r
Seventy-Third Year
EDITED AND MANAGED BY STUDENTS OF THE UNIVERSITY OF MICHIGAN
UNDER AUTHORITY OF BOARD IN CONTROL OF STUDENT PUBLICATIONS
"I'd Like To Speak To The Head Of The House"
"Where Opinions Are Free STUDENT PUBLICATIONS BLDG., ANN ARBOR, MICH., PHONE NO 2-3241
Truth Will Prevail"
Editorials printed in The Michigan Daily express the individual opinions of staff writers
or the editors. This must be noted in all reprints.
AY, APRIL 28, 1963
NIGHT EDITOR: GERALD STORCH
Educational Research
Leads Way to Excellence
THE UNIVERSITY in many ways is an ex-
periment. It is founded on the assumption
that quality and quantity can be reconciled
Nobody yet knows if this assumption is true.
The final test of this proposition will not be,
furnished by fate or chance or even the Legis-
lature. Rather its success or failure rests upon
the University itself and the attitude with
which the institution faces the future.
If the University continues to use the same
methods of education used since the end of
World War II when it began to mushroom in
size, it is doomed to failure. The University is
characterized by too many large lectures, mass
courses and few or no attempts to relate the
academic and non-academic spheres. On the
other hand, the University can make use of its
state of transition to experiment. It can become
a more dynamic and even greater institution
than it ever has been.
THE PROBLEM is always how to institution-
alize quality. In a small university or college,
the solution is not difficult if the institution
has decent financial backing. Small classes,
close student-teacher relationships, an atmos-
phere of exploration and discovery and high
faculty salaries are easier to achieve.
In the University, these objectives are more
difficult to attain. Here it is easy for students
to get lost. It is difficult for them to form
close relationships with their instructors. Stu-
dents are also likely not to be infected .with any
sort of a University ethos. Many leave the Uni-
versity with little more than a transcript.
Particularly in the area of stimulating stu-
dent interest, the University has been doing ex-
citing work. The idea of a small college within
the literary college structure is aimed at creat-
ing the best possible opportunity for exciting
students about their work. The Little-Greene
experiment-where students living in these two
residence. hall houses were placed as much as
possible in the same classes-has been extreme.
ly successful.
THE UNIVERSITY is also engaged in research
on evolving more effective teaching tech-
niques. The Center for Research on Teaching
and Learning has been exploring a variety of
classroom methods ranging from programmed
learning to aiding any University faculty mem-
ber requesting help or new ideas on teaching.
The Center for the Study of Higher Education
keeps tabs on trends in higher education
throughout the University, state and nation. In
addition, the Center has been working to de-
velop programs for training college adminis-
trators.
These programs have gained wide support
among both administrators and faculty. For
example, it is well-known that two of the
staunchest supporters of the new college idea
are University President Harlan Hatcher and
Vice-President for Academic Affairs Roger W.
Heyns. While they have both left the planning
of this project to the faculty-where it belongs
-they have reportedly given strong support
and encouragement to the project from its be-
ginnings.
Similarly, the Center for Research on Teach-
ing and Learning came out of a faculty com-
mittee. The administration, and particularly
Vice-President Heyns, quickly implemented it.
In the case of the Center for the Study of High-
er Education, many administrators have taken
on "understudies"-individuals studying uni-
versity administration at the Center-who can
observe administrators at work first-hand.
Educational research will continue to re-
ceive support from the University. Its value is
clear. The need for new ideas and the imple-
mentation of these ideas is obvious. With
them, rests the future greatness of the Univer-
sity.
-DAVID MARCUS
Acting Editorial Director
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.III
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y~t'yfi * ..
A FACE IN THE CROWD
By RONALD WILTON, Acting Editor
UNDERSCORE:
Report Axes Foreign Aid
ARCHITECTURE FILMS:
Experimental Movies
Offer Fusion of Arts
-OF ALL the appropriations that have to go
through the Congressional meat grinder
each year, none is more pulverized than foreign
aid. Presidential appropriation requests are
regularly slashed by hundreds of millions of
dollars, and the going has steadily gotten
rougher.
In an effort to restrain the often irrespon-
sible hatchet-men on the Capitol, President
John F. Kennedy took a calculated gamble. He
appointed a committee composed of men such
as Gen. Lucius Clay, Eugene Black, Robert
Lovett, and Robert Anderson-wealthy Repub-
lican businessmen and supposedly internation-
alists-in the hope that their underwriting of
the President's $4.9 billion aid request would,
in the words of Kenneth Crawford of News-
week magazine, "bury Congressional dissenters
under a mound of respectability."
