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, Volume seven, number one I October 7, 19731 2

teachers available. About 30% of the students will be there, but only 15% of the faculty. It is no satisfactory de"Inconvenience, not catastrophy" fense to say, as the Committee does, 2 Comment: Smith and Kagan on the that ..Since Yale College faculty memsummer term, Mauceri on Strauss and Everyone natwally approaches the summer term proposal through his or her bers now divide their teaching time Mahler roughly equally between graduate and particular role or interest in the Univer3 Buffalo, buildings, and automobiles undergraduate teaching" and since no sity. The fund raiser may see an oppor5 New Haven elects to receive graduate students will take summer tunity to convince potential givers that we are using ..the plant" to capacity cowses, the faculty-to-student ratio 10 From the people who brought you and thus deserve support.

Others see a will be about the same. the face of God ....

In the two departments I know best, means of attaining the fabled ..60-40" ratio between the sexes in the underHistory and Classics, the Committee's Volume seven, number one graduate student body without fwther assumption is flatly wrong. This year Editor: reducing the number of men admitted.

80% of the courses taught by Classics Stuart Rohrer An academic innovator may welcome professo~ will be open to underManaging Editor : the chance to organize cowses along It is not possible, however, to deal graduates. In History the figure is at Alan Strasser broad divisional lines in the summer, but with aU the worries of those concerned least 70%. This means that the actual Associate Editors: a departmental director of undergraduate about the residential college system faculty-to-student ratio in these dePam Gray studies may despair over the disruptive partments will be far worse in the sumwithout adding so much to the cost Richard Hall impact on the normal sequence of mer than in the other terms. of summer operation that the fmancial Editorial assistants: cowses. Similarly, a residential college But that is not all. Since graduate gain-the proposal's primary objectivemaster tends first to contemplate the Rick Brown students will not attend the summer would be seriously diminished or lost effect of a summer term on the instituUsbet Nilson term, professors who teach mostly altogether. Thus, we are left with the Design: tion which, from his perspective, is what graduate courses will not be available necessity of weighing alternatives in the Jim Uberman gives Yale its distinctive character. tor the impoverished summer term. context of the University as a whole.

Business Manager: College masters are both academic One-seventh of the faculty, of course, 'Th.e residential college system will surConnie Dunham and administrative officers. At times will teach in the summer. That means vive a summer term, but no one can Advertising: the latter role crowds out the former. they will not teach in the winter. and pretend that the colleges will be the enables us to make the summer term Barbara Guss Especially at this time of year we may better for it. more comparable to the others by Emmy Zuckerman feel harrassed by problems connected It is foolish to view the proposal in with too many students in too few sharing the poverty.

Production: apocalyptic terms. Year-round operation The Committee's response to the rooms, by difficulties in the physical Lee Hanson will not mark the end of civilization as operation of the college, or by the comBruce Howard problem of faculty is to create a we have known it at Yale. It may proplexities of internal accounting and billBernard Johnson Divisional Model for the summer based duce some inconvenience and irritation, ing within the University .

Suzi Moore on special Institutes. The models but not catastrophy. It will not solve At such times and from ow special Catherine Romano proposed in the Report group current the University's frnancial problems, points of view, it is hard to discover Publisher: cowses in artificial catagories. These create an intellectual renaissance, satisfy anything good about the summer term.

Ronald Roel cowses are typical Yale offerings, but aU those who want a different ratio We cry out that only those who have very limited in scope and decked of men to women students, convince Credits: experienced the agonies of trying to out in a fancy new package, something doubting alumnus that Yale is every Steve Bethel: cover, pages 5,6,7 ,8 make everyone happy with room assignlike eL-y breakfast cereal put into a using its resources in the best possible Jim Uberman : pages 2,3,4 ments, of fmding space for storage of box filled largely with air. way, or ensure the success of the capDon Ketti: page 10 student property, of listening to tales The comparison, moreover, between ital fund drive.

Alex Twining : page 11 of property lost or stolen, can underthe rnandatorv summer divisional model But it will probably yield some finanstand the confusion that will result from cial benefit, and it could well prove and such divisional programs as HAL, the churning of students in and out of The New Journal welcomes Politics and Economics, Cultwe and intellectually invigorating for students residence and from one college to Comments on subjects of interest Behavior, and Directed Studies is invalid. and faculty . We must make the decision another. We worry also about the impact to the general Yale community, These programs derive their success in no whether or not to proceed after gatherof a summer population, composed but the Editors reserve the right smill part from having the entire College ing the most informed estimates about mostly of students who do not belong to choose and edit for length as fa"culty to draw on. lt is very hard to put the summer term's impact, with the to the college, on our cherished and well as clarity. together the faculty necessary to run realization that estimates are not ceralready threadbare facilities. And we these programs; sometimes the tairlties. My inclination is to go ahead The New Journal wishes to extend worry most of all about maintaining faculty is not as good as it should be, and if our estimates indicate that the gains special thanks to Mr. J. Irwin Miller a sense of community when students sometimes the plan for the program is outweigh the disadvantages by even for his continued faith in and support will be here one term, gone the next. inadequate because o f the uncertainty a small margin. of this publication. last spring a committee of residential Gaddis Smith concerning the available faculty. To be college masters and deans presented• Professor of History blunt, some of these programs are often the Summer Term Committee with a Master of Pierson College statfed with junior faculty , often in their The New Jownal is published by The memorandum voicing these concerns. position, drafted irlto the first teaching New Journal at Yale, Inc., 3432 Yale The Committee Report is gratifying in program. Thus, there is no reason to Station, New Haven, Conn. 06520, "Share the poverty" its responsiveness. It proposes the think that the comparison with the and is printed -at Trumbull Printing appointment of a summertime adm~­ It is far from clear how much money a summer ~ssion would be valid.

Co. in Trumbull, Conn. Published istrator for each college, and fmanctal summer term would earn, but the ComFurther problems are suggested by the free to the Yale community. For all assistance to meet new responsibilities mittee's report makes it plain that the description of the Center on Classical others, subscription rate $5.00 per and compensate for wear and tear on cost to the quality of a Yale education Greece . Two of the suggested courses year. Copyright© 1973 by The New college facilities. It also holds out the would be considerable. There is no need provide illustrations. C. C. 12a, Greek Journal at Yale, lnc., a non-profit possibility of converting the Old Camto dwell on the difficulty of doing Thought Through Aristotle , is a course corporation. Phone 776-9989 or pus into colleges at some distant date, work in the heat and serious intellectual central to work in Classics at Yale . If 432-0404. so that all freshmen can live in their humidity of a typical New Haven sumit were given in the summer with the colleges from the beginning. The demer in classrooms and dormitories not presert staff it could not also be given parture of undergraduates from the designed for summer use, but we should in the winter. Would it be sensible to college community for one term would ru>t ignore the obvious. offer the course to 30% of ttK students be more than compensated by the inEven more serious than the climate, '"' partnership The Yale Daily News (continued on page 14) Magazine, The Yale LIT, and The New clusion of students in both terms of however, will be the short supply of freshman year .

Journal.

Contents

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Buffalo.. buildings and automobiles An Interview with Vincent Scully

Bold,opinionoted,quick-witted,academic, indulgent,overflowing,theatrical,brilliant, compassionate: Vincent Scully came back to Yale this faU,stretched and reshaped by a years sabbatical in Europe, but still the same magnet ofa man he has always been. Scully has returned to his native New Halien to resume his Mastership of Morse College and refresh Yale with his dramatic lectures,stabbing the projection screen with a smaller pointer now- the big one was stolen. He enjoys the interaction once more;it helps him think.

His most recent book,Pueblo:Mountain Village Dance (to be published next March by Viking Press),deals with Pueblo culture and architecture in Taos and Santo Domingo,New Mexico.He spent some time in Europe trying to transcribe a number of his lectures into another book- but found it an impossible task. He discovered that he could not forge his lecture style into his writing style.lndeed,he must have found that nothing is quite like listening to Vince Scully speak: Well, I think Yale made a great mistake in not having a real plan for this place.

