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October 27, 1973 - Image 4

Resource type:
Michigan Daily, 1973-10-27

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sh at tgan :43 t
Eighty-three years of editorial freedom
Edited and managed by students at the University of Michigan

Co rye 11:





420 Maynard St., Ann Arbor, Mi. 48104

News Phone: 764-0552


His group's personal baggage
still en route to Ann Arbor, guitar-
ist Larry Coryell appeared before
two standing room only crowds at
King Pleasure Thursday night
wearing "the clothes I usually mow
the lawn in."
Eleventh House, Coryell's newly
formed quintet, performed music
from their soon to be released al-
bum, Theme for a Dream. And if
audience reaction is any indicanon
of future sales, the album should
do well.
The members of Eleventh House
include Larry Coryell, electric gui-
tar; Mike Mandel, electric piano
and synthesizer; Randy Brecker,
trumpet; Alphonse Mouzon, drums

and Danny Trifan, bass. Coryell re-
fuses to categorize the group's
style, but agrees that pit is nei-
ther jazz nor rock & roll. He
walls is "1974 Coryell music."
The music is largely a synthesis
of jazz and rock producing a high-
ly electric and powerful music.
Trifan and Mouzon provide a steady
beat while the soloists, Mandel,
Brecker, and Coryell weave
through it in jazz improvisation.
The rhythm section, happily, nev-
er lapses into the predictability of
a rock beat. Both Mouzon's drum-
ming skill and the music's frequent
tempo changes prevent this.
The instrumentation of Eleventh
House is identical to that of John
McLaughlin's Mahavishnu Orches-

tra, except for the substitution of
Brecker's trumpet for violin. The
sound of the two groups is similar,
yet there are important differ-
Eleventh House has obviously
taken a page from McLaughlin's
gook in using the rapid-fire e x-
change of leads between guitar,
aiano and trumpet. Each soloist
takes a turn either mimicking the
preceding solo or introducing a
new idea.
Coryell's group does not appear,
however, as obsessed with speed
for speed's sake as does the Ma-
havishnu Orchestra. Although his
group employs the lead trade-off
they do not attempt to accelerate
the process beyond human compre-

Nixon's unAmerican activity

THE CURRENT Congressional move to-
ward impeachment was sparked by
President Nixon's firing of Special Pro-
secutor Archibald Cox last Saturday and
his concurrent refusal to release his Wat-
ergate tapes.
Thus, the subsequent Presidential de-
cision to allow Federal Judge John Sirica
to hear the tapes put something of a
puncture in what had been a growing
movement toward impeachment.
The fact is that Nixon's action last
weekend is but one cause for impeach-
ment. There are many more.
The Fourth Amendment to the Consti-
tution prohibits illegal searches and
seizures. The President has sworn to up-
Editorial Staff
Co-Editors in Chief
DIANE LEVICK .........................Arts Editor
MARTIN PORTER....... Sunday Editor
MARILYN RILEY . Associate Managing Editor
ZACHARY SCHILLER..............Editorial Director
ERIC SCHOCH ,........... ........ Editorial Director
TONY SCHWARTZ .................... Sunday Editor
CHARLES STEIN............. City Editor
TED STEINE . . Executive Editor
ROLFE TESSEM .................. Managing Editor
STAFF WRITERS: Prakash Aswani, Gordon Atcheson,
Dan Biddle, Penny Blank. Dan Blugerman, Howard
Brick, Dave Burhenn, Bonnie Carnes, Charles Cole-
man, Mike Duweck, Ted Evanoff, Deborah Good,
William Heenan, Cindy Hill, Jack Krost, Jean Love-
Josephine Marcotty, Cheryl Pilate, Judy Ruskin,
Ann Rauma, Bob Seidenstein, Stephen Selbst, Jeff
Sorensen, Sue 0tephenson, David Stoll, Rebecca
DAILY WEATHER BUREAU: William Marino and
Dennis Dsmachek (forecasters)
Sports Staff
Sports Editor
Managing Sports Editor
BOB MCGINN ................Executive Sports Editor
CHUCK BLOOM ..............Associate Sports Editor
JOEL GREER ..... .. Associate Sports Editor
RICH STUCK ....... Contributing Sports Editor
BOB HEUER ....... .... Contributing Sports Editor
NIGHT EDITORS: Jeff Chown, Brian Deming, Jim
Ecker, Marc Feldman, G e o r g e Hastings, Marcia
Merker, Roger Rossiter, Theresa Swedo
STAFF: Barry Argenbright, Bill Crane, Richard Fla-
herty, Cary Fotias, Andy Glazer, Leba Hertz, John
Kahler, Mike Lisull Jeffrey Mlgrom, Tom Pyden,
Leslie Riester, Jeff Schiller, Bill Stieg, Fred Upton

