Volume 11 - Issue 2

vtrf.

II

ytq . .;;..

IIIIIIIIIIIlliilll~iliiiiiilll~IIlllliiiiiiiiiiiilll

IIIIIIIIIIIIIII IIIIII II1Ill11I~IIIII.~~~~

IIIllllli11111111IIlliiilllllll1111 11~1 II11III11I11IIII1 I1 1IIIIlllliiiiiliiili1IIIIIIII1IIIIIIIIIIlll~IIllli IIIllllllliiiiiiiiilllliillliii1111 11~11 IIIIIIIIIIIIIII IIIIIIIII1I1IIIII1Illiiiiillll11IIlllliiiiiiiiiiii IIIIIIIIIllliiiiiiiiiiiillli1111111II ~ 1111 11IIIIIIIIIII IIIIIIIIIIllllliiiillllllliilllllllllllllliliiilli iiiii111111l1Illlllllllllliiiiiiii1111 ~II l~Jlll ~ IIIII111IIII IIIIlllllliiilliiiiillllliilllli~llllllliiiiiiii llliiiiii11Illl11IIIIIII11llllliiiiiiiiii ~IIIftfiiZ IIIIIIIIIII IIIIIII1Illiilll1IIIIIIIIlil1IIlllll1IIIIIllliii IIIIIliiiliiiiiiiiiiiiiiiiiiiiiiiiiiiiillii t~II1 III IIIIIIIIIII IIIIIIIIIIIIIIIIIIlliiiiiiill1II~IIIII1liiiiiiiiilliiiliiiiiiiiiiii1IIIIIIIIIlliiiiiiiiiiiiiiii ~~III IIII IIIIIIIIIII lllllliiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii~~~~~III~IIIIIIIllllliiiiiiiiiiiiiiiiiiiiiiiillllliiiiiii ~~ IIIIIIIIIIII IIIIIIIIIliiiiiiiiilliiiiiiiiiiiiiiiiiiiiiiiiiiiii. . .IIIIIIIIII"IIIIIIIIIIIIIIIIIIII I IIIlliiiiiiiiiii IIJIIIIIIIIIII IIII1IIII1Iliiiiiii1Iliiiiiii1IIIIII11111IliiJ IIIIIIIIItiiiiiiiiiiiiiiiiiii11IIIIIlllli11Ilii111IIIIIIIIIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIIlllliiii1IIIIIIIIII11IIIIIJ . .IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIILi lliiiiiilllllllliiii1IIII1~11Illl11IIIIIII IIIIIIIIIIIIIIIIIllllllllllll1llllllli1llllllliiill1

IIIIIIIIIIIIIIIIIIIII11liiiiiiiiiiiiiiii~K IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII1IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII

IIIIliiiiiiiiiiliiiiiiiiiiii1111IIIIIJIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII. .IIaaLIIIII1111111IIIIIIII111IIIIIIIIIIIIIII IIIIIIIIIIIIIIIIIIIIIIIIIliiiiiiiiiiiiiiiiiiiiiZIIIIIIIIIIIIIIIIIIIIIIIaaiii. . . .IIILIIII III1 IIIliiii11II1IIIIIIIIIIIIIII III.III.IIl.III.Ill.III.III.III.IIIIIIIIIIIIIIZZIIIIIIIIIIIIIIIIIIIIIIaaiiiiiiiiiiiiiLI.lii.Ili.III.III.III.IIl.III.III • • I.I.II.II.III.III.III.III.IIIIIJIIIIIIIIIIIIKZIIIIIIII&IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII1I.III.III.III.III.I11.III.III.I .II.II.II.II.II.II.II.III.II.IIJIIIIIIIIIISKKZIIII!~BSSSSSIIIIIIIIIIIIIIIIIIIIIIIIIIIIIILII.II.II.II.Il.II.II.II.II.II.I