I guess they did have one, but paid no attention to it . For a long time they just built hit or miss, wherever they could get the land. It was typical of what Whitney Griswold, who was a wonderful president, thought about architecture in the fifites. The idea was to get the most outstanding architects and let them do what they wanted to do.

I'm not really happy with most of Yale's modem architecture. I don't think on the whole that it's up to the older buildings here, especially in the creation of environments. Morse College, for example, is really a very bad solution to the problem of housing. The minimal facilities we have-the common room which is just a left-over basement spaceit's really not right. The accomodations are much too cramped. The lighting and the special details which were designed at vast expense, just don't work.

liQuid you say that it is elitist architecture?

Well, it's not good elitist architecture.

I'm all for elitist art-that's what I believe in. But again it's typical of the decade. In the fifties everybody was trying to knock everybody else's eye out. I think that's very typical of Paul Rudolph's Art and Architecture Building. He tried so hard just to outdo Corbusier, to outdo the Greeks in terms of sculptural mass.

And I'm responsible, too. That's the way I thought in the fifties. We all thought in terms of this heroic confrontation thing. It's the kind of thinking that started Kennedy off meddling about in Vietnam, exactly

the same attitude. His inaugural speech was the equivalent of the Art and Architecture building, in a sense. That same quality of the heroic astronaut. I dislike it a lot in modern architecture.

I think the best modem building at Yale was the.very first-Kahn's art gallery. It's in a way the least pretentious. That building's got a probity, a solemnity that I think is really very good. Without a doubt the worst one is the Beinecke . It's a terrible thing to beat a building, kind of like hitting a chilo. But the Beinecke is a real honor, in my opinion. It destroys the center of Yale. We could have had a beautiful glass tower by Mies set in a circle of masonry buildings that would have been a jewel. It would have been beautiful. Why they ever commissioned that building I just don't know.

H-71at happened to New Haven during the Lee-Griswold era? What produced the change to downtown redevelopment?

I think again it's that sort of heroic view of the fifties: We know what's good for you, but you don't, so we'll push the populations out. They did, too. They brought in luxury apartments where there had been low-income housing.

They cleared out so many areas of the city where a nice sort of modest life was going on . All those wonderful shops on State street. Oak street, that great shopping area along thereJewish delicatessens and so on, the kind of thing you just don't find here anymore. They were proud to get rid of the flea markets that were going on over there, proud to announce that now we have Chapel Square Mall instead. They had a really stupidly genteel view of what was going to happen to the city.

And then, of course, they didn't complete what they set out to do! The citizens began to block it, the funds ran out. And now Nixon has starved everything to do with the cities. So now we have these great waste areas like on State street ...

When I came back to it this time, New Haven really looked sad. Somehow it looked depressed. It looked droopy.

It looked dirty. As a matter of fact, the whole United States looks awfully tacky. Do you get that feeling? Coming apart physically. Yale University, too, is not what it used to be. All of us used to be appalled at the amount of money they spent keeping the grounds up. But when you let them go a little bit, you see how important that all really was.

Everything around New Haven-from the taxi cabs to the way they keep up the Merritt Parkway to the neighborhoods-everything gives you the curious feeling that we have run out our string. we've run out of money, we've run out of skills, run out of patience. It may have been because I was living in Swit-

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zerland, where everything is so neat, so tidy. But New Haven does have, right at this moment, the look of an absolute disaster area.

Is this a failing of the way we approach modem architecture? Have we failed to ask the right questions?

I think it's typical of what's happening to us sociologically in this country. People are moving out of the cities, into the suburbs. They're driving their own cars.

So we get more and more highways, more and more suburbs. The centers of the cities decay, they fill up with the poor population that is forced to live there.

It's just a tragic thing.

But it seems to me probably inevitable, in terms of the suburban living pattern and the automobile culture. It seems to be the way the United States is going. and the way most populations of the world go when they get a chance. France will go that way-they're ripping Paris apart to put in more superhighways along the Seine. Frenchmen are moving out into the landscape. And Italy, my goodness, Italy is running to superhighways. Up through the Abrizzi and the unspoiled mountain country they run, with all the junk following them. It's a scandal. They're spoiling one of the greatest, most savage, archaic, beautiful landscapes- cultures- in the world up there. We're just ahead of them, that's all.

But were changing now. The people in San Francisco got together to say "Stop building"...

Yes, that was great. New Haven; too.

And I suspect it will continue. I think the whole physical plant is running down. Look at the automobiles, nowthey can hardly run with all those antipollution devices on them. You get about two miles to the gallon , they choke, and pook! the whole thing is falling apart.

I do think that soon, in specific places like New York but eventually in a lot of places, the automobile is just not going to be useful any more. You're already better off in New York withou t one. I think that will soon be the case in New Haven. But what has to come back is what New York never lost, but what other cities have lost completelypublic transportation systems. I think the money that comes in through highways and tolls and taxes should go, not to roads-no more of that-but to mass transit. Bus lines, railroads .... The railroads are stiU the most efficient way to move men and goods fast and economically-but they're in the worst trouble of all.

What happens, though, when people don't realize the need for things like mass transit?

That's a real problem. The whole culture might fall apart.

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again-start "movin on," "cruisin"-- I The automobile is a funny thing. I might get back into it. That delicious think the reason people like the autoold sickness which is best written about mobile so much is because it gives them

by Nobokov in Lolita. He's really much an illusion of freedom. You' re usually better than Kerouac. Maybe not beby yourself in that great big stupid autofore Kerouac, but doing what Kerouac mobile and you feel like the pioneernever really did-giving you the sense like you're not involved with the rest of the whole furniture of the road of society. Of course this just isn't true culture, that is, the motel. Nabokov when the fact that you drive on a road invented the motel as an image. And means that there's a highly organized what is it but an image of absolute aliesociety that you are sucking on. nation? The lostness, the drifting of But in the automobile you have that that poor girl who was being pursued sense of territoriality ... Did you ever by a villain, oh it's beautiful. think of the reason why one gets so annoyed when crowded in a car? You don't get annoyed if you get crowded on a train In a way the motel, the Howard Johnson's or the Holiday Inn, seems or a bus because you accept it as a public space. But in an automobile you feel like to be a symbol of the need to retreat you're in your .o wn house, you've got from the crush of automobiles... your own territory. And when another That's right. But there's also an element car comes closer that's a threat. Not of this territoriality thing. The motel just the threat of collision -you feel the aggression, the pressure of another person is not like the old hotel, where you'd go in and register at the desk with cutting into your territory. Of course everybody looking at you. It was a these feelings are potentially so Duke Wayne-ish, so aggressive and violent .... social thing. You had to be dressed right. And you had to be careful you I've heard policemen say that they think an enormous number of automobile acci- were really married to the woman you dents are really automobile murders. Peo- were with 'cause they'd be watching with a thousand eyes. ple lose their tempers and they smash ....

You know, I've run the whole gamut But in the motel, all that's dried up. on automobiles. While working with the One person goes in and signs, just says Indians I used to drive out to New Mexihow many people are in the car, and off co and back every summer. I finally got you go. You never see anybody. You go to be kind of a sucker for that imagery to your room, break out the Jack Daniels-they have the ice right there for where you get behind the wheel of the you-and you sit there and you get ¡old Chevy and drive ... stewed. The social interaction is absolutely gone. You're completely alone.

Jack Kerouac's story...

DDOOOOODOOODDDOODDD Yeah, and Larry McMertry. But I really believe now that the automobile causes a sickness, a real sickness. It's a sick, rotten place for human beings to be. They're hot, they're smelly and they're dirty. The whole feeling an automobile gives you is one of spurious territoriality. It brings on this crushing and smashing of everything else worthwhile in the environment.

I think it's archetypally the American sickness today. Only because we're frrst at it. Everybody else goes for it, given the chance-the French, the Italians, the Russians.... It's just that we're more modern. It's the modern sickness. I think it might end in destroying the environment. And worse than that it might destroy the ability of people to think in communal terms, and therefore to vote and behave intelligently.

