The CIA’s School _ Pappas: Coming In Of Journalism — p. 16 From the Cold? — p. 17 “Boston Don’t Have Enough This ) (x) THE NEWS _|THEARTS as (First Section) (Second Section) The Great Coin Robbery . | Film: Xmas Roulette Food Stamps forthe Poor “ § | Timothy Bottoms ed : Owen Slade’s Need to Know j 7 | Music: Ashford and Simpson Park Plaza Going Ahead | 8 | Randy Weston Conspiracies and Chile 10 | Record Reviews 7 Forand About Women 15 | Theatre: Suppose I Fall The Reporter-Spooks - 16 | Macbeth ‘ ; A Buffing Up the Pappases 17 | Books é | ART FORART’SSAKE ~ Legislative Review 22 | Petry 15 THE LAST OF THE SHVITZ The great coin robbery at the Fogg Sporting Eye 31 | Hot Dots 16 When was the last time you went to the a nosmemwa Museum proves again that art theft is Lupicaon Tennis 33 Linsand Outs 48 shvitz and got a platza from a puchik? |: keeping pace with the art market. ts ‘ Se ’ Happiness at Blue Hill Baths. ; First Section, Page 3 Dowling: Ivy to Bush 34 | Listings : 19 Second Section Cover. > G Vol. I1/No. 50/Five Sections/176 Pages Boston’ oston’s Weekly 25C ents ec. 11, 1973 ; 4 | PAGE TWO DECEMBER, 11, 1973, THE BOSTON PHOENIX Letters to the Editor and Other People Mourning the Dead Congratulations to Michael Bloom for stultifying and dooming himself (review - Wake of the Flood, Nov. 13). I expect to see him in row one at the Dead concert — notebook in hand, hand in pocket, and pen in mouth. Antediluvian?! He missed it. Ignatius Donelly Boston Michael Bloom replies: Dear Ignatz, I almost went to the show because I sin- cerely hoped I was wrong, but despon- dency about the whole idea won out. Since the great step down from Live Dead to Workingman’s, I’ve been disappointed by the Dead more often than not. At this point, while they might still emit a brilliant flash or two in concert, there is nothing on Wake of the Flood that could not have been done as well as by someone else. Wish I could have met you four years ago —. The Grateful Dead ‘ Ticket Rip-Off I am writing this letter on behalf of the nearly gone thousand people -who waited hours, a substantial number over 18 hours, at the Boston Garden for tickets to the rock concert by the ‘‘Who’’. All of these people are victims of Don Law Production’s unfair ticket distribution practices. No one at the Garden on Monday received arly of ~ the good seats expected from their long wait. In fact, tickets for the entire first 39 rows, the promenades, loges, and first balconies within distance of the stage seemed to be conspicuously absent. Upon further investigation of the resale ticket agencies, it appears that some thousands of the best seats were not put on sale Monday, but were held from the market until Wednesday, when market demand commanded a higher price for Law from the ticket agencies. On Monday at the Garden, tickets were selling at their marked prices of $7.50, $6.50 and $5.50, with a limit of two tickets per person. Wednesday morning, two selected ticket agencies received over a thousand of these preferred seats and were getting $10.00 for the $7.50 seats, $9.00 for the $6.50 seats, etc., and were selling them in lots of fifty and one hundreds to potential scalpers. I feel this practice is not morally right for those who waited all Sunday night for those preferred seats. If these were Bruin tickets and involved the hockey en- thusiasts instead of rock concert tickets for students, the cries of protest would be incredible. But that’s not the case, and everyone knows that it’s just students and we don’t count in Boston — we are just easy prey for exploitation. Janet Thorpe Brookline Don Law Replies: Ms. Thorpe’s letter reflects some basic misconceptions about the role of the concert producer. The producer of such an event never dictates which tickets will be sold by outside agencies and which tickets will be sold at the box office. The ‘‘House’’, in this case the Boston Garden, has control over such decisions. Ticket agencies receive their tickets directly from the Boston Garden Box Office without any approval from the producer. The producer often has no knowledge of which agencies are selling what part of the tickets available and the producer receives no part of any service charge the agency attaches to the price. The ticket agencies are strictly regulated by the State of Massachusetts and their rates are fixed. Any variation of these rates represents a violation of the law and may subject the agency to a loss of its license. As for the suggestion that we charge more for productions directed toward the student population, a check of other major cities will reveal that Boston prices are consistantly lower. For example, tickets will soon go on sale for the Bob Dylan Concert with a top price of $8.00, while in New York and some other cities the top - price will-be $9.50. It was due to our efforts that the price is lower. We are the only producer to have benefit concerts, free outdoor events and above all, to have brought the best musical talent in the world to Boston on a regular basis. We are able to do this not by exploiting the student population but by trying to be sensitive to its demands. We appreciate your support and regret only that we are unable to satisfy the ticket demands for all attractions. On Being a Woman To Karen Lindsey: I had meant to write this immediately on reading your article ‘The Streets: A Jungle of Male Assaults’. But before I got | round to it, the following week’s copy of The Phoenix came out carrying your equally clear-headed and articulate comments on the mystique of virginity. So now I really feel I must just write to say how very impressed I am with both pieces. I came over from England a couple of months ago to live in Boston. Although, being female, I’ve experienced exactly the kind of gauntlet-running male hassling that you describe so well at home, I find it even harder to deal with here, in America. It may well be that the English are more repressed and therefore less annoying on a day to day living basis, also that I’m familiar with the mentality, background and motive of the culprits on the other side of the Atlantic and better able to judge the extent of any real threat. But now, on my own most of the day (my friend is out at work) until I too find a job, the only contact I have at present with people consists of odd meetings with workmen in our building and my occasional sortie to the local shops. Seemingly the least com- plicated, harmless of pastimes — for a man. But for me it is becoming a major operation to slip out for a loaf of bread — past the gang of men laying whatever pipes it is they are laying on Mass. Ave., the policemen where the traffic lights have broken down, the middle aged businessmen swaggering off for a long lunch, ‘kids’ in their last year of high school, etc., etc. I brace myself, deter- mined not to waste valuable energy coping-not coping with the inevitable in- vasion of privacy, before setting foot outside our front door. I found your article breathtaking in the accuracy with which you pin-point all the aspects of this crazy business. As you say, it’s positively exhausting; keeps one in a constant state of low key fear’ (so right); and means dressing dully to avoid the more overtly unhealthy attention that looking nice attracts. Being a reasonably independent person, I was really begin- ning to resent the fact that I’d rather not go out alone. It was also depressing to see how little men have chosen to understand or cooperate with that wildy advanced concept of treating women as human beings. The oogler on the street takes refuge in the supposed anonimity the situation affords for his particular brand of sexual appraisal, regardless of how disturbing, upsetting or infuriating it might be for the woman involved — and she is involved. ; One of the reasons your article had such an impact on me is that just a couple of days before it came out I’d been trying to convey to my friend (who fully un- derstands the greater, more publicized problems women have — and entirely sympathises) just how different his per- ception of the world (and the world’s of him) is on seemingly trivial matters from mine, simply through my being a woman. Just what an ordeal walking down a street can be, how difficult it is to stop off alone for a cup of coffee — simple straight- forward acts which to him aren’t even acts in themselves, just daily routines that pass unnoticed. It was almost impossible to explain without sounding overly self- conscious, hung up about sex, sour, overly timid. It’s drainingly confusing being a woman in 1973 (as confusing as it was being a girl ‘losing’ one’s ‘virginity’ in 1963!) and the odd flash of real insight such as you showed in both articles is reassuring and strengthening. Thank you. Elaine Richard Boston Progress Blocked Our already too slow progress toward more equal educational opportunity has been blocked in Boston, as in many other places, by a simple but important mistake. -Sipress We have unwisely allowed a legitimate demand, that minority group parents should be enabled to send their children to good schools, to be turned into a demand that some white parents should be com- pelled to send their children to bad schools. This demand is not legitimate and cannot be made to stick. It is deeply unpopular — nowhere in the country is there a political * majority for it — and unjust. Only when we give it up can we begin to work effectively for what is sensible and just and might with time and effort be made popular and therefore feasible — the right of all parents, of whatever group, to take their children out of bad schools and put them into good ones. If our aim is to put pressure on school authorities to provide more good schools, this the way and the only way to do it. This would also clear up the foggy issue of neighborhood schools, by distinguishing between what is legitimate and just, the right of parents to choose to send their children to a school in their neighborhood, and what is illegitimate and unjust, the right of parents and schools to exclude any children who are not from their neigh- borhood. It will not be easy for us to do the just and wise thing, even when we know what it is. But knowing is at least the first step. John Holt Boston Nixon’s Excuses Does the Boy Wonder from Whittier actually think that the American people are a bunch of blithering idiots? For months “King Richard’’ stated, unequivocally, that he would not turn over . his cherished tapes to either the courts or the Watergate Committee. Then, with ali the furor over the firing of Archibald Cox, the subsequent resignations of Richardson .and Ruckelshaus, and the court of appeals decision, ‘‘Tricky’s’’ chief counsel, Charles Allen Wright, went before the American public and stated: ‘‘This President does not defy the law, he will turn over the nine Watergate tapes to Judge Sirica.”’ Only now we diseover that the tapes either do not exist, did not record properly or contain certain, ‘‘gaps’”’ which the ad- ministration attributes to ‘‘chuman error”’ or, more specifically, ‘‘Rosemary’s boobo.”’ Mr. President, who’s kidding who? I think that I should inform you that the majority of the American people, myself included, have an IQ above 10, something - you obviously failed to take into con- sideration when you let loose with your latest series of mishmash excuses. Oh well, Mr. President, you know the old saying: if at first you don’t suceed, try, try again. Edward J. Julian East Lynn, Mass . | THE BOSTON PHOENIX EMBER 11, 1973 Samples of the Harvard coin collection; some of themaren't there anymore. In the World of Art, It’s Often a Steal By Michael Ryan Early in the morning of Sun- day, December 2, a small group of men executed the most in- teresting caper involving Greek coins since Zeus met Danae. Sometime after 12:30, a neatly dressed, middle aged man, with silver-grey hair, horn-rim glasses, and a mustache, ap- peared at the back door of the William Hayes Fogg Art Museum, at the corner of Broadway and Quincy Street in Cambridge. It was an unusual hour for a gallery gazer to arrive at Harvard’s art museum, but he had no trouble getting in. The caller was a Ryan,’’ who had previously arranged the meeting. Ryan,”’ the guard knew, had inadvertently left a shopping bag inside the Museum earlier in the day. He needed it, he had explained in a phone call, because Sunday was his daughter’s birthday, and the bag contained her present. Midnight was the earliest he could get back to pick it up. It was all a bit out of the or- dinary, but the Fogg is a friendly place, always ready to do its bit for family harmony. When ‘“‘Mr. Ryan’”’ appeared, the door opened for him, as it would for almost anybody «in. a similar predicament, just as he pre-arranged. Just as he had pre-arranged, but without telling Harvard beforehand, ‘‘Mr. Ryan,” pulled a small revolver from his pocket, blindfolded the guard, and let in a band of three or four ac- complices. Quietly, methodically, and very ef- ficiently, they went upstairs to the Coin Room, and set to work removing cases and a safe containing about 5,600 Greek, Roman, and Etruscan coins. Along with the coins, it seems, they also removed all the Museum’s files on the collection giving them a_ complete biography of each piece they took. Sunday was a busy day at Harvard. Across the street from the Museum, crowds of wor- shippers jammed Memorial Church for the morning service on the First Sunday of Advent. A newsdealer at the corner of Broadway and Quincy Street did a brisk business in Phoenixes, Sunday Times, and Globes. A little after noon, Ralph Ellison, the novelist, brought a friend from New York to the Quincy Street entrance of the Fogg to show him the museum, but was turned”away by a hand-lettered sign announcing that the building was closed for the day. None of them had yet heard that what some reports would call the biggest art theft in history had eccurred at the Fogga fewhours before. At press time, it was still not clear how much the stolen coins were worth, although experts were speaking about the one to five million dollar range. The files were gone, the coins were gone, and it would take weeks to reconstruct and evaluate the collection. Within a few days the police had produced composite sketches of three of the people they wanted to question in con- nection with the theft. The F.B.I., assuming that a crime of such magnitude would involve in- terstate transport of stolen goods, put 40 agents on the case. An international law enforcement apparatus was at work, trying to catch up with a couple hundred pounds of gold, silver, and bronze coins, more than 2,000 years old, from diverse cultures and countries, stamped with different languages on different metals, some individually perhaps worth more today than the annual gross national product of some of the fabled city states which had minted them. Even the scandalous Etruscan ’ grave robbers of the 19th Cen- tury, who systematically plun- dered the tombs of Northern Italy, plucking the most valuable objects, and destroying the rest, did not begin to approach the scale of the trade — both legal . and illegal — in antiquities today. The Euphronios krater caper, which earned the Metropolitan Museum a dubious reputation for its acquisition processes, is the most famous recent example of the spread of palaeomania; it is far from the only one. Museums, wealthy collectors, and even the average suburban chic family next door have all joined in the race to have something old — and genuine — on the wall or in the hall. Greece, Rome and Etruria, Central and South America, and Africa have all yielded up rich stores of art. Where there is art there are art thieves. Collecting antiquities on a large scale, popular wisdom has it, is a game for the rich. In fact, it is much more than a game; the story of Arthur Stone Dewing is a good illustration. Many of the coins stolen from the Fogg must have come from Arthur Stone Dewing’s collection, although the museum was still unable last week to tell how many of the stolen coins were its own and how . many were on loan. Likewise, Arthur Stone Dewing’s heirs, were not eager to advertise his collection, which is now in trust; however, people. in_ the numismatic field were reasonably sure that some of Dewing’s coins must have been involved in the heist. Arthur Stone Dewing (1880- 1970) was a rock-ribbed Yankee: doned philosophy forever. Professor Dewing was the author of Financial Policy of Cor- porations .and other books, a pillar of the Harvard Business School, and, by middle age, a wealthy man, who applied his financial knowledge to his per- sonal transactions.Business and Fogg Museum Coin Room A fter the Heist bright, articulate, and highly successful. He got his A.B. and Ph.D. from Harvard, studied with the likes of James, Royce, and Santayana, and taught philosophy at his old college for some years. With good Yankee common sense, he felt the need to establish a permanent income for himself and his family — an income, not from salary, mind you, but from capital: hard money, not soft money. For a while he earned extra cash doing special tutoring, and writing popular textbooks the sciences, but he found himself increasingly drawn to the study of economics, and was soon himself teaching at the Harvard Business School, having aban- government, he believed, were basically and naturally an- tithetical. They had ‘opposed each other through the long course of human history,” he wrote. ‘‘They were opposed to each other in the Valley of the Nile, and in the Agora, in the Rome of Diocletian, and in the England of Elizabeth.’”’ Dewing kept much of his personal capital in gold, rather than in currency; on the last banking day before Roosevelt declared the Bank Holiday in 1933, he took his gold from his box at the Harvard Trust Company, a sign of distrust in government which one writer . has called ‘as subtle as a trumpet blast.’ For taking that precaution, he was pressured into | _ Coinsin upper photodepicts assorted Greek kings; inlower, divinities resigning from Harvard, and spent much of the last forty years of his life looking after his avocations, including numismatics. Dewing’s interest in Greece was bred into him from childhood, and fostered in his college and graduate school days. His interest in Greek coins was a logical combination of his background and his _ business sense. Although the coins stolen from the Fogg are covered with the names of long-forgotten rulers, divinities, and states — Alexander and Antigonos, Athene and Dionysos, Istria and Macedonia — that mean nothing to most of us today, to Dewing, they were a link with the past and a proof of his theories — governments debase currency, but the coins, and the metals they are made of, survive when governments fail. No one knows exactly how much Dewing paid for his collection, but it is worth more today, far more than perhaps even he could have dreamed. The law of supply and demand is at work, and demand is outstripping supply. Dewing’s faith in the agora — the market place — has been vindicated by his coins. Art crime has kept pace with the art market over the years, and the sophistication of the art criminal has grown to match the sophistication of the art con- noiseur. The man who stole the Mona Lisa, only to keep it hidden under his bed for years, taught the underworld a lesson: you can’t expect to steal famous art, and peddle it somewhere. Art- napping has become a profitable subdivision of art theft over the past few decades, partly in recognition of that fact. The man who palmed off the magnificent — but altogether phony — Etruscan horses. on_ the Metropolitan Museum half a century ago would never survive in the age of carbon dating. Painting forgers still thrive, of course, although science and the well trained eye make forgery more and more difficult. A few years ago, in a famous New York gallery, an art dealer and a young relative were admiring a painting, labelled as a Chagall. “There’s a problem here,” the older man said. “You. mean you think it’s a forgery?’’ the younger replied. “Of course it’s a forgery, I know that,”’ said the expert. ‘‘The problem is, which forger did it?”’ As this story making the rounds Please turn to page 30 = a* , a ‘ | 4 UN PAGE FOUR Vol. 11/No. 50 1108 Boylston Street Boston, Mass. 02115 Copyright by Y.M.I., Inc. Telephone 536-5390 Publisher & President Stephen M. Mindich Executive Vice President Jonathan E. Fielding Editor Paul Corkery Managing Editor William Miller Art Editors Ben Gerson (music) Janet Maslin (film) R.D. Rosen Deirdre Gallagher (listings) Sports Editor George Kimball Associate Editors Sharon Basco Vin McLellan Constance Paige : Michael Ryan Tom Sheehan Marcia Orovitz (Supplements) Contributing Arts Editors Ken Baker (art) Bob Blumenthal Larry Loonin (theatre) Alan Levitan (theatre) Richard Buell Celia Gilbert (fiction, poetry) Amanda Smith (dance) Contributing News Editors Michael Lupica Carl Oglesby Editorial Assistant Laura Katz General Manager Howard W. Wolk Sales- Director H. Barry Morris Advertising Sales Coordinator Donna L. Holman Assistant Advertising Coordinator Linda Schuth Sales Asst. Dale Spiegel Display Classified Sales Manager Paul Matt National Sales Representatives Jeffrey Roberts Howard Temkin Local Sales Representatives Elliot Promisel Jack Wasson Paul Matt Jeff Lockshin Wayne Neale Paul Farbman Classified Manager Elaine Whitney Theresa Baino, Asst. Art Director John P. Hardiman Art Staff William A. Keoughan Marilyn MacDonald Production Manager Dennis Mahony Layout Editor Michael Lowe Circulation Staff Edward Daly, Director Richard Gagne, Co-Director Brad Hurst, Circ. Coordinator Loftin Elvey, Subscriptions Marie T. Trechok, Admin. Asst. Accounting Ed Shapiro Maura McSweeney Joseph Donohue Credit Manager Richard Turk Lee Emmons, Asst. Receptionist Barbara Milhender Advertising For advertising display rates call Donna Holman at 536-6760. Subscriptions Subscriptions are $5/six months, $7.95/one year, $14/two years. Send name, address and ZIP CODE with money order: Subscription Department Boston Phoenix 1108 Boylston St., Boston 02115 $1.00 more Canada $3.00 more elsewhere Second Class Postage Paid Boston, Mass. EVENTS Events will be listed free of charge subject to revision by the editor. All copy must be received by the TUESDAY before publication date. Mail: Attention Events. MANUSCRIPTS Unsolicited manuscripts are welcomed. However, we can not return them unless a stamped. self-addressed envelope is enclosed. Keeping Up With Chuck While serving as President Nixon’s special counsel, Charles W. Colson agreed to intervene in a Justice Department criminal investigation on behalf of a Teamsters Union official iden- tified by Justice as a close friend of a New York Mafia leader, the Washington Post said last week. The Post said it had obtained a memo sent to Colson by one of his aides which noted the possibility of the union official’s indictment for alleged extortion activity. According to the Post, Colson wrote on the memo: ‘Watch for this. Do all possible.” The official was never indicted and the case was dropped. Colson handled several Teamsters Union matters while in the White House, said the Post. After he resigned his position there to take up private law practice, one of his first clients was the Teamsters Union. Separated? Educational workshops for people who have recently filed for divorce or separation are now being held weekly in Cambridge, Arlington, Lexington, Lowell and Waban. Each seminar is limited to 10 participants, and to those who have been separated from their spouse less than a year. Now in session is the fourth series of ten week workshops. The model for the seminars was developed by the Harvard Lab for Community Psychiatry. What it amounts to is a professional counselling service for the newly separated. The workshops are co- sponsored by the Family Service Office and the Middlesex County Probate Court. For further in- formation call FSO at 876-8000. (ext. 401 or 402) or Rev. Justus Fennel at 527-4451. Under Cover From now on when you enter a bar or club and pay a cover charge you'll get a _ receipt. Anyway, if the Alcoholic Beverage Control Commission gets their way, you will. Hearings were held recently’ on new regulations that require bars and clubs to keep records of cover charges. These records, ac- cording to the Commissioner Stanley Lapon, will enable the Commonwealth to collect taxes that club-owners traditionally have avoided. : “They’ve been pocketing the money,”’ Lapon said. ‘‘They’ve been abusing the privilege of the © cover charge without paying their required 10 percent to the state.” New regulations would make it illegal for a bar or club to require a customer to spend $2.50 or whatever on drinks. (A minimum on food is still legal.) According to ABC Chairman A. Ernest Zangrilli, “You can’t charge that minimum on drinks because it means you are encouraging the DECEMBER 1, 1273, consumption of alcohol!’’ The regulations which have to be signed by the Governor, are expected to go into effect before Christmas. Thai Speaker Segson Prasertkul, a leader of the successful student uprising in Thailand on October 13, will be speaking in Cambridge about the problems of national_ develop- ment in Thailand. A student at Thammasart University in Bangkok, Prasertkul is the public relations officer of the National Student Union of Thailand. According to Malcolm W. Browne, New York Times correspondent stationed in Southeast Asia, Prasertkul helped direct the demonstrations of a million or more students and other Thais during the five days of the uprising. He has written a book on the Indochina War entitled Vietnam: The Peoples War and _In-- ternational Relations. Recipient of an American Field Service scholarship, Prasertkul, 25, spent a year of high school in Wisconsin. He will be speaking Tuesday, December 11 at the Harvard Law -School in’ Pound Hall*Room 200 at 4 p.m. Women’s Theatre A new women’s theatre group, the New York Womanspace Theatre Workshop, will be presenting its play ‘‘Cycles” in Boston this month. The group consists of one Native American and two whites. Their play is an exploration of the gaps in race and class between the women. It | and produced. Said the Village Voice of their work: ‘‘Cycles’ doesn’t dally in the shapeless euphoria of freedom, nor does it spiral into a small center ... All their internal exploring sits firmly in the context of the real world, reaching out to political and moral issues of the day, con- necting it all.” “Cycles” will be running for two nights at the Om Theatre Workshop at the Boston Center for the Arts, 541 Tremont Street, Sunday, December 16, 8 p.m. for women only, and Monday, December 17, 8 p.m. for women and men. Contribution, $2.50. For more information call 482-4778. On the Waterfront The Boston Redevelopment Authority, reportedly facing federal and local investigations, will announce within two weeks a compromise plan to end eight years of delay in the $100 million waterfront urban renewal project, near the site of last summer’s Citifair, a BRA staff member said Thursday. The plan will include a large park and mixed-income housing . on lots once slated for an ex- pressway and luxury high-rise housing. Fhe. Authority is apparently responding to reports that trouble-shooters have been ap- pointed by both the federal Housing and Urban Development Department (HUD) and Mayor Kevin White to look into the causes of long delays on waterfront renewal, as well as possible BRA blundering in the handling of the Park Plaza and Fenway redevelopment projects. The reports of federal interest in the waterfront came from members of the federal court- appointed North End Waterfront Restudy Committee, a citizen group mandated by the court to recommend alternatives to the 1963 BRA call for large-scale demolition in the one-time market district since placed on the National Registry of Historic Places. A high-ranking member of the citizen group said last week she met with HUD represen- tatives three weeks ago to discuss BRA foot-dragging. On Thur- sday, apparently responding to the federal interest, Kevin White appointed two aides to look into the BRA role in Park Plaza, the Fenway and the waterfront, whose now-vacant lots are rated among the city’s most valuable. Last week, BRA _ waterfront project director..David Weiner - was criticized by City Councillor Gerald F. O’Leary for failing to have a detailed renewal plan, taking into account citizen proposals, to accompany a BRA request for $4 million for the 100- acre waterfront project which has already cost $10 million. The dissident BRA staffer, who has worked closely with the waterfront citizen group, ex- pressed hope that the project and possible investigations of it could be the prelude to a major shake- up in the 200-man BRA so as to redistribute its planning powers to community groups. The waterfront project has attracted particular attention on that count following the precedent-setting court order which halted BRA plans and formed the Restudy group. EAH! THATLL SLOW DOWN SE CADS IN CADDIES ! WOULDN'T Do ! RAISE GAs PRI PIRST! is collectively written, directed AINING OUR We TO NIXO'S NEW CADILLAC NT BY DOIN THERE GOES HEY CAN'T Keer ME FROM DRIVING! (LL GET A AS A CHAUFFEUR AND THERE SURE DOESNT SEEM TO BE ANY SHORTAGE OF PREMIUM bed TURN DOWN TO SAVE ENERGY! NG SS WS Ss \ A \ AIA AKA [AS () BG XSi GQ GGGGGGGG p55] \ \ GQ AKC AIAN CC CCGG GAG. GS N AAC IVR \ \\ \ \ \\ AY \ ASS < \ \ \ \ AX ~ SS x MG / Courier 7 | | BET WE GET ‘TWICE JHE ann MILEAGE As “MAYBELLINE® THERE! ov | TAX OR JUST KEEP uP BROTHER 7 AND I'M HAPPY! 7 THE BOSTON PHOENIX, DECEMBER 11, 1973 PAGE FIVE The Poor... “Over Here, The Crisis Don’t Much Matter’ By Jack Bresnahan You’ve got to meet Mike. Mike McCarthy. A toothless ex-wrestler with an armful of tattoos. And a background in theology. And a history of trouble-making as a community organizer. And a preference for bisexuality. She’s quite a woman. And one of the irregulars that aren’t very uptight about The Coming Depression. They’re not hard to find, the irregulars. Just take the orange line to the low rent district. To Sullivan Square or City Square or Dudley or Dover. Mike’s not far from Dover, half way out to Northampton. She lives in a grand old apartment with vast windows from another era, in a building with riot and bomb scars from this one. She look down on Blackstone Park, and over to City Hospital, and up the El to Northampton and beyound. She loves the South End. “Wouldn't leave if I had a million dollars:’’ Like with most everything Mike says, that’s exactly now she feels. ‘Some damn good people here. “No, they’re not particularly anxious this year about the winter, the future. Today’s enough, gettin by, stayin alive. “On a scale from one to ten it’s not much of a drop back from two to one. You’d hardly notice. Over here The Crisis don’t much matter.’ Listen to Mike’s voice. Low and compelling, even with her teeth sitting on the mantlepiece. She ends a sénterice down in her chest,’ as' if she’ wete parking them at'a meter in between W.C. explaining grandmother. And look at her face, her complexion. ~ Clear, like a nun’s. They used to ‘Say that nuns’ skin stayed so young because of the serenity, but there must be something else. Mike’s never been serene. Been rebelling for years, against her parents, against the German Ursulines, and a lot more since then. For the last few years it’s been health care. She worked for the South End Medical Health Center, then quit that to run the Dental Clinic. ‘‘Made those doctors work. God damn I did. They’re there to provide care for the consumers. And I saw to it that’s what happened. Done a lot of public speaking on the subject. I’ve addressed professional conventions over at the Statler and around. Doctors and dentists from Harvard, Tufts, and all over. O yes. “The first white-oriented thing I’ve done for years was backin Kathie Sullivan for School Committee. That was quite a turnaround for me after all that time with the blacks and the Spanish. But she deserved it, and _Mother of God the schools cer- tainly needed it. She’d gotten over that Manhattanville training, and really knows the people. So I backed her, and it made me feel kind of good. Closer to my parents, I guess.” Up on Mike’s white wall is a bulletin board. It’s the family- album. There’s a snapshot of Mike in bed with the kids, ‘Peanuts, and Kevin and Judge and the rest — a bright, sturdy gang. Peanie is the prettiest. She goes to college. Kevin’s full-color school picture looks like the suburbanest upwardly mobile eighth grader you ever saw. Chrissie is pretty too. Especially with makeup. Without it the pimples detract. Chrissie has her own place across the street. She’s twenty- one, may be pregnant, has done some prostitution and some time in Charles Street. “‘Chrissie’s gonna be something. She’s going through hell right now, street life, knockin around, drugs, bisexual mother. That right Chrissie? But she’s gonna come through, be all right.’’ There, Mike parked that sentence and locked the door. ‘*Maa, you need a filing cabinet around here. This place is a mess. All these pictures, papers, you should get organized.” “One time when Chrissie was in Charles Street they called me up, wanted me to do something with her. She was_ leading a sitdown strike! Protesting health care! See, it runs in the family. Chrissie was more trouble to them in jail than out! That right Chrissie.”’ ‘‘O Maaa. Hey, look at me in this shot. In that fur coat. This was last Christmas time. Gee I wish I had.that coat back. It was over in Charles Street, one of the kids was getting out and it was still winter. I wasn’t getting out ‘til summer so I gave her the coat. That was a nice coat, wish I had it now — I’ve got other coats, but that was fur. Ma, give me this picture?”’ “No.”’ “Come on Maa. Give me the picture and I’ll give you, you know, one of those plastic cubes to put pictures in.” “That pictures stays here.” “O Maaaaaa.”’ “Don’t whine, Chrissie. And don’t get fresh with your mother. _ The wrestler.” , “Come oh Maa. It’s the only - pict in that coat. I’ll get Field ‘aiid Kate Smith, like an” ot mein goat: Bet... you a present Maaa.”’ ‘I don’t need a thing right now Chrissie m’dear. I’m ‘doing all right just now. Mister, don’t ever be a mother. Don’t talk to me about energy crisises, bein’ a mother is enough Brian turn down that radio and make the damn dog shut up,”’ Walk with Mike down Shawmut Avenue or Brookline Street and you'll meet a lot of people. But you won’t run into much of The New Anxiety. It’s just not up significantly over fourth quarter, calendar seventy-two: “Hi, Mrs. McCarthy!” “Hi, Patsey, how’s school? Hello Joe you black old bastard, where you been? Figured they’d Meet Mike McCarthy: One of the Irregulars sent you back to Africa or something.’’ “‘Have to see you Mike. I need some dental work.” “‘We’ll talk about it later at the subshop okay Joe? Need some new teeth huh? Better get gold ones so people can see you at — night.” Drop in to visit Laurie the bartender: . “Any pork today Laurie?’ “Not til Friday Mike.’’ “*Yaaa, that’s what they said.” “‘Heard anything about the fire Mike?”’ “Sure went up fast. Sure would like to have had that old bar for my hallway. Been watching that bar for a long time, good piece of wood.”’ If you really press the issue around here you might get a guy to say: “I’m burning tar right now. Bottom of the barrel stuff. Means I have to clean the filters every other day. But it throws off good heat. Don’t get it on your hands though. You never get that stuff off.’’ That’s about as far as it will go. “‘Pauline..How are you, good Jaye 4 ey, 4 to see you, how’s the kid?” ‘*Hello Mike. Good to see you. She’s’ oo-kay.’’ Pauline’s a very pretty Puerto Rican with sparkly eyes and a smile that throws off good heat. She’s a Spanish interpreter at the police station. Her thirteen year old was raped a while back. “IT got a call you know Mike. Pressure. Trying to keep me from testifying. I told him screw. O, and I’m going on the cops, Mike. Yeaa, going to The Academy couple of days a week, and it’s good.” “God damn it Pauline, if you take up arms I’m gonna bust you right in the face.” ‘“‘No, Iam Mike. I’m gonna be a good cop.” “Yeaaaa. You will be. Maybe it’s okay, you should take up arms. Put ‘em down on the pushers too. Okay, see you Pauline.” “See you Mike.” “See that guy over there — that’s my Brian's Godfather. Hey! — I'm gonna have Brian come down have a talk with you!” “Okay Mike! I’m not going anywhere.” Hang around the old Franklin Square House — not Mike’s turf — and you might hear some Crisis Talk. Nothing heavy, just frittering talk while the golden agers wait for the afternoon beano game. Listen: ‘“‘You’re old enough to remember Hitler moving into Poland?” ‘ “O sure Jim. That was the World War Two?”’ was working over to Charlestown, making switch handles for submarines, in those days. They had to’ be laminated so they wouldn’t split when the sailors would use them on the submarines. We had gas rationing back in those days.” “O sure I remember. Jim do you remember that guy, little fella used to come in here? Little short guy, I think he was kind of dum. Nice little guy, little Jewish guy maybe? He died. Do you remember him Jim?” I heard.” “He died. Just after Thanksgiving. They found him dead in the morning. He never drank, but I think maybe he drank — took a couple over the Please turn to page 12 The New Food Stamps Program Getting Nothing for Nothing By Connie Paige Whatever other crises the New Year brings, 1974 promises to be a lean year for the poor. By order of the Agriculture and Consumer Protection Act passed last August by Congress — a . piece of legislation that hardly protects the poverty-stricken consumer — the government as of July 1 will discontinue the surplus foods program once designed to give free food to the poor. Beginning January 1, local welfare agencies will begin to phase in instead a food stamps program, under which low in- . come families can buy coupons at discount prices to be traded in for goods on the open market. Only 37 communities on the Cape and Islands are presently enrolled in food stamp programs, and the remaining 314 cities and towns in Massachusetts, in- cluding all the large urban centers, are getting surplus foods. While food stamps in theory offer more freedom of choice than the old government handout system, critics are saying that not all of those now elgible for surplus foods will be able to take advantage of the new program, and that those who do won’t receive a sufficient discount. In the interim between January and July, they will be faced with a steadily dwindling supply of food, due to the shortage of surpluses nationwide. If the Welfare Department fails to certify everyone by the end of June, moreover, some will go without necessary subsidies altogether. With the astonishing candor that sometimes marks the Commonwealth’s public officials, Mike. Rolli, director of all the public assistance food programs in Massachusetts, gave one man’s explanation as to. why some recipients will elect not to use food stamps. ‘‘Massachusetts happens to have a_ tendency where people like to get something for nothing,” said Rolli. ‘In the stamp program, they have to put up money to get stamps. With food prices so high these days, people like to stretch their dollar. Whether they will do it this way, I don’t know.” Actually, it is more a question of simple arithmetic. Most people on public assistance are in debt to a greater or lesser extent. After they pay off last month’s in- stallments and bills for rent and utilities, they cannot afford to lay out large sums for a month’s supply of stamps. Even if they can scare up some cash, likely they will not be enough to buy ’ their full share of stamps. According to Cliff Walton, a member of United Peoples, Inc., a multifaceted grassroots ad- vocacy group in. Framingham, the typical family of four — say a mother with three children ages 5, 8 and 10 — receives the following monthly allowance from the Welfare Department: $134.27 rent and utilities 120.96 food 38.51 clothing 8.36 personal care 7.40 home supplies $309.50 TOTAL Having surveyed living arrangements in the Framingham area, Walton predicts that this family could find housing for no less than $155 ‘per month, and would have to spend at least an additional $50 on utilities. This means that they would have to borrow $70.73 from their food allotment, leaving a mere $50.23 per month for stamps. Their income level en- Please turn to page 26 — 2 4 4 | | ! | DECEMBER 11, 1973, THE BOSTON PHOENIX PAGE SIX — - xg04%- GONGER Our injection-molded Swedish plastic record rack -- more a record elbow, really -- holds up to thirty albums irrespective of rock, classical or klutz, and helps prevent warping. Measures approximately 12 x 12x 6, comes in black, white, gold, blue, and orange. Still $6.50, a treasure for disc-diggers. MARKETPLACE 35 Exeter Street Back Bay Boston HOOPER-AMES 40 Boylston St. Harvard Sq.,Camb. IN THE GARAGE Best Foreign Pictures 1974 »Talismaani” Metsovaara, Finland ~Ulpukka™ Metsovaara, Finland Helenius, Finland “Clouds” Boras, Sweden Our exciting new fabrics for wallhangings have arrived. Plus 600 imported and domestic cotton textiles in bold, splashy and sophisticated bolts. Stretcher frames and easy instructions for wallhangings are available. Drapes. Tablecloths. Shades. Pillows. Bedspreads, Free expert advice. Anything. If you have the idea, we have the fabric. fabricatio Cambridge, 44 Brattle St., til 9 pm Mon.