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VOLUME 93, NUMBER 3 MIT,CAMBRIDGE, MASSACHUSETTS TUESDAY, FEBRUARY I13, 1973 FIVE CENTS

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reversed polarity. Most of thesewere swiftly corrected.

Provisions of OSlIA state thata copy of the citation is to beposted at the site of each viola-tion. Abatemn.ent periods werealso set for the elimination ofthe -hazardous condition: theseranged from one week to sixmonths. Thus far, ail of theabatement periods have beenmet, according to Vice Presidentfor Operations Phlilip Stoddard,and 300 of the violations hadbeen corrected by January 10.MIT will have to make periodicreports to the Depart ment ofLabor, stating the progress madetoward correcting violationswith longer abatement periods.If MIT is inspected again, whichcould come at any time (ornever), and if the same violationsare found, MIT could be subjectto fines as high as $ 1 000C0.

Stoddard emphasized that al-thlough MIT was fined onlyS1775, the big money would bein correcting the violations-Stoddsard is working togetherwith the Safety Office, the En-vironmen~tal Medical Service, anda committee of safety coordina-tors appointed fMom each of the80 departments and labs, to seethat all the OSHA violations arecorrected within the specifiedperiods, and to help meet theon?-going safety needs of theInstitute. For a month, thisgroup has been holding smallineetings to discuss the new rulesand regulations and to informthe coordinators of just what tolook for. These coordinators willp rovi'de the con~tinuity a nd-watch-dogging effort that thebusy Safety Office could notprovide. Stoddard emphasizedthe need for these "knowiedge-able and alert" coordinators.

He also indicated a desire toset up a committee of dormitorysafety representatives to workwith house manager to keep thedorms free of hazards.

B~y James MoodytRepresentati~ves from the US

Department of Labor have com-pleted their inspection, and havemade theix report to MIT con-cernirag violations of the Oc-cupational Safety and HealthAct (O)SHA). They found 1650instances of 66 different typesof violation, and assessed MIT atotal of $ l775-00 in fines.

The OSHA was passed byCongress in 1 970, and imple-mented in 1971. It gave theSecretary of Labor broad powersfor establishing and enforcinghealth and safety regulations inplaces of federal employment. Italso codified many national stan-dards into a single act.

MIT was the first majoruniversity to be inspected. Thisgas prompted by a fatal elec ro-

*cution in a physics lab last fall.After a routine investigation, theinspectors decided to look at allof MIT.

Most of the 1 650 violationsdid not represent any serious

:immediate, danger, but werepotentially hazardous situations.The most common type of,violation (45 3 instances) was forcare of gas cylinders: they arerequired to be chained down.Th e second most prevalentvriolatiosn `363 instances) was forimproperly guarded pulleys onvacuum pumps. Other violationsincluded step ladders with bro-ken steps, bicycles chained tostairways, improper temporarywirin~g, exposed high voltage'equipmnnxt, and cluttered halls.

Only one dormitory, BakerHouse, was inspected. Here, thestrictly adhered-to technicalitiesof the law were evident. Violations inclludedl: metal panels mis-s i ng f rom withkin electricalclosets, extension cords in thehalls, equipment anid furniturepartially blocking the halls, fireextinguishers holding fire doorsopen, ungrounded water coolers,spliced wiring, and outlets with

Low clearance - or - you can't go through there! Photo by Fred Huwtcizsonz

By Storm KauffmanDue to inefficient utilization

at the point of consumption, theUnited States is wastinc, tremen-dous quantities of the energywhich it is finding more andmore difficult to produce.

The methods and costs of

conserving energy were discussedby Charles A. Berg ocf the Insti-tute for Applied Technology, USDept. of Commerce, NationalBureau of Standards, at a me-chanical engineering seminar.

There is a basic, fundamentalproblem because -our consump-tion of energy is outstrippinlgour ability to provide high qual-ity, low-poflutant, primary fuel.Options are available, such asnuclear power and liquilfaction2nd gasification of coal, but Bergnoted that "any option is goingto be costly."

Projected for 1980 is the im-portation of enough petroleumto ad d $ 20 billion annually toour already sorry balance oftrade deficit. Conservation willobviously be a major concern.The two ways to conserve fuelare curtailment, which has beenthe method most widely studiedand discussed, and "the imnprove-ment of efficiencies of practicesat the point of energy consump-tion," which has been to a greatextent overlooked.

The policy of the energycompanies has been generally to

supply energy in abundance a' aminimal cost. The-se industriesare, on the whole, pretty wellmanaged, and most new researchis aimed at increasing the effi-ciency of transmission.

Ho:wever, Berg stated, "4smartmanufacturers will build in [totheir products] high energy con-sumption to defray first costs."The buyer looks for a bargain,not considering the life cyclecosts. (For example, more ex-pensive air conditioners can gen-erally return to their owners theexcess of their original price inelectric power savings.)

Po te ntial conservatio n ofpower can be made in all areasof consumption, but a primesecto:r is space and water heatingand maintenance of buildingcomfort conditions. Berg feltthat technological innovations intransport would have less impactthan social or political considera-tions. Improvements in refiningof aluminum would result inonly a fractional saving. Howv-eetre, providing comfort condi-tions account for nearly a quar-ter of all primary fuel consump-tion, and it is an area of greatinefficiency.

The custom of producingelectricity from the burnup ofhigh-quality primary fuels andthen using this electricity to heathomes or water is highly waste-f ul. Great savings can be

achieved through the utilizationof high efficiency furnaces (in-terna11y insulated vacuum fur-naces can reduc e fuel consulmp-tion to a quarter of the present),thus elimin~atinlg two wastefulconversion processes.

Modern econstructionl tech-nitques are a prime, example ofthts minimization of first costs.The smallest quantities of insu-lation are used, buat Berg pre-sented -an analysis that demon-strated that the economic opti-mal over the life ozf a buildilngmaximizes insulation. What abuyer saves in his Capital cost isusua~ly paid cout Mnany timesover in operating costs. Triplingof present norms of insulation(the maximum for which pre-sentbuilding design permits space)call result in a 40% reduction inheating costs.

Considering all areas, Berg es-timated that a third of all directheat process energy might besaved by available technlology.To do this, economnic justifica-tion of costs based on the life-cycle must become instituti on-

ally accepted and a mnarketplacemust be developed.

the growth in the popularity ofseminars to an increased ilsterest-on the part of freshmen in elec-tives since Pass-Fail began; ifFreshman Pass-Fall ended, shesaid, the seminars would "pro-bably decrease in enrollment."

T~he report of the RogersT ask Force focused on Fresh-rnan Seminars and the U~ndergra-duate Research OpportunitiesProgram as two ways of im-proving studeint-faculty contact.When -asked what the effect oafFreshman Pass-Fail was conUROP, Assistant Professor ofP 1y si cs M argaret M~acVicarnoted that "URtOP being ol1pass-fail is not related to fresh-man or senior pass-fail." IfFreshman Pass-Fail were discon-tinued, MacVicar said, it "mightprompt a rethinking" about thearguments in favor of UJROP'spass-fail status, but tchere wouldbe nlo automatic chWange in theprogram.

The effect Of the disconlti-nuance OF Freshm~an Pass-Fail onthe Experimental SILTdy Group,though, might be lmore serious.Professor of Physics GeorgeVal~ley said that "pass-fail is im-portant to lESG"' Valley ex--plained that EFSG "tries to estab-lish personal relations" between

faculty and students and felttlhat "we couldn't do that if wehad to give grades." In fact, besaid, the program is "essenltiallypass-no credit."

A requirement to give grades,Valley said, would "destroy alarge part of our- ability to tact asfriends to fresh~men. With pass-fail, we can get rid of 90%~ of theauthoritarian relationship." Heasserted he "wouldn't want tobet more'than one penny thatthe spirit of helpfulness that hasgrown up would continue if waehad to give grades."'

7ESG would "4put up a filght tokee p rulnning business the waywe want it," Valley stated.

William Walton, a Senior Re-search S cientist in the PhysicsDepartment and a mnember ofthe staff of the Freshman Pro-ject Year (formerly the UnifiedSeiiencse Study Program), whenasked about the effects of Fresh-manl Pass-Fail on JFPY replied,"You need that sort of freedomin a prosgra m like this. O>ther-wise, people don't feel free toexperiment." He said it wouldbe difficult to assess the effectsof the discontinuance of pass-fail, altho:ugh he added that hefelt it would have a negative,

(Please turn to page 2)

By Lee Giguere(The question of whether tocontinue Fresh~manr Pass-Fiail in-definitely is slated to come be-fore the Faculty at its A prilmeeting, after being postponedfrom last year. Lee Giguere, whocovered last year's debate forThe Tech will examine some ofthe issues suzrrounding pass-failina the freshman year in a seoriesof articles fir The Tech.-Editor)

Pass-Fail, for all the notorietythat it's enjoyed, is just oneelement of the freshman year atMIT. What have its effects beenon some of the other features -both special programs andl coresubjects - that make up thefreshman year?

The Freshman Seminar pro-gram is not a recent innovation-it's been operating since 1969

- but it was an early flrtationwith pass-fail grading. Accordingto Nancy Wheatley, who coordi-nates the program, the seminars,,were pass-fail and always havebeen." Participation in the pro-gram has been growing sinceFreshman Pass-lFail was initiated,Wheatley said, noting that 700freshmen were enro~lled in semi-nars last term, "more than thereever have been." Wheatley tied

BY Walter T. Mi~ddllebrook"The outstanding Blacks in

time have had to be outgoing,outspoken, and exude an attictud'e of prominlence," saysErnest M. Cohen '64. This is justone of many lessons studentsand faculty of M{IT learned at an

informal disculssion held in theBlack Student Unionl Loungelast Thursday.

Cohen, along with Arthur R.Blackwell 75 1, Robeit IP. Pinck-ney '52, and Herbert L. Hardy'52, were the featutred Back.MIT alumni leading the discu-sions on their exp>erie~nces asstudents at MIT and as profes-sional engineers.

The more than 45 personswho clame to the discussionheard of the discrimination thatexisted in the enginleerinlg fieldfor Blacks and how the timesand their individual efforts over-came this discrimination.

According to Blackwell, "athebest jobs did not go to Blackengineers; promotions were few.However, industry, especiallyaerospace, is trying to removethese inequalities."

Realizing the similarities' be-tween the plight of the Blackengineer and that of the Blackstudent, students asked thealumrni what happens wh~en thegovernment eases its pressure onthe private industries. It seemsthat the basic groundwork hasbeen laid, noted Blackwell, "Atmy company, for instance, ifthere was any relaxatio~n, our-company would continue its pol-icies for minorities. At whatrate, I"'m nlot sure."

O:n the question of women,the men pointed out "manage-ment presents less resistance tothe acceptance of Blacks thanwomen in top po~sitions." Anexample presented by Hardy

(Please turn to page IO)}

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PAGE2 TUESDAY, FEBRUARY 13, 1973 THETECH

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* Those interested in helping toorganize a seminar series on theimpact of' certain value assumptionson technology and on social changein the Third World, are invited to ameeting on Thursday, February 15 at5 pm in the Jackson Room, 10-280.

* Buy a flower on Valentine's Day,tomorrow, in the lobby of Building10. This is sponsored as a service bythe Undergraduate Association, andthe carnations cost only $.25.

* The Technology Community As-sociation will have a general meetingtoday, Tuesday, February 13 at 7:30pm in the TCA Office, Student Cen-ter Room 450. It is an open meeting,for members and any interestedpeople. All projects are looking forpeople to help, so come and find outwhat TCA is all about. Refreshmentswill be served. Call x34885 if youare interested but cannot attend themeeting.