Do you feel that you can help avert

this destruction? rve fought it hard in New Haven in the past, through public opposition and writing about it. But my attempts to change it have been a little ambivalent in the past because I've always felt the pull of the automobile. I really love the romanticism it suggests.

I know if I get back in the Plains

Could you give us some background on ¡y our new book?

Well, this book on the Pueblos continues the work I did in Greece which resulted in The Earth, the Temple and the Gods published in 1962. In that book I tried to develop the thesis that certain sites were sacred to the ancient Greeks because of their topographical conformation, and that the characters of certain divinities were suggested by the character of various sites. The Greek temple completed that relationship by creating a man-made house of the divinity, a man made conception of reality in relation to the natural force. I developed it I thought with enormous success, but there was a lot of critical reaction from classicists who absolutely refused to credit it. It caused a certain amount of controversy.

The Pueblo book really continues all that, because the Indians have sacred monuments, too. And we have for them what we don't have for the Greeks-we know the names they gave to their monuments, while for the ancient Greeks we don't. We know which ones they regard as sacred.

That's what I started working on-the relation of the Indian pueblos, prehisto( continued on page 12)

New Haven elects • to receive

When the Sons of Eli met Harvard in the first football game ever played in the Yale Bowl in 1914, the Bowl was a near wonder of the world: the largest stadium in existence, bigger than the Coliseum of Rome. It was a marvel of engineering, overwhelming in its dimensions, unique in its basic construction.

But the fans who watch the New York Giants take on the Green Bay Packers in the Bowl today will not

by Ronald Roel, Stuart Rohrer be awed by Yale's stadium like that and Alan Strasser first crowd which say Harvard kick its way past Yale, 36-0. There are larger stadiums now, with better seats and lighting, expensive private lounges, artificial turf, brighter colors; the days of Yale's Walter Camp-the father of American football-are long gone. Yet, for the Giants, who will play their fivegame home schedule in their newly-adopted city of New Haven , the Yale Bowl is the most important stadium in the world right now. And for Yale, New Haven, and the history of caustic relations between the two, the significance of these five autumn Sundays will transcend the profits and prestige of being a major league town. For over the past seven months, the Yale Bowl has become a most important piece of real estate, where a prominent university, a major city, and a wellfollowed professional sports team have all become apparent winners in a complex political and economic game.

But why Yale?

What makes Wellington Mara pull his Giant family away from the most devoted sports fans in the world to the wilds of Connecticut, where no one is really sure they belong and no one is sure sure they can stay? And what will happen to the New York-HavenJersey Giants in three years if the Yale politicians no longer find them useful ; if the New York politicians all hate them as much as John Lindsay does; and if the New Jersey politicians can't convince the taxpayers that their state should be in the business of building multi-million dollar sports complexes?

As a mere one-state team, the Giants have been unhappy with their facilities at Yankee Stadium for some time. Built for the Yankees in 1923, the Stadium is a grand old affair-indeed, the Yale Bowl of the Bronx- but like the

Bowl, it has fallen seriously behind in the boom of modern sports arenas. While the Stadium could seat 73,000 for baseball games, it could only seat 63,000 for football and many of those seats had obstructed views of the playing field. Parking space was inadequate and access to the stadium somewhat difficult. The facilities were badly in need of renovation. And the Giants were always playing second tenants behind the Bronx Bombers.

Not that the Yankees were completely happy with the ballpark either. It wasjust that neither Rice University, who owned the stadium, nor the Knights of Columbus, who owned the land beneath it, could or would finance the needed improvements. Foreseeing that the stadium's condition might cause the Yankees or the Giants to leave the city a worried John Lindsay began to talk to the Yankees in rnid-1970. After nine months of negotiating, the Mayor announced that the city would either purchase the stadium or acquire it through condemnation proceedings; he believed that $21 million of renovations would help persuade the two teams to remain in New York . Yankee President Michael Burke indicated that his team immediately would cease discussing a possible move to New Jersey.

Three weeks later, he said that the Yankees would stay in New York for "30 years" if the renovations were undertaken.

Wellington Mara. on the other hand , was not a man to be moved.

Mara , who inherited the ownership of the Giants through his father (who reported ly was able to buy the team because of his successful bookie operations), refused to commit himself. While the imperious Irish owner was known for treating his team like fa mily, he was also known for treating his public strictly as public- and sometimes with public contempt. Even before lindsay's renovation announcement, the Giants had begun negotiating with New Jersey officials for a permanent home in East Rutherford. New Jersey Governor William CahiiJ was eager to lure professional teams to his state, not only for the business it would bring, but for the improvement of his state's public image: New York wouldn't have New Jersey to kick around anymore.

Cahill was willing to offer very

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attractive terms-and Mara was listening. The Governor strained already tender Giant-City relations by announcing in March, 1971, that he had a conditional commitment from the Giants for a move across the river. A month later, the New Jersey Legislature established a sports authority to plan a 7 50-acre sports complex costing between $100 million and $200 million. The complex was to include separate baseball and football stadiums, a thoroughbred racing track, basketball and hockey facilities, and a separate convention hall.

The official announcement came at "the end of August: the Giants had signed a 30-year lease to play · in East Rutherford, New Jersey.

While at Yankee Stadium they had received no percentage of the concessions, parking or program revenues, they would get I 0 percent of parking and half of the concessions profits in New Jersey. The sports complex would offer 75,000 unobstructed seats for football, its own Jersey Turnpike exit, and extensive parking facilities. And although the Giants were changing states, their new home would only be one-and-a-half miles further from Times Square than is Yankee Stadium.

Mara told the press that he was moving his team to give them their first real home in 46 years, and to provide comfort and convenience for those Giant fans who had suffered so long at the Stadium. The New York Times quoted him as saying: "New York is not losing a team, it's gaining a sports complex .., There was only one problem: the New Jersey complex would not be completed until at least 1975, and the Giants needed a place to play their 1973 and 1974 "h9me" games while Yankee Stadium was undergoing renovation. The Mara famil}( was not exactly popular in New York. ABC Sports commentator Howard Cosell came up to New Haven to call Mara names in front of a Yale Political Union audience.

Lindsay declared that once the city obtained ownership of Yankee Stadium, the Giant's subletting

contract automatically would be terminated. He vowed to go to court to prevent the Giants from retaining the City's name. And he contacted then-U.S. Congressman Emmanuel Cellar to inquire about initiating an antitrust investigation of pro football. Clearly, the possibility of sharing the City-owned Shea Stadium with the New York Jets did not seem likely.

At first glance, the Yale Bowl seemed to offer the best temporary solution, even though 90 percent of the Giants' regular fans came from outside Connecticut. Other possibilities included West Point's Michie Stadium and Princeton's Palmer Stadium, as well as sites in Foxboro, Mass., Tampa, Fla., and their Jersey City practice field. But West Point did not want the Giants. And the Giants did not want Princeton-its stadium could not accomodate the 60,000 Giant season ticket holders and there was a serious question as to whether the town could withstand the massive weekly influx of fans. The cost of expanding the Giants practice tield facilities appeared prohibitive.

Moving to Foxboro would be like moving the New York Rangers to the Boston Garden. And playing in Tampa would pose the threat of losing considerable ticket revenue as well as most of the Giants' present fans. By the spring of 1973, it had become evident that unless the Giants wanted to play all their games on the road, thei( best option was quickly becoming their only real option. It was the Yale Bowl or bust.

The Yale Bowl had the advantages of being close enough to New York to retain their season ticket holders, and of being large encilgh-70,000 seats-to hold them all. Interstate 95 and the Merritt Parkway both pass within miles of the Bowl, and adequate parking space was available in lots and on Yale sports fields surrounding the site.

Added to these physical advantages, the Bowl had hosted professional football games annually since 1960, when the Giants began

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.~.playing the pre-season Albie Booth games, and later the Jets--Giants "Suburban Bowl., The access roads were not designed to handle the traffic a Giants' game would create, however, and there were other disadvantages as well. The grass playing field would require extensive and hurried repairs after a Saturday Yale home game. The halftime rooms in the Bowl and Lapham Fieldhouse were inadequate even by college football standards. (Sam Chauncey once commented that they are "the worst facilities in the Ivy League ... ) The press box is tiny and primitive.

