were (left) Presideint Jerome Wiesner, Vice-President Kenneth Wadleigh, andafter the address. PresidentJerome Wiesner told The Techthat although "some studentsare obviously not aware of whatacademic freedom means," thewhole afternoon had gone betterthan might have been expected.But the SDS felt Satisfied thatthey had exposed Bronfenbren-ner as a hypocritical member ofan academic elite that caters toWashmingtn.

The crowd's reaction to theexchange between Bronfenbren-ner and the SDS was mixed.Perhaps a hundred applaudedenthusiastically at every SDSsally, while an equal numbercheered the professor and mem-bers of the audience who rose todefend his right to speak. Rarelycould a speaker from either sidedraw enthusiasm from the entirecrowd .

Bronfenbrenner had plannedto present his views on day care

(right) Vice-President John Wynne.and child development. The aca-dem'ician has been to Washing-ton to testify before Congres-sional committees on the legisla-tion before the House this pastsession, telling the legislatorsthat President Nixon's proposalswould be a disaster, aggravatingfurther a serious problem. Bron-fenbrenner maintains that childcare in this country has wor-sened over the past few years byisolating young children fromnatural family and neighborhood

-influences. His proposal is asystem of child care centers andelementary schools more closelyintertwined with the chId's fa-miliar environment. An impor-tant element is the involvementof non-professionals - "wedon't want to move further inthe direction of having special-ists care for our children."

SDS objected to remarksBronfenbrenner included in a1967 magazine article discussingNegro child development. Forexarnple, one passage cites tworesearch sources and a line ofargument to conclude that "inmany cases, the Negro child inthe integrated classroom is, anidcontinues to be, irltellectuallyretarded, unable to concentrate,unmotivated by learn." The left-ists insisted that Bronfenbren-ner's hypotheses were unscienti-fic and lacking in any validsupporting evidence.

Communications between thehouses is als seen as importantby Traver. The IFC, he said,should publicize issues and prob-lems that are common to thefraternities, e.g. debt collection.He foresaw meetings betweenhouses facing common prob-lems, or between one house andothers that have already had todeal with the pro)blems the firstis facing. Traver predicted twoforms these meetings could take:1) meetings of house presidents,2) larger mneetigs with membersfromn several -houses invited.

Before the election, out goingChairman Harwell Thrashermade a few comments about thepreceding year (comments whichhe later -elaborated for The

(Please turn to page 7)

By Lee GiguereThe Inter-Fralermity Confers

-nce (IFC) last Tuesday night,elected Stu Traver '73 (SAE).Showman, to succeed Harwell

rbasher'72 (PKA).Traver, who had previously.

been chaiarm of the PurchasingWanagers' Committee (PMC) em-phasized that the critical prob-Lem facing the IFC in the comingyear would be to get more peo-ple working for it. If enoughiolunteers can't be recruited,and Traver was pessimistic onthis p lhni, bae loeisaw the possi-bility of paying people to dovlerical work for the Conference.

Also elected that eveningwvere: Lewis Jester '72 (DU)Vice-Chairman; Mark Oakes '73DEE), treasurer; Ken Green '74PGD), secretary; Steve A1t-,huler '73 (ZBT), Rush Chair-alan; Frank Sauk '74 (T Q, PMhCChairman; and Stan Roth '75'TX), Warehouse Chairman.

Preceding the election,Rhrasher reported that work is

being done to set up a systemFor thA fraterniies to collect badlebts by having MITL hold upiegstration material or diplo-nas. He emphasized that some;round rules would have to beset up before the Institute wouldagree to aid the houses; in partic-llar, he noted that this proce-lure would be reserved -as a last.resort.

Mauery Goodman '72 (PKA),Dutgoing treasurer, reported thatthe IFC's assets, as of threeweeks ago were a total of$9,271, with $3,560 of that inaccounts receivable and $4,365in warehouse inventory-

InR an interview with TheTech, Traver discussed some ofhis goals fr the Conference-There are only two functions

"really worth doing," Traver ex-plained, ush anud the PM<C. Hisprimary concern is to get thosetwo 'set up and going."

The key problemns, he said,are people and motley. The via-bility of the IFr, he felt, "nightboil down to the fact that youhave to offer people some com-pensation." H~e also saw an alter-native to paying Walters in hav-ing the houses send people to dowork for the IFC as part of theihouse responsibilities. In general,he emphasized that if the frater-nities want the !IFC to performcertahn services, "they have to beawar of .the costs involved."Things get done, Traver asserted,'because people want to dotbem.1"

procedure for such events, andfiremen arrived-on the scene infull force by I0 pm.

At that time confusion was atan ultimate maximum, as manypeople were connecting the firedepartmzent presence with theeariTer bomb threat. No one wascertain of what had happened,flncuding Cambridge firemen,one of whom replied that hessupposed there's a fire" when

asked what had occurred.Another complete search of

the building was made by fire-men, who found no evidence ofeither a fire or explosion. Thesearch concluded at 10:30, whensecuxity precautions were lifted.

^ Inaterestngly, the initial re-port Fromn thle E40 occupant wascorroborated by several otherwitnesses in the building at thetine, all of whom made similarstatements concerning the explBo-sionI that was heard and theflames seen at the top of E52.

After furrther investigation,Patrolrm en theorized that theexplosion heard at E40 was actu-ally that of a conventionalcherry bomb in the area, of theEast Campus dorms.

They further speculated thatthe flames which were seen bythe E40 witnesses were actually.due to a lamnp in the window ofthe Faculty Club, facing theUSL, which had been fitted witha red Light bulb, thus explainingthe explosion and fire whichwere supposedly witnessed.L ta r, witnesses to the false ex-plosion agreed with Patrolmen as

to the nature of that explosion.

The Sloan Building was freedof any added security or safetyprecautions by Friday, when thealleged explosion was to havetaken place, and the Patrol ex-plained that they viewed thethreat as "a routine hoax."

By Norman SandierA series of unrelated events

last Thursday evening led MITand Cambridge fire authoritiesto believe there may have beenan explosion in the Sloan Build-ing (jE52). Investigation led tothe conclusion that no explosionactually occurred.

The MIT Campus Patrol re-ported that a call was received atthe Sloan School of Maanagementcomputer facility in the base-ment of E52 at 8:31 pm Thurs-day, and the anonymous callerhad said, "There is a bomb inthe building which will go off in24 hours."

From voice descriptions, thecaller was said to be male, andWas laughing and giggling. Therewas reportedly laughing andgigginag in the background also,which later led to one CampusPatrolman's comment that it was'4a false bomb threat." Strangelyenough, the statement was madebefore a search was made.

Following the cal, the builld-ing was imnmediately evacuatedand sealed off, and a seharcbegun for the explosive devie.

The intensity of the situationincreased vastly at approxsimate--ly 9:5S pm, when an occupantat the, Urban Systems Labora-tory (E40), across the streetfrom E52, called the MIT tele-phone operator to report he hadheard an explosion and "hadseen fla-mes at the top of E51."

The operator immediatelynotified the Cambridg Fire De-partment of the call, sanldard

peace - peace between nations.Then comes internal or civilpeace. The third kind of "peace"is the so-called "positive peace,"which seems to Boulding to bealmost synonymous with "tiheabolition of all evil" such asinjustice and poverty- He warledagainst the danger of extendingthe meaning of "peace" sobroadly-

He thhen went on to explainwhy he is optimistic about theprospects for international peacein particular. Studies have shownthat there is no very strongcorrelation between intermna andexternal peace, nor between thepersonal aggrssiveness of thepeople and external wars. Nei-ther is war closely linked witheconomics or ideology. The conl-clussion, then, is that the inter-national system is fairy isolatedfrom other aspects of society,and perhaps if we know what itsdynamics are, we can changethem.

(Please turn to page 7)

BY Bert HalsteadDr. Kenneth Bnoulding last

Friday chided- society for neverhaving geared its resources to-wards peace as an ultimate ob-jectivte.

The Boulding criticism wasexpressed during his lecture,"Peace As An Attainable Goal,"the most recent talk of the MITLecture Series on World Peace.

lBoulding, the author of sever-al books such as The Econo8Mic3of Peace and Peace and the WarIndustry, stated that in the pastpeace has been wished for, pray-ed for, and even fought for.However, it has never been pro-grammed or planned for, likelanding on the moon.

A good reason for this is that"civilization is based onthreats." Fortunately, accordinrgto Boulding, things are changingin the Twientieth Century -"Civilization is passing away."