l.II.II.I.I.I.Il.II •••• II.Il .IJ~IIIIIIISSSI I •••••••••• IIIISIIIIIIIIIIIIIIII. .IIIIIIIIIIIKL.II.I. I • • II. l •• I.II . I •• II.LI.I 1I • • I.I.I.l.I.I.I •• I • • Il •• I • • Jialllftl ••• .•••••••• • • • IIIl~IX~IK ftftftiiiiiiiiiiiiiiiiiiiiiiiiiiL .I •• I •• I.I.I.I.1.IIIL •• I.I.II I ••• I •• I ••• I •• I •• I •• I •• I.I •• JIIIIIIXXXII ••••••••••••••••••• I~ftftBSIIIIIIIIIIIIIIIIIIIIIIIIIIL.1 •• I •• I •• I •• I • •• I •• I •• I •• I. I •• I ••• r ••• r ••• I ••• I •• II •••• IIIIIII •••••• ••• ••• • •••••••••••• IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIL1 •• • I ••• I ••• I •• I ••• I •• I ••• I ••• I ••••• I ••••• I •••• I • ••• l .IIIIII III~ ••• ••••••••••••••••• •• •• IIllftftl&llaaiiiiiiiiiiiiiii. .IIIL ••• 1 •••• I •••• r •••• I • ••• I •• •••• r ••••••• r •••••••• r •••• llllaa~rr •••••••••••••••••••••••••• IIIftBftKM•••••••••••••IIIIIIIIIIIS ••• r •• ••• r •••••• r •••••••• r •••••••••••••••••••••••····IIIINftiiii ••••••• •• ••••••••••••• • IIIIXXIftftllllll. . . .l l l l l l l l l l l l l l l l••••••••••••••••••••••••• •••••••••••••••••••••• IZZIIIIISSXII ••••••••• • • • ••••• • •••• Ill1IIIXXX~XSaallllllllllllllaalllllllftlliii • •• ••••••••••••• II • • • •• • ••••• • •• ••• ••••• IZZI. . IIIBXIIII •••••••••• •• ••••• •• •• IIIIIIIIX~li~Sftlllllllaii. .IIIIIII. .IIIIIIII • •••• •• IIII •• • IIIII •••••••••••••••••••• IZZIIIIIISBIIIII •••••••••••••• .'•• •• •••••• •• IIXIIIIX!IIII. .IIIIIIIIIIIaa. .IIILI11X • •• IIIIIIIIIIIIIIII • ••• •••• ••••• • ••••• KZZftllllllftiXIII •••• • •••••••••• • • • •••••••••••• • •• II liB IIIII. .IIII. . . . . .I . .IIIftiiXIXIIIIIIIIIIIIIIIIII • • •••• •••• • •• •••••• IZZftllllllft~II •••••••••••••••••••••••••••••••••• I IIIIKSalll. . . . . . . . . . . . . . . . .llrriiXIIIIIIIIIIIIIIIIIII •••••••••••••••••• IZZZKIIIIISIIIIII ••• •• •••• • •• • • • ••• IIIIIII ••••• IIIIXXISSI. . . . . .IIIIIIIIIIIIIIIILIIIII.IIIIIIIIIXIIIIII •••••••••••••••••• IZZZSIIIIISSXIIIIIIIXIII ••• •• • • ••• IXftftftftKXXIIXXXXXIIXftSSIIIIIIIIIIIIaiiii. .IIIIIIIIIIIIIII1IIIIIIIIIII ftii ••••••••••••••• ZZZZSI. .IIISSSIIftftSSSSSS~I •••••• ISIIIIIIIISftftftllftftftSSSSSIIIIIIIIIIIIII. . . . . .I . .IXIIIXIIIIIIIIIIIIIIIII ftftJ •• ••••••••••••• BZZBIIIIIIIIIIaiiiSFXXKS . . I •••• IXSIIIISXXIIISSie. . .llaSBS . .IIIIIIIIIIIIIIIIIIIaLXIIIIIII~IIIIIIIIIIIII ftftJ ••••••• • •••• • •• ftZZ!IIIIIII&I . . .SSS . . .Sfti . . . . . IIIIIIISSSSSI. . .SSS. .IISBIISaiiiiiiiiiiiiiiiiiiiiiXIIIIIIXIIIIIII•aiiiiB ftftJ ••• • • ftiii.X •••• LIIIIIIIIIISIB. .SKift . . . . . fti •• • ISIIISSSBI.II. .Ia. .ISBftiiiBSIIIIIIIIII. . . .IIII. . .IIIIftiiBXIBIIBII•Xaaaxx I •••••• XXXftllftJ . .. . . .IIIIIIISIIIII III .IFFFfiX ••• ISS!~IXI •••• FFFPFftftllliiiiiSI. . . . . .I . . . . . . . . . . . . . .IXKBXIXftiSBftBBBIIIBSSB I •••• CiftftftftftiiJ •• CIIIIIIIIIIftXI1IIIIXIXIBXII •• •• IBBIIXIIIIIXXXllftBB••••• IIftftllllllllllll. .l . . . lllllaKI8BIIftiBIIBIBSftBIBB IIIIIBKftftftftftftftJ •• ISSIIIIIIIISXI • •••• • IIIII •••••• IKKIXII •• IIX1Illl ••••• IIIXSSII. .IIIIIIIaiiiiiii. . .JBBftftftftftllllftllftBBBBBB ftiiiBBftKBIIXBftftftiSSSIIIIIIIISII ••••••••••••••••• IBftiii •••• ••• ••• •••••• IIIISS. . .III. .III8IIIIIIIIIIftBftftXftiMIBIIIHX•IBIBBI SBIXSSI!ftlftB!SSBISS ftiiiiiii.SI II ••• •• ••••• •••••• IIXXII •••••• • •••••••• IIIX!SSI. . . .IIIIIIIIIIIIIIIIIBIIIIIftiBIHIBIIIBIBIII SS!XftftftSSBftftftftftBIS~ftiiiiiiiii~KM ••••••• ••••••••• IIIIII ••••• • ••••••••• IIIXSS~IIIIIIIIIIIIIaiiiiiiiBXIIIftftAIIIIIII •• IIIII ftiftSSftftftftftKXftBXBISSSIIIIIIIIISXI •••••••••••••• • • XIXXII •••••••••••••• IIIIISSe . .l l. .llllllaaiiiii. . .IXXIIftftAII1IIII •• IIIII SSftSSSSSSSKHBXIIISSSIIIIIIIIISXII ••• •••• •• ••••• IIIIXII •••••••••••••• IIIIKSIIIIIIIIIIII8eaaeaaa. . .IIZHXHIHIHAIIIICiftiCSII XlftftftBftSftftlft!Kft.ft&eeii. .IIIIIISIII ••••• • II ••••• IIXIi LI ••••••••••••• IIIXXS S. . . .IIIIaaii. .II. . .IIIIIIIIHIKIIIIIEIBIIIEIBII XftlftlftSftHHftftftft . .IIIIIIIIIIIII.SSXII •••••• xx •• • zS ~SS , ••• ••• •••• • IIIXXISSIIIIIIIIIallle. .IIIIIIIIIIIHXftiYIIIEIHIIIBIBII IIXIftiiiKiftlftftX . . . . . . .II. . .IIIISX II ••••••• • SSI. . . . . IIS~ ••• • •• •••• IIIXIISSSIIIIIaaaa. . . . . . . . . . . IIIIIJH B!HKXVIIBftiiiBVBZII IIIIIftftllftlftftftBKIIIIIIIIIIIIIII$1111 ••••••••• aei . .ISXI •••••••••• IIIIIIIISSelll. .llllllllllalllllllaaaaxlftftXBIIBZIIIBBIBS XPiftNftiEIIXABftBBIIIIIIIIIIIIIIIII~XII ••••••••• IX11XIIIIIIIII ••• l1IIXISSSSIIIIIIIIIaaiiii. .II. .IIIIIIXXIIXIYiftiiiZIIIZIII ftlftftXftftlftXftftftAftKIIIIIIIIIIIIIIIISXIIIIIXSI.1I.IIIIIftftftS. .Ifti •••• IXIX~KftSSIIIIIIIIIIIIIIIIIIIIIIIIIIIXBIZHRiftiBIIBZXSZISZ HftftftAftXftAXftiKBIKIIIIIIIIIIIIIIIISill•-··SI. . SL .KMS . . . . . .SII •••••• IIIftftSSIIIIIIIIIIIIIIIIIIIIIII. .IIIBIBiftft&JJBIIftiBZIWBI XAAftiftftftlftlftftftlftlllllllllllllllalai •••••••••••••• IXIISIIII.IIIII.I XISSS IIIIII. . .IIIIIIIIIIIIII. . .IIIIllftftftftftftJftliiiiii i i INXli21IIIKftlftXXIIIIII. .IIIIIIIIIIISI • • •••••• ftftSSIXXXIXXII ••••• • IIXXSSIIIIIIIIIIIIIIIIII. .I . . .IIIIIeiXKftlftXJIJIBZIII881• XHiftXftXIftiBXBftliiiiiiiiiiiiiiiiiiiiiiSXI •••• IIIIXXII .IIIXX •••••• IXISSIIIIIIIIIIallllllaaiiiiiii. .IIIIIXKXftiBBIIBIII2III) IINIXBiftiBIBIBIIIIIIIIIIIII.IIIII. . .I&SI • ••••••••• ••••• • • •• IIIIISSiSIIIIIIIIIIIIIIIIIIIIaall. .lllaaiiiXXIIXIXBIXBIBIIBBI IRiftlftftiftftftlftftftfti. .IIIIIIIIIIIIIIIIII811SI ••••••••••••• IIIIIXSSSSSIIIIIIIIIIIIIIIIIIIIIIaaiiiiiiiiiiiiXIXIIIIIBIZBIIIIBI • ftftftiiiXBKI8XftftXXIIIIIIIIIIIIIIIIIIIIIIIIISI •••••••••• III~XII ISSSIIaallllllllllllllllllllaaiiiii. . .IIIIIIIftftBXXIIIIIIIIBI IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIISI ••••• IIXIXSSSS$SI.IIIIIIIIIIIIIIIIII. . .IIII. .IIIIII. . .IIIIXIIIIXftiiiiiiSBII ftftftft!BIIIXIIIIIII!IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII . . .IIIIIIIIIIIIIIIIIIIIIaaiiiiii. .IIILIIXBIZI BIII1IIBII IXIIXBftftftftlXXIIIIIallllllllllllllaaiiiiiiiiiiiiiiiiiiiiiiiiiii.IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIXIIIftXZXXXXIIXXII XIIIIIII1IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIISSftftftftSSIII . . IIIIaaiiiiiiiiiiiiiiXZIZiftiBIBIZIIII IIXIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIftftftSS IIIIIIIIIIII~SSSSftftftftBSIIIIIIIIIIaaiiiiiii. .IIIIIXZVIIIIIZBIIIIII XXIIIIIIII IIIIIII1IIIIIIIIIIIIIIIIIIIIIIIIIIIIII1IXXlSSftSSIII. . .IISSSftftftftftftftftftSIIIIIIala. .II. .I . .II8111L ~2I BEBBEZBIIIIZ) IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIXIXftftSSSSSSSSSftftftft!IXI!BftftSIIalll. .lllllaiiiiiiiiiLiftiiBBBBIIIIIII) IIIIIIIIIIXIIXXXXXIllllllllllllaaiiiiiiiiiiiiiiiXI • •• IIXXIXXe ftaaaaft ftftftftXIIIXXXBSSS IIIIIIIIIIIIIIIIIIIIIIftiftiiiiiiiiiiii) IIIIIIIIIIIIIII~IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIXI ••• IIIXIXXftftftftftftftXIIXIIIIIIIXftSSSIIIIIIIIIIIIIIIIIIIaalftlftiiiiiiiBISS) IlftXXftiiiiiSSSIXXIIIIIIIIIIIIIIIIIIaalll8aaiiiiiiXIIIIII11XIIXBXIXIXIIIII.II!IIXSSSSII. . . .IIaa . . .II. . .IIIIIIBIIBIIIIIII) ftftiXIIISIIHRNNIXXXIIIIIIIIIII.IIIIIIIIIIIIIIIIIIIIIII •••• IIXXXXXXIIXIII •••••• IIIBSSSIIII. .IIIIIIIIIIIIIIIIIBIIAIX&IIIII) ftftftftiBftlftiiiBftftftiXXXIIIIIIIIIIIIIIIIIIIIIIIIISPXIIIII ••••• IIIIXXIIII ••••••••• IIIXftSIIellleiiiiiiiiiiii. .IIIIIIIIIIIBIIB) H IHICIBftftftiiiiXI~IX IIIIIIIIIIIIIIIIIIIIIIISSSIIIIII ••••••• • IIIIIli •••• • •••••• I1IliBBSiftiiiXIIIIIIIIIIIIIIIIIIIIIBIIIIII) I IXIXIXftKXIIIXIIIIJIIIIIIIIIIIIIIIIIIIIIXIII •••••••••••••• • •• IIIII •••••••••••• Illi!Sftlllftiiiiii. .II. .I . .IIIIIIIIIIBWIII) (IIIIIIXftftiiiiiXXXIIIIIIIIIIIIIIIIIIIILIII •••••••••• •••• ••••••• III •••••••••••• ZJJJIISIIsleXIIIIIIII. . . . .IIIIIaLIIBXIIII) (IIIINICiftftXIIIIIXallllllllll. .llllar •• • •••••••• • ••• • •••••••••••• • •• • •• •••• •• IJJIKJBIIIIIIIIBIBIB. . . . . . . . . . . . .ILXIBIBXI) (IIIIIBXXXIIXIIIIIIIIIIIIIIIIIIIIILII •••••••••••••• ; •••••••••••••••••• •• ••• •• IJIJLaaa . . laiSIXIIISIIIIIIIIIIIIIIILISSBBI) (ftiiMftl~lftiXIXXIIIIIIIIIIIIIIIIIIJ.I • ••••••••••••••••••••••••••••••••••••••••• J1JJIBIIIIIBSSBIXIIIIIaa. . . .laaa . .laiiiii) (BIIXBIBXIIXIIIIIIIIIIIIIIIIIIIISBXIft ••••••• • ••••••••• • • ••• ••• ••••• ••• • • •••• •• I.IIIftlll!ftiSSHII. . .Iaaiiiiiiii. .IIIBBIBI) (lfti~ftllftliiieiiiiiiiiiiiiiiiiiJSXXJ •••••••••• • ••••••• •••••• • • •••••••••••• ••• • I.IIOIIZI81l . . . .I . .II. .III. .IIII. .IIIIIII) IIIIIIXIIIIIIII. . . . . .IIIIIIIIIJX1III •••••••• ••••••• •••••••••••••••••••••••••• IJII.IIfti . .BIIIlllllllellllllftlll. .lleaLIII (ftlllftXBIBBIIIIIIIIIIIIIIIIIIIXJJII • ••••• ••••••••••••••••••••••••••••• •• • • ••• JJIIalai8I!IIIIIII!aaa. . .lllft. . .IBSB . . . . .I) (Iftftftftiiiiiaaii. .II. . .IIIIIJIIIJJJ.I ••••••••••••••••••••••••••••••••••••••••• JJIIIIalzaaa&IIIIIIIBftiJJIIIIIBBSBBSIIIIBS) tiXXXBBIIal. . . . .l . .laaiiiJIIIJJII •••••••••••••• • ••• • •••••••••• ••• •••••••••• • IJI.JIIIII81aiSiftiiiBBIX1IaB!ftftiaaaaiiiBBBBI (IXIYIIaaii . . IIIIIIIIIIIIIISIJJ ••••••••••••••••••••••••••••••••••••••••••••• J.JJXIXIBiftlftllliXIJJJPPPIIIIIIIIIIftft. .e . .ar (III. . . . .I . .IaiiiiiiiiiiiiSSILI ••• •• ••••••••••••••• • ••••••••• • ••••••••••••• • J1.JXIJ¥11BIIIIPPI1Il . . .IIXXIIIBBftfte . . .a . .ai (IX . .aall. . . .ellaaaiiiiiJIIIXJJ ••••••••••••• •• • • ••••• •••• •••••••••••••••••• 1J.I&JIJIIIIXIJIIIIIIB!ftiiiiie8eiiiXe88BSeeer (IIIII. . .II. . IIIIIIIIISI ••••• I •••••••••••••••••••••••••••••••••••••••••••• IJ.JJXIIXJJJJJJIBaaiiiXIIIIIll8eeelleeee. . aeei Ie88. . lllle81. . . . . . . .SI ••••• J • •••••••• • • •••••• •••• ••• •••••• •• • • ••••••••• • •••••• JJJJillftftftBBIIIIIBeeeeeeeeeeleeeeexeeeeer reeeee . . . . . . . . . . . . . . . . L•••••••••••••••••••••••••••••• •• ••••••••••••••• • •••••• J.1.1.zaasaaarrrazz••• . .•••••••••••••••aaar reeeeeaaaaaaa. . . . . . . .IIL •••• •••••••••• • •••••• •• •• •••••••••• ••• •••• • • • •••••••• rr.xsaaasr.rx••••s••••••••••••••••••••••••r I . . . . . . . . . . . . . . . . . . . . s . . . . . . . . . . . . . . . . . r • •• • ••••• ••••• •••••••••••••••• ••••••• rftasaaaarr•••••. . . . .•aa. . . . . .a•••a••••••••r Ie&eee. . . .•aae. .aJeeNN . .IIIL •••••••••• II •••••••••••••••••••••••••••••••••• asftftftftlllft . . . . e . . aeea . .eeeee. . eeeaeeeMeeeeeaer reeeeee8118. . . .1X8~eeweeeiiiiiiLI. IIIIIIZ.~ •••••••••••••••••••••••••••• I~ftftftftftllft8eeeeeeeeeaeeea•eaeeeeeeeeeeeeee. .e . . ee reeeeeeiii. . . . . XIewex•ee8HftMIIIIIIIftSIIIII •• ••• ••••••••••••••••••••••• 1ftftftftft.IXIeaeeeeeeeeeee. .eeeeeeesaeaeeeee. . . . . . . .1 reeeeeeel . . . .lleft8II8X88IXIWeXIIIIIIIIIIIIIL1 •••••••••••••••••••••• 1.1ftftft!ftftft8888888eeeeeaaeeeeeeeeeeeeeeele. . eee . . . . . . I reeeee . .lllllleeMei81IXIR88eexxiXNNR8. .IIIIIIIIIIIIXII. .IIIIIIIIXIftftftftftPI.J . . e . .eeeeeeeeeeeeeel8881e. . l8eie. .e . . . . . . . . .z reeeeeee. . .llxeeeexeeeaeex•••a••••x•••••sxlllll••••••lllllllllllaaaaa.rxaasaxiae•••••••••x•••oo . . ae . .s . . . . •••••••. . . . .Lr rexaeaaa. . . .eeftxeexNeexexxrr•r•••xx•••••eiis•••••r•xNIIIIIIIIaaaasF1eeeesreee•••••••••••xvvxxvxxeaa. .x•••• . .•••x•••a••ax ree . .eeeeaaaaxa~aeexrx~r- ~••x:re••••••••Ix8eeeexx•••••••••a•rxae••••xxae . .Ise. .eee . .eeeaeeeaexreeaeaaee. .ee. . aeeaaaaaxx c•••••••ea••••••axasxxxxxxftaxxxxxrxaeerxea•••••r~xxeee . . .axaa•••••••••aseeeeeeeeeeeeae••••x•axxes••••fta••••••aaxxxaaeaax

2

the new journal, december 6. 1977

,

TheNewjournal --------------conanaent------------------~ Can Yale be Neutral?

Volume eleven, number two In 1970, a non-profit group called the Project on Corporate Responsibility L. Jane Dickinson _ sponsored a campaign among Lori Marian - • shareholders in General Motors Editors-in- Chief advocating increased shareholder input into the formulation of that company's Beatrice H. Mitchell public policy, and increased attention Publisher to the social and political consequences of corporate actions. The trustees of Armand LeGardeur the Yale Corporation, which holds Designer 103,600 shares in GM, abstained from on the shareholder resolutions. voting Karen Sideman They did so, they explained, " on the Graphics Editor principle that the Fellows of the Corporation do not, and should not, Steve Rogers have the power to take a corporate Managing Editor position on issues of a social or political nature. This principle derives from the Aaron Betsky philosophy that a university is a Assistant Editor collegium or forum for the expression of a wide diversity of views. This Jim Johnson conception is the cornerstone of Associate Pontoon academic freedom.'' In doing so, the Yale Corporation took the stance that Damon P. Miller II its investments were ''neutral,'' and Mogul that the mere act of owning and benefitting from shares in no way Deborah Weiss support or criticism of a implies Soft Shoulder company's actions. The trustees Editorial Staff: Marilyn Achiron, Sam maintained that to remain silent is to Austin, Darcy DiMona, Geoff Piel, remain neutral.