* HoToGAMIT will have a meetingfor staff and interested persons onWedn esday, February 14 at 7:30 pmin the TCA Office, Student CenterRoom 450. AUl people who wish tocontribute to the book should attendto organize the work for the term.Editor(s) and many staff people areneeded for the book. If you areinterested but cannot attend, callx3-4885 and leave your name.

* The Tech Squares will perform anexhibition square dance, Wednesday,from noon-2 pm in the lobby ofBuilding 7.

* Alpha Phi Omega Open Meeting:If you are interested in joining us inour program of service to the campusand community, the men and womenof APO invite you to meet us in the£:ush Room (10-105) at 7:30 prm,Wednesday, February 14.

* The MIT Flying Club will have ameeting on February 15 at 7:30 pmin Room 491 of the Student Center.

* There will b(e a meeting of theAssociation for Women Studentstoday, Tuesday, February 13 at 4 pmin Room 3-310, The guest will beMary Rowe, the newly appointedSpecial Assistant to the Chancellorfor Women and Work. Refreshmentswill be served.

* Meeting of the Corporation JointAdvisory Committee. Bush Roorn(10-105), 7:30 pm, February 13,1973. Topics for discussion will in-clude the delivery of social services atMIT and the Foreign Student popula-tion, among others.

_

clasa i edavertlos ng

LOST!!! One container of yogurt invicinity of President's office. If foundplease call x3-4665.

Volunteers are needed to tutor EastBoston elementary students in theirhomes. If interested, please contactEas Boston APAC at 567-8857.

20% - 5(Y% OFF ON ALL' STERE0EQUIPMENT. Stereo ComponentsjCompacts, and TV's. All new, mifactory sealed cartons. 100% guaran-teed. All major brands available. Call'Mike anytirme., 491-7793.

Unique service for PhD or MA can-didates. Professional experienced edi-tors work with you to prepare yourthesis for acceptance by departmentor publisher. All topics. Personal ser-vice, pick up and delivery. Call Livia492-3255. Anytime.

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OVERSEAS JOBS FOR STUDENTS- Australia, Europe, S. America,Africa. Most professions, summer orfull time, expenses paid, sightseeing.Free information, write, TWR Co-,Dept. F6, 2550 Telegcraph Ave.,Berkeley, CA 94704

I've been typing Mlaster's and PhD'sfull-time for three years (and stilllo--e it). I'd be happy to help you.894-3406 (Weston)

(Continued f'omn page 1)effect. "We'd need to find someway to get around that."

Concourse is the newest ofthe three special programs in thefreshman year. Neither of thetwo Concourse staff membersquestioned seemed to thinkFreshman Pass-Fail was essentialto the program, although bothindicated that its terminationwould be detrimental to theprogram.

Assistant Professor of Hu-manities Nancy Dworsky, whenasked if the existence of pass-failhad prompted the inaugurationof the program, replied that it"was part of a general sense ofthe possibilities open." Shepointed out, though, that Con-course is a "program that it'sgenerally possible to grade." IfFreshman Pass-Fail were termi-nated, she said, "Concoursewouldn't disappear ." "Wewouldn't have to make anychanges," she felt.

However, Dworsky assertedthat grading "would produce astrain and antagonism betweenstudents and faculty" in theprogram. Now, she said, it's pos-sible to return work that's notacceptable and ask that it beredone. She felt that under pass-fail the faculty can make de-mands and the students canwork to fulfill them on theirown time. Grading, she said,

"would be enough of an irri-tant" that she "would fight hardto keep Concourse pass-fail."

"I'm probably less crazyabout pass-faii than anybodyelse" in the program, said Asso-ciate Professor of HumanitiesTravis Merritt, but he acknow-ledged that the termination ofpass-fail would probably have a"detrimental" effect on Con-course. Merritt said he didn't"think [pass-fail] had any ef-fect" in Concourse's initiation.

While Merritt was critical ofthe effect of pass-fail on thefreshman Humanities core curri-culum, he said, "In Concourse,we learned to make good use ofit. I think we have certain otherways of bringing suitable pres-sure to bear on students."There's more student facultycontact in the program, he ex-plained.

In the Physics core curricu-lum, "the existence of pass-failhas made it possible to havemore flexible evaluationschemes," according to Professorof Physics Robert I. Hulsizer."We treat work during thesemester as diagnostic ratherthan evaluative."

Currently, each term of fresh-man physics is broken up intoten units, with a study guideprepared for each. The cus-tomary three lectures are stillgiven, Hulsizer said, and there

"still isn't any compulsion" forstudents to attend. The inten-tion of the program, he ex-plained, is for a student to workon the material in a unit andthen "ask for a test when theyfeel they've mastered" it. Thetests, he said, are considered tobe diagnostic, although to com-plete the course a student has to"satisfactorily pass a test oneach unit." In addition, a finalexam is given.

Asked what might happen ifFreshman Pass-Fail were dis-continued, Hulsizer replied thatthe Department "probablywould continue this program."Even without the traditionalhour exams, Hulsizer explained,"awe get a very clear idea of whata student is doing." For upper-classmen who have taken thecourse, he said, "there was notrouble computing grades."

In freshman calculus(1 8g.01-18.02), "pass-fail was oneof the main reasons for going tothe modular system," accordingto Professor of MathematicsArthur Mattuck. "With pass-failour own attitude changed."Mattuck explained that he felthe "couldn't let people gothrough MIT without knowingcalculus," while at the same timehe was unwilling to "fail 10o% ofthe class" or give incompletes.The aim of the modular system(basically, six self-paced exams),

is to "replace grades with com-petence."

Mattuck claims the presentarrangement is a better systemand said that "even if pass-failwere stopped, we wouldn't goback."

Asked if Freshman Pass-Failhad had any effect on freshmanhumanities subjects, Professor ofHistory Richard Douglas, theHead of the Department, said hewas "beginning to think so."

"I suspect, given all the pres-sures working on students, thatthose who are not inclined tohumanities have tended to spendeven less time" on humanitiessubjects under pass-fail. How-ever, Douglas qualified his re-mark, saying "a number of thepeople teaching freshmancourses report better attentionand attendance" than in pre-vious years. Douglas said he was"quite uncertain" what the ef-fect of pass-fail really is.

Asked whether pass-fail hadprompted the proliferation ofoptions available to freshmen,Douglas said no. "They camebefore pass-fail," he said.

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INTRAMURAL COUNCIL

MEETING

Thursday- February 157:30 pin

Varsity Club Lounge

- Elections

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By Oscar WildeDirecetd by Joseph Everingham

Sets - William D. Roberts Costumes - Linda MartinLighting- Edward Darna

Feb. 8, 9, 10, 16 & 17, 1973 at 8:30 PMLittle Theatre, Kresge Auditorium, MIT

Tickets $2.25 Reservations: 253-4720~ .... =~~~~~~~~~

Monday-Thursday. Feb. 12-15

Kresge Rehearsg Romo B7:36-10::0

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THETECH TUESDAY, FEBRUARY13, 1973 PAGE3

Buy a

By Paul SchindlerIn an event some observers

called "unprecedented," reliablesources report that three MITadministration members showedup at both the 24 Hour Coffee-house and the office of TheTech, in response to a studentprank.

Last Monday's parody issueof Tech Talk (The Tech, Tues-day, February 6) contained anannouncement and a storywhich contended that Vice Pres-idents Constantine Simonidesand John Wynne, and Wynne'sassistant James Culliton, wouldread the "Poetry of Unrest."The article went on to quotefictitious verse which the triomight have read to studentsduring last spring's demonstra-tions.

The Tech offices received ananonymous phone call whichclaimed that the event wouldactually take place as scheduled.It was assumed to be a hoax, andno reporter was assigned to thestory; indeed, the Editor andNews Editor left town thatnight.

Reliable sources report thepresence of Wynne and Simon-ides at The Tech office andWynne and Culliton at thecoffeehouse, but the principalsmade cryptic, undecipherableresponses to direct questioningabout the event. "I've neverbeen billed for poetry before,"Simonides noted. "It was inTech Talk, wasn't it?" Wynneasked. Cullitort could not bereached.

Four poems were left in themailbox of our office, alongwith a note -which said "Sincenobody from The Tech wasthere... " No one wouldconfirm or deny their authenti-city.

Poem OneI must warn youYour actions are disruptiveand must not continue!So get off your assesand be out of here in five minutesor you are all guilty of trespassesYou will be subject to prosecutionand 30 days incarcerationand members of the MIT

communitywill face the Discipline Committee.

Poem TwoWhat a pity they did not stab

the vile creatures, when they hada chance. Pity! It was pity thatstayed their hand. Pity andmercy not to strike withoutneed. I do not feel any pity forthem. They deserve punishment.

Deserve punishment! I daresay they do. Many that errdeserve punishment. And someare punished that deservereward. Can you give that tothem! Then be not too not tooeager to deal out punishment inthe name of justice, fearing foryour own safety. Even the wisecannot see all ends.

Poem ThreeThe Advantage of Chastise-

ment from Plato's dialogueGotgias (81)

Those who derive advantage,suffering punishment both fromgods and men, are such as havebeen guilty of offenses that canbe cured; yet it is through painand torments that advantage isderived both here and in Hades;for injustice cannot be got rid ofin any other way.

Poem Four(This was addressed to TheTech stafJlRoses are Red, Violets are BlueHere is a sample of poetryfrom us to you!JMW, JJC, CBS

/De

The MIT Musical Theatre Guildannounces

AUD

;E ~~~~~~~~~~(

Sponsored by

on VALENTIN E'S DAY

Wednesday, February 14

) ,, A. Bldg. 10 Lobby

Poetr U T. r® est CARNATION,

We keep being told that there's much less public smoking than there used to be. We want

to thank smokers for their considerateness.

We'd like to think that over very-low-key campaign at M.I.T. had something to do with

the reduction of smrking in meetings and classrooms, but we have to recognize that there

has been a growing awareness nationwide of the harmful effects of tobacco smoke on

nonsmokers.

An administration committee has encouraged A.S.H. to undertake an education campaign

at M.I.T. on the effects of smoke on nonsmokers so that the increasing self-restraint of

smokers may be bolstered. This notice is part of that campaign.

The 1972 report of the surgeon general on the health consequences of smoking included a

chapter on 'public exposure to air pollution from tobacco smoke'. More and more studies

are showing that nonsmokers can inhale more harmful constituents of tobacco smoke

than smokers themselves because of the filtering effect of the unburnt tobacco in the

cigarette. Carbon monoxide levels of 90 ppm have been measured in smoky offices. Tests

have shown that exposure to only 50 ppm for 27 to 90 minutes alter 'auditory

discrimination, visual acuity and the ability to distinguish relative brightness'. Measure-

ments of 3,4-benzpyrene levels in, for instance, smoky restaurants have shown

concentrations ten to fifty times those in the outside atmosphere.

We're not sure exactly what effects these and the other 27 compounds in cigarette smoke

judged or suspected to be probable contributors to the health hazards of smoking actually

have on nonsmokers. But an awful lot of people don't like the effects. A government

survey showed that the majority of adults in the U.S. doesn't smoke. Of this majority,

75% objected to the presence of smoke in the air it had to breathe. Eye irritation was

experienced by 69% of nonallergic individuals; headache by .31.6%; nausea by 9.2%; and

dizziness by 6.4%.

Even those nonsmokers may experience unpleasant symptoms from being in a smokyatmosphere, they are usually very reluctant to ask smokers to hold off for a while. But

when nonsmokers write to A.S.H., they make their feelings known. Here are some

extracts from recent letters, quoted with permission.

"I find cigarette and cigar smoke extremely offensive. Cigarette smoke irritatesmy sinuses, giving me a headache. Cigar smoke is altogether intolerable, resultingin a headache and nausea . ." (from a coed).

