1.idi .ang
Seventy-Third Year
EDITED AND MANAGED BY STUDENTS Of THE UNrvERSITY OF MICHIGAN
UNDER AUTHORiTY OF BOARD IN CONTROL OF STUDENT PUBLICATIONS
here Opinions Are Pe STUDENT PUBLICATIONS BLDG., ANN ARBOR, MICH., PHONE NO 2-3241
Truth WUI Prevail"
editorials printed in The Michigan Daily express the individual opinions of staff writers
or the editors. This must be noted in at; reprints.
EUROPEAN COMMENTARY:
TV:
Support without Control?
Y, NOVEMBER 8, 1963
/NIGHT EDITOR: ANDREW ORLIN
U.S. Should Back Down
In Trivial Berlin Issue
OREMIER KHRUSHCHEV recently told a.
group of American businessmen in
oscow that if United States troops had
>t conformed to certain "established
'ocedures" concerning convoys on the
tobahn leading to Berlin, "it is possible"
at you and I would not be here today."
This is not an idle threat. Whether or
>t the Soviet leader was bluffing, his
atement shows that he considers the
nvoy situation serious enough to imply,
.at it might possibly culminate in nu-
ear war.
The Soviets insist that all personnel,
ding convoys to Berlin must dismount
Nice Words
)EOPLE WHO HAVE DEALT with Rep.
George Meader report that he has an
ncanny ability of appearing to agree
ith liberals while remaining strongly
onservative.
The latest to discover this is Student
overnment Council's Human Relations
oard. The HRB had written Meader to
ssist the passage of a strong and effec-
ye civil rights bill through the House
Idiciary Committee of which he is a
lember. The HRB received this reply
om Meader:
[ AM INTERESTED in a civil rights bill
that is workable, that will be of benefit
3 all citizens without infringing the con-
;itutional rights of any individual, and
ne that from a practical standpeint can
e acted upon by the Congress and signed
ito law."
Yet Meader voted against the compro-
use bill that finally emerged. Joining
im were eight Southern Democrats who
Nought the bill' was too strong, and two
,epublicans, one of which had moved a
tronger bill. Meader did not say what his
eelings were about the compromise bill,
or about the stronger bill, nor about the
dministration's bill.
But he did say some nice words about
hat he is interested in. -R. SELWA
from their vehicles at certain checkpoints
anid be counted by Russian military ex-
aminers.
But the Western powers deny the So-
viets' authority to impose such restric-
tions, claiming that it impairs the West's
privilege of free access to Berlin; and
therefore refuse to comply with the Rus-
sian restrictions.
THIS IS A SITUATION in which both
sides adhere adamantly to their posi-
tions and refuse to back down. This is a
situation, based on a silly technicality,
which theoretically could generate a seri-
ous crisis eventually leading to world war.
If this issue was of significant strategic
importance to either side then the picture
would be different. But as it stands, the
Soviet authorities are perfectly able to
look into the back of the American mili-
tary vehicles and get an approximate
count of the number of troops within. It is-
inconceivable that the United States could
secretly conceal 10,000 soldiers under the
seats of a half-dozen trucks.
Cuba, Communist infiltration in South-
east Asia and the Berlin Wall are all crises
worth getting adamant over. But the
question of whether convoy troops should
be counted is a mere triviality, and we
should make sure that this situation does
not extend beyond the stage of exchang-
ing nasty notes.
The United States should put up a
strong front on grave issues which by
their nature endanger the security of the
free world. But on the superficial ques-
tion of counting convoy troops we should
immediately back down.
IT IS FINE to stand up for principle on
an unimportant issue as long as the
conflict does not peril world peace. But
in the case of the autobahn situation we
should take the initiative in backing
down, not only safeguarding our own se-
curity, but proving to the world that we
hold peace to be more valuable than re-
taining the upper hand in an insignifi-
cant squabble. DAVID BLOCK
By ERIC KELLER
Daily Correspondent
BASEL-One of the greatest ex-
periences in Europe is to sit
down in front of a television
screen for an evening and not see
one single commercial.
Anyone will confirm that com-
mercial-free, government-sponsor-
ed television has a very different
appearance from American tele-
vision; it seems more leisurely,
more relaxed and more instructive.
Yet most Americans would not ac-
cept European-type television.
For the majority of TV viewers,
it would prove embarrassing to
find that they often would have
to hold out a whole hour without
their regular quarter-hour sand-
wiches. Plays or movies of this
length occur often on European
TV networks.