Thomas Russell, Curt Sanburn, A year later, chis statement met with serious questioning in a seminar Saratoga Summers, Eva Saks project led by Professor John Simon of the Law School. The project Business Staff: Susan Amron, Caroline formulated a set of guidelines for the Mitchell, Gordon Robertson, William consideration of ethical questions H . Wood III related to investments. Yale responded by setting up the University-wide Graphics Staff: Craig Fitt, Amy Advisory Committee on Investment Reichert Responsibility . This body received as its sole power, however, the task of Friends of the New Journal: Rick reviewing shareholder resolutions Westerfield, Bill Tarbell, Craig Fitt, introduced by ocher shareholders and WYBC, Mark Sheehan, The Princeton advising the Corporation on how it University Computer Cente,;, Brenda should vote. The Advisory Committee Jubin, Dick Foote, Bob Yedid, Ed has never introduced a resolution of its Sugai, Dean David Papke, Peter Baldwin, Agnes, Seymour Simckes, own, and its recommendations are not Rob Campbell, Susan and Duncan Rice, Jon Priestly, John Hers~y. David 17re New Journal is published by the New Brewer, Barry Ford, Jan Geidt, Alfred Journal at Yale, Inc., partners in publication Stillman, Leonardo da Vine!_ Dean Taft with the Yale Banner, Inc., and is printed at The computer program for the cover was written by Bob Marian.

Credits: pages 6 and 7, Karen Sideman; pages4,5 , 13,and 14, GeoffPiel; page 2, Igor Galan in

Chronicle Printina Co., North Haven, Conn.

Distributed free to the Yale community. For all others, subscription rate $7.SO per year.

Copyriabt o 1977 by The New Journal at Yale, Inc., a non-profit orpnization. Letters and unsolicited manuteripts ft~.

3432 Yale Station. New Haven, Conn. .o6S2C Pbone432~39or4~SO

___ contents,--------~------------encounJers~

2

comment: corporate violence, close

3

Saratoga Summers, Friend of Infamy

4

Audio-Visual History media myopia

7

Liturgy a poem

6

Computers: The Secret Behind the Secret Code how to send electronic mail

8

Taluscope a short story

beau wmu

11

Computers at Yale a.i. and the number crunchers

12

Re-Viewing Jean-Luc Godard, or Why is This Man Smiling?

13

And All that Jazz

Eva Saks

A.R.C. Finch

Harry Mairson

Jim Johnson

J. W. Blanchard

Tom Russell

~ .~

-- ~l ----...r- . ~ :/~_:::::-::::: ~~~~c~ ·-= ~

18iiit~

8tR'L_..

-=·- - ~

binding for the Corporation's voce. In a slightly modified form, Yale maintained its "neutral" position on investments.

Yale's investments in companies operating in the Republic of South Africa pose a serious challenge to this stance of neutrality. It is becoming increasingly obvious that American investments there both directly and indirectly support the racist regime of John Vorster. Examples of direct aid are well known: IBM (Yale shares 67 ,650) leases computers to the South African police and prisons for the enforcement of the repressive passbook laws ; GM and Ford (Yale shares 103,600and 127 ,500 respectively) supply trucks to the military; Citicorp andJ.P. Morgan (Yale shares 36,900 and 3 5, 200) made loans totalling $110 million to the South African government in 1976 alone. But the presence of foreign investment by its very nature , through the promotion of capital•intensive·and highly technological industry, supports the white regime indirectly by serving only the needs of the white population .

Ambassador Radha Krishna Ramphul, upcoming President of the U.N. Security Council, told the Council in March of this year, • 'It is crystal clear that foreign investment is not geared to improving the situation in Southern Africa at present. Foreign funds are not directed to agricultural development in the rural areas or to social programmes which would benefit the life of Africans. The South African government is not using those funds ... to dismantle apartheid in some absentminded way. To the contrary, thanks to foreign investment and foreign loans, the South African government has been able to build and maintain a garrison state."

In addition, the recently enacted South African law requiring foreign concerns either to produce what the government orders or to face nationalization of their assets makes every corporation, willingly or unwillingly, an accomplice to the continuation of apartheid.

In view of such evtdence, it is plain that American corporate investment in South Africa is by no means neutral, but is a bulwark in the fortress of apartheid. This fact calls Yale's supposed neutrality in investments into serious question. If Yale continues to reap the benefits of the profits on oppression in South Africa and remains silent, can it stilJ claim that it is taking no seance? Is not this very silence a position in support of foreign investment in South Africa, in support of apartheid?

-by Nick Olcott and Alisa Klaus Marilyn Achiron

For chose of you who do not speak Scientist, the title of writer-director Steven ·Spielberg's latest feature describes an intimate inter-planetary rendez-vous. Close Encounters ofthe Third Kind is not a futuristic documentary about inter-earthling perversions. Rather, it is an allegorical sci-fi melodrama about two people whose intitial, illuminating brief encounter with a U.F.O. leaves diem1 haunted by its mysterious shape unttJ they find cosmic vindication of their vision. Clo.re Encounters is an enjoyable minor fantasy on eternal themes, but Spielberg's theological premise is shamelessly commerical and absurdly simplistic. Alas , at the film's end I found myself quite as lost in the proverbial stars as I had been when I hopefully paid my $4.50; and to my sense of injury at the poverty of the spiritual transaction was added the equally enduring (albeit less existential) insult of actual penury.

After the film opens with the traditional blinding explosion of white light, the director thrusts us inside a Mexican desert sandstorm reminiscent in ferocity of the Seven Plagues of Egypt. Here scientists are conducting a search for clues regarding the existence of excra-terresttiallife forms. When an inexplicably contented old man stammers in Spanish that •'the sun has sung" co him , it is clear to all and sundry that something is rotten in the solar system. Spielberg then transports us co· the little house on the prairie in Muncie, Indiana, whereJillian Guiler (Milinda Dillon) lives with her toddler son, Barry. To his mother's horror, Barry is lured into the night by seductive extra-terrestrial vibes. She gives chase and catches him on a deserted highway where both Guilers run into Roy Neary (Richard Dreyfus), a neighbor who claims to have seen an Unidentified Flying Object. As the adults stand arguing by the roadside, several 1977 -style flying saucers fly by.

Barry, delighted by the evocative conical Shape he perceives, trills out, "Ice cream!" Although Ronni Neary (ferri Garr) is understandably skeptical when her husband recounts his adventures, reports of strange phenomena all over the world (the earth) are released shortly, and Roy andJillian rightly begin to suspect that the fault is not in themselves but in their stars after all.

In one of the picture's most striking scenes, little Barry is kidnapped by clouds of fire. Despite his mother's desperate attempts to keep him locked in the house while star wars rage outdoors, he unerringly walks to the single unlocked door and opens it. The visual allusion to The Wizard ofOz becomes manifest: standing on the threshold of a singing sun, Barry looks for all the world like Dorothy opening the door from her black-and-white Kansas homestead into the infinitely more vivid polychromatic Land of Oz .

Like a supersonic Pied Piper, the U.F.O. charms the boy out into the glare and sweeps him off his feet.

Jillian and Roy become obsessed with the Shape. She cannot stop sketching it, while he sculpts it in every dollop of shaving cream, every spoonful of mashed potatoes. Each senses the importance of the cryptic image , yet neither can break the code. (continued on page 15)

•

th~ n~w journal, d~c~mb"

3

6, 1977

on kitchen appliances, and I am tired of making eggs benedict in my hotpot and broiling chicken in my popcorn popper. So I decided that I wouldn't CROSS the picket line, I'd just try to DISTRACT the picketers with my lithe and desirable form . No sooner did I stroll by in a Balenciaga sizzler than those obnoxious strikebreakers charged through the picket line and stole my thunder. Hey , folks , that ain ' t no way to treat a lady! (The one guy who noticed me later deserted me when he realized I wasn't a drag queen . I was only insulted that it TOOK him so long!) But at least I have learned from bitter experience to resist the proddings of my sensitive political conscience. And not to WASTE my Balenciaga on SCUM!

LOCATED IN THE NEW BRITISH ART CENTER AT 1092 Chapel St., New Haven, TeL 624-0600

FRIEND OF INFAMY If there is one thing out of a million on the face of God's green earth that excites me to a frenzy of murderous rage, it is people who exaggerate.

Particularly when the people are wildly and wantonly exaggerating about one of my very closest of a close, tightly knit and devoted circle of intimates. I hear you,] osie and Colette, because I had your table bugged at George and Harry 's. And the venomous prattle that you two pigs were dispensing about my CHERE AMIE, Edie-well, it drove me to shed tears of pity into my Bloody Maria. Edie is NOT a pervert. It's simply that in Edie's most private, naughty moods, she sometimes derives ravenous pleasure from lookin2 at pictures of little blond boys. You simply could not have known that, because she swore me to strictest confidence and told ME ALONE. And I only told a few people , NONE OF WHOM WOULD EVER SPEAK TO YOU . Spreading vicious rumors will get you nowhere, girls, nowhere but down in the big game of life .¡OK, case closed; I cannot linger on these petty gossips but must make haste and make a little mention of my dear dear friend VALENTINA ATHENS, who, you recall, was a star in her Yale years and has moved on all too soon into the big and burgeoning world of "Jool-yahhd," (as those in the know pronounce it) that famous music conservatory in the Big Apple .

Your sweet Saratoga checked on Valentina's progress over a recent weekend , and I am delirious to report that she loves New York as much as New York loves her. And believe me , New York LOVES her. Every man in the city, and a lot of the women .

Especially a lot of the ethnic types.

Thank you, Val, for allowing me to share your progress report with my readers. Your name is legend , your fans legion.

•

STRIKE-AND-JAW BREAKERS DEPARTMENT : I know you all heard about those rugged DROLLA.IRES who wore matching T-shirts and made a beeline in the general direction of Commons and in the specific direction of a well-known picket iine the ocher day. I was there, and I HATE scene-stealers! To explain: I always believe it best to take both sides of a controversial issue. Hence while I feel the univesiry MUST negotiate and the union MUSTN 'T modify its demands, I am dead against the union's position.

Also, the strike caught me a bit short

I heard Bloomsbury got a haircut so I stopped by to investigate and took a little snapshot to share with my readers. Doesn't her new Mr. Kenneth cut look DIVINE? And wasn't she wonderful in Kiss Me, Kate?... to that callow girl in the crowd at the showing of Freaks : I don't care if it WAS Halloween, those gold stiletto heel shoes are out, out, OUT! It pained us ALL to kick them into the closet, dear_:why should YOU be any different?

Which reminds me, the annual Scarsdale Royalty pageant is approaching and there's no paucity of regal gals who need escorts! My girlfriends ask that all you richer Yale guys put down the law briefs for an evening and squire one of these young lovelies. Only $30 for the evening, $1 0 extra for a good night smooch. "Some signs of commitment" optional. I wouldn't miss it , guys-I hear the Deep Freeze Cotillion is going to be something else this year!

BABES OFF-OFF-OFF-BROADWAY DEPARTMENT: While in New York 1 also paid a call upon my close friend Miss EVA GIMBELS, who was almost a sophomore here in lvytown when she decided to take an extended vacation to dabble in theater and politics. Pert Eva has landed a job as typist and secret editor of CASTING COUCH magazine , a rag that is in dire need of any employee with a vague grasp of Standard English.Just keep on grasping, Eva , and you'll be UN-secret editor before long. And then you MUST p!.!t .my picture on the cover , since I've already mentioned you here: it's only professional courtesy, dear heart ... Well, gang, buck up and carry on till next month 's cram packed month I' II tell you how to make a handy bookcase out of TV dinner tins.

Start saving them now! And should you need an extra measure of cheer, (continued on page 14)

ROBERT FINE PRESENTS A UNIQUE TASTE EXPERIENCE FROM CALIFORNIA The ancestry of the Zinfandel grape is somewhat of a mystery. Introduced to California in the mid-1800's, the grape probably originated somewhere in Europe, perhaps Italy. Nevertheless it is today considered a wine unique to California.

For years, Zinfandel was dismissed as a rather ordinary varietal well suited for jug wines and blending. Recent vintages, however, have produced a wine that is truly excellent and distinguished.

Wide variations exist among wines labeled Zinfandel. Since ZinIandel grapes raisin easily in warm climates, it is at its best in the cool north coast vineyards. Zinfandels range from light fruity wines which are quite drinkable when only a few years old to big inky-black wines rich in tannin that will require many years of bottle age to reach their peak. We suggest you try one of these fine selections currently available:

Louis Martini Robert Mondovi Beringer Almaden Parducci lngelnook Christian Bros.

Paul Masson Willow Creek Simi Sebasliani Sterling Sutler Home Chateau Montelena David Bruce Ridge Clos du Val

$3.48 $5.85 $3.03 $2.78 $3.68 $2.15 $3.15 $3.25 $3.38 $4.99 $2.90 $3.95 $4.79 $7.11 $5.66 $8.60 $9.15

We also have many other excellent varietals from the finest California vineyards including: Freemark Abbey, Chat. Chevalier, Spring Mountain. z-D, Joseph Phelps, Chappellet, Burgess Cellars, Veedercrest, Chat. St. Jean, Yverdon, and many others.