Boulding identified three dif-ferent concepts of peace. Thefirst is external or international

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PAGE 2 TUESDAY, MARCH 14,1972 tE TECH

The official, results of the1972 Undergraduate Association'elections were: - .

UA ExecommMoody 133Jaglorb .103Saavedra :71

72 rHeasurer.,19

8

72 Secretary110

73 ExecommPfister 70Sonanerfield 59Mayweather 8

ScaleaOther

FletcherOther.

No Execomm

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72 ExecommDan Bloomn 5Rick Di Capua 5

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/an )DunnOthersNon-votin

72 President8273

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74 Execomma(4th ballot) 73 President

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HaWkinSWfnklerWeeksNo PresOther

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Saturday, March 18: -~ ~ . Gaztha Hillman and Buzzy

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KENODA LL--HARVARD-POR TER SQUA R ESTelephonre 492-4023 * There will be a meeting of the

Kaleidoscope Committee Thursday,March 16 at 8 pro in iRoom 401 ofthe Student Center. Students,faculty, and. employees arewelcomed, and if your group wishesto participate on May 12 come to themeeting or contact John Kyrzywielat x2696.* Women tennis players interestedin playing on an irntercollegiate teamplease contact Leslie Slatow (dl 8647or 491-1560), Bonnie Kellerm an (dl8650 or 491-1560) or Paula Stone (dl0109 or 661-9295).* 350 replies have come in for theAdmissions Office study on whypeople come to M1T. Prof. Greeleywould greatly appreciate it if theother freshmen who have not repliedwould do it as soon as possible.* Dr. George J. Robertson -Medical Director of BinghamAssociates Fund (a non-profitorganization to update medical carein Maine) and Assistant Dean forContinuing Education at the TuftsUniversity School of Medicine, will-speak on "The Practice of Medicinein Rural Areas," March 15, 1972, in-the Mezzanine Lounge of the StudentCenter at 8 pro.

Continuous News ServiceSdnc 18= 1

Since 1$811Vol. XCI[, No. 1I Mlarchl 13. 1972

Robert Elkin '73, ChairmnaltLee Ciguere '73, Editor-inl-Clie'

Len 'Tower Jr. '7 3 BLusiness ManallgerSandra Cohen '73,1Manlagirng Edlitor

Second-class postage paid at Boston,Massachusetts. The Tech is published twicea week during the college year, exceptduring college vacations, and once during-the first week in August, by The Tech,Room W20483, MIT Student Center, 84iMassachusetts Avenue, Cambridge, Massa-chusetts 02139. Telephone: (617) 864-6900ext. 2731 or 1541.

CENTRAL 2 "864-04.26 Thru Tues. Lous Malle'sMURMUR OF THE HEART 6:00 -'9:55 & ACCIDENT irk iBogsde8:05 Weekend Matinees 4:15

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2BRATTLE se' 8 76-4226 Thru Tues Two flisb'bAlain Resnais LAST YEAR AT

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departments. Yet another contribution isthe recently released Energy Technologyto the Year 2000, a collection of elevenarticles reprinted from three successiveissues of Technology Review. The maga-zine commissioned a number of special-ists to write their views of differentaspects of the problem - the whole issomething of a symposium on the issue.And -although nothing can be truly cur-rent in a field where important newdevelopments may be made every month,this is cetainly one of the most up-to-date looks at the subject.

From the very beginning it is impor-tant to- view energy as merely the highestlevel in a hierarchy of subordinate issues.MIT Nuclear Engineering Professor DavidRose is fond of looking at the subject assomething of a mobile: at the top youhave energy itself; balanced underneathare societal concerns and technical con-cerns; each of those two has its ownsubdivisions, as the technical concernsmidght be divided into electrical, trans-portation, space conditioning, and indus-try; those four could be further divided,and those divisions would in turn befurther split. The result is a very deep,very broad view of the subject thatilluminates the complexity involved andemphasizes how very much are a numberof seemingly far-flung concerns inter-related.

So the energy issue is intimatelybound with a number of of technical andnon-technical concerns- Merely com-paring our style of manufacturing andliving with the patterns of 150 years agomakes the point obvrious - not only has agreat deal of inventiveness been neces-sary, but also an enourmous increase inthe power available to drive the mach-inery that supplanted manual labor andrun the conveniences we have come todepend on so much. Drastic changes inthe energy picture must inevitably forcechanges in our economy and life style,and vice versa. It may be prudent to pointout that building a new power plant willendanger the environment, but one cannot at the same time ignore the conse-quences for home life if some new sourceof power Is not added somewlhere.

The Review book was planned -tofocus on techmology, to provide readerswith the opinions of a number of expertsin the field. Ignoring the societal concernsaltogether was a decision that will bediscussed later in taxis essay, but there can

Corntinued on page 4

Energy Technologyto the Year 2000

It probably wouldn't be too far fromithe truth to say that much of.. theAmerican public takes their supply ofenergy for granted. Even though black-outs and brownouts are becoming morefrequent during the summer months andother periods of high demand for elec-tricity, most people' still expect theirtoaster to work when they plug it intothe w'al. A utilties bill is seldom asignificant item on the monthly budget;gasoline prices have remained relativelystable over the past several years; in-

,creased costs are seldom attributed to!rising power costs - in short, eriergysupply has a low visibility profile on theconsumers horizon of interest, even as hisdemand for it is constantly increasing.

Industry must necessarily be moreconcerned with power availability.Adding a new factory saddles local powersources with much -more of a demandthan that involved in adding a new car,and adequate preparations must be made.But one would doubt that businessmenare that much more concerned than thegeneral public with the background infor-mation on power supply. So the form ofenergy supply occupies a lesser place onan industrial scale of interests, even as itsdemand, in turn, constantly increases.

Indeed, it takes environmental issuesto involve the public and industry, albeittangentiaUlly, in a discussion of energyissues. Within the past few years concernyvert man's impact on the environmentlas increased, and power plants haverrovided a natural focus for fears aboutvhat our society is doing to the earth.

This ubiquitous blindness to energyssues may be one of the more dangerousurrent myopias. Experts are saying thathe future demand for natural gas willutstrip supply by so large a margin thatdithin 100 years there will be no moreatural gas left. And another t00 yearsfter that .there may be no more oil left.dd to this diminishing energy supply theaounting threat of danger to the ernrron-lent, and you have right now the first:firings of an energy crisis.

It would be natural for MIT, as one ofle nation's leading centers of tech-ology, to to participate in the search forew methods and solutions, and indeedork is going on in-a number of different

the new Student Center was built, therewere no facilities of this kind, and theidea for the SAA came up when peoplewere trying to decide on the type offacilities that they wanted to have in thenew building

The eventual result of their planningwas a suite of three rooms, plus a darkroom. into the three Croorms were crowdedpainting, sculpture, stained glasswindow-making and a variety of otheractivities. The SAA has recently acquireda fourth room, which is entirely devotedto pottery. Tiere is also another smnallroom, which contains two kilns.

Besides being available to any memberof the MIT Community who simplywishes to use their facilities, the SAA alsooffers classes in a variety of subjects. Theclasses are generally offered onweeknights during the term; however, thisyear, in an effort to increase studentparticipation, there are special two-dayweekend workshops being offered as well.There is a fee charged for all classes,which covers part of the costs involved.

The majoritny of the financial supportof the SAA comes from the Dean'sOffice. The SAA falls into the group ofactivities which are financed from aspecial slush fund. This funding pays forone full-time employee, Mimi Luff, andfrom time to time enables the SAA tobuy new equipment, like a Uin or apotter's wheel. The other people whoteach at the SAA are all part-time, andthey work for the fees charged for thecourses, and, in some cases, for nothing.Like everything else on campus, the SAAis suffering from budget cuts this year.Sometimes, however, they receive outsidegifts; the money to set up the darkroomwas provided by an alumnus.

Perhaps the title Student ArtAssociation is a misnomer, as only about2/3 of the SAA are students. The rest ofthe 300400 people per year who use theSAA are student wives, employees, andpeople from all parts of the MITcommunimty. As far as the students go,there seems to be no trend as to theircourse of study, withi courses IV and VIhaving the largest representation.

Besides simply providing studio space,the SAA tries to give the community as awhole better exposure to art in its variousforms. They have, in the past, sponsoredfilms and lectures, but, Finding that theywere not very well attended, have triedanother tack. The SAA exhibits works inthe Student Center, and holds asemi-yearly sale of works produced bythe students in the various courses. Theyhave also tried to reach a larger audienceby having demonstrations at lunchtime inpopular places, like the Student Centerand Building 7 lobby. One such

|The Student (and non-student) Art Association

Do engineers have secret yearnings toexpress themselves in forms other thanwords arnd numbers? Do they long toimmerse their hands in clay and createnew forms? Some people seem to thinkso, and as a result, there is now somethingat MIT called the Student ArtAssociation.