"When I am in a room with someone who is smoking, I experience sinuscongestion that makes normal breathing very difficult." (staff)

"I get a general headache within a few minutes of being in the presence of cigar

or pipe smoke... the headache persists ... for as long as an hour ... " (graduatestudent).

"Those of us who wear the standard type of hard contact lenses are actuallyphysically affected by the presence of smoke. It causes tearing, lens fogging anddrying-up of the eyes after the initial tears . . ." (secretary).

"I escaped headaches, though my eyes hurt and I found it difficuit-toconcentrate . . ." (conference member.

"I frequently experience burning and painful feelings in the eyes... Theunpleasant smell gets to be all-pervasive ... from dirty ashtrays and even fromclothes and furniture. .. I have to wash the windows ... twice as often... notto mention the butts everywhere . . ." (graduate).

Others write of sore throats and hoarseness, of disorientation and forgetfulness, of thefire danger in offices.

Obviously we receive letters from people who are more affected than the average of the

population. But when 69% of a random sample report eye irritation, our letter writerscan't be dismissed as belonging to a lunatic fringe.

So we ask those of you who smoke: please think of that 69% of the people around you

when you feel that desire to light up, and try to hold off until you can be outside and

alone,

And to the nonsmokers: remember that self-restraint is easy to preach, but awfully tough

to practice. So when you see a smoker not smoking when he's near others, give him (or,

of course, her) some appreciation and encouragement. Say:

"THANK YOU FOR NOT SMOKING"

This notice has been prepared Bar A.S.H. M..T., and supported and endorsed by:

Samuel D. Clark, M.D., associate medical directorHarold E. Edg~erton, Institute professor emeritusCarola 8. Eisenberg, dean for student affairsMerton J. Kahne, M.D., professor and psychiatrist in chiefAlfred A.H. Keil, dean of school of engineeringBarbara L. O'Pray, M.D., medical departmentJohn V. Pikula, M.D., surgeon in chiefW. Warren Point, M.D., assistant medical directorWilliam L. Porter, dean of school of architectureEdward S. Rendall, M.D., medical departmentRoss H. Smith, professor and director of athleticsSamuel W. Stein, M.D., assistant medical directorDavid Gordon Wilson, professor of mechanical engineering

chairman of A.S.H. (New England)

offbert anb &U119,bn 9

PAGE4 TUESDAY,FEBRUARY13, 1973 THETECH

card or letter through Institute mail(W20-483), but for heaven's sake, don'tgo around for weeks on end keeping thesecret.

Not telling us about some error youconsider trivial can have awesome effects.We are, for example, making new effortsto provide background in our stories. Thismeans looking up the last story on thesubject and repeating some of the infor-mation we printed before. When' this.information is inaccurate, as was the casein an article about D-labs which appearedin the paper last summer, the results canbe stupefying. The error was small andwell down in the story, so no one saidanything. In the fall, a writer spotted theodd-looking figure, and gave it promi-nence at the top of the story: the sameerror was propogated twice.

Help us help ourselves. Make The Techa better paper. Write if you see somethingthat's wrong

COMMENTARYCommentary, a feature of this edi-

torial page, seeks articles of opinion fromall members of the MIT community ontopics of immediate or long-range con-cern. While articles on scientific andtechnical subjects are welcome, papersthat only present detailed technical dis-cussions witho~ut either personal comnmen-tary of an examination of the subject'snon-scientific impact will not beaccepted. No unsigned material will beaccepted, nor will articles which can beconstrued as being libelous.

Submissions should be no more thantwo 'thousand words long (one wordbeing considered to be five typewritercharacters; two thousand words isapproximately nine pages, triple spaced,fifty-characters per line) and should betyped, triple spaced. They should be

-accompanied by the author's name,address, and phone number.

The Tech will continue to publishLetters to The Tech as they are received.

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Second class postage paid at Boston, Massachu-setts. The Tech is published twice a weekduring the college year, except during vaca-tions, and once during the first week of Augustby The Tech, Room W20-483, MIT StudentCenter, 84 Massachusetts Avenue, Cambridge,Massachusetts 02139. Telephone: (617)253-1541.

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They want people to do different things,and people do., Among the many non-scholastic endeavors undertaken are jobs,to try to make ends meet. With financialaid being what it is, that's important. Formany, it is a time to goof-off betweenterms. With an MIT education being whatit is, that's critical. And, until the recentcrackdown on "I" grades, it was a firstterm extension for some. With the var-iance in working speeds that exists here,that's vital.

Mistakes"Say, you know that article you wrote

last week was full of holes," we wererecently told.

The speaker was not referring to aback issue of the paper used as Kleenex.He was speaking of accuracy, the cardinalgoal of any good paper, and certainly ofthis paper.

But at some point, a grave misconcep-tion grew in the minds of people at theInstitute, which causes them to think thatif everyone they know knows about anerror in a Tech story, The Tech mustknow about it. That isn't so.

The only way we find out is if you tellus about it. Tell us in person, drop us a

By Paul SchindlerOccasionally, the editor of a great

metropolitan college semi-weekly finds alot of little things stacking up, either onhis desk or in his mind. Nothing monu-mental enough to pontificate about fortwenty or thirty inches, mind you; just alot of little things. Anybody know aperson like that? I don't.

1APThe Independent Activities Period was

begun in January of 1971, as a three yearexperiment. That experiment is justended, and the faculty have to decidewhether or not to keep the 4-1-4 calendarat this month's faculty meeting, in orderto allow for catalogue printing deadlines.

The IAP Committee recommended thecontinuation in its current form, as itscurrent length, during January, of theIAP. Supervision is to be set up to keepthe thing on course, and make it adapt-able to changing times.

Much of The Tech board and most ofthe student body favor continuation ofIAP.

It has been said before, and muchbetter, but it is repeated here becausethere are a few small, disturbing pockets

of discontent that might stand a littlelight shed on them.

In spite of the near unanimous approv-al of the IAP concept by faculty andstudents alike, there are some who feelthat IAP wastes the undergraduate stu-dent's time unless he is a senior heavywith thesis. There are other arguments,about problems with TA's and RA's,about faculty commitment, and so forth.They are legitimate concerns of the facul-ty, but none are so major that theycannot be solved. Concerns touching bothfaculty and students include the locationand length of IAP, and its effect on thelength of the term.

All of these were discussed, and to ourview, adequately and rightly dismissed bythe IAP report that was given to thefaculty and community in Tech Talk. Theone point which might be touched onfurther is the question of whether or notIAP is a waste of the undergraduate'stime.

It is most emphatically not a waste oftime. Originally, iAP was to have beenISP: Independent Studies Period. Thefaculty indicated their joint intent for theperiod by making the name more general.

As a new spring rolls around, it isrermarkably apparent that the GraduateStudent Council intends to continue itsactive role in graduate student affairswhile providing service to the entiregraduate student body and the generalMIT community as well. It is perhapsworthwhile to again extend an invitationto the members of the graduate studentbody to attend the Graduate StudentCouncil meetings, now held regularlyevery third week. While without privilegeto vote, the Council as always welcomes,the comments, opinions, suggestions andparticipation of non-council members inall of its activity and endeavors. Meetingsare scheduled for Wednesday evening,from 6 to 8 pm, and are normally held inthe "Blue Room" (inside PritchettLounge). Upcoming meetings are sched-uled for February 28, March 21, andApril 11. Agenda meetings are held oneach of the Thursday's preceding the GSCmeetings. These meet at 12:30 pm in theMuddy Charles Pub, so if there is any-thing that needs to be presented, this isthe tinme to put it on the agenda.

Already in high gear is the GSC ThesisTyping Referral Service. If anyone has athesis or paper over ten pages long, theyshould contact either Toni, at x3-2195 orJeane at 662-7499 (evenings) to get refer-red to a typist. The cost is minimal: $.50per page to $.75 per page for mathemat-ical equations/tables. An extra $.10 perpage is added for extremely rushed cases.The service has been highly reliable andefficient for this so-far much utilized GSCservice.

PartyReserve the evening of Friday, Febru-

ary 23, for the Spring Party sponsored bythe Graduate Student Council. The placeis Walker Memorial from 8:30 pm until 1am. There will be live entertainment andfree refreshments of wine, punch, beer,and assorted snacks. In addition, numer-ous door prizes await to be given away. Alimited number of advance tickets arenow available at both the GSC Office in50-1 IO and the Ashdown House desk for$1 each. Tickets will cost $2 at the door.All graduate students, their wives, andmembers of the faculty and their familiesare most cordially invited to this galaaffair.

GSC viewsThe following represent the views of

the entire Graduate Student Council.GSC feols that:

l. "Typical graduate student salariesdo not equitably compensate studentsfor services rendered."

2. "The patronizing terms 'aid assis-,tance' and 'support' are used to cha-

*cterize graduate student salaries and

grants. This reflects an attitude thatconsiders MIT graduate education tobe a privilege extended to students bythe faculty, in return for which stu-dents are expected to accept practical-ly unlimited personal and financialsacrifices beyond payment of tuitionand completion of academic require-ments."

3. "Financial boundary conditions onstudents vary widely. In some cases,present stipends and levels cf renumer-ation are adequate to meet minimalneeds. In many other cases wherethere are special needs (e.g. familysupport), students are encouraged todeplete personal resources and incursubstantial debts. The MIT graduateeducation per se does not equip theMIT student to recover these losses."

4. "Sorne departments' systems forchoosing among students in distri-buting TA's, RA's, and awards aredeficient, student in-put is not pro-vided for, criteria are not made public,the decision-making process is overcentralized, and not enough time isdevoted to it. In addition, controls arelacking so that it is possible for anoverly ambitious professor to exploit

his RA's or for a TA appointment toinvolve purely clerical work."

5. "Institute regulations prohibit TA'sand RA's from accepting outside em-ployment wkich, it is argued, woulddelay completion of degree require-ments. Financial hardship is regardedby policy makers as a proper stimulusfor academic progress. In fact, muchof the responsibility for the inordi-nately long average PhD degree com-pletion time rests with the faculties ofindividual departments and their poli-cies -- language requirements in fieldswhere relevant literature is in Englishor English translations, limitations onnumbers of courses for credit perterm, overly conservative interpre-tations of the general exam require-ment resulting in pressure on studentsto complete unnecessary degree inadvance of the examination and delaytaking the examination as long aspossible, failure to provide adequatelyfor thesis supervision and guidance."

Moreover, a certain amount of wastedtnme is attributable to insufficient on-campus housing, excessively remoteparking areas and the elihmination ofconvenient dining services.

Vol XCHI1, No. 3 February 13, 1973

Davidt Tenellnbarlllu '74; C(hairman7Pa ul S c hinid ier'74 l;'dcit ri-ini-ChiicJ

Jack Van Woerkomln '75: Busicness ,lianagerStorm Kauffman '75: illanLa-ing E ditor

Carol McGuiire'75, John 11anzel'76.J i I Miller '76NiAgh I:'Ci1t Iors

Norman Sandler '75 :Nes EdlitorNeal Vitale '75 ;Arts Editor

Sandra G. Yulke '74, Fred Hutchison '75;Sports Editlors

Roger Goldstein '74, David Green '75;Plhotograph y 'Editors

Ti l Kiorpes '72; Co tr ibz tinzg EditorDavid Gromala'74 ;A4 dvetisizg Mlanzcager

An Open Letter to the Editors of Ergo:Re your controversy with MIT's De-

partment of Philosophy:As a holder of an MA in Philosophy, I

also regret the current emphasis on lan-guage analysis which dominates the teach-ing of Philosophy in American univer-sities today, including MIT.