FREE DELNERY

~~~~ A COMPLETE SELECTION OF LIQUORS, WINES, & BEERS BOTH IMPORTED AND DOMESTIC ON HAND AND CHILLED.

4

the new journal, december 6. 1977

Audio-Visual History

''Many believe television is a passing threat, ofwhich people will soon tire, just as they tired ofstaying up halfthe night with headsets for the wonder of getting Peoria in the early days of radio. "-Frank Capra, 1949 The twin threats of radio and television have not passed.

The average male viewer will watch TV for over 3000 entire days roughly nine full years of his life. If you feel that you are deficient in this respect, a decade at the Museum of Broadcasting should bring you up to standard.

On November 9, 1976, The Museum ofBroadcasting was established at 1 East 53rd Street under a personal grant from WilliamS. Paley as "the ftrst American museum dedicated to the study and preservation of the more than ftfty-year history of radio and television broadcasting." So far, over 16,000 people have visited the museum.

Founder Paley, also the Chairman of CBS-TV, says that he recognized the need for a "concerted and organized preservation effort" in 1966. The following year the William S. Patey-Foundation conducted studies on the feasibility of a major permanent facility. The National Endowment on the Arts supported this research endeavor with a matching grant.

Since its triumphant inception the Museum has been enthusiastically supported by all of the networks, public broadcasting, the National Association of Broadcasters, and several distinguished indej>endent broadcasters. Ahern is now permitted to request up to 300 hours each of TV and radio and broadcasting from each of the three networks every month. She anticipates owning approximately seven thousand TV shows and 150,000 radio broadcasts by the end of 1980.

Most of the present selections have not been shown publicly since their original airing, and a great inany are from the first five years of large-scale TV broadcasting, 1948 to 1953. The Museum features Joe McCarthy's selfdefense on "See It Now," Fred Allen's "Town Hall Tonight," and uncut telecasts of the Kennedy-Nixon debates. Also available for your listening pleasure are some of the earliest broadcasts in existence: Bing Crosby's Rhythm Boys singing with Paul Whiteman's orchestra, Lucky Lindy's jubilant return to America and Mom, and a quantity of speeches made by FDR, the earliest of which is dated 1920 (he was but a young sprout of thirty-eight years). There are also a number of fascinating and horrible wartime radiocasts made by pro-Axis Americans and Englishmen.

Hear 'em and weep.

At the museum, in the Broadcast Study Center, I espied a technician industriously watching TV at her desk in the attractive, Jetsonesque room where audio and video tapes are presented. The architect responsible for the pleasantly futuristic design is Mr. John Beyer, head of a firm bearing the suggestively homophonic name of Beyer, Blinder and Bell. Said museum technician seemed to be on a first-name basis with some of the visitors; later she told me that several members of the museum arrive every day at lunchtime to watch a favorite show. "We've got a couple of fanatics who are systematically going through all of the episodes of 'Playhouse 90' and 'Studio One'," she confided. She also profferred a list of the Most Requested Tapes: The Beatles on "Ed Sullivan," "The Best of Ernie Kovacs," "Amos 'n Andy," and "Peter Pan." My visual appetite whetted by this tempting menu, I entered the Index Room.

The Index Room contained periodicals, a large central table, a wall covered with file cabinets, and a television. Onscreen Alistair Cooke

was graciously welcoming us all to the museum. An introductory teletape effectively communicated the diversity of the material in storage, from speeches of all the presidents of the United States since radio waves have filled the air, to the comedy routines of Bert Lahr and Bea Lillie. It described radio and TV productions of classical drama, Judy Garland's radio debut at the tender age of twelve (as Ross MacDonald said, "I don't believe that people know everything at birth and forget it as they grow older" - the early Judy is less than spectacular) and a television appearance by Arturo Toscanini who, at 84, apparently hadn't forgotten a damned thing. There aren't many cartoons among the varied holdings, except for made-for-TV animation movies, but the Museum of Broadcasting does maintain a library of rare books and television scripts, as well as books and periodicals on the industry. · Visitors to the museum have ready access to this taped wonderland. In the Index room, one selects programs from an extensive, computergenerated file of index cards, and reserves time at one of the custom designed broadcast consoles. In spite of myself, I looked up Yale in the file and found, in addition to two unexplained tapes of old Hasty Pudding shows from the 1930's, the 1957 Omnibus production of Owen Johnson's Stover at Yale.

Secure in one of eight consoles, each of which accommodates three people, I settled in for a broadcasting blitz. The museum technician on duty locked the tapes into place, and I attached one of the three sets of headphones to my eager ears. Always

a sucker for Viennese schmaltz, I listened to Romberg's operetta, The New Moon. The romantic reverie I fell into while listening to a quavery soprano warble "Lover, Come Back to Me" was harshly interrupted by a commercial for Zlotnick's Furrier, circa 1937, and that cattiest of feline films, The Women.

I heard the ineffable and probably inebriated John Barrymore give a superb reading of Hamlet's soliloquies in a rather absurd 193 7 radio show entitled "Streamlined Shakespeare."

Ah, if only he had had a better editor! Stover at Yale, purporting to detail "the pretensions of college life," was introduced by the ubiquitous Alistair Cooke, who termed it "odd and funny ... a period piece." The show's set was painted and so phony as to be extremely suggestive of the actual campus, although a "set" of Yale is almost redundant. According to one ofJohnson •s )alies, )ale "is the kind of college where a man stands on his own two feet, square against the wind."

Freshmen of yesteryear were also advised to' 'Study the ftrst year and get it out of the way." With delighted hocror, we see the happy-go-lucky sadism of the class cut-ups and learn that " It's just as easy to know the right crowd as the wrong" - but so much less fun! Other memorable Stover ·quotes included, "Be nice to everyone-but not too nice until you ftnd out where they stand."

I talked with the affable Lawrence Bergreen, assistant to the president of the Museum, and toured .the ultramodern sound-filtering room, with its classic space-ship control board of sound filtering devices. It is used in the d elicate p~ocess of preparing the

5

the new journal, december 6, /977

I

,

.~

Liturgy From music I bore Some gold-stone fins But they sank away From the waffled shallows From nature I gleaned Some hope of rice But it edged deep away In sunk stone bowls

museum stores, one for use and the other for preservation and duplication; the medium lends itself to cloning.

Radio programs frequently come from the 18-inch disks on which they were first played , while TV tapes are made from kenescopic films or from earlier tapes. The storage room , which, according to the press kit, "preserves the treasures of more than a half century of broadcasting, '' is a climate-controlled, fire-proff vault: the museum is a veritable Beinecke of Broadcasting. All holdings are cross indexed by computers, storage and retrieval systems are sophisticated and oh-so-up-to-date. One hour of broadcasting time on a video or audio cassette takes up less space than a single book .

Recently the Museum became the largest radio archive in the world when NBC donated 140,000 hours of radio broadcasting to the 1500 hours of radio and TV previously acquired by curator Mary Ahern. The building also houses a collection of broadcasting memorabilia: scripts dating back to the 'twenties, periodicals, and books dealing with the two media are among the treasures stored there.

Television has been blamed for everything from the breakdown of the nuclear family to a proportion of illiteracy among young Americans that can only be described as Bionic.

Comedian Fred Allen once said that "Thanks to television, the next generation will be born with four eyes and no tongue ... television is a triumph of equipment over people.'' It is an intimate medium, close-up and closed in , yet its influence is vast. Nicholas Johnson, former Federal Communications Commissioner, reports that ''95 per cent of all dlerican homes have one television set, 25 per cent have more than one.''

Television's influence , coupled with the selectivity of the medium make it doubly powerful: TV makes the news through its editorial choices, allowing the views of a few hundred people to affect millions.

The Museum of Broadcasting also exerts an important selectivity: its choice of broadcasting specimens is destined to become history, since any

speech Ahern. acquires is emphasized, probably inordinately, as history.

Ahern, a graduate of Radcliffe, served in the Chemical Warfare Service of the U.S. Department of Defense.

Museum president Paley worked as Deputy Chief of the Psychological Warfare Division of Supreme Headquarters of the Allied Expeditionary Forces in World War II. Many of the most interesting things-orr TV today are the advertisements created specially for it, and the perenially popular TV play, Twelve Angry Men, succeeds because the sequestered jury fits well in the claustrophobic setting of a twentyinch screen. According to critic Gilbert Seldes, .. We are human and, given a chance, we might still create an art form of television." It is just beginning to achieve recognition; even Beinecke is preserving scripts written

by Emmy award winning TV writer John Vlahos.

Can a medium controlled by bustnessmen realize a future as an art form? The work of truly innovative video artists is beyond the range of television's popular culture and has not been included in this archive of ..broadcasting" history. But the museum has saved some of the unqualifiedly great chapters of the Old T estament of this extraordinary religion. Frank Capra wrote that ..This monster is a new god! An enchanting god - giving rise to a new, raging mystique built upon the twitching stimuli of zap, leap, flip , and break. All other god s are past, dead."

The Museum ofBroadcasting is openfrom noon to .five p.m. Tuesday through saturday. a 11 contribution is requested ofthose who are not ready to make a lzfetime commitment to the new god.

-Eva Saks is editor ofCasting Call magazme

So then I asked For bowls and fins; I asked me a hand That could startle them back into finning the shallows, gilding, rounding; I guessed me his hand, that could gather bowls open.

When I had asked Whom I had guessed He sent my asking out; And over and over he sends it back; and over and over it answers me, over and over it answers as he gives it, in the speech of fins, and in the speech of bowls.

A.R.C. Finch

'

th~ MW

journal.

tkcnrtb~r

6. 1977

i '

!

messages sent to A.

Computer Crime and Digital Signatures

Computers: The Secret Behind the Secret Code With the rapidly decreasing cost of sophisticated electronic circuitry, the day is not far off when it will be financially possible to send information by ''electric mail" over public channels, instead of the pen-andpaper medium currently favored by the U.S. Postal Service. Recent advances in cryptography, the art of secret cipher-coding of messages, have assured that this mail will only be decipherable and readable by its intended recipient. The proof of this assertion comes from the "purest" subjects in mathematics, algebra and number theory, as well as the theoretical area known as ''cqmputationa l complexity". Finally, we will all have pre-programmed, specialpurpose personal computers to do this enciphering and deciphering, and these machines will most likely be cheap enough to get free in a box of Cheerios. Although this would seem to insure perfect equality of security for all, in the highest traditions of democracy, the U.S. Government is extremely upset by the recent breakthroughs in cryptography. It's OK for . us, sure. But if the Russians figure out how to do it, as the argument goes, the National Security Agency and their friends, the C.I.A., will be unable to keep up with Leonid Brezhnev•s latest moves.

Codes and Keys Coding messages is a very old business, as is the task of code breaking. Caesar made use of what a re now called "Caesar ciphers" which work by cyclically "shifting" the letters of the alphabet. A 3-shift, for instance, w ould code the letter A as D , 8 as E, and so forth. (A !-shift on HAL, the name of the computer in the movie 2001, produces IBM. Kinda makes you wonder, don't it?) The socalled "key" to the code is the distance of the shift; once that is known, the code is broken.

Another more secure cryptographic system is the transmission of private key for a specific message. This key would be a list of random numbers as long as the message to be transmitted.

The key is delivered to the recipient of a message, followed by the message itself. The key describes a special Caesar cipher for each letter in the message. A key 9 4 7 10, for example, followed by the message LSKO, is d eciphered as CODE, since counting 9 letters backwards (alphabetically) from L yields C, 4 letters back from S is 0, and so forth.

Properly executed, the one-time key can only be broken by random guessing. This is the cryptographer's dream. But there are a lot of other difficulties. The amount of correspondence doubles since very long keys must be transmitted for each message. The key could be intercepted

and copied before it reaches the recipient, and the message decoded easily. And if a lot of messages are being sent, the problem of synchronizing the proper keys with their associated messages becomes very complicated. For extended communications between a large number of parties, the one-time key system is a hopeless mess.

One Way Functions The inspiration for the first major breakthrough in cryptographic research came from Whitfield Diffie and Martin Hellman of Stanford University. Their work appeared in ''New Directions in Cryptography" (IEEE Transactions on Information Theory, November 1976). Diffie and Hellman propose a cryptographic technique called the "public key cryptosystem" which relies on a group of-coding functions called "one-way trapdoor functions." These functions are easy to carry out, but like a trapdoor, very difficult to reverse.

The characteristics for a good oneway trapdoor function are the following: 1. AD messages are simply coded into integers by changing A to 0 I, B to 02, and so on. T hen we only have to "code" and " d ecode" large numbers.