UNFORTUNATELY for the President, the
businessmen showed their true colors. "We
believe," they said, "the United States should
not aid a foreign government in projects
establishing government owned industrial and
commercial enterprises which compete with
existing private endeavors."
"Had the Marshall plan been predicated on
such a principle," said Crawford, Great Britain,
France, and Italy, all socialist to a degree,
would have been ineligible." Though this is
perhaps an exaggeration, it is certainly true
that they would have been - ineligible' for a
great deal of the aid which was so successful
in rebuilding those countries. Even the United
States would be ineligible for its own aid for
such projects as the TVA.,
Crawford points out that the report was
often ambiguous and inaccurate. It recom-
mended a $500 million slash in "present pro-
grams." But are these measured by last year's
$3.9 billion appropriation, or the $4.9 billion
projected by the President for this year? The
report recommends denying .aid henceforth to
Portugal, but Portugal doesn't get any now.
WHAT THEN, are the results of the report?
According to Crawford, it "so much re-
flects the countinghouse attitude in general
tone that it is already grist for the Communist
Editorial Staff
MICHAEL OLINICK, Editor
JUDITH OPPENHEIM MICHAEL HARRAH
Editorial Director~ City Editor
CAROLINE DOW..................Personnel Director
JUDITH -BLEJIER ....... ....Associate city Editor
FRED RUSSELL KRAMER .. Assoc. Editorial Director
CYNTHIA NEU .................. Co-Magazine Editor
HARRY PERLSTADT.............Co-Magazine Editor
TOM WEI3LER ................. Sports Editor
JAN WINKLEMAN ........... Associate Sports Editor
propaganda mills." And with little wonder.
"The report nowhere suggests that simple com-
passion might justify aid. Nor does it contain
any direct reminder that most foreign aid funds
are spent in this country, thus creating jobs
and producing profits for private enterprise."
Yet the President was forced to find the
report "heartening" and to reduce his foreign
aid request to Congress by $400 million.
Furthermore, Gen. Lucius D. Clay is pre-
pared to tell Congress that Kennedy's reduced
foreign aid request can be cut by at least
$300 million more, according to a recent ar-
ticle in the New York Times.
At the heart of all this cutting and slashing
is a conflict between the role the President
envisions for foreign aid and the view taken
by Clay and many Congressmen. The Clay
committee was charged by the President to-
examine the military and economic aid pro-
grams and determine whether "their scope and
distribution was contributing to the optimum
security of the United States and the economic
and political stability of the free world." But
the committee's own definition of its work was
that "our examination of United States for-
eign assistance programs and consideration of
them in this report has been based on the
sharp criterion of their value to the security
of our country and of the free world."
THE CRUCIAL DIFFERENCE between the
two is that the Clay committee did not seem
too concerned over the "economic and political
stability" of the United States and the free
world, but merely its "security." Of course it
is a moot question whether or not such a
distinction is possible, but apparently the Clay
committee thought that it was, the technique
being to emphasize military aid and do most
of the cutting in the economic sphere.
Needless to say, the security achieved by
this method is at best tenuous. One is re-
minded of what happened in Cuba after the
United States had supported Batista for so
long. Of course, the committee deserves some
credit for 'not openly advocating the type of
Central Intelligence Agency-inspired revolution
which was fabricated in Guatemala.; It suc-
ceede~d in installing rightists that wouldn't
establish competing government owned in-
dustrial and commercial endeavors. However,
the fact that Guatemala is now on the verge
of a leftist (if you're a liberal) or Communist
(if you're a conservative) revolt which may
well end whatever security there was in that
nation is a consequence of such procedures
that both the CIA and the Clay committee
choose to overlook.
The fact of the matter is that economic, not
military aid is the road to stability. Wherever
people are starving, wherever there is a giant
gap between the rich and the poor, conditions
'r Ving fn,. A ii A wn h nwvp +h TTniteA
SOON AFTER taking office, the
new Daily editor must decide
whether he wants his own col-
umn. Often the idea is rejected;
the editor may feel that he will
be too busy, that he does not want
to write for a deadline or that
there is simply no need for a
column. In the last few years these
disadvantages have triumphed; the
last Daily editor to write a col-
umn was Tom Turner in 1959-60.
The others have been content to
express themselves from time to
time through the signed editorial.
My decision to write a column
was determined by my concept of.
the editor's job. He has two main
functions; internally he coordin-
ates the work of The Daily staff
and externally he serveg as official
liaison between the paper and the
community. It is this latter func-
tion which motivates column writ-
ing.
* * *
SINCE HE IS NOT tied down to
the day to day operation of the
paper, the editor is able to con-
centrate on all aspects of the Uni-
versity. He talks to student lead-
ers, faculty and administrators.