At the same time, I cannot agree withyour position that the way to redress thebalance is to appoint a representative ofyour Objectivist Philosophy to the MiTDepartment of Philosophy. The fact thatan Objectivist Philosophy exists is noreason for its inclusion in a department ofPhilosophy, in the manner you suggest.There are dozens of philosophical the-ories abroad in the country, each oneseeking attention and, striving for recog-nition. By your logic, each one of them isentitled 'co be taught by a qualifiedrepresentative at N!T and other collegesas well. Surely, such a position is neitherreasonable nor practical. in fact, through-out the history of Philosophy, there havebeen countless theories and schools ofPhilosophy, most of which never exertedany influence on society or academiccircles, and died out, never to be heard ofagain.

Your argument is not unlike the "pro-

portionate representation" for blacks andethnic minorities, regardless of quaLifica-tions, that we heard so much about in therecent presidential election.

The truth is that the overwhelmingmajority of literate people in this countryare quite familiar with Any Rand's Phil-osophy, inasmuch as it has had abundantexposure in public for many years. Yet, ithas not "caught on." Now, having failedto gain acceptance in the rough andtumble "market place" of ideas, you aretrying to force your Philosophy onothers, for that is what your demand onthe MIT Department of Philosophyamounts to. Such an attitude on yourpart is inconsistent with your own pro-fessed social and intellectual viewpoints.Worse still, it reveals a potentially danger-ous bent of mind which is alien to thetradition of Philosophy, to the democra-tic process, and to the conscience ofcivilized ma-n.

I am sorry, but as regards your quarrelwith MIT's Department of Philosophy, Iwould rather have Analytical Philosophyby consensus - much as I dislike thatphilosophical trend - than Ayn Rand'sObjectivism by coercion.

Peter R. PriftiResearch Affiliate

Jon Weker '76; Associate Nigh t E ditor

Mike McNamee '76, Bob Nlsson '76;Associate Newts Editors

Mark Astolfi '73 ;Associate Arts EdlitorStephen S hagou ry '76; A ccoun ts R eceivable

David Lee ' 74, Accou n ts Payab leI Robert Elkin'73, Mianagerial Consultant

Produ ction StaJC'Lee Giguere '73, Frank McGrath '75

INe ws S taff:Drew Jaglorn '74, Bert Halstead '75,Margo Levirae'75, Jim Moody '75,

Torn Birney'76, Ken Davis'76,Mark Haley '76, Barb Moore'76,

Wendy Peikes'76; Linda Young'76;Sharon Zito '76 ;Charlotte Cooper

rOZp~~ aid 8d~t8OZ Sgg: @Mi cO RAP a ,,,

GSC otes:esa i,.2 7 e

Continuous News Service

Since 1881

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Who Do We Think We Are! - DeepPurple (Warner Brothers)Made In Japan - Deep Purple (EMIImport)

Deep Purple, progenitors of ThirdGeneration Heavy Metal Thunder longbefore there was even a Second Gener-ation, are up against that murderousmoment which has decimated more thana few of the Big Names in rock - canthey follow up the great, the near-perfectrecord with something close to being asgood, if not better? In this case, can theycome up with suitable encores for theenergy-laden AMlachine Head? Listening tothese two latest Purple efforts, it's clearthey aren't about to give up withouttrying.

Who Do We Think We Are! is the firstAmerican release for DP since the afore-mentioned mite of metallic magnificance.After Machine Head's beautifullypolished and honed Killerility, any newalbum comes on like a bunch of out-takes. But once past that stage, a lot ofclear patterns begin to emerge; there aredefinite harkings back to the Tetra-gramaton days. Little smidgens of mellowlyrical music blend with a good dose ofJon Lord's classical abberations and songsof the sexual/comic vein (like "MaryLong"). Yet even those dippings into thepast rapidly fade as the density andelectricity builds, and Heavy Metal Thun-der once again reigns. Yup, the record is abentfin killer, with at least two mind-razers in the batch of tunes - "Womanfrom Tok(a)yo" (which starts out muchlike David Bowie's latest knockout, "Jean

and John to marry, John forbids Cecilyand Algernon to marry. Eventually theyfind that the foundling John is reallyAlgernon's long lost brother, both mar-riages are permitted and the play endshappily.

As with any comedy, it took sometime for the actors to warm up to theaudience, but they did so rapidly, espe-cially for an opening night. Paul Pangaroas John Worthing and James Eckhouse as

[Continued on page 71

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THETECH TUESDAY, FEBRUARY 13, 1973 PAGE 5

Genie," which, in turn, is reminiscent ofanybody's version of "I'm a Man") and"Rat Bat Blue." Still, though perhaps it'sonly in contrast to Machine Head, there isnot that quality that would implant eachsong like a tatoo on your brain. That wasthe case with the earlier album; on WhoDo We Think We Are!, there just isn'tthat total boot in the ass. It's kind of ashame, too, 'cause "Woman" and "RatBat" are just so incredible. But don'treally despair, it was a hard act to follow,yet the Purple managed to put enoughweight and power into this record to leveloff that space between your ears for quitesome time.

Made In Japan is a double-recordimport, to be released in the next fewmonths on Warner Brothers as Live inJapan. There's nothing new on this liveset recorded in Osaka and Tokyo; all thecuts have been lifted from Deep Purple inRock, Fireball, and Machine Head. Butthe sacrifice made in terms of tightnessand polish from the studio productions tothe live versions are more than compen-sated by sweat and freneticism, and someflashy soloing, especially by vocalist lanGillan, guitarist Ritchie Blackmore, andLord on keyboards. The latter particular-ly shines on combinations of outer spacesounds and more orthodox ones (includ-ing a bit of "Louie, Louie") that coursethroughout his showpiece, "Lazy," and awhole side of "Space Truckin' "-cunm-cacophonous-jam-mass. "Smoke on theWater" and "Strange Kind of Woman"are raw and hot, reminiscent of therenditions of last year's re-broadcast, onWBCN, of a BBC Deep Purple concert.Only in the rather boring evolution of"The Mule" into drum solo tedium doesMade in Japan falter. But even with theplentiful powerful, knife-edged rock sur-rounding it, "Highway Star" is aloneworth the record's price. The energy ismassive and torrid, fairly ripping throughyour speakers, and, once again, Lord,Blackmore, and Gillan lead the assault onthe limits of how much sound can becontained within a vinyl groove. "High-way Star" sizzles, leading off the album,but just as Who Do We Think WTe Are!doesn't keep up with "Woman fromTok(a)yo" and "Rat Bat Blue," Made inJapan also lets the pace slacken. But DeepPurple isn't succumbing to the perils ofgreatness; these two records prove theycan still rock and smoulder with the best.Perhaps that's because, at being hot 'n'nasty, they are the best.

gfllbErnestsFeUFh

by Rich Sternberg

Sleuth stars Laurence Olivier as aslightly eccentric detective story writer,Andrew Wyke, and Michael Caine as MiloTrindie, hairdresser and lover of Wyke'swife. The plot is totally different from anormal mystery story, and if any more issaid about it, your enjoyment of themovie might be ruined.

The problem for me, and I suppose formany other reviewers, in that in allfairness to those who haven't seen Sleuthyet, I really shouldn't say anything at allabout the plot. I remember an incidenttwo years ago when a friend of mine hadjust returned from seeing the Broadwayproduction of Sleuth. Hie called me upand said that I had to see it. I had heardthat the original reviews for it were prettygood and asked him about the story. Herefused to tell me anything about it,because he claimed that total ignoranceof the plot was crucial to the enjoym.entof it. He never did tell inme anything aboutthe story but occationally he wouldpester me and ask whether I had gottentickets to see it.

I finally saw the Broadway productionlast fall. The stars were Patrick MacNee(of The Avengers fame) as Wyke, andJordan Christopher as Milo. I was veryimpressed by the play. While the perfor-mances were very good, the mnajor aspectwas Anthony Shaffer's script. There wasno way that I or anyone else could haveanticipated the plot. Not only was thekey theme completely different from anyother detective story, but the characterswere three dimensional and projected arealness about themselves and the situa-tion. I came out of the theatre emotional-ly drained but also somehow humorouslyentertained.

Around the time I saw the play. themovie was opening in New York. 1 feltcertain that key elements of the plotwould prevent the translation fromrn stageto screen with equal effect. At best itwould seem to be a movie of a stage play,a method that I find rarely works well,since film is a medium that demandsmuch more realism than theatre, byleaving less to the imagination of theaudience. There are also some little tricksthat can best be carried out in a legiti-mate theatre that don't seem performablein a movie, that are critical to the settingof the mood and to the plot. If you haveany doubts about this, just ask anyonewho's seen only the play whether hethinks the movie will come off well.-Almost inevitably, he'll say, "Maybe, butwhaL about the problem of the blank?"

Director Joseph Mankiewicz dealt withall these troubles magnificently. Not onlydid the basic plot retain the same force ithad on the stage, but there were manyother aspects that made the movie worthseeing even if one knows the story.

Ie was extremely impressed by SirLaurence Olivier. He brought a'fullness tothe character of Andrew Wyke that wasnot present on the stage. Olivier felt thatWyke would be slightly theatrical innature and played him accordingly. Theham actor in the author of mystery bookwho plays them out as he writes them,makes his later actions seem morebelievable.

Caine's Trindle did not seem as strongor compelling a character as Olivier'sWyke; I was unable to identify with Miloas I was with Wyke. Perhpas mny attentionwas elsewhere but nevertheless Olivierwas able to draw me into his character ina way Caine was not. Also of note wasthe portrayal of Inspector Doppler byAlec Cawthorne. Cawthorne gives a veryconvincing performance of the BritishConstabulary detective who is not asstupid as Wyke wants to believe. Thereare some problems in taking Sleuth fromthe stage to the screen. One is in settingthe proper traps for the audience, others

[Continued on page 8] ,

by John Kavazanjian

If January's Independefit ActivitiesPeriod has given the MIT communitynothing else, the fruits of the MIT Drama-shop's efforts on The rImportance ofBeing irnest have made it justified. Theoverwhelming excellence of the total pro-duction, magnificent sets and costumes,fine acting, and excellent direction com-bined within the confines of the KresgeLittle Theatre to achieve a true theatricaltour de force.

The Importance of Being Ernest isOscar Wilde's well known and oft-per-formed comedy of manners, poking fun,with Wilde's characteristically sharp witat the upper classes of society in turn ofthe century England. There are two malecharacters, two main female characters,and two chief settings, one in Londonand the other out in the English country-side. Algernon Moncrieff (Peter

Eckhouse) lives in London not far fromhis Aunt, Lady Bracknell (KathrynKarnes) and Cousin Gwendolen Fairfax(Diana Venora). His best friend is oneJohn Worthing (Paul Pangaro), known tohim as Ernest; John calls himself Ernestin London so as not to set a bad examplefor his ward, Cecily Cardew (EileenSchuyler), who lives on his countryestate. To gelt away, he tells Ceciiy thathe goes to London to care for his terriblebrother Ernest who is always getting intotrouble. Algernon also has his ficticiousfriend named Bunburry. He uses hisfriend's sickness to get out of most of hisdinner dates with Lady Brackneil.

John (Ernest) Worthing proposes toGwendolyn and she accepts, telling howshe had such love for the name Ernest,but Lady Bracknell forbids the marriage.It seems that Worthing was a foundling,found in a railroad station in a handbag.He goes back to his estate and Algernonfollows in search of Worthing's beautifulward Cecily. He meets Cecily, initroduceshimself as Ernest, John's brother, andeventually proposes. She accepts, affirm-ing her love for the name Ernest.

Lady Bracknell and Gwendolyn showup, she again refuses to allow Gwendolyn

pa s s 'O0 aatePur -me

by Neal Vitale

Deep Purple

Goffin-King tune, "Hi-De-Ho.' Since theband now has a complete brass section,their arrangements are of very tastefulquality and they shine in this song,especially in the tenor sax and trombonesolos. Bobby Colomby's drum solo fusesthe song into "Maiden Voyage," a HerbieHancock composition, and one of theirfew attempts (and successes) at actual

Jazz. This piece is performed expertly bythe band, featuring Georg W~adeniusplaying and singing the notessimultaneously. (Yes, I know it's beendone too often before, but it sounds goodhere.)