2. There are two encoding and decoding procedures f and g which inverses of one another. If a text is simply coded into a number N, we encode the m essage by sending the number M = f(N), a nd M is decoded by computing g( M ) g(f(N)), which (if our coding procedures work) must be N. Therefore g(f(N)) = N. Since encoding and decoding are essentially the same kind of operation, changing one number to another, it is also t rue that f(g(N)) = N. 3. The encoding and decoding procedures f and g can both be done quickly.

4. The "trapdoor" condition: Given the procedure f, it is computationally infeasible for anyone to break the code and derive g.

With these conditio ns, it is easy to describe an efficie nt communications system. Every user A who wishes to participate in this message sending scheme has his own encoding and decoding machines. Let's call them fA and g,,. User A makes his encoding d evice fA public and sends one to all his friends with the following message: " If you want to send me some electron ic mail, type it into vour electric message sen der and encode it with my fA machine just before you mail it." His decoding device,gA, however, he keeps a secret, so only he has a copy of it. This way, no one besides A will be able to decode

=

The single problem with this design is t hat it is only secure at one end.

When 8 sends a message to A, it is clear that only A can read it. But it is still possible that 8 did not send the message, for another individual C could be impersonating 8 and writing messages in B's name.

It is this loophole that has been exploited in an increasingly popular public offense known as computer crime, namely ripping off with machines for fun and profit. An excellent summary of su ch criminal exploits can be found in a two-part series which a ppeared in the New Yorker this summer ("Annals of Crime (Computers - I and II)," August 22, 1977 and August 29, 1977). Consider a bank that has a computerized account system . If a bank teller can learn to impersonate the bank president on the computer, the teller can learn the balance of s pecial accounts, shift money from one account to another (which involves a mere change of numbers stored in computer memory), a nd generally make a mess of things. In a bank without a C'Omputer system of this sort, such activity would be impossi ble. First, the bank teller doesn't look like t he bank president, so personal attempts would obviously fail if he tried to ask the accountant anything. Second, a written request would probably fail, since those in the know would see-that rhe signature at the bottom o f the bank president's p\JTported request was no t authentic.

In either case the fraud might easily be traced back to the ba nk teller.

The clever solution to th is problem of anonymity is what Diffie and Hellman call "digital signatures".

Here is how it works: Suppose B wants to send A a message N. B has a public encoding device fn (of.which A and everyone else has a copy) and a secret decoding device gu. Similarly, A has a public encoding device fA (which 8 knows) and his own decoding device gA, also secret. To send the message N, B first encodes the message with fA, a nd then codes the result with his own device gu, and sends the message g8 (fA(N)}. When A receives the message, he first decodes it with B's public coder fR, and t hen gets fA(N), as fH a nd gu a re mathematical inverses. A then applies his private decoding device gA to fA(N). and out comes t he message N! This method is absolute ly secu re.

The reason is that when B sent the message to A, he used his secret coding device gu. For someone to impersonate B. they wou ld have to fi gure out how to derive g .. fro m ftl. and this shou ld be next to impossible.

Coding a message with your own

secret g-machine is .a way of ..signing" the message, because no one else can duplicate that coding procedure. Such a public key cryptosystem can resist the strongest form of cryptographic code breaking, the "chosen plaintext attack."

The secret of the one-way trapdoor function is pretty much out of the bag. The details of the prime number implementation (as mentioned by Martin Gard ner in the " Mathematical Games" section of Scient(fic Amen{ can. August 1977) can be found in a paper called "On Digital Signatures and Public-Key Cryptosystems" (Technical Memo 82, April 1977), available for 35 cents and a stamped addressed envelope by writing to Dr. Ro nald Rivest, Laboratory for Computer Science, MIT, 545 Technology Square, Cambridge, Mass. 02139.

Yes, for a mere 35 cents, you too can create unbreakable codes in the privacy of your own home. Don't rush for your checkbook, though. At last count, Rivest had received on the order of two thousand requests for this paper, as yet unanswered . Why is Professor Rivest such a poor correspondent? Because of the National Security Agency.

The explanation for this state of affairs gained public attention in a front-page New York Times article (October 19, 1977), e ntitled "Scientists Accuse Agency of Harassment Over Code Studies." A source a t the National Science Foundation , which funds much of the research described here, complained that NSA was engaging in ..syste mati c~ bureaucratic sniping" in an attempt to control this research. The a rticle appeared a week after a conference on information theory was held at Cornell University in Ithaca, N.Y. Several weeks before the conference, its sponsors, the Institute o f Electric and Electronic Engineers (IEEE), received a letter from one of its members, J oseph A. Meyer. According to the Times. well-placed scientists claim that M eyer is e mployed by the NSA. Meyer warned that publication and distribution of scientific papers on c ryptogra phy, presented at the upcoming conference, wou ld oe in violation of the 1954 Munitions Control Act , known currently as the Arms Export Control Act. Lawyers from the IE EE, Stanford, and MIT generally concurred with this view. Scie ntific research is routinely sent abroad to nations all over the world, including the Soviet Union. The new resea rch cou ld be used to create security systems for military communications that would be impenetrable by the KGB, the Soviet intelligence agency. Of course, should the Soviets or any other nation employ the same techniques, the NSA and C.I.A. would be equally unable to break the cod e. Hence publicizing this research is roughly synonymous with exporting armaments to the military menace emanating from Moscow. This set t he stage for a rather tense conference.

At the conference, Diffie and Hellman presented their results on N P problems a nd their relations to cryptography, as briefly described above. Rivest of M IT also presented the MIT group's results on primenumber encryption. Under advice from MIT lawyers, however, Rivest said that he was unable to answer questions on the MIT group's research, although he read the paper he had prepared for the conference. The legal logjam over publication has also

the new journal, december 6, /977

1

..

N P Prohlems aiiCI

One- Way Ftmclivns Natura lly, the above argument assumes that we ca n really find functions like f and g. But exactly where can such "hard" functions be found?

Diffie and Hellman su t the usc of a class of It prob-

1ng it out

prevented release of the MIT technical memorandum advertised in Scient(/ic American. Finally, the threat of prosecution dissuaded several postdoctoral students from presenting results at the conference.

Now what exactly can the National Security Agency do to restrict research on code theory? As you might have guessed, an awful lot. The NSA can prosecute researchers under the Munitions Control Act. Tenured faculty researchers would most likely be defended by their universities, but such harassment would create tremendous problems for junior faculty and graduate students in the field.

Second ly, as is alleged in the Times article, the NSA could threaten the National Sc1ence Foundation to cut off funding for these projects. This writer has independent verification of such activity. Naturally, the NSA has not had a great deal to say about the matter.

At the present time. the government has not moved to classif} this research. It has moved to constrain and control its de\elopment. in a manner reminiscent of the restrictions of publication of physic:. research in the 1930's and 1940's.

Perhaps the NSA and other invol\<ed government agencies did not expect the subject to de\<clop as

quickly as it has. But controls on cryptographic research are ridiculous at this point, because too much research is already public. The MIT research is a perfect example. Practically all of its results have already been made public and published in one form or another. The only real problem that hasn't been explained in recent populari7ations of the research is how to find the variable t having the needed number theoretic properties for a decoding algorithm. But given the other information known, the identity oft can be found by any half-baked algebraist. The very fast methods for finding out whether a number is prime, a key to the MIT implementation, have been published in several different technical journals.

If any nation should wish to create a secure communication system that cannot be compromised by a cryptanalyst, the details are already public.

The reaction of government intelligence agencies is too late to do anything but needlessly antagoni1e the scientific community.

Although the government's efforts to confound work in this area are essentially after the fact, it can exert a pronounced influence on researchers in the field. Even the publication of this article, which contains nothing that has not already been made public

there arc n sentential variables ( P, Q, R, ... ) in the sentence, we have to try out 2" possible solutions.

This is clearly an exponential problem.~~ •• 1'l1e Knapsack Prvhlem A Good One- Way Funclicm

Diffie and Hellman use another N P problem called the "knapsack" problem to create a one-way trapdoor function. A case of the knapsack problem is the following: I give you a list of 100 random numbers and tell you that a subset of these numbers. added together, equals 490. Find me that subset of integers. There isn't any fast way to find this subset, you're going to have to check them all - and there are 2 11•• (approximately 10:'1) possible a~ ti~ looking!

Here i ~ra])EkJor function: add up a subset of integers. and transmit the sum. This is easy.

The "decoding" of the sum into the subset of numbers addi ng up to it is exponentially hard. If the random numbers were chosen carefully, the recipient of the message can decode the message easily. This is the "trapdoor" principle - the creator of the random list can use the "decode" key easily. but no curious cryptanalyst can figure it out.

Not to be outdone, a group of MIT researchers have ~orne up with an alternate one-way trapdoor function that takes advantage of prime numbers and their bizarre properties. This new method is credited to the efforts of Ronald Rivest (Yale '69 for you alumni fans), Adi Shamir, and Leonard Adelman of MIT. Rivest is an associate professor of electrical engineering. This group has relied on a host of other results proved by a number of researchers. Here is how the prime number trapdoor works: THE PUBLIC ENCODING KEY (what we called the ''f" machine): Every person P publishes two begins to tread on some extremely sensitive areas. The power of the immense government intelligence agencies is obviously a force to be reckoned with. Once a large bureaucracy commits itself to a policy of this sort, it is difficult to arrest the motion of systematized suppression.

On the other hand, one wonders what we're actually trying to hide. At a time when there is much criticism of the Executive's unrestricted power to classify anything, and lawsuits pending to release classified information (for instance, present litigation to obtain documents related to the Rosenberg case), why should we be trying to make things even more secret? Perhaps we should make all the federal data-banks public, let all the supposedly secret, private, and scandalous information on millions of Americans go public, and have a real housecleaning. But if we admit that there are certain ideas and communications which are logically private, if the governments and intelligence agencies of the world have a right to keep secrets, then so do the rest of us. Paradoxically, the government is trying to make a secret of a system which would make secrecy democratic.

Harry Mairson is a senior in Calhoun.

message N to P , raise N to the s-th power, divide it by r, and transmit the remainder. Mathematic,!lly, we write thisas ~:;:&I = moduio r.

T he number r is the product of two very large primes, p and q, which are kept secret. The computation E(N) can be done very quickly.

THE PRIVATE DECODING KEY (what we called the "g" machine before): Take the encoded message M, raise it to the t-th power, divide it by r, and the remainder should be N. This can be expressed as D(M) = M' modulo r.

The number t depends on the values of p and q, which are kept secret.

Knowing t, D(M) can also be quickly calculated.

The trapdoor principle here is that while it is computationally easy to find out if a very large number is prime, it is (at least by present knowledge) practically impossible to find all the prime factors of a large number. The MIT researchers picked s = 9007 and r to be a 129 digit number that, if printed here, would almost certainly be incorrectly typeset. The number r is the product of two 64-digit and 65-digit prime numbers.

How can we find out if a very large number p is prime? At first glance this would seem to be a difficult question to solve. But recent investigations by Gary Miller (currently at the University of Rochester) and Michael Rabin (Hebrew University), among others, have shown that it's not as tough as it's initially cracked up to be. Using a variety of classical mathematical arguments including use of Fermat's Theorem (one of my fa e theore and the Extended R ed

7

8

the new journal, december 6, 1977

Taluscope Talus was the best guard anywhere; his record-breaking total of more that a 1 hundred crushed, burned, and sunken ships will probably never be matched.

Now he wasn't the sort of man to go around town saying things like, "Talus here. I'm big. I'm mean." Not at all.

Of course, he never really went around town at all, seeing as how he lived on the island and never had any dealings with ordinary folks, except when he killed them.

He was pretty quiet, most of the time, as big as six ~egular men, and strong as a whole navy. But he dido' t kill for pleasure, and not to satisfy an ugly temper. It was just his job, and he had been made for it. In his younger days he would use what free time he had relaxing in the shallows, watching clouds and stars, peaceful things, maybe to make up for the ship-smashing.