Besides gathering information, he
transmits to these individuals his
own concerns, those of the Daily
staff and students in general. To
the people he meets he becomes a
face in the crowd, in contrast to
the faceless stream of people who
flow across the diag or through
the corridors of Angell Hall every
day.
The number of people the edi-
tor can see is limited. Usually he
is restricted to top administra-
tors, several important faculty
members and several student lead-
ers. To the rest of the campus he
remains a by-line on the news or
editorial pages with only the word
editor under his name to distin-
guish him from the rest of the
staff. To the majority of the com-
munity, The Daily remains a face-
less, depersonalized organization.
It is easy for people to criticize
such an institution because it
seems that there is nobody on the
staff to whom they can relate.
EDITORIALS tend to emphasize
depersonalization. They are writ-
ten to present proposals, criticize
wrongs and influence people's
ideas. To be effective they must
be explanatory. They are analog-
ous to one man addressing a crowd
through a microphone, he is ad-
dressing the group, not the per-
son.
A column attempts to emphasize
personal communication. It always
runs under the same headline in a
specific place on the page at spe-
cific intervals. This regularity,
added to the fact that use of the
column is limited to one person
or a small group, allows the reader
to feel closer to the writer. It is
like a man speaking through a
telephone to the same crowd where
each member is equipped with his
own receiver. It is person to per-
son communication.
* * s
WRITING A COLUMN has an-
other advantage. It allows the edi-
tor to write about The Daily and
correct some misconnepntionsabout
From 1950 until five years ago,
political activity on campus ran
for the most part through regular-
ly organized channels. The main
organizations, the Young Demo-
crats and Republicans and the lo-
cal chapter of the National Asso-
ciation for the Advancement of
Colored People, were all reflec-
tions of adult groups. Five years
ago the start of the sit-ins saw
the birth of a new type of politi-
cal action outside of established
organizations. Liberals, who were
politically oriented, were looking
aroundfor ameans of being .ac-,
tive. Because, of the nature of its
activities they rejected the Union
and because of a conservative
stranglehold on leadership posi-
tions they rejected the housing
units. Except for election to Stu-
dent Government Council The
Daily was the only place where
liberals could have access to the
campus political process.
Now, however, things are differ-
ent. There is Voice political party,
Friends of SNCC and Americans
Committed to World Responsibil-
ity. Politically conscious liberals
join these organizations. People
who presently join the paper do
so for many reasons other than
political activity. The desire to
act in a liberal political capacity
falls low on the list..
LETTERS
to the
EDITOR
To the Editor:
THIS WEEK shall now be re-
named "Animal Week" in honor
of the fact that the animals on
this campus have finally come out
of their long winter's hibernation,
which started last April after the
last "Animal Week." Every year,
about this time, along with the
coming of Spring, come the many
animals who go under an assort-
ment of ridiculous names such as
Michigamua, Druids and others.
Their sole purpose for, existence
is to exist. They have three meet-
ings a year. The first is probably
held in the middle of March when
they decide of whom to make
fools. The second is now when they
proceed to make fools of the
"chosen few" and themselvesas
well..The third is a couple of
hours after the first to wash off
the mud, paint, garbage and as-
sorted junk gathered in the day's
circus and to adjourn until next
March when the nonsense starts
all over again.
* * *
THE SECOND MEETING is the
one which draws all the attention
of the campus for here they shine.
Some of the animals are "dressed"
in their animal skins which show
that they are new animals. Others
are dressed in ANIMAL skins
which show that they are old ani-
mals and that it is they who have
the honor of running the circus.
It is the old animals who splash
the paint on the new animals. It
THE ISSUES with which Daily
editorials deal also come back to
haunt the paper. Somehow areas
such as the Office of Student Af-
fairs, the administration, academ-
ic policy and student rights ac-
quired the liberal label in the past.
While these issues have lost this,
label as far as SGC is concerned,
they are still liberal when Daily
writers comment about them.
When a writer comes out and says
that students should have the pow-
er to set rules governing their
own own conduct, it is being lib-
eral. When SGC makes recom-
mendations on women's hours and
sends them to the administration
urging their adoption, it is being
moderate and acting in the best
interests of the students.
Irresponsibility is another charge
opponents of The Daily like to hurl
around. It has become a catch-all
phrase for everything from a bad
picture to a typographical error.
In most cases the cause of the
charge is the person's disagree-
ment with an editorial or the way
a certain story was played. No-
body ever calls The Daily irre-
sponsible when he agrees with the
writer's opinions.