hold the Constitution. At the same time,
in 1970 he ordered an intelligence plan
put into effect which directly violated
that amendment.
THE HUSTON PLAN, named after its
creator,. Presidential adviser Tom
Huston, called for opening of mail, wire-
tapping and burglary for surveillance
purposes. The plan was ordered into ef-
fect by Nixon and, according to testimony
delivered on the plan by former Presi-
dential Counsel John Dean and others,
was only dropped because of opposition
from then FBI Director J. Edgar Hoover.
The Huston plan was, however, by no
means the only way in which Nixon has
specifically violated the laws he has
pledged to uphold and protect.
Nixon's closest aides, whose authority
derives solely from the President himself,
ordered the now well-known break-in at
the office of Daniel Ellsberg's psychia-
trist as well as generally directing the
White House "plumbers" in conducting
other illegal acts.
DEAN TESTIFIED in June that both the
Central Intelligence Agency and the
Internal Revenue Service had been used
for domestic intelligence purposes under
the Nixon administration. Title 50 of the
U. S. Code specifically states that the
CIA, "shall have no police, subpoena, law
enforcement powers for internal security
purposes." The IRS is covered by similar
The Nixon administration's clear viola-
tion of the law through its surveillance
and "security" practices is a sufficient
basis for the President's impeachment. In
this sense, the final resolution of the con-
troversy over the special prosecutor is
immaterial. Nixon should be removed in
any case.
News: Jack Krost, Judy Ruskin, T e d
Stein, Rolfe Tessem
Editorial Page: Zach Schiller
Arts Page: Mara Shapiro
Photo Technician: Karen Kasmauski

Coryell, who worked with Mc.-
Laughlin on an earlier album, finds
the later's collaboration with Car-
los Santana "repetitive." He feels
that every song on his Theme for
a Dream is different, -ffering var-
ious approaches to the music.
Though Eleventh House formed
less than three months ago, i t s
members are long on experience.
Alphonse Mouzon was the original
drummer with Weather Report
and also played for McCoy Tynwr
before joining Coryell's group.
Trumpeter Randy Brecker re-
leased an album of his own and
has done studio work on a number
of James Taylor recordings. Key-
board player Mike Mandel grew
up with Coryell in Richland, Wash-
ington and has since been a con-
stant musical associate of the gui-
Thursday night's audience great-
ly appreciatedrthe efforts oftCory-
ell's group, fresh from a tour of
Europe. Many of the tunes played
were compositions of Mouzon who
does his writing on the piano. The
drummer's "Funky Walt:," and
"Right On, Y' all" received pro-
longed applause.
Mandel, a blind keyboard vir-
tuoso, demonstrated his total con-
trol of the complex electronic gad-
getry associated with both t h e
electric p i a n o and synthesiz-
er. Switching between instruments,
Candel punctuated the quintet's
music with a variety of ef-
fects. On his own composition, "Jay
Ride," Mandel convincingly !mni-
tated the drone of bagpipes.
Alone on stage, Coryell exhibit-
ed his instrumental mastery in a
brief guitar solo. At times sound-
ing reminiscent of his colleague
McLaughlin, Coryell displayed the
elements of his own style. e
feels former jazz greats Charlie
Christian , and Django Remhardt
were most important in influenc-
ing his early development.
Coryell does not believe i put-
ting labels on music, feeling in-
stead that "there are pluses and

minuses to everything." He con-
tends that if an individual hears
music he likes, "it's good music."
An attempt at categorization, he
says, is worthless.
When asked to name his most
rewarding musical experience,
Coryell responded "Eleventh
House is the happiest I have ever
been in a musical situation.' Ip-
deed; the music produced at King
Pleasure Thursday night bore out
that testament.