He wasn't really so big as you might have heard, what with stories about him tossing around ships and eating people whole. Usually a stranger's ship would sail around to the east side of the island. There was a nice strip of sand and a little bay that was protected by a rocky cliff about a hundred feet tall. Well, Talus had him a cave half way up, and he could watch a good bit from his front door. When he spotted a speck on the sea, he'd dim b to the top of his bluff and wait, maybe catch a nap while he had time. But when that ship pulled into the calm water, Talus would take a running jump and come shooting down like a comet.

When he got bored with his bronze ball dive, he would make some fancy flip or twist, then bore right on through the ship, fingertips first, straight as a plumb. Of course, if his jumping off place wasn't handy, he could always break a ship in half with one well-aimed boulder.

There's something else about Talus nobody seems to know, and that's that he had him a wife. Son of a wife, more like a servant, really, named Lysia. She was bronze, too, but her color was lighter, more twinkly than Talus. Very petite, for a metal woman, maybe ten feet, twelve feet at the most, but ¡ goodly portions, as they say. It seems that some witch over in Chelaan wanted to outdo Vulcan, and maybe she felt sorry for lonely old Talus, but whyever for, she built Lysia, a worthy mate for a creation like he was.

Lysia would wait in their cave while Talus did his guarding, she would keep him company while he waited on his cliff, maybe she changed his oil, I don't know. She did save him from being alone, and she was not afraid of him. But they had a problem.

The night he died, he spent a while over on the southwest beach. He wasn't practicing his dives, not sitting quiet or waiting for the moon to pop out from behind a cloud. That night he stormed around like the old Volcant Daddy himself, tearing loose pans of the shor~ and heaving them in all directions. He yelled, ''Curse Vulcan!" and "Blazes for Chaalia!" over and over (I think Chaalia must have been Lysia's witch mamma), and the whole place shook and echoed.

Sometimes he might toss chunks of earth for exercise, but only for a change, as cranky Minos didn't ¡appreciate having his pile of dirt squandered away. .

This doesn't much sound like the calm type I was talking about, but he was due for a little tantrum after his set-to with Lysia. That was earlier in the night, and their voices got louder .and louder till I could hear plain as day. First thing I could make out was Talus, saying, "I am bronze, woman, not flesh,'' a nasty sound in him.

But quick and loud as you please, she answered back, "And I am bronze and woman, man." Now on paper it's hard to tell you how mean she was acting, but the way she said "man" was enough to make me wither even further into my hiding place, and Talus, he seemed to take it for an insult, too. There was a deep crash, like maybe he punched a hole in their living room wall, and he just boomed, ''You are an acorn. to this oak!"

"And you a mule to this mare," she said, even and ornery. Now the way they talked was funny to me, like they were high-class strangers. But the way words rang out of their mouths. with a kind of instant echo, made everyone stick clear in my head.

Lysia still was not afraid of him, though he seemed changed, into the bellowing bull of stories about him.

Then she softened up some, sounded more like a real wife. "Talus, I am sorry. You are a great, a very great man, and I have loved you and served you all of my life. But I am not you, and not a great man." Nobody said anything for a little bit, then she went on. ''Vulcan did not mean for you to have a mate, I know. But I need your touch, your glance, whatever love there is. A kiss, perhaps?" ''Perhaps the kiss of man would serve you better." He stomped out of the cave, stopped just outside, and looked back for a second. "Or ass, perhaps,'' he said. Then he took off, going under me so close I could've touched his head, but right on by he went, like spurs were digging at him.

For a while I just lay low, till I heard Lysia, alone in the cave, crying like a real woman.

Let me back up a little, as you may be confused about my being on this island in the first place. I signed on with Jason just before his long trip, and he asked for too much to handle more than once; I'm not saying he didn't do his share, but he left a lot of dirty jobs to the crew. Everybody was scared of Talus, and Jason took that as a challenge.] ust couldn't abide sailing past Talus without poking a spear in that general direction.

So he handed me a spear and sent me and one other fellow to kill Talus.

Can't imagine what he was thinking.

Drunk, maybe.

We rowed the whole way for fear the moon might shine our sail at the giant, and we pulled our little boat up on a rocky beach somewhat north of the big bay, figuring that's where Talus would probably be watching. He was too caught up in his woman problems to

9

the new journal, deumber 6. 1977

notice us anyway.

From where we landed, the only way to the rest of the place was over the top of the bluff. I had to find him before I could kill him , so my shipmate guarded the boat, and away I climbed.

From the cop, I couldn't see my comrade or the boat ; that was good.

On the way down the other side, I heard the voices ringing from inside, and I hid fast, near enough to hear the fight, but too close to the cave's opening for my liking.

It surprised me that somebody like Talus would back off from a fight, and with a woman at that, but from their argument and the crying, I figured she might be inclined to help me out. I nudged my way into the cave, spear point ftrst, ready to hightail. Never saw a prettier woman, or more pitiful. â&#x20AC;˘ 'Excuse me,'' I said, and she looked up slowly. "Are you ... Mrs. Talus?"

That didn't seem quite right, but surely only a wife could talk to a giant the way she did. She smiled at something, the spear still poking around in front of me , or maybe the question, and said, "Talus has no woman , nor will he have." " Does that mean you want to get off this rock?"

She stopped her crying, and very ladylike , said, "Whatever I shall find apart from this island will be island as much as here I find. I can stay no more.'' Still that funny way of talking, still ringing right in my head , but I gathered she wanted to leave Talus.

Very polite, I asked her if she wanted to make a deal, that she could sail with us if she'd tell me how to handle old Talus .

At first she cou ldn 't warm up to the idea. She told me not to even think about killing him, that he was really a fine man; she was the one I should blame . Well, who knows, but I believed her about Talus having some good in him. She totd me how different it had been before he started brooding, and about his fancy diving, how he liked the stars and uied not to step on the seashells because they were pretty.

But after all, I had a job to do, and I kept after her about Talus' weak spot.

Finally, she said, "To betray his secret's to betray nothing; you may know how he can die, but also know your weakness. He will never allow you to kill him."

Talus could be killed, she admitted , by pulling some kind of plug out of him . Then all of his life-juice or whatever would run out, and he ' d die.

"So where's the plug?"

She stood up, but seeing as she's kind of tall for me, she got on her knees so we'd be more face to face, and pointed down at my crotch. ''There .'' â&#x20AC;˘'You mean his ... '' I was still looking for a good word, but she went on. " Desire and life are held in him there, by a button, most small, and yet in essence larger than himself. From my most willing womanhood he's suffered much; a little man would not get even near enough to see it.'' I was still staring down where she had pointed; carne close to asking her how

Talus managed some certain things (one in particular), but I figured he couldn't, at least not without killing himself.

"Right. Yes . Well, look, there's a little boat hidden on that beach over the hill. Tell the fellow there that I sent you, and wait there. And try not to scare him too much.'' She left .

All the way across the island you could hear Talus and feel the ground shaking. Maybe he wasn't quite as big as in the stories, but he sure made up for it in volume.

I started toward the sound of his voice, but before a mile was up , the ruckus stopped. He was calming down some, maybe he'd go to sleep and I could sneak up on him. Of couse, he never slept, but I had to keep my spirits up.

Then he was running; I felt each bounce and jolt as he headed for home , toward his cave; toward me for that matter. So I turned myself around and started running , too. Hid myself in his cave just as Talus started up the cliff. He called out Lysia's name while he climbed , didn't sound mad any more ; desperate, if anything. He didn't stop at the cave, just kept climbing and calling to Lysia until he reached the top.

Didn't make any sense of it till I crept outside for a quick look. Just beyond the still water in the bay, our boat's small sail was shining away in the moonlight ; my friend Linneus had abandoned me. Standing toward the front of the boat, like a figurehead, was Lysia. Even at a good distance you couldn't miss her.

And missing her seemed like the last thing on Talus's mind. He tore a huge hunk of stone from the cliff and raised it over his head. All quiet now , and I couldn't see his face, but the outline of his arms with the boulder towered over me, clear against the moon. He tossed that rock with such a snap it sailed our twice as far as the boat, then crushed a piece of driftwood and smashed into the sea. The driftwood was gone, and the only other target was our boat.

Talus backed away from the cliff's edge, and I couldn't see him. I braced myself to see him running off, diving through Linneus, breaking the boat to kindling.

After a minute or so he walked back into view. Saw all of him, watched him as he pissed into the ocean.Just what it looked like anyway, kind of matter-of-fact, head down. Looked unsteady for a bit, then, not graceful, he followed his water into the bay.

I watched as he went under, then back to the clifftop, and I shouted and waved to Linneus and Lysia. They didn't come back, but at the top of Talus's bluff I found his note, carved in stone:

Lysia, bronze and woman, wed To Talus, unwed, bronze, and dead.

Took me a year to get off that island, and it's a year since, but nobody seems to know anything about Lysia. Maybe she couldn't live without him after all, and she's gone; all right. But these stories! I hear talk about Castor and Pollux and Jason and Medea , but none of them were around when Talus died.

And Lysia was right-no little man like me could've gotten close enough.

-by jim johnson

. 10

the new j ournal,¡ december 6, 1977

. ~ â&#x20AC;˘.....

Nobody_ does it Banner I

Except us.

We are, of course, Yale Banner, publi.shers of the Old Campus, the Student Directory, the Yale Ut, and the Yale Banner.

Yale Banner Publications Third floor, Woolsey Hall 436 8650

new england house restaurant 9 3 Whitney: Avenue

624-3254

Dining in a Unique Atmosphere Live Entertainment Fr iday and Saturday Nights Complete Lunch a nd Dinner Menu Lunches: Monday-Friday

D inners: every nigh t

11

the new journal, december 6, 1977

OODODDOODDODDDDDDDDDDDDOODDO "It's like having a secretary who can type forty different company reports from dictation simultaneously, and answer two phones whenever they ring without missing a beat.''

DODDDDDODDDDDDDDDOODODDODDOD Computers at Yale. There are a lot of them. They're concentrated in two places: the Computer Center and the Computer Science Department, but just about every department in the University has at least one or two little ones. The Computer Center computers are crunching all day long at little administrative tasks that it would take human secretaries ten to twenty times as long to do. So those computers are primarily being used as administrative secretaries. The computers at the Computer Science Department are used primarily for research. Even though Yale's Computer Science Department is relatively small, there are about five major factions within it, competing for time on the computer, or' 'the machine'' as they refer to it.

And now-a brief rundown of each faction with a blurb on what I think their research is aimed at.

Systems: This involves research into computers themselves, how to make them run more efficiently, how to do things like attaching about forty terminals to a single computer, seating a mixture of grads and undergrads at them, and having "the machine" respond to all of them at once, even though they're all doing different things. It's lila~ havina a secretary who can type forty different company reports from dictation simultaneously and answer two phones whenever they ring without missing a beat.

Numerical Analysis: The "number crunchers, •'as the rest of the department calls them, are trying to figure out new applications of fast computer programs to anaiysis of scientific data and data analysis.

Complexity: They tried to explain it to me , but I don't understand.

Artificial Intelligence: These guys are trying to get the computer to do

things that a human can do. Like reading a newspaper and understanding it. Understanding it?

How do you know if it's understood it or not? Well, first it will give you a ~llmmary of what it read , in its own words, and then you can ask it questions about what it read, and it answers them!

At Yale, all the AI research is directed by Roger Schank, one of the biggest names in the field. Schank feels that the best way to make a machine act intelligent is to make it do exactly what people do, as close as we can figure out.

At an international conference on Artificial Intelligence at M.I.T. this summer, Schank was the chairman of the "Natural Lan~ua_ge Processing" session. In Artificial Intelligence (AI) jargon, a "Language" can be either "natural", like English or Latin , or "artificial", like Fortran, wl}ich is a language d~igned for computers. The AI lab isn't very interested in artificial languages (which are primarily the province of the Systems people .) They are, however, interested in English, and how people use it to communicate with each other and understand what they read .

Take this sentence, for example: "I hit Roger Schank in the mouth. " When you read that, you not only understand the physical action that I performed by "hitting," you also know that I must have been next to him before I could hit him , and that he was probably amazed that I would do such a thing, (you are too: you probably don 't believe that I really did it) , and you expect me to explain the action, or justify it, and you expect Roger to hit me back, or order me out of his office, or call for help or something. You know all that just