There have been cases where
Daily reporters were unable to lo-
cate news sources to check back
storieshandafterthe story had
run the source claimed he was
misinterpreted. One can argue
that the story should not have
run. The point is that this misin-
terpretation is not deliberate, hap-
pens very rarely and every attempt
is made to check stories back.
THE DAILY is founded on the
principle that students can re-
sponsibly run a great newspaper;
we trust our reporters and justifi-
ably so. The Daily has been pub-
lished for 72 years and is general-
ly acknowledged to be the best
college paper in the country. This
is not the record of an irrespon-
sible journal.
It is ridiculous to expect every-
body to agree always with what
Daily staff members say - there
would be something wrong if this
happened. Yet it is not too much
to ask that the right to express
opinionsabe respected and also the
opinions themselves. They are
honest attempts to voice concern
and contribute to the betterment
of the University and education in
general. They are attempts which
are in the interest of the whole
community. Disagreement with the
opinion expressed should be coun-
tered with logical arguments. The
Letters to the Editor column is
always open. Merely brushing off
the opinion as "liberal," "conserv-
ative" or "irresponsible" is intel-
lectually dishonest and immature.
* * *
THE JOB of interpreting The
Daily to people is a continuous
one. This column is the first step
in what will be a year-long proj-
ect. At times one is discouraged
by the extent of misunderstanding
about The Daily. But sometimes
something happens to make it
worthwhile.
Last year I was covering a pan-
ty raid, standing on the outskirts
of a crowd of men gathered be-
FRIDAY NIGHT the Architecture
Aud. was the scene of one of
the more vigorous and creative
showings of films Ann Arbor has
seen this year. As part of its sixth
annual open house, the College of
Architecture and Design present-
ed Parker Tyler, poet, art and film
critic, speaking on "The Archi-
tecture of the Film: Word, Sight
and Sound." The seven short films
that were presented weren't the
completely senseless and unintel-
ligibly symbolistic films some peo-
ple have come to expect from the
avant-garde.
They were original, mostly ex-
citing and all fascinating.
* * *
"PACIFIC 231," which won a
Cannes Film Festival prize in
1949, was not a "documentary,"
as the opening titles said, but an
attempt to create a mood or at-
mosphere through music and im-
ages. The film was a portrait of a
locomotive. The camera concen-
trated on its moving parts - the
bulk and power of the machine.
Tracks and overhead wires criss-
crossed and meandered by the
train on its short journey. Arthur
H o n n e g e r, the contemporary
French composer, supplied the mu-
sic which was as mighty and
bombastic as Pacific 231 itself. An
exhilarating mood of action, pow-
er and movement was fully creat-
ed. The excitement is only imme-
diate, though, and it is doubtful
the film was meant to be more
than a mood piece.
"Dance Chromatic," the second
film, is a synthesis of the fertile
imaginations of the choreograph-
er, the musician, the painter and
the film-maker. The artists suc-
ceeded in creating a montage of
movement, color and art which
was truly exciting.
The German film "Hallucina-
tions" I leave for the viewer to in-
terpret for himself. Feet, arms and
torsos were intertwined with men.
and women attempting to commu-
nicate with each other in a se-
ries of short, more or less static
scenes. Weird sounds added to the
oddities on the screen. "Halluci-
nations" may cause hallucinations
in many viewers.
THE OPENING VOICE of "Sub-
ject Lesson" explained in over-
wrought tones that what was to
follow would be unintelligible to
the conscious but the viewer should
let the movie invade his subcon-
scious. There were some restless
members in the audience who
couldn't hold back their sighs as
the boredom and mystical sym-
bolism overran its stay. Also, the
celluloid wasn't worth it. Some of
the scenes were interesting just for
their composition but it tended
too strongly to the symbolic ec-
centricities of many avant-garde
films. If my subconscious under-
stood it, it didn't tell my conscious.
The most human, and there-
fore the most humorous and en-
joyable film, was "A Chairy Tale."
A man enters, reading, and at-
tempts to sit on a plain white
chair he chances to meet. The
chair has other ideas, though, aft-
er much fighting, chasing around
and speechless conversation of
emotion, the chair and the man
come to an understanding, and
the chair cheerfully condescends
to the man sitting in its lap. It's
such a simple situation between a
living organism and a plain, phys-
ical object that one may just sit
back and enjoy the event. But it
has, for all its silliness, a univer-
sal meaning-understanding can
bring about a resolution of prob-
lems that physical mastery can-
not.
"VISIBLE 3: an Illuminated
Poem," Is a series of drawings
done on the screen illuminating
an accompanying poem.Unfortu-
nately, the poem is mostly unin-
telligible since it was presented in
bits and fragments.