, .
f j



Dancing to t- he mllusic
Bill Vanaver, who plays more than 12 string instruments, and Livia Drapkin, a specialist in modern
dance, play at the Ark last night and tonight. Their performance combines traditional folk style music
with modern dance.



Gayness: Societal attitudes
hinder personal growth

THERE IS, first of all, a problem of com-
munication. Anything written on m a 1 e
homosexuality by someone who is not a
male homosexual is at best an attempt at
interpretation of ideas and attitudes the writ-
er can never completely identify with. No
matter how accurate the writer's perception
is, much of the real meaning is lost in
Homosexuality has been a skeleton in many
family closets, and efforts of organizations
like the Gay Liberation Front to reveal it
and give it identity incensed many. Because
gayness is an uncomfortable subject, it has
historically been publicly unmentioned and
privately whispered about. A mention of
homosexuality in a crowded room will pro-
bably bring a few jokes to cover embar-
rassment, or uneasiness - and a quick
change of subject.
And as the efforts of groups like GLF con-
tinue and prove increasingly effective, many
non-homosexuals are finding it more diffi-
cult to lock the subject away in their own
mental closets. Some are even becoming
physically hostile toward gays.
image of a mental and moral disease that
can be "cured". Gayness itself is more than
a sexual preference; being gay is not ne-
cessarily based solely on personal sleeping
habits. Gayness is an attitude and a lifestyle
as well.
Public rejection of the gay lifestyle is pro-
bably due to the fact that gayness breaks
the number one social law-it differs from
what is generally accepted.
People are just beginning to become aware
of the inherent assumptions of the mas-
culine and feminine roles. Each of us has
been conditioned in different ways to accept
certain actions and mannerisms as mas-
culine and as feminine. And our ideas of what
is masculine and what is feminine are in-
extricably attached to the respective male
nna irmAaanrir

GAY LIBERATION emphasizes the right
of the gay individuals to be what they are
and to feel good about themselves, as they
are. The term "coming out" is not an easily
defined term, but related to gayness, it seems
to mean becoming aware of yourself and ac-
cepting yourself personally and publicly. The
mere existence of an organized gay group
is supportive to its members, who face false
generalizations, discrimination and political
impotence in day-to-day living.
From a detached philosophical or rhetori-
cal viewpoint, gayness can be accepted and
understood by the "straight" community. But
personal emotional acceptance and under-
standing is more difficult. It is generally
expected that minds and personalities will
coordinate with physical anatomy to form
a social behavior most people have learned
to accept as normal. It is assumed heterosex-
uality is instinctive and natural; homosex-
uality is therefore assumed deviant and
GAYNESS IS FAR from being something
mothers wish for their sons, and it still holds
a strong claim for closet storage space. But
the issue of homosexuality is more com-
plex than a question of what the straight
population is comfortable discussing.
The existing attitudes toward homosexual-
ity are hindering- the personal growth and
self-acceptance of the gays themselves, who
struggle against the societal label of a social
leper. Those who are gay are as diverse as
any group of individuals, with a wide range
of talents and potential contributions to the
quality of life. The benefit of those contribu-
tions will never be realized so long as the
general community rejects the gay per-
spective from which they are offered.
If the traditional delineation of "us" as op-
posed to "them" continues, there will be a
continued loss of a viable, creative segment
of people who must concentrate on personal
survival instead of community cooperation.
There will be a loss of self-worth on the
part of the gay individual if he is contin-
ually reiected by the maioritv And there