The SAA has studio space of thefourth floor of the Student Center,where, almost any time of day or night,someone can be found doing something;be it sculpture, etching, or batik. Before

chorus is often handled in clever ways,but it is always obvious that the directoris struggling to modernize thisuncomfortable aspect of the Greek form;he seems to fear the poetry and rhythmof the chorus, as if it were some kind ofarchaic cabalism, and so subverts itseffect by quick cuts, pans, and othercamera effects. This, perhaps, reveals thebasic malaise of making movies of Greekt;ragedy: the medium of film demandscloseups and camera motion, whereasGreek tragedy was intended to be viewedfrom one vantage; the roles, especiallythose of the chorus, were designed, interms of poetry and dance, to be seenthrough a boundaru an interface betweenaudience and players (who in fact woreheavy masks), and reality and drama. Theprying eye of the camera must 'necessarilydestroy this psychological basis for theGreek tragedy, in which the quality ofremoteness seems to have been necessary,

Continued on page d

:>jan 1Women attempts to render the form of Greektragedy relevant as well only detract fromthe whole.

The fim begins in dead silence, withwords projected on the screen relating thestory of the seige Of the neutral islandcity of Melos arnd complete massacre ofits male citizens by Athens, Euripides'own city, just a few months before hewrote the play in 415 BS.C. (this and othersuchi atrocities committed during thePelopennesian War should be familiar toanyone who had to read Thucydidesfreshman humarities). The TrojanWomen then, was an anti-war statementat its inception, relating the horrors ofplunder and war to an Athens whosemilitary and imperialistic hubris wasabout to cause her downfall': And, lest themessage go unheeded, the film ends witha similar note of dedication to all thosewho fight the "oppression of man byman."

Wfiat comes between has little morethan the aura of what Greek tragedy musthave been (although this seems to beenough to mnake the productionsomewhat sacrosanct with mostreviewers). Edith Hamilton's translationfrom Euripides seems rather liberal - itvacillates between a rhythmic ritualismand anachronistic flippancies (such aswhen an Achaean cavalryman asks acomrade, "What's up?"). The part of the

Cacoyannis' The Tr(It would seem that the least probable

rtue .Qf ancient Greek drana todayould be social and political relevance;,t these represent precisely the raisonetre for the filmr production ofuripides' The Trojan Women.nfortunately, director Cacoyannis'

Continued on page 4

- -. · -- __

PAGE 4 TUESDAY, MARCH 14, 1972 THEYTECH

producers probably reasoned that theirportrayal would alienate film-goers fromthe ultimately human tragedy of TheTrojan Women and compromise some ofits modern political relevance (after all,the aren't our gods). But, again, what iscompromised is the message of thetragedy.

Perhaps this is the result of. an un-conscious Christianizing of the tragedy;not only are the Greek gods essentiallyremoved from the picture, but there is astrong sense of modem attitudes towardfate, God, etc. What crushes the Trojansin the film version is nothing more thanthe power of the Greeks, and their falltakces place in what appears to be a totalvacuum of justice, if not morality. Thebrutality of the victors is well portrayed(although the apologetic Talthybius al-most seems to hate his job a bit too muchat times); the destruction of the Trojansis utter and complete to them, as itshould be, but there is something missing.Perhaps it is, again, organic in the filmmedium's removal of the tragic remote-ness that the audience should be removedfrom a realization of the ultimate retri-bution toward the Greeks, by the omittedgods. At any rate, this serves to upset thetypically Greek balance of justice thatdictates that hubris will be punished; itapotheosizes the Greek nobles thema-selves, who, with the exception ofMenelaus (who is bequiled by Helen intosparing her life despite his original intenl-tions), make decisions of life and deathfrom afar and seemingly with impunity.This, in turn, makes the Trojan womenthemselves little more than cattle, herdedabout by automaton-efficient Achaeantroops and deprived of any dignity in-heremt in the original play. What is meantto portray total collapse of a humanorder becomes little more than totalsubjugation to an animalistic fate.Euripides intended to show not only theoppression of man by man (more like bygod in this film), but the senselessness ofsuch mutuel oppression of humans in anultimately common situation, as victimsof vagarious gods (or, in a more universalinterpretation, of their own falties, corn-pulsions, shortsightedness, and final help-lessness). By ignoring this and the otheraspectsof "dynamic equilibrium" inhuman affairs, the film becomes essenti-ally a protracted, pointless -lamentation.It is interesting to watch, beautiful inplaces, and a marvelous vehicle for itsconsummate actresses, but it fails topursue the question that it poses.;'"" "": ' ::"'"'"""':':'::::'-:r:i:.':::-· iavid Searls ::'

Trojan Women, from page 3perhaps to complement the mythologicalbasis oCf the drama (for, with plots sofamiliar to the Athenianr playgoers, tihesight of famniliar actors or their foibleswould have detracted from theatmosphere - thus, the masked costumesand rigid choreography of the Greektheatre, which may be contrasted withthe closeaups and star vehicles in the filmproduction). But perhaps moregrievous than the staging of the play onfilm was the treatment of Euripideshimself. Cacoyannis starts out on thewrong foot by essentially omitting thefirst hundred lines of the play, whereEuripides had the gods Poseidon andAthene discuss the sacrilege performed ontheir temples by the Greeks and3 decide toravage the Greek fleet on its way homeacross the Aegean. This servesa numberof important functions in the play: itportrays the gods with human failings,full of rhetoric and bickeringcompetition, and it works to hand -anironic sword of doom over the heads ofthe proud, conquering Greeks. Theomission seems, again, to be for the sakeof reality and modern relevance - the

Student Art, from page 3.demonstration was held during lAP, whena potter's wheel was set up in Building 7.It attracted people, who took timre outfrom their everday activities, if onlybriefly, to stop and admire handicraft.

When asked if MIT students presentany particular problems or show anyunusual aptitudes when it comes to art,Mmi said that their ability to thinkabstractly is very good for artisticendeavors, and that this is somethingthat it is difficult for the average personto acquire. However, she added, they arerather inhibited when it comes toexpressing themselves in a plasticmedium. and are not very inventive orplayffil She noted that a loosening-upprocess had taken place in some people,and that it was reflected in other aspectsof their lives.

The SAA still has room in some of itsclasses, and they are always looking forsome student participation; if you have afree moment, and feel the urge, takeyourself-over to the Student Center andtry your hand at "throwing" a pot.:::::::::::: ..... "- -c -s -; ·"--;":;.:': Sandiy YoJk'e :::;-:.

Careol Hall at thePassim CoffeehouseCarol Hall is a petite girl who has to sit

on two telephone books so that shereaches the piano to accompany herself.But don't let her size fool you. Forsuch a tiny girl she has an enormous,gutsy voice.

I actually did not know what toexpect from Ms. Hall in her performanceat the Passim coffeehouse last week, butwhen she was finished, I was pleasantlysupr;ed.

Carol writes and sings her ownmaterial. Her lyrics are simple and yetintricate. She has a rare gift for choosingthe right word when she needs it. Herbasic problem appeared to be somecoordination difficulties in getting themusic to smoothly compliment the lyrics.Wdith some polish, however, I believe thatthis problem will be eliminated.

Through her songs, Carol createscaricatures of people. She said that all herfriends eventually become songs (whatbetter tribute is there?) and that all her

songs are true stories. While singing,. ssports a crooked little smile whenever smentions a name to make the audienbelieve in the authenticity of her songs.is almost as if she is reminiscing whsinging. In one such instance, she tellsa fifteen-year-old lover named Sandy w-used to tell her all his troubles and Joand. she would set them to music. Thshe told of the fact that, when KKristofferson heard her recording a socalled "Carnival Man;" he said, "I lithat woman's attitude." In "CarnhiMan," she tells of how she was takenby rambler, a "sweet-talking, hon,would not melt in his mouth.. carni%man," and when he left, well, she h-expected it, anyway, so she was ableaccept it.

She also reveals her family life throuher songs, including a character sketchher grandmother (Carol asks if hgrandmother was afraid of growing oland a story of her Uncle Malcolm's dea(when Carol had to return return horfor the funeral and relate to her famiwho were just people with the same laname as hers). And then, with an impi:grin, she told us of her friend "Cra:Miranda" from Boston who did stranthings like leave flowers on your door,dance barefoot across your floor, arCarol confides, "She's a witch, I thinkHer other songs that impressed me buta somewhat lesser degree than thoabove included "If I Be your Lady"Previously Married Ladies," and "JenpRebecca." The remaining songs were r-better than mediocre, especially whecompared to those above.