To the Giants•s eye, however, the advantages of a stadium large enough and close enough stood out most sharply. The details either could be improved or tolerated.

Almost as soon as people knew that the Giant's would be leaving Yankee Stadium for New Jersey, speculation about whether they would play in New Haven began.

New Haven Journal-Courier Sports Editor Bill Guthrie claimed that the Giants had contacted Yale in the fall of 1972, although Mara denied that any contacts had been made with anyone. The first official word Yale heard from the Giants came in February, 1973, when Giants' attorney and Yale alumnus Lawrence Krieger phoned University Secretary Sam Chauncey to ask about use of the Bowl for the five 1973 home games. Chauncey told Krieger he would raise the question with the Yale Corporation and call him back When the Corporation approved the playiug of the annual Albie Booth charity game at the Yale Bowl in 1960, it stipulated that no other professional sporting events would be allowed. At that time, University President A. Whitney Griswold was apparently worried that professionalism might taint Yale's own athletic program by introducing some of its seedier elements such as gambling.

With a steadily deteriorating fmancial situation on their hands,

the Corporation apparently overruled this policy in favor of seeking a lucrative settlement with the Giants. They instructed Chauncey to begin negotiating a contract.

It appeared that an agreement with the Giants could greatly benefit the University. The Giant's arrival would help soothe the bad feelings between Yale and New Haven caused last year by the handling of the proposed new colleges. The deal would be a boost to local business and would please New Haven area fans as well. As for Yale, rental of the Bowl would help alleviate the financial crisis.

C:trmen Cozza suggested that professional games might also have a positive effect on Yale football by providing examples of high-caliber play.

The Yale administration was well aware that the Giants could not easily afford to lose the Yale Bowl, and thus knew it could safely use the negotiations to help improve its relations with New Haven. Hence, when the Corporation meeting of March 10 produced an affirmative answer to the Giants, they worded the announcement carefully: "The Corporation views with favor the leasing of the Bowl for this purpose provided the city of New Hav Haven and the city of West Haven want this to happen ... The Corporation's deference to New Hav Haven's interests contrasted sharply with the arrogant attitude they had displayed dunng the controversy over the two new residential colleges. It appeared to represent a carefully displayed posture toward the surrounding city, a new conciliatory style of negotiation.

Nevertheless, Chauncey insisted on more than a mere change of style. He demanded that Hartfordbased television station WTIC be allowed to broadcast the Giants games locaUy. He was worried about the 500,000 people in the station's viewing area, who "for five years have gotten to see nearly every Giants game on TV. Yale did not wish and could not afford to

Volume seven, number one I October 7, 19731 8

alienate these people solely because of a pursuit of the almighty dollar." Nor did Chauncey agree with the principle of blacking out Hartford and New Haven, especially since tickets to the Giants games would not be readily available.

NFL Broadcast Co-ordinator Robert Cochran called Chauncey's stipulation "u~reasonable." He noted that since the broadcast request would violate NFL guidelines, it would have to be discussed at the league meeting in Scottsdale, Ariz. on April 25. After the meeting, the league announced that the five Giants opponents had approved the WTIC broadcasts provided the contest was sold out six days in advance. (This provision was superseded by recent Congressional action which allows broadcasts of games sold out three days in advance.)

Yale established a one-year contract with the Giants with an option to renew for two additional years. The contract reflected caution on both sides of the table: Yale wanted to be able to evict the Giants if their games proved detrimental to Yale football or University-city relations; the Giants had not ruled out the possibility that they might return to Yankee Stadium under the new Mayor. The contract called for payment of about $1 million for two years, or about $85,000 per game. The Giants agreed to renovate Lapham Fieldhouse and half-time rooms at the Bowl, and to pay all costs involved in preparing and cleani!"g the Bowl on the day of their games.

When the Yale Corporation approved the use of the Bowl on condition that New Haven and West Haven wanted the Giants, it tossed the issue into the laps of the politicians. Mayor Guida had already expressed his personal approval of the idea, but reserved official judgment until the city and the Giants could get together.

New Haven stood to profit considerably from the arrangement, both in monetary and less tangible

terms. New York fans could be expected to come to New Haven and pump money into the City's motels and restaurants. Realizing the economic boost the Giants could bring, a group of downtown business and community leaders urged Guida to approve the plan.

Not only would local businesses reap profits, but the city itself stood to profit from parking¡, program and concession percentages.

The city began to negotiate with the Giants before Guida had given his official blessing, apparently with the idea that reaching an acceptable concessions agreement would be the condition for the city's permission. The Giants were not inclined to argue. Still, the concessions negotiations dragged for months, and became known in New York City as "the hot dog war." Guida drove a hard bargain.

On May 24 they finally reached agreement and New Haven extended the official hand to the New York Giants. ¡The concessions agreement reportedly gave 85 percent of the profits to New Haven, 15 percent to West Haven and nothing to the Giants; but they hadn't received any concessions profits in Yankee Stadium, either. The city also picked up the prestige of being a major league football town, if only temporarily. But the Giants would bring problems as well as profits. Funds would be needed for police, traffic control, maintenance and clean-up personnel, and the two cities required the Giants to pay them.

There were nagging zoning problems: the Westville area which contains the Bowl is zoned residential, and at one point, City Building Inspector Orlando Silvestri contended that "the use of the Bowl by the Giants or any other professional team would be a business use not allowed in a residential zone."

Last April, Silvestri asked City Corporation Counsel Thomas Keyes to prepare an advisory opinion on the subject. While Keyes publicly expressed his disagreement with Silvestri's inter-

Giants 'home' schedule: October 7 October 14 No~mber 11 No~mber 18 December 16

Green Bay Packers Washington Redskins

Dallas Cowboys St. Louis Cardinals Minnesota Vikings

Yale Bowl, l=OOp.m. pretation of the zoning ordinance, he set to work. Two months later he was still working on it, and the final agreement was announced in spite of the unresolved zoning question. Guida declared at the May 24 announcement ceremony that "I don't feel there is any zoning trouble or anything else that would bar us from welcoming the Giants." The Giants declared that Yale, as landlord, should settle the zoning situation.

Chauncey flatly stated that Yale would not involve itself in a zoning dispute. Silvestri's office stated that circumstances had not changed. Finally, on July 17, Keyes produced his opinion: the Yale Bowl existed in Westville before the zoning ordinance was passed, and therefore qualifies as a "non-conforming" use of property. Keyes asserted that since admission had been charged and large crowds assembled since the Bowl was constructed, the Giants games would simply be an extension of this "non-conforming" use.

Ahh, politics.

The Giants, then, finally have found a place to play their 1973 home season. Their search was arduous, their agreement costly, their site distant. But they avoided Tampa and the grind of playing 14 away games. They didn't alienate their season ticket holders nor invoke the wrath of the league.

They were finally satisfied.

New Haven has gained status.

It will receive direct payments from parking and concessions, and

Volume seven, number one I October 7, 19731 9

indirect revenue from the influx of Giant fans ...It should be," as Old Heidelberg owner Buddy Cavallero observed, ..a shot in the arm for down town New Haven business."

The team will enhance civic pride and improve New Haven's selfimage. And as one downtown businessman noted, "They'll liven up the place."

If the Giants stay for two seasons, Yale will earn roughly $1 million in rent. More importantly, Yale has partially restored its damaged relations with New Haven. The University regained at least the spirit of the Mellon Center agreement. .

What relation will the University and the team have in the future?

Secretary Chauncey has stated "Three years is the limit," but what will happen if, (as is likely) the East Rutherford stadium remains unconstructed by 197 6?

Will Yale again come to the Giants' rescue? Chauncey emphasized that Yale asked for only a fixed annual rent, because "we're running running a non-profit institution.

We're not in the speculation business." Realizing that the Giants must either return to New Haven, prostrate themselves before the New York City Mayor, or play only road games, the University may press the Giants for more handsome compensation. Indeed, the University's three-year limit may only be a bargaining ploy, promising tougher negotiations in the future.