Let ters to The
recital tered pris
To The Daily: sible, andi
MONDAY NIGHT, October 8, "bit" theI
Ann Arbor residents, participants advantage
in the anual organ conference held educationa
at the University of Michigan, and an above
members of the Motor City Theatre even a p
Organ Society were treated to an medical t
unexcelled performance on t h e In 1967,
Michigan Theatre's Barton pipe degree n
organ. murder of
The organist was none other than I did not
the University of Michigan's very didn't kill
own George Lamphere and he did in LucasC
his two mentors, Virgil Fox and blocking e
Maisy Butch Queensbury, great obtain an
honor. Of course, part of the pointed at
credit for the performance must of Toledo,
go to the fabulous organ itself and One rea
those persons who sponsored the script and
concert. Notably, these are t h e dent or n
Motor City Theatre Organ Socie- most ever
ty, the Ann Arbor Chapter of the violated. I
American Guild of Organists, Jam- and was
es Hammann of the M.P. Mohler years unti
Organ Co., and of course the man- abolished
agement of the Michigan Theatre. case gaine
George Lamphere's concert will when I at
certainly go down as one of the procedure
milestones in the music world of capital pu
Ann Arbor as those who saw the ton v. Oh
performance can testify. I s a y that decisi
Bravo! George Lamphere. Bravo! Three of
Motor City Theatre Organ Society. Douglas a
And Long Live Maisy Butch! should hav
-Thomas Todd That br
Oct. 9 situation.1
on deathr
many cof
nice try Ohio unive
friends. T
To The Daily: through co
DURING THE October 13, 1960, with these
television debate between then- be tremen
senator Kennedy and then-vice- become p
president Nixon, a question come cially con
up about Harry Truman's public more aw
advice as to where the vice-presi- throughn
dent of the Republican Party could friends wh
go. Senator Kennedy referred the I have als
question to Mrs. Truman, b u t the grimr
vice-president Nixon went on and new triala
made the following points. is going to
"It makes you realize that I am un
whoever is President is going ticeaand i
to be a man that all the child- and equal
ren of America will either look for everyo
up to or will look down to, and they are c
I can only say tnat I am very out to tho
proud that President Eisenhow- political c
er restored dignity and decency help to ge
and, frankly, good language to one thing
the conduct of the Presidency here-mar+
of the United States. for sympa
"And I can only hope that, shot. I ar
should I win this election, that for money
I could approach President Ei- and idea
senhower in maintaining t h e money to
dignity of the office, in seeing I am a de
to it that whenever any moth- from peop
er or father talks to his child, cess to th
he can look at the man in the able in het
White House, and whatever he I do nc
may think of his policies, he fellow cone
will say, 'Well, there is a man ple whov
who mantains the kind of stani- give full
ards personally that I would ceived. I'
want my child to follow'." Liberation
-Dr. John Koza '72 iberation
Oct. 21 for any p
No matte

ons with one thought in
ting out as soon as pos-
in the interim-doing the
best way I could. I took
of all of the available
al programs and acquired
average education and
rofession in the field of
I was convicted of first
nurder for the alleged
my wife of four months.
kill her. I can prove I
her, but the authorities
County, Todelo, Ohio are
every attempt I make to
new trial. My court ap-
torney, John J. Callahan
Ohio sold me out.
ading of 'he trial tran-
anyone, whether law stu-
ot, could see where al-
ry right that I had was
I was sentenced to death
on death row for five
i the U.S. Supreme Court
capital punishment. My
ed some notoriety in 1971
tacked the single verdict
used in many states in
nishment cases (Cramp-
io, 402 U.S. 183). I lost
ion in the Supreme Court.
the justices, Brennan,
nd Marshall ruled that I
ve been given a new trial.
ings me,- to my present
During the time I spent
row, I corresponded with
[ege students in various
he contacts that I made
orrespondence and visits
e people have proved to
dously worthwhile. I have
olitically oriented and so-
nscious. I have become
are in many respects
my relationships w i t h
ho have since graduated.
o become more aware of
realization that getting a
and my ultimate freedom
o be tough.
lder no illusion about jus-
nalienable rights. Justice
rights are on the books
ne, but we all know that
capricious fallacies meted
se fortunates vested with
clout, or wealth. I need
t out of here. I need the
that will get me out of
ney. I can't beg or ask
athy. That just isn't my
m willing to do anything
y. I have a million plans
s for making enough
buy myself a new trial.
sperate man. I need help
ple outside who have ac-
he many things unavaix-
ot intend to exploit my
victs-or any of the pea-
wish to help me. I will
value for any help re-
m interested in Woman's
and curious about Gav
, and would like to wrte
ublications in that field.
othingbut time to write.
,r what your needs are-,