from my saying that I hit him. should be directed. The main idea is to Schank and his group are trying to see if we can make a machine act ''intelligent'', although no one really write computer programs that will read agrees on what constitutes intelligence. a sentence like that and make the same inferences that you made when you The programs that have been read it. In fact, they have a system, written so far in the AI field have been called "SAM", which can actually read static, like SAM reading a certain type newspaper stories and understand of story from a newspaper. It can read them. For example, take this lead the story, but it can't learn from it.

SA~ itself is no different after reading story, straight off the UPI wire: ''An Iberian tanker today struck a a story than before. It can't make any . reef off the coast of Florida, spilling new inferences, or alter irs point of tons of oil into the Atlantic Ocean. view. Rick Granger, a Computer Helicopters are keeping the spreading Science grad student, is working on an spill under observation, and it is not addition to SAM that allow.s it to figure yet known whether nearby beaches will . out a new word from context.- For example, if you read that President be affected.''

SAM knows all sorts of things about Carter went to Bagawaga to establish diplomatic relations there, then you'd oil spills, and tankers, and has a smattering of geography, so it can know that Bagawaga was probably a country, even though you never heard answer questions about the story, like "What caused the oil spill?". The of it before. The reason you can do that answer SAM prints back is ''A tanker is that you've already heard a thousand struck a reef, and the tanker probably stories dealing with Presidents and cracked open , and the oil leaked out diplomatic relations, and you know the crack. " Not an answer full of that in general, countries are the things insights , but certainly displaying an that people go to and establish understanding of the physical events diplomatic relations with. So you that to.ok place. SAM is an expert on interpret the story in terms of other physical events. It understands stories stories like it that you've seen zzza. .a&SSIIX •••••••••••••••••••••• XXIIIXXIIIIIS. . . . . . . . . .. zz . . .aaaBIIIii ••••••••••••••••••••• XIIXXXXXIIIII88···. .. . . . z••••••saxXIXI ••••••••••••••••••••••••••• IIIIIIIXBa. . . . . . .. aa. .aaaaxiiXI ••••••••••••••••••••••••••••••••• iiXIBaa. . . . ..

B. . . . . .BIIX ••••••• • •••••••••••••••••••••••••• XXXIIBSaaaa••• ! . . . . .SIXIIIX •••••••••••••••••• IXIIIII••••• XIIXIIISSa. . . . .. . . . . . .SSIIIIIIXIIIII •••••••••• IIBB!BBXIIIIXIIXIIIBSS . . . . .. . . . . . . . .SSSIXBBSSSSSSBI •••••• ISa . . . . . . .SBBBIIBBBSSSSSa. . . . .. ..••••••••••. .srxxas••r •••• xxs••••sxxxxxss••••••••sss•. .••• . . . . . . . . . . . asss•aasax••···IX . . . . .SSSSsaa. .sss••••sBIIS····· . .•••••sxs••sara. .•••ax ••• rs . . . sssax.x•. .••. . .saaxxxas••. . . . . .aaaSIIIIIIII.IFPFFIX ••• ISSBSIXI • ••• FPPPPBBIIIIXXIIS . . . . .

••••••BIIIIIIIXIXIBXII •••• zaBXIIIZILIIIIXIBBB••••• IIBB . . . . . . . . . . .SII •••••• IIIII •••••• IftBIIII •• IIXIIXII ••••• IIIXSS . . . . . . . . . . .SII ••••••••••••••••• IBBIII •••••••••••••••• IIIISS. . . . . . . . . . .SIII •••••••••••••••• IIIIII ••••••••••••••• IIIIBSS. . . . .

• . . . . . .BBB •••••••••••••••• IIIIII ••••••••••••••• IIIISSI···. . . . . . . . .SII •••••••••••••••• IIIXIX •••••••••••••• IIXIISS. . . . . . . . . . . . .SXXI •••••••••••••• IIIIIII •••••••••••••• IIIIBS···. . . . about car crashes, earthquakes, oil previously. That's exactly how SAM spills, floods, and other disasters. It reads stories. In fact, that's the only does not understand the human reason it can understand them in the intentionality behind such stories. Like first place: by having all that built-in ''why did the driver lose control of the knowledge about the situation that the car?" or "how will people react to the story is describing. damage?". However, there's another Yale graduate students are currently · program at the AI lab called ''Pam'·, working on projects that tap which understands exactly that sort of knowledge , enabling SAM to figure thing. PAM reads stories about things out words from context, just as we do. like robberies, and understands the If the computer read that story, it motivations behind people involved in would think that Bagawaga was a country after it read it; it would such activities. It's not going to solve any serious sociological problems about actually know a new piece of why people perform robberies, but it's information.Other projects include doing a lot to augment scientists' general learning programs that will understanding of what processes enable the computer to talk about underlie the human understanding what it's learned , and to learn things process itself. explicitly, as well as implicitly like AI is a relatively new field, and SAM. various people in the field have }. W.Bianchard haunts the 'mle different ideas about how research Computer Center.

Ell CALIFORNIA CHARTERS ON UNITED AIRLINES Round Trip New York to Los Angeles or San Francisco Lv. New York Thursday, December 22, 1977 Lv. California Saturday, January 14, 1978

$21 5. 00

Includes Free Chartered Buses to Airport & Return Flights open to all Yale students. faculty, staff. alumni and their immediate families

SPACE LIMITED

SIGN UP NOW

Ell INTERNATIONAL, INC. 442 Temple Sl

OFFICE HOURS 1:00 P.M . to 4:30P.M. MONDAY through FRIDAY PHONE 776-8522

12

the n ew journal, december 6, / 977

Re-Viewing Jean-Luc Godard, or Why is This Man Smiling?

A query some years ago to the editor of the NYTimes Arts and Leisure section suggesting an article on the Godard series that had played at the Carnegie Hall that summer elicited a polite no, thanks anyway, there's no news peg.

I suppose there really wasn't, a lthough the chance to see the near-complete works of any director in order ougnt to ment some attention.

And Godard, well for lots of us Godard wasn't just any director. I offered a tentative title on the order of ''The most important director of the sixties as seen from the vantage point the seventies. '' I realized later that their editor was new , and maybe I should have explained who Godard was .

Because Godard was more than just the most ''important'' director of the sixties, in say the same way that Norman dello Joio could be called the most important composer of the thirties. Cinematically Godard came very close to being the sixties. (Of course a number of the old guard did some of their finest work in the same period , and I wouldn't want to say that even the best Godard was necessarily better than Tom Curtain, ElDorado, or The Man Who Shot Liberty Valence.

But those were retrospective winter's tales-, and the sixties were more notable for their newfangledness than their backward glances.) Even at the time many of us felt that the decade was defining itself cinematically through the dazzling and precocious assurance of Godard, and looking back it's possible to see even more clearly now has almost aU his films opened up possibilities, showed not just where he might go next, but where movies could follow . That's what made his films look so different when you saw them a couple of years later. Andrew Sarris probably said it best, '' But Godard was a very special case ...The pattern was always the same. Each new film would be assailed by his detractors as his biggest mess yet, and even his friends would look a little uncomfortable. A year later the same ftlm would look like a modern masterpiece, and two years later like the last full-bodied flowering of classicism. '•

And now that the great creative period seems to be over, we can look back again. The view has changed a bit. The narrative dislocations of Pierrot le Fou, for example, no longer seem to intimidating as they once did.

What Richard Roud called Godard's "realism" seems less important now than the various stylizations, and these too seem less ''abstract'', to use the other pole ofRoud's "dialectic." I don't know whether Godard would agree, though he might. He once answered an interviewer's suggestion that Pierrot bad a lot of blood in it with "No, there's a lot of red."

The point of several of his pictures looks different too. La/Une Femme Mariee seems less a generalized indictment of that cliche of European filmmaking (or at least American critical reaction to it) •'the meaninglessness of modern life'' than a specifically pre-feminist work. Pierrot le Fou seems less and less about its admittedly gorgeous North by Northwest-like escape from the lights and rooftops of Paris to the cole d'azur, and more about its close-ups of Anna Karina.

But for me the key to Godard seem~ to be lurking somewhere in the background of Sarris' remark. And that I take to be something very akin· to nostalgia. It's not a nostalgta tor the past , except perhaps for his own artistic salad days. Nor am I equating it with Godard' s fabled "romanticism", although that's a bit closer. What I sense in Godard , and what moves me , is his incredible awareness of possibilities-of the movies his movies might have been , would like to be, could never be .

Example : At the end of his early film Bande a Part, one of the two heroes is shot after a suspenseful chase.

The approach to that moment is extremely close in tone to the ending ofTruffaut's Shoot the Piano Player, only ... Only Godard just can't do it.

Instead, short-circuiting the emotions of the scene, he has Arthur run around comically, like a chicken with its head cut off-a grotesquely funny dance ot death.

The camera never m oves while Arthur runs to the exact left edge of the frame, then to the exact right

edge-as if there were chalk marks on the ground and this were a Minnelli musical. Unable to believe in the conventions of his story, Godard evades, and switches genres. It' s like the moment in Pierrot Le Fou when Karina says "Fin du roman Jules Verne; retournons au policier deuxieme rang.''

But Bande a Part was planned as just such a genre movie , a policier deuxi'eme rang. It was to be his first big hit after Breathless. It didn't turn out that way, of course. Godard couldn 't make it that way . He couldn ' t believe in the emotions proper to the death of one of his characters. Yet h is ftlms are filled with a yearning for just such genres, just such moments of feeling .

More than any other director I can think of, Godard has had a very self-conscious relationship to his sources, whether in an individual story or a genre. But this relationship had become increasingly ironic, increasingly one impossibility until, clutching at straws, he latched on to the Maoist rhetoric that fills his latest films-a true counsel of despair.

You can watch this happening chronologically. That's what makes each film of Godard's a •'transition film'', as lea Hauptman has pointed out.Renata Adler said rather laconically ofles Canbiniers that it advanced the art of cinema ''a step.''

And in fact critics at the time tended to emphasize the novelty of each film, to see, if they understood them at all, the doors each f1lm was opening, even the doors they were opening for cinema.

What seem more important now are the doors each film was closing for Godard.

That's what I meant by nostalgia-a search for genres, feelings, certainties to hold on to. (Two of his films open with the h eroine saying •'Je ne sais pas.'') What makes this earch so poignant is that these are usually the conventions and ~~d ..1gs he was able to believe in only a few films back. Pierrot le Fou seems to wish it could believe in love as simply as does Une Femme est Une Fe111Dle, Weekend that it could hold onto even the partial affirmations ofPierrot.

That's whv Pierrot. thoueh in the end, I think, less successful than his other outdoor 'scope and color epic, Contempt, tS ultimately so much more affecting. Contempt, with its extensive use of classical illusion, its heroic images of statll'es and Fritz Lang, marks a tributary direction in

Godard's career. The value of Fierrot by contrast has much to do with its central place in that career. Martin Rubin once called it ''One of those suicidal works (comparable to Welles' Lady from Shanghai , Sternberg's Anatahan , Ford's Seven Women) in which a director lays all his cards on the table and afterwards must either completely re-examine the nature of his an (Godard, Welles) , or else stop making films altogether (Sternberg, Ford)."

But this is only especially true for Pieerot ; it holds, more or less, for aU his films.

Godard's situation was thus like that of many of this characters. They too often try to live their lives according to past literary and cinematic models, and , like Godard, they usually fail.

Anna Karina may be able to '• danser com me dans les musicales de H ollywood,'' though she does it without the hoped-for "choreographie de Bob Fosse." But Arthur's romance with Odille in Bande a Part can no more be like Romeo and J uliet their English teacher reads them than Godard can in fact make a real policier (or a real Hollywood musical)-any more, in fact, than they can complete their teacher's exercise of translating the modern French back into the original blank verse . (Of course Godard is aware that even Romeo and Juliet couldn 't live their lives by the already outdated Peuarchan love sonnet conventions they chose to incarnate.)

"Send her to• watch Johnny Guitar," says Belmondo of a lazy maid in Perrot le Fou; but we know it won't help.

Richard Roud has described Godard's career in a series of almost happy dialectics. I think its more a matter of painful paradoxes. Godard is ironizing genres at the same time as he wants to believe in them, just as his heavy irony toward the Maoist student heroes of La Chinoise can't conceal his desire for the clarity of their dedication, the simplicity of their belief.

Godard couldn't help seeing the contradictions: The terrible beauty of his flaming car crashes; the visual appeal of those cranes, bridges, posters, and detergents he though were destroying the Paris of 2 or 3 things; the purity and justice ofBardot's contempt in the ttlm of that name, but also the humane sadness of Piccoli 's (continued on page 14)

13

the new journal, december 6, 1977

