October 22, 1970
IF YOU WOULD JUST
TAKE THE TIME TO
ACIDOWSLEYELECTRICKOOL- efforts, the tambourine and
AIDACIDTESTSPRANKSTERS sitting at the organ sipping beer
KESEYGRASSNIRVANABLOWN was his thing.
This was a concert. . ~no
PINESS, and the Grateful Dead Chicago -(censored). When the
are synonymous. Dead jammed, it wasn’t a gar-
Last Saturday we caught the beled mass of nothingness. The
Dead’s Cleveland concert and it Dead knew what they were doing,
was something. The vibes were Their years of playing together,
good, while strange clouds at- living together, and tripping
tacked the ceiling. This has to together show in the music they
have been one of the most play. “The family that trips
dynamic bands I’ve ever seen, together stays together?”
It’s easy to see why they’ve For an encore they did “Uncle
survived with virtually the same John’s Band”.
personnel as they hit the parks of “Goddamn well I declare have
San Francisco with some years you seen the like,
back. They were so tight and so Their walls are built of can
attuned to each other, that I’m nonballs;
beginning to wonder if it is the their motto is, don’t tread on
acid that’s got them to a unified me.
consciousness point. Come, hear Uncle John’s Band
Contrasting the calm flow playing to the tide,
between the Dead and us out Come with me or go alone, he’s
front, was the frenzied electrical come to take his children home.”
charge running through the air. The concert was everything
While members of the group anyone could has asked for. My
calmly sipped beer between only complaint is that they only
songs, joints passed freely from played four hours and that we
hand to hand in the aisles. Why I came late and missed “Casey
was just sittin’ there and low and Jones.”
behold a “J” was in my hand, so “Trouble ahead
rather than chance a bust, I took
a hit and passed it on. “Don’t
Bogart that Joint?” Things were
really cool, a kid was just lightin’
up when a uniformed man walked
up and asked him to please
smoke in the lobby. Yes, things
were beautiful.
From the Dead’s tie-died polka
dotted electric amps flowed the
sweetest country pickin’, and
solidest bass lines I’ve yet to
hear. Jerry Garcia really got into
things with an at-easeness that
made him look like he was out in
the hills, back of someones barn;
he was right at home. His vocals
were smooth and flowed right-on
with thatpretty-smellin smoke.
Phil Lesh had that smile, and
well I just know that he was. Four
Sunn bottoms put depth into the
songs and you could feel it in
your.. ~.well you could really feel
it. His harmonies were fine as
ever. Jack Cassidy and Phil Lesh
are the two finest bass players
ever. They both are into things
other bass players won’t ever get
into.
Bob Weir played a rhythm
guitar that wasn’t all chords. His
riffs intermingled with chords
sounded real fine. His vocals,
lead as well as harmonies,
weren’t' as smooth as Garcia’s
but they weren’t meant to be.
Blues chording is not monotonous
with Bob Weir. He’s “far-out”.
Two drummers not involved in
a hype thing are Bill Kruetzman
and Mickey Hart. The Dead are
the first to use the twin drimmer
concept fully and well.
rapport between the two was
flawless. Their togetherness left
no gaps. With Phil Lesh they
really make for a solid bottom.
Percussion was their thing and
they did it well. Some gongs were
used as well as other percussion
instruments throughout the
night. The gong song was so
strange; it sounded like Owsley
was behind it all. In the beer
no, it couldn’t have been.
Anyways, the only member left
to rap about is Pigpen and he
was, to quote Esch, “grunting,
howling, and spitting out the
lyrics.” Pigpen’s vocals were
unique to say the least. He really
got into “Love Lights” and an old
Rascal’s tune. Between his vocal
~7r.£:d
1 1 VJf'
By Gary Thornbloom
Managing Editor
Oh lady in red
take my advice
You’re better off dead.”
Workingman’s Dead is their
most recent album. Previous
releases have always been good
and at times fantastic cuts have
appeared (St. Stephens), but this
is the first time the Dead have
really got their stuff together in a
studio attempt. Every cut on this
album merits listening to.
“Casey Jones” alone is worth the
price.
The album is super tight:
Guitar riffs are smooth, with
Garcia and Weir engaging in
instrumental intercourse. Phil
Lesh’s bass lines wander on and
on always changing like the sand
in the sea. Also as evasive, but
always there: soft, but sup
porting the rest. More in
strumental play takes place
between the drummer twins, who
are again flawless. Pigpen saved
his beer this time and lends
himself to the organ, which he
plays real fine.