Carol's main talent seems to lie in h-

song-writing, although she certainly sin;her songs with the feeling and erlthusias-that tells her audience that she has lix

the lyrics.After having listened to her Elekt]

recording, her Passim performance w-refreshing. The album, "Beads arFeathers," is a dissapointment basical-because it is overproduced as far zbackground music is concerned_ HearirCarol simply accompanying herself on tfpiano and being able to clearly hear tfllyrics , without having to work 2deciphering' them was much moaenjoyable than listening to hex albur~The Elektra people have allowed heunique voice and lyrics to be buried tomany times on the album.

Carol needs a bit more polish for helive work, however, because she was to-nervous at times for her audience not tnotice. Once she began singing, thoughher music flowed considerably nicer tha-did her conversation. As soon as sh-defeats her discomfort on stages an,realizes that, generally speakingaudiences are not composed of ogres, sh=wil be even more pleasant to see and hea.in person.

Carol ended her performance b -telling the audience that the Passim is th!nicest place that she had ever playedboth in terms of cleanliness and people,Maybe that means she'll come back.

:::::::::::::::::::::::::Wa nda dams :RX

Energy, from page 3be no denying that there is much to begained from famil/arizing the public witha number of the technical issues involved.

Unfortunately, the book gets off to abad start by completely ignoring thetheory behind energy development. Someof the most important constraints onpower production and power productionefficency follow from a fewv basic therrmo-dynamic laws easily within the compre-hension of any reader intelligent enoughto grasp the other lines of argument inthe book. Ah good bit of the book'saudience may be technical people wellversed in the appropriate theory, but ifthe book is to affect a wider circle ofpeople it must present a few of thefundamentals.

And there is a further reason fordelving into the theory. Perhaps in hisexplanation of the decades-old thermo-dynamic laws governing current processesour expert might suggest possible newmethods completely divorced from pre-sent ones. For example, the second law ofthermodynamics, according to the textfor 5.60, Physical Chemistry, preaches'lthe impossibility of a system operatingin a cycle and connected to a single heatreservoir to produce a positive amount ofwork in the surroundings." In otherwords, you can not just run a pipe intothe atmosphere and use the heat there torun motors. But the justification pre-sented for this theor is not some ab-stract line of reasoning, but rather that'experience has shown that it is notpossible to build such a machine." Cer-tainly a discussion of those' theoreticalefforts that are underway to transcendthis experience would be in order.

Thermodynamic theory is not the only

constraint placed on forms of energysupply. Another important factor is thestructure of the demand, and three of theEnergy articles provide an analysis. Thehistorical picture shows an almost con-stantly rising demand; furthermore, thepercentage annual growth during thoseyears of rising demand has been aboutequal since 1850, and the rate of growthhas been greater than the populationincrease. The only leveling-off period inenergy demand lasted from 1910 throughthe late 1930's. These are the U.S. figures-as might be expected, it will be a whilebefore the rest of the' world draws evenwith the U.S. consumption rate. Butworld consumption is already growingfaster than U.S. consumption; West Ger-many, Japan, and France are leading theincrease.

The specialists have taken pains topoint out that the exponential rate ofgrowth rperesented by a constant per-centage increase cannot long continue ina finite system, the dreams of govern-ments economists notwithstanding. Thegrowth must ultimately be slowed byeither a lack of natural material forsupply or the brake of environmentalpressures. Just as an illustration, theworld's energy production altready totalsabout 1/6,000 of the total energy imping-ing on the earth from the sun. Should thisratio rise to 1%, there might be seriouscause for alarm, and at a 3% annualgrowth rate that figure will be reachedwithin 150 years. (Some people considerthe 3% an underestimation of what thegrowth could be if underdeveloppedcountries insist on parity with U.S. indus-trialization). To give some idea of whatthe magnitude of this demand is, to meetit at the end of the century would mean

commissioning a plant capable of turningout 1,000 megawatts (the Boston Edisonstation on the Mystic river is half thatsize) more' than once a week.

Besides the sheer size of the demand,the nature of it also influences the supplytechnology. For example, 25% of thedemand is for transportation, and exceptfor subways or streetcars feeding off bareelectric wires, the vehicles need a mobilesource of power. Another 25% goes tospace conditioning and household uses,and it is this area that may prove itselfmost adaptable to power sources otherthan large fossil or nuclear fuel plants.Industry (30%) and electricity (25%) con-sume the rest of the power; they demandlarge volume and a certain degee ofconsistency. There may be some degreeof flexibility to the industrial demand forpower, some possibility for a se-ec tionamong alternatives to handle the mechan-ization. {Ed. note - this is the first of 2parts - part I will appear next week.)

':.':"' ': :.:.":-:- : -- "--':':'-Alex Maowski3 -:

-THE'[ECH TUESDAY, MARCH 14, 1972 PAGE 5

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at this point, it is not easy to tell. Let'shope for t he best (and let's hope to hear alot more from Thompson, Drenny, Nicoland Mattacks), and for the day whenFairport will be the main attraction, asthey deserve to be.

Fairport Convention may be a popularenough band, but by the end of theevening, it was all too obvious who wasthe main attraction. After an initial splashand a fetw years of relative obscurity, theKinks have made it back to the."top ofthe pops." Most Kinks fans are ratherfaatical about theme, aid the number ofthese people is growing by great boundsAnd, in some ways, the Kinks havechanged a lot, too. But more than anyother popular group, the Kinks' musicsoluds the same as it has for over sevenyears. Theyr were one of the first Englishbands to make it big here after theBeatles. And their stiff, pain... wel,kinkily style is still with us, all the waythrough more than a dozen albums. Theyswitched bass players a while back, andhave recently added a keyboard player,bout it is still straightforward thumpingfrom Mick Avory on drums; short, neverflashy, extrermely tasteful guitar linesfrom Dave Davies, and the affected,bland, nasal voice of Raymnond DouglasDavies which fit together to make just theright sound more often than commonsense tells us they would. Ray has gottenmore professional as a writer and aproducer, but you can hardly notice anydifference in the basic style romn albumto album.

Up until recently, unless you were abonafide Kiks freak, you probably didnot have the patience to sit through a liveperformance by the Kinks; the sheerrepetition would have bored you stiff.But, as evidenced by the performance lastweek, aII this has changed.

The new act might better be titled"Ray Davies and his Orchestra," since itis so reminiscent of your average nightclub performer. After a few openingnumbers with just the Kinks, just asboredom was starting to set in, DaveDavies and John Dalton stepped back and

*the a~lary secaio was introduced,consisting of a trumpet, a trombone and aclarinet. At this point it could be noticed

that Ray had about three-quarters of thestage area ad to himself. He dancedaround the stage like a combination ofMick Jagger and Tiny Tim. He blew kisseslto the audience. He performed several"oldies" including 'You Are MySunshine" and "6The Banana Boat Sontg."He sang a song about ";Demcon Alcohol"and spilled beer onto the floor, into theaudience, and down his throat. He wasthe most outrageous spectacle and thecamp effect fit very well with more thana few of his songs. He was clearlyenjoying himself and the audience. Assoon as the crowd recognized the openingchords of the Kinks' current single, "20thCentury Man" and began to applaud,Davies ended the song. He put on, in thebest sense of the word, a show. The brassleft after a while and the Kinks broughtcrowds of fans up to the foot of the stagewith their biggest and earliest hits "'YouReally Got Me" and "All of the Day and

AU1 of the Night." The ovation as theyleft was thunderous. Even the mostskeptical person had to enjoy the show.And such a show could probably not havebeen brought off by any group other thanone which truly lives up to its namne - theKinks. Certainly, no American group hassuch a sense of showmanship. People likethe Kinks and Fairport Convention arethe ones who can keeps Americans fromgetting so smug about theirmusic.

ID be * ,* ,V, ,, ,V,, ,,,, _ _, ,*sJay Pollack...

America could never produce suBcgroups as the Kinks or "Fairpor Con-rention or Lindisfarne. The concert at theOrpheurn a week ago Sunday nightconsisted of very definitelyy Bzitish talent;each of the three groups has nothing cl.oseto a counterpart in this country.