Commercials are not given every
12 minutes as in the United States,
and no station identification
comes every half hour to interrupt
a program's continuity.
BUT ABOVE these minor com-
plaints, there reigns the common
American fear that as soon as it
is government-sponsored, there
will be government control over
television. Hitler's domination over
the broadcasting facilities of his
empire, Communist totalitarian
broadcasting and dictators of de-
veloping countries who abuse
broadcasting facilities are cited to
justify these fears.
Instances like these do in fact
reinforce arguments against gov-
ernment control over television.
But there must be a clear dis-
tinction between government con-
trol and government sponsorship.
It is clear that television must
be preserved as a medium of free
speech in any democracy; total
control over it is contrary to any
democratic concept. It is foolish,
however, to oppose flatly any value
of government sponsorship in tele-
vision just because until now the
United States has gone the way
of private enterprise in this field.
Many European television sys-
tems could serve as examples for
democratic and free although
government-sponsored networks;
but let us examine West German
television as the exponent of the
highest quality television in the
world.
ACCORDING TO the West Ger-
man Constitution, each state had
to build and maintain its own
television studios and staff. How-
ever, because of prohibitive costs
these studios had to merge into a
federal union which assigned all
programs to the different state
studios. It is then the responsibil-
ity of each studio to produce and
present the assigned programs in
the national television network.
These national programs are
broadcast in the evening only, ex-
cepting a few children's hours in
the afternoon. Thus much money
can be concentrated on topflight
shows such as plays and operatic
productions. But the variety show
lover, the movie goer or soccer
fan also gets his share of the
evening programs.
There are also excellent docu-
mentary reports on political and
economic world developments. Do-
mestic problems are discussed in
similarly free ways. There is no
propaganda, no influence and no
domination from the government.
AS IN ALL OTHER European
countries, special monthly taxes
have to be paid on each television
The Press
FOR IN CERTAIN COUNTRIES
which profess to be free, every
individual agent of the govern-
ment may violate the laws with
immunity, since the constitution
does not give to those who are in-
jured a right of complaint before
the courts of justice.
In this case the liberty of the
press is not merely one of the
guarantees, but it is the only
guarantee of their liberty and se-
curity that the citizens possess.
-Alexis de Tocqueville
set. These are collected by the
post office, telegraph and tele-
phone officials of each state and
are directed to the studios.
Each studio does its own hiring
and firing and its director uses
his own discretion in the programs
he presents. He stands under the
sponsorship of the Ministery for
Culture in each state; but that
government branch has no more
right to interfere with the opera-
tions of the studios than the
Federal Communications Commis-
sion in Washington D.C. does over
American productions.
It is restricted to keeping a
balanice between programs and to
giving out suggestions. It is just
as much out of the question that
the ministeries of culture would
start an iron-clad propaganda rule
of television as that the FCC
would nationalize the three TV
networks.
Industry is not barred from the
advertising market of television,
however. Although it cannot ever
play as much of a dominating
role in West Germany as it plays
in the United States, it can buy
television time for commercials
between 6 and 8 p.m., the time
alotted for local TV programming.
It is at that time that entertain-
ment rather than education is
most desirable on the screen.
THERE HAS BEEN one instance
in German postwar television his-
tory when the national govern-
ment wanted to dominate tele-
vision. In 1961 the Supreme Court
of West Germany in Karlsruhe
ruled that a national and cen-
tralized TV program would be un-
constitutional.
There is a fresh, sympathetic
spirit behind this approach toward
television programming. It is a
typical, feature of European plan-
ning to put educational matters
over commercial interests. Tele-
vision is regarded as a most valu-
able help in mass education and
utilized as such.
Just as a citizen confidently
gives his child into the hands of
the government-employed teacher
for his education, he gives himself
into the hands of government-
employed TV producers. As a citi-
zen of a truly democratic country,
he need not be afraid of his own
government in television or in any
other respect.
AT MENDELSSOHN:
APA's 'Right You Are':
StuningTheatre
LAST NIGHT the Association of Producing Artists revived the 46-
year-old "Right You Are (If You Think You Are)" and thereby
demonstrated once again that Pirandello was a brilliantly skillful
playwright, that relativity remains a powerful and disturbing philos-
ophy and that "a mixture of tragic and comic, fantastic and realistic"
(in Pirandello's words) retains its vogue and demonstrates, in part,
the paternity of today's theatre of the absurd.