The good cuts on the album
include: Uncle John’s Band, High
Time, Dire Wolf, New Speedway
Boogie, Cumberland Blues,
Black Peter, Easy Wind, and
Casey Jones.
“Trouble ahead
Trouble behind
And you know that notion
Just crossed my mind.”
(Continued from Page 1)
P.S.U. JOINS
faculty, as appropriate, for
study, research and teaching,
while members of our faculty and
student body can be assigned to
functional positions in the
Department of Public Welfare,
giving them the opportunity to
contribute to the work of the state
and expand their own
professional experience.”
Dr. Ford also emphasizes, that
although administered by the
College of Human Development,
the center will be University
wide in scope, providing op
portunities for the research and
continuing education efforts of all
Penn State personnel working in
the area of human services.
Final arrangements for the
THE MITTANYCUB
The Heiress
At Mercyhurst
Mercyhurst College Drama
Department will present “The
Heiress” on November Bth in the
Little Theatre.
The play, written by Ruth and
Augustus Goetz, will be directed
by Sister Jude Yablonsky, O.S.U.
famed director of last year’s
musical success “Man-of La
Mancha.”
“The Heiress”, suggested by
Henry James’ novel
“Washington Square”, was
selected as one of the best
dramatic plays in the year 1948. A
beautiful house on Washington
Square in New York City, in the
year 1850, is the setting for the
life of Catherine Slopper,
daughter of the prominent Dr.
Austin Slopper.
Dr. Slopper, a very dignified
and commanding-gentleman who
despises his daughter for her
inadequate social grace will be
portrayed by Dennis Andres. Mr.
Andres, a student of English-
Drama at Mercyhurst College, is
the President of the lota Zeta
Chapter of the Alpha Psi Omega
Honorary Dramatic Fraternity,
on Mercyhurst Campus. He has
played in numerous theatres in
New York, Pennsylvania, and
North Dakota, including three
years with the Stepinac Summer
Stock Theatre located in White
Plains, New York. Among his
most recent accomplishments
are major roles in “Marat-Sade,”
“The Chinese Wall”, and “Man of
La Mancha”. Mr. Andres has
also served in many other
capacities in the theatre in
cluding Assistant * Stage
Manager, Stage Manager,
Director, and Make-up Artist, he
is presently Technical Director
for Mercyhurst’s Little Theatre.
Catherine, a shy girl yearning
for love and attention under the
suppression of her sardonic
father, will be' played by
Christine Federici. A Liberal
Arts Major at Mercyhurst
College, Miss Federici has had
roles in “Man of La Mancha” and
“The Funeral Song.” As a result
of her desire to be free of her
father, Catherine responds to the
attentions of Morris Townsend.
Louis Fiorina will piay the
suave young fortune hunter,
Morris Townsend. He is an in
structor in the English Depart
ment at North East High School.
Mr. Fiorina portrayed the Duke
of Grand Fenwich in the “Mouse
That Roared” and Clarence in
“Connecticut Yankee in King
Arthur’s Court” at Indiana
University in Indiana, Pa. where
he graduated with a “BS” degree
in English.
Mr. Townsend’s relationship
with Catherine is helped by
Catherine’s aunt, Mrs. Pen
niman. Christine Warnick will
play the role of the helpful,
matchmaking aunt. A freshman
at Mercyhurst College, Miss
Warnick has had roles in “Our
Town”, “Pillow Talk”, and “the
Miser.”
Tickets for this production will
be $1.50 for adults and $l.OO for
students. Reservations will be
available beginning October 22,
by calling 864-0681.
new program were completed in
September in a meeting at
University Park between
Governor Raymond P. Shafer
and President John W. Oswald.
asry&jr/u,^
f
i:
¥
Who 5 Afraid Of
Virginia Woolf?
You haven’t seen Who’s Afraid
of Virginia Woolf? ! ?! Now’s
your chance! The Student Union
Board has done it again, in
providing the first of a series of
five top-name films for your
entertainment.
This 1966 film is based on
Edward Albee’s four-character
play, depicting a corrosive, hate
filled between a
middle-aged .New England
college professor and his wife.
The movie was nominated for
thirteen Academy Awards, and
carried off five including Best
Director, Mike Nichols. The
acting is also more than brilliant,
and the cast, starring Elizabeth
Taylor, Richard Burton, Sandy
Dennis and George Segal, vividly
projects this bitter relationship
with some of the most searing
dialogue ever heard on screen.
Here is an excerpt :
George: (Burton) (Barely con
tained anger now.) You can sit there
in that chair of yours, you can sit there
with the gin running out of your
mouth, and you can humiliate me, you
can tear me apart . . .ALL NIGHT. . .
and that's perfectly all right
0K...