All this is predicated on improved relations between Yale and New Haven. The Giants provided Yale with a splendid opportunity to bridge the chasm to the city. As such, the political benefits of attracting the Giants were at least as valuable as the economic benefits. Yale needed to prove its concern for New Haven's needs and wants.

The University's new attitude appears to stem from New Haven's rejection of the colleges; yet it does not appear to be motivated simply be a desire to reverse that decision.

The Giant decision was not an

adequate test of Yale's motives precisely because it was such a beneficial arrangement for all concerned. Yale's short-term interests coincided with its longterm interests: the immediate political impljcations of the aldermen's decision were so obvious that only sheer blindness or stubborn arrogance would have allowed Yale to overlook New Haven's interest in the Giants' prospective move to the Bowl.

What did Yale learn from the colleges fiasco? If it learned only the necessity of present appeasement, the Giants' deal was simply a well-disguised bribe If the University learned how to cooperate with the city, then the Giants' deal was a sound investment in Yale's future. 0

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From the people who brought you the face of God ...

by Bruce Howard

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<t • -~

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Two years ago the Yale Marching Band, bankrupt and leaderless, brought us the face of God. Now, invigorated by new funds and a new director, they still face their possible last judgement every week.

Yet their message, if you can find it, is the same.

,

Band that if they performed one more "bathroom joke" in the Yale Bowl their act would be cancelled and replaced by local high school bands.

Last Saturday Chauncey and University President Kingman Brewster were watching the show carefully from their · ftfty yard line seats to se-e how the new policy worked. The newly-domesticated Welcome, ladies, gentlemen, and Mr. band marched into the center of the Chauncey. For your pleasure today, we field, and "in honor of Sam's bull," 'Were going to present Catherine the formed the bovine's ass and played "ConGreat singing "Nobody Knows the quistador."

Trouble I've Seen," but she met with a They then formed a fire hydrant and crushing equestrian accident, and couldn't make it. So, instead, we present the 1973 played the Foot lifter March, appropriately dedicated to the huskie dogs of version of the World's Oldest Marching the University of Connecticut.

Band, the Yale Precision Marching ElecAnd after all that Brewster shook tric Rainbow. Head Cretin: Keith Brion.

Chauncey's hand and the smiling secreNear-Cretin: David Perlman. Imprimator: Sam Chauncey. And introducing Luscious tary flashed the "V" sign to photographers. Perhaps he was proud to be The Lori and the Human Hormones.

Man Who Made The Band Give Up That Today we salute Sam Chauncey, class Old Bathroom Humor. (They were of '57, the little known and less apprefinally getting into healthy things like ciated Secretary of Yale University. (play asses and urine.) Or maybe he was just Another Opening, Another Show) relieved that at least it was obscure To begin with, we introduce a weekly enough to get past the locals in the column dedicated to answering everystands. thing you wanted to ask about Yale, but After the show Chauncey said the were afraid to know: "Band Slanders". band was safe for at least another week.

This week's question reads: Dear Band, He said he didn't mind the aperture How large is Sam Chauncey's office? formed on the field , the fire hydrant, or Band says: Sam Chauncey's office is so even the joke about Catherine the Great's small that he has to go outside to change equestrian accident. "We don't look for it his mind. Luckily his mind is narrow if we don't see it," he said, "If you know enough to fit through the door. (play what I mean."

Great Gate of Kiev and form door} His sentiment was echoed by Band In previous years, the Yale Precision President Tom Olcott, '74, one of the Marching Band's unexpurgated shows authors of Saturday's script. "We knew have wreaked havoc upon the streets of the script was safe," he said. "We New Haven. That was before Sam figured if someone was perverted enough Chauncey took the bull by the tail and to figure out the jokes, they had no right foced the situation. Now the band shows act offended." to simply reek. In honor of Sam's bull, the Brewster, too, was pleased. After the band forms the situation (a large zero} game he was asked what he thought of and plays Conquistador. the "new Band." "They were splendid," Aside from censorship, Sam has many he said as his wife chuckled at the quesother functions. As soon as he figures tion. "How about their new sound?" the them out, 'We'll dedicate a song to them. reporter asked, referring to the electric Yale Band halftime show, guitars featured in the show. "I've made Sept. 29, 1973 my comment," Brewster said, "with all A few weeks ago Henry "Sam" its amplifications."

Chauncey III, Secretary of the UniverChauncey's small victory last week sity, told the Yale University Marching is only phase one of a long series of

...

changes he hopes to make to improve Yale's strained relations with New Haven- a 200-plus year old problem that became a multi-million dollar issue last spring when the Board of Aldermen turned down the University's bid to build two new residential colleges.

Chauncey hopes Yale can make friends with the city-without making major concessions on Yale's tax-exempt status- by making minor concessions like muzzling the Yale Band, accepting more New Haven applicants, and getting Yale students to register and pay property tax on the cars they keep in the city.

Chauncey estimates that more than 60 per cent of the fans in the Bowl each week are area residents and Yale alumni, both of whom are frequent and vehement critics of the Band's "less than tasteful" halftime shows.

"I don't like censorship," Chauncey says, "In fact, personally I'm not otTended by anything. I've been working with students for so long that I've become, well, let's say flexible . But some very reasonable people have written us complaining about the Band's bad taste and I can see their point. That's why we're making this change."

Aside from general complaints about the Band's allegedly bad taste and slovenly appearance, some alumni have even threatened to cut off imancial support for the University because the Band shows are so offensive. One alumnus wrote: "We are interested in giving our monies to help educate young ladies and gentlemen and not a group that look and act like sluts and slobs."

Another, the head of a 20 year reunion fund drive, said it was hard enough to raise money these days without having to apologize for a band that was "disgusting, anti-President, antimorals. anti-evervthintt."

With a $400 million capital improvement fund drive due to begin early next year, the administration is anxious to appease rich alumni with an aversion to poor taste.

In addition, Yale administrators and New Haven Mayor Bart Guida have received hundreds of letters from city

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Volume seven, number one I October 7, 1973 I 11

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residents complaining about the Yale Band. ChaWlcey said that although Guida himself has never complained about the Band, he was very pleased when Yale told him about t he new censorship. ..lltere's no question that the Band has hurt our relations with New Haven," ChaWlcey said. "For example , we used to give a lot of free football tickets to area youth groups, like the cub scouts, but after one really bad halftime show a cub scout leader wrote us and told us we oould keep the tickets."

"I've given the problem a lot of thought ," Chauncey said , "and I've finally decided that the only solution is to have the Band cut out all sexual or dirty humor entirely . I know we may also be cutting out some jokes that might not be offensive, but l don't think there's any other way . I've made my decision and rm willing to take flak for it . But if the Band passes these limits, they won't play again ."

ChaWlcey's do~r-die threat is an abandonment of the forrner , largely ineffective policy of having Yale College Dean John Wilkinson edit each show befo re the game. Wilkinson's censorship of the Band began in 1969 when the Band, in mocking two University of Connectic ut athletes who were charged with breaking and entering, marched from a "UCONN" formation into "UCONS." But Wilkinson, now on leave, was unable to control the Band. "Sometimes the script would take on new meanings when the anno uncer read it at the game," Chauncey explained, " and sometimes they'd just change the script after Wilkinson approved it."

During the Wilkinson years the Band got away with lines like "Benjamin Franklin , the foWlder of the University of Pennsylvania , attaine d considerable popularity as ambassado r to the French court. The Yale Band wo nders what could have a ttracted t he Parisian ladies to the old invento r. Was it his lightning ro d? Or was it just o ne of those things?" At the 197 1 Harvard game the Band dedicated a sona,.!o t he Radcliffe wo men, who "in- accordance with an o ld Massachusetts cust om, are rewarded with a scarlet letter for making t he Crimson teams."

The Band admits they got away with some outrageous shows under Wtlkinson, including the infamous "Yes, We Have No Bananas" salute to the then uncoeducated Dartmouth. But they claim Wilkinson wreaked some havoc of his own at times.