"The truth . . is not in them' but in the mind," says Laudisi,
the playwright's mouthpiece. He is speaking to the other actors, but
LETTERS TO THE EDITOR:
Viewers Applaud
'The Boy Friend'
1
-Day-James Keson
f
To the Editor:
AS A PROFESSOR of music at
at the University and as a
long-time theatre goer, I would
like to present another opinion of
the review of "The Boy Friend"
which appeared in yesterday's
paper. In spite of the fact that
Mr. Holland is entitled to his own
opinions, I am sure that The Daily
as a fair newspaper will print an
opposite view. To -my way of
thinking, this production- is one
of the finest musical offerings
ever presented at this university
and the cast and directors deserve
a great deal of praise. In support
of what seems to be widespread
feeling that MUSKET was a suc-
cess, I offer the following letter
which wassent to the cast of "The
Boy Friend."
* * *
"The Boy Friend" Company:
This is a fan letter. I and
most of my colleagues in the
Association of Producing Artists
saw your show last night and,
were, without exception, thor-
oughly delighted, charmed and
beguiled. You had an enthusiasm
and a joy infectious enough to
cure any care in the world-and
did, happily, not only from 8:30
to 11:00 but on into the even-
ing and even today. We in APA
are still talking about what a
glorious time you gave us.
Being in the profession and
having had a long experience of
theatre going, we know it is a
rare occasion when we happen
upon that ephemeral mixture of
talents that produces an even-
ing that lifts the spirits and the
heart. Last night was such an
occasion.
-Thank you,
Keene Curtis
Thank you very much for your
consideration.
-Prof. Harold Haugh,
Music School
Wild Parody* .*~
To the Editor:
THE REVIEW of this year's
MUSKET, and not the show
itself, seems wasted. Mr. Holland
assumes that every reader knows
what "The Boy Friend" is. He
neglects to tell us that "The Boy
Friend" is a wild parody of the
musicals of the 1920s.
It is written in the very style
of those nonsensical shows, which
,were molded around one musical
production number after another.
It is presented in the same wacky
style that musicals of the '20s were
presented. So if we laugh, it is
writtenand presented that way.
And if we occasionally "yawn," it
is also written and presented that
way.
AFTER ALL, in the '20s every-
THE LION:
Trimester Tensions
444,4 T t
i
Gloria Bowles, Magazine Editor
IF YOU GET BEHIND now, you're dead.
We won't have the same leisure we have
enjoyed in the past.
Trimester is just one factor in stepped-
up tempo.
There has been no marked increase in
anxiety so far, but this is predicted to
come between Thanksgiving vacation and
final exams.
There may be an increase in the num-
ber of students who don't show up for
final exams.
THESE REMARKS would seem to have
come from students gathered in the
Fishbowl or the Undergraduate Library
lamenting trimester. But, in fact, they are
the comments of two top University ad-
ministrators, Vice-President for Student
Affairs James A. Lewis and Dean James
Robertson of the literary college.
The trimester and its effect on stu-
dent life is the most important new event
of the semester. And a group of students
and administrators finally sat down to
talk about it.
Dean Robertson and Vice-President
Lewis, N. Edd Miller of the Office of Aca-
demic Affairs, the presidents of the Mich-
igan League and Panhellenic Association
and The Daily editor sat on a panel to
consider the trimester.
HE ADMINISTRATORS have recogniz-\
ed that there are problems growing out
of the inauguration of the shorter semes-
ters. The academic tempo is stepped up,
and the student feels it acutely. As Dean
Robertson indicated, anxiety may be at its
Editorial Staff
RONALD W*TON, Editor
DAVID MARCUS GERALD STOROH r
Editorial Director City Editor
BARBARA LAZARUS ............Personnel Director
PHILIP SUTIN ...........National Concerns Editor
GAIL EVANSH........ Associate City Editor
MARJORIE BRAHMS.Associate Editorial Director
C'5 TA'R. A '11?? T.F. -- -- -- -- -- M a~zine Eidtor
highest pitch between Thanksgiving and
finals. But December has no monopoly on
anxiety and tension. Unusual pressures on
the student began as early as' mid-Sep-
tember when he consulted his rushed aca-
demic calendar.
For the third or fourth year student,
trimester is a question of adjustment-an
increase in work during the semester in
some courses in order to lessen the im-
portance of the two-hour exam and in
other courses a three-hour final exam
crammed into two hours. Newer students
may not be as concerned for they do not
know what they are missing. The veteran
student cherished those longer and more
satisfying semesters which gave him
greater opportunities for educational de-
velopment.