(Taylor) YOU CAN
Martha:
STAND IT!
George: I CANNOT STAND IT!
Martha: YOU CAN STAND IT! !
YOU MARRIED ME FOR IT! ! (A
silence.)
George: (Quietly.) That is a
What’s Wrong In
“In this book 1,000 people are
telling it as it is, how it ought to
be, and how it’s got to be if we are
to survive.” In these words
Donald H. Parker, an authority in
educational psychology, sum
marizes his lively and alarming
reportage: Schooling For What?
published today by McGraw-Hill.
($7.95).
“The question set me on a
33,000-mile trek across the
nation,” the author recalls. “I
ended up with personal, private
tape-recorded interviews with
1,000 persons of all ages, from
every walk of life, representing
as accurately as possible 200
million Americans in our various
ethnic groups and life styles - all
zeroing in on the question,
Schooling for what?”
Dr. Parker started out with a
set of ten basic queries, focusing
on just what is wrong with our
schools at all levels, but he found
himself expanding his in
vestigation into such related
areas as the hippie subculture,
student radicalism, racial and
generation gaps, and the
proliferation of new-life styles.
Willy-nilly, the book came to
encompass pertinent views on the
impact of the media on the young,
and the abuses and potentials of
technology. The author found
himself delving into fcon
siderations on the traditional
word ethic and its relevance to
our times, and he was led to look
into aspects of the sexual
revolution, the knowledge ex
plosion, the history of communes
in America and the evolution of
sensitivity training and en
counter groups.
“It was not always easy to get
the interviews that lasted from 15
minutes to an hour and a half and
desperately sick lie.
Martha: DON'T YOU KNOW IT,
EVEN YET?
George: (Shaking his head.) Oh . .
.Martha.
Martha: My arm has gotten tired
whipping you.
George: (Stares at her in disbelief.)
You're mad.
Martha: For twenty-three years!
George: You're deluded . .
Martha, you're deluded.
Martha: IT'S NOT WHAT I'VE
WANTED!
George:- I thought at least you were
. . on to yourself. I- didn't know. I .
.didn't know.
Martha: (Anger taking over.) I'm
on to myself.
George: (As if she were some sort
of bug.) No. .no . .you're sick.
Martha: (Rises - screams.) I'LL
SHOW YOU WHO'S SICK.
George: All right, Martha. . you're
going too far.
Martha: (Screams again.) I'LL
SHOW YOU WHO'S SICK. I'LL
SHOW YOU.
George: (He shakes her.) Stop it!
(Pushes her: back in her chair.) Now,
stop it!
Martha: (Calmer.) I'll show you
who's sick. (Calmer.) Boy, you're
really having a field day, huh? Well,
I'm going to finish you . . . before I'm
through with you . .
The time is Sunday, October 25, 7:30
and 9:45 p.m. The place is the RUB
Lecture Hall. Tickets are available at
the desk and at’the door. Price: 5.50
Activity Card Holders, SI.OO Others.
Don't miss Who's Afraid of Virginia
Woolf?, one of the most truly honest
American films ever made! And don't
forget SUB's upcoming movies: To
Kill A Mockingbird, Cameiot, True
Gritand Rachael, Rachael.
Schooling Today
covered the spectrum of
American life from a sidewalk
academy in Oakland to a squalid
Applachian cabin, from behind
the walls of a penitentiary to
glass and chrome offices on
Madison Avenue,” Dr. Parker
recalls. “. . . I have often
counterpointed interviews of the
young with those of the older,
black with white, minority with
majority.”
What emerges are “the thought
patterns of the many age and
ethnic groups now crying out to
be heard.” Their urgent
message: time is running out
fast for the Establishment, and
only a massive turnaround in
American priorities can avert
collapse and anarchy. In the
schools, a consensus of opinion
among the interviewees in
dicates, the student himself must
be allowed to determine what and
how much to learn to fulfill his
needs as an individual facing life
on terms which are entirely his
own. By the same token, the
panoramic survey show, the
diverse experiments in living and
learning being carried out by the
young themselves - from hippie
communes to “free universities”
offer the best models for
reordering schooling in America.
Dr. Parker, who lives at Big
Sur, Cal., has served on the staffs
of six universities and is the
author of a widely used series of
reading laboratory materials, co
published by Science Research
Associates and the Institute of
Multilevel Learning In
ternational, which he founded in
1964. He has lectured on four
continents and has written
numerous articles and a previous
book, Schooling for Individual
Excellence (1963).
Page Three