On one occasion, the Band claims, Wilkmson rejected a show the da> before

'

an away game at sylvania and the Band had to write a new show during the bus ride to Philadelphia.

En route they pulled into a Howard Johnson's on the New Jersey Turnpike and practiced the new formations in the parking lot .

After Wilkinson rejected another script later in the season, the Band dedicated a show to the ..Wilkinson blades" of censorship, asking " Why won't Gillette us be?" and explaining to the fans that the " Personna non grata" thought all the Band shows were "full of Schick."

Some band members feel there should be no censorship at all. lltey say their irreverence is good for student morale and is a healthy addition to Yale's staid image . ln a letter to an angry alumnus, last year's Band conductor Bryan Simms wrote " The band genuinely does not intend to offend spec tators at the game . We only ask that you share o ur spirit of diversion and humor ."

Even the drum majo r of the University of Connecticut band, Dudley Hamlin, 74, grants the 'nlle Band "its style, for what it's worth." He says his o wn band, which is twice as big as the 90-member Yale Band and which marches in the Big Ten band style , " has too much class to be funny on the fleld ." "But if people can' t take college-level humor" he adds, " the y shouldn' t be in college-level places."

But New Haven residents and alumni continue to outnumber Yale students at the Bowl, and their criticism o f the Yale Band has been a growing proble m for Yale administrators in recent years. ln most cases, Yale administrato rs have apologized and confided to even the most enraged critics that t hey agree.

When one alumnus, class of '30 , wro te ..The Band must give thousands pause when they consider continued support ," Jo nathan Fanto n , Assistant to the President , replied ••1 share your dismay abo ut the Ya le University Marching Band and it does seem to me t hat its appearance has deterio rate d over the past two or three years. I hope we can reverse this trend."

When another alumnus wrote " It has always been· my contentio n that if you're going to tell a dirty joke, it had better be funny, and the script t hat is written for these weekly displays would be more appropriate if inscribed on the walls of a public toilet," a Yale administrator scrawled .. A very reasonable letter, in my view" at the top of the sheet.

For some alumni, however, the tastelessness of the Yale Band has even a historic significance. "This may be the pornographic age," a member of the

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class of '46 wrote, "but I think the Band's officers last month to issue his reference to the male and female sex ultimatum, they were already planning a organs over the lo udspeaker to a parentstribute to birth control, complete with a day football crowd of 35 ,000 is in incred- coat hanger formation (for the song ibly bad ta.s te. It seems to me that this " Yo u Must Have Been a Beautiful Baby," of course) the Trojan fight song, and a lack of respect for the University and its administration is the stuff of which future renditio n of "I've Got Rhyt hm." " We uprisings are made ." didn't even bo ther asking about that Although even the Band's script writers o ne," Olcott said. admit some of their shows drifte d o ver Since the rrleeting with Chauncey, the that thin line of tastefulness, they insist script writers have become such avid selfthat the band is basically a harmless, funcensors that they are even <lreaming loving organization that entertains and about getting their show on regional enlivens students with its antics and o utT .V. when and if the American Broadlandish shows. casting Company televises the Yale-Penn "When I think of the Yale Band," said game o n Nov. 10. The band has offered to Ben Aldridge, '72, script-writer fo r the pro vide the network with a script before 1971 Band, ..I think of the fun we had · the game , but an ABC spokesman said and the people we m ade laugh. Uke the they have not yet worked out their plans time the Band tried to do a period-time·,· for the telecast . show at a hockey game and almost got The netwo rk's caution might be killed by the ice-scraping machine. Or the traced to the last televised Yale foo tball time we ran out of money and had to game in 1969 when the 'nlle Band persend the "Yale University Precisio n fo rmed a salute to Aristotle Socrates Marching Invisible Band" to the Brown ·· Onassis on the air . Afte r forrning the game in Providence . initials A.S.O . on the fleld , the band sat ••1 remember the stunned looks o n the down and apparently refused to move. faces when the drum major strutted o ut After a long pause the Yale anno Wlcer onto the fleld alone and anno uncer said . said " Will the Yale Band please get its 'Tile 16,000 members of the Yale Band ASO off the field ." The network switched now form the Taj Mahal, comple te with quickly to a commercial, but no t befo re reflecting pools, scores of naked dancing Otris Schenkel was heard muttering "I girls, and the Royal Ostrich Herd. Notice can' t believe they did that." if you will the partial e clipse o f the moon Although Band members are excited visible between the last two turrets on the by the idea of returning to mass rrledia, left.' many have already expressed dismay o ver "The announcer was Jim V asios- he's the willmgrless of the Band' s officers to a parole officer in Hackensack no w . The compromise with the administration. drum major moved around some more " Sure it's a sell~ut in a way," Olcott and Jim said •you ain't seen nothing yet. said. " I'm not pleased to have to submit Moving quickly from its Indian Opulence, but then I don't want to call ChaWlcey's the Band's famous 17 member elite tacti- bluff either ." cal squad captures the enigmatic smile " It's depressing," trombonist Jim Warner, of the Mona Usa ...while the 15,983 75 said. ••There used to be a real spirit in lfandsmen fo rm an appro priate backknowing yo u were pissing o ff the admingro und.' istratio n and getting away with it. I think " But the last formatio n was t he big the spirit's starting to go out of the one. •And no w ,' Jim said , •t.adies and Ban d.'' Ano ther Band member comgentlemen , for the ftrst time anywhere, plained , " I really resen t being used by the the 'rate University Marching Invisible administratio n to buy two new colleges Band forms, o n this very field ...the from New Haven ." face of GOD!' We playe~~ !_ape of • Some o ld-line Band me mbe~re even Hail to the Chief over the lo udspeaker. 'skeptical of their new director .~ ith The students loved it, but boy did we get Brion, who is friendly and conscientious, letters." but defmitely intent on making the Band Band members tend to remember their sound and look better. glories and forget the shows about ..nipA high school band director in New pers" and ··odd-balls" that got the angriest Jersey for the past 11 years, Brion is letters. Nevertheless, the fact that Satcombining some Big-Ten-type marching, urday's show caused such relief in the dressing and playing discipline with some administration bears witness to the innovations like electric guitars to create heights, or depths, of tastlessness the a new Yale Band image.

Band has reached in the past.

While a few Band members are grumbln fact, when Chauncey called in the (continued on page 15)

Volume seven, number one I October 7,19731 12

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Buffalo and Buildings

dle and she brings them back, and they (continued from page 4) pick up their rhythm again. It's tremenric and contemporary, to the sacred natudous, it's just murder. ral formations. And the ritual is still going on there. That's what I worked onlsn 't the scope ofyour work then really the sacred mountains, the relation of the more than just art history? lsn 't it almost Pueblos to them and the relation of their anthropology? dances to the man-made and the natural.

There's an awful lot about dancing in it.

Yes, both in the work in Greece and with The greatest dances I have seen are in the Pueblo I push toward anthropology. the great pueblo of Santo Domingo, But I'm no anthropologist. I really do it where two enormous events take place. through art history. When I'm dealing with dance I do it like an art historian, beOne is the great com dance in the sumcause I really don't know anything about mer where the whole pueblo is dancingmusic and I can't pretend that I do. I hundreds and hundreds of dancers. The love the Indian music, though, and I whole group is moving like a great field really try to describe it the best I can as I of com, like an army. Sophocles has a would any work of art, any plastic form. chorus in Oedipus at Co/onus say : "the I think it's still art history, but there is a olive fertile and self-sown, the terror of lot of ethnographic material involved that our enemies." The corn is like that, it is I try to deal with. the power of the pueblos. It's through the com that they can live close together Do you approach your work like an and have the strength of their communiethnographer, getting out and speaking ty. And so these dances, these great files with the people? and lines of dancers, are just terrific.