So, this album comes off with moregood points than bad, which is more thancan be said about their past two releases,As they consider themselves to be a"news group, we should give them time,and they may come out with a truly findalbu7m. After hearing this ""debut" album,.F'M optimistic.

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nicely coordinated instrumental effortsby several musicians, notably Britisher JohnMayall on twelve-string guitar. As usual,Sonny's harp is outstanding,and Brownie's guitar and vocals are solidand natural.

The remainder of Sonny and Brownzieis good blues stuff, too. I was surprised athow much they ale complemented by theadditional musicians. I was somewhatskeptical at first but found the comnbina-tions effective and unusual, yet still un-mistakeably Sonny and Brownie. It reallyis amazing that they're still going strongafter having been to-ether for over thirtyyears. After hearing Sonny and Brownie- well, hell, I wouldn't be surprised ifthey keep going strong for another thirtyyears.

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PACT- F T! IFqF)V FURRY IARY 1. lQ7. T14 Tarnr

Sonny and Brownie up to date

by Wanda Adams--Up and down the charts: whileElton John's "Crocodile Rock" isnumber one in the nation, accordingto Billboard's ""Hot 100" chart, a tuneculled from his Don't Shoot the PianoPlayer album, "Daniel," has been re-leased in England, and is streakingtowards the Top of the Pops there.Also currently big across the Atlanticare: Dave Bowie's postStardust forayinto vintage Yardbirds imitations,"Jean Genie," which was a stiff in thestates, and the new release from RoyWood (ex- of the Move)'s new band,Wizzard, called "Ball Park Incident," arollicking Gary "U.S." Bondsesquepreview of what should be one of theyear's more exciting albums. If youliked "California Man," you'll love"Ball Park Incident." Elsewhere, AliceCooper's latest plastic-pressed pan-oramic perversion, "Hello Hurray,"hints that the soon-to-be-released B3il-lion Dollkr Babies album will be every-thing it shouldn't be: an outrageousBroadway production, instead of hard-assed rock and roll.

Pick of the new stuff: Mott theHoople's "Sweet Jane," Beach Boys''"Sail on Sailor," the Hollies' 'MagicWoman Touch," and Black OakArkansas' "Uncle Liiiah," produced byLee Dorman and Mike Pinera. Movingup the charts mighty smartly are theO'Jays' "Love Train," subject of a new

dance craze and No. 20 after only 3weeks, and Loudon Wainwright III'slovely "Dead Skunk," with a chorusthat goes, "-lead skunk in the middleof the road, stinkin' to high Pleaven."It's at no. 66 after on two weeks onthe charts.

Sonny and Brownie - Sonny Terry andBrownie McGh~ee (St&M)

It's truly amazing how well SonnyTerry and Brownie Mc~hee can stillboogie after all these years as performers.They can - and do - on Sonny anidBrownie. What- makes this album some-what different from their previous effortsis the fact that they don't stick totraditional blues numbers. This time-they've enlisted the aid of some finecomtemporary musicians and some equal-ly fine contemporary music. This com-bination, complemented by the Terry-McGhee "touch," adds up tot an incred-ible collection of what they are famousfor -the blues.

Sonny Terry is especially effective onharp. He has lost none of his talent toage. Hte might have a harder time gettingaround than he used to, but he is still assharp as ever with that harmonica.Brownie is also fortunate enough to be ascoordinated as ever on guitar, as at homeas ever singing. With the help of suchmusicians as John Mayall, Arlo Guthrie,'John Hammond, and Sugarcane Harris,Soinny and Brownie just don't miss at allthis time.

My favorite on this album is "PeopleGet Ready," featuring Sonny on harp andBrownie on guitar. They form the nucleusof the song and are backed -up by somefine vocal work that almost has a Motowneffect to it. Somehow, this strange com-bination works, and sits remarkably well.

Sonnv and Brownie chose to do a SamCooke composition, "Bring It O~n HomeTo Me.'> A wise choice, to be sure -their version is solid and effective, en-hanced by Sonny's harp.

Another contemporary song they haveincluded is Randy Newman's "SailAway." Agian, their "touch" adds dimen-sions to the song that had nearer occurredto me before.

About the only traditionsal thing thatthey do on this particular record is"Walking My Blue Away" -the old " thesun's gonna shinte on my back door someday" song. This cut features some slideguitar work by Jo:hn Hlammcond. I say11some" because occasionally it is lost.behind other instruments, This is the onlyweak spot on the entirce album. however.I wYould have l iked to hear moreHammond, that's all.

Sonny and Brownie do several gospel-orienited songs on this album. Gospel hasalways been one of their strengths, andthis time is nos exception. "God and Man"is a primie example of their religioustalents, as is "Jesus Gonna Make ItAlright."

One other song worth mentioning is"The Battle is Over (But the 'War GoesOn)" which features fine vocal work and

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Notorious Byrd Brothers, which culmin-ated in Sweetheart of the Rodeo, theirstrong statement to country and westernmusic. Gram joined the Byrds whilesweetheart was being worked on, but tosay Gram was solely responsible for thischange is definitely questionable- How-ever, after hearing Gram's work with theByrds and his successive work with TheFlying Burrito Brothers, one can safelysay that'he is a country-oriented perform-er. GP corroborates this statement.

Gram wrote or co-wrote seven of theeleven songs here, and these songs retainthe Nashville flavor of his previous tunesto different degrees. Among the high-lights are two delicate ballads called "ASong For You" and '"She," and a goodrocker called "4Big Mlouth Blues." Themusicianship is fine throughout, featuringfellow ex-Burritos Al Perkins and ByronBerline. To help Grarn with harmonies areBarry Tashian and Emmylou Harris, withthe latter's beautiful voice sounding likeLinda Ronstadt's, and both Barry andEmmylou supplying an effective back-drop to Gram's singing.

Almost unrecognizable is the versionof the J. Geils Band tune "Cry One MoreTime." It almost sounds like FatsDomino's "Blueberry Hill" with its sirni-lar piano work and its sax riff but,nevertheless, is an agreeable rendition.

Untfortunately, a couple of the tunes onGP are almost undistinguishable fromeach other, but overall Gram Parsons andRik Grech (formerly of Blind Faith andFamily) have done an adequate produc-tion job.

I doubt that GP will make country-lovers out of country-haters, the latterbeing especially prevalent in the NewEngland area. Also, this albu m may nsotimpress strict fans of Doc Watson sothey'll say that young long-haired up-starts can play good country music; How-ever, this album should be pleasing toanyone who enjoyed the type of musiclaid down on Sweetheart of the Rodeoand with The Flying Burrito Brothers.

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It's been so long that I didn't knowthey'd moved it: in the last Kiss Thlis,the 1972 wrap-uplawards fusillade,featured a glaring error. Steve Martin,although formerly the singer with theLeft Banke, is not with Stories, anddoesn't even sound like PaulMcCartney. Instead, Stories is lead byMike Brown, ex-Iceyboard man withthe Left Banke, and the really greatMcCartney imitation is done by a dudenamed Ian Lloyd. I think the reason Ihad Steve Martiin on the brain is thathe had a fine solo single out a yearago, called "Two by Two (I'm LosingYou)" Perhaps that's what I was think-ing of. And while I'm setting therecord (pun intended) straight, theFiresi-n Theatre are not breaking up,as I said a long time ago, and asRolling Stone said, too, that beingwhere I heard it. They wrote in to RSand said they weren't. So they aren't.OK?

The biggest, most refreshing namesin tonic (that's right, not "soda" or"pop" or "soda pop" but tonic.!,goddammit) are once again offeringthe radielistening public ads sung byBig Name pop people, my favorites ofwhich are: the Pepsi commercial doneby Argent, sounding more like awatered-down Grassroots, an d thee la b orate "~you-think-its-a-real-song-

bbut-its-reafly-julst-a-jingle which I haveunofficially titled "At The Carnival(Buy You a Coke)" by theChi-Lites,

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New blood, old sweat and tears

by jeff Palmer ,

New Blood - Blood, Sweat and Tears(Columbia)

Blood, Sweat and Tears' latestpersonnel changes. notably the departureand replacement of David Clayton-Thomas, has given the group a promisingrebirth. New Blood attests to that be-cause though there are some mediocrecuts, the band has finally begun to soundas good as the group which put outBlood, Sweat and Tears. Jerry Fishersings well, and generally rates better thanhis predecessor, whose grating voice andego almost destroyed the group. GeorgWadenius now shares the guitar playingwith Steve Katz, and Larry Willis offerssufficient keyboard accompaniment. Thehorn arrangements are generally re-freshing and, though offly two of thesongs are originals, they perform thesongs of others much more effectivelythan they did, say, on Blood, Sweat andTears 3.

"Down In The Flood" gives the albuma good start. This song contains a brassy,bawdy feel in the horns and has adifferent, enjoyable favor which Dylan'sVersions doesn't Offer. "T'ouch Me" is theprettiest song here, which is no relationto Jim Morrison's work. Bobby Doyle'sshort-lived career with BS&T is saved onrecord With beauti-ful piano playing onthis song, and where Mr. Clayton-Thomasnever could sing soft songs, Jerry'shandling of the vocals does the songjustice. Also, instead of employing alavish forty-member chorus, thebackground vocals on the album are sungby the other mernmers of the group,touching this song off nicely. Steve Katz'svehicle on the album is "Velvet," and themusic is a bit too lush, especially whenyou realize that he's singing about ahorse. (I mean, come on, Steve, I knowthe Bytrds did it, but at least "ChestnutMare" was a little more palatable.)However. if you ignore Jeff Kent's lyricsand concentrate on the acoustic guitarwork and the vocal harmonies, youtl find

a pleasant enough song.The highlight of the album begins with

"Snow Queen," a Goffin-King tune whichfares much better than their last

Gram Parsons - a floVVwn Byrd

by JelFf Palner

GP - Grams Parsons (Reprise)About four years ago, the Byrds

underwent the most dramatic change intheir music. They had transformed fromthe harder rock of Younger Than Yester-day to a generally softer sound on The

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As for my drinking buddy, his fundsare more copious now, and the drinkingage will be changing in a few months, butI bet he'll still keep hunting throughthose bags. I'll keep huntilng too.

Skip Battin -,ex-Byrd no. 2

by Jeff Palmer

Skip Battin (Signpost)Skip Battin, in collaboration with Kim

Fowley, has written unique songs for theByrds. which significantly stand out fromthe group's other songs. When Byrd-mnaniax appeared to be sinking in atsunami of saccharine, exemplified by""Pale Blue" and "Jamaica Say You Will,"Skip offered us "Tunnel of Love" and"Citizen Kane," two songs totally unlikeanything the B3yrds had done, and there-fore, two pleasing inclusions to the album.While fellow group members RogerMcGuinn, Clarence White and Gene Par-sons are all qualified songwriters, Skip hasoffered the group amusing breaks fromchestnut mnares, truck stop girls andyesterday's trains.

However, Skip's first solo album isn'tnearly as interesting as a solo album byRoger, Clarence or Gene would probablybe. All the songs on Skip B~attin are Sk~ipBattin-Kim Fowley compositions and thealbum suffers from monotonous musicand dull lyrics, while the other Byrds canshow mnore variety and dimension in theirsongs. Add to this the fact that Skip'svoice is the least appealing of the groupand there is a pitiable case indeed. Theperformnances of these sonlgs, though, areenjoyable instrumentally, because he hasRoger and Clarence helping with theguitar, mandolin and dobro playisng. tabealbunm even includes Spankly McFarlane(of Spanky and Our Gang) singingback-round vocals.