—Fri. Boston, 114 Newbury St., til 6 pm daily Brookline, 1335 Beacon St., til 9 pm Thurs. PLATTER- PUTTER -By Daniel Zwerdling Energy Crisis: Who Caused It? When President Nixon huddled with advisers to map out his master plan for the energy crisis, he should have read two drably written government reports which put the debacle in proper perspective. First, a Senate committee report released four weeks ago shows that the petroleum _in- dustry itself deliberately caused the fuel shortage by sharply cutting back production of fuel oil and gasoline, just when they knew they should be increasing it. And second, a report by Nixon’s own executive offices a year ago points out that the very con- servation measures Nixon has finally ordered are among the least effective and most non- sensical possible. But these notes of reality were lost in the President’s exhor- tations for individual sacrifice. And they worked. My frugal 95- year-old grandfather, who has shunned electric appliances and burning light bulbs as long as I can remember, turned down his thermostat five degrees. He believes Nixon’s philosophy that we should look for energy con- servation, along with patriotism, in the home — not at Exxon, General Motors or ‘Union Car- bide. The origins of the energy crisis, which both Nixon and his former energy adviser, John Love, must know well, are laid out in a dry 112-page report by the Sub- committee on Investigations of the Senate Government Operations Subcommittee, called “Staff Study of the Oversight and Efficiency of Executive Agencies With Respect to the Petroleum Industry, Especially As It Relates to Fuel Shortages.”’ The report doesn’t exactly accuse the petroleum industry of selfish motives, but it does note two interesting events leading up to the energy shortage: one was the Tax Reform Act of 1969, which cut the industry’s beloved oil depletion allowance for the first time in 45 years from 27.5 percent to 22 percent. Oil depletion allowance reaps the industry several billion dollars a year, so the oil companies, the report notes, ‘‘warned that it (the cut) would reduce the incentive to expand crude oil production.”’ “Reduce the incentive”’ is an oil industry euphemism for black- mail. Senate subcommittee says, in- dustry statistics began to show that ‘‘nearly all of the 10 largest majors (oil companies) lost ground to the Independents during the prior year (1969). The rate of sales increases for the Independents was three times that of the majors.’’ The industry giants needed a way to drive the encroaching Independents off, if not out of business. Independents, the Senate report observed, ‘have historically been the primary source of price com- petition and low cost innovative methods of marketing.” To make a long and outrageous story short, the petroleum companies refused to take easy steps to avert a shortage which both industry and government experts predicted was coming, but not yet inevitably. During the first four months of 1972, the major companies, east of the Rocky Mountains, operated their refineries at only 84.2: percent of their capacity, ‘‘lower than for any comparable month” of the last two years. As the winter season approached, the federal Office of Oil and Gas figured that the industry would About the same time, the have to run their refineries at just 92 percent capacity in order to meet demands — and the government sent telegrams to all the giants “‘stressing the need to increase refinery output.” But the giants refused, holding back their refineries to 89 percent just as the winter demand was chilling the nation. The refineries were busy producing gasoline instead of fuel oil, since price controls kept fuel oil a cent or two cheaper. As Cities Service flatly told the government: ‘‘While the company has the ability to switch (from gasoline to fuel oil) they do not plan to do so. The company (and the industry) has a market for all the gasoline they can produce.’’ Yes, Humble Oil representatives told government officials, the industry should boost refinery runs to avert a shortage — but “economic in- centive to operate at these levels does not exist.’’ The Senate report sums it up: ‘‘With low inventories of fuel oil at the beginning of the heating oil season, it was necessary for the giants of industry to maintain maximum production. Instead, they reduced refinery runs... With this less than all out production, the shortage was inevitable...” That was the beginning of the fuel oil shortage in winter— our automobiles had plenty of gas. So how did the industry create a gasoline shortage by summer? In early 1973, the government allowed the majors to boost fuel oil prices 8 percent — so, the companies magnanimously stepped up fuel oil production and cut back on gasoline, just as fuel oil demand started ebbing and gasoline demand started growing again. During the first five months of this year, refineries produced only 90 percent of capacity. In June, they suddenly jumped to 94.9 percent capacity, as if to show they were making a heroic effort to save the nation from a shortage — but it was ‘‘too late to avert the gasoline shortage which occurred during the peak summer driving season.”’ All this had exactly the effect which the oil giants wanted: more than 1000 gas stations closed, with at least another 1000 on the brink — most of them independents. The oil companies reaped the biggest profits in their history, fattened from the . previous year by 50.to 91 percent. There were some faint glimmers of reality: a Federal Trade Commission report suggested in July that the shortages were caused by the industry’s monopoly, a California federal grand jury began investigating industry anti- trust activities, and Florida’s attorney general sued the 15 majors, charging they had conspired to create the gasoline shortage. But what are these isolated and futile efforts compared with the massive energy industry? The suits will drag on in the courts — it’s winter again, our homes are getting colder, and the oil industry is bringing us a repeat performance of the fuel oil and gasoline shortage. President Nixon seems to have convinced most of the nation that the ‘‘sudden cutoff of oil from the Middle East’’ turned expected shortages ‘‘into a major crisis’’ — which is a lot of nonsense, ignoring the total control which seven private corporations exert over the energy which sustains or cripples our nation. Nixon warns Please turn to page 29 — ath | POS : x | : THE BOSTON PHOENIX, DECEMBER 11, 1973 PAGE SEVEN Owen lade’ Need to Q. | want to be a poet but everything in my life seems so normal and uninspired. Are well-known poets really normal people or have they all had some inspirational experience? — L.K., Somerville. A. A touch of insanity might be what you need. A survey of 52 English and French poets by Colin Martindale of the University of Maine has found that most famous poets were mentally unbalanced and that most of them lost their fathers at a very early age. He found that almost 50 percent of the poets were psychopaths and 15 percent were psychotic. Thirty of the 50 poets had lost their fathers at an early age. Byron, for example, was extremely paranoid and never left his house unarmed. Q. Are any of the TV stations planning anything big Rock wise for New Year’s Eve? — B.M., Ipswich. A. Yes, NBC is planning to televise a Rock bash to welcome in '74. The 90-minute special on the 31st will be hosted by George Carlin and will feature Tower of Power, the Pointer Sisters and Billy Preston. Music will « ome from the grand ballroom aboard the Queen Mary in Long Beach, California and from Times Square in New York. Q. Does “impt.”’ stand for “important” or “impotent?” A. “Impt.”’ is the abbreviation for important and there is no abbreviation for impotent. However, if you have seen it in a “Personals” classified section it probably means impotent. Q. I am very interested in two football teams which once played for Boston. The first team is the Boston Redskins whowere formed in 1932-33 and in 1936-37 moved to Washington D.C. to become the Washington Redskins. The other team is the Boston Patriots who recently became the New England Patriots. Most especially, I am interested in how these teams, the Boston Redskins and the Boston Patriots got their names. If you can cast any light I'd be grateful. — A.M.K., Fredericton, New Brunswick. The Boston Redskins originally played at Braves Field, and, like the football and baseball New York Giants (or for that matter, in the - same era, the football and baseball Brooklyn Dodgers) shared the name of their baseball landlords. After a dispute over the lease, they moved to Fenway Park. While not wishing to retain the name “Braves,’’ owner George Preston Marshall didn’t want to completely alter the image, team insignia, etc., ergo “Redskins.’”’ The name stuck when the team moved. The name “Boston Patriots” was chosen from thousands of sub- missions in a contest held to name the team when it was formed before the 1960 season. When the Patriots moved to Foxboro, halfway between Boston and Providence, it was changed for a few months to “Bay State Patriots,’’ which provoked a great deal of public snickering since team President Billy Sullivan (whose initials also happen to be “B.S.” happened to live on Bay State Road in Wellesley.) A few months of being referred to in the newspapers as the “B.S. Patriots” (and “in order to enhance the regional appeal of the team”) management was persuaded that “New England” might be more appealing. . I need to know this before I cover my entire kitchen floor with bottles. Where can I take them to be recycled? I live in Cambridge, and have a car, but I really don’t want to have to go too. far, and I'd like to do it as a regular thing. The bottles are two rows deep along an entire wall of the kitchen, and I've got to get rid of them soon. I don’t want to give up and throw them out, since this is the first effort I've made to be ecological. I looked through the classifieds in the Phoenix, and all the ads, but I saw.no information on recycling. — M.C., Cam bridge. A. The City of Cambridge has no bottle recycling plan although they do have a newspaper recycling program. However, Pepsi Cola Company does have a recycling program and you can take any kind of bottle to their bottling plant at 130 Western Avenue in Allston. The bottles should have the metal caps and the labels removed. They should also be sorted as to color. Anyone Want to Tango? Q. IT read ina recent Brandon biography that President Nixon was refused a private screening of “Last Tango in Paris” in the White House by United Artists. Can this be so? — M.S., No. Weymouth. A. He was probably refused because he doesn’t use butter. However, at United Artists Pictures they say they have no record of any such request. Reader's Department Dear Owen, There was mention in an issue about causes of heart attacks. Simply for your information, two doctors at Mount Zion. Hospital in San Francisco have theorized that coronaries are not caused by smoking, diet, lack of exercise or overweight. Their studies have shown that over 90 percent of all Americans who suffer from coronaries exhibit a strikingly similar behavior pattern, which they have named “Type A- Behavior Pattern.” In brief, Type A behavior is marked by a keen sense of time urgency, restlessness, aggressiveness and com- petitiveness (including a certain amount of free-floating hostility). It can also be seen as a sort of chronic continuous struggle — against circumstances, against other people, against the individual himself. The doctors have also shown how this sort of behavior can actually lead to deterioration of the coronary arteries, end the subsequent heart attack. The doctors’ names are Meyer Friedman and Ray Rosenman, and we are publishing their book on Type A behavior next March. David Bain Alfred A. Knopf Inc. Sir: New York In one of your columns, one of your replies was most inaccurate. The first episode of Star Trek was shown on NBC on Sept. 8, 1966. The last was shown in January of 1969. The reason Star Trek ended was because during its third year, ’ it was shifted to 10:00 p.m. Friday nights. This ‘caused the ratings to go down, which caused NBC to cancel the show. The rest of your information was correct. T.T., Sudbury * Want the facts? Have something you need to know? Write: Owen Slade c/o Boston Phoenix, 1108 Boylston St., Boston, Mass. 02215. A, 4 @ Texas Instruments electronic calculator Santa Suggests THE TI-2510 the affordable portable. WITH e Adds, subtracts, multiplies, divides. * Keyboard — Features 10 digit keys, decimal key and 7 function keys. Easy Operation —Enter the problem exactly as you would state it. ¢ Chain/Constant Switch — Selects constant mode for multiplication or division by the same number or chain mode for normal calculations. ¢ Battery-operation— Operates on 4 replaceable AA Alkaline batteries (not included). * Portable — Weighs only 10 ounces. Size 5.5” x 3.0” x 1.7”. Vinyl carrying case included. ¢ Warranted for one year against defective materials and workmanship. THE CALCULATOR SHOP NOW AT 6 CONVENIENT LOCATIONS BOSTON 1119 Comm. Ave. (617) 787-2323 BOSTON 40 Bromfield St. (617) 542-6185 ONLY $59.95 WORCESTER 222 Main St. (617) 756-8367 Open Daily 9 AMto9PM_ Open Daily 9:30 AMto8PM Open Daily 9 AM to 5:30 PM Sat. 10 AM to 2 PM QUINCY 1361 Hancock St. (617) 471-1017 Open Daily » AM to 9 PM Sat. 10 AM to 2 PM Sat. 10 AM to 2 PM WALPOLE 623 Providence Hwy. (617) 668-2333 Open Daily 9 AM to 9 PM Sat. 10 AM to 2 PM Sat.9 AM to 1 PM MANCHESTER, N.H. 278 Elm St. (603) 669-2442 Open Daily 9:30 AM to 5:30 PM Sat. 10 AM to 2 PM OPEN EVENINGS ‘TIL CHRISTMAS : “4. » ie } i } } | =\ i a ~ Us 4 - 4 : i > ¥ | a | - | ~ ae = | i \ DECEMBER 11, 1973, THE BOSTON PHOENIX PAGE EIGHT Harvard Book Store Holiday BOOK SALE ENCYCLOPEDIA OF MODERN ART AUCTION PRICES. By Michele Berard. A guide to the work of 282 Modern Painters with the prices their works brought during the last decade. Essential reference for collectors. Was $45.00 Now $14.98 A HISTORY OF CHESS. By Jerzy Gizycki. With innumerable illustrations in black and white and full color. Even the non-player can’t fail to be fas- cinated by this lively text. Special Now $14.95 TOUCH THE EARTH: A Self-Portrait of Indian Existence. Compiled by T. C. McLuhan. A selection of statements and writings by North American Indians, chosen to illuminate the course of Indian history and the abiding values of Indian life. illustrated. Was $6.95 Now $2.98 4 FABULOUS FACES: Swanson, Garbo, Crawford, Dietrich. The most sumptuous film book ever pub- lished. Over 1000 rare photographs anda 16 page color section of priceless old movie magazines. Was. $40.00 Now $14.98 EXOTIC MUSHROOMS. Text by Henri Romagnesi. 160 color plates document the great beauty & variety of wild mushrooms, Was $12.95 Now $6.98 CALDER. Conceived, photographed & designed by the renowned photographer Ugo Mulas, this com- prehensive book is an appreciation & evocation of Calder’s life and art. The introductory comments by Calder accompany many of the photographs, Was $22.50 Now $9.98 PORTRAITS FROM NORTH AMERICAN INDIAN LIFE. By Edward Curtis. In 1896, Edward Curtis began his life’s work of documenting and capturing the spirit of the American Indians in photography. 87 full-page sepia tone reporductions. 14% by 18 inches. Published at $30.00 Now $14.98 EDWARD S$. introductions by A.D. Coleman Mel whan Every Harvard Book Store gift is a guaranteed gift. We will provide a certificate enabling the recipient to easily exchange his gift for another book until January 10, 1973. Master Charge and BankAmericard accepted. Free gift wrapping. Harvard Book 1248 & 1256 Mass. Ave. atHarvard 12Plympton St. (Annex)-at Harvard - 732 Commonwealth Ave. at B.U. Open Evenings A Green Light For Park Plaza By Tom Sheehan Very soon, in January perhaps, developer Mort Zuckerman will be granted the official okay to do with the Park Square area as he pleases. The Boston Redevelopment Authority’s submission to the state last week of its latest “plans”’ for the $266 -million Park Plaza project means that state approval of those plans is vir- tually guaranteed. The current timetable calls for a quick round of public hearings on the matter, starting Dec. 17, and state approval by late January. The new submission was hammered out at a series of 10 or 12 meetings between state Community Affairs Commr. Lewis Crampton, who must grant the approval, and BRA Director Robert Kenney and his deputy, Stuart Forbes. At least one associate of Gov. Francis Sargent played a role in - the negotiations leading to the new submission. According to a spokesman for Crampton, governor’s aide Albert Kramer called up both Crampton and developer Zuckerman and urged them to iron out their differences. This is the fourth time the BRA has sought approval for its Plaza plans. The last time around Crampton approved the plans but tacked on conditions that developer Zuckerman said he couldn’t meet. Zuckerman later said he’d changed his mind and would be glad to wait while a report on the project’s environmental impact was completed, as long as he didn’t have to spend any money on it. When BRA head Robert Kenney said that was unac- ceptable, that he would insist the developer share the expense of the environmental study, it ap- peared that Park Plaza was finally dead. But Kenney caved in. The new arrangement officially submitted last week calls for the state to come up with the money for the study, not Zuckerman. The new submission before the state is the same urban renewal plan, line for line, that has been rejected by the state in the past. It calls for the construction of high-rise towers for a_ hotel, apartments and office space, beginning in the Park Square area and moving toward the Combat Zone. The Combat Zone is a separate stage of the project; its redevelopment is not fully guaranteed. (After the last rejection by the state, Zuckerman confused matters by announcing he had a new plan radically different from the old one, and a map showing that plan got wide press coverage. But you can discard that plan, as the BRA quickly did.) Although the Plaza plan itself is precisely the same as it has always been, the new material in the latest submission can be found in a ‘‘supplemental letter of intent,” a device used by the BRA so that it can avoid the necessity of getting Boston City Council approval once more. The timetable in this new letter of intent runs roughly as follows: after the expected state okay in January, the BRA will get to work on the environmental im- pact report, which must also be okayed by Crampton. The BRA can take as long as it pleases in the preparation of that report. There is no statutory time limit on it, according to a spokesman for Crampton. After that, opponents of the project will most likely go to court. How long the legal battle might take is anyone’s guess. Only after the conclusion of those court battles does Cramp- ton have to get to work, if he chooses to. He has a 27-month period in which to get the project off the ground, a period during which the state can’t interfere at all. If Zuckerman runs a year behind schedule for reasons that are within his control, he is supposed to forfeit a $1.5 million deposit made at the outset. But Plaza opponents say that if Zuckerman chose not to build a thing, he could escape with his $1.5 million through one of many loopholes. ‘‘What they did,” said Bernard Borman, president of the Beacon Hill Civic Association and a member of the Park Plaza Civic Advisory Committee, ‘‘was to close up a few loopholes by specifically naming them in the letter of intent. But there are many more.” “This thing’s brilliant,’ said Borman. ‘‘Zuckerman’s a genius. He can tie up Park Square for years by simply doing nothing.” ERIC STEVENS & THE HUDDLE 32 Langley Road Newton Centre | } | = % TOUCH THE EARTH ‘ ; CALDER © | / | : d \ { 4 . MELODIYA ANGEL with USSR Russian Chorus Ognevo: (tener) Karkan (mezzo-soprano) SARB-4124 (2 LPs) OPERA & OPERA HIGHLIGHTS BIZET: CARMEN. Callas, Gedda; Pré- tre cond. (— Complete (3 LPs) SCLX-3650 Highlights: $-36312 MUSSORGSKY: BORIS GODOUNOV. Christoff, Lear; Cluytens cond. (2 Complete (4 LPs) SDL-3633 Highlights: $-36169 PUCCINI: LA BOHEME. Gedda, Freni, Sereni; Schippers cond. (0 Complete (2 LPs) SBL-3643 Highlights: $-36199 PUCCINI: MADAME BUTTERFLY. De los Angeles, Bjoerling, Sereni; Santini - cond. Complete (3 LPs) SCL-3604 (7 Highlights: $-35821 PUCCINI: TOSCA. Callas, De Stefano, Gobbi; De Sabata cond. Complete (2 LPs) BL-3508 ROSSINI: WILLIAM TELL. Cabailé, Mesplé, Gedda, Bacquier, Ambrosian Opera Chorus, Royal Philharmonic; Gradelli cond. (CO Complete (5 LPs) SEL-3793 R. STRAUSS: DER ROSENKAVALIER. Schwarzkopf, Ludwig, Edelmann, Gedda; Karajan cond. Complete (4 LPs) SDL-3563 Highlights: $-35645 VERDI: DON CARLO. Domingo, Ca- ballé, Raimondi, Verrett, Milnes; Giu- lini cond. C Complete (4 LPs) SDL-3774 Highlights: $-36918 VERDI: LA TRAVIATA. Sills, Gedda, Panerai; Ceccato cond. ( Complete (3 LPs) SCLX-3780 Highlights: $-36925 WAGNER: DIE MEISTERSINGER. Adam, Donath, Kollo, Evans, Hesse; Kara- jan cond. (0 Complete (5 LPs) SEL-3776 (Highlights: $-36922 WAGNER: TRISTAN UND ISOLDE. Flag- stad, Schock, Fischer-Dieskau, The- bom; Furtwangler cond. (CD Complete (5 LPs) EL-3588 VOCAL & VOCAL COLLECTIONS SCHUBERT: TROUT AND OTHER SONGS. Fischer-Dieskau; Moore. S-36341 R. STRAUSS: FOUR LAST SONGS & FIVE OTHERS. Schwarzkopf; Szell cond. (CD S-36347 VILLA-LOBOS: BACHIANAS BRASIL- EIRAS NOS. 2, 5, 6, 9. De los Angeles; Villa-Lobos cond. (35547 SR-40235 CABALLE SINGS PUCCINI ARIAS (from Bohéme, Turandot, Gianni Schicchi and others). London Symphony Or- chestra; Mackerras cond. S-36711 CALLAS SINGS GREAT ARIAS FROM FRENCH OPERA (from Mignon, Le Cid, Carmen and others). Prétre cond. $-35882 TERRI—DUETS WITH SPANISH GUI- TAR, VOL. 1 (includes Bachianas Bra- sileiras No. 5 (Aria), Azulao, Pas- torale joyeuse, 11 more). Almeida, Ruderman, (0 S-36050 CHORAL BRAHMS: A GERMAN REQUIEM. Schwarzkopf, Fischer-Dieskau, Phil- harmonia Chorus; Klemperer cond. (0 Complete (2 LPs) SBL-3624 HANDEL: MESSIAH. Gedda, Schwarz- kopf, Hines, Hoffman, Philharmonia Chorus; Klemperer cond. (0 Complete (3 LPs) SCL-3657 Highlights: $-36324 ORFF: CARMINA BURANA. Popp, Wo- lansky, Unger, Noble, Philharmonia Chorus; Friihbeck de Burgos cond. $-36333 POULENC: GLORIA IN G MAJOR (with Organ, Strings and Timpani Con- certo). Carteri, Duruflé, French Na- tional Radio Orchestra; Prétre cond. $-35953 RACHMANINOFF: VESPERS, OP. 37. USSR Russian Chorus; Sveshnikov cond. [] Complete (2 LPs) SRB-4124 SHOSTAKOVICH: THE EXECUTION OF STEPAN RAZIN (with Symphony No. 9). Gromadsky, RSFSR Russian Chorus; Kondrashin cond. SR-40000 VERDI: REQUIEM. Schwarzkopf, Ged- da, Ghiaurov, Ludwig, Philharmonia Chorus; Giulini cond (J Complete (2 LPs) SBL-3649 - THE SOVIET ARMY CHORUS & BAND —VOL. 1. (includes Song of Youth, Snow Flakes, Oh no! John, Ukrainian Poem, 9 more). Aleksandrov cond. $-35411 INSTRUMENTAL BACH: TRANSCRIPTIONS FOR GUITAR (10 selections including Jesu, Joy of Man's Desiring, Sleepers Awake, much more). Parkening. S-36041 BEETHOVEN: “TRIPLE” CONCERTO. Oistrakh, Rostropovich, Richter, Ber- lin Philharmonic; Karajan cond. $-36727 BRAHMS: DOUBLE CONCERTO. Oistrakh, Rostropovich, Cleveland Or- chestra; Szell cond. SFO-36032 BRAHMS: VIOLIN CONCERTO IN D MAJOR. Oistrakh, Cleveland Orches- tra; Szell cond. (0 SFO-36033 CHOPIN: WALTZES (Nos. 1-14). Mal- cuzynski. S-35726 DEBUSSY: PIANO PIECES (15). Giese- king. 35026 ELGAR: CELLO CONCERTO (with 5 Short encore pieces). Du Pré, London Symphony; Barbirolli cond. (CD S-36338 ELGAR: VIOLIN CONCERTO. Menuhin, New Philharmonia Orchestra; Boult cond. $-36330 FRANCK: SONATA FOR VIOLIN & PI- ANO (with Brahms: Sonata No. 3 for Violin & Piano). D. Oistrakh; Richter. SR-40121 MENDELSSOHN: VIOLIN CONCERTO IN E MINOR (with Bruch: Concerto in G Minor). Milstein, Philharmonia Or- chestra; Barzin cond. $-35730 MOZART: HORN CONCERTO (4). Brain, Philharmonia Orchestra; Karajan cond. £35092 PAGANINI: VIOLIN CONCERTO NO. 1 IN D MAJOR (with Sarasate: Carmen Fantasy). Perlman, Royal ~Philhar- monic; Foster cond. $-36836 RACHMANINOFF: PIANO CONCERTO No. 4 (with Ravel: Concerto in G Major). Michelangeli, Philharmonia Orchestra; Gracis cond. S-35567 SHANKAR: SITAR CONCERTO. Shan- kar, London Symphony; Previn cond. (0. SFO-36806 ORCHESTRAL BIZET-SHCHEDRIN: THE CARMEN BAL- LET. Bolshoi Theatre Orchestra; Rozh- destvensky cond. SR-40067 BRITTEN: FOUR SEA INTERLUDES (“Peter Grimes” with Young Person's Guide to the Orchestra). Philhar- monia Orchestra; Giulini cond. S$-36215 DVORAK: SYMPHONY NO. 9 (‘New World” Old No. 5 with Smetana: The Moldau). Berlin Philharmonic; Kara- jan cond. S-35615 HANDEL: WALTER MUSIC-COMPLETE. Bath Festival Orchestra; Menuhin cond. S-36173 HOLST: THE PLANETS. New Philhar- monia Orchestra; Boult cond. S-36420 ANGEL’S COMPLETE CATALOG Now SALE Priced: ANGEL RECORDS 4 SEL-3793 (5 LPs) List: $5.98 MAHLER: SYMPHONY NO. 2. “Resur- rection.”” Schwarzkopf, Philharmonia Chorus & Orchestra; Klemperer cond. Complete (2 LPs) SB-3634 MOZART: SYMPHONY NO. 40 (with Piano Concerto 21). Chamber Or- chestra; Barenboim pianist/cond. S-36814 PROKOFIEV: PETER AND THE WOLF (With Haydn: Toy Symphony). Ustinov (narr.), Philharmonia Orchestra; Kara- jan cond. S-3563 PROKOFIEV: ROMEO & JULIET BAL- LET. London Symphony Orchestra; Previn cond. CZ Complete (3 LPs) SC-3802 RIMSKY-KORSAKOV: SCHEHERAZADE. Royal Philharmonic; Beecham cond. S-35505 SAINT-SAENS: SYMPHONY NO. 3 “‘Or- Duruflé, Paris Conservatory rchestra; Prétre cond. S-35924 SCHUBERT: SYMPHONY NO. 9 “The Great C-Major.” Cleveland Orchestra; Szell cond. (0 S-36044 SHOSTAKOVICH: SYMPHONY NO. 15. Moscow, Radio Symphony; M. Shosta- kovich cond. SR-40213 TCHAIKOVSKY: THE NUTCRACKER BALLET. London Symphony. Previn cond. [} Complete (2 LPs) SB-3788 TCHAIKOVSKY: SWAN LAKE BALLET. Moscow Radio Symphony; Rozhdest- vensky cond. (CJ Complete (3 LPs) SRC-4106 Suite: SR-40137 VIVALDI: THE FOUR SEASONS. Virtu- osi di Roma; Fasano cond. $-35877 WAGNER: KLEMPERER CONDUCTS (from Lohengrin, Meistersinger, Tris- tan, Gotterdammerung). Philharmonia Orchestra. CD (2 LPs) SB-3610 CELEBRATED CYCLES & COLLECTIONS BACH: BRANDENBURG CONCERTOS (6). Bath Festival Chamber Orchestra; Menuhin cond. CJ Complete (2 LPs) SB-3787 BACH: SUITES FOR SOLO CELLO (6). Casals. [] Complete (3 LPs) CB-3786 BEETHOVEN SYMPHONIES (9). Philhar- monia.Orchestra; Klemperer cond. C) Complete (8 LPs) SH-3619 S-36979 (LP. Cartridae & Cassette) Individual Symphonies: No. 1 S-35657 6 S-35711 No. 2 S-35658 No. 7 S$-35945 No. 3 $-35853 No. 8 S-35657 No. 4 ()'$-35661 No. 9 SB-3577 No. 5 S-35843 BRAHMS: SYMPHONIES (4). Philhar- monia Orchestra; Klemperer cond. ( Complete (4 LPs) SD-3614 Individual Symphonies: No.1) S- No. 3 S-35545 No. 2 S-35532 4 S-35546 DE LOS ANGELES SINGS SPANISH SONGS 20th Century Songs (Q $-35775 Cantos de Espana $-35937 Zarzuela Arias $-36556 Spanish/Sephardic Songs Of the Renaissance oO Of Andalusia os Of Catalonia HOFFNUNG MUSIC FESTIVAL. Concert (includes Cto. for Hosepipe & Strings, Tuba Quartet, more). 35500 Interplanetary (includes Let’s Fake an Opera, Super Plums, more). $-35800 Astronautical (includes Festival An- them, Leonora Overture No. 4, more) S-35828 MOZART: THE LAST SIX SYMPHONIES. Berlin Philharmonic; Karajan cond. Vol. |—Nos. 35 “Haffner” and 36 “Linz.” S-36770 Vol. I1--Nos. 38 “Prague” and 39. S-36771 Vol. 40 and 41 “Jupiter.” S$-36772 SATIE: PIANO MUSIC — COMPLETE. Ciccolini. Vol. 1 $-36482 Vol. 4 S-36714 Vol. 2 S-36459 Vol. 5 S-36774 Vol. 3 $-36485 Vol. 6 S-36811 SHANKAR: WEST MEETS EAST—WITH MENUHIN. Vol. 1 S-36418 Vol. 2 $-36026 TCHAIKOVSKY: SYMPHONIES 1-6. USSR Symphony; Svetlanov cond. No. 1 SR-40057 No. 4 SR-40043 No. 2 SR-40058 No. 5 SR-40055 No. 3 [) SR-40059 No. 6 () SR-40060 VAUGHAN WILLIAMS: SYMPHONIES 1- 9. New Philharmonia and London Phil- harmonia Orchestras; Boult cond. No. 1 (] $B-3739 6 S-36469 No. 2 [) S-36838 No. 7 (-) S-36763 No. 3 $-36532 No. 8 S-36625 No. 4] S-36557 9 S-36742 No. 5 () S-36698 In the Angel tradition of recording the great artists in the world’s greatest repertoire. Our Complete Seraphim Catalog Inventory Regular List: $2.98 NOW ONLY: SERAPHIM S-60217 Cambrid 492-406 HARVARD SQ. 18 Boylston St. 423.6097 DOWNTOWN BOSTON 505 Washington St. (across from Jordan Marsh) record The New Engiend Conservatory KENMORE SQ. COOLIDGE CORNER 523 Commonwealth | 1316 Beacon St. Harvard Sq., Coolidge Corner, and 262-1545 Brookline Kenmore Stores 277-3757 OPEN SUNDAYS | | PRELUDES FROM SYMPHONIE CONCERTANTE WILLIAMTELL | LaBoheme CORELLI GEDDA S-36947 Into The Classics Meditations and Sonic Spectecuiars THE GREAT CHORUSES A Ceremony of Carots Q .By Connie Paige DECEMBER 11.1 TH Conspiracy Theories Swirl in Chile Conspiracy theories on the rise of the military in the U.S. are now being spun out of Chile, a country that itself has recently undergone a military coup. Joseph Collins, a member of the Washington based Institute for Policy Studies, visited Chile with Massachusetts Congressman Michael Harrington in November. After Harrington returned to the States, Collins stayed on a day longer to confer with two members of the junta, General Gustavo Leigh, second in command in Santiago, and Federico Willoughby who is ‘“‘a combination between Ron Ziegler and Alexander Haig,” said Collins. In the course of their conversation, Collins reported, ‘Leigh said he expects a military government in the United States within a decade.”’ Leigh based his assessment on the faet that the United States is experiencing ‘‘a growing despondency over the political process, and the feeling will increase that politics and politicians should be placed in recess,”’ said Collins. The Rand Corp. Willoughby, at one time an employee in the United State Embassy who went on to work for the Ford Motor Company and finally the junta, added, according to Collins, that the conditions for a military government in the United States ‘began years ago with the Rand Corporation and have since then become much more advanced.”’ (Rand is the prototype ‘‘think- tank”’ corporation set up by the Air Force after the second World War and given independent, non- profit status in 1948. Among other functions, the Rand Corporation assesses thé relationship between the defense establishment and private corporations both at home and abroad. Rand and similar research and development groups provide the information grist for policy-makers within the without the government, and helps solidify the already strong links between business and the military. Since the forties, many corporations have established similar advisory subsidiaries along the Rand model that do studies both for the Pentagon and for their own use on countries where they have or plan to have investments. (The Chilean leaders would be particularly sensitive to the importance of ‘‘think-tank’’ operations, since their own history has been so much influenced by them. It is certain that multi-national corporations with holdings in Chile primarily controlled by U.S. interests were conducting research on their own on Chilean institutions and political movements. ITT, for example, is known to have hired people right out of Harvard and MIT to study the possibilities for future investment in Chile. ) Envisioning a period of turmoil in the United States in the years ahead, Leigh expressed his hope to Collins that military governments in Latin America could reduce the necessity for American military aid by banding together in their own alliance. Apparently the Chilean leaders are sanguine about the survival of their regime, and therefore the possibility of entering into such a union. According to Collins, Willoughby explained this optimism by saying, ‘‘before the coup I took time to read the world press on Brazil and Greece and found out that after the initial outcry, people forgot what was happening in those countries.”’ CIA Involvement Immediately after the coup, there was speculation in this country that it was engineered and financed by the CIA. Chile- watchers at the North American Congress on Latin America (NACLA) identified several long- time CIA operatives who were attached to the United States Embassy in Santiago at the time, and suggested that they formed a ‘coup team’’ similar to those that have helped overthrow other popularly elected governments in Latin America. The Committee for Action Research on the Intelligence Community (CARIC) in Washington has since come up with a different scenario for the United States involvement. CARIC member Tim Butz, for four years a reconnaissance expert in Vietnam with the United States Air Force, outlined the plan something like this. The CIA, thinks Butz, played only a minor role — supporting right wing groups before the coup, and helping the contribute to Chile’s economic chaos by flooding the market with dollars, encouraging the middle class to hoard scarce goods and playing some part in the prolonged truck owners’ strike — perhaps in league with multinational corporations that had Chilean holdings nationalized by Allende. The major United States input into the coup, suggests Butz, was directly from the Pentagon, in the form of American weapons, advisors and aircraft coordinating the Chilean military’s attacks. The junta’s seizure of state power on September 11 was spearheaded by an assault on the Presidential Palace, the Moneda, in Santiago. Photos of the Moneda after it was attacked obtained by CARIC show the surrounding area virtually undamaged. This kind of destruction could have been accomplished, in Butz’s opinion, only by the so-called ‘‘smart”’ bombs and rockets, weapons that the Chilean "vilitary reportedly did not possess. The United States may have supplied these per person Includes 5 days & food, lodging, round trip bus, and much more.* nights of Holiday skiing, *The Schuss Bus: shortage Full Days of Skiing: *5 Nights Lodging Departs from and 3 double-chairs, at the brand new returns to Boston 12 trails, beginner to Evergreen Inn: Maine's ‘aura: ia and night *Cross Country and miles of maintained trails plus endless — (energy virgin terrain through- restrictions permit- out the White ting, of course). Mountain National Forest. All the aprés ski “5 Ski Lessons: you can handle. From inners with your feet up classes, in Alpine, LA RTS a beside a blazing log Freestyle or Cross to live entertainment ~ Country. *5 Days and Nights i is: 3i and dancing. of Swimming: In Great food, graciously courts. Available at Evergreen's brand served in the elegant slight extra charge. new Olympic-size, new Evergreen Lodge heated outdoor pool. *5 Breakfasts: Hearty skier’s fare, every morning. Reservations limited. First come, first served. Boston Telephone: 357-5220 Maine Telephone: (207) 928-3300 4 Evergreen Valley At Kezar Lake in the White Mountain National Forest. Off Maine Rte. 5. weapons to Chile specifically for the coup. Americans working for the Defense Attache Office in Santiago, part of the Defense Intelligence Agency, may have been involved in training the Chilean military to use these precision weapons, says Butz, on information from a Congressional source who asked not to be identified. Unsubstantiated reports indicate that people working for the Defense Attache Office were celebrating the success of the coup at an Air Force base at Mendoza, Argentina several days before the coup. It is possible, Butz thinks, that this base was used to train Chilean pilots for the coup. The B-57 Flight Agencia Aranco, a clandestine leftwing group in Chile, has charged further that a B-57 plane with four North American pilots was seen over Chile the day of the ‘coup. This allegation first appeared in the Argentinian newspaper EI Mundo on October 31. The plane, according to El Mundo, flew two missions over Chile on September 7 and another two on September 10, and four more missions from September 11 through 13. The day of the coup, the B-57 allegedly took off from Mendoza, Argentina, flew to La Serena, Chile, and then on to Montt Puerto, and had three emergency landing zones in Chile in case of trouble — Cerrollos, Pudahuel and Cerro Moreno, all in Chile. The plane was equipped, said the reports, with sophisticated communications equipment, and played a central role in coordinating communications for the Chilean military, an allegation that was also made by an Argentinian Congressman Hector Sandler. Butz, who is familiar with this type of aircraft, added that B-57’s do carry routinely the sort of equipment that would have been valuable in facilitating communications. (An Air Force spokesman who asked that his name not be used, contacted November 21 at the Pentagon, told the Phoenix that a plane with the same license number as the one mentioned in the El Mundo article did leave Mendoza, Argentina, ‘‘on a scheduled international flight plan’”’ on September 11. ‘‘It was not flying over Chile,’’ said the spokesman. ‘‘It did not intrude into Chilean airspace.’’ He maintained that the plane was a ‘‘weather aircraft.’’) Butz supports his theory with a comment from a former CIA agent who just recently left the agency’s Analytical Branch. The agent claimed that liberal elements within the CIA think that the junta overreacted and will push the masses of Chileans to the left. ‘If you think morale in the CIA was bad a year ago,” he is reported to have said, “‘you should see it now,” indicating that the CIA was in no position to orchestrate the coup in Chile. Chances are that we may not — find out the facts, at least not for quite a while. The two Congressional committees that launched an investigation into United States involvement in the coup in September . abruptly suspended their hearings in November after having interrogated only a few witnesses, most of them government officials. Two resources on the situation in Chile are NICH at 492-0489 and CARIC, P.O. Box 647, Ben Franklin Station, Washington, D.C. 20044. CARIC publishes a quarterly newsletter called Counter Spy and the bi-weekly Intelligence Report. | | | | i 5 ‘ay 4 : = \ The End The end of having to make do with tacky furniture, or going into hock because you can’t stand poor design. The end of hiring a van every time you have to move. Even the end of houseplants that get as depressed with it all as you do. Because everyone needs roots - even in our mobile society. Today is the beginning of a whole new idea. A place for people who don't always live in the same place. With furniture, green growing things, and everything that goes with them to make your place a home. Daily 12to8 Sat 10 to6 354-6009 It's the beginning of F.O.B./ BOSTON. A new kind of store devoted to ingenious, adaptable, portable design. (Like 2 rooms of furniture you can pack INTO a VW bug.) At really affordable prices. (No sofa over $300. No dining chair over $35. And so on and on.) With one-of-a-kind antique and country pieces mixed in, because you have eclectic tastes. It's everything in short, to sit, sleep, lounge, eat, work on, look at, live with and like. se It's the beginning of THE PLANTERY. First do-it-yourself division of The Greenery, New England’s largest interior landscapers. With specially grown plants, equipped to flourish indoors, in the same conditions you do. At practically wholesale prices. Plus dozens of different ways to hold, hang, and otherwise show them off. Fresh ideas, too, in dried natural materials. Terrariums you do or we’ve done. Earth, moss, stones and stuff by the scoopful. And lots of surprises. THE PLANTERY Daily 11 to8 Sat10to6 Sun12to5 868-8866 25 First Street, Cambridge (near Lechmere Sales) ‘ | PAGE TWELVE DECEMBER 11, 1973, THE BOSTON PHOENIX At Hooper—Ames THE CLASSIC BENTWOOD ROCKER, THONET-DESIGNED IN 1859, FINE- GRAINED WOOD STEAMED IN THE ORI- GINAL PRESSES, CANE SEAT AND BACK, IN STOCK IN WALNUT OR NATURAL FINISH AT BOTH OUR STORES. S 4O Boylston St. Harvard Sq.. Camb. HOOPER-A Continued from page 5 COME TO PRESS PARTY introducing The Great Ph Christmas PUT-ONS ANIMAL -Pick Your T-Shirt and Your Design WE'LL IRON IT ON FOR FREE! Washable, colorfast Insta-Print Heat Transfers SMALL LARGE 50° $4 in Gold or Silver Glitter __ $2 2” & 4” letters or numbers__ 10c 10” numbers 25c T-SHIRTS — in many colors For Jr. and Giris Sizes: (14-16), 250 xL(18) Sizes: $(36-38), M(40), L(42-44), xL(46) Let us iron out all your Christmas problems. It’s easy to pick out the perfect decoration from our collection of hundreds of clever em- blems, funny slogans, zodiac designs, cartoons, numbers, letters, even elegant glittery effects. With our special steam press we'll put them on your T-shirts just as you want them. We’ll even put them on jeans, jackets ... wherever on whatever you want! For men and Women The Poor Holidays — and it got to him. They found him in the morning. His Social Security has just arrived. They brought his Social Security down to the super.”’ “T heard.”’ “O I felt sorry for him. Lovely little fella. His Social Security - was in the mail box. I think we’re coming to the end of the world Jim. I do. They’re cutting down on the Social Security, spending money foolishly. Where are our politicians Jim? Where are they. Why don’t our politicians do something about it Jim?” “It doesn’t have to do with the politicians. It’s not with them at all. It’s the guvament.”’ Now we’ll go to Iggy’s. 7-UP IGGY’S SUBS PIZZA. Iggy is_a ferocious woman, a friend of Mike. She has two black little eyes and a glorious nose that separates her face into hemispheres. There’s a sign on the counter and says ‘‘Please do NOT order a sub if you cannot PAY for it.” But it doesn’t mean a thing. ‘Around here you live off the checks, ya know? That means for two weeks you do very well, and then for two weeks you wait.” (According to Mike, Iggy is apt to wait a good deal longer than that.) “This is a neighborhood of poor people, ya know? And _ poor people has got to eat just like you’ve got to eat. I’m making out all right and‘ I’m gettin stocked up, and I will not go up on my prices because people around here cannot afford to pay more. I see subshops all over town going up on their prices and you get maybe one slice of roast beef in a sub. My subs stay the same and you get anywhere between. three and four slices of roast beef. And that’s how it’s gonna be. And the people know it and_ they respectcha for it. “I’ve been running sub shops at different times for twenty years now, all over the South End, and I never once been mugged or beaten. Twenty years and I never so much as took a swing from a guy, knock on wood. “They bombed out the drug store on the corner, they bombed the liquor store next door, and they bombed on the other side of me, but they never once bombed me. I just stood there in the window looking out and they never so much as broke a win- dow. Course I did suffer what you call smoke damage. But I fixed it up myself, me and the girls, and I never even asked for a ‘dime. Cost me something like a thousand dollars for paint and new stock, and all right out of my own pocket cause I never so much as asked for a dime. ‘All I ask is to be left alone, ya know? To run my business in my own way, and for twenty years I haven’t had much trouble. Well, one time a few years ago when I had the subshop further up the street near the carwash, a guy came behind my counter and took thirty dollars out of the cash register. “I told him he could either put the money back or try to walk out the door. Well he tried walking out the door so I hit him in the middle of the back with a pot of extremely hot fat. He didn’t go out the door, he went to the City Hospital. The law came back and later and wanted me to prosecute. But I told them no, that guy would have those third degree burns scars long enough to remind him not to go after thirty dollars again. I don’t mind one or two dollars to spread the fun around a bit, but thir- ty dollars.” The most amazing things happen here at Iggy’s: Notice the kids playing school. A black, a couple of coffee regulars, a couple of whites doing the table of twelves together. They’re not making much noise, in fact they’re better behaved than kids have a right to be. But Iggy badgers as a matter of form. - “God damn it you kids keep it down! And don’t get out of your chairs. This is a _ business establishment! And Scotty you better have something to eat, your mother is going to be pretty mad at you if you don’t. Damn kids.”’ Notice the black guy by the radiator, in a cloud of wine, with the secret. smile, muttering himself an endless story. Notice the women with the swept-up white hair chatting over their coffees. ‘‘... and the most beautiful golden lions. In those days they used to throw the Christians to the lions to be eaten, just for believing that God was up in heaven. There were the most beautiful colors. O I used to love to look at those pictures.” You could sit here till the seventeenth of March and probably never hear a word about The Great Gas War, the Opel Kadette versus thirteen miles to the gallon, or sixty-eight degrees. & George of George’s of Cambridge Now At HAIR JALON We cut & style both sexes e For Appointment: 354-2628 1765 Mass. Ave., Camb. (Next to Camb. Spice Hse.) - STAGE TWO SHOP, Street Floor, Boston Store Only " | ; | | | Cy | | | | | | =, woods, in a huge selection of fab- i long life, and the fabric is easily re- Easily disassembled for moving. 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Mon - Sat 10 to 7/Thurs til 9 PM {LLUMINATED END TABLE ‘ ane © . ) CHESTONCHEST a 9 > ; 2 / : | 2 x | ‘af | ; | ; PAGE FOURTEEN ever 'RIGMIOIG - DECEMBER 11, 1973, THE BOSTON PHOENIX Number 5 in a series You don't have to be a /fyou’re self-employed and unincorporated, you co oration should know about the et Keogh Act Retirement Plan. , Not only does it allow you to we tax- build retirement funds, deductible but it also offers you im- : mediate tax advantages. retirement The Keogh Act (HR-10), plan passed by Congress in 1962, gives self-employed individuals in unincorpo- rated businesses or partnerships a limited version of a privilege long available to corpo- rations: To invest tax-free dollars for employee pensions, and to defer any tax upon the income earned. A Keogh Plan allows you to put up to 10% of your income each year (not to exceed $2,500) in such investments as life insurance, mutual funds, re*irement bonds, or savings accounts. The choice of investment is up to you as long as it falls within guidelines established by the Internal Revenue Service. The money you contribute to your plan, and the income that accumulates, is exempt from Federal and Massachusetts income tax until it is paid out as benefits. Except in case of physical disability or death, no money may be withdrawn from your plan until you retire. You can start collecting benefits (either in a lump sum or in installments) no sooner than age 59% and no later than age 70%. The benefits you collect in each retirement year will be taxed as part of your income for that year, when you'll prob- ably be in a lower tax bracket than you were before retirement. You'll also qualify for an additional exemption when you reach age 65. If you have any employees, they usually must be included in your plan. You must con- tribute at least the same percentage of each employee’s salary to the plan as you do your own. These contributions are tax-deductible for you as an employer, and very beneficial for your employers, who may collect the money contributed for them upon retirement or in case of physical disability or termination of employment for any reason. A Keogh Plan normally operates on a calen- dar year. If you invest in one before December 31, you qualify for tax deductions on this year’s tax return. That’s a good reason to talk to your bank, broker, or insurance agency about setting up a Keogh Plan soon. You have a right to know. The » Boston Five The Boston Five Cents Savings Bank, Ten School Street, Boston, Mass. 02108 * 742-6000 Member FDIC/DIFM © 1973, The Baston Five Cents Savings Bank Feminist Calendar Sunday, Dec.9 Daughters of Bilitis, 419 Boylston St., Boston; 264-1592: Women’s basketball, 2-4 p.m. at the Cambridge YWCA, 7 © Templel St., followed by swimming. Women’s Center, 46 Pleasant St., Cambridge; 354-8807: 2 p.m.., single mothers’ meeting: 8 p.m. introductory meeting. Channel 5 TV: Your Place and Mine, 12:30 p.m. Black women speak. WRKO Radio: Generation: China Altmann’s series on sexuality. 9 p.m. Monday, Dec. 10 Women’s Center: Pregnancy and abortion counselling, Mon.., Tues., Thurs., 2-8 p.m., Sat. 12-4 p.m. Call 547-2255. WBCN-FM: The Women’s Show, 6:30 p.m. COPE, 316 Shawmut Ave.. Boston: Ongoing, supportive group. Call 267- 6748. Female Liberation, 639 Mass. Ave., Cambridge: 491-1071: Biweekly general meeting 7 p.m. Channel 56 TV: 10:35 a.m., NOW’s Public School Task Force. Hearings on Equality in the Public Schools sponsored by Board of Education, 55A Chapel St., Newton, 10 a.m. For information call 965-2405. Tuesday, Dec.11 DOB, Gay women’s rap, 7:30 p.m. Women’s Center: Lesbian Therapy Research Group meeting, 7 p.m. Female Liberation: Women's Cultural Series presents an exhibition of two women artists, Suzanne Collins and Bess Cutler, at U.Mass. Boston Art Gallery 100 Arlington St., 10 a.m. to 4 p.m. through Dec. 14. Co- sponsored by U.Mass. Boston Women’s Studies Board. Wednesday, Dec. 12 Female Liberation: Orientation meeting, 7 p.m.: Tools to Deal with Discrimination. DOB: Lesbian mothers rap. 7:30 p.m. WTBS-FM (88.1) the NOW Hour, 6 p.m. Channel 5 TV: 3:30 a.m. Your Place and Mine. Black women. NOW orientation meeting, at home of Janet Stone. Call NOW 267-6160, for information. Thursday, Dec. 13 Women’s Center: . Lesbian meeting, 7 p.m. WBUR-FM: 8 p.m. If a woman Answers, with Jane Backner; 9 p.m., The Gay Way, with Elaine Noble. NOW, Eastern Mass. Chapter: general meeting and elections. 2 Garden St., Cambridge. Friday, Dec. 14 Cranberry House Puppets, Mary Churchill’s feminist puppet show, performs three times a day thru Dec. 16 at Horticulture Hall, 300 Mass. Ave., Boston; 536-9280. Saturday, Dec. 15 Women’s Center School auction and rummage sale, 11 a.m. to 4 p.m. at the First Congregational Church, 11 Garden St., Cambridge, at Harvard Square. NOW action, 200th anniversary of the Boston Tea Party, to protest taxation without equality. Assemble 10 a.m. at Old Corner Bookstore, 50 Bromfield., Boston; march for ERA follows. Sunday, Dec. lb DOB: Women’s basketball and swimming at Cambridge YWCA. 2-4 p.m. | message. Artist: Oskar Kokoshka Title: Fluteplayer SEASONAL & CHRISTMAS CARD SALE AT THE FOGG ART MUSEUM Commence your annual search for the “perfect Christmas card’”’ at the Fogg! Works of art (lithographs, watercolors, woodcuts, paintings, drawings, etchings, etc.) from the Fogg collections, and some selections from Houghton Library, adorn 40 cards, 15 of which are new this year. The cards contain no printed greeting, so that the sender is free to write his own Prices of cards go from 15 to 25 cents. Sale hours are: Monday—Saturday; 10 A.M. to 4:30 P.M. Sunday; 2 to 4:30 P.M. COST: $25 DEPOSIT: $10 “the nearest thing we now have to a_ : university for altered states of consciousness.” Psychology Today OPEN PATH WEEKEND ON THE WEEKEND OF DECEMBER 15-16 ARICA is pre- senting a sixteen hour introduction to ARICA THEORY AND METHOD. THE WEEKEND ALLOWS an individual to exper- ience the progression of exercises within the group process. 10 A.M. — 6 P.M. SATURDAY AND SUNDAY Boston Teaching House ARICA 815 Boylston Street Tel. (617) 262-6639 oJ INSTITUTE. INC. \ A Non-profit Organization TRUCKS RYDER Are you moving to N.Y.C., Philadelphia, N.J., Washington D.C.? Ryder’s Metro pool can solve your moving problems. Lowest rates in the moving industry. All size trucks & vans available. Ryder Truck Rental 100 Brighton Ave. Allston Call for free moving guide & rates 254-4242 | | | | j = | ae * e ~~ > i © ONE AY, AVBER. OG THE BOSTON PHOENIX, DECEMBER 11, 1973 PAGE FIFTEEN For and About Women The YWCA: A Tradition of Feminism By Karen Lindsey When I first decided to write a column on the Boston and Cambridge YWCAs, it was with the idea of finding out whether the current women’s movement had succeeded in radicalizing an institution I'd always seen as genteel, conservative, and drearily wholesome. Talking to some of the women who worked at these YWCAs, I discovered instead a tradition of feminism I'd never known existed. First, I learned that the YWCA is emphatically not a ladies’ auxiliary to the YMCA. While in some communities the two have worked together, in others there has been hostility between them — and in any case the YW was formed quite independently in 1858. Talking to Lois Greenwood, the YW’s Acting Executive Director, was an exciting experience — a kind of historical tour through a community of women that has existed for over 100 years. A woman of about 50, Ms. Greenwood has been involved in various aspects of the YW for most of her life, and she v*2ws the organization ( or the movement, as the women I talked to always called it) as a “history of women’s concern for ‘each other.’’ Although never radical in the strictly political sense of the word, the YW started off by providing a means for young women to live away from their parents’ homes and to find jobs which would supply them with, in the quaint words of anearly YWCA history, ‘‘a living wage which will assure the possibility of a virtuous livelihood.’’ Behind the Victorian wording lie the grim realities of the options open to the unprotected, unskilled working woman of the 19th century. Sheltered, young, rich women visited the factories and horrified at what they saw, they began, within the limited structures of their awareness, to ease the burdens of the women whose lives must have provided them with an incredible and horrible glimpse of reality. When: the invention of the typewriter provided a new profession for men, the YWCA began to offer typing courses to women — despite laws that demanded strict medical examinations before women were allowed to handle the new machines. The hypocrisy that allowed women to work 12 or more hours a day in factories but declared them too weak to type is evident; it was the YWCA that began to combat the began to And, in actions like the Lawrence textile strike of 1917, members of the YWCA joined in support of their striking sisters. Nobless oblige it may have been, but it provided a framework of support for women, particularly working women, which, while nearly dormant at times in the YW’s history, has always been part of its background. It is a framework that explains in part why the organization which, in my childhood, reeked of Father Knows Best and apple pie, has changed dramatically over the past few years.. (Even in the 50s, ‘it must have been doing something right: at the height of the McCarthy days some patriotic soul wrote a stirring expose of its Communist corruption entitled Behind the Lace Curtain.) Crucial to the changes in the YW in recent years is the adoption of the 1972 convention of the One Imperative — a move toward a basic change in social structures clearly defined by the national organization. Surprisingly, the One Imperative is the elimination not of sexism, but of racism. My first reaction to this was strongly negative. Women have, after all, a strong tradition of ignoring their own needs while fighting for the liberation of others; there is the classic example of the women who fought so bravely for the abolition of slavery only to have their own demands for sufferage scorned by the men beside whom they had fought. If there is a central concept in the women’s movement, it is that we have to put our own struggle first. Yet the women I talked to at both YW’s identified themselves as feminists, and Gladys Maged, a program director at the Cambridge YW, is an old struggle-companion from Female Liberation whom I have long known as a radical feminist. The emphasis of these women — five from the Cambridge YW and two from the Boston — of the importance of the One Imperative differed, but their reasons added up to the same thing. Gladys felt that the battle against sexism was a given in a conscientious women’s organization, but that internal problems of racism had to be faced if sisterhood was to be any kind of reality. Paula Suvanto, also from Cambridge, feels that ‘“‘racism’’ includes sexism, classism, and all the forces by which people are denied power over their own lives. For Susan Fahlund, the Director of the Adult Department at the Boston YW, the major factor in the One Imperative is that black women spoke up and demanded the recognition of their priorities. The immediate result of the adoption of the One Imperative was the establishment of the audit — each association throughout the country was to assess and report on the particular problems of racism most relevant in its own structure. Predictably, resistance has been more pronounced in some regions than in others: Cambridge, with its large radical and liberal population, was one of the first to turn in its audit; some other branches have not done so yet. Meanwhile, issues of sexism have not been avoided. Sandy Scott, who came to the Cambridge YW in 1968, has seen a marked change over the past five years, and that change is reflected in the bulletin of classes taught. In 1968 and 1969, the emphasis was on swimming, sewing, and ladies-type skills. By 1971, self-defense and black studies were offered. Then, in 1971, some Female Liberation women attended a YWCA panel n ‘unfulfilled women’’; one of the panelists was a male psychiatrist who talked about penis envy. The Female Liberation women confronted him during the question period. and brought up the concepts of women being unhappy because of the limits of their roles. The beginning of this dialogue led to the establishment of an ‘Our Bodies Our Selves’’ course taught by one of the women from the Boston Women’s Health Book Collective, and by 1972 several feminist courses were being prominently offered. The same has been essentially true of the Boston YW, though Ms. Greenwood emphasizes that there is often a disparity between the courses offered and those which women sign up for. Still, the Boston YW is clearly intent on emphasizing its growing feminism: the new winter 1974 bulletin is entitled ‘‘We Do More than Swim,”’ and offeres a fair diversity of feminist-oriented classes as well as the more traditional courses. For Sue Fahlund, this combination of new and traditional courses is essential: she feels that the YWCA is uniquely able to reach those women who, while threatened by the image of ‘women’s lib’’ need a space for dealing with the realities and frustrations of their lives. For such women, even NOW may seem too political, too militant, but the YW provides a means for dealing with their problems in their own terms and at their own place. Predictably enough, the course of feminism has not run smoothly at the YWCA. There was some problem at the Boston YW last year that resulted in the resignation of several feminists, but from what I could gather the problem was one of tactics as much as ideology. At the Cambridge YWCA, a film series early in the year co-sponsored by Female Liberation showed some movies about lesbianism. The YWCA’s residents, usually not vocal, protested. It was the beginning of some painful but vital dialogue on the issue. 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Please send me information on the tax-deductible retirement plan for self-employed persons and their employees. NAME PH121173 CITY STATE ZIP CODE The Boston Five Cents Savings Bank, Ten School Street, Boston, Mass. 02108 MEMBER FIDIC/DIFM Ae 1973, The Boston Five Cents Savings Bank PP n Weeklong trips to Europe and 3 i Ne Mya = | | | 4 DECEMBER 11, 1973, THE BOSTON PHOENIX PAGE SIXTEEN The CIA’s Journalism By William Worthy In April, 1961, a few days after the unsuccessful Bay of Pigs invasion of Cuba, Allan Dulles, director of the Central In- telligence Agency, met in off-the- record session with the American Society of Newspaper Editors at its annual convention. Given the intelligence, by then obviously faulty, that had entered into Washington’s rosy advance calculations, he inevitably was pressed to tell: ‘‘Just what are the CIA’s sources of information about other countries?”’ One source, Dulles replied, was U.S. foreign correspondents who were ‘‘debriefed’’ by the CIA on their return home. The usual practice was to hole up in a hotel room for several days of intense interrogation. Much of the debriefing, I’ve learned over the years, is agreed to freely and willingly by in- dividual newsmen untroubled by the world’s image of them as spies. In at least one case, as admitted to me by the Latin America specialist on one of our mass-circulation weekly news magazines (neither Time nor U.S. News and World Report), the debriefing took place very reluctantly after his initial refusal to cooperate was vetoed by his superiors. Depending on the particular foreign crises or obsessions at the moment, some of the eager sessions with the CIA debriefers bring handsome remuneration. A U.S. reporter returning home shortly after a military takeover or other upheaval in a country where U.S. imperial stakes are high — such as the Philippines or Uruguay or Chile — can probably name his price. (The ultimate Achilles’ heel of the CIA and of the system it seeks to salvage is the almost instinctive belief — un- derstandably derived from all the corruptible elements it knows and courts so assiduously around the world — that everyone does have a price.) Despite its awesome power and its general unaccountability, the CIA dreads exposes as much as the Devil dreads holy water. Perhaps because of a “‘prickly rebel’”’ family reputation stret- ching over three generations in Boston, the CIA has never ap- proached me about any of the 48 countries I have visited, in- cluding four (China, Hungary, Cuba and North Vietnam) that had been. placed off-limits by the State Department. But the secret agency nevertheless showed intense interest in my travels to those ‘‘verboten”’ lands. Years later, I learned that the U.S. “vice consul” in Budapest who twice came to my hotel to demand (unsuccessfully) that I hand over my passport as I transited Hungary en route home from China in 1957 was, in fact, a CIA agent operating under a Foreign Service cover. During a subsequent lecture tour, I met socially in Kansas City a man who had served his Army tour of duty in mufti, on detached ser- vice in North Africa and elsewhere with the National Security Agency. Out of curiosity I asked him what would be the ‘‘premium’’ price for a newsman’s debriefing on out-of-bounds China. He thought for a moment and then replied: “Oh, about ten thousand dollars.”” Out of the CIA’s petty cash drawer. New York Conduit My first awareness of the CIA’s special use of minority-group newsmen abroad came at the time of the 1955 Afro-Asian summit conference at Bandung, Indonesia. Through Washington sources (including Marquis Childs of the St. Louis Post Dispatch), Cliff Mackay, then editor of the Baltimore Afro- American, discovered — and told me — that the government was planning to send at least one Negro correspondent to ‘‘cover”’ the historic gathering. The ‘“‘conduit’’ for the expense money and ‘‘fee’’ was the director of a ‘‘moderate’”’ New York-based national organization, supported by many big corporations, that has long worked against employment discrimination. The CIA cash was passed to the organization’s director by a highly placed Eisenhower administration of- ficial overseeing Latin American affairs who later became governor of a populous Middle Atlantic state, and whose brothers and family foundation have long been contributors to the job opportunity organization. Because of the serious im- plications for a press supposedly free of governmental ties, I relayed this information to the American Civil Liberties Union. I also told Theodore Brown, one of A. Philip Randolph’s Union associates in the AFL-CIO Brotherhood of Sleeping Car Porters. Ted’s response has always stuck in my memory: “I’m one step ahead of you, Bill. President Sukarno and the In- donesian government know all about this, and they are par- ticularly incensed at having a man of color sent to spy in their country.” Cold-war readiness to “cooperate” with spy agencies, whether motivated by quick and easy money (I’ve often wondered if under-the-counter CIA payments have to be reported on income-tax returns!) or spurred by a misconceived patriotism, had its precedent in World War I and in the revolutionary- counterrevolutionary aftermath. In the summer of 1920 Walter Lippmann, his wife and Charles Merz published in .The New Republic an exhaustive survey of how the New York Times had reported the first two years of the Russian revolution. They found that on 91 occasions — an average of twice a week — Times dispatches out of Riga, Latvia, buttressed by editorials, had ‘“‘informed’’ readers that the revolution had either collapsed or was about to collapse, while at the same time constituting a mortal menace’ to non- Please turn to page 20 Na (“And vice versa.’’) For the fashion con- scious or far out, there’s a special floor at Sumner’s. We call it Up at Sumner’s. Needless to say, it’s the tops. You'll find the latest in baggies and flares in patterns that no one can match. There are shirts to go with them, too. They run from the quiet to the very far out. And yes, there’s outerwear Up at Sumner’s. Great jackets to top our collection. You really shouldn't miss NATIONAL CITIZEN SYMPOSIUM SATURDAY, DEC. 15, 1973 Morning Session 9 AM Kresge Auditorium, M.1.T. Afternoon Session 3 PM Sanders Theatre, Harvard University A Public Forum to discuss pending options—or the Michael S. Dukakis, Public Television Moderator ‘‘The Advocates” —candidate for Governor. PANELISTS lack of options—for citizen participation in the Administrations’s proposed Special Revenue Sharing legislation. MODERATOR any of it. Come inand discover what’s Up. Eric Sevareid, Hon. J. Lester Ralph, Linda Broderick, CBS News Mayor, Human Resource National Somerville, Mass; Advisor Correspondent Middlesex County Commissioner Barney Frank, Mr. Gary J. Kopff, Justin Gray, Commissioner, James E. Groppi, State Special Assistant Massachusetts Milwaukee Representative to the Secretary, Housing Finance Civil Rights and U.S. Department Agency; Labor Advocate of Housing Vice President, rate and Urban Citizens’ Admission $2 (at the door) Development. | yee and Evening ‘‘Tea”’ & Sympathy Ball nning (You'll have one too!) Association of Metropolitan 8 PM to Midnight Cambridge Armory Boston (Fresh Pond Circle) Music By Ruby Newman Orchestra (Sounds from the ‘40‘s to the ‘70‘s) Vittles and Spirits CAMBRIDGE MODEL CITIES nec. Tremont. Nexttothe Astor Theatre.Free parking at Coffman Auto Park behind the Town’ ~ House: 542-9159. Open Mon. & Wed. ‘til 9 p.m. ! ; | | | Ackermann, | | 4 ae THE BOSTON PHOENIX, DECEMBER 11, 1973 PAGE SEVENTEEN The Pappas Family: Coming from the Cold? By Vin McLellan “We have a sort of Boston Mutual admiration society with the Kennedys,” explained 27 year-old “Jimmy” Pappas to an acquaintance recently, ‘‘they respect us for our business successes, we respect them for their political successes.”’ James A. Pappas, “Jimmy” to everyone, is the newly appointed president and heir-apparent to the helm of the $400 million Pappas Enterprises, Inc., a multi-national corporation with enormous investments in Greece and one of the most controversial new Boston fortunes. Jimmy is neither the oldest of the ‘‘Pappas boys’’ nor the son of the family patriarch, 73- year-old Tom Pappas, who still keeps a home in Belmont although he lives 11 months of the year in Greece, but Pappas family friends say that in the quiet family confabs where such things are decided, young Jimmy has been tapped as next in line. The Pappas family is trying to come in out of the cold, according to friends and_ business assuciates. “For years they’ve been press shy,” said one friend, a Milton Academy classmate and associate of Jimmy’s, ‘‘and now they’re trying to come out of it.” With the assistance of Newsome & Co., a local public relations firm with strong Republican ties, the Pappas family is going to try to buff up the company’s public - venture they were in. I reported this to Erlichman,”’ said Dean, “and Erlichman told me to just give him a call wherever anything was necessary.” There was no further mention of Pappas in the hearings and the Dean story, like so many others, was not followed up in the Senator’s questions. Assistant Watergate Committee counsel David Dorsey, queried by the Phoenix, didn’t need his memory refreshed on Dean’s Pappas story. ‘“‘I know about Pappas,” he interrupted. Dorsey would go no further than to say that the Committee was still investigating Watergate and Campaign financing. “‘I’m not at liberty to discuss anything that we’ve turned up in our investigation,” he said. Pappas associates quote Jimmy Pappas as explaining Dean’s reference to business dealings with LaRue as a “nonsensical allusion to oil im- port tickets — something the Pappas’ don’t need or want.”’ In Business Week last July, Jimmy curtly noted that Dean’s characterization of his Uncle was “absolutely ridiculous.’’ But according to Dean’s testimony, the mysterious LaRue-Pappas oil ventures pre-dated and was on- going in March of this year. Oil is, however, a big chunk of the Pappas empire, particularly in Greece. The Pappas brothers, Tom and John, built their first fortunes here in Boston and a good chunk of the cache is still here. The brothers built a family grocery business into a chain of stores that they sold after World War II and used the capital to enter real estate, a large-scale wholesale operation, imports, and shipping. In the 50s, the Pappas brothers began to make sizable in- vestments in their Greek homeland and in 1963 entered into an enormous deal with the Greek government with a contract that described Tom Pappas as the “entrepreneur’’ technically responsible for financing a $110 million refinery | and petrochemical complex, a deal that was subsequently inflated to require about $200 million capital investment. The Boston operation includes the metropolitan area’s largest liquor distributorship — if you drink Fleischmann’s, Brown and Forman, the Barcardi rums, Gallo or Mateus wines or Pabst beer, you drop a few coins into Tom Pappas: The Patriarch the Pappas coffers. With a broad line of imported specialty foods, including olives, tomato products, oils, vinegars, nuts and spices from Portugal, Greece, France and Spain, largely under the ‘Gloria’ im- port label, the Pappas-owned Gloria Packing Company is ‘‘one of the largest in the nation in their specialized area,” according to the Mass. Grocer’s Assn. Only recently Jimmy Pappas com- pleted a two year project of consolidating Gloria and the other 37 Pappas companies under a single New York and Boston- based holding company, Pappas Enterprises. The real estate and shipping businesses are drawing priority attention in the Pappas organization today, according to business sources. Jimmy Pap- pas’s specialty is real estate. The Pappas properties in Boston are three large land parcels in South Boston, one on E Street, (and two on Summer, the largest of which is the Boston Harbor Industrial Park, beside the Navy Fargo building and across the street from the old Boston Army Base. The family also has extensive holdings in New York, both in the city and a major development in White Plains. At sea, a fleet of ten tankers fly the Pappas insignia of the Greek letter pi superimposed on a Globe, all under long term contract with Exxon, the firm that built the refinery and five chemical plants in partnership with Pappas in Greece. The company recently ordered a $25 million 120,000-ton oi] and bulk ore carrier that will be chartered to Burmah Oil. Jimmy Pappas has been quoted by friends as saying he wants to take the business out of politics, but that is going to be some chore. 109 NEWBURY STREET Bo BRATTLE SrREET |CAMBRIDGE, Mass. image through the media. It’s Jimmy’s move; the elder two brothers, old Tom and the late Boson, MASS - OPEN: Mon-Fri 9:30-8:00 | | | Judge John Pappas, Jimmy’s father, never gave a damn about the press. There was never, for instance, any Pappas response to John Dean’s testimony before the Watergate Committee last summer. The former presidential counsel told the Committee that Tom Pappas was spoken of as a likely source for the Watergate coverup money — if, as Dean put it, the government gave “favorable consideration’”’ to some of Pappas’ oil dealings. On June 27, Dean testified about the March 13 meeting with Nixon and Haldeman. Dean said he told the President that the seven Watergate defendants were making money demands, OPEN: Mon-Fri 9:00-10:00 Sat 4:00-6:00 Sat 9:30-6:30 MASTERCHARGE demands that could cost as much ‘Y as $1 million. Nixon, said Dean, Va 4 “told me that that was no f : problem.”’ The Nixon loyalist on the Committee, Sen. Edward : : Gurney began nailing Dean Uf REVERE SWEATERS 4. down, and_ former presidential counsel, no innocent in political fencing, loosed another zinger. “IT might mention this because it is just . . I have just remembered it now,’’ began Dean haltingly, ‘‘there was at one point in time, after Mr. (Richard) Moore had been to visit Mr. (John) Mitchell in New York following the LaCosta meeting, an effort was made to have Mr. (Frederick) LaRue go out and raise money. This had been discussed earlier and Mr. LaRue had done some activities of this nature. Mr. Erlichman men- tioned to me that someone ought to go see Mr. Pappas, who was a long time supporter of the President, and see if he would be “Apparently,’’ continued “Mr. LaRue and Mr. Pappas had had some business dealings and as a result of those business dealings, Mr. LaRue was en- couraged that something might be able to be done. “But he (LaRue, a close Mit- chell associate, White House aide, and former Mississippi real estate entrepreneur) told me Mr. Pappas might have some favorable consideration from the government on some oil matters that resulted from this mutual 100% Woo] 7 Vall wide Selection | is q of any assistance. +3 ri ) q h, Adults: CLARK'S : ||| levi: ales | SHIRTS CORDUROYS men and women x L AT ALL STORES (AND MANY UNADVERTISED SURPRISES AS WELL) 27 BRATTLE STREET - C HARVARD SQ. — HEA There’s a new record store in the land, and it’s NE Music City that’s making Harvard Square sound so good and making record and tape buying such a pleasure. 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BAROQUE FESTIVAL JOPLIN/Rags, Volume 2 hat Store Hours BAROQUE TRUMPET A NONESUCH EXPLORER (Boston) Mon Sat. 10am. 12 Midnight CARTER/Two Sonatas RAFF/Symphonyv Ni ber 5 Sun. 12.6 CRUMB/Ancient Voices Of Children ROSSINI/Sins Oi age Store Hours DEBUSSY /Iberia-Munch conducts SCHUBERT/Sonys Avenue Mon-Fri. 9am-9pm FOSTER/Song Recital STR AVINSK Y/Les Noces Sat. 9am-6pm HANDEL /Water Music-Boulez conducts VIVALDI/Five Concertos = The Entire Nonesuch Catalogue Is On Sale. P 4 Free Emerson, Lake & Palmer SELLING ENGLAND BY THE POUND | fig A ~ LST, a - mercenaries and PAGE TWENTY DECEMBER 11, 1973, THE BOSTON PHOENIX Continued from page 16 Communist Europe. Lippmann and his associates attributed the misleading coverage to a number of factors. Especially cited in the survey were the transcending win-the-war and anti-Bolshevik passions of Times. personnel, as well as ‘‘undue intimacy’ with western intelligence agencies. After 1959, when Fidel Castro came to power after having ousted the corrupt pro-American Batista regime, Miami became a modern-day Riga: a wild rumor factory from where Castro’s “death” and imminent over- throw were repeatedly reported for several years. Both in that city of expatriates and also in Havana, ‘“‘undue intimacy” with the CIA caused most North American reporters covering the Cuban revolution to parrot of- ficial U.S. optimism about the Bay of Pigs invasion. In the summer of 1961, on my fourth visit to that revolutionary island, a Ministry of Telecom- munications official told me of a not untypical incident shortly before the invasion. Through through thoroughly discredited Batistianos, the CIA was masterminding extensive sabotage inside Cuba — a policy doomed to failure not only because anti-Castro endeavors lacked a popular base, but also because kindergartens, depart- ment stores during shopping hours and similar public places were among the targets being bombed. In no country does one mobilize mass support by killing children in their classrooms and women where they shop. The Premature Bomb On one such occasion a bomb went off at 9:08 p.m. Five minutes earlier, at 9:03 p.m., an ambitious U.S. wire-service correspondent filed an “urgent press’’ dispatch the Western Union teleprinter in his bureau office, reporting the explosion that, awkwardly for him, came five minutes after the CIA’s scheduled time. When that correspondent and most of his U.S. colleagues were locked up for a week of two during the CIA- directed Bay of Pigs invasion and were then expelled, many U:S. editorial. writers were predic- tably indignant. Except perhaps in Washington itself and in the United Nations delegates’ lounge, the CIA’s department on journalism is probably busier abroad than with newsmen at home. In 1961, during a televised interview, Walter Lippman referred casually to the CIA’s bribing of foreign newsmen (editors as well as the working press), especially at the time of critical elections. All over the world, governments and political leaders, in power and in op- position, can usually name their journalistic compatriots who are known or are strongly suspected of being on the CIA’s bountiful payroll. I believe it was Leon Trotsky who once observed that anyone who engages in in- telligence work is always uncovered sooner or later. Even neutralist countries learned to become distrustful of U.S. newsmen. In early 1967, Prince Norodom Sihanouk ex- pelled a Negro reporter after just 24 hours. In an official statement, the Ministry of Information alleged that he ‘‘is known to be not only a journalist but also an agent of the CIA.” In a number of Afro-Asian countries, entry visas for U.S. correspondents,. par- ticularly if on a first visit, can be approved only by the prime minister or other high official. _At Harvard, during 1956-7 Nieman Fellowship year, New York Times Correspondent Tony Lewis and I were told by a woman anthropologist that, during her years at the State Department at the height of the cold war, she had been horrified to find herself reading CIA transcripts of the debriefing of academics who had traveled abroad on ‘‘scholarly’’ missions. No Denouncement She had complained to the Social Science Research Council, but at that time was unable to get that prestigious body to denounce the practice. I wasn’t at all surprised. Moldy cold-war “thinking” and reacting affected and infected professors as a class as well as generals as a class. From countless lectures on China and Cuba at colleges across the country in the late 1950s and early 1960s — including the Middle- America cow colleges as well as the “‘better’”’ schools — I had a “feel” (and a very discouraging feel it was) of the campus climate. By and large, it was only a handful of lonely, isolated ‘‘red diaper babies’’ — students and a few young faculty members who were children of radical Depression-era parents — who were challenging the stale and stagnant ‘consensus’ of that period. Abroad, the U.S. empire was riding high, so at home there was ‘‘contentment and tranquility” But now the times and the all- important have changed, thanks in large part to a new image of the government per se (and the Nixon-Agnew Mafia in par- ticular) after Watergate and after all the eye-opening crimes and disasters in Indo-China and elsewhere. Today, to at least some degree, a goodly number of intellectual climate. the most respectable spokesmen for Establishment journalism are resisting the government’s in- sistence on turning newsmen into extensions of the police and prosecution agencies. Also, through and because of rank-and- file caucuses and various in- dependent groupings and jour- nals, newsmen are now more attuned to both subtle and crass threats, and are somewhat better organized to defend themselves against the encroachments of government. Under the sobering impact of impending troubles which just about everyone today an- ticipates, the older tradition of this country is reasserting itself. The public opinion polls on popular disillusionment clearly show that only a small and seemingly hopeless minority is still living in the fool’s paradise of the Eisenhower-Kennedy years. After Agnew’s disgrace and in this interregnum before Nixon’s downfall, who but the most vulgar and the most insensitive can wave the flag and express “pride’ in being a (North) American? In the mass media and on the campuses, the First Amendment “fundamentalists’””» may never become a majority. They don’t have to. They are again, as so often historically in crises, “raising a standard to which all honorable men may repair.” 2 ounces Gavilan Tequila ¥% ounce Rose's lime Juice The Revolution is here! Thank Gavilan. 80/86 Proof. Imported by Foreign Stir Revolution! Exciting new drink with Gavilan Tequila? Be independent. It's time for a change to Tequila. Have a fiesta tonight. Stir up some drinks bound to make your old standbys seem mighty old Snap upa Margarita, dazzle up a Sunrise, with Gavilan Tequila, our smooth, amiable Mexican. Better yet, be really independent and stir up a Revolution Cocktail. 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Shostakovich > OUR PRICE. >| The New England Conservatory Ragtime Ensemble - Schuller per disc i} | - | | — | disc} |i : y or Bastian Li t | MATTHEW'S PASSIO 1S ORIGINAL INSTRUMENTS IN ORIGINAL SETTINGS 4 = | I ‘ <4 4 | ee 2 x | | “Dedicated to the fine art of browsing” 4 | | UN a PAGE TWENTY- TWO DECEMBER 11, 1973, THE BOSTON PHOENIX Talking Politics Legislators What Did They Do? By Dave O’Brian “No man’s life, liberty or property are safe while the legislature is in session.”’ — A New York State Assem- blyman, 1887 For the next few weeks at least, we are out of immediate danger. The 1973 Massachusetts Legislature, after being in session for 48 weeks — the third longest session in the state’s history — has prorogued, but it will hardly be missed. It was an unremarkable session marked by such a lack of major innovative legislation, in fact, that its uniqueness can be summed up easily in one word: Long. It was a session that actually is more notable for its disap- pointments than ac- complishments. This past week, when members of the State House Press were being asked, in an informal poll, to list the 10 best bills enacted this year, the most common complaint from reporters was that they couldn’t think of that many. But if the session was mediocre, what in heaven’s name took so long? There were no big complicated packages of un- tested legislation facing the lawmakers as the 1973 term faded away, with more a whimper than a bang, and, in- deed, Gov. Francis Sargent, after characterizing the session as one “more significant for its failures and delays’’ than its ac- complishments, said it could have ended by July 30. How do 280 supposedly in- telligent men and women fritter away four months? No _ two Beacon Hill observers come up with identical answers. It seems, therefore, that the length of the session was due to a number of unrelated factors: The long, drawn-out, and unproductive attempts to kill or cripple the racial imbalance law — a flap that ended the a gubernatorial veto that was overriden in the Senate and upheld by only a whisker in the House, indicating how frighteningly support for integrated education has shrunk since 1965. The inordinate amount of time the state Senate spent trying to redistrict itself, eventually resulting in the sacrifice of a Jewish seat to make way for a black seat. And the fact, of course, that nearly 10,000 seperate bills were filed this year. Some observers cited a leadership vacuum as the major delaying factor this year, noting that the Senate leadership stumbled badly over both the redistricting squabble and Senate President Kevin Harrington’s horrendous error in judgment when he created a staff job for defeated Fitchburg Senator Joe Ward, spawning cries of outrage that briefly paralyzed the Senate in much the same way that Watergate has paralyzed the White House. And Democratic legislators are quick to take pot shots at the governor for filing his budget late, for coming in with sup- plemental budget requests after saying he wouldn’t, for expecting quick action on voluminous state government reorganization legislation which, according to House Speaker David Bartley, “from a technical point of view, was atrocious,” and for failing to show any kind of interest in the fate of legislation after he had filed it. ‘‘There is no governor,” said Rep. Barney Frank of Boston. “Frank Sargent is a rumor.” Other less dramatic reasons for delay: The Judge Jerome Troy removal proceedings, which served as at least a minor distraction, the observation that Rep. Joe Early of Worcester, who controls the all-important Ways and Means Committee through which all money bills are fun- neled, is “bright but slow,’’ and the fact that it was a non-election year and our lawmakers were not motivated to quit early and get out there on the campaign trail. Not that there’s any disgrace in a long session of the legislature, despite the fears of the assem- blyman in 1887, just so long as the session is reasonably productive. However ... AID TO ELDERLY The major accomplishment of the session, and one for which its sponsor, Sen. Jack Backman of Brookline, can be justly proud, is the passage of a bill guaranteeing a minimum annual income for the state’s elderly, blind, and disabled effective next March. 