The other great type ot dance, which they have in the winter, are the animal I hate to ask them questions. I really feel dances. Especially the buffalo dances, like a fmk, sitting there peeking like a voyeur at their culture. But I approach it where the dancers have got to be a lot like ·the animal chorus of Dionysus. Out the way I would any work of art. I try of which, in a view to which Aristotle to learn it as much as I can in its cultural and I subscribe, Greek drama derives. context, in the context of the people who An animal steps forward from the chorus made it. But on the other hand it exists outside that, too. It exists outside time. to oppose it with his will. In the Pueblo lhere's no veil between it and the observer dance, it's the buffalo that opposes the when he sees it. And it has meaninp far whole movement of the chorus and the beyond those that might have been intenwhole rhythm of nature. Animals like ded. No work of art is the simple sum of the elk dance bent over with two sticks the intentions of the artist. Otherwise for front legs. But the buffalo think they are the hunters. They dance like men, there would be no work of art-you bow in one hand, rattle in the other. They would just write down your intentions. dance up and down the ftles of animals, 1he work of art transcends that and decount coup on them with the bow, then velops all kinds of meanings as it affects different observers. I think that's the bring them back to life again with the difference between art history and anthrorattle and they all dance together. anthropology or archaeology.

This dance really makes you feel the The art historian has the responsibility immortality of the herds. One is shot down and another, exactly like the other to deal with that other dimension-the one in the eyes of men, takes its place. work of art as it's experienced in each You can feel how animals were made generation, as it changes, as it affects gods in prehistoric times, you really can. other forms, as it acquires meanings that In Domingo, especially, they dance all were not intended by its makers. It's day. About the middle of the afternoon the responsibility of the archaeologist to the buffalo begin to become aware place the artifact frrmly within the matrix that they are going to die, too, that they of its culture . lhere he stops. The art they're not just the hunter, but also the historian should do that if he can, or hunted. Then they may tum against the should profit by the ability of the archaecho~these hundreds of people with ologist to do it. But he should also be many drums and rifles filled with blanks able to deal with it in the other context, too-its undying and constantly changing that they fue ofT as the buffalo tum against them. And while there are only life in the history of mankind. two buffalo, normally, those two with their manes and their horns give the imDo you as an art historian ever feel the pression of a whole herd. You can really urge to create art rather than study it? see it all movio g.

Between the buffalo dances the buffalo No. But I love to draw. And I used to maiden. who carries an evergreen bundle design houses a lot. But I'm not a disapin her hand. She is really Artemis, the pointed painter, sculptor or architect. My mother of the beast and of the animals. passion goes into the history of what's She is also Nature, she's the Law, and she around. I'm a critic on that story. So keeps them dancing to their fate. When I don't feel in any way frustrated. I'm they learn that they're going to die, some- not doing this instead of the other. I am times they tum and try to escape from verbal, that's why I majored in English in c:oUe!J'. I always wanted to write. My the plaza. She reaches out with her bun-

basic method of expression is with words.

Have you ever made any attempts at aeative writing?

Yeah, recently I started writing. In a typical American way I started writing right out of my memories of boyhood.

But I don't like writing like that. I found that when I tried to write stories or novels I couldn't think of plots or anything.

I need the great works of art to make contact with reality. I need them badly, and they start me. They tell me about reality, and I try to capture that. A$ a teacher I guess I try to explain it. That's a terrible word, but I guess it has to be used. On the other hand, one has to explain works of art in ways that don't destroy works of art. Now of course you can't destroy works of art with even the worst, dreariest explanation, but maybe you can destroy it for your listeners, temporarily, and that is the most terrible thing.

You have to use words that are complements to the work of art, if possible, words that are as true as you can make them about what you see. Words that are as historically true as possible in terms of what we know of the artist's intentions and of the cultural matrix. Words which can engage in a verbal reaction to the physical stimulus, which is one of the things art history ought to be about, especially from the aesthetic point of view.

From the point of view of deriving meaning from experience, art history's function ought to be to bring words to bear upon physical objects in a way that enhances the intensity of meaning we derive from both.

Do you ever find it difficult to put what you get from the visual experience ofa work ofart into verbal terms, into words?

Oh, sure. lbat's what the craft of this profession involves. It's constantly trying to do that and constantly trying to do it better. lbat's what one works at more than anything else in writing and lectwing.

Sure, it's difficult, but it is the challenge.

Do you try to explain aTt to your students, you try to direct them into it?

01' do

Yes, weD, it's certainly directing them.

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Volume seven, number one I October 7, 1973 I 13

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Obviously a course such as History of Art 12 is not just a list of names, dates and places. I hardly stress those at all.

Although we do hold the students responsible for t hem , just simply so that there is the respect for history, for the chronology, for the object, and for precise, solid fact. But on the other hand the major purpose of the course should be a simple beginning in acquiring a passion for and a confidence in the process of seeing and derivinR meanin2 from that. And connecting this process in fact, with the fundamental problems. of human life.

To start art, a course in the history of art, do you feel it is necessary to start at the beginning, with the cave paintings?

art a.s in fact they developed in human history itself. Now when I say development, I don't mean improvement. I don't even mean it gets more complex.

Probably there has never been an art as complex as the cave painting with its fantastic sets of imagery. I haven't the slightest idea of what it's all about.

So yes, I do believe that the chronological way is the right way.

Do you see yourself identifying with the cultures you study, the ancient Greeks and the Indians at Taos and Santo Domingo ?

Yes, I do. It is schizophrenic, isn't it?

You see, though, in art, in literature, anything like that, the point is that in them, through them, human beings have That's a good question. I start my many lives, and live in many kinds of course that way becasue I have confidence time, many kinds of worlds. The in history. I start with some introductory liberal arts are liberating arts. They lectures on the arts which are also liberate us from a place and space and chronological-they go right through time. They allow us to live in many history from the beginning to the families and in many landscapes. It's present. That's because I do believe hard to do, because you have to work that you can trace t he development, terribly hard intellectually and the unfolding of human art historically. emotionally--there's no difference And I think that when you take it between those two. Anyone who thinks historically, you're in the soundest there is is making a great mistake. position to develop the concepts of You have to work to feel and to think

your way into it, and that's very difficult. You don't live in another time if you make a quick trip to the Gothic cathedrals and take a few quick pictures and say "Gee, that's pretty." You've got to dig. And it takes a long time--same with ideas. But when you do dig, you can begin just a little bit to live in many kinds of worlds.

And I think that's why history , and in this particular case art history, is so much a basic fact of modern life. It's one of the good things--there may be a lot of bad things in modern life--one of the good things is that we have been liberated by history to live in many kinds ofworlds. 0

This interview was conducted by Gerry 0/anoff, a senior architecture major in Trumbull College, Jim Liberman, and Stuart Rohrer.

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Volume seven, number one I October 7, 1973 I 14

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(continuedfrompage 2) rather than to 70%? Such a policy would seem to be self-defeating if economy is the lOal. This might be solved by additional staff for the Classics Department, but if this case is at all typical, suflkient additions would be required to put the economy of the summer se11sion in doubt.

Another example is Ancient History 42b, Athenian Democracy. As it happens, thi.> course is taught by the only professor of Greek History at Yale. Once again it does not seem wise or economical to offer the course to 30% of the students and deprive the other 70% of the opportunity. Ancient History 42b illustrates yet anotner problem. The course is organized to include both undergraduate and graduate students. Experience has demonstrated that its clducational value is greatest that way. As it happens, this moc:'e of teaching is being strongly recommended now as an economy measure.

Since there would be no graduate students attending courses in the summer, that course and any other course so organized could not be given in the summer.

Eve.-yone knows that students do much of their learning from one another, especially do underclassmen learn from upperclassmen, and both learn from graduate stt~dents in their classes. The Committee proposes a summer term for fn:shmen and sophomores only. The qwdity of learning in such a term would be inc.omparably poorer than in a legitimate semester.

The proposed summer term would be a disappointing experience. The weather would be hostile to thought, the curriculum narrow, the faculty inadequate in number and variety, the students deprived of the opportunity to learn from more experienced students--the whole thing a caricature 'of a reguln Yale education.

Only the tuition fee will be up to Yale standards.