Actually, -Lindisfarne might qualify asone kind of exception, in that they dohave three mandolin players in the group,for which the corresponding -style iAmerica would be bluegrass. There is alsoa harmonica which was given a long soloin neither of its two usual modes(country or blues). But even with all thisstrange instrumentation, Limdisfarneappear to be little -nmore than asemi-sophisticated, folkc-flavolred, popgroup, of which England has dozens andNorth America has several (the GuessWho, Three Dog Night, etc.). They cameacross not too badly at the colcert, butpaled in comparison to the others on thebill.

Fairport Conventions came on andserved up an, hour's Worth of the bestelectrified folk music ever heard. They.have one of the most consistent suands'any band on either side of the ocean.Their material (nowadays) consists of oldEnglish/IrishlS cottish tunes andself-written songs which sound just asauthentic as the others. On stage, theyrattled off the instrumental medleys atlightning speed, often gaming momentumin the middle of a song. "Sloth," one oftheir best songs, was perfrmled in arextended version which bilt up a terrifictension from the interplay among groupmembers. "Matty Groves" contained fourinstrumental solos, wbe e, each manshowed his ability to crente hid x-Yw,-music, always with the Ifairport s-ound.They ended with -another' raucousfoot-tomper-"W¢hich? had almost a hundredpeople dancing in the aisles (at thescreaming insistence of fiddler DaveSwarbrick). Despite some mnilorhindrances (ozne of their mandolins wasbroken, the vocals and vioslinl weresometimes hard to9 distinguish), theyproved to be as exciting as they havealways been, in their years of being the

second act one the bill.Even though they remain just about

the tightest band, and one of the mosteasily indentifiable, Faipoart Conventionis most notable for its constant chan'ge.This is due to continuous shifts inpersonnel. As of now, there is nobodyleft from the orinal group or from anyof their fist three albumns. Their strong-lead singer, Sandy Denny, left a whileback, but the band has gotten uesed tohaving mate vocals. Richard Thompson(writer and guitarist) has moved on butFairpor gets along with one guitar now.The fist record without Thompsn AngelDlelight was not as strong as the previousone, Full House, (which still is their best)but recently Babbacsombe Lee, sort of afolk-rock opera, has been an upturn as faras sheer creativity goes. It was producedby Simon Nicol (second guitar and lastremaining of the original F.C.) and isalmost all new material, as opposed toF airport's previous practice ofre-arranging several traditional numubersfor each record. It is also the fit timetwo Fairport Albums in a row containedthe same personlel. But right after therecord, was reeased, Nicol quit (beingreplaced by Roager Hill).

This "new" band sounds good enough,at least-for now. Hill has adapted well andshowed on. "Sloth" that he can work onhis own, too. The new drummer, while heseems to be somewhat louder thanMattacks, does not affect the total soundthat much. Swarnbrck and Dave Pegg(bass) are still the cornerstones of thegroup as far as live playing goes. But asfbor future records, a lot -is dependent onseveral things. For one, the baned didalmost an Uald stuff from Fual House andLiege and Lief (four aburnIs ago). Thiswas by far their strongest period, arndthey can be relatively safe as long aseverybody in the group an keeptogether, which they can. SwarbriLck sangone new song, which sounded good, butit is not clear if he can carry the wholegroup with respect to the creative end. IfHill is a good writer, whlich remains ice beseen, thne Fairport Convention should beable to carry on for a Iong time more. But

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Four Korean musicians will present aconcert of Korean music Friday, March17, at 8:30 prm in Kresge Auditorium.

The program will include virtuosoinstrumental solos, vocal performances byMme. Kim Saohee, and group renditions ofSouth Korean folkc songs.

This concert promises to be a rareopportunity to hear a fascinating body ofmusic, employing unique tone qualities

and rhythmic patterns.Tickets, available from the MITF Music

Office, l4N-233B, x2444, are priced at$3(reserved), $2(general admission), and$ l(students).~h

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In defence of the film, however, thereare several redeeming virtues which futuredirectors might do well to emulate. Thefight scenes are refreshingly realistic, and

the hero doesn't always win. Blood is notsplashed around like buckets of water,and this too lends credibility. And most,welcome of all, Anthony uses sex only

when it is necessary for the continuity.ofthe 'film, refusing to succumb to theeasiest cliche in film making. The scriptcontains occasional flashes of humor,which successfully break up its basicallyviolent nature.

Acting is competent throughout thefilm. Thie most interesting case in poit isthe performance of Ringo Starr in hisfirst serious role. Starr plays the part ofCandy, the brother of the leader of theMexican bandits, and is cast as a brutaland self-centered man. The role bearslittle resemblance to the comic leads hehas played in the past, and seems toindicated that he is taking a real interestin acting. Based on this performance, theinterest-is Justified: Starr does a good jobin a part that could easily have beenoverplayed.

On the whole, this is an average film.It has enjoyable moments, but is entirelypredictable, and one leaves the theater inmuch the same state of mind as whenentering it. Technically, it is excellent,but there are a few vital ingredientsmissing which make the movie hard torecommend At the Savoy... . :.;.;..::.:. ;:.: : Gar yle Johnson .;;.

&;gMadep for Each Other

Mlade for Each Other is too sad to befunny, and too comic to be effectivelytragic. consequently, it hangs in thelimbo between and totally faifs.

The film is the story of two bomlosers who get together and find adubious brand of hapiness. Pandora(Renee Taylor), an untalented butwell-meaning night club performer, andGiggy (Joseph Bologna), a confuseddrifter with a history of dumping onwonen, meet at an eme:,,rgency CluistmasEve session of a sensitivity group. Their-relationship evolves into a tedious seriesof inane arguments and reconciliations.The conclusion of the film loaves; GiggyAd Pandora reconciled after yet anotherfight, with no real assurance that thistruce is more permanent than anyprevious one.

Although as a whole the fldn isdisjointed, it does contais a fewworthwhile scenes. (The style, in fact, isreminiscent of Cassavetes, though in a glos-sier, and perhaps more contrived way.)The first few moments, shot In black-andwhite depict the birth of Giggy in 1935,and then teat of Pandora in 1936. Es-pecially humorous are Giggy's mother,are Giggy's mother, a religious fanatic,and Pandora's mother, a rdiculouslydedicated astrologistt In fact, the familyscenes are the only ones that really

maintain -their credibility throughout the .

f-~HiB..indmanIThe 'problem 'with the rest of the

movie is a lack of believability: thecharacters are relentlessly denied even aparticle of dignity. Gigbg and Pandora arefailures as people, and although oneperhaps sympathizes with them at first,this becomes less and less possible as theam continues Giggy is as much theinsensitive and irresponsiblewoman-dumper at the end as he was thmebeginning; yet tee audience is asked tocontinue to laugh at his repeated foibles.By the end of the film, Pandora is anirretrievably pathetic figure. InE a previewof her new night club act, she revealsherself to be tasteless, mindless, and evenembarrassing to watch. Yet she continuesto delude herself into believing that heract is "great" nmd that she will be fnamos.Although bothf Giggy anld Pandora end upjust as dejected as they began, one'sempathy for them cannot survive themovie. It is simply Impossible tosimnultaneously pity and -laugh at the samethings.

Mgade for Each Oth~er has a good idea,but the idea cannot sustain itself for atwo hour duration. As rapidly -as thecharacters become less believable, theybecome boring. In the endd, the film isworthwhile only or a few comic scenes.

:.:::-:.: ::~L~:~=~:~~:;:r: .a:;.r . .:: .:.°Ckis Kenrick ::'

Blind man is the latest of theItalian-made "Spaghetti Westerns" toappear on the American flm scene, and itis indicative of the downward trend in thequality of these movies. Blindmana l is along way from the excitement generatedby the Fistful of D)ollars series thatpushed the Italians into the westernbusiness. The movie lacks plot, color, andmost of the other adjectives used todescribe a good western; on the otherhand, the performances of the maincharacters are too good to completelydismiss the film.

The sole responsibility for the film lieswith the producer, writer, director andstar, Tony Anthony. The plot he uses israther weak, and at times seems to existsolely as a showcase for his considerableacting ability. Anthony plays the role ofBliind Man Ciego, who for someunexpgainned reason had SO women stolenby -two bad Mexicans; apparently, greatsums of money are involved, but it'sneever made clear that the money Ls theincentive. In fact, this is the major failingof thie film: there really is no obviousconflict between the good guys and thebad guys. At one point, the beautifulherrine asks wonderingly, "Why are youdoi;nlg all this?" There was an audiblereaction by the audience to this well-putquestion.