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Despite lip-, service bi-partisan support of the proposal when it was introduced, it ran into a lot of difficulty, | mostly fears about its expense, and there were reports that the governor considering backing off until elderly groups threatened to sit-in in his office and, in horror over the political implications of that, Sargent signed the bill instantly. So let’s hear it for senior power, and also for a legislature that has finally recognized the need for special attention to the neediest segment of the population — but as long as the concept of a guaranteed in- come is sold on that basis, the meaning of the precedent, one that should be broadened to cover all needy people regardless of age, is in danger of being lost. TURNKEY TURNCOATS But if the major success of the year was in aid to the elderly, the tragic irony of the session exists in the failure of the legislature to pass a meaningful housing for the- elderly package. A multi-million dollar low income _ housing package was totally emasculated at the last minute when the State Senate succumbed to pressure from building trades unions and subcontractors and removed the key ‘“Turnkey”’ provision from the bill. Turnkey is a method by which private developers contract with local housing authorities to construct low income units and then sell them to the authorities. Observers on all sides of the issue agree that such con- struction is cheaper and more efficient this way and claim that, without Turnkey, such costs would be too high to be feasible in Boston. Construction subcontractors are traditional opponents of Turnkey, but their influence alone would not have been enough to kill it. The tide was turned when Martin Curry, secretary-treasurer of the Mass. Building Trades Council, sud- denly hopped in bed with the subcontractors and began lob- bying against the provision — even though sources in the mayor’s office now reveal that Curry had been privately assured that all Turnkey construction in the greater Boston area would have been done by union workers. Through either outlandish greed or stupidity, therefore, Curry and his organization successfully killed off the possibility of jobs for its union members, over a fourth of which he says have no work at all now. State Senator Joseph Timilty of Mattapan, who wants to be mayor, noting that Curry is on Mayor White’s payroll as a $12,500 a year ‘‘assistant com- mercial development specialist,” raised the possibility of the mayor’s office secretly working to scuttle the proposal to prevent any credit from going to Timilty. ‘‘That,’’ responded Andrew Olins, White’s housing expert, ‘‘is total, absolute, unadulterated bullshit.”’ Olins pointed out that he and. other White staffers worked openly for the plan, that most of the Boston legislative delegation (with the notable exception of South Boston Sen. Billy Bulger) supported Turnkey, and that Mayor White “has no control over Curry’s actions when he’s representing his union.”’ “If there’s a guy on my payroll who’s working against the in- terests of my city,” said Timilty, Please turnto page 24 ry IWOMEN’S ALL No : SIZES REG. $85 More REG. $55 Hes U SKI IT SURE FIT GUARANTEE U SKI IT SURE FIT GUARANTEE @, U SKI IT SURE = TOE POLES } | N a Sizes 8 Mens & Womens HCKOLY 200. we Falk i fe Pin Binding................$ 7.95 Bamboo Poles............$ 9.95 Wax 4.50 TOTAL $102.35 MOTOWN’ ©1973 Motown Record Corporation : q | 7 ig i ) — > “ae , ‘ | 4 UM | PAGE TWENTY- FOUR, DECEMBER 11, 1973, THE BOSTON PHOENIX Politi Continued from page 22 “he either gets off the issue or he gets off the payroll.”’ “I wish,”’ said Olins, ‘that things were as simple as Joe Timilty makes them.” While the defeat of the housing package set White and Timilty to squabbling, though, the real culprits — in addition to Curry — appeared to be Senate President Kevin Harrington, who could have switched enough votes to save the plan but didn’t, and Ways and Means Chairman James Kelly of Oxford, who entertained a number of sub- contractors, by the way, at his recent fundraising dinner. Other than these notable successes and failures, the 1973 legislative session was, well, unimaginative at best, and unresponsive to real areas of need at its worst. Examples: TRANSPORTATION This year, with the full cooperation of the governor, the cities and towns within the MBTA district were finally successful in getting the state to pick up half of the MBTA deficit they’ve been struggling with for years. The bill will give the city of Boston nearly $17 million and, with the an- ticipated increase in the deficit, that will save Boston roughly $10 million over this year’s cost — a savings of about $3.60 on the property tax. In order to accomplish that, though, the legislature had to promise $40 million to the rest of the state to be used for ‘‘highway related’’ expenses — striking a political balance, therefore, between Boston and the western part of the state, and giving new meaning to the phrase, balanced transportation. Mayor White’s staff seemed quite pleased with all of this, but with the exception of this one action, the legislature has, once again, virtually ignored the deeper needs of the inner city poor. With the exception of the MBTA subsidy, there was no property tax relief and no meaningful moves this year toward anything resembling tax reform. Except for a cost-of- living boost to welfare recipients, nothing was done for the poor in the state’s other urban areas — Worcester, Springfield, and New Bedford. Except for a $10 a week increase in maximum unem- ployment compensation benefits, little was done about the state’s rapidly increasing army of idle workers. A bill to provide child care tax deductions ‘went down the drain, and Joe Timilty’s attractive ‘‘circuit breaker”’ proposal to place a ceiling on the percentage of income paid for property taxes or rents through a system of credits and rebates on the state income tax was shunted off to a study. CONSUMER PROTECTION Despite increased awareness of the plight of the consumer, here is another area where the failures outnumbered the successes. Most of the consumer-oriented proposals also went down the drain. As the session was coming to a close, in fact, the most significant piece of consumer legislation to make it into law appeared to be one of the following (and you can take your choice): A _ bill requiring the use of non- flammable material in children’s ' Sleepware, a measure to protect mobile home owners from being evicted, abolition of the auto insurance ‘‘assigned risk pool” (thus assuring that accident- prone drivers, who need it most after all, can get auto insurance) or a measure freeing motorists who are plainly not at fault in an accident from having to pay their property damage deductibles — correcting the major source of complaints about No Fault. But then, in the waning days of the session, when legislators’ pet projects and patronage bills are usually slipped through, House Speaker Bartley suddenly brought out his Pension Reform bill and it was whisked through ‘both branches with no debate and no roll calls. And upon examination, the pension bill appears to be the most significant consumer protection legislation passed in years. (Bartley touts it as the strongest pension bill in the nation.) The measure, which has received surprisingly little at- tention in the media, mandates full disclosure by companies to workers of pension eligibility ‘‘in understandable language,’’ it gives the state retirement board authority to monitor the _in- vestment of pension funds, and it requires that pension funds “provide sufficient monies to guarantee minimum pension benefits for retirees.” ‘‘The Senate must not have read the bill at all,” said a Bartley aide, still dazed at how easily the bill slipped through. Less fortunate was a strong consumer protection measure, supported by Insurance Comr. John Ryan, that would have required insurance companies to turn over to the Consumer’s Council their records concerning injuries resulting from hazardous products. This measure died a quiet death in the now infamous Senate Ways and Means Com- mittee, a committee which seems to have become increasingly receptive to the moneyed in- terests, particularly since Chairman James Kelly has been o 2—LENS SPECIAL 135mm f/2.8 AUTOMATIC AND 200mm £/3.5 AUTOMATIC THIS IS NOT A. MISPRINT *2 LENS BOARDS *50mm LENS *75mm LENS *DUST COVER OMEGA B-22 _2-LENS PKG. *35mm NEG. CARRIER SQ. NEG. 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The legislature became so preoc- cupied with its efforts to sabotage the racial imbalance this year that most other educational issues took a back seat. The only positive educational reform bill that somehow made it into law, therefore, was the Teacher Certification Act — creating a system by which teachers are certified according to their demonstrated ability to teach, rather than the present tenure system. CAMPAIGN REFORM An area that did receive special attention on Beacon Hill this year in the wake, as they say, of Watergate, was the attempt to reform the way political cam- paigns are financed — but the legislature came up with a package that doesn’t go nearly far enough to make a dent in the problem. Postponing serious con- sideration of public campaign financing until next session, the lawmakers instead voted to limit the amount candidates can spend on advertising: $500,000 for governor and lieutenant governor, $250,000 for attorney general, $100,000 for secretary of state, treasurer, and auditor, $25,000 for governor’s council, $15,000 for state senate, and $5,000 for state representative. The new law also reduced the amount an individual can con- tribute, requires that a candidate account for all money he receives even before he officially an- nounces, and creates a ‘‘Director of Campaign and Political Finance” to oversee the new rules. Most significant perhaps, at least as a sign of things to come, is the new law allowing taxpayers to make a $1 tax write-off from their income taxes as a political contribution. It’s a step, however, short, toward next year’s public financing drive that will be engineered by Speaker Bartley, Common Cause, and Rep. Paul Guzzi of Newton. The legislature also made a few moves toward cleaning its own house including the opening up of governmental records to public scrutiny, the- opening to the public of most executive com- mittee meetings, and a strengthening of lobbyist laws to require lobbyists to disclose their earnings and itemize their ex- penses on days they exceed $35. Lobbyists themselves are happy about this provision, though, figuring it will protect them from shakedown tactics by pols. At the same time, ironically, the legislature gave final ap- proval to a_ constitutional amendment, to be placed on the ballot next year, reducing the size of the House of Representatives from 240 to 160 members. If approved, of course, the lobbyists will then have a much easier time of it when it comes time for buying votes, there will be less minority representation, and we will have the League of Women Voters to thank for it. Other new laws of some note include the lowering of the age of majority to 18, meaning that the kids who can already drink and drive can now make out their wills first; passage of a uniform voter registration law, designed to end harrassment of students who try to register to vote in their college towns by mandating that veters be registered after signing, under penalties of perjury, a sworn statement; and a series of business tax credits to encourage new industry. ? 1 ¥ J "Col IMBIA” SBIMARCAS REG PRINTED INUSA ng us a song ‘tonight, ell, we’ te alli in the mood fe Appearing Brookline, Mass. Coolidge Corner* (617) 566-6660 Hanover., Mass. Hanover Mall* (617) 826-4520 Bly J it out at that che noes with yo slody, because it's filled with his excitement and Family at the ORPHEUM THEATER Dec. 14th booksmith $3.69 Dedicated to the fine art of browsing Hyannis, Mass. Bedford, N.H. Nashua, N.H. Fall River, Maés. Cape Cod Mall* Bedford Mali* Nashua Mall* Chelmsford, Mass. — Harbor Mall* (617) 775-6566 (603) 669-7583 (603) 889-9202 © Chelmsford Mall* (617) 678-6388 | é ‘ } if ‘ | a lai new artis | ‘ | = 1] 3 | a | PAGE TWENTY- SIX DECEMBER 11,1973, THE BOSTON PHOENIX suggests, they would be $76 short month after month. Over the long haul, the nutritional deficiency would translate into more disease and higher costs for medical care, an unnecessary toll on the family and a financial burden the Commonwealth ultimately has to shoulder. In addition, said Walton, the scope of the food stamp program is less extensive than under the old system. Where the Com- monwealth now distributes per year $45 million worth of free food, after July it will be ad- ministering only $36 million worth of food stamps. Stamps Continued from page 5 titles them to $116 worth of stamps for which they would have to pay $59. Since they have only $50.23 and can purchase the stamps only in increments of ‘4, Ve or 34, they will be able to buy only $87 worth of stamps for $46. A Welfare Department official asked about the accuracy of these statistics admitted that, if anything, the estimated budget was higher than the amount such a family would normally receive. The official, Stan Boris, head of the current food stamps program, had been requested by Welfare Commissioner Stephen Minter to review the Peoples Union assessment. Walton pointed out further that by United States Department of Agriculture (USDA) standards, a food budget of even $116 for a family of four is grossly inadequate. The USDA recom- mends at least $163 per month for a well-balanced low cost diet. If the Peoples Union prototype family’s food outlay of $87 were compared to what USDA Aside from’ these con- siderations, the food stamp unlike the food surplus program places troublesome restrictions on recipients. Some will be required to register for work, and others deemed unable to manage money may have their food allotment deducted from their welfare checks. This sort of paternalism reflects the frequently voiced suspicion that families go on welfare not out of need but rather out of a refusal to support themselves, and that their lack of resources stems from irresponsibility rather than low budget allowances. As the Prices Go Up, Up, Up Whereas at one time the donated food program offered a variety of 24 staples that con- tributed to a balanced diet for the low income family, now the available surplus stock is scarce. Welfare’s Public Relations Director Pam Bush acknowledged that most of the food outlets generally have only “seven or eight items, but they vary from month to month. I think it’s getting progressively worse. We’re ordering it, but the Department of Agriculture just isn’t sending A Somerville Welfare mother with two children, Marge Clingan, described the paucity at her local warehouse on Pearl Street. ‘‘We haven’t been getting flour, powdered milk. There hasn’t been cheese for a year. There’s no cornmeal, no luncheon meat, no canned turkey left any more either. No split peas. That leaves very little Butter, some canned meat, corn’ syrup, macaroni, peanut butter, vegetables and canned fruit, and orange juice. Sometimes they don’t have that. I’ve been wat- ching it slowly dwindling. Powdered milk, people are really upset about because they use it to make baby formula. The last time I was there, they didn’t even have evaporated milk.”’ Clingan complained, too, that recipients were harrassed at the Pear! Street outiet, and not given reasonable explanations why the stocks were low. Warren Castillo, Director of the USDA Distribution _ Program in Washington, ex- plained that the Department now has temporary special authority to buy foods ‘‘at prudent market prices” to replace decreasing surpluses, without which USDA would have been able to provide only 60 percent of foods formerly available. Castillo claimed that shortages on the state level probably result in part from local mismanagement. He may very well be right. From the harvest to the table, surplus foods go through about six different agencies, all of which have their own intricate bureaucracies. There is ample opportunity at every juncture for delays and.. mistakes. In Massachusetts, for instance, there has been a dearth of freight cars to transport the food. Despite Castillo’s assurances that commodities would be forth- coming until the cutoff date of June 20, he admitted the USDA now has only 10 million pounds of butter in inventory, just as one example, when three years ago the average would have been twenty times as much. His fur- ther protestation that the last time he checked Massachusetts had a ten months’ supply of evaporated milk is little con- solation to the welfare mothers who can no longer depend on the government to feed _ their children. Getting the Stamp of Approval The Welfare Department anticipates that anywhere from . 100,000 to 125,000 families per month will qualify for food stamps, only about 12,000 of whom .are already on the program. 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To reserve space, with no obligation, mail coupon or.call today: The Student Ski Association, 531 Main St., Amherst, Mass. 01002 (413) 253-3206 or 549-1256. Name Home Mailing Address Full payment of $98.00 required by Dec. 26 | | | ff qual : | “2 plan or any major.credit card. (Free gift wr CHRISTMAS HIGHLIGHTS Diamonds and Color with sapphires, opals, or rubies all set in 14 KT. gold. As always, you have our guarantee that you may return any merchandise within 60 days for a full: refund. Choose from the Diamond People’s charge plan or use any major credit card. (Free gift wrap.) | These cocktail and dinner rings will catch the eye and ~. hold the heart of someone you love. Priced from - $150 - $450 and guaranteed to please. If not, they may be returned within 60 days for a full refund. Choose from our very. own charge plan or use any major credit card. (Free gift wrap.) GIFTS FROM $5. Ist a sampling of practical presents from the Dia: iond People’s Gift Boutique where we've taken the essing out of Christmas giving. All gift selections are guaranteed to please but if they don’t, return: them within 60 days for a full refund. Choose fr ~.» See our sparkling collection of Linde Star Sapphires for guys and gals and other exciting jeweiry t ~ brighten your holiday giving, all purchased with guarantee that they may be returned within. for.a full refund. Choose from our very own BOSTON | | LYNN BROCKTON N. DARTMOUTH DANVERS LEOMINSTER DEDHAM WARWICK, RL Trt CARO HANOVER ©) NEW LONDON, CONN. from $150. to $400. Presenting Christmas savings on sparkling diamonds | | rrr : | | if | i % | UN PAGE TWENTY- EIGHT DECEMBER 11, 1973, THE BOSTON PHOENIX Stamps Continued from page 26 state legislature approves the money for it. The Welfare Department has submitted a budget that will be presented in two installments when the legislature reconvenes_ in January: one for administration of the program during fiscal year 1975, but more important for the supplementary or deficiency funds to implement the program by June 30. The conversion request is for $2.2 to $2.4 million, a large amount by any standards and particularly awesome these days. If the legislature balks at approving the funds, or stalls for any length of time, the Depart- ment’s schedule will be thrown off considerably. When asked if he forsaw any problems on the hill, Stan Boris at first replied optimistically. “There’s a fine line between what you need and what you can do without, and it usually ends up somewhere in the middle. We can probably get it jury rigged. Everybody seems to be in favor of getting this thing going. Even in an austerity year, it’s a priority.” Later he abandoned the polyanna pose of other welfare officials. ‘‘Things are never exactly what you conceptualize them to be . You say that this will go through and then two months later, who’s got egg on his face? I don’t want to get people’s hopes up, but dammit, the last five years have been austerity years as far as our department is concerned. Worst thing is, who gets hurt the most? Not me. The people. They’ve got enough problems without another defeat.”’ If and when the deficiency budget is passed, the Welfare Department has to hire and train new employees, contract with another agency to process and deliver the stamps and formalize the program for all those 314 communities that have never seen a food stamp before. Much of the work of conversion will be done by computer — the same computer that brought you three- year backlogs in payments to medical vendors and delayed checks to welfare recipients. — Barring any bugs, however, officials hope to have pilot projects on the Cape in operation by March and in the rest of the state by April. Again, Boris was cautious in evaluating whether the timetable is realistic, especially if the requested deficiency budget is pared down. ‘‘We can probably get most of it done if a lot ot people do extra work. That’s asking something. I don’t know if it’s asking a lot. It may be displeasing to a lot of people. I’m crossing my fingers.”’ The social workers compelled to work double time to complete the conversion may indeed be displeased. Boston welfare of- fices alone are already short 150 workers, according to regional administrator Jack Toby quoted last week in the Globe, and hardly have the Capacity to absorb the additional respon- sibilities. Another issue still unsettled is which third party will handle the stamp transactions. The Welfare Department hopes to entice the Post Office into the contract instead of private banks that have done it in the past in some. places. Aside from being more accessible and having its own internal auditing system, the Post Office has the advantage of being 20 percent less expensive than the banks if the banks are chosen, they stand to gain in aggregate $1.5 million from the deal. Apparently the Post Office is reluctant to take on the job, and welfare is suggesting that anyone, even community groups, can make a bid for it. ws avai steve glantz productions. eat ticket agcy.&at door concert YWCA Continued from page | 5————— ann Del Sardo, a volunteer deeply involved in the YWCA, feels good about the confrontation — this kind of situation forces the facing of uncomfortable issues that are dangerously ignored otherwise. Helen Brooks, a member of the Board of Directors at Cambridge, was especially concerned with the problem of dealing with lesbianism without either oppressing lesbians or alienating women threatened by lesbianism. And the question became even more delicate when black women expressed distrust of the lesbian issue: the clash of racism and sexism is one of the stickiest problems the women’s movement has to deal with, it is to the credit of the women at the Cambridge YW that they have not ignored it, but are working patiently and commitedly in a difficult aspect of the struggle. It is this committment to struggle that impressed me most about the women of the YWCA that I talked with: The One Imperative seems to mean to them, above all else, a deep committment to working through all the issues that separate women from each other — class, race, even sexuality — and there is strong awareness that this process will have to take its own shape based on the needs and perceptions of all the women involved. I still have trouble with the One Imperative. My gut tells me that the One Imperative. of women is fighting our own oppression. But it is also clear that the women’s movement cannot dictate to women the terms of their struggle — not if it isto remaina real women’s movement. Paradoxically, the elimination of racism may be a more feminist Imperative than the elimination of sexism would have been, since it is a response to the demands of the women themselves. Before I started on this article, I had planned to join the YWCA so I could take some of their courses. I still want to take the courses, and it may be all I ever do in the organization. But the idea of membership has taken on a meaning in its own right. The YWCA is, as Lois Greenwood said, ‘‘a history of women’s concern for each other.’’ I like the idea of becoming a part, however peripherally, of this living and growing history. WELCOMES TF ERY Ae | PAGE TWENTY- NINE THE BOSTON PHOENIX, DECEMBER 11, 1973 Energy Continued from page 6 of a 3.5 million barrel shortage from January to March; according to the April 9 Oil and Gas Journal, the oil companies could easily extract from 50 Texas fields at least 50 million barrels of crude oil per year for the next 20 years — but, says the magazine, ‘unfortunately, the industry. . . isn’t 100 percent behind this means of boosting oil recovery.” General George Lincoln, chairman of Nixon’s Oil Policy Committee, offered a Senate hearing the insight which Nixon’s November message seemed to lack: ‘‘We might as well recognize,’’ Lincoln said, “that because of the system under which we operate in this country, we are primarily dependent on our energy supply industry...’’ Massive Waste The energy ‘‘crisis’’ is, in itself, unimportant except as a warning that the fundamental economic structure in this society encourages massive energy waste. Nixon’s grand energy conservation scheme ignores these large-scale patterns of waste and shifts responsibility, incredibly, to the individual consumer. Practically none of his measures touches big business, which consumes 70 percent of the energy (industry alone accounts for 43 percent). Almost all of them focus on individuals in their homes, which account for only 19 percent of the energy use. As a coalition of environmental and consumer groups said in their recent “‘countermessage’’ on energy, Nixon’s ‘“‘appeal to consumer sacrifice is being used as a pretext to avoid making hard decisions regarding corporate practices and structure.” Last year, the White House Office of Emergency Preparedness published a detailed report called ‘‘The Potential’ for Energy Conservation,”’ which analyzed different ways the nation can conserve energy. Can you guess which strategy the OEP concluded was least effective? It was “educational programs to encourage good energy conservation practices in the home’”’ — the main thrust of Nixon’s plan for ‘‘reductions in home heating, reductions in driving speeds, and elimination of unnecessary strategy, the OEP computed, is about three percent as effective in saving energy as measures affecting industry. Nixon did restrict heating oil for businesses, and cut back on unnecessary airline flights — scarcely the big savings called for. Turn on your Christmas lights and you'll go to jail. Industries will merely get a letter from Commerce Secretary Frederick Dent, urging them to be frugal. Here’s. the OEP energy conservation plans: ‘‘The most significant realizable measures to effect conservation are: a) improved insulation in homes; b) adoption of more efficient air conditioning systems; c) shift in intercity freight from highway ta rail, intercity passage from air to ground travel, and urban passengers from automobiles to mass transit... and d) introduction of more efficient industrial processes and equipment.” But the OEP staff noted that ‘‘many of the conservation measures suggested may not be acceptable.”’ Let’s take home heating and air conditioning. The giant _ financial institutions, including the banks, finance homes and other buildings only if they are relatively cheap to. construct, not if they’re cheap to operate over lighting.”’This years of use. Building efficient energy use into homes and buildings increases the initial costs, — and the banks discourage it. The Atomic Energy Commission's Oak Ridge Laboratories estimates that good insulation could cut home heating fuel consumption at least 42 percent. It’s the same _ with businesses and office buildings. Incidentally, concerning buildings, hére’s an interesting energy tidbit: about one quarter of all the electrical energy in America keeps lights burning, and up to 60 percent of the electricity in new office buildings. The brighter the lights, _ the more energy they soak up — and did you ever wonder who decides how bright the lights should be? Most building codes rely on the Illuminating Engineering Society of America, a trade association of lighting engineers from major utilities and utility equipment manufacturers. Since 1930, for some reason unexplained by scientific literature, the IES has increased by five times the minimum amount of light it claims is necessary to keep us happy and productive and to prevent us from going blind. Office lighting has become so bright that the major purpose of energy-intensive air conditioning is to battle the enormous heat generated by the lights. The single most effective energy conservation measure, says the OEP report, would be to raise energy prices — which would drive to the heart of massive industrial waste. The gas and electric utilities have long sold energy under the ‘declining rate block system”’ which means that the more energy you use (and waste), the less money you pay. ‘‘Let me conclude,’’ the President told the country in his televised statement — and he concluded with a short sermon on ‘‘one word that best characterizes this nation... ‘independence.’ ’’ And with that Nixon ushered in Project Independence-1980, ‘‘a series of plans and goals to ensure that by the end of this decade, Americans will not have to rely on any source of energy beyond our own.”’ What Nixon means is quick construction of the Alaska pipeline, which the Interior Department has concluded may cause environmental disasters and severe economic depression in Alaska when the feverish, inflated building activity comes to an end; construction of East Coast supertanker ports and refineries; off-shore oil drilling; a surge forward with the government-industry master plan to strip mine federally- owned wilderness in the Mountain States; and a crash program to build fast breeder nuclear reactors, which even the Atomic Energy Commission staff warns are not safe. In other words, more of the same. Project Independence obviously does not mean developing infinitely renewable and pollution free resources like solar energy. Even now, with current technology, solar energy could supply half the home heating needs in America. Until last year, the government spent less on developing nonnuclea: sources of energy than the airlines spent on two 747’s. This year, Nixon has asked for a paltry $13.2 million for solar research in his one billion dollar energy budget. Fully half of the budget will pour into nuclear reactors, and $168 million into coal industry research. Energy conservation research wins a piddling $15.5 million. So much for Nixon’s concept of Project Independence. ‘‘So far, nobody has found a way to make a profit out of the sun,’’ energy writer James Ridgeway says. ‘‘So development of solar energy proceeds at a snail’s pace.”’ through the park And only at the Spa of Harvard Square. Strolling Frozen yogurt in a crunchy cone. The first yogurt that won’t tie you down. Because it isn’t in a box. It isn’t drippy. And you don’t need a spoon. Raspberry, strawberry, blueberry, orange and lemon. All yummy. (Other healthy foods, too.) Zero Brattle St., across from the Harvard Coop. FRIENDSHI \ LARGE BEAUTIFUL BANQUET ROOM... .LIVE BAND... .HOT DELICIOUS DINNER.... CHAMPAGNE TOAST... .ALL PARTY FAVORS. .. .CASH BAR. . . .NEW ENJOYABLE WHERE WILL YOU BE ON NEW YEARS’ EVE? YOU ARE INVITED TO Come get in on the swinging action at at the fabulous HOLIDAY INN BOSTON PS... .FUN ATMOSPHERE. . ..SOUVENIRS PARTY TIME IS FROM 8—2. NO ONE UNDER 18 WILL BE ADMITTED DUE TO PRESENCE OF ALCOHOLIC BEV- ERAGES. WELCOME. DEADLINE IS DECEMBER 22, 1973. FOR LATE RESERVATIONS CALL 617-734-3553 10-10 TO CONFIRM IF SPACE IS STILL AVAILABLE. RESERVATIONS | would like to be part of your special 1974 New Year's Eve Celebration. Enclosed is my check or Money Order for $15 per person. REMICK ASSOCIATES 212 DEAN RD. BROOKLINE 02146 THIS WILL BE YOUR ONLY NOTICE SO PLEASE RESER VE NOW! | (| | 4 | £ | 4 ( | ) A>. = 3 | { | | | ’ PAGE THIRTY DECEMBER 11, 1973, THE BOSTON PHOENIX It’s a Steal Continued from page 3. in the art world demonstrates, it has become increasingly dif- ficult, though far from im- possible, to steal or forge pain- tings. There are catalogues on top of catalogues, and the provenances — or pedigrees — of paintings are attested to, often in scrupulous detail. There is even one set of catalogues devoted entirely to the work of Picasso. Although it is not unusual for a gallery owner to find on sale in London a painting which was stolen from him in New York, it is becoming harder for the thief to pull it off. Under such conditions, _ antiquities and primitive art become ever more lucrative to the criminal; if, as they may have in this case, the thieves can carry off all the papers on their loot, things are that much easier. The New York Times last month, in a series of articles, carried the fascinating saga of the Afo-A-Kom, the sacred religious idol of a small kingdom in the Cameroons. After six years underground, from the night it was carried off from behind the king’s compound, the statue mysteriously reappeared this summer in the hands of a New York collector; he had bought it, he said, from a ‘‘reputable dealer.”’ This is undoubtedly true; one reputable dealer of my acquaintance was offered the Statue five years ago, by a mysterious, and no doubt disreputable, source, who was unable to come up with a satisfactory provenance for the item, and then disappeared. It was only a matter of time before this source either manufactured a provenance or found a “reputable dealer’’ who was not quite as scrupulous as the first one. What will become of the missing coins? Perhaps they will be held for ransom, although there has been no indication so far that this is a_ possibility. Perhaps they will be melted down for their valuable metals — a prospect which horrifies ar- cheologists and art historians — although the amount of money to be gained that way is piddling in contrast with the value of the metals in their present form, and would hardly justify a late night armed robbery as _ skilfully planned as this one obviously was. There is the possibility that the thieves had a buyer for the stolen goods before they ever went into the Museum, making it a sort of commissioned un- dertaking, a possibility which the F.B.I.’s Boston. office admits it has considered. One New York dealer scoffs at that idea, though. “Anything like that can move very easily,”’ she says. ‘‘It’s not at all complicated.’’ In fact, she suggested, it may have been the Metropolitan Museum, that grand dowager of the American art world, which first put the idea for the theft into the malefactors’ heads. Last year, in line with the “‘de-accessioning”’ policy of the Museum’s director, Thomas FP. Hoving — the controversial process in which the museum raises money for new art objects by selling old ones — the Met sold off a collection of ancient coins at suprisingly high prices. There seems to be some truth in the theory that art thieves pick and choose according to the current market, as witness the recent theft in Cambridge of several Jackson Pollock paintings from a private collection hard on the heels of the sale of a Pollock for $2 million. In any case, the New York dealer, believes, the coin thieves will have little trouble disposing of their booty through any of several channels. They could smuggle the coins out of the United States and into any number of Europeans countries where customs checks on art are lax, to say the least. In many countries, if you declare art at the border, assure the customs agent that you are the legal owner, and attest to the fact that you don’t intend to sell the stuff, you will be admitted with no further ado. You don’t really have to take it out of the country, in point of fact; law enforcement Officials say that they are assuming that many, if not all, of the coins, might be headed for American destinations. Who will buy the coins? “A dealer,’’ a dealer told me. ‘‘An unsuspecting dealer who would then sell to an _ unsuspicious collector.” ‘If the F.B.I. finds a dealer with a knife in his back somewhere on the Lower East Side, they might assume that he had something to do with it,” one art connossieur said. Of course, dealers worry about provenance, just as car salesmen worry about registrations and real estate brokers worry about deeds. “‘A dealer who is suspicious of it better damn ask for the provenance of it,” the art con- noisseur said, “But there are certain circumstances in which it is considered rather poor taste to ask. Taste is at the root of the problem. If a respectable person, say, a collector well known to the dealer, were to walk in with a handful of the coins, most dealers wouldn’t make it their business to be too curious about provenance. If a shifty, beady-eyed hoodlum type appeared in a Park Avenue gallery, his advent would more likely be greeted with a sharp intake of breath and repeated demand for explanations and affidavits. But the people who were smart enough to know what to take from the Fogg are cer- tainly smart enough to know how to dispose of it. Of course, barring’ the possibility that some strange Goldfingeresque character was responsible for the theft, and intends to hide the coins away in some mountain stronghold, chances are that the plan calls for the disposal of the coins in small lots. They may be hidden away for years, or they may go on the market directly. ‘‘Sooner or later those coins are going to show up,” a dealer says. But ‘‘sooner or later’? may mean a hundred years. The art market has ex- panded well beyond the confines of Europe and North America. Stolen art may find its way to Zurich, as it often has in the past, to acquire a pedigree and a “reputable dealer,” but from there it may go as far afield as Buenos Aires and Tokyo. With the Japanese cash position as favorable as it is, increasing numbers of Japanese collectors and speculators have been frequenting the art auctions at Sotheby’s and Parke Bernet, snapping up art for art’s sake, and art for its financial value. It is probably not unwise to speculate that some of the coins may be destined for points far from Cambridge. Dealers Ante Up A Florida group calling itself the Broward County Marijuana Dealers Association has donated $2000 in cash to help pay for a child’s heart operation. The money was turned over to fund-raisers for the Jody Dietrich heart surgery fund by an unidentified young woman. The gift covered the remaining costs needed to perform life-saving surgery on Jody, a six-year-old boy. It was the third time this year that a Florida marijuana association has come to the aid of a charity. On two previous oc- casions in the past six months, the -Gainesville Marijuana Dealers Association has made cash gifts to the Jerry Lewis telethon and a scholarship fund. RECEPTION IS TTHE BOSTON PHOENIX ts seeking a hassle-proof receptionist... one experienced in handling telephones, greeting people, sorting & posting mail, keeping the Xerox & coffee machines going and ordering supplies ALL AT ONCE. 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Inc. 491 Commonwealth Avenue ~ Kenmore Square near MBTA KE.6-8864 COMPLETE OPTICAL SERVICE 2nd Floor Free Parking in rear of Kenmore Pharmacy SannAMeRICARD Don Law presents Emerson roduced- Manticore tty Tickets $4,5.6 Tickets at box offices, Minuteman-Soundscope, Out-Of-Town | is 4 NG | : | ia , THE BOSTON PHOENIX, DECEMBER 11, 1973 PAGE THIRTY- ONE Sporting Eye The Celtics, Knicks and Garbage Time By George Kimball If they booked a rematch between David and Goliath after announcing that the little guy was coming off knee surgery and had a busted slingshot to boot, how many tickets would they sell? Would you pay money to watch a footrace between Bob Hayes and Orlando Cepeda? Secretariat and Francis the Talking Mule? In this case, if you happen to be a Celtics — or a Knicks — fan, you probably would. At least 15,320 of them did on Wednesday night, and never mind that the Knicks came into the game with only 4 remaining members of what was only three years ago a World Championship team — or, for that matter, but seven holdovers from last years roster. And never mind that the New Yorkers finished the game with a quintet of Harthorne Wingo, Tom Riker, Dick Garrett, Mel Davis, and Henry Bibby on the floor. They were still wearing those hated (or adored, choose one) blue-and-orange uniforms, and when those colors show up at the Boston Garden a _ remarkable metamorphosis invariably transforms the Celtics and the Knicks — and a sellout crowd evenly divided in its vehement “ loyalty — into the Sharks and the Jets. And, over the past couple of years had you dressed Goliath, Hayes,and Ron Turcotte in green and white and assigned the blue and orange silks to David, Cepeda, and Donald O’Connor, you'd have discovered that there really is some cosmic force called the Great Equalizer. Not only have the Knicks for the past two seasons been left in the dust over the course of the regular season only to come back and eliminate — eliminate with ease — the Celtics during the playoffs, but in truth they have on numerous occasions showed up at the Garden with teams at least as crippled as the one they brought to town Wednesday only to blow the Bostons right off the court, sometimes as badly as the Celts did to them this time, which is to say by 22 points. “IT can’t understand what all this excitement was about,’’ remarked an otherwise-astute observer of pro basketball who is new to town. ‘‘I mean, the Knicks are playing with half a team, and they’re having a lousy year.’’ He couldn’t comprehend the frenzy that pervaded the Garden all night. By the second quarter a fight had broken out, resulting in a Knick fan and a Celtic fan being hustled off to jail and one of their wives being taken to the hospital with a broken leg. Both teams’ fans, in fact, were still exploding effusively at every basket well after Garbage Time had of- ficially commenced. The uproar, bloodcurdling as it was, didn’t let up all night. really,’’ explained Globe basketball writer Bob Ryan, “‘have to have been around here the last few years to un- derstand what all that was about.” Indeed. In fact, while the final score was 119-97, for three and a half quarters this one had the familiar earmarks of a classic New York-Boston confrontation, so much so that when on two occasions — at the beginning of the third period and in the middle of the fourth — the Knicks charged to within four and six points, respectively, there were groans of ‘“‘Oh, no, here we go again” and ‘Here it comes” wups wit echoing all over the press table. But in the end, there were two telling factors. One was that a combination of sheer fatigue and bench weakness on the part of the Knicks allowed the Celtics to put the game literally out of sight at the very moment New York seemed to be right back in it. With just under nine minutes left, the Knicks had managed to erode the Boston lead to six at 85-79, whereupon the Celtics ran off 11 straight points and effectively end the game. The second was that over the course of the game the Knicks employed four different centers, none of whom was named Willis Reed and one of whom should have been named Half-a-Jerry Lucas. The ailing Lucas played only seven minutes and was never a factor. The pivot was manned for the most part by Phil- Jackson, who is almost in- Sstitutionalized as a Big Factor in these games when he plays forward. When he plays center he is almost a Celtics asset. “He plays a center like for- ward,’’ observed Don Chaney, who had spearheaded the fourth quarter surge that put the game away, blasting through the middle for spectacular driving layups. ‘“‘The way (Walt) Frazier plays me, I’ve always been able to drive on him, but before the middle would always be blocked. He always had help there before. Tonight he didn’t.” Chaney wound up with 16 points in a balanced attack that also saw Dave Cowens get 16, Don Nelson 14, Paul Silas 18, and John Havlicek 25. The nebulous state of the center spot also led to Boston’s outrebounding New York (58-35) so devastatingly that Jo Jo White’s 10 were more rebounds than anyone on the entire Knicks team. But the excitement never let up from the time The Green Man (Celt fans’ answer to Dancing Harry, who continues to be eighty-sixed from the premises at the Boston Garden) made the rounds on the floor in what is fast becoming a pre-Knicks game ritual until the final buzzer. In point of fact, Celts-Knicks Garbage Time is even _ in- teresting, and on Wednesday Artie Williams unanimously picked up the coveted Golden Trashcan Award when, in the last two minutes, he expertly and methodically passed up shots himself to set up baskets by Hank Finkel and_ rookies Phil Hankinson and Steve Downing. Hambone would have had a perfect card in the Department of Assists, Refuse Division, if Paul Westphal hadn’t missed a layup off a Williams feed. Knick fans, of course, remain unconvinced, despite the fact that the Celtics have now beaten their heroes three times in three tries. “Just wait’ll we get our whole team back,”’ said one. ‘Then we'll see what happens in the playoffs. It'll be the same as it was last year. And the year before that and the year before that.” No one who’s lived through the past two seasons would dismiss that as impossible, but it has to remain a matter of conjecture whether New York’s ‘‘whole team”’ is what it was last year, or the year before that, or the year before that. Dick Barnett is no longer a player but an assistant coach. Dave DeBusschere is a lame duck playing his last year before taking over the Nets. Red and Lucas, have so deteriorated physically over the years that even ‘‘a hundred percent healthy’’ at this stage they represent only a shadow of what they once were. Of the old Knicks only Frazier (who seems to get better each year, if anything) and Bill Bradley (for what that’s worth) remain as threatening as in years past. Add to that the continuing vitiation of their bench strength, and it has to be open to question just how good this year’s version is, even at full strength. For that matter, it is scarcely fait accompli that the Knicks will Please turn to page 37 These Other§ Brand New From ABCX—797 Also Fine Albums | AVAILABLE AT Nashua, N.H. Nashua Mall* 603-889-9202 617-826-4520 617-678-6388 i ; 4 “Dedicated to the fine art of browsing” FOR $3.69 Brookline, Mass. ABCX—769 617-775-6566 603-669-7583 ‘Chelmsford, Ma. 01824 Chelmsford St. (Rt. 110) ‘a ’ nag } 2 \ AS a ™~». Ps Going up? Bill Bradley and Paul Silas a ig | | — | as Hanover, Mass, Fall River, Mass. Hyannis, Mass. Bedford,N.H. Chelmsford Mall Hanover Mail* Harbour Mali* Cod Mali* Bedford Mali* | U PAGE THIRTY- TWO DECEMBER, 11,1973, THE BOSTON PHOENIX Kimball Continued from page 3 be in the playoffs at all. At this point they not only trail Boston by 6% games — 9 in the All- Important Loss Column — but they are only two games ahead of Buffalo in the A.I.L.C. (More embarrassing still, Philadelphia is only one game further back than the Braves. But then, the ‘76ers have to rank as the most improved team in the NBA; their nine wins give them three times as many as they had by January last season.) Should their key personnel continue to be found in hospitals and trainers rooms instead of on the basketball court, it is not at all inconceivable that the Buffalos could knock them out of second place. But then a curious blight has descended over all of New York sports in recent’ months, beginning with the Mets losing the World Series. The Giants won all their exhibition games and now they are 2-9-1. The Jets lost Joe Namath for half a season and fell to 4-8. The Islanders have played 23 games and won 4 of them, and the Rangers have won 12 of 26. The Golden Blades moved to New Jersey and Abe Beame got elected mayor. The. Nets have won 14 of 26, and lest you dismiss that as a study in mediocrity remember that the Knicks have won 14 of 27. 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He had just announced this week that he had been betrothed to his fair, two-fisted backhanding maiden, Lady Christine Marie, and he was apparently out to prove to her that he is the best knight in the land. When tennis raekets are swords, and Wilson shirts are shields. But despite the fact that his opponent Stanley Smith sometimes gives the impression of being a dragon on the court, and despite the fact. that 21-year old James Scott was sure God slew him Wednesday night last in a round robin match of the Commercial Union Masters, Connors is too much swash- bucking villain to ever be a romantic hero. Romantic heroes don’t swear and spit and throw their rackets; do clever finger routines to the crowd; heck, word has it that romantic heroes don’t even sweat. “Mind if I ask the first question?”’ Ilie Nastase, Connors’ mentor and soul. brother, called out in the crowded press room at Hynes Auditorium after Connors . had grunted and gutted his way to a 6-0 (yes, 6-0, Margie), 3-6, 8-6 win. ‘‘Would like to ask: Why do ‘you take so long? I am sweating and swearing up in the stands.” Connors grinned his press room grin at him. ‘‘Nasty.”’ he said. “I am sweating and swearing, too.”’ Sweated and swore and came back from.1-4, 30-40 deficit in the third and final set, then came back from 1-4 down in the twelve- point tie-breaker. Not only did the win insure Connors a place in the semifinals, along with Tom Okker (who beat Smith 7-6, 6-3 in an earlier match), but it may also have settled once and for all who deserves the No. 1 ranking in the United States for 1974. It may have been UCLA (Connors) against USC (Smith), but the prize wasn’t a Rose Bowl bid. What they were really playing for was the Walter Elcock Bowl. The USLTA Ranking Com- mittee met last weekend during the Davis Cup finals in Cleveland, which is kind of the East St. Louis of Ohio, and voted on the No. 1 question: Who’s Number 1? The results of the voting (it can only be Smith or Connors) though, were not announced. So each time Connors or manager Bill Riordan passed USLTA President Elcock on an escalator, © looks of longing and the sincerest of hellos were sent in his direc- on. The only thing that Connors sent in Smith’s direction on Wednesday night was his game, and that alone should be enough to earn him the top spot, even if this Masters does not count in the 1973 ranking year. Connors and Smith faced each other two other times this year: at Longwood in August, and in Los Angeles in September. Connors won both times. And each time, the pattern was much the same as it was at Hynes. For most of the match, Connors, who was taught the game of tennis by his grand- mother, made Smith play like one. Connors was asked if he was conscious that the tatest mateh: _ with Smith might still influence the rankers. Connors offered press room smile number two. ‘“‘Was I conscious of it?” he said. ‘‘Yes, I was conscious of it. When I go out there against Stan, I’m just like the other guy. I don’t want to lose. But we have more things at stake out there. There’s the winning and your own pride, like I said. Buttttt, the national rankings in this country sure mean a lot.” “Of course he should be No. 1,”’ Connors’ Runyonesques manager Riordan said on Thursday. ‘‘But to tell you the truth I think he’s going to get screwed. It’s absurd, it’s ridiculous, but I think they’re going to co-rank them at the top. Crazy. But Smith’s got this clean image going for him. Somebody should tell those people (USLTA) that when you get to be 28 years old(which Smith is), you’re kind of past the point where you’re the all-American boy.” What Riordan, the tennis king of one-liners (his definition of energy crisis is “Pneumonia with honor.’’), is implying is that his guy — Connors — is not the all- American volleyer. He _ isn’t. Even though he stutters a bit every time he mentions his December ist engagement to another tennis player of some note and repute, Chris Evert. When did you actually get engaged, Jim? “Ahhh, at about one minute to midnight on November Thir- tieth.”’” The timing was, hopefully, symbolic, since Jim won the South African men’s title and Chris the women’s. “It only took me about ten minutes to -— out the wor ‘should probably spit out a few less words’ when he is in certain Some people think that" Connors’ places, like, say, on the mateflex tennis surface (‘‘by Jean Becker!”’) at Hynes in recent tennis history in a match that Nastase was not playing that a player was booed and whistled at after winning the opening six games to none. After the first set, Stan Smith left the court to loud cries of ‘‘C’mon, Stan.’’ Jimmy Connors left the court to catcalls of ‘‘C’mon, Chris.” From then on and, in fact, right into the next afternoon when he was crushed 7-5, 6-3 by Okker in a match that didn’t mean anything since both were already in the semis, Connors reveled in his (oncourt) superbad persona. After winning one game on a close line call after he thought several close line calls had gone against him, he said to a linesman, ‘‘Hey, man, I work hard for my games, so it’s good to give ’em to me when I get them.”’ Whistles. He pointed at a group of people who cheered his errors. After another call by the same linesman on a ball that Connors hit and was clearly out, he ad- monished, ‘“‘I know it was out, and Stan knows it was out, but does he know it was out.’”’ There was more: slapping his backside in protest, giving some finger action that Nastase likes to call the ‘Rumanian peace sign,” throwing his racket up, throwing his racket down and finally after a particularly poor volley into the net early in the third set, three loud uses of a word that several courtside observers thought rhymed remarkably’ with “truck.’”’ But Gloria Connors’ little boy is “an uncomon tennis character at a ‘time when America badly needs one; the beauty of the Connors show is that, much like Nastase, — nothing he does can detract from His Game more marvelously on display than Wednesday night. Smith is a notoriously slow starter, but even he could not remember the last time he was beaten 6-0. Connors won 6-0, and for most of the set, it loked like then Cassius Clay in his first fight against the late Sonny Liston — youth and verve and cockiness wrapped up in_ exuberant package on one end of the court, uncertainty and, well, stumbling play at the other. Connors was making quick, smart rushes, hitting viciously away for breathtaking passing shots, and sending Smith’s first serve back to him harder than it originally crossed the net. But Stanley the Good had made up his mind not to hit away with Connors from the baseline (‘‘The smart thing to do,” said Riordan. “You can’t hit with this kid from there.”’) and instead was junking him, hitting underneath nine of ten backhands, making each shot a little softer than the one before it, or just a little harder. It worked in the second set, when the rhythm of the game and the hostile rhythms of the crowd seemed to upset Connors. Mid- way through the set, Connors loked up to where Nastase and his wife Dominique were sitting. He grinned the kind of grin that perhaps only he and Nasty un- derstand. “This could get fun now,” said James Scott Connors. The third set was fun. Smith carried his careful play into a 4-1 .. lead, and had Connors at 30-40, break point, which would have given Smith the chance to seve out the match. Jimmy, though, reached down deep at deuce for Please turn to page 35 $3.69 Cambridge 492-4064 HARVARD SQ. 18 Boylston St. Atlantic Recording Artist Gary Farr will be appearing at Sandys Concert Club Beverly, Mass. December 14 & 15 Oxtord Ale House Cambridge, Mass. DOWNTOWN BOSTON 505 Washington St. (across from Jordan Marsh) 423-6097 December 18 & 19 KENMORE SQ. 523 Commonwealth 262-1545 ~COOLIDGE CORNER 1316 Beacon St. Brookline 277-3757 SAVING) Harvard Sq., Coolidge Corner, and Kenmore-Stores OPEN SUNDAYS ie | | | : ta) 4 4 | \ | ‘ ae . 4 | Addressed To The | ‘ : 4 | — | | - a UI -| OGuild guitars PAGE THIRTY- FOUR DECEMBER 11, 1973, THE BOSTON PHOENIX Brian Dowling: From Ivy Bush By Tom Beer “Ihave no right, by anything I do or say, to demean a human being in his own eyes. What matters is not what I think of him; it is what he thinks of himself. To un- dermine a man’s self-respect is a sin. ” —Antoine de Saint-Exupery Many moons ago a poetic chap by the name of Durocher made the immortal statement that nice guys finish last. In the case of the Patriots’ cab squad quarter-back Brian Dowling and recently-deposed offensive tackle Bob Reynolds, truer words were never uttered. In decent, Bostonian lingo, nice guys seem to get the short end of the stick, the bad breaks. In everyday blue- collar vernacular, the nice guys get screwed. Pitifully, the New England Patriot management has handled Mssrs. Dowling and Reynolds with all the grace of Chesty Morgan jogging along the Charles. If Tuborg beer is class, then Patriot hierarchy must drink Haffenreffer. With Chuck Fairbanks departed the land of the Okies from Muskogee and descended on the hallowed soil back east, he arrived chanting slogans of fairness: and honesty. Every player would be given an equal chance with his ball club. Every player would be treated “‘like a man.” I can recall being seated in a conference room in Tampa, Florida one March evening when Fairbanks made those asser- tions. The scene was the first annual Spring Indoctrination Camp and some 50 veteran players were on hand. The words fair, honest, and equal echoed in my ear. But nine months later that echo has been deceitfully erased, a figment of the imagination. After all, promises are like pie crust: they are made to be broken. Take Brian Dowling. You remember B.D., don’t you? A few years back the 26 year-old signal- caller was the best thing to come out of Yale since the Whiffenpoof Song. But the three-year veteran has never had the opportunity to display his talents in the National Football League. Take last season, for example. Dowling compiled some _ impressive statistics as Jim Plunkett’s backup. Under difficult con- ditions — the Patsies were usually at least three touchdowr~ behind whenever B.D. entcred the game — he completed 29 of 54 passes for 383 yards and two touchdowns. Dowling’s passing percentage was a healthy 54 percent, all the more impressive in light of the fact that he was coming off the bench cold turkey and immediately was thrust into the jaws of some football machine that was in the process of devouring the Patriots. 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ON ALL ROCK ALBUMS until x-mas. 35% off all other records, as usual. but when the start was opened for the ’73 season against Buffalo on September 16 at Schaefer Stadium, Dowling once again became the forgotten man, save for holding on extra points and field goals. Today he doesn’t even do that. Brian Dowling has been neatly tucked away on the club’s taxi squad. “All I ask is a fair shake. I’ve never been given the chance to prove myself,’’ Dowling ex- plained. ‘‘Granted, Jim Plunkett is a good quarterback, but I also think I can do as well in certain situations.” It distresses Dowling to realize that the head coach has so little faith in his ability to quarterback the team even when it is hopelessly behind or sur- prisingly ahead. A conference between Dowling and Fairbanks after the first New York Jets loss proved a lesson in futility for the young Californian. The Namath-less Jets defeated the Pats 9-7 behind the leadership of a nobody named Bill Demory. Plunkett played poorly and didn’t generate a semblance of offense the entire afternoon. Dowling thought he could have. “IT went in on Tuesday and discussed the possibility of playing when Jim isn’t moving the team,’’ Brian recalled. “Fairbanks defended Plunkett and said that the Jets game was his first bad performance of the year and he didn’t want to pull him. He wanted to show Jim he had confidence in him.” Dowling left Fairbanks’ office as if he had just attended a Nixon press conference: totally con- fused. From then on Dowling went through the motions at weekday practices and occasionally held a placement for Jeff White on _.Sunday. . Several...weeks: later Fairbanks obtained journeyman quarterback Dick Shiner on waivers from the Atlanta. Falcons. Dowling sensed trouble in River City. ‘I couldn’t un- derstand why Fairbanks brought Shiner here. I thought maybe he was going to replace Bill Nelsen as quarterback coach,” Brian joked. After a few weeks the joking ceased. Shiner was used more extensively in practice, Dowling less. It culminated when the team traveled to Houston to play the pathetic Oilers. Please turn to page 35 WINTER SALE Thinking of building a chopper, cafe racer, or dragster then do it now and save 10% off our low prices with this ad. . .good through 12-22-73 tals Cycle Parts Center of 156 Brighton Ave., Allston, Mass. 02134 / 617-787-2787 ANYTHING NOT IN STOCK WILL BE SHIPPED PREPAID | plastic & wire Charles River Plaza, Boston 723-5196 FREE PARKING EXAMS ARRANGED Every style & shape of frames available A Lamps & Chairs 360 Newbury | THE BOSTON PHOENIX, DECEMBER 11, 1973 PAGE THIRTY- FIVE “I felt like I was being phased out. When Shiner learned the offense he took over running the second team in practice.”’ At the Saturday workout in the Astrodome prior to the Oilers game Dowling didn’t do much of anything. On Sunday he went to his locker to dress for the contest only to discover that one im- portant item was missing. His uniform. “J couldn’t believe it. My jersey was nowhere in sight. I asked the equipment man, George Luongo, about it, and he told me I wasn’t going to suit up. Nobody said a word to me, not even Fairbanks. This _ is professionalism?” Another person who has become disenchanted with the Patriots version of professionalism is Brian’s wife Betsy. “This year has been a nightmare, she emphasized. “a disaster. Fairbanks came here and said Brian figured in his plans for the future. He said Brian would get the opportunity to play. Now he’s not even on the active roster. They didn’t even have the courtesy of telling him he was deactivated in Houston. They hid his jersey instead.”’ Mrs. Dowling added that in the face of adversity, Brian has remained cool. ‘‘He’s disap- pointed and hurt, but his con- fidence is still there. If he can’t play here then he’ll play somewhere else.” Dowling is indeed pondering his future with the Patriots. ‘I feel like I’m running uphill on ice. I like the team and the area. As a matter of fact, we just bought a home in Canton. I’d love to stay with the Patriot organization, but if I can’t contribute to the team I’ll go elsewhere. All I’m asking for is a fair shake, a shot at being ~ a pro quarterback. If I fall flat on my face, then at least I know I gave it my best.” , So from now until December 14th, Brian Dowling will be going through the motions at Schaefer Stadium. If the Patriots then decide to let him go, I hope they have the decency to let him know about it. Gas is expensive and it’s a long drive from Canton to Amherst just to discover a missing jersey. And then there’s Bob Reynolds, at one time one of the premier tackles in the NFL. Bob is cut from the same stock as Brian Dowling, a class guy. The Patriots showed their ‘‘class” by placing the il-year veteran of waivers with three meaningless games left on the schedule. The Patriot management callously told him to get lost. Take a hike, son. To the player, football is like a love affair. You romance it through the years and when it’s over you try to exit with a little grace. Ray Nitsche of the Green Bay Packers is a good example. When Nitsche decided to hang up the cleats; he called a press conference, shed a few tears, and bid a fond farewell to football. Bob Reynolds would have liked to bow out in similar fashion. The Patriots, however, saw to it that he needn’t worry about press conference and goodbyes. “I was called into Fairbanks’ chambers and told that my services were no longer needed. I wasn’t performing up to Patriot standards.’’ Reynolds was shocked. ‘‘I couldn’t believe it. Only three games to go and they axe me. Why. I tried to help the team any way I could. I worked with the young kids, Gray(Leon) and Adams(Sam). Heck, the tackle situation was even cloudy. Neville and Adams have been hurt most of the season, and Gray is just a rookie.” Bob thought a few minutes and sadly, almost inaudibly, reflected on the past. ‘‘Eleven years in the League and now I’m left with only a bitter taste in my mouth. I didn’t want it to end so depressingly. And my pride, man, my pride is really hurt.” The pride he mentions is that of an aging warrior, the sound of that last hurrah. Pride made Bob Reynolds a man’s man. A man who was never fined during his entire career. A man who played in several Pro Bowls. A man who personally saw to it that needy kids had a ticket to a ball game. A man who in his first year won sufficient respect from his teammates to be elected alter- nate player representative, and who threw a party at his own expense this year just to promote team unity when the Patriots were having a number of problems. What galls me is the manner in which Chuck Fairbanks let a Bob Reynolds go. A few terse lines in the paper, a few words of praise. That’s all. 11 years of blood, sweat, and tears, and then faster than you can say Kerry Jackson, it’s over. Unfortunately, a player is a commodity, a piece of meat. The more a piece of meat gets chewed up, the less it is worth. 11 years in the pit and Bob Reynolds resembled chopped sirloin: he was on his way downhill and he knew it, but he had earned the right to go out with dignity, a la Nitsche. Reynolds had paid his dues ; he was playing pro football when Chuck Fairbanks was an obscure college assistant. Bob Reynolds will leave for his home in St. Louis at the end of the season. Why the end of the season, I asked? “‘Oh, I'll stick around and help Gray and Adams any way I can. They’re gonna be fine linemen one day. I’d like to teach them all I know.’ In a month or so the polyturf at Schaefer Stadium will be wind- swept and snow-covered, the stands peacefully silent. Then in late January the annual college draft will take place, and once again the aura of playing in the NFL will mezmerize hundreds of starry-eyed collegians throughout the country. Boyhood dreams of playing professional football may finally be realized. Hopefully, they will be spared the pain of Brian Dowling or a Bob Reynolds. But then don’t some dreams turn into nightmares? Brian Dowling Tennis Continued from page 33 more down-the-line backhands for Smith to contemplate, and was reprieved. Connors then blasted a backhand to Stan’s feet off a Smith first service to break in the next game, and eventually _ fought into a tiebreaker after surviving two match points. “I had two match points against me?’’ Connors asked afterwards. ‘‘I didn’t even now.”’ He was asked about the effect on him a crowd so decidedly against him can have. ! he said. ‘‘I’ve always thought you have to play against the crowd, to the crowd, and for yourself.” The bad knight then said good night. 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Only a handful of old men, naked but for loose towels and operation scars, even on Sunday, even with free bagels. There once were many more, but either they’re dead or sick or they got a condominium in Florida, says owner Murray Weisman. Everyone’s moved in so many different directions, he muses as the sweet smell of steam and cedarwood drifts up from downstairs. Business is slow. Not that Murray complains. He still runs a first-class shvitz. Clean with good heat, good service, once in a while a few celebrities, but at least a steady: clientele: No broads- or faggots like the massage places. It beats ling linoleum at my age, says Murray, 47, who did that until seven years ago. That was when Roxbury Baths, on Otisfield St., Officially recognized Jewish emigration and ended its 30 years of ritual massages. ‘‘I couldn’t see just lettin’ it die,” says Murray. “If only ’cause I was a user, I woulda missed it.”” Murray, of course, remembered the old days, when there were five shivtzes in the West End alone. His father took him on Sunday mor- nings, as the neighborhood men awakened in the room of cots in the shvitz building. Each merchant had brought his specialty the night ? before and left it to warm in the old A Lexicon for the Shvitz Shvitz: Literally, it means to sweat. In practice, it has come to mean the whole Russian-Jewish steambath describedhere. Platza: A ritual massage performed in the shvitz with leaves of the scrub oak. Literally, platza means shoulders, but has come to describe an entire process. Shule: Synogogue Shtetl: Self-sufficient European Jewish community. Shvarze: Yiddish for black, has come to be a mildly derogatory term for American blacks. wood ovens. While the men slept, the ~ fires warmed the rocks of the steam room, just as they once did in Russia and Poland. The merchants had brought corned beef, herring, kishka, lox before the price got so high, for the hundreds of people, packed so you could hardly move. And if it was that way in Boston, imagine Brooklyn on a Sunday. For awhile there were big crowds — not like the old days, but big — when-Murray first opened Blue Hill Baths in a basement below City ‘Bank and Trust on Blue Hill Avenue, Mattapan, still nearly all-Jewish _ when he began seven years ago. ‘‘It was fright between the G&G Delicatessen and the Cutlass Poolroom,”’ says Murray a bit cynically, out of realization that those landmarks are no more real today than the West End, of which little remains but an Alumni Association with its annual banquet. The Blue Hill Credit Union is on Harvard Street in Brookline now, the G&G out of business, and Blue Hill Baths has moved to “our new location”’, following its clientele to a spot off a divided exurban highway. “The customers just stopped coming,’’ says Murray, adding circumspectly, neighborhood changed.” The shyartze follow the Jews. Murray recites the axiom without malice. Like everyone at his place, he misses the old neigh- borhood. But such are the facts of the latest Diaspora, the American Jewish urban Exodus. And so it was that the non-descript, corrugated metal structure in Norwood, sand- wiched between a transmission repair and a sheet metal shop, anonymous like a franchised pizza joint or Chinese restaurant, became the last bastion of Boston’s old Jewish neighborhoods. The last place in Boston, and one of few in the East where one can still perspire in an old immigrant experience. It is, as Murray says, the last of the old- time shvitz. Not many of the sons and daughters of the sons and daughters of those sad-faced Eastern Europeans who found new names on Ellis Island 70 years ago could tell you what a shvitz is. A rare few maybe who went with their grand- - father to the last one left on New York’s Lower. East Side, and.a few more who can perhaps literally define the word as “sweat’’. For most, though, the word strikes a vaguely familiar chord ringing in the collective unconscious of the third generation. The kind of word overheard inchildhood from grand- parents, but not one included in the limited number of Yiddish ex- pressions that gained currency — like chutzpah or some of the words from Fiddler on the Roof. My father would sometimes mention it in the, same kind of tones he reserved for matters as ancient as the Old Testament. He spoke the same way of the South Philadelphia neigh- borhood on whose corners he was raised. All of which is a pity, less for sentimental reasons than in the case of shvitzing, for the purely physical. Naked Joe swears by the process, and he’s not even Jewish, which must put the shvitz in the same league as rye bread. An Italian construction worker famous for his rubdown and endurance for heat, Joe says, “Once you been here, you’ll have to come back. There’s just nothing to dislike about the place.”’ I, for one, have come both to Murray’s Place and to a shvitz on the Lower East Side of Manhattan as something of a cultural voyeur on a pilgrimage to my own recent past. I left each time, however, as a Con- vert to the process itself, thoroughly relaxed, well able to understand the old menwholink the properties of the steam and soap—not to mention the booze they bring in — with longevity. The novice at Murray’s Place would likely be baffled, even though its not nearly as big as those in New York, nor so filled Yiddish. If it’s your first time, Murray looks you over, then offers. to show you around. First you gotta take off your clothes, which is hard on the goyim, he scoffs, who don’t like gettin’ naked. ‘“‘One guy left his boxer shorts on the whole time,’’ says Murray. It’s a bit foreign to a third- generation Jew, too, however whose upringing included neither nudity nor much mingling § across generational lines, let alone sharing a row of leather armchairs at 7 a.m. — Please turn to page 4 | | | Fe | | : Big? | = ! | ae | 7 | | | on | be | ve } | / PAGE Two DECEMBER, 11, 1973, SECTION TWO, THE BOSTON PHOENIX Film: Christmas Roulette By Janet Maslin Right around this time last year I went to a press luncheon for Carol Lynley, an affair I now remember as something of a flop. Ms. Lynley was hereto giggle about how wet and cold and miserable she’d been during the making of her then-Christmas picture, The Poseidon Ad- venture, and I was mostly bored ‘to tears. She related the plot of the thing, about this capsized ocean liner, and about how Er- nest Borgnine was in it, and it all struck me (and still does) as a singularly uninteresting project. Then she told us she’d decided to be in the picture because she’d known it would be “a big, big hit,”’ and I just figured there’s no accounting for taste and went home, forgetting all about her until The Poseidon Ad- venture’s started coming in. We all know now where the smart money was last Christmas. So this year I’m going to try and make up for it by actively laying Christmas Roulette, a slight variation an a game film exhibitors play all year round. The idea is to take what skeletal information you have about a picture before it opens and try to predict, on the basis of that, what its commercial chances will be. The results of this little exercise may turn out to be way off (my intuition is notoriously faulty), but they will at least give me a chance to show off my four years’ worth of collegiate mathematics by ranking all known entrants on a relative 1-to-10 scale (10 being the highest). And this will also give me _ something more productive to do than what has been occupying me lately, sitting and brooding and grimly won- dering how many cop pictures a person can sit through before he or she starts turning blue and sprouting little shields. ASH.WEDNESDA Y (December 25, Cheri). The only major Christmas picture to be about a woman also stars Elizabeth Taylor, which means it has something of a ready-made audience. On the other hand, the matinee trade may well be put off by the close-up cosmetic surgery she undergoes at the film’s beginning, or by Helmut Berger (who wouldn’t? ), playing a gigolo with whom she has a post-facelift fling. Still, it’s the only good old- fashioned soap opera in the bunch, and look how well The Way We Were is doing. 5%. THE DAY OF THE DOLPHIN, (December 21, Charles). Big investment, big names, big gamble. Mike Nichols directs George C. Scott in a Buck Henry script, produced by Joseph E. Levine, that supposedly com- bines a love story with political and undersea intrigue. Billed as “‘science fact,’’ it could be another Rage, the washout that was Scott’s last ‘‘science fact’ outing. On the other hand, Mike Nichols did direct The Graduate. Then again, he also directed Catch-22. 7. DEADLY WEAPONS. (Kenmore Square, around Christmas day). Chesty Morgan, she of the 73” bustline, makes her B-picture debut as a vengeful type who likes to smother her men. Soft- guarantee that it was finished. William Friedkin has never directed anything on remotely this scale before, and there are strong indications that he had a lot of help from producer Philip D’Antoni on The French Con- nection . This time his producer is William Peter Blatty, author of the novel, whose experience is mostly in screenwriting. So it will be nothing short of miraculous if the finished product even turns out to be manageable, let alone _ a scene from The Exorcist Experiment. Also, plot — Harry against a band of vigilantes on the Force — sounds farfetched at best. But Eastwood is unequalled for boffo boxoffice. 7. PAPILLON (December 19, Beacon Hill). Budget is repor- tedly up over $13 million by now, and it is based on a bestseller, and it does star Steve McQueen and Dustin Hoffman, but that combination could be less than electric. My intuition, as I said — directing debut, and starring Roy Scheider of The French Con- nection. Good odds there’s a car chase, too. As with the rest of these yarns about boys in blue, it all depends on how greatly the market is glutted. 7. SLEEPER (December 19, Cheri). Woody Allen proved, with Everything You Always Wanted to Know About Sex, that anything he does is a guaranteed success around here. 10. "Dustin in Hoffmani in Papillon core, and hardly another Deep Throat. (although it does co-star Harry Reams), but areg’t you just a little curious? 5. THE EXORCIST (December 26, Cinema 57). The biggest mystery of the season, in more ways than one. This production has been plagued by troubles right from the start (one major set burned down, the editing has taken six months, Lalo Schifrin’s score was discarded only several weeks ago), and as of press time there was absolutely no word of mouth on it, not even any high quality. On the other hand, I don’t really see how this can miss unless it’s a complete abomination. Anyone who read the book, during any of its months atop the bestseller list, is probably still shaking, and is also probably en route to the theater already. 912. MAGNUM FORCE (December | 25, Savoy). Clint Eastwood makes a .Dirty Harry sequel without Don Siegel, which is probably an enormous mistake. And he makes it with Ted Post, whose last work was The Harrad above, has never been worth much, but on this one it tells me ho-hum. 6. ROBIN HOOD (Plaza. There's always a market for Disney, end this is their first animated feature in years. On the other hand, it has various constantly- revived other Disney cartoons to compete with. But it’s virtually guaranteed to bring out those kids of all ages you’re always hearing so much about. 8%. THE SEVEN UPS(December 21, Music Hall). Cop picture, with Philip D’Antoni making his THE STING (December 25. Cinema 57). Reunites the Butch Cassidy combo of Redford, Newman and director George ' Roy Hill, with the notable ab- sence of William Goldman, who wrote all of Cassidy’s jokes. But a stylish, lavish period picture could be just what the public ordered; again, look at The Way We Were. Should be a big draw with clean-type audiences, whose numbers are legion. Almost no women in it, but that might ac- tually help its chances with that particular group, since it also means no sex. 9. ROGER ABRAMS PRESENTS Bonnie Raitt is returning home. . .to California. Join Bonnie and David hice bi eis December 18 - 23 for a week of good music and old times. LEVEL 3 HARVARD SQ GARAGE 36 BOYLSTON ST 876-0003 ! | H | ! . ‘ Woody Allenin Sleeper Chesty Morgan in Deadly Weapons : é d A o ° “ THE BOSTON PHOENIX, SECTION TWO, DECEMBER 11, 1973 PAGE THREE Success Spanks Timothy Bottoms By Mitchell A. Tuchman Don Morgan, unit publicist on Vroder’s Hooch, called me: “Timothy Bottoms saw the review of The Paper Chase you did for The Los Angeles Weekly News and asked if you would be available to interview him.” “T’m available.’’ (I’m the most available person in Hollywood.) “Available is my middle name.” I had written that The Paper ‘Chase is a good, if reactionary, movie. “Considering that the last time we were treated to movies about campus romance, the hero was properly heroic if a rebel, The Paper Chase seems to espouse a peculiarly reac- tionary ideology: not only because Hart (Bottoms) con- siders grade point the sine qua non Of his Establishment desires, nor because Professor Kingsfield (John Houseman), though a tryannical ‘living extension of tradition,’ is curiously protrayed sympathetically, but because the idea that intelligence quite naturally must govern — as people once thought that kings rulec by divine right — is never questioned.” So what could Bottoms want to _ talk to me about? Probably he agreed with my analysis. Maybe he violently disagreed. Maybe he had something to say and wanted to say it through the guy who had written those things about his latest film. But it was nothing like that. His stand-in, Bill, a high school buddy (and now a tree surgeon) spilled the beans even before I was in- troduced to Bottoms on the set of Vrooder’s Hooch, now filming at the West Los Angeles Veterans Administration Hospital under Arthur (Love Story) Hiller’s direction. Bill and Tim had bought a couple of copies of The Weekly News and liked it. Bill was tired of topping oak trees in Santa Barbara, where the boys grew up, and wanted to do some writing but still found the possibility of rejection (from The Weekly News?!) fearsome. So even if his ambition to write about his chum was stymied, he still felt an article about Bottoms, an interview in a popular un- derground newspaper, would be a good idea. His tactless admission made me feel used. Available or no, I didn’t see myself as press agent for an actor whose work had not particularly fascinated me. Well, at least there was some con- solation in knowing that Bottoms had read and liked my stuff. My ego and I always wonder who reads me. I was determined not to let the insult get me down. But when I opened the in- terview by saying, “I figured - when you said you wanted to talk you had something on your mind,” and he said, ‘‘No, I just like The Weekly News,” and I followed with “‘I was told that you had asked to speak with me after reading my review of The Paper Chase,’’ and he came back patronizingly with, ‘““You wrote that? Oh. It was good,’’ I knew for sure I had been set up, I had been elected Bill’s amanuensis to do the writing and submitting he was too chicken to do. Whereas I had been thinking of changing that middle name from Available to Ablaze, Aloft, or Assured, now ~ Adolescent, Amateur, even Ass seemed more appropriate. Bottoms started talking about Kingsfield and law school. Wait a minute. What does Bottoms know from law school? He went right into the movies from nigh school when he got the leadin Johnny Got His Gun back in 1970. The day may actually come when he will be the last middle class caucasian male of his generation to have had no college education whatsoever. God forbid he should ever be unemployed. “I came back from a trip to Europe,’’ he said, ‘‘and decided to repeat a year in high school, also because the school had an excellent theater department, oh yes, it was an excellent theater department. Also in my last year of high school I attended university classes, you see, and I swam for the university. Santa Barbara’s a silly college up there on the hill.”’ I asked him if he reckoned to stop acting for a time and con-_ education is continued. I have not stopped being educated. “The dreams and aspirations of a young actor for instance are to work with certain people who are professional, in other words they’re being paid. And it’s coming true. I’m doing it now. People who you admire as you. achieve your final goals. My major’s been theater, and I’m doing it, and I’m still being educated by it.” Fair enough. won for Hoch the Academy Award for best cinematography. Now, Peter Bogdanovich’s identification with certain grand old American film directors is legendary. He would be Dwan, he would be Hawks, he would be Ford. But so far the evidence from his pictures, in combination with the massive publicity he has received, suggest not so much the work of masters as a line from Fort Apache: “When the facts and the legend disagree, om Timothy Bottoms tinue his formal education. “Stop working? You’re working. Do you intend to stop working and go back to ... what? There are a lot of different colleges, there are a lot of dif- ferent -ideas of what a college is all about.” If that was not what he wanted to talk about, he could have dropped it. He began to register on my ‘‘defensive bullshit’’ meter. “It’s pretty vast even in these state colleges. There are classes that can be taken, and majors and minors can be achieved, and it’s not at all what is proven establishment. The availability to the whole idea of education is changing so much (sic). There’ve been a lot of specials on N.E.T. about education. The pre-school, the whole idea behind pre-school education: I think colleges sort of inspired that, and now they’re dealing in the same thing.” (I swear I don’t know what that was all about.) “Do you mean taking sixteen to twenty credits or something? This work that I do now is a great opportunity. For instance the dean of anthropology at Utah State — or was it Ohio? — asked me to come back to school. He wanted me to come back and become an anthropologist. What he’s going to do if I decide that I’m interested, he’ll send me a series of books, and I can read _ these books while I’m working and achieve pretty much the same goal. In this kind of business I can do that. So my — “And when it stops being a learning process I’m going to die, I guess. My body’s ready to fade away.” old are you?”’ “Twenty-two. My concept of education is from your first breath you’re educated, and ‘college seems to be nothing more, the schooling system seems to be nothing more than to make sure that space and time are available to find out things. But this business takes me around the world. I don’t have to go to a library and read a book about a continent, I go there.” On Peter Bogdanovich They tell a story about John Ford and the shooting of She Wore a Yellow Ribbon. Ford and his crew were filming in Monument Valley. All day long the sky had been overcast. Oc- casionaly a light rain had fallen and moistened the craggy monuments that give the valley its name. Late in the day the sun broke through the clouds and lit up the red clay of the desert. Ford cried, ‘Camera, action,’ but nothing happened. Winton Hoch, his director of photography, refused to shoot. The light reflected from the oddly shaped clay monuments was too red. Ford adamantly insisted that Hoch shoot. Hoch just as adamantly refused. But Ford prevailed, though Hoch inscribed on every slate, “Shot under protest.”” When the picture was completed and released in 1949, it print the legend.”’ So when history repeated itself, and Bogdanovich was shooting a scene for The Last Picture Show by a Texas lake, and the day had been overcast and drizzly, then suddenly the clouds parted and light poured through, and Bogdanovich cried, “Camera, action,’”” and Bottoms flubbed his line, and the clouds closed once more, and the op- portunity to be Ford, actually to be Ford faded with the sun, Bogdanovich was naturally upset. So upset that at a recent symposium in New York honoring him, he swore that he would never work with Bottoms again. In Bottoms’ version of the story it was raining. The mud was so thick and sticky that bulldozers were needed to pull the equip- ment out of the location at the end of the day. But he cannot recall Bodganovich’s having expressed any feelings that he wanted a line delivered when the sun appeared from behind. ‘‘He never told me that, so if he doesn’t tell me, how am I going to know? ‘‘Peter’s gotten too much publicity as being the person responsible for The Last Picture Show. I thing Larry McMutry deserves much more. That book was written about that town that we were in, and those places were actual and real. The pool hall is there, and we came in and shot it. Larry captured those moments. The dialogue is right out of the book.” “Would you work again with Bogdanovich?”’ “I would definitely work with BBS (the production commpany that made Picture Show) again if they’re still together. It’s a good group to work for. Bert Schneider (of BBS) is really another much more responsible person than Bogdanovich in a way for The Last Picture Show. He got this thing really going. He kept it on its feet. I don’t know, I think Peter has gone overboard as far as receiving complete praise for his total work. It takes a lot of people to make a movie. He tried to make it all by himself. There would have been no one in the picture, there would have been a white frame of space if other people hadn’t helped: make that. “Every other director I’ve had has been more of a director. Peter is the type of director who likes to take individuals and have them mimic him. He wants to be in total control of everything. And when you try that, problems arise. Robert Surtees (director of photography on Picture Show) got into the car and wanted to leave, because he told Peter he couldn’t do the picture if he wanted him to copy Peter; Peter didn’t hire him for that.” “Does he act out for you exactly what he wants you to do?’’ “Yes, that’s his technique. That’s what he likes to do. And when he’s not doing that, he’s imitating Jimmy Stewart.” On Acting Morgan explained to me that Tim is very much a free spirit, happiest when not constrained. And a director whose technique and aspirations are as Bogdanovich’s are is certainly bound to be constraining. So if Bogdanovich has given the im- pression that Bottoms is difficult on the set, it is hard to know how much is fact and how much is ego. What price legend? On the other hand, it is im- possible to discount rumors that’ Timothy Bottoms is difficult. (Even Morgan wouldn’t do that categorically.) Dalton Trumbo, perhaps charitably, has laid Bottoms’ behavior on Johnny Got His Gun to its being his first picture. (It was Trumbo’s first picture as director, too.) Actors have to derive the energy, the inspiration, the emotional material from which they form their performances from somewhere. Some are simply technicians who can turn on the tears or anger, be quiet or bold on command. Others rely on emotional memories, analogies to their own experiences. Some play to the other actors in the scene. Those who are renowned for tantrums often use the high tension atmosphere they create to shape their performances. Yet another _ technique derivative of the Method is to whip another player into a state and then draw energy off him or her. There is some indication that Bottoms does this, by his own word and by that of others. The result is that some of his per- formances appear quite effective on the screen, but the manner in which he got them may not be appreciated by the other actors whose entire emotional reserves he has drained, leaving them with nothing to act from. A for- mer co-star accused him of being “an emotional leech, a_blood- sucker’”’ on camera, though all soft soap and acquiescence off camera and in rehearsal. Even in our interview I found that to be true. He had begun patronizingly enough but then had proceeded to turn questions back on me. “Stop working? Do you intend to stop working?” What had he asked me there for, anyway? 4 a ! | = U i at PAGE FOUR DECEMBER 11, 1973, SECTION TWO, THE BOSTON PHOENIX Murray's Continuea from page | Sunday with old bodies, wrapped loosely in sheets or towels, their extra bellies and supplementary chins hanging down. A portentous scene for one long out of gym class and already eyeing a receding hair line and fighting a pot belly. Not that the style of the new generation doesn’t puzzle the long-time clientele. You are incorporated into the repertoire of one-line insults delivered loudly over bagels. “If you’re Jewish,” an old man asks, with an eye toward whiskers and hair, “how come you make yourself look like Jesus?” ‘“‘What about Jesus?’’ you reply. ‘‘This is how Moses looked.’’ From the common room of food and insults you descend into the heart of the shvitz: the inner sanctum of steam. The rocks have been warmed by gas for six hours before the thick wodden door is opened and the naked take their places on the three-tiered bleachers, each row getting hotter until the tem- perature passes 200 degrees. The gas has long been turned off by that time, stresses . heat-master Naked Joe. No chance of any fumes like the cheap new saunas with their hot steel and its dangerous vapors (Readers Digest has attacked those. It’s not like the old wood-fired saunas, but it’s still Old World, says Joe, as he sprinkles a wisp of water on the rocks to up the heat, and a blast of hot air scorches the occupants, opening and shutting the door and sending the naked reaching for the buckets of cold water All of this, however, is mere Prelude to platza— the soapy rubdown and bath that truly differentiates Murray’s Place from any other in town. “How can you describe a platza?’”’ Murry asks rhetorically. ‘‘It’s like tryin’ to describe blue to a blind man.” Although the sensation itself may well elude words, the process, direct from peasant Russia, begins with the scrub oak tree, like those that abound both on the steppes and in the Blue Hills Reservation. The scrub oak leaves, when picked at the height of their life in July and August, are filled custom has it, with a aresin healthy for pores, especially those filled with a week’s sweat or Boston air. More than anything else, the platza—the rubdown with scrub oak—reflects the mortality of the shvitz tradition. Only a handful of old men—mostly in their seventies—know the delicate craft of converting the leaf harvest into the ‘“‘brooms’”’ that, when soaked in soap of pure vegetable oils, and in the hands of a master like Joe, rudely awake ' one’s sleeping pores. as you lie prone at 200 degrees on the top shelf of the cedar bleachers. From there you head for an ice- cold shower, not quite on par with the frigid swimming pools of European-New York-West End tradition, but more than enough to schock your senses so thoroughly that, for a rather orgasmic few moments, you enjoy a transcendent narcosis, a state of no feeling, a sensation- less relaxation. ‘‘Death should be so pleasant,”’ said one novice. Murray prides himself on his service, offering not only the good heat, but shaves, haircuts, sunlamps, regularly massages, but nothing gives him the nachus of Naked Joe, the puchik who gives the platza. “In New York they don’t believe him,’’ says Murray, who’s been to all of the ten or so shvitzes remaining in the East. “Sixty-one platzas in a row he gave once and not even Jewish. He can take the heat for 12 hours.’”’ ‘‘He’s a master ass- washer,’’ Murray adds, ‘‘which I guess makes me a rear admiral.” He holds up the whisk broom- like platza brush. “I can remember these used to cost two dollars, and lox was fifty cents a pound. Now if you can get one, it’s ten dollars, twelve dollars. Manufacturers have tried, but they can’t duplicate one. “One of the guys, Larry Liss, who owned the Roxbury Baths, he taught his grandchildren to make them. They go out and pick the leaves with him. But of course they’re not as_ good...”’ Murray’s Place is no country club, but he likes to talk nonetheless about the celebrities who’ve found their way to a good platza. He discusses them much like a good delicatessen owner gesturing toward autographed photos of the stars who sample the cheesecake. ‘‘I should tell you about Morty, the Israeli tank commander,’’ says Murray. “Right there on his tank he’s got one of my bumper stickers, ‘‘Sit and shivtz.’’ Today I don’t even know if he’s alive...” Which is one of Murray’s major worries about all his patrons. The old men that come out to Nor- wood from points disparate are thinning quickly in ranks. Some are weak, or their children don’t like they should drive so far and go drink with the boys. ‘‘We get all kinds here,’’ says Murray. “Doctors and dentists, old boxers, merchants, truckdrivers, cops and, well, ex-bookmakers.”’ The old neighborhood come together even though the tenements are long razed. 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And to think I grew up in a neighborhood, even a Jewish ‘neighborhood it’d be called where I worried I'd drop dead on a dark street while walking the dog and no one would notice. Or that my own grandfather, awaiting death in a luxury high-rise, may not be missed until he doesn’t answer the door for the housekeeper. Not that the shvitzers take it all so seriously. “Will you look me up when you get to Miami?’’ I once heard a Brooklynite ask a New York puchik. “Look you up, sure,’”’ was the reply. “I'll look you up in the obituary column.” “Obituary column, hell. I’ve got a lot of living yet. You know what ambition I have? To live ’til 85, then get sent up to Sing-Sing for rape.” Despite such bravado, Murray’s main competition remains Levine’s Funeral Home, not the YMCA. Like the neigh- borhoods and shtetls from which it sprung, shvitzing is disap- pearing, vanishing as a culture dilutes in the mainstream. To be replaced by health clubs, old age homes, projects for the elderly, and Jewish homes that would no sooner have an aging parent in residence than a kitchen without a disposal. The neighborhoods are gone—replaced by areas which are Jewish only in that they are non-Jewish. There are no aromas, no Yiddish cures, no crazy old uncles who spend big and run numbers or can get you a deal on fixing your car. Not even good bagels. They’re like card- board half the time. The Irish may have South Boston, the Italians the North End, but the Jewish neighborhoods? Hardly a remnant. It was only coincidence, really, that I found Murray’s Place at all. It was not part of a past about which I was taught. Shvitzing is supposed to die with the old men. Apparently the first and second generations have decided for the third that such things are not important. College is important, Israel is important—shvitzing is embarrassing. Once in a newspaper I described, quite accurately, a group of Jews as owners of small stores—and was accused of anti-Semitism. Our stay in the urban neighborhoods of America is not to be discussed. Jewish neighborhoods changed color first because the Jews, a middle class exiled, wanted out so very much. My own proper,’ go-to- symphony grandparents never let on about less proper origins. The old neighborhoods for them were merely points of depar- ture—as quick a departure as possible. In a short 50 years, not only my Eastern European but my American ghetto origins are as remote to me as Egypt. One of an over-educated generation raised virtually without culture, almost universally in search of “roots’’, for a sense of being somebody, almost anybody. Why didn’t anyone ever tell me about Murray’s Place , while I flirted with other ethnic identities whose histories hardly even apply to me. Why didn’t anyone ever discuss those funky forbears, the robust men with dirty tongues, a taste for good food, who survive today telling tales I never dreamed of. It would be nice to go each week, like the old men at Murray’s, but of course there are complications: you need a car to get out there, you need the time, and even the nominal charge (average $7) mounts up. But, of course, more than that, my laundered upbringing is defining—I am, at Murray’s more reporter than participant. The old men entrance me, but I am not like them. I can only hope that there will be some place, when I reach their age, where my absence some Sunday morning will not go unnoticed. |_| | 4 + Nz { | = : Copyright 1973 by Replique THE BOSTON PHOENIX, SECTION TWO, DECEMBER 11, 1973 PAGE FIVE Music: Less Then They Need to Get By by Joe McEwen If the Valerie Simpson-Nick Ashford show at Sanders was any indication of what the ‘energy crisis’’ will mean for con- certgoers this winter, we’ll all be buying up cans of Sterno to stave off frostbite and chilblain. While a faithful few braved the icy drafts of starchy Sanders Theater (more than once I overheard suggestions to chop up the seats for firewood), wiser heads were obviously home readying themselves for the UCLA-Maryland basketball game. Valerie Simpson and Nick Ash- ford are the team responsible for writing all those great Marvin Gaye-Tammi Terrell songs like “Ain’t No Mountain High’’ and “You’re All I Need To Get By”’. They have also produced and written for Diana Ross (‘‘Reach Out And Touch’’) and in the process made quite a reputation for themselves in Detroit. Most of the attention has been focused on Ms. Simpson, who, along with her songwriting producing talents, tured out to be a gifted singer as well. Her two Motown albums, particularly the first, Exposed, received a large amount of critical attention. Unfortunately, they didn’t sell as well as was expected, meaning that a bona fide hit single never developed, — and her status was never established outside of an ‘“un- derground’”’ audience. Motown has had its share of problems with acts leaving the label and many groups, Gladys and the Pips for one, have been very vocal about their discon- tentment with Detroit (now California). Ashford and Simpson left Motown for Warner Bros. early this year when their con- tract ran out and have been reluctant to talk about ..what caused them to leave. Unlike the other groups, Ashford and Simpson still have production commitments to Motown, but the _ details of that are equally as hazy and may have even been can- celled, as they were originally announced to be the producers of the Diana And Marvin album. The Sanders concert was part of a large promotional campaign celebrating the release of their first Warners album, Gimme Something Real. It’s evident that the label thinks that they’ll be able to make Ashford and Simp- son into a white audience at- traction, meaning that they’re “clean’’ enough (not too funky) for white people to dig. Right now, the main problem seems to be establishing any audience at all Somebody laid out a lot of money for this tour. Perhaps it was Valerie and Nick, who were obviously used to getting the best at Motown. The ace band headed by Nat Adderley Jr, was made up of studio musicians from LA and New York; even the conga player read charts. The backup vocal trio was high-class, including Joshie Armstead and Valerie’s brother. Word before the concert, however, was that they were tired and rather irritable, un- willing to perform an encore if called upon. They needn’t have worried. The show was close to being a disaster, though to be fair to them, much of what happened was not their doing, including the cold, the incredibly disruptive technical problems (are college concerts always going to be ineptly handled?) and a nauseatingly annoying comedian. Much of their own stage dif- ficulty revolved around their awkward onstage personalities. Nick Ashford, who had trouble singing on key, reminded me of Ben Vereen in Pippin with his overly dramatic ote readings. moon at Nick with forced, pasty smiles that got embarrassing when she stopped singing and started talking. For a minute I thought that somebody had substituted Sesame St. The only time any momentum was built was during the trip “down memory lane”’ Valerie sat down at the piano and Nick sat on a stool nearby, got relaxed, and began to sing snatches of all the Marvin and Tammi numbers that they had written. It was the first time the audience really could identify with anything in the show, and the songs brought immediate shouts of recognition. But before any significant rise in energy level could take place, the feedback problems’ which cropped up all night completely drowned them out for an in- furiating minute. Only during certain moments did Ms. Simp- son rise above the miserable atmosphere of the evening with her enormously ranging voice, but those moments were few. At one point in the middle of the show, while introducing the band, Valerie announced how happy she was to be in “Baltimore,” and for all she and Nick cared that’s where they could have been. Valerie Simpsonand Nicholas Ashford Valerie Simpson is a gifted performer who sings well with a man, and it’s too bad that the Diana And Marvin album couldn’t have been Valerie And Marvin. As it is, her duet album with Nick surpasses Diana And Marvin only because of the consistently high level of material (all originals) and production. None of the songs is Please turn to page 6 During the duets Valerie would Sit down at Benihana and just moments later the show begins. Out comes achefand more can you ask presto—he turns your table into his stage. You've never seen s put through such dazzling paces. Or tasted shrimps or chi same time. BEnIHANA of TOKYO 201 Stuart St., Boston, (617) 542-1166 New York, Chicago, Harrisburg, Fort Lauderdale, Seattle, Portland, SanFrancisco, Las Vegas, Encino, Marina Del Rey, Beverly Hills, Honolulu, Tokyo. anything quite so mouth-watering. What for? It's the only show in town that entertains and feeds you at the 5 = | — H ; | ! U ‘4 PAGE Six DECEMBER 11, 1973, SECTION TWO, THE BOSTON PHOENIX Randy Weston Back From Africa By Bob Blumenthal For Boston jazz listeners, the autumn of 1973 will be remem- bered as the season of return. Long-absent musicians have been flocking to the city like so many reissued recordings. First we had trumpeter Howard McGee and vocalist Joe Carroll celebrating bebop at the Jazz Coalition’s all night concert (McGee and Carroll will return this weekend at Debbie’s in the Haymarket), then a full week of Sonny Rollins at the Jazz Workshop. When a booking snag left the last week in November open, the Workshop decided to continue the returnee policy and brought pianist Randy Weston and group in for a week. Booked at the last moment and thus unable to publicize Weston’s presence, the Workshop did light business, far too light for a musician of Weston’s talents who had not performed in this city since 1964. Another prolonged absence would only be our loss, for those who did hear Randy heard a master who has reached something of a creative peak. Equally important as com- poser and pianist, Randy belongs in a small group of rarefied musical talents, what I’ll call the orchestral school. These men turn out pieces crammed with orchestral possibilities. They revel in the sonic possibilities inherent in brass and percussion, and select sidemen with par- _ ticular talents for realizing these possibilities. Their piano playing is orchestral, filled with dense harmony and personal voicings, but it is not the bare competence that often passes for ‘“‘arranger’s piano’: each man has evolved original piano techniques and each, in his way, is a virtuoso. Duke Ellington is the foun- tainhead of this orchestral school, and Thelonious Monk its most daring practitioner. Herbie Nichols and Elmo Hope, two bop- era figures who lived and died in obscurity, are important con- tributors. Randy Weston is the most productive (at this moment) living practitioner. “‘Monk’s a good friend of mine. When I was younger I spent a lot of time hanging out with him; I just about lived at his apartment for two years. His music was extremely important to me; hearing Monk, Ellington and Tatum as a young man opened up a whole new world of music.” These influences have merged into one overpowering piano style. Monk is still present in the dissonances and off-center rhyth- mic stabs, not to mention an occasional elbow smash on the keyboard. The Duke is suggested in the sweep of Weston’s piano solos, and in his almost traditional touch which im- mediately improves the tonal quality of the most recalcitrant instrument. Tatum, a figure who on first impression was too much the piano virtuoso to sit com- fortably with the orchestral pianists, is an important and hitherto unnoticed component of Randy’s style: the furious flurries of notes, the difficult counter rhythms in his two hands, and his uncommon dependence on the left hand all reflect a Tatumesque virtuosity missing in Monk and Duke. The mix would be_ incomplete, however, if we omitted mention of a fourth influence; not a person but an entire continent — Africa. An interest in all things African which was nurtured by Weston’s father and led to his expatriation to Morocco has become the defining feature of Weston’s music. He calls his working groups, of whatever size, African Rhythms, and the music makes use of a variety of rhythms popular in Africa today, as well as transplanted rhythms of the Caribbean. The percussive at- tack of the piano solos is a further extension of Randy’s notion that rhythms should take precedence in defining his music. When Randy tore through long unac- companied passages or cooked over his rhythm section, the music was brilliant and strong, but the effect was often deflated by the sidemen. William Allen, new to the band, showed his unfamiliarity with the material and didn’t say much in his bass solos. Sonny Morgan, who replaces Randy’s son Azzedin (now with Ahmad Jamal) on percussion, was refreshingly melodic when he played congas and drab in his long berimbau solos. Scobey Stroman, a drummer who, like Morgan, first appeared with the mid-60s energy players in New York, offered the only consistent support with busy, deep-toned drum work. A long stretch of Weston’s absence can be explained by his five years of residence in Morrocco. ‘‘After my tour of Africa and the Mideast in 1966, I had decided to leave the United States. My original thought was to settle in either Beirut or Cairo because of the many composers and musicians I had met in those cities, but as I made plans to leave the Six Days War broke out. I gave some thought to Nigeria next, but they had a war of their own, and I finally ended up in Morocco. An important part of my decision involved finding a country where the government would not be uncooperative, in terms of American musicians coming and going. The Tangier 72 festival I organized was scheduled for early September, and three weeks earlier an at- tempted coup had taken place in Rabat, but the Moroccan government still let us go ahead. They were slow in approving the initial plans, but as I said they are generally not uncooperative and that’s the best you can ex- pect.” Randy’s African Rhythms Club in Tangier, where he and Azzedin would duet and jam _ with musicians from all over Africa, has been dark for a year now during which time a Weston renaissance was being launched in the United States. Tanjah (Polydor PD 5055), with arranger Melba Liston and an all-star or- chestra, is the most recent product of the American trip, and Randy is currently preparing a second Polydor album of blues material (‘‘Something I’ve wanted to do for a long time. I’ll use all types of blues: funky blues, African blues, Jamaican blues, space blues...) and a Carnegie Hall concert of his compositions which will feature piano solos, duets, quartet, sextet and full orchestra. All, of course, steeped in African rhythm. Music —- Continued from page 5 outstanding, but none falls below the middle-level songs they wrote for Marvin and Tammi, which isn’t bad either. Gimme Something Real is a well for- mulated, pleasant album that should have been sung with Marvin Gaye. Valerie and Nick were sup- posed to be outstanding at the Soul At The Center program in New York this summer, so it’s obviously not fair to make final judgments on their performance at Harvard. I hope they return to play a club like Paul’s Mall where they can relax and not feel the need to overproject what isn’t there. Famous names in Ski Equipment & Clothing like Spaulding, Hanson Marker, Cubco, Rieker, K2, Elan, Head Europe, Roffee, Swing West, Topher, Head No. 1 Sun, and many more. All products are of the finest quality and guaranteed. 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LEVINE ren GEORGE MIKE NICHOLS film DOLP TRISH VAN DEVERE PAUL SORVINO FRITZ WEAVER Executive Producer Based ona novel by Production Designer JOSEPH E.LEVINE ROBERT MERLE RICHARD SYLBERT | Screenplay by Produced by Directed by BUCK HENRY ROBERT E.RELYEA MIKE NICHOLS | Technicolor” Panavision® An Avco Embassy Picture @; WALTER READE THEATRE ies 3 4 ' pa = Sgt a | DECEMBER 11, 1973. SECTION TWO, THE BOSTON PHOENIX Resords Loudon Wainwright III: ATTEMPTED MUSTACHE KC 32710) (Columbia Loudon Wainwright III’s very clever lyrics are milled in a grimacing mouth. We hear the moans and hollers, the standard guitar changes, of coffeehouse white blues, meshed with a manic-depressive satirical streak. His uniqueness asserts _ itself in morbidity. His despair is serious, so the cover picture is disorienting; Loudon happily taking the air next to a plaster- cast polar bear Madonna, suffer- ing another frozen mustache, his stocking feet planted in subur- ban crabgrass. On the next, identical lawn, an echo bear anchors the triptych. Actually it looks like he wandered out in the front yard bombed and somebody snapped a picture. Combined with his song “A.M. World” which apologizes for “Dead Skunk’s” success, his posture adds up to a denial of stardom. Just a down-home rich kid wearing his mail-order clothes in a housing tract. One song rakes over “Bell Bottom Pants” with an air of aggrieved senility, yet Loudon can mount enough boyish vigor for a live number derived from Woody Guthrie’s ‘“‘New York Town,” called “I Am The Way”: “‘Don’t tell nobody but I kissed Magdalen/Right on the mouth/I said Mary it’s okay/l am the Way.” He should run that by Kris Kristofferson to see if the latter’s neck is really red or just stuck way out. “Clockwork Charteuse” is a rather ineffective riff on Ed Sanders’s sarcastic Iliads of rural violence. ‘Down Drinking at the Bar” helps confirm the greening of booze in recent years. ‘‘The Man Who Couldn’t Cry’”’ smacks of Thurber. The singer thwacks his acoustic through several wry verses, then pulls on his painfully funny mask of bitterness for the last verse, detailing in a few strokes the finally triumphing stoicism of his hero when he lands in Heaven. A Long Way’’ is written by Kate McGarrigle, and sung straight. Loundon’s un- affected delivery does justice to the earth-mother wisdom of her nicely-gaited ballad; ‘‘...the earth really ends where you started to roam/But you and I know what a circle is worth.” “Nocturnal Stumblebutt,” an egregriously distressful specimen of his melancholy, ushers in a domestic nightmare. I can’t dec- ‘ide if Kate and Loudon’s voices on “Dilated To Meet You” are tender or callous. Their quaver- ing prairie duet spells out a pessimistic greeting to a baby: “You can not get inside again/ Once you have come out.” By way of recommending “Lullaby,” the closing cut, I can only invite you to rub your face in dour anguish. But two more endearing cuts are left from earlier in the record. “Liza” has to be Liza Minnelli, apparently Loudon’s childhood neighbor. When he truncates his a cappella rhythm to intone her two words (“I asked you what will you be and you quickly said a nurse’’) the mimicry is so deft as to seem unconscious, and an urgent fondness creeps into the dry humor. And finally, ‘The Swimming Song,” which leads off the album. The arrangement is energetic (Bob Johnston’s production is crisp and true) and the fatalism droll. Loudon’s list of prosaic strokes is momentous in light of his “Suicide Song” on Album II. And though he “‘might have drowned,” Loudon sounds hopeful, for once, on a record that has him salting his wounds with an increasingly eerie courage. —Fred Schruers Spooky Tooth: WITNESS (Island SW-9337) Spooky ‘Tooth strongly resem- ble Free, not only in volatility (this is roughly the fourth band for front Teeth Gary Wright and Mike Harrison, while rumor has Free reassembling again for their fourth time), but also in their parallel developments. Both bands grew from a platform of rock-steady vocal flash (“Evil Woman” had Harrison and Wright trading off lines to ex- cellent effect, while Paul Rodgers’s splendid phrasing ‘un- questionably made “All Right Now’), and progressed to a slow, thoughtful amalgam of all familiar elements that would be revivified in combination. This kind of playing attempts to synthesize a sensitive music out of the simplest riffs and changes. Result: a Spooky Tooth song’s formal structure is very easy to grasp, which is to say it takes comparatively few listenings to get a sense of the outline of a tune. About half the songs end there, because this kind of playing is ‘‘experimen- tal” in the sense of “‘Let’s try this and see if it works.” At its pragmatic best, though, the music can be very beautiful — the same stone makes barren huts and glorious cathedrals. The best tunes can conjure up whole worlds of sense and mood expression, operating somewhat preconsciously upon the listener. It would seem banal to write out the lyrics to and analyze “As Long as the World Keeps Tur- ning,” but viewed all together it takes on a whole shape of affir- mation to a loved one. “All Sewn Up” gives an impression of pride, tempered only by guitarist Mick Jones’s inability to capture the glory that was Grosvenor. “Sunlight of my Mind” is about introspection, and ‘Things Change”’ is a good stab at fighting off culture shock. The factor that makes this all sometimes possible is Spooky Tooth’s control of sound. In the old days, Luther Grosvenor was © able to make his guitar sound like Wright’s organ or Mike Kellie’s drums. A large part of their aesthetic is still based on the transmogrification of in- struments: in “Ocean of Power” the piano sounds like a second acoustic guitar, and Mike Harrison gets, the world’s dir- tiest, guttiest guitar sound out of an ostensibly human voice. “Pyramids,” which the band recognizes as the most important song on the album by using that shape in the back cover design, gets a full string orchestra sound out of the guitar and bass, and the voices sound anciently wise in a moving, mystcrious tribute tu human bravery. Taj Mahal: OOOH SO GOOD ’N BLUES (Columbia 32600) This is Taj in his rootsier mood. Taj’s meditations on the origins of black music combine academic accuracy with real warmth. For a guy raised in Springfield, Mass. and schooled in Amherst, (and playing nothing but Dylan songs ten years ago), Taj just seems to love southern Negro culture. His was the livest performance in Sounder, both as an actor, and as a musician performing prodigies of reconstruction on black folk music. The new album runs through the greatest variety of folk music since Taj came out as a folkie with De Ole Folks at Home (that’s the one with “Colored Aristocracy” on it). Taj takes the Chicago blues warhorse “Dust My Broom” and plays it as Robert Johnson must have; the result is a delicate lovesong. He available for | Music of the Thirties JALOUSIE Menuhin :Grappell: (violins) & The Alain Clare Trio Band on the Run 2 PAUL McCARTNEY 4 j : oe : 7 aw ‘Sige: ~ : } THE BOSTON PHOENIX, SECTION TWO, DECEMBER 11, 1973 PAGE NINE takes my favorite Willie Dixon song, “‘Built for Comfort,”’ usual- ly done as a slow boogie by Howlin’ Wolf and such, and turns it into a philosophical statement in 1920s barrelhouse piano style. Taj makes it his own debut on piano, and also turns in some bass lines on “Teacup’s Jazzy Blues Tune,” an original dedicated to his brother. Perhaps the most astonishing - restoration job is “Mama Don’t You Know,” a venture into the modalities of Skip James. James was the weirdest of a weird group, the Mississippi Delta bluesmen, but Taj recreates James’s nearly Elizabethan sense of composition on a set of folk lyrics from Lightnin’ Hopkins. I had never seen either Hopkins’s manic improvisations or Taj’s baritone vocal stylings as having much to do with Skip James’s intricate compositions and countertenor vocals. They do, and the whole thing adds up to a tender love lyric. Taj’s lovely music and warm performance have a weak side. That weak side is the tendency to substitute energy for feeling at times. When that happens, the folk persona fades, and the music becomes a sort of Hollywood buckdance. This happens only once on this album, a sign of maturity. The clinker is “Franky and Albert,” overpowered by Taj, and redolent of the Pointer Sisters, who feally are the black Andrews Sisters, and don’t belong here. Each side begins with a nice but unnecessary instrumental, ‘“‘Buckdancer’s Choice” or “Railroad Bill.” Both have a very tasteful lack of flash, but are probably better live than as album filler. Cavils aside, Taj Mahal has established himself as the most satisfying re-creator of black folk “music ‘since Leadbelly: Being satisfying is important work, and Taj is a journeyman satisfier. — Howard Marks SOUND OF PHILA- DELPHIA ’73 (Phila. Inter- national) Stylistics ROCKIN’ ROLL BABY (Avco 11010) THE DELLS (Cadet 50046) The new batch of Philadelphia Int. soul releases (Blue Notes, O’Jays,et al.) was disappointing, but I was counting on the Sound of Philadelphia album (which I understood was to be the label’s greatest hits) to be some sort of occasion for a review of the new Gamble-Huff albums. Instead the record is an odd assortment of G-H soul records, not so much a-collection album, but one for collectors only. The million sellers are includ- ed (‘Love Train,” “Me and Mrs. Jones,” “If You Don’t Know Me By Now’) and so are the big R&B hits, things like the Ebonys’, “It’s Forever’ and Johnny Williams’s ‘‘Slow Motion,” the type of records that are really the meat of the Philadelphia Sound. But for whatever reasons G-H chose to include several songs that were outright commercial failures, déservedly so in the case of the Talk of the Town’s “Super Groover,’’ or just plain mediocrities like the Bunny Sigler entry and the Futures’ (which is the wrong side of their great hit, “Love Is Here”). Why then would Gamble and Huff put out such a sloppy collection of their own material, especially given the rich catalogue they have to chose from? Who knows. It’s too bad that at the height of its commercial and artistic success the Sound of Philadelphia °’73 isn’t given a> classier representation. It looks like all the nasty rumors floating around Philly about the Stylistics either weren’t true or have been ironed out. Philadelphia magic man Thom Bell had produced what may be the finest Philadelphia single of the year (it’s been a year of great singles, too), giving sub- stance to an album that would otherwise be an even dish of whipped cream. ‘Rockin’ Roll Baby” is a novel record for Bell, beginning with the lyrics: Tootsie roll soul and little white shoes Papa’s sure proud of his little bitty Rockin’ Roll baby Singin’ at the age of two He can hardly talk But he sure knows how to sing the blues. It’s the Johnny B Goode of 1973. Bell has discarded the stings and sitars and concentrated instead on surrounding Tompkins’s fragile voice with a thumping rhythm section, sparse but effec- tive harmonies from the group and a dainty, uncluttered slide _ vocal, guitar solo from Norman Harris to tie it all together at the bridge. The Dells aren’t from Philly, obviously, but their latest album is as good as any group album from there or any place else (ranking ahead of both the In- truders and Persuaders albums of earlier this year). What makes it even more impressive is that their last album, Standing Ova- tion, was so bad. Somebody at GRT was on the ball, realizing that the Dells were suffocating in Chicago with hackneyed songs and arrangements. Don Davis, who works with Johnnie Taylor, was brought in to spruce things up. What he did was get some songwriters for the group (including Tony Hester, who produces the Dramatics) and take the Dells down to Muscle Shoals for some sympathetic, solid bottom arrangements. The Dells have been around for so long, and have such classically great voices that it’s gratifying to hear them recorded properly. “Don’t Make Me A Storyteller” and ‘My Preten- ding Days Are Over” are my two favorites, both moderately paced with all those straining vocal in- terchanges that the best Dells records have. If you’ve been wondering what all the fuss was about the last two years with all this talk about the return of high quality “group” soul, this is the place to start. —Joe McEwen QUEEN (Elektra 0598) This is a relatively exciting rock quartet from England. Its excitement is relative despite undeniable strengths in nearly all departments; instrumental, and compositions; because virtually everything —~ within has been heard before with variations. The way the group juxtaposes sections of soft rock with sudden onslaughts of smashing nosebleed is reminiscent of King Crimson and Yes, to name a couple. The way lead guitarist Brian May attacks his guitar recalls Pete Townshend, Robert Fripp, others. ‘‘Liar’’ sounds a bit similar to the Free cut of the same name. But there’s nothing wrong with imitation if it’s done well, with a smattering of grace, conviction, and originality, and this Queen does. They draw together disparate elements; raucous textures gained through fast strumming of guitar on fuzztone and felicitous, choirlike blending of voices, and mix them together in an undeniably exciting, if formularized brew. Lead singer Roger Meddows-Taylor has the perfect English rock singer voice; again, a pastiche of all the English rockers we have known and loved. This band is most definitely English in the way they communicate their direction with this initial release. While they are eclectic, and more significantly, successfully eclectic within single songs, they have