Finally, it seems wrong to make the summer session mandatory for students. lf it is attractive it need not be mandatory lf it is mandatory, the Committee must assume it is not attractive. It ill also embarrassing, to say the least, that the program is mandatory for students but not for faculty. Why should the faculty not be equally required to enjoy this beneficial experience, or it it is not beneficial , to suffer from its shortcomings?

I should hate to have to justify this onesided approach either to students or to alumni.

Donald Kagan Professor of Classics and History

Strauss and Mahler Oeath with/ without transfiguration

198 ELM STREET DURFEE HALL 436-0610 432-4687

Not long ago 1 heard the Yale Philharmonia's stunning first performance under the direction of Otto Werner MueUer : Joan Panetti's Between Mngs of Earth,

Beethoven's Eroica, and Richard Strauss' Death and Transfiguration. It was a concert about true grit, each piece being tough and victorious in a very stubborn way. Panetti's piece, at once passive and beautifully lyrical, proved its ability to survive by a few musical karate chops that told you it was here to stay. Beethoven's well-known symphony needs no further description. It was the Strauss which kept returning to my thoughts that night - partly because of the per· suasive performance it had received, but also because I had been ..verkll'rt" the night before by the New York Philharmonic's performance of Arnold Schoenberg's Verklllrte Nacht (Transfigured Night) and Strauss' Also Sprach Zarathu· stra, in which I could explore the mystery of life and death under the guise of Nietzsche's philosophical rubrics.

I have always disliked Strauss' Death and Transfiguration because it is unbearably vulgar- not just superficially vulgar, but really vulgar. Only a brash postadolescent of 25 could have written about old age and death in such a way. For young Strauss, death had something to do with the physical horror of fluctuating heart beats, perspiration, bed pans, and dirty sheets. It is all there in his m_.sic.

At the same time as I was thinking about Strauss, I was working on Mahler's Adagio (to be performed at the Yale Symphony's first concert October 26) from his uncompleted last work, Symphony No. 10. It is also a piece about death, but without transfiguration. In the Adagio one encounters the same subject matter as in Death and Trans· figuration, although this time it is from the vantage point of a man who, for all practical purposes, is dead already.

While composing the Adagio, Mahler was in the third year of his death sentence: he had known since 1907 of his incurable heart disease and he also knew he would complete only nine symphonies like Beethoven, Schubert, Dvorak and Bruckner. He could never complete something numbered ten, but he could try.

Mahler teaches us that terminal illness is a psychological and not a physical problem. The dilemma is not that you creak in the morning; it is knowing that you will never eat another apple, or feel a snow flake on your tongue, or touch someone else's skin. To these things he says good-bye. As in Strauss' Death and Transfiguration, Mahler seems to relive happier moments from his life in the Adagio; and yet, the uselessness of struggle and the numbing certainty of death's incipience are awesome. It exists inevitably, absolutely, and without exception. Occasionally one senses in the Mahler work a certain excitement, perhaps evoked by this new adventure: death. But mostly he is terrified and comprehends for the first time what loneliness really is.

Strauss, who was four years younger

than Mahler, lived to be a very old man, dying in 1949 at the age of 85. His last works are four orchestral songs which explore death from a very different vantage point. While Mahler was terminally ill at the age of 47, Strauss lived a full, prosperous, and successful life. He had, in fact, lived so long that he saw his beloved Germany rise and fall twice. The most moving of his last songs ends with a theme from his Death and Transfigu· ration, written a half-<;entury earlier before he really knew what he was writing about: "Mountains slope all around us and the sky already darkens...How weary we are of wandering: is this perhaps--death?" For the aged Strauss, death is blessed and longed-for repose and not the violent and calamitous struggle as seen by him in his youth.

In the upcoming Yale Symphony concert, Mahler's Adagio will rest between two works: Strauss' Festival Prelude for Organ and Orchestra ( 1913) and Stravinsky's Rite of Spring (1913). The point here is to explore the end of one era (Austro-German symphonic superiority) and the simultaneous beginning of another (the barbaric color symphony school of the French and Russians).

1llat the Strauss work was written for the opening of the Wiener Konzerthaus (where the Yale Symphony performed Bernstein's Moss last summer) is a nice personal touch. More important, however, is that it premiered within months of Stravinsky's epoch-shattering Rite and uses approximately the same size orchestra. Hearing these works on the same program should be quite startling.

Strauss seemed completely unaware of how bankrupt his style had become by 1913. Mahler, on the other hand, seemed to know very early (by his third symphony) that his now-over-blown post Wagnerian style had no possible expansion. He was right. The year of his death saw the first publications of the "new" Viennese school; that is, the ;ttonal music of Arnold Schoenberg and his two brilliant pupils, Alban Berg and Anton Webem . Mahler's Adagio is not only a good-bye to his music making (he actually wrote these words in an agitated handwriting on the Adagio manuscript) but also a good-bye to his musical era.

He knew in his own mind what personal and artistic annihilation was. When you hear his last work you may not cry, but you may find that your mouth unconsciously has dropped in the presence of unspeakable reality.

John Mauceri

it.fr. Mauceri, Assistant Professor of Music and Director of the Yale Symphony, was recently appointed Assistant Conductor of the New York Philharmonic Orchestra.

•

Volume seven, number one I October 7, 19731 15

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"Then what do you call that?" he (continued from page 11) replied, pointing to one of the Hormones ling about the stricter rules and heavier grinding out of the anus formation.

"Sure it's funny ," another added with work load, most admit they are proud of their improved sound, and no one has a blank face, "but this isn't the place for humor."

-threatened to quit. Mostly they can only agree that Brion is a nice guy and that the Outside the Bowl after the game an alumnus from Hartford shook his head Band is still fun. As Brion put it : " At our last meeting half the people complained in dismay at the 27-13 Y.lle loss to that the problem was the Band was too UConn, but stopped to cheer t he Yale organized, half the people complained Band as it marched by on the way to that the problem was the Band was too their buses.

"I was a little worried before the game disorganized , and half the people complained that the problem was that every.when I heard a rumor that Y.lle was makone was complaining too much." ing the band change its act ," he said .

The administration , on the other hand , ••I' m glad to see it wasn't true." has no doubts that it is l 00 percent In Woodbridge Hall however the efbehind Brion's revisions. In fa ct.. _ feet has already been felt. "It'; been atChauncey and Brewster gave Bnon $1500 most a week," Chauncey said, " and not from their ••discretionary" or personal a single letter." o office funds to pay for a new amplifier, an electric guitar, and other new instruments. The generous administrators also threw in a new xerox machine, a facelifting for the delapidated band room, Bruce Howard, a senior in Trumbull Coland even better seats for the Band at the lege, is Editorial Page Editor of the Yale Bowl--all for a group that had to reveal Daily News. the face of God to Providence, Rhode Island two years ago because they couldn't scrape up the $200 needed for the bus.

But Brion's plans to tame the Band are based on sincere hopes for the Band and not deals with the administration . " I think censorship is a silly, contrived issue," he said. "I'd be sorry to see them aroused over censorship when the real · issue is realizing their own potential.

They've been priding themselves on being bad to compensate for the fact that they are bad."

Still, Brion retains a healthy respect for the proud, if young traditions of the irreverent anti-band . For example, after Saturday's show Brion smiled and said "They marched pretty good . I wouldn't want them to get any better than that ."

Even more revealing, perhaps, is the fact that Brion has allowed "Luscious Lori" (Laitman , '75) to continue and even expand her act with the Band. Last year Luscious Lori made several names for herself by prancing around the field as voluptuously as she could , and hurling a baton aimlessly in the air. (..Once I caught it by accident," she admits). This year two .. Human Hormones" have joined her act.

Luscious Lori , who claims it takes three grown men working ten minutes to get her into her costume-one on the zipper, two just pushing, puts no stock in this talk about alleged obscenity. " Parents aren't really o ffended by our shows," she says, ..They're just o ffended that their kids aren't o ffended ."

But while the debate over censorship rages, many untrained eyes have been missing out on t he whole controversy.

••That's supposed to be a new band?" one University of Connecticut band member asked incredulously at t he Bowl Saturday.

••No more dirty jokes," a friend explained .

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