Vittorio De Sica's

I THE GARDEN OBFTHE FINZI-CONTINIS

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KRa rl.c rattinlg. slSnl l;lllp facial 545 Tech Square(opoosite garage

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The Kinks, Fairport Convrntion, Lindisfarne

O)l~cil X:(30 to 5:30 W 354-6165

~~-~ Lrrs Barber Shop"'for that well-roomne: Books

X& ummu N-1L BI" ETaL 5 9 9 - -3 2 8 7Only 40 seats available - open only to students, employees and families

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album. Unfortun2tely, Hellbound Train.has not lived up to the high'standard of'the preious'disce: '

Vocalist Dave. Walker' seems to havebeen listening to too much CreedenceClearwater, and-has developed into a poorcopy of John Fogerty. Kim Simmond'sexcellent lead work has vanished almosttotally; when it appears, it is deeplyburie'd by .Paul Raymond'sundistinguished keyboards. The result is abunch of songs that kind: of begin.nebulously, ramble around, andeventually go away. The only noteworthysong is the title cut, in which Sinmmondsfinally breaks through, and which buildsstrongly and dramatic2ally to a very nice,abrupt ending. Yet, all told, Savoy Brownseems to have derailed with HellboundTrain.

." ''::'"::":' " e' "' "" ' ~"" :'"".. -' ~-::-:.':: ;Nea Vitale ::::::

In th e b e g in n in g-

Recall tkhe Beginning... A Journey from.Eden - Steve Miler Band (Capitol)

I hate to speak in terms of pretentious-ness, as that's such a vague word in itself,but this album is just so fantasticly"tacky," it's impossible to talk differ-ently. Tis disc manages to combine thehaughtiest title to strike in quite sometime, a very talented musician who hasincredible pretentiousness potential (dueto the fact that he comes on kind ofraunchy and greasy, then does sometender and delicate love songs), and somepretty banal music.

It's hlard to tell whether Steve Milers'sattempts on tfiis album to become aMotown artist are serious or not. Butestablishing motives doesn't improve arecord on which only "Fandango" evenapproaches his work on Brave New Worldand Number 5. Even his previous release,the quite weak Rock Love looks like agem compared to Recall the Beginning...Perhaps the departure of the core of hris oldband over the last four of five albumscould be responsible for the drastic lapsein quality; whatever, Steve Miller betterstart looking around to find what's wrongbefore he puts out another record as badas Recall the Beginning... A PJourney fromEden and his reputation is tarnished ir-reparably.... --- ~'~~'"~"'"~~~'-/: ':** M***s*°Neal Vitde:: -'..'.

- S in g' e -- A l b u m -- iRockin' - Guess Who (RCA)

As is the case with virtually al of theGuess Who's albums (except on Best ofthe Guess Who ), the group is trying tobreak away from their title of beingstrictly a "singles band." But what hap-pens is, as usual, the best cut is the single,in this case, "Heartbroken Bopper", ascreaming, rocking song. The rest of thealbum is pretty weak. "Guns, Guns,Gunas" isn't a bad song; "Back to tiheCity" is a rollicking fifties-type tune, anda fairly decent version of the old number"Running Bear" has been dredged upfrom who knows where. Yet the lyrics aregenerally either pompous or trite, BurtonCummings doesn't sound as good as heusually is, and the band tries to show its"hip" side by dabbling around in thestudio and doing bits of social com-mentary. Rockin' is a misnomer as re-gards the album; one would be welladvised to buy the 45 instead....... '' '"'v v*ea;: -':.':.': NMal Vitale :.;

PAGE 6 TUESDAY, MARCH 14, 1972 THETECH-- _

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band (ge previous one, Chapter Three,did rPlease one album) and it looks likef: e has a good:: chance, to-regain *e -fame

. he: captured with :"Quin" on a:!stngbasis this time.

-Manfied Mann's Earth Band rely -sounds like it should. have been calledManfred Mann's Space Band. While it iscapable of creating a good, poW.erful,-earthy type of' energy, the presenceofMann's synthesizer gives almlost every cuta (you should pardon the expression)"spacey" feel. Mick Rogers plays hisguitar along these same lines Wihile thebass and drums create an ever-present,sturdy rhythm. Mann doesn't really usethe synthesizer for many special effects'(other than one instrumental track called"Tribute" which sounds like a squndtrackfrom an outer space movie, and which isone of the better cuts) but he is reallyinventive as just its keyboard player, as healso is on the organ on fthis record. Thewhole album is full of big-sounding ar-rangements, often with a chorus added.The last two songs are strange -exceptions,where the echoes are gone and the trebleis very strong and the synthesizer saoundslike an accordion, but even these two arestill welt-written and well-performed.

- A lot of the material is other peoples',but it .ardly seems to matter. There is,among others, some Bob Dylan ( "6PleaseMrs. Heienry" ), some Dr. John the NightTripper, and the afore-mentioned RandyNewnman. The Newman song is a funnything because the most joyous, high-spirited arrangement, including some neatvocal harmonies, has been matched uphere with one of the -most depressing,despondent sets of lyrics ever written(compare this version to Randy's own, onhis live album). It rmight make youwonder about how such a combinationcould have been made, but the version isso catchky that it almost doesn't matter.You cam argue that it completely subvertsthe original feeling of the song and youwill probably be right, but nevrertheless, itstill ranks very high on the scale of just, plain enjoyability, which is somethingalmost impossible to argue with.

The whole record, is just like that, areal pleasure to listen to, from start tofinish. That is more 'than enough torecommend it.

:::. .::::.:.:;:;:.::.:.:.:::.::: .:.:: ay Poick.:i:

H e l lbo u nd T r a in d e ra i is '

Hellbound Train - Savoy Brown (Parrot)Savoy Brown has followed their-last

fine, roCking, bluesy album Street CornerTalking with Hellbound TrainB; re-markably Kim Simnmonds has kept thelatest band together for two records.

Starting way back with Gertingl to. thePoint arLd progressing through Blue Mat-ter, A Step Further, and Raw Sienna, thebrad established itself as one of thefinestEnglish blues-boogie groups. After manypersonnel changes, an atrocious concert atthe Music Hall a -year ago February (whenthey were second-billed to the Faces),and an interim album, Looking In, thenew Savoy Brown premiered in Boston'sSummerthing last August, as the warm-upfor Procol Harum. They put on a mne,fine rock 'n' roll gig that harbingered wellfor Street Corner Talking, released theday of- the concert. Expectations werefulfilled, and hopes were up for the next

raunchy rock, and great thumping boogie-woogie to come out in many a proverbial'moon. Newell himself blows harp aswell as any white musician around today,save possibly J. Geils' Magic Dick; hewrites, chooses and adapts excellentmaterial; has a fine blues voice, and playsinnumerable overdubbed guitars. Themusic is simply great, exciting, -and per-formed with a mastery of a style thatincorporates bits of Glenn Miller, Dr.John, Willie Dixon, and Little Walter,among others. Gooduns and King BiscuitBoy are fantastic; Canned Heat might dowell to give them a listen to hear howit's done.;:::.:::.:.:::.' .:... "''';::;::'";:-o:-:-:-:-':;::::::::::::::::-.-':.: Neal Vitale:-.:

i New old Cream .

Live Cream Vol. II- Cream (Atco)Well folks, more live Cream has struck,

brought to us from· some unidentifiedconcert. It should please the scores oflingering fans of the first super-group; themodel for countless trios. Ginger Baker isconstrained from his terribly tedious egotrips, to the disappointment ofmasochists everywhere. Jack Bruce isinaudible generally; proficient, inparticular spots, and Eric Clapton showsthe basis for so many considering him thebest rock.guitarist,. His playing is tastefuland more than adept, rather than thegarbage he and his guitar have spewedforth on his' work with Delaney andBonnie, and on his solo alburn.

The songs themselves are nothing new,save foT Freddie King · and SonnyThompson's "Hideaw~ay," a flashy boogienumber that gives .Clapton plenty ofroom to show what he can do (and whichis quite good). Off Disraeli Gears comesan incredibly massive "Tales of BraveUlysses" that somehow retains thesubtlety that· made the original one ofCream's all-time best, and a long"Sunshine of Your Love" that is equallystrong, heavy, and good. "White Room,".with slight changes, and "Deserted Citiesof the Heart" come off Wheels of Fireand inexcusably- there is yet anotherrendering of "Politician."