a lot of guts. They are intense and intelligent, a welcome relief from the surfeit of laid-back strummers and pluckers that regularly issue from American labels like somnambulant woodchucks out for a check of the weather. There isn’t a weak track on the record. Of particular interest is ‘“‘Keep Yourself Alive,’’ a thrilling, vague directive, and ‘‘Jesus,”’ a beautifully sung rocker about the Blessed One (Praised Be He) with a Mozart-like chorus. — Mike Baron The Every Store YOU CAN PURCHASE YOUR SAFEWAY WATERBED HEATER AT: 99 MT. AUBURN STREET CAMBRIDGE, MASS. 661 - 1559 FURNITURE FAIR 1042 BEACON STREET BROOKLINE, MASS. 277 - 2085 level. You'll wake up - SAFEWAY Products Inc. Middletown, Connecticut 06457 The SAFEWAY WATERBED HEATER is available at your waterbed dealer. Happiness... a warm Waterbed You'll need more than your love kee your there'll be a chill in your waterbed, unless you have a Safeway Waterbed Heater. Without one, the water will actually draw heat from. your body, causing your sys- tem to work overtime to maintain its own temperature tired and clammy. So sleep soundly and sociably—get a UL-recognized, totally insu- lated, shockproof, thermo- ia Statically controlled Safeway Waterbed Heater today. : Remember: a cold bed doesn't make a warm heart. | | 1 \\\ inc. { DECEMBER 11, 1973, SECTION TWO, THE BOSTON PHOENIX Theatre: M ore Easy Theatrical Solutions By Larry Loonin In this time, when people think twice about laying out a couple of bucks for the theatre, two of Boston’s oldest companies are still hanging in there. Caravan and Om depend on grants and the price of admission for their existence and considering the fact that they have been serving the public for nine and seven years respectively they deserve a round of applause before we go any further. Small theatres in New York City will often have their programs and posters paid for by a local restaurant. Certain shop owners will subsidize neigh- borhood theatres because they bring more people into the area. Theatre in New York means business and the people in business know it. They are concerned about the theatres staying open because they can still make money on the latest hit. But people come to Boston to go to school. Restaurants serve food to college kids. They don’t have to cater to theatre folk. And as for performing a public service, government officials know that Boston is known for its univer- sities and not the quality of its theatre. No, there is neither money nor prestige for the people doing theatre in this town. That a theatrical season even exists is due to a few dedicated companies and their functioning as a beacon in these darkening days. Unfortunately, this time around, the traveler is provided with poor illumination by the Om and a bare bulb by the Caravan. Toward The One is essentially a participatory staged journey enacted by the company and those people in the audience willing to travel in the direction of Jerusalem, the city of peace. Guides warn of quicksand and describe the mountains we are to climb. They lead us to cosmic guides who ask us to perform certain rituals in conjunction with our inner journey. After reaching the city of peace, discord suddenly breaks out among the guides, but luckily a timely chant and a_snake-like shuffle reunite the travelers and guides. We finally leave the theatre as ‘‘one’’ peaceful group. I was very much turned off by the easy social answers. The predictability of the journey made me feel more like a robot than a peaceful soul. My humorless guide didn’t help much either. He seemed more like a motorman ina hurry than a person on a spiritual quest. I must say that as I was leaving the theatre I did notice that a few of the twenty odd travelers did seem to have a glow to their faces. So maybe there is an ex- perience waiting for you, provided your head is in the approved transcendental place. There definitely a recognition scene awaiting you in Caravan’s Suppose I Fall, but whether you are apt to learn much from it is another question. What you will see is four actors in a series of scenes demonstrating how a certain kind of person attempts to liberate (her )himself through an effort of the will. Whether these people were ever & Fun, PRAMINGHAM (Rt. 9) = Steak & Brewis... Steak & People, Shrimp & Talk, Filet Mignon Steakburgers & Laughter and all the salad you can make. All at low prices. Price includes beer, wine or sangria. & Brew The Greatest Eating & Drinking Public House Ever! 167 Worcester Rd. 255 Newbury St. At the Village Greez SUNDAY THRU THURSDAY AT DINNER ONLY. NOT VALID WITH ANY OTHER STEAK & BREW SPECIAL OFFER GE GOOD UNTIL DEC. 31,1973 publicly ouned co traded over the counter onder the tic (617) 777-2250 free or what caused their loss of freedom is not explored. We watch them approach and usually turn away from each other, but we gain very few in- sights into this choreography. The characters’ obsessive need to be held is sometimes poignant and sometimes funny but always painfully egotistical. Stan Edelson’s personae are relen- tlessly dependent. The world is nothing but a breast. Neither a psychological nor a political context is provided for the dilemma. Suppose I Fall, may be more reflective of our times than Moonchildren is of the late 60’s but both plays engage a par- ticular social class. Caravan’s audience is entertained as they see themselves in the mirror awkwardly reaching out, but I don’t think the play would necessarily involve too many people from Columbia Point. In spite of the fact that Mr. Edelson is not decribing the human condition, he has found an audience and with their help has very much improved his material since last year’s version. Some of the new scenes are similar to Brecht’s Lesson-plays. The “Transparent Woman”’ and “‘I’m a Rock”’ are bitterly funny. There is an ethical message whereas Brecht talked politics, but the style is similar. I also like the way Mr. Edelson has economized that action. There is a suggestion here of Godard’s work in the late 60’s. We permit ourselves to be fascinated by a _ conversation before really having a frame of reference. Joanne Ristauand Cynthia Whitman in Suppose I Fall? Cynthia Whitham and Joanne Ristau both had a comic side to them that I found enjoyable. Indeed, I was nearly charmed by the simplicity of the production. But suddenly I would think of Rosemary’s baby playing with his tapes. Where is the connection between the play and peoples’ actual lives? We are shown the symptoms of a societal sickness, but not the etiology of the disease. Plays like Toward The One and Suppose I Fall?, sporting their themes of peace and love, make strange and often indecipherable that which is fundamentally real. It is their function, un- consciously, of course, to lead us to theatrical solutions. They reflect our inability to do anything about that damn baby. youd Macbeth at Harvard ‘By John Reddington Macbeth, by Wm. Shakespeare Directed by Emily Mann Loeb Drama Center Macbeth David Gullette Lady Macbeth Marianna Houston MacDuff George Sheanshang Banquo Bernard Holmberg Malcolm Bob Beusman It is unclear whether the initially apparent virtues of Harvard Dramatic Club’s Macbeth are genuine virtues. One notices oddities, con- tradictions of personality and acting styles, and even textual changes — all of which can be read either as directorially in- tended strengths or unconscious failures of consistency. To give Harvard’s group the benefit of the doubt, I’ll assume that what struck me as odd or troublesome in this production was _ in- tentional, rather than the result of practical failings. With this perspective, the performance was never less than interesting, notwithstanding Director Emily Mann’s cuts, substitutions, and additions to Shakespeare’s text. The small roles of the Doctor and the Porter, often weakly cast, were here performed ex- pertly by David Eisenberg and Howard O’Brien, respectively. I feared at first that Lady Macbeth was being played by a person “who had always wanted to be an actress.’’ Instead, as it turns out, Marianna Houston simply wants to impersonate a woman she perceives to be a trifle stagey. David Gullette, as Macbeth, is in perfect control throughout. The conception of these’ two characters and their evolving relationship is clearly the most interesting feature of the production. 4 Mr. Gullette’s Macbeth is not the usual study of a contradictory human being, simultaneously soldier and seer, whose failure to accept true visions finally sub- jects him to false ones. His Macbeth is much less mysterious to himself and to us, an energetic pragmatist who expresses not horror but outrage in the discovery that he “hath mur- dered sleep,’’ a damned necessary thing for a man in his position. He is a bit prosaic, to be sure, but, while the other, imaginative Macbeth mainly frightens himself, this one is better at frightening us. His ignorance of surrounding human opinion is the source of his ineptitude as a criminal and his almost magical unpopularity. He commands men’s dislike. (I kept thinking of Watergate, but then I do that anyway.) Macbeth’s interview with the Murderers, though, is a triumph of crude fear-mongering. Afterwards, rushing out to ambush Banquo, the killers enthusiastically clutch each other, an instant mini-mob. It is one of several bright directorial ideas visible in this production. A more important example is the effective contrasting of the personal styles of Macbeth and his wife. Miss Houston brings a Please turn to page 12 TEN g ¥ | | (617) 875-5201 | y Present your I. D. card ! ¥ to your waiter for $1.00 OFF PER PERSON = ) E 4 iv 4 FROM THE FILMAKER WHO GANE YOU ‘A MAN AND A WOMAN" CLAUDE NEW YEAR” C'LABONNE ANNE’) JOSEPH €.LENINE PRESENTS AN AVCO EMBASSY AIL STARRING LINO VENTURA FRANCOKE ABIAN IN CLAUDE IEIOUCHS "HAPPY NEW YEAR' AlSO STARRING CHARIES GERARD PRODUCED WRITTEN AND DIRECTED BY CLAUDE LELOUCH PRINTS DY DELUXE aa AN AVCO EIBRSSY REIE AK STARTS FRIDAY en DECEMBER 14th (Charles wes: IN GOV'T CENTER NEXT TO THE HOLIDAY INN, BOSTON 227-2727 [Reduced Rate Parking in Garage Under] i A i j : | 2 ~ | ! cae 3 PAGE TWELVE DECEMBER 11, 1973, SECTION TWO, THE BOSTON PHOENIX Macbeth Continued from page 10 certain terpsichorean intenstiy to her playing from her first springy entrance down the stairs at stage right with Macbeth’s letter to her last, more languorous descent of the same stairs by candlelight. For a while her flamboyant self- awareness works well with the sturdier, trudging egotism of Macbeth. When he hesitates to kill Duncan, she practically tangos him into the deed, sweeping around the set until she moves him physically to her own tempo. Her breakdown after the ‘murder is not so much a matter of a sensitive nature recoiling from the bloody facts of life as a response to Macbeth’s newly apparent indifference to her. The dancer needs a partner for her act. Macbeth — it becomes evident only after he fulfills his nature — walks alone. The portrayal of this estrangement, worked out in several scenes chiefly through _ gesture, positioning, and body attitude, is on a professional level of stagecraft. Lady Macbeth’s despair is a painfully moving experience for the audience long before the sleep-walking episode. I have two specific objections to parts of the performance. First, the director apparently never made up her mind whether Malcolm was an imbecile or a hypocrite. He baffled me. So did his accent. Second, the Weird Sisters come across as nutty- weird, really crackers. They could be twice as obscene and scary as they are here, if they were allowed to make audible sense. They mean business, after all. And most of it is the business of this play. David Gullette as Macbeth and Marianna Mosaee as “y= v Macbeth Take a hit...or a few! Find the sounds you can get for less. SUPER SAVINGS NOW THROUGH SATURDAY. Your Choice! 8-TRACK TAPES A. The Guess Who The Best of the Guess Who — Vol. 2 B. Gregg Allman Laid Back C. Alice Cooper Muscle of Love D. Paul McCartney Band on the Run E. Linda Ronstadt Don’t Cry Now F. Fleetwood Mac Mystery to Me ROSLINDALE * DEDHAM « FIELDS CORNER « MQRRISSEY BLVD. ¢« SOMERVILLE des: Midnight Rider / These Days x GREGG ALLMAN/ LAID BACK | Home / Al My Friends Includes: Rain Dance- Albert Fla | Follow Your Daughter Home - Glamour Boy Broken Guns, Guns, Guns Orly and on the Run MCCARTNEY Your 399 Choice! 8-TRACK 499 TAPES G. Santana Welcome H. Carpenters Greatest Hits 8-TRACK 549 692 I. Beach Boys Beach Boys in Concert One of The Stop & Shop Companies WOBURN e CHELSEA © BEDFORD * HINGHAM ALSO AVAILABLE INOUR BROCKTON AND WESTBORO STORES GLASSHFY YOURSELF! IN THE BOSTON PHOENIX Rug Galler WALL HANGING 112 NEWBURY STREET,BOSTON TELEPHONE: 267-6660 Mt. Vainon & Charles St: Beacon Hill, Boston BOSTON’S WIDEST SELECTION OF REMAINDERS Harvard Book Stores... 1248 Mass Ave., Harv. Sq., 9-5 Mon-Sat 732 Comm Ave., Opp. BU, 9-5 Mon-Fri the original Living theatre Theatre of Spontaneity Fri. evening at 8:00 PM. Donation $3. 376 Boylston Street #307, Boston, Mass. Info: 266-8146 Group rates available. Sponsored by New England Institute of Psychodrama. “Not only are these the least ex- pensive shows in Boston; they pro- vide, as well, some stunning in- sights into the classical repertoire that are well worth your attention.” —Levitan, Boston After Dark Call 254-0129 for current schedule PUBLICK THEATER 1175 Soldiers Field Rd., Allston CHURCH OF THE COVENANT 67 Newbury at Berkeley, Boston 266-1770 247-9000 NOW PLAYING TICKETS $2.50 When | Look Into Gance WOMAN MACHINE CRAZY LITTLE CHILD - beh, I. animal farm little prince! _ 2 gen “4p BANKAMERICARD A master charge 4 tHe caro 2 THURS. & FRI 8:30, THE BOSTON PHOENIX, SECTION TWO, DECEMBER 11, 1973 PAGE THIRTEEN Art: Super- Realist Vision’’ By Kenneth Baker The De Cordova Museum in Lincoln currently has on view an excellent show of ‘““New Realist”’ painting called “The. Super- realist Vision.”’ This show is, so far as I know, the best exhibition of this tendency in painting yet to be seen in the Boston area, and it is sufficiently varied and representative to raise a lot of good questions. Perhaps the first question to ask yourself when you look at a show like this is whether these paintings represent what you consider to be reality. You may find that instead of being able to answer yes or no, you feel that the question doesn’t make sense for some reason. It may be that we don’t know what to call reali- ty anymore because we now sense “the real”’ to be a matter of (unspoken) pragmatic consen- sus, and .yet we have no clear way of registering or testing such consensus. This situation may have something to do with the ascendancy of electronic com- munications media. Television especially promotes the sense of common reality, while at the same time promoting our sense of remoteness from other tv- watchers. The subject matter of most ‘‘New Realist” paintings is the sort of thing to which we might say, “Well, it’s not un- real,’’ but which does seem es- pecially representative of the concept “reality.” There is an interesting critical argument implicit in the writings of Michael Fried on abstract painting that is worth recounting here. One way of describing the condition in which we don’t know what is ul- timately real to us is to say that tions lie. When there is no longer a thing or a body of phenomena that is peculiarly representative of what is real to us, we have to look elsewhere to find evidence of what we treat as real. The assumption here is that we never behave as if nothing were real to us unless we are quite deranged. So our own actions must express our certainties better than anything else, and if we don’t know what is finally real to us, this must mean that we are blind to whatever in our own actions expresses this. The only conclu- sion seems to be that our problem about deciding what is real to us is a problem in seeing and understanding ourselves, not a matter of seeing and un- derstanding the physical world. (Fried apparently wanted to claim that the abstract painting he sponsors uniquely offers us the experience of conviction in its quality, and that this ex- perience can teach us to recognize when we express con- viction elsewhere in our lives.) Now the curious thing about most ‘‘New Realist” paintings is that they express no vexation at all about questions of reality, almost as if these painters recognized that reality in human terms has little or nothing to do ~ with physical place. Most “New Realists” seem in fact to be bypassing issues in painting altogether. Works like Jack Mendenhall’s, Tom Blackwell, David Parrish’s, and Audrey Flack’s, for example, seem to be straightforward delectations of visual stuff performed with a fine awareness of the history of modern painting. The choice of subject matter in these pictures “93 Skidoo” from exhibit at DeCordova Museum than their execution. Many of the most attractive pictures in the De Cordova show are quite abstract in the sense that they require a real effort to be seen as images. I’m thinking of Joseph Raffael’s ““Navaho Brave” and Ben Schonzeit’s ‘“‘Mackerel’’ as examples. Both their paintings are actually easier to see as abstract than as figurative. Formally, many of the pain- tings in this show effect a kind of treatments of the canvas that abstract painters in recent years have set in opposition. The very notion of a realistic picture im- plies a uniform clarity of surface, a uniform illusion of transparen- cy. At the same time, many Realists,” working from photographs, tend to compose their pictures with the focus of attention at the center. Ben Schoenzeit’s ‘‘Mackerel” is a painting with a central platter of fish, like a target, as the center [Neg pue waqoy of attention. But the colors and textures in the picture are handl- ed in such a way that our atten- tion is simultaneously spread over the entire surface. We see the surface and see through it at the same time; this is the kind of doubleness of aspect that abstract painters frequently try for. It is plain in the De Cordova show that the old dichotomy between representation and abstraction is not really to the point any more. Many of the paintings on hand here were ob- viously done with an awareness of abstraction not just as a foil but as a limit. The old assump-. tion was that non-objective art was the art of the dehumanized modern age. But now, at a time when the term “‘modern” sounds a little dated, represcntation in painting seems to be as dehumanized as abstraction must have looked at one time. The world depicted in “New Realist’’ pictures seldom in- cludes human beings, and when they are brought in, it is either with irony, as in Mel Ramos’s “Touche Boucher” or because they are so unself-conscious as to look like representations of the past, of a purely fictional condi- tion of innocence, (Richard Maclean’s “Albuquerque’’). The world depicted in most of these pictures is simply a world in which the problem of human reality is mooted perhaps because there’s no way of raising it in figurative terms at this time. What we’re left with is the * possibility of delectation and irony, roughly the same possibility offered us by color tv. (The show continues through December 9). we don’t know where our convic- seems to be far less important synthesis between two Regular ate Museum of Fine Arts Haircuts GRE AT ony Camerata Presents Specializing in DULTS OR KIDS A MEDIEVAL CHRISTMAS long hair styling (solve all Xmas tho preformed by singers Send $3.50 @-checks & specify and instrumentalists 15% off with this S,M,L or children’s size & quantity Dec. 17, 8:30 P.M. ad on styling. to: KOHOUTEK ENTERPRISES Sanders Theater, Harvard Mr. Mark’s Men’s Hairstyling : tudents (at Coolidge Corner)234 Harvard St. Camb., Mass. 02139 TICKETS: $4 ($2 students) Brookline 566-4310 . For orders of over 100 call 492-1951 Call 267-9300, X277 |BOSTON CENTER FOR THE ARTS| First Boston Appearance N.Y. Womanspace Theater presents CYCLES. An unfinished piece about our personal lives, what’s happened between us, and how it’s all connected. ONLY 2 NIGHTS Sun.,Dec.16 @ 8pm women only Mon.,Dec. 17 8pm @ women & men at OM THEATER WORKSHOP 541 Tremont St. e Contrib. $2.50 482-4778 “.. ‘Cycles’ is as complete and unfinished as each of their lives.” — Village Voice CARAVAN THEATRE 1555 Mass. Ave., Camb. Call 868-8520. 1-5 P.M. Wed., Fri. & Sat. at 8:30 P.M. "SUPPOSE | FALL?” Wed. Dec. 12 performance at Marblehead High School at 8 P.M. Call 631-6790 112° Caravan Theatre has founda persuasive stage language that both teact entertains. “ _A, Friedman, Real Paper Theatre Two ‘SWALLOWED’ & directed Reserve Now for Special New Year's Eve Performance followed by Gala Party - Call: 547-9110 DIVING MASKS 1918 Beacon St. Brookline Opticians 150GOLD | BLACK,SILVER METAL FRAMES eee MANY STYLES 3737 “ONE FLEW OVER THE CUCKOO'S NEST: mind-blowing Garolyn Clay, Boston Phoenix: ‘IN’ toony-bin to visit’’— Arthur Friedman, Real Paper SAVE MONEY: STUDENT DISCOUNT! STUDENT RUSH CHARLES PLAYHOUSE 76 WARRENTON ST 423-1767 OM THEATER WORKSHOP BOSTON TOWARD THE ONE ... lovely singing... beautiful apparitions. . . oriented folk to the cynics.’ Sat. 2:30, 8:00 Tues. 8:00 Boston Center for the Arts 541 Tremont St. Boston 482-4778 Musical Participatory Theater ad journey to the city of peace fascinating travels...” . most comfortable participatory theater I’ve encountered, . . included everyone from 6 to 60, from spiritually —REAL PAPER Peter Handke’s KASPAR ‘++ Most important young playwright of our time.” —CLYVE BARNES Thurs., Fri. 8:00 Sat. 10:00 “TWO WONDERFUL PLAYS NOT TO BE MAYAKOVSKY HANDKE HELP” A. Friedman, Real Paper Thurs., Fri., Sat. at 8:30 thru. DEC. 22 1151 MASS. AVE FINAL 2 WEEKS “A TRAGEDY” “CALLING for ‘THEATRICAL EXCITEMENT” CAMBRIDGE ENSEMBLE CAMBRIDGE CALL 876-2544 CHILDREN! “TALES of CHELM” 10 joyous folk tales, full of wisdom and DEC. 22—JAN. 1 con’ts Sat. at 2 COMING NEXT “KAFKA: The World of Parable an original play OPENS JAN. 10 ae di Sat.at 7:30and 10pm ST Vi IS & nic Wee 196 Broadway Cambridge 1000 FRAMES ON DISPLAY PRESCRIPTION F q | | . 4 7 : | : PAGE FOURTEEN DECEMBER 11, 1973, SECTION TWO, THE BOSTON PHOENIX Books: Esquire’s Favorite Fiction By Timothy Evans The Secret Life of Our Times: New Fiction from Esquire, Gordon Lish, editor, Doubleday, 641 pp., $12.95. This is a collection of three dozen stories, many like none I have ever read before, and the more I think about them and the literary movement which they represent, the more I’m con- vinced that a time of gi osperity is upon us. Certainly this onal a sign, if we still need one, that fiction has become another kind of art than it used to be, different in its aims and methods from the novels and stories we grew up with, and different, too, in its requirements of us. But the relative novelty of this fiction”’ is of secondary importance: what matters first of all is the talent it has turned loose, and judging by the writers in The Secret Life alone, in- novative fiction is in for a strong season. To tell you why I think so, I can think of no better way to begin than by. quarreling with Tom Wolfe, who wrote an introduction to this book. He’s right about the basics: the conventions of realist narrative have passed over to the journalists and the moviemakers, and writers of fiction have created a renaissance of ‘fable, legend, parable, myth,’’ But there’s something fatally approximate about the rest of what he says. Some of these writers do, as Wolfe puts it, ‘“‘write directly in the form and rhythms of the fable, the fairy tale, or the old epic histories,’ but most of them go about it differently, and all he can find in their work is a new set of conventions that sound, as he describes them, exactly like cliches. Not that he’s completely unjustified: looking over the “new” writers included here — they’re new to me — I find two tales of miraculous gluttony, two paranoid fantasies, two triangular relationships in- volving man and wife and car. Gail Godwin and Joy Williams seem to be writing the same sad- eyed lady. Earl Thompson and Alan V. Hewat both set three men afloat on the sea and end up laughing at death. Likewise among the more established authors: Borges and Marquez contribute legendary adventures, James Purdy and Don DeLillo offer baroque decadence, Barth and Gardner revisit the classics. I think we’re up against one of the collection’s organizing principles rather than a limitation of the new fiction itself, but Wolfe has a point just the same. Some of these stories are a little too a la mode. But I don’t know what to make of him when he says they give him the feeling ‘‘that there is no hope, and, worse, no point, that the world is coming to an end, the game is up, the darkness is rolling in.’’ The world is coming to an end for everyone someday, of course, even, for some of us, today. But I don’t owe this insight to The Secret Life of Our Times, and if I hadn’t taken it with me when I opened the book, it probably wouldn’t have occurred to me at all. These are not prognostic assessments of the world situation. These are stories of the secret life, the life more private than the private life it- self, the solitude from which we hear dim rumors of a world of facts and figures, laws and wars, all the noise of ‘‘the news’’ in all its forms. The claims they press are the claims of the imagination, and where else can we nourish our hopes and look for the point of it all? I’m speaking of the imagination as a pure human resource, a defensive weapon against the devils that stalk us. “We have it because we do not have enough without it,” as Wallace Stevens once said, and because there’s so much of it in The Secret Life it’s actually a cheerful book,. an exuberant, even a festive book. But it’s also a book of our times. ‘‘Absence, sterility, mourning, oprivation and separation abound throughout the land,’’ says a voice in one of these stories, a man on the radio, and most of the others bear him out. Hilma Wilitzer’s heroine tells her husband, ‘‘Love has left this land,’’and the woman of the house in ‘“‘Wednesday,”’ by Joyce Carol Oates, declares that she “can’t live like this much longer.’’ David Ohle’s Moldenke, a humanoid Bozo who wants off the bus, lives ‘‘the haunted life,’’ and the loving, happy father-of- three in Robert Ullian’s ‘‘A Snag in the Harp” is also haunted. ‘‘A blurred, clandestine instinct deep inside him’’ makes’ him vulnerable to the violence and anxiety and the lives of the people he meets. Thinking of his wife and family, he wonders whether “perhaps the times would leave them alone,” and this is a primary issue for most of the authors represented here. The sense that the world is in pursuit yields up the theme of escape, release, deliverance. So Don DeLillo’s cop, pounding a mercy beat through Times Square, offers the city’s victims ‘‘a shady nook of the mind. A sort of grassy mental resting place. A leafy ensconcement. A mytho-lyrical bower deep in a dell.’’ But Michael Rogers ends ‘‘A Great Feeling’’ with his narrator riding off into oblivion ‘‘on an immense blast of boiling air and flame... through the thin and aged plaster of my yellow ceiling and past the solid rafters of the attic, and then, in a cloud of cedar shingles and roofing papers and bed linen, I am launched, for the space of a heartbeat, as the brightest of stars in the cloudless night sky.” An imposing exit, and closer, I think, to the spirit of the book as a whole than DeLillo’s shady nook. For, like the parables, fables and myths which it resembles, this kind of fiction gives us the unofficial view of reality, and it seems to be against us, just as it seemed to the fabulists of other times. Like them, the writers in The Secret Life don’t stop with complaining about it: accepting the adversary relationship with reality, they do something about it. To a mind like Wolfe’s, this is “‘nihilism,”’ but it’s nothing of the sort. It’s just that the fable ‘doesn’t revere reality, and the fabulist, the true lie-minded man, fas aspirations against it. And so, in “‘Blacaman the Good, Vendor of Miracles’ by Gabriel Garcia Marquez we have a hero who is “capable of convincing an astronomer that the month of February was nothing but a herd of invisible elephants.’’ And John Barth’s ‘‘Dunyazadiad’’ recalls the thousand-and-one. nights through which, by the power of tale, Scheherazade preserved herself and the virgins of her kingdom from the ravening tyrant. James Purdy chronicles the life of Elijah Thrush — “mime, poet, painter of art nouveau, most beautiful man in the world’’ — a tale to the taste of our times “‘in neither vocabulary nor meaning... and _ for this reason also I embrace it wholeheartedly.”” The point of this brief list is that these writers exult in the fabulous, and The Secret Life is a celebration of its return. As for reality, it’s still out there. How much does it matter to us? ‘‘My notion,’’ says William Harrison (in ‘“‘The Warrior’’) “‘is that the philosophers can never tell us — nor the artists or anyone else.’’ There’s no time for that question anymore, reality itself is out of control, and all we can be expected to pay attention to are “things that zoom and explode beyond our immediate com- prehension like comets, so that we stop and ask, —_ what was that?’ ” The Great Waterville Valley Ski Lift. Save your gas. Take our bus. Our deluxe ski buses will be making daily runs between Boston and Waterville Valley, New Hampshire all winter long, begin- ning Saturday, Déeember 8. Round trip fare is $9 for adults, $7 Pick-up points in Boston area Dedham-Rte. 128 Railroad Station Boston-Hynes Auditorium, Prudential Center Newton-Riverside MBTA Station Cambridge-Harvard Square at Treadway Inn ments en route and a $1 coupon toward lunch or ski instruction at Reading-Edelweiss Ski Sport, Rte. 28 Waterville Valley. Reservations can be made by callirig 427-8650, All buses arrive Waterville Valley about 10 am 8 to 5:30, the day before departure. Skiers with reservations ride and depart for Boston at 4:15 pm. the first buses, but no one will be turned away. Operated by Gray Line Tours Inc. MC 17127- Return 7:45 pm 6:30am 7:45pm 7:00am 7:15pm 7:00am 7:15pm for kids 14 and under, payable on the bus. This includes refresh- Burlington-Howard Johnson's at Burlington Mall 7:30am 6:45 pm 7:45am 6:30pm FEMALE MASSEUSSES OPEN : @ MASSAGE e SUN ROOM e SAUNA e LOUNGE 330 North Main Street Brockton, Mass. 02401 SURE KILL (pronounced: AH-HI-YA KLAUSS) HEY, ATLAS BABY ND JOIN ME INA GLASS OF DEMESTICA RED WINE. DRap EVERYTHING To enjoy exquisite taste and bouquet serve DEMESTICA RED WINE. - This quality vintage wine has been the favorite of Greece for cen- | | ! NO SPRAY NO ODOR | MOREY Lynnfield, MASS. | 2 cans $6.96 =. ¥ Nene 5 THE BOSTON PHOENIX, SECTION TWO, DECEMBER 11, 1973 PAGE FIFTEEN SONG TO THE NOT ME WHOSE HAIR SMELLS LIKE ; I never said I wanted MINE OR, RAIN SIX DAYS A The dentist is the lover whose behavior’s self-decided. He gives me something and doesn’t give me what I ask for. He has no time for me. He says he’s just on his way out. I beg him to take a look at me fearing to be in trouble without attention. Reluctantly not me who breathes best its a fear dream I’m he fits me in. in leaves lives on the wet side not daphne i never was i Things between us are still sticky. of the maple close to yr won’t be you aren’t me I ask him nervously what he intends to do. room notes the heart either if you let me He turns his back on me attack dreams the burn the wood that and begins to mix up something. mad mama floating up from glues your eyes down I open up for him. newark she becomes is one of Rain makes things hard He comes with what he’s made those old ladies whose room’s to start but i;ll do any but it’s a killing. the man who came here last thing to not become the He says I forced him. night used to clean block someone makes And then he’s yelling afterward the blood their toothpicks out of Miriam Goodman last words on the floor near a ph: tograph from say 1890 _ before their lives became ringed as this wood i know it’s not just men who turn people into trees You are counting the leaves in your pillow dreaming the spots on your mother’s hands get bigger dreaming the whole world’s a spot that swallows you like all wood you dream of fire lyn lifshin OP. CIT. My mother has swallowed the whole world. She has swallowed the publishers, the M.I.T. Curriculum Committee, and Mass. General Hospital. She has gulped down mirrors, telephones, the flies in the Albany Airport, and she has eaten my homework papers. She has bolted weddings, the United States Coast and Geodetic Survey, the blue sky, and my father. Today New York City was indigestible, but she was very hungry Patricia Cumming Need a cool -yule tool? a terrarium 353 boylston st. brookline 277-1 FINALLY THE LAST SUPPER AT THE WHITE HOUSE New England Women’s Service Free Counseling and Appointments made for pregnancy — Birth Control, Gynecology and Abortion. Free Pregnancy Tests Open 9 am—5 pm Mon-Sun and evenings Mon-Thurs. 1033 Beacon St. Brookline Ma. Call 617-738-1370 or 738-1371 Sa ys BOSTON MUSIC for Musical Toys & Gifts i Pianos—Organs Piano & Organ Lamps Sheet Music Cabinets Metronomes, Composer Portraits & Busts [ Piano Rolls, Recordings, Tapes, r- 5 Bound Scores and Books on Music ‘ Instruments— Amps— Accessories P +) Phone: 426-5100 BOSTON MUSIC 116-122 Boylston Street Open Every Eve. Monday thru Saturday ‘til Christmas - George Dergalis’ Watergate Poster is a 34” x 42” reproduction of an established artist's At Last biting reflection on our troubled times. This collector’s item is a black and white drawing eee on fine quality paper with a matte finish. “ALSO AVAILABLE IN FULL COLOR” MAIL TO: George Dergalis @ P.O. Box 98 @ Lincoln, Mass. 01773 Please send me _____ copies of the Watergate Poster. Enclosed is: my check or money order for $4.00, Black and White, or $10.00, color; postage and handling included. Name: : | \ } | PAGE SIXTEEN DECEMBER 11, 1973, SECTION TWO, THE BOSTON PHOENIX ABORTION nselling & Referral 110 up | 12 weeks* over 14 weeks* *1f that is ai you can afford. Exceitent M.D. superior facilities, clergymen on call for assistance. No reterral fees. 4212) 240-7870 - 249-7312. non-profit fit CHOICE . tax exempt } AMERICAN INDIAN ARTS CRAFTS Handcrafted Jewelery Rugs, Sand paintings 1412 Beacon St , Brookline Hot Dots liveliest ALAN WATTS FIRE IM THE LAKE The Viet- namese and the Americans in Vietnam by FRANCES FITZ- GERALD. One of the most highly praised titles of the year, this best seller won the Pulitzer Prize, the National Book Award, the Bancroft Prize for history and the Sidney Hill- man Award. 640 pages. $2 25 THE MUNCHIES EATSOOK fow to Satisfy the Hungries Without Eating E in Sight by ELIOT and ALICE HESS. A light, lively, copiously illustrated book of quick snack suggestions for all those, es- pecially the young, who suffer from sudden, irresistible food impulses. $2.95 ONE ACRE AND SECURITY How to Live Off the Land Without Ruining It by BRAD- FORD ANGIER. A guide for those who want to go back to the land and still stay within this tells how to find, cultivate, and enjoy one acre. $2.45 THE OPEN CLASSROOM READER Edited by CHARLES €. SILBERMAN. This compan- ion volume to the best-selling Crisis in the Classroom is the most complete book available on education's most hopeful recent development—the open classroom $295 1248 Mass. Ave. at Harvard 732 Commonwealth Ave. at B.U. ‘seach of the city or suburbs, - Harvard Book Stores. BEYOND THEOLOGY The Art of Godmanship by ALAN WATTS. An irreverent yet lov- ing look at the One who wears the mask of God. “This witty little book is a large theological event, an Olympian laugh.” —Joseph Campbell. $1.95 THE ZEN OF SEEING by FREDERICK FRANCK. A dis- tinguished artist shows how drawing makes one see things for the first time. Iilustrated. 6 MY OWN WAY An Auto- biography by ALAN WATTS. A most unconventional man and philosopher reviews his life and his amazingly varied inter- ests. “Candid, brilliantly writ- ten... the account of an ex- ceptional man's search for the basic truth of his own nature.” —N. Y. Times- Book Review. $2 45 BLACK ENGLISH by JL. DiL- LARD. ‘'‘A highly readable, useful and extremely timely discussion of the language system and habits of African Americans in previous and current times.'—N. Y. Times Book Review. $2.45 VINTAGE BOOKS published by Random House SUNDAY 12:30 (7) NFL: St. Louis at Atlanta. 1:00 (4) NBC Football: Patriots at Buffalo. 4:00 (7) NFL: Washington at Dallas. 4:30 (38) ‘‘Private Buckaroo,” (movie). 1942 musical comedy with a classic cast — Joe E. Lewis, the Andrews Sisters and Harry James with orchestra put on an army camp show. 7:00 (5) 5 At Large. Spotlighting WBCN-FM’s morning host Charles Laquidara. 7:00 (38) Bruins Hockey: Bruins vs. the Philadelphia Flyers. MONDAY 12:30 (56) ‘‘Angels With Dirty Faces,’’ (movie). From 1938 with James Cagney, Pat O’Brien, Humphrey Bogart, Ann Sheridan and the Dead End Kids. A priest, some gangsters and a loveable bunch of slum kids create some romantic sociology with a message. 7:30 (2) Walsh’s Animals: ‘‘A Hole In the Ark.’’ John Walsh takes up the cause of animals faced with extinction — the blue whale, the black footed ferret, the ocelot and others. 8:00 (2) BSO Special. Boston Symphony under Seiji Ozawa performs Tchaikovsky’s Symphony No. 6 in B minor and Schoenberg’s Violin Concerto with Joseph Silverstein, soloist. 8:00 (7) How The Grinch Stole Christmas. An allegory about the Christmas Tree and the Standard Oil Company. 9:00 (5) NFL Football: N.Y. Giants at L.A. Rams. Paul Ford. TUESDAY 11:00 (38) Tom Larson Show. Guest is Frank Mankiewicz author of ‘‘Perfectly Clear,’ a critique of Nixon performance. Mankiewicz can also be seen at 9:00 on the Benzaquin show. 8:30 (56) ‘‘The Music Man,” (movie) Meredith Wilson's classic musical with Robert Preston, Shirley Jones, Buddy Hackett, Hermione Gingold and WEDNESDAY 12:30 (56) ‘Johnny Belinda,” (movie). 1948 drama centering around the rape of a deaf-mute girl. Nominated for 12 Academy Awards. 8:00 (5) Dick Clark Presents the Rock & Roll Years. Freddie Cannon does ‘‘Tallahassee Lassie.’’ Also featured are Paul Revere and the Raiders, the Big Bopper and the Righteous Brothers. 8:30 (38) The Bold Ones, ‘‘The Invasion of Kevin Ireland.” Public opinion in response to this episode actually led to a change in Federal laws regarding rights ‘of privacy. Some people must not have seen the show. 9:30 (2) Kitchen Sync. New films by independent filmmakers. THURSDAY 9:00 (2) Phantom India, ‘‘A Look at the Castes.’’ Castes are the single most important factor in Indian life. This film discovers and explores the system in one Rajastani village. 9:00 (4) Andy Williams Christmas Special. Family get together with Claudine Longet. 10:00 (2) Say Brother, ‘‘The Music of Two Great, Great, Great Grandmothers.’’ Music with Mother Esther Mae Scott who played with Ma Rainey and Leadbelly, and Libba Cotton the 80 year old composer of ‘Freight Train.”’ FRIDAY 8:30 (4) ‘“‘The Borrowers.”’ A fantasy about the tiny people who live in the spaces between the floors. 8:30 (56) ‘‘Voyage to the Planet of Prehistoric Women,’’ (movie). Si-fi with Mamie Van Doren. The god of the Gill Women attacks the crew of a spaceship on Venus. There is also some trouble with the god of the Fire Mountain. So it goes. 9:00 (5} Julie Andrews Christmas Special. Guests Peter Ustinov and Peggy Lee. 10:00 (5) Portrait - Legend in Granite. Ernest Borgnine in a special based on the life of Vince Lombardi. 10:00 (56) ‘‘Don’t Knock the Rock,’’ (movie). Bill Haley and His Comets, Alan Dale and the Treniers in a 1957 saga of a rock band seeking shelter in a small town. 11:30 (56) ‘‘Planet of Blood,” (Ghoul movie). John Saxon, Basil Rathbone and Judi Meredith. A beautiful green woman survives outer space but becomes a vampire. SATURDAY 1:00 (7) NFL: Detroit at Miami. 2:00 (2) Berlioz Requiem. Performed by the 120 piece Music for Youth Symphony Orchestra and complements from the Music for Youth Wind Ensemble and the University of Wisconsin. 10:00 (56) ‘‘Plimpton! The Man on the Flying Trapeze.’’ Curious George joins the circus. pregnancy STATE APPROVED clinically proved, highest accuracy, confi no referral needed, fee $8, results in 2hiours premarital blood (ests certificate approved all states ABC labsi5369600_ Medica! Building at Kenmore Sq. Subway. 636 Beacon St., Boston, Massachusetts ALL SINGLE ALBUMS $1.69 BOXEN SETS $2.98 $12.98 REG. SCHWANN LIST TO $44! RCCORDS 4 locations: Kenmore Sq.. at Publ. Book Mart, 638 Beacon, river side; Downtown, 48 High, cor. Federal; Harvard Sq., at Brattle St.; Newton, at ook Fair, 84 Needham St. WALTER READE THEATRES DIRECTORY 2:15, 4:15, 6:15 8:15 & 10:15 p.m. Mon.-Fri. 8:00 & 10:00 p.m. Sat Sun. 1:30, 3:30,5:30, nc VILLAGE | 566 -0007 ‘ENDS THURSDAY! ineina: Charles East & West to Holiday * 195 Cambridge St., Boston Inn at Government Center weer Citizens S1 till 5 p.m. at Charles Cinema Center 227- 2727 Reduced mae at all Theatres ALLEN KLEIN presents ENDS | FIRE IN the , | a brought to you in paperback cinema FOR fThariesQ 7:45 & 10:00 p.m. TH E mest NDE BC | — CLAIRE BLOOM a | THE BOSTON PHOENIX, SECTION TWO, DECEMBER 11, 1973 PAGE SEVENTEEN SET TO GO!! KELTY BACKPACK $52.00 Carrier - $5.25 Complete Sales-Service-Guide Books-Maps SEND FOR FREE MOUNTAINEERING CATALOG BP We're just 2 hours from Boston via 1-93 & Rt. 3 MAINST. N. WOODSTOCK OPEN7DAYS (603) 745-2767 HAVE NEW YEAR: TAKE US WITH youl! allow two weeks for change renew my subscription - enclosed: (6 mos.$4 [)1yr.$7.95 [2 yrs.