Sheldon LowenthalTh~e~ Hpg;rene dBf 3kw~i~ Eat

[Continued from page 51 1 They performed all the songs that Ihad been anxious to hear, notably "TexasMorning," "On My Own," and "Waitingfor Spring." All are soft, going-down-the-highway songs, which seem to bewhat Stevenson does best, in conjunctionwith Raphael's gentle harp work. Raphaelwas outstanding, displaying an uncannyability to capture the mood of a songwith his instrument.

Other highlights included a solid ver-sion of "'Peaceful Easy Feeling," a quickand lively offering of "Like What YouDo," and a short but pleasant tune called"Two-Trackc Road." Stevenson andfriends had a good time, even though t~heweather didn't suit their clothes, and everthough Stevenson constantly complainedof a cold.

Algernon were truly magnificent, theircostumes perfect to the letter, their ex-pressions perfectly in character, and oncewarmed up, their lines delivered flawless-ly. The greatest part about them was thatthey were their character, which camefrom their costumes, sets, and acting.Eckhouse was especially good, with thatlittle extra flair that is the essence of thepart of Algernon.

Diana Venora and Eileen Schuylerperform admirably as Gwendolyn andCecily, while Kathryn Karnes was simplygreat as Lady Bracknel. with a sense ofdignity that made her the dominantfigure in all of her dealings. Also fine wasPeter Daniel as the Rev. Canon Chasuble.One of the great show stealers was NadirGodrej, playing Algernon's manservant,Lane. He was absolutely perfect and theepitomy of the upturned-nose Englishbutler.

Enough cannot be said about theproduction. Prof. Everinghamn and hisgroup have turned out as fine a pro-duction as possible. The only regret isthat we had to go to opening night, forafter playing to a live audience, futureperformances on Friday and Saturday(February 16 and 17) might even bebetter. But no one could ask for more.

It's obvious that Skip and Kim arepreoccupied with the past, as the mnaterialin their songs consists of old baseballteams, long-gone movie stars, asid defuncttelevision shows. Handled well, this sub-ject matter could have been developedinto clever pieces of nostalgia, but theplainness and simplicity Of the chorus in"Valentino," combined with its constantrepetition, helps to show how Skip andKim have failed on this album-

Bye bye ValentinoSaw your nzovie iZn RenoYou got the girl and conquered the

world --And I got tired and wene to bed

It's too bad.

Lead free Stevenson

by Wanda Adanms - --

B.W. Stevenson is short and pudgy, hasa lot of bushy hair to frame his face, and,like a true Texan wears a ten-gallon-style hat. Under the hat lurkes a strangelypleasant mind, perhaps one of a ramblerborn in the wrong era. Stevenson's choiceof songs indicates this, mostly, but hisvocal quality and adequate guitar workgive strong indications that B.W. is somesort of frustrated troubadour.

I had reviewed Stevenson's first RCAalbum (B.W. Stevenson) last spring, andwas more than slightly curious to hearhim live at Passim's coffeehouse a coupleof weeks ago. He brought three otherTexans to the stage with him; all fourimmediately expressed their distaste withCamnbridge weather and then opened with"Don't Go To Mexico," a fast-pacednumber that was better live than onStevenson's second album (LeadFree .) Stevenson had string problemson tile night that I saw hinm He apologiz-ed, saying that his guitar was "in heat"that night. While in the process of chang-ing the first broken string, B3.W. introduc-ed his band as Rodney Garrion on drums,John Pritchard on bass, and MickeyRaphael on harmonica. The band heldtogether quite well for the entire evening.Especially effective was Raphael, whoseemed to be having a great time switch-ing harmonicas and keys and laughing yetmanaging to get into the Songs complete-ly.

About half of the songs that they didlive were from the first album; the re-mainder were from the second. Althoughthey did not offer anything new,Stevenson and his cronies provided agood, solid cross-section that ably demon-,strated their musical abilities.

B. W. Slteesmon

B.W. Stevenson's second album, LeadFree, is a nice, easy-to-listen-to record.Again, he seems most at home whensinging yearning, wistful material. LeadFree's best example of this talent is aKenny Loggins composition, "Touch ofPennsylvania," to which Stevenson adds aneasily flowing arrangement.

Another nice cut is "August EveningLady," accentuated by uncredited mando-lin work, and gentle guitar. Stevenson'sarrangement and execution of currentAM radio hit "Peaceful Easy Feeling" issolid and commendable, marred only bysometimes too heavy percussion.

Mickey Raphael and friend harmonicaexcel during Stevenson's version of aJeTry Jeff Walker tune, "Maybe Mexico."And Larry Mulhoberac offers some finepiano work on "Minuet for My Lady,"another pleasant song.

The only really weak cut is "Jackson."The song is mediocre at best to beginwith. Add to that ail assault of horns andyou end up with 2 :08 of sheer disaster.

On thing bothers mae about B.W.Stevenson, and its not in his music.Stevenson always seems to get into hismaterial more if the song speaks ofmoving down the line and leaving thelady behind ("you're a nice gwirl but...")Stevenson really liles to sing of Texasand Memphis and Nashville and New'Jersey and Mexico, and extoll their vir-tules. But he wouldn't live in any ofthose places ("its's a nice place to visit,but...") If you don't let his philosophyget in the way, however, his music is easyto listen to, both live and on record. Forthat reason alone, it's definitely too badthat more people don't know who he is.

Lou Reed, the phantom of rock ever since his early days in the VelvetUnderground, came lto Boston's Jordan Hall earlier in the month. Heplayed two nights of his raw, powerful New York underground-c:lumBowiesque rock, interspersed with his fair share of swishy mincing and feyMoves. iReed reached back for somne of the best of the VU, like "'SweetJane," "White Light, White Heat," "Waiting for My Ma8n," and "'SisteRay," and mined in new songs like "Viciouas" and "Walk on the Wild Side"for a pair of excellent sets that did nothing to harm -the legend ofLou Reed.

Rick (Don Quixote) Roberts

by Jeff Palmer - --

Windmrills - Rick Roberts (A&M)When I feel~ that I'm wasting time

listening to all the newcomers in rock andfolk, I think of a bibulous friend of minefrom high school. Regularly on the walkhome from school, since money wasscarce and "buyers" were even scarcer, hewould fish through every paper bag he'sfind lying beside a street or beneath abush in hopes of finding free hooch. Asthe weekend grew nearer, his huntingbecame more frantic, as he had to beprepared for the Saturday night dance.This scrounging seemed ridiculous to me,but now I realize that I listen to all thosealbums for the same reason he checkedevery bag: once in a while our searchingbrought a worthwhile discovery.

As for me, one of my better findsrecently is Rick Roberts, whose decentalbum, Windmills, is refreshing andpleasant. All but one of the nine cuts onthat record are written by Rick, and hissongwriting has enough versatility so thathis album doesn't bring on constantyawning. The soft acoustic songs areinterspersed with rockers like "Two Love-ly Women" and country tunes like "PickMe Up On Your Way Down" to make awell-balanced album. Rick's singing isimmediately likeable, and he doesn't fallprey to drowning his voice in a gaudychorus, as Steve Stills' worse efforts haveproduced. Instead, five of these songshave Rick harmonizing with a differentindividual on each song, and these duetsare sung sensitively and nicely. Amongthe people helping Rick out are DavidCrosby, Jackson Browne, Mike Utley,Marc Benno, three of the Eagles, and fourof the Manassas band, who offer effectivebut now overpowering accompaniment.

Actually, it would have been simplefor some tin-eared producer Lo make amess of Winrrdmills. F;or instance, "SailAway" is seven minutes Iong, and one ofthe nicest songs on the album. Now,someone from the Phil Spector School ofOverproduction would probably considerstrings vital to the song, and wouldtherefore attach a complete symphony,which would gradually build during thoseseven minutes to a resounding crescendo,and thereby strangle the song. For-tunately, David Anderle is a perceptiveproducer who realizes that Rick Robertsis a good performer and; doesn't need tobe hidden in an orchestra.

example is "Sunday Morning Sunshine,"which I can't help but think of in termsof happy sappy Harry, When he tried tobe happy, he never seems to mean whathe's singing. Two songs try unsuccess-fully to save the album. "Better Place toBe" talks of a waitress at a bar and anight watchman at a too' and diecompany and how they perhaps get to-gether. It is sparked by some typicallyweird Chapin back-up vocals and equallystrange percussion. It is a decent song,however, and with a bit of polishing, thearrangement would be nice.

"The Baby Never Cries" is a profile ofa strange but workable relationship be-tween a guy and a girl, who has a baby bysomeone else. It features the best musicon the album, especially in terms o0guitar work.

Harry Chapin, once a taxi driver andnow a singer, has been called just abouteverything from prolific to innovative.Even though I liked "Taxi" somewha-(but became sick of it through constant

airplay), after Sniper, I'm convinced thathe's a pure, unadulterated pervert. Justdon't be too surprised if you see Harrysomeday on the MBTA opening his rain-coat and scaring little old ladies.

!Talks

PAGE 8 TUESDAY, FEBRUARY 13,1973 THE TECHt _ -- - -- ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

[Continued from page 51

are in producing a convincing set toillustrate Wyke's eccentricities. KenAdam's work was fit for a museum (infact many of the props came from amuseum of antique toys.) The giant mazewhere Wyke works and the bric-a-bracthroughout his manor are indicative c iischaracter. The spirit of gamesmansh -isillustrated by different types of games inevery room of the house- Also of interestare all the antique toys scattered aroundthe house. For me, already knowing theplot, the preponderance of toys andgames was particuarly enthrallling.

The only problem with Sleuth is theimpossibility of impressing prospectiveaudiences with its greatness. Anysubstantial, description would destroyyour pleasure seeing it. All I can do is saythat if you get the opportunity to seeSleuth, do so. It is well worth the timeand money. At the Cheri Complex.

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Lenny: "Yeah, it was better."This marriage isn't going anywhere. By

the time they reach Miami Beach, Lennyis assuredly no longer in love with Liia.(Was he ever?) In comes the girl (CybilShepherd). Lenny now has the problemof ditching his wife of five days while ontheir honeymoon, chasing after a girl whois leaving town in a few days, andcontending with the girl's father. YWe are,supposed to find all this uproariouslyfunny.

Actually. I enjoyed The HeartbreakJKid. The humor of Lenny's and Lila'ssituations are more pathetic than funny,but Ms. May manages to keep up a flowof comic situations and dialogue that.hides any strong emotional feelings wemay have for poor Lila. Anyway Lila issuch an annoying person that we're ratherglad wlhen Lenny ditches her and she'sout of the movie.

Cybil Shepherd as the girl, KellyCorcoran, performs admirably well as theprettiest coed on campus. She's as flirta-tious and ego destroying as the mostdesirable coed would be. (She's so goodthat she very much reminds me of aparticular coed I've known who at onetime had approximately 50 guys droolingover her.)

Jeannie Berlin won a critics award forher performance as Lila. Any one whocould produce such a convincingly dis-gusting character certainly deserves it.She seemed so natural in the role thatshe's sure to be typecast as a pestering,whining broad.

Charles Grodin displays one momentof brilliance when he pretends to be anarc in order to scare away Kelly'sfootball playing boyfriend. I'm not surewhether his acting (or Ms. May's direct-ing) is responsible for the success of thescene, but this is definitely one of thehighpoints of the film.

Eddie Albert, as Kelly's father, givesone of the better performances of themovie. His increasing hatred of Lenny isabsolutely an amazing thing to watch.Seeing him steaming throughout themovie and waiting for him to totally flareup is very funny in its own right.

Overall this is a rather pleasant, enjoy-able movie. Most of the humor is verygood and is probably accountable to

May's handling of Simon's script. I-feltthat viewing it was a nice way to spend anevening, and if you're in the mood forseeing a light comedy this is certainlyworth going to. At the C/zeri Complex.