The auburnm is all of That you'd expect·from a live Cream disc; perhaps a bitmore. Not much new, but definitely agood, as well as important, record. In thehistorical sense, it is invaluable -in tracingthe life and times of Cream; defining asharper pattern and clarifying some of thegrey areas - going back to where so muchof today's rock began.:*::::::::::::::::::::::::::::::::::::::::: ::::e::::::t¥itale :.::

1' T h e "S p ace y " E ar th 'B an d i

Manfred Mann's Earth Band (Polydor)You all remember Manfred Mann. He

had a moderately big record a few yearsback, doing Bob Dylan's "The MightyQuinn," and, if you can remember thatfar, he had a hit with "Do Wah Diddy"back in late 1964. He's been around thewhole time but he received little atten-tion between his big singles. He now hasanother single which has been receivingsome attention, Randy Newman's "LivingWithoutYou."This isManfred Mann's third

Heat-ed Headsand Hot Biscuit

Historical Figures and Ancient Heads -Canned Heat (United Artists)Gooduns - King Biscuit Boy (Paramount)

Historical FigUres and A ncient Heads isCanned Heat's first solo venture into thestudios of the pressed plastic business intwo years, and also the first since thedeath of Boston native Alan Wilson (thefirst and sometimes forgotten in the rashthat saw the demise of Hendrix, Joplin,and Morrison). Bob "The Bear" Hite andAdolfo de la Parra are the only remainingmembers of the band that released FutureBlues; Henry Vestine, an original mem-ber of the group, has returned after beingcapably replaced in the interim by HarveyMandel. Antonio de la Barreda has filledthe hole left by by bassist Larry Taylor'sdeparture, and Joel Scott Hill has fol-lowed Wilson into his post as secondguitarist.

Canned Heat's sound has changed in acouple of ways, the most noticeable beingthe disappearance of Wilson's distinctivevocals that marked all the group's "hits."But Hill's addition adds another singer togo along with the Bear, and the possibili-ty of dual leads fills out the sound.Combined with assorted guests, Heat hasput out a varied album in Historic Figuresand Ancient Heads.

The band ranges from blues to thesolid boogie style that has become theirlive trademark. While both types areexecuted well, the lack of' anything dis-tinctive makes them sound like countlessothers, without a John Lee Hooker sing-ing.

But there are moments that make therecord more than a rehash of past cliches.Little Richard jives in for a duet withHite on "Rockin' with the King," whichdoes just that without Mr. Penniman'sobnoxious personality glinting through.Charles Lloyd's there as well, believe it ornot, on his own "! Don't Care What YouTell Me," which is a fine version, butwhich seems somehow foreign to CannedHeat. Also, Vestine's lead work is quitegood, as he manages to single-handedlysave many of the cuts from sinking inmediocrity.

All told, Canned Heat's latest has it'spoints, but the weak material (whichmight come off better in a live setting)sandwhiched around them makes me goback to early Savoy Brown Or Fleet-wood Mac, the Allmans, or J. Geilsfor cooking white blues, rock'n'roll, andboogie.

Perhaps someone to join the ranks ofthose mentioned above is the King BiscuitBoy (alias Richard Newell) out of thewilds of Canada, easily the best thing I'veheard come out of the northlands. Withan unlikely assemblage of people: likeSeatrain's drummer Larry Atamanuik,pianist Rick Bell from Janis' Full TiltBoogie Band, and characters from thefine group Crowbar, he has created anamazing record - Gooduns.

King Biscuit Boy and friends put downsome of the best, low-down, funky blues,

BEARING OU1T HE ANC.ETREE ADAG 'MW~ SoUWF r kt HE M0O BUYS AW, MAGC SU EP aLS CETINT BE ALECEf

WHENCE IN A BUPSTOF 6REEDE THEKNIlHT CETW 'IDONE!. THINKiNG HE HAD AT LAST BESTED HIS FOE...

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Schaeler Breireries, New York and-Albany. N.Y.. Baltimo.e. MsW.. Leh1igh Valley. Pa.

- . - .THETECH TUESDAY, MARCH 14,1972 PAGE 7_ ._ _ . .. _ t _ . .. .

. . - - - ---

(ContinuEed from page WJ

The irnterational system isdominated by threats. A threat-ened party call do four things -submilt, Mlee, defy the threat, orcounter-threaten. Submission is"ssome kind of peace," but not"high-quality peae.":

Defiance threatens the ciredi-bility 'of the thireat. Sometimesthe threatener goes away, andsomemenes he elects tdcarry outthe threat. U9nfortunately, this isoften at least as costly to thethreatener as it is to the threat-ened- (e.g., Vietnam).

Counter-threats are ' deter-rents. They lead to an unstablesituation, though, 'because, inorder to be effective, there mustbe'a nonzero probability of their,use- Nuclear weapons are notver credible deterrents becausenobody really believes they areever likely to be used.

"'In spite of all this, stablepeace does occur in certain seg-ments of the fintemational comn-munity," said Boulding. He citedScandinavia, North America, andpossibly the socialist camp- Here"the threat system exists, but isbusied under a pile of papers."

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(Confinued from page 1)Tech).. About one and a halfyears ago, Thrasher'related, after'a mee'ting.--of 1FC officers andhouse Residents at TalotHouse, it wash decided- that thepurpose of thle F4C should be toact as an extension of the frater-nities and not as a quasi-indepen-dent entity. Basically, it wasdecided to focus the Conafer-ence's energies into four areas:rush, the PMC, "lobbying" withthe Institute, and informationdispersa.

Last year's rush, Thrashertold the IFC, attracted a record

EU Al ng.5

number of freshmen (406) andresulted in a better distbutionof men among the houses -thanhad previous years.t He explainedto 'The Tech that last 'year''nothing revolutionary" hadbeen done, but that things had,been refined from p.reiousyears.

'The bigest innovation of thelast year had been the socsalled' small presidents' meetings" -informal Gatherings of half adozen or so house presidents fordinnsr and discussion. Thrasherexpressed some disappointmentwith the program because the

presidents changed. so often .(andat different times) that they

.never got, to know each otherwell.

Looking to the future,Thrasher discussed with TheTech some of the problems hesees confsonting the IFC nextyear.

In the area of rush, Thrasherstated thlat the IFC would "haveto 'deal with, the DonrlitoryCouncil [ Dormcon3 ." Thedorms, he said, "want to attractpeople" and "have as much rightas anyone else" to try to dothat, however, he commentedthat "there's no way we cancoordinate rush rules with thedorms." The situation, accordingto Thrasher, is "going to getworse and worse," especially asPhysical Plant improvemnents inthe dormitories and decay in thefraternities make the situationmole competitive.

On te issue of manpower,Thrasher emphasized that, whilea year ago, "it was hard to getany officers, this year we gotseven at one meeting." He wasadamant about not paying peo-ple, and said, "If you have topay, then it's just not worth it."Rather, he said, "people canwork in the IFC to help theirown house and so help all thehouses."

Boulding suggested that peacewould involve several "changesin the parameters pf the sys-tem." Integrative forces such astoursm and economic ties mustbe strengthened so as to overlaythe threat system, which willthen wnither away. The intema-tional informnation system mustbe vastly improved.

"Quite frankly,"' Boulding

concluded, "I don't think thereis going tos be a thild world war,unless we are very unlucky."

.

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By Norman SandlerWhen given the choice of

staying at the Institute and attending classes or splitting fortwo days of free skiing at one ofthe most luxurious ski resorts inNew England, I would speculatethat most would undoubtedlychoose the latter.

Such was the case when TheTech was offered the opportun-ity to send an editor to MounlSnow, Vermont, for two days ofliving in luxury. This includedhaving unlimited access to all skicand recreational facilities at thelarge resort area, some 2/2 hoursfrom Boston-

Boasting the world's largestski area, Mount Snow is locatedalong Route l00 in southernVermont. It has over 80 miles oftrails and slopes (ranging frombeginners' to the expert northslopes), 15 lifts, and three ho-tels, ranging from the dormitory-style $14 per day Ski Barn tothe $27 per day per personsuites of the luxurious SnowLake Lodge. It's complete withheated indoor and outdoorpools, as well as being linkedwith the ski slopes through theexclusive "Aijr Car" cable carservice.

First impressionsLeaving Boston at 6.30 in the

mnorning and arriving at Snow atapproximately 10, we were im-mediately awed by the 'size and

ple during the week had been atSnow since Sunday man wouldremain through Friday, w ith un-limited skiig, daily lessons,food, lodging, and use of allrecreational facilities.

Haigreceived the grandtour oyf the area, as well ascomparing notes with Snow'sbusy News Bureau and PublicRelations Ouffice, we secured lifttickets and equipment and head-ed for the slopes, trying to keepin mind that we were there toevaluate the skiing and nothingmnore. It was a rather difficulttask.