In the last film, "Hand Writ-
ten," poetry and music are com-
bined, as in almost all the other
films, to create an adoration of
the human hand. It is more pom-
pous than poetic..
* * *
THE SEVEN FILMS emphasized
techniques rather than plot, char-
acter, or, except for two or three,
a message or idea. Then artists
were playing with the equipment
at hand to develop a specific au-
dience reaction. Whether it was
laughter, bewilderment or senti-
ment, the film-makers clearly
demonstrated that they are creat-
Pride
To the Legislators:
.. NO TOUR can show you
what the students see,
what makes them proud of the
university, what makes them stay
here for four or more years. %
Most of the students never see
the projects you've visited. They
want your support of the univer-
sity budget requests for other
reasons. They sit in classrooms
that are sometimes overcrowded
ing new ways of achieving these
audience reactions.
Also evident was the synthesis
of art almost all the shorts had.
The most obvious one was "Dance
Chromatic" with its synthesis of
choreography, painting, music and
the cinema. Because of this juxta-
position of many arts done ex-
tremely well, the film is the most
striking one of the seven.
The usual giggles and sighs ac-
companied the misunderstood and
non-understood, laughter the hu-
mbrous and applause the capti-.
vating. They were more intriguing
than the shorts the Cinema Guild
often tags on to the beginning
of its films, and definitely more
fascinating than any other shorts
or feature length movies the local
theatres usually show.
Of course, the interest people
have In such productions is lim-
ited, but on a college campus with
such diversified and intelligent
residents, more of these films
would be welcome. It is these
mostly unknown, but excitingly
creative artists that are develop-
ing the techniques that will be
heard from in the future.
-Michael Juliar
AT THE STATE:
Kaye
Creditless
THE PATTERN is clear now.
Those clever Butterfield people
actually do have a system for dis-
tributing their films in Ann Arbor.
They send all the foreign and
good American films to the Cam-
pus, all the splashy, publicized
American films to the Michigan
and the remainder to the State.
Hence, the State gets that classic
horror, "Horror Hotel," that 21
fun-filled salute, "Follow the
Boys," and now that laugh riot,
"The Man from the Diner's Club."
"The Man from the Diner's
Club" features the Poor Soul. This,
time he's named Ernie Klenk Er-
nie loves his boss' secretary, hates
his job and makes mistakes such
as issuing a credit-card to a Big
Time hood out on ball. With the
credit-card, the gangster intends
to make his way -to Mexico. Poor
Soul has to stop him or lose his
job and his girl.
THE MAN IS Danny Kaye who
plays Jerry Lewis playing Fred
MacMurray. Only there isn't any-i
thing as clever as Flubber or as
wild as Lewis in this movie to save
it. Moreover, the film is so poorly'
produced that .it is _quite apparent'
when a stand-in replaces Kaye
for the acrobatics. The only thing
that saves the picture is Telly Sav-
alas as Foots, the Gangster-who-
got-credit.
From the minute he appears,
Savalas captures the show. He
provides the perfect gangster,
moaning about the two great evils
of American society, the freeway
and the income tax. He chews
cigars, slaps goons about, conspir s
and perspires his way to the orfly
funny element in the movie.
KAYE, on the other hand, is dis-
appointing. He is seldom given a
chance really to be Danny Kaye,
one of the few comedians who can
talk his audience into hysterics.
Kaye knows the art of double-
talk and rapid speech. But he is
not and never has been' the Har-
old Lloyd type who runs through
intricate chase scenes. Doing so
in the film, he looks more like
the fourth of the Three Stooges,
the one who didn't make it.
-Hugh Holland
Wet Powder
STEEL is an administered-price
industry. This in itself is not
a menace to the economy, still
less is it unique : most basic in-
dustries inuthe citadel of free en-
terprise administer prices by one :
device or another. The trouble is
that such prices are invested with
a public interest, and the steel ty-
coons have no way of cranking the
public interest into their computa-
tions, even if they regard it as
a responsibility of theirs.
The circuitous way in which
they went about the present price
increase shows that they are sen-
sitive to governmental and public
reaction. Wheeling Steel, one of
the smallest of the larger com-
panies, first ventured into the open,
like a scout in an infantry ad-
vance; the others cautiously fol-
lowed when nothing happened.
The enemy-President Kennedy-
who had so cruelly mauled Roger
Blough the last time, was in no
position to repeat the performance.
He had not kept his powder dry.
IF THE JUSTICE department
had sued to break up U.S. Steel;
if Senator Kefauver had been able
to get his committee to investigate
costs and subpoena the officials of
the steel companies, if among
other cost data, the salaries, stock
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