Bawdy fun abounded Wednesday
night as the first of two produc-
tions by The Phoenix Repertory
Company, Georges Feydeau's
Chemin de Fer, opened at Men-
delssohn Theatre. The second pro-
duction, Friedrich Durrenmatt's
The Visit, premieres Saturday
Feydeau is the master of the
bedroom farce, and in Chemin de
Fer he is in top form. Trying to
describe the plot of a Feydeau
farce is like doing a play by play
of a pinball game; things change
directions so fast and so much goes
on that following the action is a
challenge, recounting it a task of
epic proportion.
In this particular debacle, a phil-
andering husband (John McMartin)
is forced to marry his mistress

(Rachel Roberts), the wife -of an
old school chum (Richard V e n-
ture). Somewhere along the line
an old drunk, an eloquent but
bumbling politician, and an over-
enthusiastic police inspector be-
come enmeshed in the fun a n d
games, and the result is an eve-
ning of bedroom bedlam.
All the stock Feydeau devices
are there - the bedroom w h e r e
the illicit liasons take place which
is converged upon by all the con-
cerned parties at more or less the
same time, and of course, t h e
handicapped character whom Fey-
deau makes great fun of without
cruelty. In this case, it is a brick-
layer who behaves like a dog when
he is excited as a result of a pre-
natal attack on his mother by a
St. Barnard. Feydeau's ribald wit
is everywhere, ranging from, sub-

Phoenix Co. performs

Contact your reps-
Sen. Phillip Hart (Dem), Rm 253, Old Senate Bldg., Capitol
Hill, Washington, D.C. 20515.
Sen. Robert Griffin (Rep), Rm 353, Old Senate Bldg., Capitol
Hill, Washington, D.C. 20515.
Rep. Marvin Esch (Rep), Rm. 412, Cannon Bldg., Capitol
Hill, Washington, D.C. 20515.
Sen. Gilbert Bursley (Rep), Senate, State Capitol Bldg.,
Lansing, Mi. 48933.
Rep. Perry Bullard (Dem), House of Representatives, State
Capitol Bldg., Lansing, Mi. 48933.

delightfully in Chemin de Fer

tle to slapstick, engaging the aud-
ience at every twist and turn of the
The New Phoenix Repertory
Company's production, directed by
Steven Porter, is stylish and en-
thusiastic right down to the clever-
ly executed set changes, but not
entirely successful. Somewhere in
the second act the showloses much
of the momentum it has been build-
ing, and when the pandemonium
which concluded the play comes
along, it is less chaotic than it
might be, and consequently 1 e s s
The cast is a fine one, led by
Rachel Roberts and John McMar-
tin, two seasoned troupers of con-
siderable talent. As the philander-
er and his mistress, they w a r k
together beautifully. Roberts is
nicely feline while McMartin is
wonderfully harmless, and they
receive a number of fine support-
ing performances.
Richard Venture is particularly
good'as the cuckolded husband; 1
also enjoyed George Ede as a sort
of French W. C. Fields and David
Dukes as the clumsy politician who
can hardly keep out of his own
way. The general level of perform-
ances is high, and the ensemble is
exceptional in this excellent com-
Feydeau fans will find Chemin de
Fer delightful; everyone else is
certain to at least be amused.
What New Phoenix has here is
a good, funny production of what
is a great, uproariously funny play.

or\ \
I- . .
c ox

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