Weather andi conditions weregreat the fi rst day, with -teeslopes for the most part in veryegood to excellent shape. -To-wards the upper portions of themnountain, which incidentally isa National Forest Are~a leased toSnow by the National Park Ser-vice, the slopes were mostlypowder, although temperaturestha t clay -approached thermid-30)'s.

Towards the lower parts ofthe mounltain, where'this partic-ualar reporter deci ded to spendthee day 'skiing, most of theslopes were packed from exces-sive use by the many people whosurprisingly- seem to congregate,o n the lower slopes.

The weather was perfect,with a clear blue sky and warmtemperatures which, made itseemn like spring skiing,

.Mount Snow's 44, slopes arewell-divided to suit skiers withall degrees of experience, fromthe 700, foot Mixing Bowl run-for -beginners to the expert-slopes of the north. face, withnames like "Jawrs of Death."

All slopes are adequatelyserved by Snow's 15 lifts, whichinclude two rope tows, sevendouble chairlifts and two unique.". skis-on" gondolas, reportedlythe only ones -in the world,which ru n 8,000 feet to the-summit o:f the mountain. These-se3rve slopes of all degrees, aswell as one cross-country traillocated at the top. Cross-countryis integrated with downhil ski-ing at Mount' Snow; there aremarked trails. leading throughout.the forest surrounding the area,and cro~ss-country rental equip-men t is available at one of thebase lodges at comparatively lowprices.

After skiing The apres-ski atmosphere at'

Snow is similar in many respectsto what would expect at anyother resort area on a large scale--There are numerous cocktaillounges and bars throughout the

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Yes, I'mn a skier - why do you ask? I I Photos by Rafiael Haciski-

spills and demonstration of atotal lack of coordination thephotographer -decided that hehad had enough laughter for theday, and decided, to make itdown the slope to do someserious skiing. I thought I'd -con-cemn myself with getting downthe slope, and soon found my-self on a slope which I later

.discovered was' labelled fr-ex-pert skiers.

Tshe -slopes were unfortun-ately suffering from one of theconsequFences of warm-weatherskiing which 'occurs even at a-reaslike Snow, namely sloppy, wetslopes.

The steeper slopes at Snowhold up to these conditions well.They were not affected as badlyas some of the novice slopes,which contained some faiily flatsections impossible to ski inbthewet state they were in.

The restrania factorOne of the most basic items

one must consider before goingon any type- of ski excursionwhatsoever is that of costsskis, lift tickets, food, etc.

Although this is -one worrywith which we did not need toconcem ourselvs vvhi-e at Sno-W,ian inspection revealed that aitski-related expenses are eitherlower thanl or competitive- with

Downhill equipment, rents for-the usual _$6-1 0 domllars whichyell would find almost anywhere.for skis, (Blizzard), 'poles, andboots. Cross-countrv eq'uipmntsthough, rents- at Msount Snowfor an amazingly low -$5 per day,,.which is very competitive forany area.

Lift tickets are also rather-expen sive. Costs range from $6'for novice 'tickets to $8 for 4'allarea lift tickets," good on any ofthe l15 lifts at Snow.-

-Decent food is -usually verydifficult to -find at moyst ski

aras, as concessionares enjoy a"captive audience." However,

we did notice thiat the food atSnow, although unxuing approxi-mately the same price as it otherareas, was definitely of betterquality, from the two cafeteriacat tle-car-crowded establish-ments at the mai base lodge tothe wine and cheese place anidfine restaurants located through-out the area. UnfortIunately, dueto problemns with the Park Ser-vice, Snow has not been able, toplace a restaurant at the top ofthe mountain, although one isplanned for the future.

SE area ox im ~ezylanS .All types of people are to be

found at Mount Snow, and al-thoug there are a great manypeople who co~>int& fo 4h1e -wee=k-long -luxury living and socializ-:ing, thfe area -is full of studentsfromt the Northeast. Somne oftfiose who go there, go just toski; scome of them go for theresort atmosphere; many go forboth reasons.

With a number of very inex-_pensive lodges within the -,generalvicinity, students can get by-for'as little as $3 per night lodging,

.and,- with the drinking age beingeighteen in Vermntol, there isusually a certain amount ofiiglht life close by.

In describing the expansiveMotlnt Snlow resort area, 1 wehave to agree with the Directorof Public Relations at Snow,'Gene McsMasters, who statedthat "the place isn't just a lDis-neyland . . . there's a lot of ski-.ing behind all that. plastic-"

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resort, including a sandwich-,cocktail lounge (the "Keg"') at-the main base lodge and a wineand cheese shop at the second ofthe two base lodges.

The atmnosphere -is very in-fornal as well as crowded withskiers wcho relate their variousexperiences from' that day ownthe slopes, and- prepare for thieeve Ang's activities. These in-clude gourmet meals at one ofthe various hotel dining Prooms,-and later the prospects, of spenld-ing the remainder of the eveningtaking advantage of the nightlyentertainment, the well-stockedcocktail lounges, dips in theheated- indoor Japanese dreamPool~s, or as was thle case withoft ski week custom-ers- a com-binationI of the latter two, whileproviding cornic relief -for offersat-the lodge-

Back to the slopes.- It was up at 7:30 the next

mornig, thanks to all impatientskier-photographer, for an earlystart to breakfast at the. hoteland then on to the slopes.

Unfortunately, weather con-ditions had worsened -overnight;from the looks ofl the' cloudsengulfingg the mountain, any-ting was possible. There was atrace of snow from the nightbefore, although tempelratureshad remained rela tively high andthe effect of the fresh-fallensnow was negligible.

'Upon makinag it to the 'mainbase lodge and securing lift,tickets and equipment for yetanother day's skiing, we headed-fOT the gondola to the top of themountai, an.- action which Imust attribute to the fist taLkingaoif my photographer (an accom-plished skier-, of course), as wellas an' insane pledge which I hadmade, something of the form"anything for good journalism."

Ski conditions were "'excel-lent"7 at the top o~f-the slope.-Th~e photographer truly enjoyedhimself in the wind and lowvisibility. -- Howe%,er, I 'foundrpyself in a state of psycho-soma&1ti sern-patalysis-.

A lonjg way dowelA fter numerous dramatic'

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deignj of -the b-ase lodge', as wellas the large ice sculpture outside.The first impression one formsof the resort is of. a "winterDisneyland."

The, buildings, are all large andbrightly colored, and with thelifts, the air car travelling overSnow Lake, and the snowmobilerentals, the area takes on theappearance of a huge carnivalreserved for chic members of theleisure class.

This, the instantaneous firstimpression, qu'ickly diminishesas one walkls through the four-story base lodge. There there areall types of ski enthusiasts as-semnbled, from the ski bunnies tothe :serious skiers of hMountSnow's challenging north slopes.With the current' promotionlalemphasis being placed on 51/2-

day ski weeks, most of the peow· ~_a_if~,~~.,, ·· M__,···.

-,Comic relief" - The Tech edi-tor exhibits skiingg prowes.-

Other areas in Vernont Ill manycases the costs are substantiallylower than for comparativeitems at other areas.

. . ~~~~~~~~~~~~~~~~~~~~0: f !

By Dan G;antt and Rick Henning eIsAt a meeting of IM softball umppires held last Thursdays

a number of controversial rules changes were announced lbysoftball manager Mike Cucchissi '75. While a few of theinnovations were good, we feel that in the better interests .,of IM softball some of -these changes should not be mzade. XXK

Foremost on the list is a rule limiting all games to *t@

seventy minutes. When the seventy-minute mark is reached, .,.the inning cu rrently in progress is to be declared the fmnall ,innirna. The rule was proposed irn deference to umpires working overtime, yet there was no great sympathy for it atthe meeting. 3Furthrermore, the rule will allow games to end +tWin ties. At a time when people are complaining about ,baseball becoming outdated, it seems most strange that weshould wrant to adopt the most archaic practice of football and hockey' Even IM ootbiall incorporated a Device this Apast season to-elirnnate tie ganes.

Perhaps equally injurious to IS softball is the demotion :of the Bi leagues to a status equalling that of C leagues.Among the changes instituted are rules eliminating base-stealing and advancing on wild pitches and a rule wherei a Xbatter fouling oif a pitch with two strikes is declared out. :The latter totally pxrevets a batter from protecting himselfwith a two-strike count. To top all of this, manager T ,:Cucchissi's plans currently call for exclusion of B league :,>,:teams from championship contention.

We feel that while Cucchissi's intentions are good, someof his ideas are not in the best interest of the IM softba1 :player. Therefboe, we urge aU in- attendance at tonight's IM Coouncii meeting to vote against theseruleschangfls..

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