7he First Songs - Laura Nlyzo (Columbia)This is a re-issue of Laura Nyro's first album which

was released on Verve six years ago, and the songs still tsound nice after aU this time. Five of the songs on this."album have been popularized by Barbra Streisand, The Fifth Dimension, and Blood, Sweat and Tears. Theoriginal isn't always the best, but in this case Laura'sbeautiful voice and adept handling of her lyrics put her -renditions of these songs above the versions of hersadmirers. Beside the five aforeraentioned "hits," there-tare seven lesser-known songs which are equally en--joyable. (Remember those days long ago when twelve was the standard for the number of songs to put on an-album?) Of these seven, she gives exceptional per--forniances on "Lazy Susan," ".I Never Meant TO Hurt -You," and "Buy and Sell." -JP

They Only Come Out At Aight, - Edgar Winter Group 1(Epic)

Ed (Johnny's brother) is undeniably hip and trendy 'to appear on the cover of his album in make-up and r

jewelry, and judging from the other photos on the coverand inside, he and his band have got looking and posinglike superstars down pat. The one thing they miss,.though, is a reasonable attempt at listenable music. Thi's Frecord is eclectic enough: something to offend everyone.Only two cuts are worth mentioning: one is the single t

"Round & Round," a rockabilly thing. The other is.brilliant: an outrageous, unforgiveable Black Sabbath.-spoof called "Frankenstein," complete with an irrelevant r

sax break, an unearthly, mind-rending elec-tronically-synthesized water-fall part, and the traditionaldrum solo. Otherwise, the only thing worth noting aboutThey Only Come Out A t Nlight is that Ed's pupils on thefront cover line up perfectly with the top two holes of apiece of standard-ruled loose-leave notebook paper.Really. -MIA

Hokus Polus (Roman/MfiGM)Is this Michael Monarch the same Michael Monarch

who was the original guitarist with SteppenwolfO Either -way, Hokus Pokus doesn't sound like Steppenwolf,being roore of a Faces-type band, employing Faces-typearrangements, complete with an imitation Rod Stewart.uncredited in the meager liner notes. A couple hum'mable cuts, but . . . -IA

Hush 'n' Thunder - Yusef Lateef (Atlantic)Yusef Lateef's latest is uneven in quality, but does

have its nice moments. Monroe "Bones" Constantinodoes some moaning and groaning on a few of the cuts.and his "vocals" could have been eliminlated to improvethe sound. Especially offensive is the use of the J.C.White Singers on 'This Old Building" and "His Eye isOn The Sparrow," whose Gospel sound doesn't fit inthis jazz atmosphere, but these two tracks are the worstof the lot, and can easily be ignored altogether-However, some of the tracks, such as "The Hump."-'Sunset," and "Destination Paradise" make for someacceptable listening. Duke Ellington's "'Come Sunday" isan interesting duet between Yusef on flute and KermitMoore on cello, and Yusefs use of pnuematic flute on"Prayer" is also especially intriguing. -,'J

In Concert - Derek & the Dominos (RSO Records)In spite of everything, I'm sure Robert Stigwood,

Derek, and the boys won't lose money on this collectionof performances recorded at the Fillmore East. iUn-fortunately, practically the whole two-record set is aninferior rehash of tunes from Eric Clapton's solo albumand Layla, and conspicuous in his absence is DuaneAllman. At times the organ and piano work is over-bearing, which is especially upsetting since low-talentBobby Whitlock is on the keys; a standard and tritedrum solo by Jim Gordon is included in "Let It Rain."The overworked "Tell The Truth,"' eleven minutes long,appears for its fourth time, after one version on Lajlaand two more on Hfistory of Eric Clapton, and brings tomind Buddy Miles' hang-up with "Them Changes."There is some worthwhile guitar playing featured, asshown on "Whyi Does Love Got To Be So Sad," but onthe whole I'd only recommend this albumn for consumateClapton devotees. -JP

Willie Remembers - Rare Earth (Rare Earth)i Rare Earth goes down in rock history as a) Motown's

first white band, and b) the group with the grave-stoneshaped album (not this one, but their first). Oncemoderately ignorable AM staples, their musical validityhas since shrunk to less than infinitesimal. Some peoplenever give up, as this wretched Album well cei11fies.-IVIA

3MUusIC 1JS RVy1, Ier - Billy Preson (A8_,M)Wie tried this one oil, on the Richter scale and the

needle points to a, and while that always meant fab inmy book, the album rates Fair. In short, if I have anyright to be, I was disappointed. It goes like this: "We'reGonna Make It" is nice to dance to (it makes you wantto run for Miss Black America), but it's dragged out todeath, as is "One Time Or Another." "Will It Go RoundIn Circles" is a catchy tune, maybe the best of the disc.In "Ain't That Noth'in" he must be writing for 'thePeople". . . is he really in a poverty zone? I doubt it."God Loves You," Amen. In "Make The Devil Mad(Turn On To Jesus)" I fell asleep on the 15th "He'llmake you high." "Music Is My Life" and the rest. .well... I first saw him in the Lynn Auditorium with1 noggins and Messina, and Delaney and Bonnie, he stolethe show. He is an incredibly talented keyboard man,one of the best "entertainer" musicians in his field, witha very good back-up band. He can be electrifying, and healways has good vibes with people. This album, in whathe writes, is sincere, but electrifying it is not. Maybe I'mout of line when I expect so much; maybe I should havetried harder to appreciate Music Is My Life ... but they,maybe I'd be more disappointed. -MC

Silver - Tranquility (Epic)With a new rhythm section, tflhs is Tranquility's

second album. Terry Shaddick, lea; singer, guitarist,son-writer, is the driving force behind this Englishsoftrock band, and I'n supremely disappointed that he'srun out of fresh musical ideas so quickly. Silver is amiserable attempt to recapture the magical, soaringharmonies and crisp, invigorating melodies of their first.Tranq uility. Although good in spots, Silver is the kind ofsecond album that makes you suspect that there won'tbe a third. -A-4

Joe Cocker (A&M) For quite a while now, Joe Cocker seems to have

been the victim - the victim of managerial and contractual llassles, poor production, and insidious typeslike Leon Russell. Disastrous turns have been taken byCocker and his career, and now, though many may never| have known he was gone, he's attempting a comeback. A

tour last fail had its good points, but they weredecidedly few and well-dispersed. So goes Joe Cocker.Most of the time, the backing by the Chris StaintonBand and friends is overblown and flabby;ill-suited for asleeker, more muscular style of rocking that seems tobest fit with Joe Cocker. Only occasionally does a songcatch, on this album, and go well; if it does, it's usually-on the inherent merits of the song rather than due toany exceptional performances. "High Time We Went"

I and '"Midnight Rider" were singles; as the best cuts on3e Cocker they deserved that treatment. "Woman to0 Woman" is the only other song that rates mention,chiefly because of Cocker's falsetto rendition. His first itwo records remain his best; for Joe Cocker, it's been alldownhill since the days of the Mad Dogs and English rmen. -1Vl

,V>5otfherBow To The King - Bang (Capitol)|A A first- This is a double album on only one record. In

other words, each side has its own title and cover. You ifigure it out. But I'm not knocking it, for trris is a great

i album, one that, midst the volume of records releasedweekly, is just anonymous enough to get lost in theshuffle. The sound ol this three-man band vraguelyresembles that of the old Small Faces/early Humble Pie,updated with heavy metal thunderings a la Black Saband Co. The JBow to the King side is best, including a ]revitalized version of the Guess Who's "NO Sugar.|Tonight." -MA~

Harry Chapin - sick

by Wanda Adams

Sniper and Other Love Songs - HarryChapin (Elektra)

Sniper and Olher Love Songs is analbum that I'd never listen to if I didn'thave to. It's a real sickie - reflecting, Iassume, Harry Chapin's mind.

For example, "Sniper," the title song,is outright perverseness. Chapin tries toinvestigate the reasons for Texas-tower-style killings. He sings of a boy who hadproblems making other people listen tohim. The sniper climbs atop a buildingwith two rifles and starts shooting,screaming "Are you listening to me?"Then the sniper starts shouting that hehates his mother (they always do.)Chapin throws in many tempo changes tosimulate the terror associated with suchan incident, but only succeeds at havingnine minutes and twenty seconds worthof sheer garbage.

Another very weird cut is "BurningHerself," about a masochistic girl whoburned her body with cigarettes becauseshe felt guilty about sexual prowess to"cauterize her soul." Apparently, the girldidn't feel the actual burnings because";her passion was her only pain."

Chapin also sings of a 16-year-old girlwho has an abortion -a -$200 mishap"- in "Woman Child." The only savingpart of this number is some nice jazzypiano work. O)therwise, nothing.

In addaition to his sickie songs, Chapinalso includes a number of sappy songs onSniper. One such cut is "6Barefoot Boy,"in which Chapin tries to bie gentle andyearning. You know he's kidding afterhearing, the rest of the album. Another

The Hear·t'bseak IKid

by Rich Sternberg

With a name like The Heartbreak Kid Iwas expecting something with either BobHope or Jack Lemmon. Actually thescript is by Neil Simon and Elaine Maydirects, so the title is forgivable.

Lenny (Charles Grodin) meets Lila(Jeannie Berlin) in a singles bar. After awhirlwind courtship, markedly withoutsex, they get married. (At this point Ms.May gets to make her first jibe at moviemarriage scenes. This works quite nicelyand is fairly funny.) The two of themhead off into the sunset in his radiolesssports car toward Miami. They spendtheir first night of their honeymoon in amotel in Virginia.

Lila: "Was it as good as you ex-pected?"

Lenny: "Yeah, it was good."Lila: "You mean it wasn't better."

Hary alafin

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THE TECH TUESDAY, FEBRUARY 13, 1973 PAGE9

rmy RkTC usually takes four years of college. Butyou can do it in two.

if, for example, you couldn't take Army ROTCduring your firsti two years of college.

Or if you just didn't want to take rm-vy ROTC before.But now you recognize the beneftis.

You start -the Two-Year Pro>gram by going to oursix-week Basic Camp the summer following your sophoomore year.

Cami -- a little chassroom wcr..; IC Gre chia;llengingphysical training-replaces the Basic Course you would havetaken durilng youlr first two years of college. Yousre well-paid fotihis six-week catlch-up.

Then, a er camp, you complete your AdvancedCourse durig your julnor andL senior years.

Maybe you'll decide that the chance to get realmanagel men-t experience earlier tEnhan most peoplie wtil be wortha lot later on.

Maybe you can use the $100 per mmonth sulbsistencealltowanrce you will get for up t~o 1L0 months of each school year.

Mayb~e qualifying for two carteers simul~tanleously-millftry or civffialnL-s insuranlce againlst jolb uncertainties.

Or, maybe the oplportunllty for anl Ary ROTC¢ schola- -sh1 p is exciting.

The Ary ROTC Two-Year Program i's another /chance folr a bdetter caxeer, throulgh Army ROTC. |

Talk over the Two-Year Proglr am wthatlhe Pro~fessor of Military Scienace at your schoDol. P..B,- 120,I °' Or use- th~is couponz. There's9 no) obligation . / 11 m( abou Iohel lll

Armlny ROTC. The mnore you loo¢Ik X-ly~(l.\ ll-lat~~~~~~~~~~~~~~~~~ it th better it lolloks.

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discussion is just one of manyattempts by the Black StudentUnion to rectify this environ-ment," reports Thompson.

Also present at the discussionwas Alfred A.H. Keil, Dean ofMIT's School of Engineering. Ashe was leaving the meeting,speaking to the featured guestsand students present, he said,"You men have showed me onething, and that is that you madea foundation, but you didn'tstop, you kept learning and that,I think, is good."