For these students, trimester is an ad-
justment they are finding difficult, per-
haps next to impossible, to make. The
marathon of study-with few breathers
and little time for rumination and "the
sinking in" of the educational process-
is repugnant to the serious student.
The student who believes in studies, in
outside activities, in friends, in one or two
or three of these, is being pushed. He re-
sents the shoving. He considers his Uni-
versity experience very important; the
trimester makes his years at the Univer-
sity less meaningful for him, as the new
calendar demands that the student for-
sake many of those aspects of university
life which are part and parcel of the to-
tal enriching educational experience.
THE ADMINISTRATION is in most cases
cognizant of the problems facing high-
er education here and in the state. Tri-
mester was born out of an ideological de-
sire to educate greater numbers of stu-
dents and economic considerations of full
and efficient year round use of the Uni-
versity plant. But the student is sacri-
ficed: he stops feeling like a human being.
If trimester is to stay, adjustments
must be made within the system so that
the University experience with trimester
carried on "like crazy"; and life
would be a devastating bore, a
"yawn," if anyone got off the
wild merry-go-round. At one of
the few static moments in "The
Boy Friend," Bobby van Heusen
exclaims, "I know how we can
pass the time away." Everyone
asks, "How?"' and van Heusen
shouts, "Let's dance!" Carry this
to an extreme and you can come
up with a very neurotic flapper,
such as the one played by Linda
Shaye.
Mr. Holland wrongly attributes
the lack of tight, controlled de-
velopment of plot and fast moving
dialogue to director Jack Rouse.
This should be attributed to Sandy
Wilson,but he should be con-
gratulated on this-"The Boy
Friend" would really be inane with
a tight, well-developed plot. On
the other hand, Mr. Holland does
find . "excellent choreography,"
"wild and wonderful moments"
that are "great," and "several su-
perb performances" in "The Boy*
Friend," but does not attribute
this to director Jack Rouse. He
should.
* * *
ROUSE, with the aid of musical
director Bruce Fisher, set designer
Paul Shortt and costume designer
Sharon Barnes, has not missed one
nuance, one stroke in bringing the
uproarious, outlandish 1920s musi-
cal style off. For example, the
"Safety in Numbers" scene with
Linda Heric dressed in a butter-
fly costume is a brilliant parody
on the old-fashioned act when a
female performer tries to sing in
spite of the acrobatics enforced
upon her by her male ensemble.
"The Boy Friend" is full of
songs and dances-Charlestons,
the Black-Bottom, a nostalgic
waltz, a dead-pan tango, a soft-
shoe and a tap dance in the Fred
Astaire tradition. It is difficult
to describe how Rouse captures the
'20's spirit in every one of these
numbers but he does it and, most
important of all, without being
repetitive.
REGARDING whatever stan-
dards Mr. Holland used in his re-
view, how can he, who was a per-
former in last year's MUSKET,
overlook the fact that MUSKET is
basically a student production-a
student activity which relies en-
tirely upon the student talent that
shows up at auditions. It is up
to the director to pick the best
of what is made available to him.
In this frame of reference, Director
Rouse did an excellent job in
selecting different "types" for his
seven flappers and their seven
boy friends.
MUSKET's presentation of "The
Boy Friend" is one of the most
skillfully performed and produced
student shows I have seen in the
six years I have been on this
campus. Few professional musical
companies that have visited the
University have come close to its
polish. Mr. Holland is entitled to
his opinion.
-Richard Asch, Grad
Sources,.
To the Editor:
DOES THE DAILY have a direct
line to the "Japanese and
other intelligence agencies" which
are cited as the source of the
story appearing on page 3 in The
Daily of Nov. 1, under the head
"North Korean Recovery Out-
shines Southern Rival?"
Since it is not a byline story,
a wire service "think-piece" or
"thumb-sucker," nor an editorial,
I can only assume that it purports
to be a straight news report.
* * *
AS THE STORY now stands, it
has all the earmarks of-pardon
the expression-propaganda, and
very expertly executed propagan-
da at that.
Director Stephen Porter has him
you, on. the one hand, a world
of fancy, and on the other, a world
of reality, and you, for the life
of you, are not able to distinguish
one from the other."
Ably played by Paul Sparer,
Laudisi is the madcap master-of-
ceremonies for the APA's stun-
ning theatrical romp. His laughter
serves as the challenging conclu-
sion of each of the three acts.