$14 PASTE OLD LABLE HERE SUBSCRIPTION DEPARTMENT AVCO EMBASSY PICTURES and the CHARLES CINEMA, a Walter Reade Theatre, are awarding 10 PAIRS OF TICKETS for CLAUDE OPENING NIGHT of ALSO the first 5 couples will enjoy an AFTER THEATRE DINNER at the FRENCH To be a winner write, in care of the Phoenix, YOUR MOST IMPORTANT NEW YEAR’S RESOLUTION for 1974! THE BOSTON PHOENIX, 1108 Boylston St., Boston 02215 The 10 most original entries will win. Forty-Four Church Street (directly off Harvard Square) <<) CAMBRIDGE, MASS. 02138 Private Banquet Room Available For Reservations call KI 7-4311 IN VERMONT AND ITS NEW FOR YOUR SUBSCRIPTION WRITE: EAST WEST JOURNAL 29 FARNSWORTH STREET BOSTON, MASS. 02210 mel gf er in NE wine ot PO nom! “tal \ nol. 4 s co os? has Re pot \ : ) = xclv & | street \ : : = | NOW ON SALE AT NEWSTANDS _ PAGE EIGHTEEN DECEMBER 11, 1973, SECTION TWO, THE BOSTON PHOENIX Ins & Outs Lovelace at Ovid There she was, Linda Lovelace, every man’s ultimate sexual fan- tasy, sitting, shivering, for nearly thirty minutes in the penetratingly cold Cambridge wind. Without once ceasing to smile Linda graciously accepted the Harvard Lampoon Award for “‘artistic fulfillment,” and said that she was “‘so glad to be here.” Linda dressed in a virginal white lace gown and appropriately wearing no underwear, displayed much patience and cleavage in fielding reporters’ questions after the presentation. But despite the alleged lightness of the occasion there was something very wrong. Circling nearby like a pack of hungry sharks was Linda’s en- tourage; four rapidly aging men who, even behind their tinted sunglasses, had the unmistakable glint of dollar signs in their eyes. “Did you write your best selling book?’’ Later on Shark number one informed this writer that more tact was needed in my questioning. He also informed me that Linda is changing her image. She is going to do live theatre, (a nudie play called “Pajama Tops’’ about people who run around jumping into tanks of water,), some fashion modeling, (with clothes)., and she is going on the college lecture circuit. When I asked Linda if she thought she may be derided by some of the collegians she replied: ‘“‘why, it never happened before.” The sharks stayed in the background, looking like four quickie divorce lawyers from Tijuana, their eyes darting from body to body and their ears poised to pick up the sound of an unfamiliar query. “Attention, Ms Lovelace has to catch a plane to New York now,”’ one of the Lampoonites shouted, (after being cued by a shark) ‘‘so I wish everyone would leave.” Well you didn’t have to ask me twice. I had had enough. As I walked Linda smiling: ‘‘I don’t want to comment on the book.” “‘Is your new picture, Deep Throat II, soon to be released? - . = by Shark number one I asked him: ‘‘You the brains of the operation?” Linda smiling: don’t know. 4 “No comment,” he replied - “Do you feel you’re being exploited?” last I Linda Lovely Linda Lovelace continued walking and, as I turned for one last glance, I saw Lin Linda, not smiling as much as before, ‘‘What?”’ Suddenly a shark, dressed in blue denim, interrupts: ‘‘Is there any line of reasoning to that question?”’ He didn’t wait around for an answer. The rest of the questioning, done by various reporters, was trite Lovelace, goddess of sexual delight, being told what door to walk out of. New York, Dec. 10. — Vladimir Nabokov, author of Lolita, Ada, and numerous other books, has been awarded the 1973 National Medal for Literature, the National Book Committee, Inc. announced here today. Endowed by the Guinzburg Fund, this major American award is presented annually to a living American writer for the excellence of his or her total contribution to the world of letters. The prize consists of a bronze medallion, designed by Leonard Baskin, and a cash award of $10,000. beyond belief but Linda showed exuberant enthusiasm in giving an- swers like these: Q. ‘‘What do you think about those who criticize you?”’ A. “‘Live and let live.” ‘‘Are you a feminist?” A. ‘‘In some respects I am and in some respects I’m not...” Q. ‘‘Did your parents see ‘Deep Throat.’ ” Nabokov’s publisher, McGraw-Hill, expects the famous author to A. “I don’t know.” come to New York to accept the award, which will be presented at a Q. ‘Did you ever read the Harvard Lampoon?” special ceremony during National Book Award Week, April 15-18. A. “Honestly? No.” “Craftsmanship today is an art because there is so little of it,” says Q. “What do you think of our government?” metal sculptor Rick Phillips. “You present one quality item and they A. “I think it speaks for itself.”’ ii. want you to mass produce. There is little opportunity to show my Q. “Are you going to run for office?’’ Rudolf Serkin plavs Symphony works in their entirety, where each item can be treated as a unique A. “‘Maybe, at least I’m honest.” Hall Friday Night — ‘ } product of my talent.” \ HEALTH CLUB FEMALE MASSEUSES: Sun Roome Whirlpod! \ Massage Steam AY, @ Playtzas e Sauna Lounge JMORKO JUVE ‘Met's Hair Styling: by appointment - Continuous Matiness Daily « Monday thru Friday $1.00 ‘til 5:00 P.M. — $2;00 after 5:00 P.M. lf j Sat., Sun. & Holidays, $2.00 — (Midnite Dynamite Double Feature, Fri. & Sat. — $2.00) ; Mon. Tues. Midnight Cowboy 1:30 - 5:00 - 8:35 — Mon.-Tues. | Henry V 1:45 - 5:55 - 10:05 Dec. 10-11 | Where's Poppa? 12:00 - 3:30 - 7:00-10:30| Jan. 7-8 Rise of Louis XIV 12:00 - 4:10 - 8:20 bed Wed.Thurs. | Fellini Satyricon 12:00 - 4:10 - 8:30 Wed.-Thurs.| Take the Money and Run 12:00-2:55-5:50-8:45 rh Lie ep) CO Dec. 12-13 | Fellini Roma 2:10 - 6:25 - 10:40 Jan. 9-10 What's Up Tiger Lily?! :30 - 4:25 - 7:20 - 10:15 oe = = ‘Iw Fri.Sat. Putney Swope 1:50 - 5:10 - 8:35 Fri-Sat. Touch of Class 2:45 - 6:20 - 10:05 as we és Dec 44-15 Trash 12:00 - 3:20 - 6:40 - 10:00 Jan 11-12 | Thomas Crown Affair :00 - 4:35 - 8:15 nel ro i om | Dec. 14-15 Fri-Sat. Midnite at., Je 2 Sun.-Mon. Death in Venice 1:00 - 5:10 - 9:25 Sun.-Mon. Cries & Whispers 1:00 - 4:25 - 7:50 - 11:05 LJ ~al ne Dec. 16-17 | The Conformist 3:15 — 7:30 Jan. 13-14 |. Passion of Anna 2:40 - 6:15 - 9:30 <i a <a Tues.-Wed. | Lady Sings the Blues 12:00 - 4:45 - 9:30 Tues.-Wed. | Slaughterhouse Five 12:00 - 3:40 - 7:25 - 11:05 se Cc CU Dec. 18-19 | They Shoot Horses, Don’t They? 2:30-7:15 Jan. 15-16 | Blow Up 1:45 - 5:25-9:15 ros (n soa Thurs.-Fri. | Little Big Man 12:30 - 4:50 - 9:15 Thurs.-Fri. | Effect of Gamma Rays 2:30 - 6:15 - 10:10 Lad = ad Des. of The Loved One 2:55 - 7:15 Jan. 17-18 | The Prime of Miss Jean Brodie 12:30-4:15-8:05 LL Ud ta cc Midnite at., De : Midnite at., Jan. 18-19 Sat-Sun | Cabaret 1:25 - 5:10 - 9:00 Sat.-Sun. Ruling Class 1:00 - 5:05 - 9:15 Dec. 22-23 | Garden of the Finzi Contini 3:30-7:15 Jan. 19-20 | Harold &Maude = 3:35 - 7:40 Mon.-Tues. | Nicholas & Alexandra Mon.-Tues. | Ulysses 12:00 - 4:15 - 8:35 Dec. 24-25 12:00 - 3:00- 6:00-9:00 | Jan. 21-22 | The Magus 2:15 - 6:30 - 10:50 Wed.-Thurs.| Such A Gorgeous Kid Like Me 2:00-5:40-9:20 Wed.-Thurs.| Visconti’s Ludwig 12:00 - 5:05 - 10:05 NEW Dec. 26-27 | Murmur of the Heart 12:00-3:40-7:20-11:00) Jan. 23-24 | The Damned 2:20 - 7:30 EXCITING Fri.-Sat. Paper Moon 2:45 - 6:15 - 10:00 Fri.-Sat. Heavy Traffic 12:00 - 2:55 - 5:50 - 8:50 Dec. 28-29 | Save the Tiger 1:00 - 4:30 - 8:05 Jan. 25-26 | Heat 1:20 - 4:15 - 7:10 - 10:10 DOUBLE : Midnite * idni i Sun..Mon. | Women in Love 1:00 - 5:10 - 9:30 Sun.Mon. Discreet Charm of the Bourgoisie 4 ag CREAM Dec. 30-31 | Sunday, Bloody Sunday 3:15 - 7:30 Jan. 27-28 | Truffaut's “Stolen Kisses” 2:45 - 6:05 - 9:20 FINISHED Tues.-Wed. | Brother Sun, Sister Moon 1:35 - 5:15 - 8:55 Tues.Wed. | The Devils 12:20 - 4:10 - 8:05 a Jan. 1-2 Elvira Madigan 12:00 - 3:40-7:20-11:00| 4an. 29-30 | Marat Sade 2:10 - 6:00 - 9:55 WINES Thurs.-Fri. | Day of the Jackal 12:00 - 4:25 - 9:00 Thurs.-Fri. | Love and Pain - & the Whole Damned d Thing | FROM Jan. 3-4 Frenzy 2:25 - 6:55 Jan.31-Feb1| Friedkin’s “Boys in the Band” ! 1: ae 6:55 - 9:50 MANISCHEWITZ Siidnite at., Jan. 4 Midnite PD Cream Red Concord* ynamite 7 PK ORA ynamite AD AD Cream White Concord . Cream Pink Concord Sat.-Sun. Clockwork Orange 1:00 - 5:15 - 9:35 Sat.-Sun. Chioe in the Afternoon 1:00 - 4:35 -8:10 Cream Blackberry Hollandia* Jan. 5-6 Performance 3:20 - 7:35 Feb. 2-3 Clair’s Knee 2:40 - 6:15 - 9:50 Crepes Snore Peenaye MANISCHEWITZ WINE CO..1LY., and OP ° ae = >. / Bane: j oe ne = THE BOSTON PHOENIX, SECTION TWO, DECEMBER 11, 1973 PAGE NINETEEN THE ARTISANS (266-300) Contemporary Eskimo spirit carvings. ARVEST GALLERIES 77 Newbury St. (247-1418) Virginia Precourt, paintings and draw- ings. ASHTON GALLERY Westbrook Shopping Cen., W. Roxbury Tues-Sat, 10-5. Group Exhibit. BERMAN-MEDALIE GALLERY 10 Austin St. 30-5) Newtonville Sq. (969-6264 Xmas Crafts Fair: all wate including American graphics BOSTON ARCHITECTURAL CENTER 320 Newbury St. m-Thurs, 9-9; Fri-Sun, 9-5. APLI: Appliqued tapestries. BOSTON ATHENAEUM 102 Beacon St. Daily 9-5: Sat. 9-1 Sculpture by Amelia BOSTON CENTER FOR THe YARTS 539 Tremont St. 423-36 Annual Boston Nat'l Ex- hibit: ad great prints. BOTOLP 44 Brattle St., Cambridge. (868-6967) Mon-Sat. 10-6. Graphics by Corita Kent, drawings by Tomie dePaola, handmade jewelry, pottery BRENTANO’S (262-4360) at the Pru 9:30-9; Saturday till 6 Original graphics by European and American Artists. CAMBRIDGE ART ASSOCIATION 23 Garden St., Camb. (876-0246) “Celebration of light’ through Dec. 22. CAMBRIDGE GALLERY (547-9404) 101A Magazine St., Camb. Mon.-Thurs. 1-9, Fri.-Sun. 10-6 Photos by John Weiss. CAMBRIDGE ST. ARTISTS COOP 1287 Camb. St., Inman Sq., Camb. Tues- Sat 1-5. (354-8801). Ceramic sculpture and pottery by Helle Hutchinson. CENTRE ART GALLERY 195 Harvard St., Brookline. Daily 11-5, closed Oriental Bazaar, all CHILD’S GALLERY (260.1108) 169 Newbury St. 9 to 5 mitive cONcORt ART ASSOCIATIO! 15 Lexington Rd. (1-369- 2578) Tues-Sat 11-4:30, Sun 2-4:30 Glass, ceramics, metals, plastics, textiles. CONTEMPORARY ARTISTS GALLERY 2001 Beacon St., “Shape of Content’ by various artists (232-4354). Beacon St., Mon.-Sat., 130 Paintings by David C. Baker. GRAPHICS | & GRAPHICS Ii 168 Newbury St., Bos. (266-2475) Mon-Sat: 9:30-5:30. Prints for Xmas, includi GREAT BARRINGTON PO 79 Chestnut St., Beacon Hill t, 12-46 ART GALLERY 1768 Mass. Ave. Camb. (354-1130 Tues-Fri, | to 5. 19th and 20th Century works. GUILD OF ARTISTS 162 Newbury St, Bos. (536-7660) Tues-Sat: 10:30-5:30. watercolors by Carlton KRAKKOW ROSEN SONN ND 7 St. (262-4483). Tues-Sat, 10:30-5:30 Paintings by Hans Hofmann. (262-0783) 29 S — St., Bos. Prints oy Herb Jackson, Laura Grosch, others KANEGIS GALLERY 244 Newbury St., Bos. (267-6735) Tues-Sat. 10:30-5:30 Group show: Beckmann. Mellor, KENNEDY BEACON HILL GALLERY 40 Joy St., Boston. Recent paintings by Jim Chisholm and Eric Schnikwald. KNIPP-SWETLIK (965-1476) 93 Union Centre Tues.-Sat. 11-4:30 Grand pT i Dec. 5, 4-8 pm Recent by Swetlik MADBREAD (542-6296) 4 Newbury; Tues-Sat, 11-5. oger Sammis paintings and drawings (492-2900) silkscreen Graziani MAIN ST. GALLERY 863 Main St., Cambridge. 5 Photographers. GALLERY 166 Newbury Sf. (lower level). Paintings of the Old West, Indien end Eskimo art. NASRUDIN GALLERY (247-2747) Newbury St., Boston 161 Tues.-Sat., 10-6 Paintings, drawings by Dominic. NATIONAL CENTER RO- F AMERICAN ARTISTS (442-8820) Sculpture by Anderson J. Pigatt. NEW CENTER GALLERY 547 Tremont St. (426-7700) Tues.-Sat.: 11-5. Weaving and ceramics show. 1175 Soldiers Field Rd., Allston Mon.-Sat., 10-8 (254-0129) Mixed media by Sheila Dubman. PUCKER-SAFRAI GALLERY 171 Newbury St., Bos. (267-9473) Tues.-Sat. 10-5 Masters of 20th C. Sculpture. Views: ROLLY-MICHAUX (261-3883) 125 Newbury; Tues-Sat, 10-6 Liuboslav Hutsaliuk, superb paintings. JOSE ROMERO GALLERY 11 Newbury St., Bos. (536-5846) 10-6 Daily; Wed. 10-9 Paintings by Jose Luis Moran and Vincente Navarro. JUDI ROTENBERG 130 Newbury St. Paintings by Judi Rotenber, SUNNE SAVAGE GALLERY 398A Beacon St. City/Land/Seascapes and Still 6 artists. SCHUSTER GALLERY 134 Mt. Auburn St., oo, (876-1939) Tues-Fri. 9:30-5:30, Sat. 5. Engravings from ithe Passion” y Georges Rouault. SHORE GALLERY 8 Newbury St., Bos. (262-3910) Mon.-Sat., 10-5:30; a! 30. Peter Roc OF ARTS AND CRAFTS 69 Newbury St., Bos. (266-1810) Mon.-Fri., 10-5 Mass. Assoc. of sememen show. SOJOURN (266-9427, 254 Newbury St.; a-sat. 10-5: W, TH, F fil 8: 30 (thru Xmas) Cecile Lindstedt, soft sculpture. STEBBINS GALLERY 0 Church St., Camb. M-F, 10-4 Paintings by GT Hooper, Dorothy Marianne Fisker Plerce artwork. STONE sOUP A gallery of the arts and such. Original paintings, antique prints, hand crafts, things from China. 313 Cambridge St., Beacon -Hill Tues-Sat., 12-7. 523-9481. Book illustrations by David McPhail. SULLIVAN-BECKWITH (353-0312) 416 Marlboro St., M-F, 2-6. A Winter show: prints under $50. STIERLI-BERMAN 848 Mass. Ave., Lexington Sat. 10-4; Daily 10-3. closed THURS, SUN SWETZOFF GALLERY 3 Veriam St., Lexington Mon-Sat. 9-5 Vivian Richman: Sculpture in acrylic and aluminum. TEN (876-1117) 10 Arrow St., Camb. Mon-Sat, 10-6; Thurs, 10-9 Four metalworkers: Brown, Forbes, graphics, 536-1910) Lifes: Sculpture b' THE SOCIE Exhibit. George Kolbe sculpture. Du- rer prints. MUSEUM Lincoln 259-8355; open Tues-Sat, 10-5. Admission $; under 17 free. Spectacular permanent In- cluding works by most New Eng- fand’s major artists. J Realist Vision, featuring 29 art FOGG ART MUSEUM (495-2587) 32 Quincy St., Camb. Mon.-Sat., 9-5; Sun. 2-5 Recreated,”’ photographic printing processes revived. Nihon Ko- ten Bungei: The Courtly Tradition in Japanese Art and Literature. Sculpture and drawings of Georg Kolbe Prints, drawings by ducepe de Ribera. GARDNER MUSEUM 280 The Fenway (566-1401). Authentic Venetian palace w/courtyard TUES 1-9:30, WED-SUN 1-5:30. Classi- cal tunes TUES at 8, THURS anc SUN af 4. Info: 734-1359. HAMMOND MUSEUM Hesperous Ave., Gloucester. featuring Gothic, Ro c, Rena INSTITUTE OF CONTEMPORARY ART 955 Boylston St., Bos. (266-5151) Mon.-Fri., 10-5 Hand-colored lithographs by Ricardo Viera. “Jewelry as sculpture’ exhibit. LONDON WAX MUSEUM 179 Tremont St., Boston. Open 7 days a week (542- 6882) 38 scenes. 125 groovy wax fig- ures. MUSEUM OF THE AMERICAN CHINA TRADE 215 Adams 2 Milton. This museum Is devoted to America’s rele- tions with China. Located in the fis- toric Ceptein Robert Bennet Forbes House. “The Teas of China” on dis- play at Lewis Wharf in Boston. MUSEUM OF FINE ARTS 479 Huntington Ave. 221) Open 1 dally, TUES THURS till 9. Admission $1.50. FREE on SUN Unearthin China’s Past(AA, BB). Photographs from the Polaroid Col- lection (CC). “By Land and By Sea” (P21-P23). Poster Miscellany and “Chinoiserie’” (Print Corridor). 100 Master from NE .Pri- vate Collections (D MUSEUM OF SCIENCE’ ence Park (Lechmere line THURS, 10-5; FRI, 10-10 SAT Nos: SUN 11-5. Admission; $2 aduits, $1 for ages 5-16 65; half-price FRI night. Ice Crystal Machine. Dino- saurs and Magnets. Life in the Bal- ance: environment and _ population problems. Butterflies. Moths and IMAGEWORKS GALLERY 63 Rogers St., Camb. (661-3737). CROSSROADS NEW CITY HALL Phillips, Westcott. Skippers Tektities Mon-Sat, 11- Mon-Fri, 3 artfori ne! x ; Na eague of American a .-Sat. ue IS ae COPLEY SOCIETY (536-5049) women; T ea Party Exhibit; NE School 121 Pinckney St., Ad... yo Central Wharf, Atlantic Ave. M-F, lan art, various media. 158 Newbury St. of Art KY Tea Party Poster exhibit; Open by appointment only. 9-5; S$, §$, holidays; 10-6; AINSWORTH GALLERY (542-7198) the transit system. people, in Bathtubs” exhibit. adults; $1 under 15, under 5, FREE. 2000 fish includ Prints, Sour eS Jack Coughlin. Mass. Ave., Camb. (868-5404) 134 Newbury St., Bos. (267-7249) MUSEUMS otters. and eels. Special pn Boston work ur. —— PUBLIC LIBRARY (536-5400 cestermen,”’ t fil weekdays (661-1596) DRURY ART GALLER Newbury St (266-4835) in Gallery, 2:30. 8 » Cambridge Garden St., Cambridge Tues-Fri 10-5:30, Sat. 10-5 ole a Sat. 9-6; Sun. 2-6 WORCESTER ART MUSEUM Gantempor’ ory Calligraphy in Japan: Closed Wed. Marini, etchings and lithographs. "RL Salisbury St., Worcester re by J BROCKTON ART CENTER (1-588-6000 UES-SAT, 10-5; SUN, holidays: ALPHA GALLERY HAROLD ERNST rs36-0515) 47 Paimer St., Camb. (492-7679). Fuller Memorial, Brockton ? , Closed Monday. FREE. wel te 121 Newbury St., Bos. (536-4465) 161 Newbury St. Mon-Thurs: 12-11:30 Fri.-Sat: Noon- Tues-Sun, 1-5 pm. Admission $1, chil- Later Chinese Art from the Bernat TeesGet: ltt, Tues.-Sat., 10-5: 12:30 am dren under 16 free. lection. 18c. French color prints. : Andrew Stevovich. Group show gg Cobb, Dali, Got- Joey errugia: : Sculptural Stoneware. Art rental, sales exhibition. Unstretch- Paintings by L ant HOUSE (262-6713) tlieb, Kupferman, Vasquez. ed paintings — abstracts. Lu Stubbs ar Eastern Art. Faculty/Student Show 33 Gloucester St. Paul Vasquez, new paintings. 1168 Mass. Ave., Camb. (864-4980) sculpture. America: the Craft Tradii/ MUSEUM OF TRANSPORTATION Mon-Sat. 11-7 THE GALLERIES TUES-SAT, 11-6 15 Newton, Brook. (521-1200) Reasonably priced artwork by pro- 464 Washington St., Wellesley Neon sculpture by Joe Augusta. BUSCH-REISINGER MUSEUM Hee ye” 10-5 mising Boston artists. 10-5:30 Daily ( JOAN PETERSON Kase-nera 29 Kirkland St., Camb. (495-2338) Adults $1.50, Kids $.75 ART INSTITUTE OF BOSTON Lilllan Bernstein, sculpture; Larry Lee 561 Boylston; Daily 10- Permanent collection of German art, Fantastic antique bikes and autos. 700 Beacon St. (262-1223) Chin, corepeieei Ruth Rodman, Paintings of Maine “J John Ireland Scandinavian art in A media, dating Iso Motorcycles and Carriages. N-F, 9-5; M, W, TH 5-8 Ati paint Collins. from Middle Ages to present. Onen aa and paintings by the Direct LERY OF WORLD ART PUBLIC THEATER GALLERY Mon.-Sat. 9-5. FREE. Ernest maries PHOTOGRAPHY Mon-Thurs, 9-9; Sat 9-4, Sunday 1-4. ellpott photos. Dater, Jack KENNEDY GALLERY 770 Main St., sy" M-F 11:30-3:30 Polaroid photos b' Image Circle NE SCHOOL OF PHOTOGRAPHY 537 Comm. Ave.; Mon-Sat. 10-5 Prints from the faculty collection. OFF-THE-SQUARE 52 Boylston St., C ‘amb. Rita Stewart retrospective, all media featured. PANOPTICON Phot raphs. dis PROSPECT ST. PHOTO GALLERY 188 Prospect st. Cambridge 7-10 pm daily, SAT 9-12 am. Photographs by Kalman Zabarsky. PHOTOGRAPHERS’ WORKSHOP 647 Mt. Auburn St., Watertown (926 4573). Mon-Sat. noon-10. Gallery, ren- tal darkroom, courses. Nick Stephens, Gus Kayafas: The Last Picture Show. PHOTOGRAPHIC. "PERSPECTIVES 100 Arlington St., Bos. at UMass. Photos by Arthur Rothstein. POLAROID GALLERY 549 Technology Sq., Camb. boy by Margot Niederland PROJECT INC. 141 Huron Ave., Camb. (491-0187) exhibitions and workshops. Thur Nov. 31: Student show. — GALLERY OF PHOTOGRA. 162 Newbury St., Bos. (262-0146). Tues-Sat: 10-5:: 30. Photos by Richard Faller. — SCHOOLS AND UNIVERSITIES — Graphics London’s Print Work- BRANDEIS Goldf. brary HARVARD UNIVERSITY cores ter fal for Arts xperimental color ra 5 an ica. Hayden Galiery Paintings by Donald Robertson. WELLESLEY COLLEGE Jewett Arts Center, Photographs by Wynn Bull from Boston — Pet Supply, Inc,, TROPICAL FISH& °, SMALL ANIMALS. Dynamite Fish at Dynamite Prices dial: TNT-FISH 200 First St., Cambridge (near Lechmere) WITH THIS AD “Polyarts’ “Late Suburban Friday 1-9 Saturday 10-10 Sunday 17 hoppers December on SWest “Newton ,Ma. °Santa in person! ‘Exhibits, puppet shows. Entertainment. details.call 492-2903. festival Here’s How To Get Your Own Fabulous * 100%, cotton knit * madeinU S.A | have enclosed $ NAME ADDRESS CITY: Please indicate quantity & size {| }|SMALL | ]MEDIUM * machine washable * small, medium, or large Tee Shirts at $2.00 each. { })LARGE STATE . Make check payable to, andanail coupon to FEDERAL DISTILLERS INC. 15 MSGR. O'BRIEN HWY... CAMBRIDGE, MA 02141 TANGO SCREWDRIVER MADE WITH VODKA, 25 PROOF. FEDERAL DISTILLERS, INC., CAMBRIDGE, MASS. (Tee Shirt? PREPARED AND 8Y FEDERAL DISTILLERS cAMBRIDGE, TWENTY FIVE PROOF ~ | 122 Elm Hill Ave., Dorchester eae: T, TH, 12-7; Fri, 12-9; S-S, 1-4 MIT oe we 7 DAYS [ } 10° = TANGO; Kids VOOKA | DECEMBER 11, 1973, SECTION TWO! THE BOSTON PHOENIX PAGE TWENTY Burli bg Could Never Have Sex Framing i 1im 1S t InL2s Cambridge Pesbody Braintree | Burlington Mean Streets Vengance 1:35, 3:42, 5:49, 7:56, 10:03 Executive Action 200 BRATTLE (TR 6-4226) Sounder 1:30, 3:10, 4:50, 6:35, 8:15, 10 | 10 40 Brattle St. near Harvara Square Boston CINEMA 733 Chari La Strada stone Killer | Boylston St. by Paul’s Mall 0, 12 b, 4:05, 6:10, 8:15, 10:15 5:30. 9:50 Chelsea Boylston St. by Paul’s Mall Juliet of the Spirits Cambridge en SAVOY | 4 ons 720) 7:20; weekend mats.: 3:10 Waltham Midnight Cowboy + Raymong’s st s. Wed:, Natick beters thootre beckings ere Where's Poppa? 10-10, every 2 hours. 6:35, 9:40; weekend mat.: 3:30 swew Doss” 2 = ae 12, 3:30, 7, 10:30 SAVOY I (426-2720) Passion of Joan of Ark Natick Wed-Thurs: 539 Wash. St. nr. Raymond's 8:20 Fellini Satyricon Sacred Knives of Vengence CENTRAL 1 (864-0426) Walking Tall pal - 12, 4:10, 8:30 12:30, 2, 4, 6 8 10 425 Mass Ave. near Central Square Saugus Fellini Roma SAXON (LI 2-4600) KING OF HEARTS (De Broca) Cambridge ' ABBEY CINEMA I (262-1303) 2:10, 6:25, 10:40 219 Tremont St. 6:30, 9:45; weekend mat 3:10 Stoneham ae 600 Comm. Ave. across from BU Fri-Sat: bar By The Tail Waltham cs A Clockwork Or. Putney Swope 10, 11:30, 1, 2:30, 4, 8:15; weekend mat 4:55 The Way We Were : ri tral re pswic r a asn ABBEY CINEMA (262-1303) Reffer Madness Sun-Tues 3 600 Ave. across from BU Sex Bunny O'Hare Sts. Wed: y AKDEN ( Bless the Beasts and the Moon : Invasion of the Bee Girls 19 Arlington St. opp. The Public Garden Nicholas and Alexandra Hs cag 740 Film Specials Sts. Wed Last Tango in Paris Gunfite in Abilene Harold and Maude Bis Bust-out 6. 8, 105 plus weekend mats. Fri-Sat: 8:05; weekend mat.: 4: GARY 2-7040) Count Yorga, Vampire HARVARD SQUARE ( ) Cal for time: 131 Stuart St. nr. Tremont Cry of the Banshee At Harvard Square ALLSTON CINEMA (277-2140) Nurses’ Report Call theater for times. 0, Lucky Man! HARVARD-EPWORTH CHURCH at 4 214 Harvard Ave. 10, nN 230, 1:15, 3, 4: 45, 6:30, 8:15, 10 SYMPHONY | (262-8820) 2 é 15, 8:30 Mass. Ave. in C screens fl Last Tango in Paris ‘st. Damnation of and Bes, KENMORE SQUARE (262-3799) Boxer Bourgeoisie mnation Ss. Cinema Two: Black Gun NEWTON FREE LIBRARY, 413 Centre Clockwork Orange : Get to Know Your Rabbit Stone Killers y, Dec. 18: St. in Newton, screns flix WED at noon 6:45, 9:15 3: 30, 8 Call for times. sluegrass Show. and 1HURS at 7 pm. FREE. Info: eemnene mats: 1:45, 4:15 Call WED for new feature. SYMPHONY I! (262-8820) WELLES. CINEMA (868-3600) 527-7700. Dec. Lg “Black Woman.” Sts. Wi MUSIC HALL (423-3300) 252 Huntington Ave. nr. Symph Hall ass. Ave. Dec. 13: “When Comedy was King’ Cabaret 268 Tremont St. nr. Stuart Sts. Wed: ond’ "The Tramp.” ART CINEMA (482-4661) Call_for times. WED and SAT In December’ (except Thunder Fist) (NE VIDEO THEATR 782-2235) Ned: he 2000, car ‘Old alking E VIDEO 4 < pm: “Excava 7 Year Enter the Dragon Panis 24 Brignton Ave. Comm. end continuous Tomb.” At 3 pm: “Historical Relics Five Fingers of Death Gai Gane Brighton Aves. oa Tales earthed in China Sts. Wed: Fritz the Cat Theatre One Washington EASTERN My. at 1941 _Comm. ir iss Ave. os screens ix ASTOR (542-5030) 1:45, 4:25, 7:15, 10 4, 5:45, 7: £30, 9:30, 11710 WED at 7:30 pm. Dee. 12: 8 show on 3, 5:50. 8:40 Fri-Sat: 8, 9:90, 10:55 Get 10 Know Your Rabbit y Sts. Wed: Theatre it Three Little Pigs rams. 11:15, 235, 5:52. 9:15 riple Echo Groove PROJECT ALTERNATIVES screens The Mack Call for times. 8, 9:30 Miscight Fri, Sat: 12:45, 4:05, 7:25 PARK SQUARE ( Fri-Sat: 8, 9:30, 10:55 w lash 64 Harvard Ave. In 12: Call for times. 542-2220) 9:90, 10: end Priends “A Fine Madness.” Sts. Wed: 31 St. James Ave. across from Grey- _ LATIN AMERICAN FILMS will Super Fly hound screened Dec. 10-12 at 8 The Big sleep | jon ial "Theatre, 539 all r times. a eatre, Os- BEACON HILL (723-8110) 5:50, 9:30 ton. Filx: “The Green Wall,” “Imagin- 1 Beacon St. Maltese Falcon Brookline Suburban ero” and “Miquel: Up from Puerto Jesus Christ, Superstar 7:50; Sun. mat.: 4 Rico.” Members of Center Screen ad- 10-10, every 2 hrs. Sts. Wed: mitted for $1.50. Info: HA-6-5000. Free Sun: 1:30-9:30, every 2 hrs. The Big Store : a ride to Park St. CHARLES (227-2832) 6, 9:10, weekend mat.: 2:30 ATTICA, will be screened FRI, Dec. 14, 196 Cambridge St. nr. Holiday inn At the Circus CIRCLE (566-4040) ® rican Graffiti 7:30 pm in BU’s Morse Aud., 602 New Land ee ees aus Chestnut Hill Ave. at Cleveland Circle aie Comm. Ave., Boston. Tix $2, students Sun Thurs: 2:30, 5:30. 8:30 PI ALLEY (CA 7-6676) ™ ri- + 3:15, 5:20, 7:30, 9: or obbers CHARLES EAST (227-2727) 37 Long State House COOLIDGE CORNER (734-2500) Hanover 196 Cambridge Street - 1:30, 3:40, 5:50, 6 290 Harvard Street Emperor of the North we aad oe , Dec. 12, at 10: = Day for Night PUBLIX CINEMA (482-1288) Weston. Tix $1" Infor 2:15-10:15, every 2 hrs. 166 Washington St. FILMS OF FAMOUS PHOTOORAPHERS CHARLES | WEST (227-2727) unsfeees 1, 9:10 Executive Action will be shown FRI, Dec. 14, 8 pm et oo Lawman Call WED for new fillck. Brockton Camb. Center for Adult Education, 5 1, 3:15, 5:30, 7:45. 10 Butterflies Are Free PLAZA (566-0007) Hanover Comm. Ave., Boston. REE. Included Fri, Sat.: Midnite Show. is Weapons of Gordon Perks Wed-Sat: 111 Washington St. Broskiine Village Godspell Dalton St. nr. The Prudential Cente: Super Chick Dally: a , Peabody 12 at 4 and 8 3pm at (ne By 4. of American Graffiti . Sat, Sun: 1:30-9:30, every 2 hours. Braintree Boston. For ticket info call 262-6050. _ Chorus Musica FOR MEN ONLY 2 Beautiful Young Goddesses ” 24 CHRISTMAS CONCERT AR "4 / G Alfred Nash Patterson, conductor = th se of e society o Old South Church, Cop! P&T TE Ry arts and crafts: gallery December 16 7:00PM Announces Handel — Selections from Messiah Its Rel len T. THE MASSACHUSETTS ASSOCIATION OF CRAFTSMEN John Crawford — Magnificat ts Relocation lo in a selected exhibition & sale of Britten, Gabrieli, Foreign and 79 Chestnut St. FINE CRAFTS Familiar Carols : B Hill 742 7876 through Jan. 5 Mon—Sat 10 -5 Admission free Donation requested eacon Mi ‘ 2nd Floor 69 Newbury St., Boston Tel. 266-1810 “Breathless” Polyart’s Admission: 99¢ FOR DISCREET GENTLEMEN... Christmas Cat and of Lite Red | MASSAGE PARLOR Riding Hood : 4/10 mile off exit 36N on Rte. 128 . 125 Main Street Reading, Massachusetts Cail Sonya (617) 944-7395 Cambridge Puppet Playhouse Appointment not necessary. Zeppelin Wed. thru Sun. Open 7 Days 8.AM -2 AM 6 Street, Cambridge49 2-29¢ 3Main Street Cambridge 492-290 PARIS CINEMA 841 BOYLSTON ST 267 818° CINEMA KENMORE SO. 664 BEACON ST 262 3799 THE HARDER = | a Mon-Fri. 7,9:30 Set-Sun: 2, 4:30, 7, 9:30 LIZA MINELLI for Xmas! ily: :15 Weekend Mats: 2:30,4:45 . % Daily: 7,9 ~. ORSON WELLES CINEMA 1001 Mass. Avenue, Cambridge 868-3600 O om 21 4 Harvard Ave 277 21 40 dust off Comm Ave Pp. ark ing Mon Tues Al Seats $1 00 3 i fa \ THE BOSTON PHOENIX, SECTION TWO, DECEMBER 11, 1973 PAGE TWENTY- ONE Film Strips A DELICATE BALANCE. Good screen adaptation of a truly grating play, so it all comes down to how you feel about Edward Albee. Kate Reid gives a perfect Albee performance, which means she comes across so shrill and flabby asto make even Shelly Winters (who is not in this, by the way) look genteel by comparison; she is also forced to carry on that great length about “stinking green sickness’’ and “L-O-V-E-” and “‘hate” and so forth. But Katharine Hepburn is not your usual Albee type, and thank goodness for that; the hauteur she radiates is entirely her own, and not quite perverse enough for the play’s purposes. Paul Scofield and Lee Remick are good, Joseph Cotton is wasted in a mealy-mouthed role, and Tony Richardson’s direction makes the most of everyone. Everyone but Albee, that is. At American Film Theatre outlets. HAMMETT AND CHANDLER. Huston and Hawks. Bogart and Bogart. Mary Astor and Lauren Bacall. The Maltese Falcon and The Big Sheep, co-billed Sunday through Tuesday at the Park Square. GET TO KNOW YOUR RABBIT. Brian De Palma’s largely unreleased comedy is awfully funny, and Tommy Smothers’ screen appeal is a real surprise, but beyond that it’s dif- ficult to tell what this was originally meant to be, so seriously does it seem to have been tampered with by Warner Brothers. Smothers plays an executive who drops out to become a tap-dancing magician, only to find out that even magicianhood can be in- stitutionalized; Katharine Ross plays an ad- mirer who should have been played by Tues- day Weld. Unnaturally choppy in its editing, but well worth seeing just the same. Mid- night, at the Orson Welles. THE PAPER CHASE Harvard Law students knock their brains out, while the leading man courts the top professor’s daughter. With Timothy Bottoms, Lindsay Wagner, John Houseman; directed by James Bridges. At the Sack Cinema 57. DAY FOR NIGHT. Delightful new Truffaut, much looser than the more overblown descriptions have made it sound. Great fun, and wonderfully well done; a masterwork with subtitles need not be boring, and Truf- faut never is. THE WAY WE WERE. Half romance, half politics, but like Redford and Streisand the two elements were never really made to mix Great chunks of it are missing, and its politics wind up even more confusing than they probably began before Sydney Pollack edited it down. But it works well enough on the level of pure romance. At the Circle, Brookline. EXECUTIVE ACTION. Confusing mixture of fact and theorizing, weakly directed, and it dodges some of the big issues, but the main event is clearly a showstopper. Most radical in its premise that Oswald had absolutely nothing to do with it. Cheri. THE DON IS DEAD. Hollywood’s newest minority group, Italian gangsters, gets the full cliched treatment. A sodium pentathol Godfather rip-off from the director. who brought you Dr. Doolittle, and the producer who brought you Anne of a Thousand Days. Savoy. MEAN STREETS. Martin Scorsese’s ex- traordinarily provocative film about a young petty crook growing up in New York’s little Italy explores street rhythms, secular sainthood, the church as one more organiza- tion. Jumbled but fascinating, and fabulous- ly well acted. Cheri. THE NEW LAND Jan Troell’s enormously tedious sequel to The Emigrants tosses motivation to the winds, abandoning its characters in an environment that must be fully as foreign to them as it is to Troell. Dul- ly photographed and abominably paced; it gives no palable sense of time passing, though it runs nearly three hours. Perpetual chop- ping, plowing, hewing and so forth may have some appeal for closet ascetics, but that’s about all. Charles. THE LONG GOODBYE.,. Originally billed as a latter-day detective story, and now advertised as straight satire, Robert Altman’s reworking of Raymond Chandler is not so easily pigeonholed. Its comic moments are offset by a deliberate moral ambiguity, as Altman creates a world in which everything is insidious, even the leading man’s pet cat. Elliot Gould brings the perfect element of bewilderment to this latter-day Philip Marlowe, and Vilmos Zsigmond’s cinematography is once again stunning, evok- ing the daydream atmosphere in which Alt- man sets Chandler’s tale. A standard plot is transported to a world in which the very idea of plot becomes meaningless; the results are exquisitely puzzling. Pi Alley. THE GRANDE BOUFFE. Four middleag- ed men retire to a large house in Paris to eat themselves to death; four prominent Euro- pean actors indulge in an act of cinematic self-degradation that few American actors would risk. Yet at the heart of this regression, this debauch, there lurks something painfully tender, a resignation that is pathetic but also the perfect revenge. Charles. CHARLEY VARRICK. New Don Siegel (Dirty Harry) fast-paced bank r- bbery story, with a special — twist Walter Matthau-winds up heisting Mafia money, then thinks twice about whether or not he wants a sadistic hit- man like Joe Don Baker out for his blood. Dynamite ending. Sack Cinema 57. yew VIANO’S ARLINGTON CINEMAS BOSTON’S LONGEST RUNNING SHOW Student Rush Thursdays 249 Newbury NIGHT RU EAGLES OVER 3 FIRST RUN ADULT 3 FIRST RUN ADULT Ceramics, Jewelry Elizabeth Taylor : : Van Johnson UNCUT & UNCENSORED] | [UNCUT & UNCENSORED UNCUT & UNCENSORE ALL 1N COLOR ALL IN ow RATED X Open All Night Air Conditioned e New Show eee ORSON WELLES CINEMA be . RATED X Open All Night New Show Every Friday eo”, _ Every Thursday Air Conditione@ ATE i ATE 1001 Mass. Avenue, Cambridge 868-3600 THEATRE ee St¥eet A free pass to the first 25 callers with the correct answer (after 4:30 PM, 3780 542-3780 please). What was the first hit song-ever to come out of an animated cartoon? (Last week’s answer: Ray Bradbury and John Huston.) cademy Cinema 332-2524 Students: $1.00 ALL TIMES !! With Student Discount CINEMA 2 Wed., Dec. 12 — Tues., Dec. 18 GET TO KNOW YOUR RABBIT (by popular demand) with Tom Smothers, Orson Welles, Katherine CINEMA I Wed., Dec. 12 — Sat., Dec. 15 A Treasury of the World’s Great Animation SEX, VIOLENCE, & POLITICS: The @ PILGRIMe BURLESK THEATRE e 426-5734 Wash. & Boylston Streets First Time in Boston! Membership Card on Other Side of the Carrot. The fanci- Ross. The underground popularity Miss 48 Sale at Box Office ful power of the cartoon to show of the weird comedy has grown as- ALEXANDRA The Great ($1.00) how the mind thinks of something, tonishingly. Smothers, as a disen- and 9 — none —— 792 Beacon St. rather than how the eye sees it, has chanted business exec., chucks a Pte AGU Movies: Newton Ctr. always had a field day in playing everything to become a magican. Midnight Show Every Fridey Night coe with the public’s concepts of good Say the right words, you ies any- thing can happen. Plus: and bad taste (censors once made Uncle Walt put a skirt on a cow). Here’s a selection of unusual view- points on these areas as seen in Pop- eye, Bugs, and many others. “Shock- ing.” E. Fudd, Daily News. Approximately 2% hour shows con- tinous from 4:00 to midnight! Walt Disney’s THREE LITTLE PIGS 4:00, 6:00, 8:00, 10:00 MIDNICHT Fri. & Sat., Dec. 14 & 15 EARL SCRUGGS: HIS FAMILY AND FRIENDS — Abeautifully sen- sitive film about good music and the people who make it with Bob Dylan, Joan Baez, Doc Watson, The Byrds, Earl Scruggs and many others. In Color. "3 HOUSE ington St MBTA 5422220 sun.mon.tue. DEC. 9-11 Humphrey Bogart THE BIG SLEEP 5:50, 9:30 | THE MALTESE FALCON AAR} Festival Sun., Dec. 16 — Tues., Dec. 18 HALL OF FAME — A beautiful an- thology of animation classics from all over the world, including Disney, UPA studio work, English, French, Eastern European, American inde- pendent, Daffy Duck, plus the world’s first animated cartoon, “Humorous Phases of Funny Faces.” Approximately 2% hour shows con- tinuous from 4:00 to midnight! MIDNIGHT Fri. & Sat., Dec 14 & 15 4 THE WEREWOLF OF WASHING - TON (1973) with Dean Stockwell, Biff McGuire, and Michael Dunn. As the full moon rises over DC in this comedy, we follow a very unusual cover-up from the Presidential bowl- ing alley, to the Executive men’s room, to the Pentagon War pee. 6:10, 9:50, 11:15 HORSEFEATHERS GEC. 12-18 A Night i in Ge Gasablanca HAPPY 4:30, 7:30, 10:30 MONKEY BUSINESS ALICETD WONDERLAND 6:00, 9:00 sun.mat. 3:00 ™ Due toa dispute between ‘two film inane oe previously sched- uled The Big Store & At The Circus are temporarily unavailable. Our ont that this Festival will be more than | | me a & | Duck Soup | me | | TAKES A NOSTALGIC LOOK GREATEST ADVENTURE STEVE DUSTIN McQUEEN HOFFMAN FOR YOUR CONVENIENCE TICKETS MAY BE PUR- CHASED IN ADVANCE AT THE BOX-OFFICE NOW! Clint Eastwood as Dirty Harry Paramount Pictures Presents A Sagittarius Production Helmut Keith Baxte Berger 426-2720 536-2870 163 TREMONT ST. WEAR THE PRU CENTER | SACK THEATRES PROUDLY ANNOUNCES IT's CHRISTMAS ATTRACTION = STARTS WED., DEC. 19! STARTS WED., DEC. 19! ¢ WOODY ALLEN | bil Oo costarrme VICTOR JORY DON GORDON ANTHONY ZERBE 2 si : ARTS TUES., DEC. 25! Wea STARTS TUES., DEC. 25! BarbataSawyer >» SACK | SAVOY WISHES FOR HAPPY HOLIDAY SEASON ONE AND ALL STARTS FRI., DEC. 21! EIGHT PEOPLE SAW THE FACE OF THE MURDERER. IT WAS THE LAST. FACE THEY EVER SAW. Every clue is cold. Every lead is blind. Every suspect is dead. When will the killer strike again...and why are the cops so scared? Walter Matthau-~Bruce Dern race aginst time and a killer in ; The Laughing Fee Policeman They take the third degree one step further. Starring ROY SCHEIDER * TONY LO BIANCO - Co-starring LARRY HAINES 423-3300 268 TREMONT TS WED., DEC. 26! ¢ ROBERTSHAW LINDA BUA WILLIAM PETERBLATTY "THE SI ING 7 From the producer of “Bullitt” and “The French Connection: | : PR NY HALL . i ; PAGE TWENTY- FOUR, DECEMBER 11, 1973, SECTION TWO, THE BOSTON PHOENIX offers a varied - courses designed with mind in mind. Drop for a at 5 Comm. w, Ave. or call 267-4430. u es SCHOOL VOLUNTEERS FOR BOSTON needs men and women during the day as tutors, classroom. assistants and chun workers. Call 267-2626. : YWCA offers a vast array oe S fied Ads section for further info on tul- of ctivities for all ages. Call 491-6050 ~ Boston's Newest — Music Room All listings on the next few pages tioned classes and learning centers.) or drop by 7 Temple St., near Central reach millions have a e ails on seasonal festivities. Give ‘em NTEERS are sought to 15 New Chardon Street, Government Center (Just Below Riley's Beef & Pub) in by the Tuesday prior to publica- a bang on the pipes at 261-1660. work with ene Cencerd Prison resi- December 12 thru 15 tion. Send notices of local cosmic FREE MEAL fo thos¢ who really need it, dent. Professional staff guidance is events to What’s Happening, c/o offered by the génerous folx at the provided, Call 275-9320, 275-0610. Y Listings Editor, BAD, 1108 Boyl- Root One Cafe. Come to 30 Mass. Ave. EDUCATION WAREHOUSE is in desper- EDGE CIT St, Boston. 02215. in Boston, SUN, 4-6 pm; sponsored by ate need of volunteers to teach people ike Faure Trio Weds—Fri FREE RIDE SWITCHBOARD hed. rides ane Cocktail Hour Daily 4:30—8 PM_Mike Faure NOTE: NEW DEADLINE FOR LISTINGS and riders to Maine, New York, foe conan be aie , 1S TUESDAY AT 5 P.M. SEND ‘EM Washington DC, the West Coast and Please call 868-3560 between 10 and 6. *Special Concert Engagement* ail Call 738-5729 be- AR Rvs is recorded A] pec tween cultura appenings aroun r i | December 12 CHILD ADVOCACY PROJECT needs Boston. Call 261-1660. One Night Only 3 NEW COMMUNITY PROJECTS can help PIANO RED alias DR. FEELGOOD Specials children in Cambridge. Orientation and lock supper (bring bay with a little help from his friends from NRBQ groups and community, clearinghouse, tn fhe Allston-Brighion "ores. come 92 Rutland St. In Coming Dec. 19—22 MITCH CHAKOUR THE BOSTON TEA PARTY: The 200th Phone 783-1485. 9 “s ton. 5 anniversary of that wild night will be ARE YOU ORDINARY enough to be a 1 EW YE AR 74 in truly Samaritan? Samaritans, a 24-hr. ser- monner, program organs vice to help the suicidal “and despair- the People’s Bicentennial Commission, * SUN, December 16. At noon folks will Books & Poetry THE BA Pp rally at Faneuil Hall oe a aed TOYS, TOYS TOYS, are DESPERATE- THE RICK McDONALD GROU LY needed for the children of ex-of- only’a limited amount of tickets available fenders and present offenders. Any- thing else would be greatly appreciat- BUFFET e FAVORS e NOISE MAKERS 6 CHAMPAGNE TOAST e 10-foot Nixon puppet, to the Congress ed. Please call {Boston Offender Ser- MAXINE KUMIN will read and discuss CONTINENTAL BREAKFAST from MIDNIGHT St. Bridge, hopefuHy arriving by 1:30 vice Project, 261-3851. her poems in North Academic Center occur. re wi inners, noise- ‘on, a am. $25.00 per couple 723-8371 or 723-4746 for reservations waking in ond FREE. forth. The theme of ali this brouhaha: Come browse, creafe, consu® with HARVARD ADVOCATE sponsors inform- Impeach Nixon and Big Business. Info: reading specialists. Vast collection of al peotry readings THURS. 8 pm at teacher-made activities — materials Advocate House, 21 South St. in Cam- crossroaps ( ») Fine arts & crafts-art commissions: MON.- SAT. THE AREA'S MOST UNUSUAL SELECTION OF DECORATIONS AND GIFTS FOR THe I 4 4 108 BEACON ST. SOMERVILLE TUES. —- FRI. 1-6 SATURDAY 1-6 a3 0° TUES.—FRI. 6-9 SATURDAY 12-9 247-1851. WOMEN’S CENTER SCHOOL has open- ed a new office and is trying to raise funds for the school. There will be an auction and rummage sale SAT, ¥ 15, 11-4 at First Cong. Church, across from the Common, Harvard Square, Cambridge. Donations needed: please call 492-4845. COSMIC COMET CELEBRATION will occur Dec. 8-16 at the Charles St. Meeting House, 70 Charles St., Bea- con Hill. All events ask a donation of $1 to help keep the Meeting House alive and well, and to showcase excep- tional local talent. Events this week: UN, Dec. 9 at 8 pm: Stargazers ~ sent a mixed musical bag. MON: forum extraterrestral TUES the Tau Ensemble examines an- cient mysteries through music. WED: Mark Harvey leads Astral Perlexity, with Carla Bee THURS, FRI: Music of the Spheres in an innovative, mix- ed-media concert SAT: the music of GRZYB with the Unidentified Flying Opera Theatre. SUN, Dec. 16 at 3 pm: Central Maine Power Music Co. cele- brates the cosmic journey; at 7 pm that night, the Stone Soup Poets will present cosmic poetry; and at 8:30 pm, Mark Harvey with Astral Perple- xity. Discover inner and outer space— enjoy! Info: 523-9339, weekdays. All events start at 7 or 8 pm. CHRISTMAS FAIR of the Warehouse Co- operative School at Cambridge Old Baptist Church, 1151 Mass. Ave., Cam- supplied for new teachers to make Lo own versions of the games and activi- ties. civic CENTER and Clearing House ha: all types of voluteer jobs available to folx who wish to work towards prison reform, mental health, tutoring, ecol- ogy, hof-lines, with the elderly or Spanish-speaking — much more. Call 227-1762. VOLUNTEERS NEEDED to work with ertarded and physically handicapped children in a recreation setting. Call _ Halverson, 876-6800 x279, week- ys. DESPERATE NEED for volunteers in- terested in working with teenage and young adult retarded persons. Please call 266-4520. EDCO READING AND LEARNING CEN- TER in Cambridge needs volunteers to tutor kids with reading, problems, grades K-3. Call 495-4657. HOW'S YOUR ARITHMETIC? Somer- ville Alternative High School needs people to tutor math students. Only boty is energy. Call 628-0895 VOLUNTEERS URGENTLY NEEDED at Kent Community School Charles- town: Physically Education for exceptional children, also crafts, sports. Call 241-7846 between 9 and 5. GET EXPERIENCE in the classroom, in libraries, with kids. Call Cambridge School Volunteer Project, 492-7046. bridge. FREE, refreshies too. Dec. 13: Richard Day. POETRY READ-IN, Rap-in at Stone Soup Gallery, 313 Cambridge Street on Beacon Hill, every THURS at 8:30 pm. Free to all, everyone welcome to read. Info: 523-9330 weekdays. GREAT BOOKS