The most humorous note ofthe whole evening was whenBlackwell pointed out "I'm justamazed that there are so manyBlack students here at onetime." On the other side stu-dents were saying, "There reallywere Black people at MIT before1969.'

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ameID

(Continued from page IJshowed how once he had hired awoman for a position on hisstaff and his supervisor hadokayed this move, but a higher-up in the organization declinedto approve this action, techni-cally firing her. "Of course, wepaid no attention to him, butthis is the type of situation we'rein all the time."

On the subject of minorityhiring, Pinckney, an employee ofthe Draper Labs, said "'ernploy-ers in the engineering fields aregoing to hire you if and only if,1) you can produce what theyneeds and he can't do it himself,and 2) you can produce a profitfor him. M~ake it a practice todetermine discrimination fromdiscrimination from race, especi-ally before you start screamingabout it."

Before the end of the discus-sion, the alumni had mnade quitea few suggestions to the studentsat MIT, especially the Black stu-dent.

Blackwell: No matter whatyou do, if you want to get intothe engineering field get an ad-vanced degree (M1S or PhD). In1947 there were too many en-gineers and then in 1950 thereweren't enough and the time isupon us when more engineersare needed.

Pinckney: As all upcomingengineer, being Black should notbe your first concern. It doesn'tmatter what your color is orwhat race youl are- companiespay more attention to what youcan do.

Hardy: As students spend

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Technology and Culture SeminarIges of Man Series

Wednesday, February 1L

5:15 PM in Room 9-150

some time producing something. ,Learn how the back shop runsand forget about the store frontfor awhile.

Cohen: As students, you domost of your classwork aloneand most times this work isgraded fairly, but in private in-dustry that just isn't so. First ofall, you seldom work alone andif -cou're an ingrown person,particularly Black, who doesn'ttalk much, you won't be aroundthat company very long.

The idea of the discussionswas formulated by Taylor T.Thompson and the planning ofthe program was assisted byRobert K. Weatherall and theCareer Planning and PlacementOffice. "We have found the MITenvironment to be void of theseveral supportive systems need-ed for a student besy. This

POWE R ANID IMAGES OF MAN

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THE TECH TUESDAY, FEBRUARY '3, 1973 PAGE 11

Opcen 8:00 to 5:30 3.54-6 I 0 ,>

CLOSED S4TURDAY"for that wely 3room1ed look,"

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Jarvis Middleton '74 displays the form that netted his first win of the season on the rings. Middleton'sscore - 7.55. Photo by Roger Goldstein

Last Saturday the MIT varsitygymnastics team dropped a closedecision to the Coast Guard Aca-demy 120.25 to 114.75-

The varsity gymnasts havebeen lacking in depth all year,but up to this point there hasnot been a situation where it hashurt them badly. In the meetagainst the Coast Guard Aca-demy the lack of depth finallycaught up with them. Dave Mill-man '73, the top ring man, andScott Foster '75, one of the topthree on high bar, had to missthe meet along with the numbertwo parallel bar man, AndyRubel '74, who was injured inpractice and will be out for therest of the season. If these menhad been in the meet and scoredas they usually do, there wouldhave been a difference of at leastfive and a half points.

This meet contrasted withpast meets in terms of thestrongest events for MIT. In thepast, rings, parallel bars, andhigh bar have produced the

greatest margins of victory. Also,these events have always beenable to put four men up. Thepomnmel horse event has donealmost the worst on margin ofvictory and with one exception,has been able to put only threemen up. (A team is limited to atmost five men per event, and thetop three scores count.) AgainstCGA, the rings, parallel bars, andhigh bars were only able to putthree men up because of themissing team members, while thepommel horse put up four. Thepommel horse squad led all theevents for MIT, winning by 2.65,with Dennis Dubro '73 takingfirst with a 7.45, and Paul Bayer'73 and Larry Bell '74 gettingthird and fourth respectively.

The Tech gymnasts stayedclose to the CC;A most of theway. Losing by four points onthe floor exercises hurt the ef-fort, but after the pommael horseevent MITT was back in the meek.The ring team lost for only thiesecond time this year, partly

because of Millman's absence,but Jarvis Middletonn '74 pulledin his first win of the seasonwith a 7.55. Neil Davies '74 8.3on the vaulting horse was thehighest score by; any Techgymnast this year. The vaultersscored more points against CG.4than in any other contest thisseason.

At this point in the meet MITwas down by only 2.5 points.but the parallel bars, normally aplus, turned into a minus for thevarsity gymnasts (-4.55). 1Thehigh bar men, led by JohnAustin's '74 second place 7.4were able to recoup a little,winning by 1.5, but the effortwasn't enougji as CGA came outon top 120.25 to MIT's 114.75.

The loss brought the teamrecord to 3-3 with three dualmeets remaining. Without Rubel,the team will have a tough timeat Dartmouth this Saturday, andthe other meets with Massachu-setts and New Hampshire willprobably be even tougher.

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PAGE 12 TULESDAY FEBRUARY13 1973 THETECH-

By Dan GantaAfter being held winless for

t wo months, Tech's varsitypucksters halted their dis3nalseven-game Iosing streak lastWednesday in a most impressivedisplay, vanquishing an out-gunned club from Tufts, I3-5.

The effort carried over into aSaturday night contest with Tri-nity, winner by a 7-2 margin inMIT's first outing of the year.Tech's defense was superb, stop-ping Trnity cold for the firsttwo stanzas. However, two earlythird period goals were all Tri-nity needed to post a 2-0 win.

With but a little over threeminutes gone against Tufts,Tony Luzzi '74 ramnmed'homehis first goal of the season andthe first of four to be scored bythe tough little Canadian. Fresh-man Mark Holthouse upped thelead with I-is first two MITvarsity scores at 7:19 and 8:17of the first period, setting thestage for Luzzi's second goal.Tufts finally broke through tothe scoreboard in the final tenminutes of the period, but scoresby Carsten Mortenson '76.George Kenney "73, and RickCasler '74 gave Tech a com-manding 7-2 lead at the end ofthis wild period of action.

Things quieted down a bitduring the middle twentyminutes with both teams addinga single tally. Luzzi registeredMIT's only hat trick of the yearthus far at I 944, getting anassist from Tom Lydon '73 inputting the lead back to fivegoals at 8-2.

More wide-open hockey,marked third period action with'MIT continuing to pour it on

3

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31

offensively. Two goals by SteveWarner '73 and one apiece byCasler and Pete Shanahan '73moved Tech ahead by its winning margin of eight before, ap-propriately enough, Luzzi closedout the MIT scoring with. hisfourth goal of the contest.

Saturday evening's first twoscoreless periods against Trinitycould not be matched in excite-ment. Both squads played nearperfect defensive hockey. Firoman EMIT point of view, this isquite encouraging, rememberingthe recent displays of porousdefense. Tech stopped many Tri-nity shots at the defense, withboth teams racing up and downthe ice in the fast-paced earlygoing. Tech goalie MikeSchulman was spectacular,turning aside numerous toughchances, especially in the secondperiod- The lack of scoring waseven more amazing in light ofthe 21 penalties assessed duringthe contest.

However, Trinity finallybroke through, punching in arebound at 0 :2 3 of the thirdstanza. Less than two minuteslater, the Trinity left-wingerpicked up the puck, skatedaround the defense, and scoredon Schulmanl from point blankrange. Nonetheless, Tech refusedto give up and even managed ashort-handed breakaway thatjust avoided the net. The finaloutcome rested on MIT's inabili-ty to convert numerous powerplays, twice having a 5-3 advan-taae in skaters.

The two games put MIT'srecord at 2-9 and weere mostencouraging to Engineer fans.

MIT's Roger Teal '73 and Walter Stanley fight far negie-Mellon team in a game last Saturday. M1-the basketball with several members of the Car- won the contest 92-65. Photo by Kdshna Gupta

rebounds, followed by CantLange '76 with 17 points. Higi:rebounder for the evening wa-Jackson who garnered six oftensive and nine defensive boundsand ten points. Also in doubl-figures fox MIT was Bob Rot-'74 with ten (Roth had score-33 the night before in a B-teangame against Tufts).

The play of the MIT varsitvroundballers was sporadi-tlhroughout the game, as thetean. had 23 turnovers, and onl,connected on 20 of the 38 foushots it attempted. The hoop°sters f oul shot percentag.dropped from a half season hig.of .750 to .679 after the CM1game.

Leading scorer for M4IT wit.=four games left to be played i-Lange, who is 124 for 281 fromnthe Rloot (44.27O) and 46 for 6-;from the line (71.8%) for a totaof 294 points. In a close secon.1is Huldson. with 106 field goal-

and 61 free throws (80.3%O) for total of 273 points.

The vaTsity hoopsters mee-Tuf ts away tomorrow an.-Middlebury at home on Satu.day.

seven rebounds and put in 16counters. Jackson was followedby captain Jerry Hudson '73with eleven points and eightrebounds and Alan Epstein '75with four bounds and sevenpoints.

On Saturday Carnegie-Mellontraveled to MIT for an eveningencounter. An enthusiastic MITfive took an early lead and hotshooting coupled with fine re-bounding led the'Tech squad toa 92-65 win.

Although the play was attimes disjointed, there was nev'erreallot any doubt that the TRechbasketball five would break theirlosing streak. The score at half-timnewas MIT 38, CMU 30.

MIT returned from the lockerroom determined to break the

*game wide open, and behind thehot hand of Hudson (ten foreleven from the field) proceededto do so. The hloopsters hit on21 of their 35 attempts to givethem 60 percent in the secondperiod from the floor. O'Bsriensubstituted the Trech benchIfreely, and the team combinedfor a total of 54 points and 27rebounds in the second stanlza.High point man for MIT wasH~udsonl with 22 points and nine

SaturdayBasketball; Middlebury, home,8:1 5 pmZFencing; Trinity, home, 2 pmGymnastics; Dartmouth, away, 2pmSkiing; EISA, Division 1I Chamn-pions'hipsPistol; Army, homeTFrac; Colby, awav, I pmn

By Fred Hutchison

A f ter losing to Amherst9748 on Wednesday, the MITvarsity basketball squad snappedan eight-game losing streak bydestroying Carnegie-Mlellon92-65 last Saturday.

An ent husiastic Amherstsquad which connected on 14 ofits first 15 shots and ran up 12points before MIT got on thescoreboard, was in control of thegame from the beginning. Am-herst continued their hot handby running the score up to 23-2in the first ten minutes. TheiAmherst five also rolled up 15rebounds before the Tech squadpulled down its first bound.

The two teams left the Roorat halftime with the scoreboardshowing Amherst on top 56-17.

The second half started exact-ly the way the game did; Am-herst in complete control. Afterthe first five minutes of thesecond half, both coaches substi-tuted their entire second teams,and the rest of the game wasessentially a JV contest. Am-herst continually increased theirmargin, leading at on- time by50 points.

High scorer for MIT was PeterJackson '76, who pulled down

TuesdayjFencing; Harvard, home, 7 pmGymnastics; Massachusetts,away, 7:30 pm

WednesdayBasketball; Tufts, away, 8:15pm

Hockey; Babson, away, 8 pmSwimmring; Brown, away, 7:30pmTrack; Gov. Dummer, home,3:30 prWrestling; Connecticut, home, 3pm

FridayFencing; Cornell, home, 7 pmSkiing; Norwich CarnivalHockey; Assumption, away,5:30 pmSquash; Williams, home, 7 pmSwimming; Wesleyan, home, 7Pm

Wrestling; Tufts, away, 7 pm

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Rob Hunter '74 varsity hockey co-captain brings the puck down theIce in a game against Tufts. MIT won the match 13-5, but wasshutout on Saturday 2-0-by Trinity. Photo by David Green1

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