* * *
BUT WHAT a tremendous
amount of magnificent theatrical-
ity is packed into the acts them-,
selves. And how well the APA
company, intelligently manipulat-
ed and beautifully grouped by
Stephen Porter, rises to the play-
wright's'skills.
There are no dull moments.
Especially what seems somewhat
contrived and artificial( the series
of entries in the first act) comes
off with precision and mounting
interest. Then, in act two, the
confrontation of mother-in-law
and son-in-law stretches out the
suspense, almost to the breaking
point. And yet the last act re-
mains the climax: inevitable and
striking. The audience on open-
ing night, rightly, burst into ap-
plause. It's a hit.
THE WHOLE COMPANY per-
forms well. But, of course, the
honors belong, first, to Joanna
Roos as Signora Frola; she offers
a beautiful rendition, sensitive and
intelligent; hers is a wonderful
blending of the pathetic and the
dramatic; she dominates the stage.
Then, Sydney Walker's Ponza, a
finished and finely controlled
piece of acting, conceived and
executed with insight and skill.
Add Richard Woods and Nancy
Marchand and you have a hand-
ful, more than enough for the
most enthusiastic connoisseur.
A final note of appreciation for
Mr. Tilton's set, and a bravo for
the incidental music and the cos-
tumes. "And there, my friends,
you have the truth! ,.Are you
satisfied?"
-Marvin Felheim
also address the audience: "Before
CAMPUS:
Senstvc
Portrait
"'THIS SPORTING LIFE," now
showing at the Campus The-
atre, is one of the finest films that
Ann Arbor has seen this fall. It
combines acid-clear photography,
brilliant direction and 'nagnifi-
cent acting in a manner that pro-
vides a searing and sensitive por-
trait of a human being.
The hero is a professional Rug-
by player and "This Sporting Life"
describes his entry, rapid ascent
and eventual fall. The plot is de-
veloped by means of quick scenes
and flashbacks in a manner that
corresponds with the rapid move-
ment of the game itself and builds
up tension just as an actual match
would do.
The movie, as the game, is bru-
tal and often rough with occasion-
al moments of lightness that
never distract but add to the
overall effect. Thus, the moods are
contrasted in an ever increasing
tempo and sweep that carries the
film to a dazzling emotional pitch.
RICHARD HARRIS, as Frank,
the Rugby-hero, is magnificent.
He manages to be both animal
and man with equal ability; raw,
crude creative capable of extreme
violence and emotional rampages
as well as gentleness. Rachel
Roberts as Margaret is equally
brilliant.
But the real credit belongs to
the director, Lindsay Anderson.
The scenes are developed with in-
telligent and taut precision mov-
Xng in rapid movements. The level
of tension that .Harris reaches is
more than supported by Anderson
and there is never a lagging or
weak moment., The groping of
Harris for love and attention that
serve as his basic motive in every
action is exacted and portrayed
with finesse both in his acting
and theedirector's selection and
development of scenes.
-Hugh Holland
I
I
"Boss, Do You Want To See Government Get
Ahead Of Private Enterprise?"
I -1~- -1
AT HILL AUD:
Precision, Balance
Score Szell Concert
PRECISION, balance and sensitive musicianship characterized last
night's outstanding Choral Union concert by George Szell and the
Cleveland Orchestra.
One of the great masterworks of the symphonic repertory, Mozart's
Symphony K.551, opened the concert. This symphony, Mozart's last,
represents a fusion and culmination of the 18th century Baroque
contrapuntal and classical gallant styles. The character of the "Jup-
iter" is thus markedly different from its predecessors and 'fore-
shadows symphonic developments of the 19th century.
Szell employed a reduced string section and undoubled winds.
Aside from the historic accuracy involved here, the resultant instru-
mental balance and precision were well worth the\ diminution in
sonority. Szell's choice of -tempos complemented the exquisite sym-
metry of each movement and of the work as a whole.
Transparency of texture was the key work for each movement but
nowhere was this principle more evident than in the magnificent
finale. Mozart's quintuple-counterpointed tour de force came off with
vivaciousness and clarity of texture.
ANTON BRUCKNER'S 3rd Symphony was dedicated to Richard
Wagner. In terms of tonal architecture and instrumentation, this
dedication is appropriate. But in its sonorities, modulatory practices,
and exhaustive and tonally complex development, the symphony is
distinctively Bruckner's.
For this work the full orchestra was used; neither precision nor
balance were diminished as a result. This music requires extreme sen-
sitivity to dynamics: subito piano passages, juxtaposition of string
and wind choirs, and extended crescendo abound in the score. In all
'
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