And All That Jazz A long, narrow room, rows of kitchen-type chairs, a conspicuous-and-proud-of-it soda machine,and a make-shift stage area bring jazz home to the public in an informal setting at New York City's Jazz Museum. It is a mecca for all true jazz lovers, founded by a small group that calls itself the Hot Jazz Collective, the kind of place that makes you want to tap your feet and type your paper at the same time. Live music and jazz memorabilia are presented in an easy-going atmosphere . During one Friday afternoon jam session, musicians walked in from the street and either walked directly onto stage, joining musicians already there, or sat among the small, intent audience for a few minutes before they were invited to join the concert in progress.

Before you settle down to the music, you can look over the exhibits in the museum which include photographs, news clippings, o ld programs, letters and other assorted memorabilia. Some focus on a particular performer (Sam Wooding and Rae Harrison were recently featured) , some on a particular instrument and the musicians who

brought life to it, and some celebrate a genre or era of jazz. A table covered with back issues of Downbeat and bins of jazz records, including some Woody Herman 78's, are available for your perusal and purchase.

The museum's extensive archives are its most distinguishing asset. Ann Ruckert, one of the museum's directors, has an indefatigable enrhusi::.sm fur the museum ¡s collection of books, photographs, and recordings. "We have an opponunity to document an art form from its inception ... can you imagine what it would be like if we had oral tape histories of Michelangelo?" The jazz museum in New 'Orleans offers only memorabilia, and the archives at Tulane University covers only the relatively small genre of 'traditional

jazz.' The New YorkJazz Museum is aware that jazz is still a fledging art form and has the flexibility to document all genres.

The museum archives aoe not open to the public at this time. Only members with adequate credentials may sift through the files of documents and artifacts, though the museum staff is willing to assist anyone involved in a serious study of jazz. An invitation to participate in the museum is extended to working jazz musicians, and Ruckert encourages them to provide the museum with resumes, photographs and discographies for the collection.

The museum suffers from the widespread problem of insufficient funding. ''Jazz is the bastard child in America," she observed. Over the past several years, the museum has had to move several times because it cou ldn 't keep up with overhead expenses.

Potential contributors from large corporations support the Opera and the Philharmonic more readily than a lessor known medium. "That's part of their way of life and they understand the necessity for it." Other museums in the city have not offered to incorporate the jazz archives into their permanent collections.

There is no admission fee to the Jazz Museum , only an unspecified and entirely voluntary contribution .

Membership is available for students at $8. -lifetime membership is $1000 per year. Jazz greats, such as Miles Davis, a life-member, contribute financially and m usicallv. .

The Jazz Museum's current financtal crisis has resulted in the temporary cancellation of one of the museum's best offerings: free Sunday afternoon concens by great jazz musicians. In years past, Dizzy Gillispie, Teddy Wilson, and many others have donated their time and music , playing to packed houses of friends of jazz. It is

not uncommon for jazz greats to stop in at the museum on their way to or from gigs in other parts of the country (or the world) and play an impromptu , unadvertised concert.

The museum holds regular weekly jam sessions on Friday afternoons and evenings, with groups from every part of the jazz spectrum. On Saturdays there are afternoon concerts, followed by a "Get to Know the Artist" program. The exhibits keep changing, the archives keep expanding, and the music puts you in touch with the exxence of jazz.

The jazz Museum is located at 230 West 54th St. A limited number of membership forms are available on campus. Ca/120573.

-by Manlyn Achiron

14

------------RUNOVER----------~----------------~ (continued from p.15)

(continued from page 12)

in the field, then strode off, muttering obscenely about his rival, Santa Claus.

As the pitiful.cries of the children stuffed in Black Pete's jute bag (a reminder that severe wickedness will get you sent to Spain to work in the toy factories) died off over the dyke , Hermien mooed contentedly, for we were alone together again. She sat down, and I beside her, and she asked of the wretched bastion of Eli where I dwelt. I told her ofHoho,.who she seemed to remember as some distant cousin of hers, of THE GAME (''all that grass, wasted on brutes" was her only comment), of the strike and my consequent lack of milk and hygiene (''no wonder you look so preppish'' she grunted under her nostrils) , of the cold and the commercialism , acid academic pressure and social wastelands of aetherized patients.

Slowly, I sank into her comforting udders , and in the end we could do no more that stare off into the clear and antineurotic geometry of the pastures, the simple land of innocence I had so foolishly left for Kant , cant, castration and callousness. Slowly, the chocolate letter melted in my mind, and I with it, into the green and fruitful earth.

(conlinued from page 3)

.IIXXX888SIII8I •••• IXXXSIISSII1 L.SKSI. .IIISII •••••• IXIBISSIIII •••• XXXX!IIII.IIIII.IXXSSS . .III aassxxxxxxxxx •••••• IIXXSSI. .III IIIXXII.IIIXX •••••• IXXSSII. .III ••••••••••••••IIXIISSSSII.....I •••••••••• xxxxxxsssss. .ll. . .l l l •••••••• IIIXXXIISSSI. . .III. .I~ ••••• IIIIXSSSSSSIIII. . .III. .~

attempts to understand her. Enmeshed reflect on the obvious fact that OUR in his Maoist rhetoric like Laocoon in generation will NEVER GROW OLD! the coils of the snake, Godard will Everyone knows they're going to probably never make another great unlock the secret of aging before those fi lm . With ever increasing clarity, unsightly wrinkles come a· knocking Godard fought and finally surrendered upon your suburban walnut-panelled to the painful uncertainties and Pennsylavia Dutch doors. Love to all, contradictions that plagued him as, I and a warning to the Secret Censor: guess, they must plague all those fated you do it this time, and I'll find out 1111111111111.................. to embrace the world as an angel while who you are. That's the other thing ...............I . .IIIII . .ISSIS! that excites me to a murderous aeaxxaaasslll..........ssssaaat seein£ it so clearlv as a whore . frenzied rage. Give up thy place, IIIIIXIxssass ........sssaaaaaat vermin, in the conspiracy of inferior . .IIIIIIXXI!ISSSSSSSSSBBIBBXXXt Thomas Russell teaches Directed minds. Now, before it's too late .

IIIII ••• xxxxxxxaaaaaaaaaaaxxiil Studies at Yale.

IIIII ••• IIllXXXB!ft!II!XXIXIIIIl IIIIXIIIIIIIIIXXXBIIXIXIIXII.Ilr-------------------------------------------------------------.

IIIIIIII •••• IIXIXXlliXXIII ••••• BPXIIIXI ••••• IIIIIXXXII •••••• •• XXIIII •••••••• IIXIIII ••••••••••

...............................

•••••••••••••••• xx~x ••••••••••

•••••••••••••••••·liZ ••••••••••

······························· ·····•···········•· ······•···•·

Myers Myers Flower Shop

46 Whitney Ave., N.H.

624-4179

-]anKie

Surntner Term 1978

I

I, r

Watch for Yale Colle_ge Programs of Study: Available next week in your entryway or II 0 SSS

apea 7 diJI 1 week

134-Z&I&

====~-----=====~====~~~

OUR. FOOD~ SHOP ......

·-

-

IITUIIL & DUIItiC FOlDS 331 lhllliJ Iva. lew lavea, Ct.

ARNOLD'S BOOT SHOP Agents on campus for your favorite footwear...

"Since 1938"

Roots of Canada Boots by Frye - Justin Timberland insulated & waterproof 1052 CHAPEL AT HIGH ST. Opposite Vanderbilt

all flours and peanut butter fresh ground to order information on all aspects of diet and nutntton largest selection of herbs in

New Haven

"magazine and book section

came ill 11d sene Jllnelf fnm 1 mltitlde of '1rrels

15

the new journal, december 6, 1977 ·

~

.

magazine and almost everyone else. ·Dreyfus' wonderful p.erformance His solo recordings on the ECM label reaches its zenith during a sequence in which he runs out of his home in a have been his biggest commercial paroxism of frustration after trying successes in this country. repeatedly and unsuccessfully to Jarrett is a classically-trained pianist decipher this mystifying symbol. with effortless technique and a musical Flinging himself frenziedly into the conception influenced by many darkness he pleads with the sky for sources, from folk songs to Debussy. help.

Even to the uninitiated listener, his These strivings to understand the recordings can be entrancing. Though Shape are representative of Speilberg' s influenced· by the mainstream jazz leitmotif of translation and tradition,) arret is never just a jazz communication. The languages of player, and at time.s he is not even an Math, Music, and Color are as integral improviser. He has many of the to the composition of the film as are pretensions of a' 'serious composer.'' the linguistics of English, Spanish, With a set of conflicting · . ·French, and Indian, all spoken in Close preconceptions, this writer went to Encounters. A charming moment Woolsey Hall on November lOth to see occurs near the conclusion when a and hear Keith Jarrett's American tour bemused scientist, busily engaged in debut. The tour is somewhat unusual blipping sounds and tones to the in that Jarrett is playing with a group, Flying. Object overhead, queries in moreover, an aii-Europeon g,roup English, "What are we saying to each called Belonging. NorwegiansJan other?" The creators of the film might Garbarek, Palle Daniellson, and Jon have dealt more succinctly with this Cristensen accompany the pianist. This universal question. · trio has earned a solid reputation in The production is sumptuous and · Europe, and the combination of these the director is a past master at the musical forces raised some speculation depiction of crowds , landscapes, and before the New Haven concert. In inanimate objects. John Williams' Jarrett's three previous visits to this exciting but excessive background city, he played solo. music thunders into the foreground The presence of Belonging made with inapprorpiate frequency. As the little difference in Jarrete's overall French metaphysicist Lacome, Francois performance, as the pianist's playing Truffaut is, qualifiedly, cute. completely dominated the ensemble.

Douglas Trumbull's encyclopedia Not only did he fill a large part of the of spectacular special effects even concert with extended solo includes a marvellousLY petite U.F.O. introductions and interludes, he that must be the Bionic version of controlled the form and direction of Glinda's bul;>ble, but Spielberg's each piece. Total group interaction, redundant insistence on illustrating essential in this kind of free format, every nuance of meaning with a literal was negligible. It sounded more like visual correlary cripples the film's last three musicians trying to respond to twenty minutes. Visitors from another each other's monologues. planet were portrayed-unnecessarily In his American tour' debut at anyway-as minimally distorted Woolsey, Jarrett also used two humans; I consider such techniques which have become earthnocentricity revolting. standard practices in his concerts of the There is enough stellar material in last few years. The first consists of Close Encounters ofthe Third Kind to hammering one note on the piano for provide a few hours of diversion. As a what seems like hours. When he finally visionary, however, Steven Spielberg is ceased the audience burst into so hopelessly earthbound that he spontaneous applause, reminding me reduces the heavenly image of of the man who kept hitting his head transgalacic communion to that of a against a brick wall because it felt so mere Close Encounter Group. good when he stopped. The second technique involves using different parts of the Steinway for percussion: - EvaS{lks the strings, stool, lid, or anything else within reach. What does it all mean? It must mean something; it sounds terrible.

Jarrett has said that while on stage, he lets his subconscious mind take over Keith Jarrett and tries to block out any conscious thoughts. This means that almost Keith Jarrett is a complex, anything can happen in the long, controversial musical loosely-structured improvisations, and personality. Critics spend pages this approach can produce inspired speculating on his preferences in moments felt by every listener. Too audiences, back-up groups, record companies, and his attitude toward the often, it produces periods of uneven quality and sheer boredom. }\hough contemporary music scene. He is an the Woolsey Hall audience was treated artist whose music can't bs: to a few minutes of intense playing, categorized. And to complete the Jarrett spent twice as much time murky image, he's extremely fooling around, apparently waiting for temperamental and seldom gives his subconscious to make the next interviews. Most critics believe that move.

His concert recordings are Jarrett's career is on the upswing, and selected from hours of live tapes, so the therefore he is more saleable and quality is consistently good. The printworthy than ever. concert-goer doesn't have this luxury In Billboard magazine terminology, of selection, and dissappointing Jarrett has the ability to "cross experiences like the New Haven markets" in record sales. His eclectic concert are too often the result. style appeals to jazz listeners, fans of so-called "fusion" music like Weather Perhaps his subconscious had a bad night, perhaps his concerts need a little Report, all pianists, and even some more conscious direction. Maybe classical buffs. It bums like his JOin Jarrett really doesn't like American Concert solo recording have received audiences.

5-star ratings from Downbeat

&ithJarrett left many questions about the future of his tour unanswered. He will probably remain an enigma, and a particularly frustrating one, especially for his older fans. B1,1t enigma or not, knowing his talent and potential, his New Haven concert can only be called a disappointment.

- jon Prestley

Dutch Treat This is the second in a series of two articles.

As my concorde jet slowly cruised over the houses of Levittown into the black smog of New York, I sat musing whistfully and wishfully about my visit with Hermien. I had promised Hermien, when I left that unspoilt Eden of lush tulips, that I would always come back to see her on St. Nicolaas, our Dutch national holiday.

(December 5). So I packed my duffelbag and bookbag and winged back to liberty, bringing her the paean I wrote in the last issue of this gazette.

She was kind enough to notice, as soon as I walked onto her pasture, the little wrought-iron likeliness of her luscious self that now dangles daily before the deaf-and-dumb eyes of my fellow undergraduates, enticing those poo·r creatures so far removed from her grace. After a fat and comforting hug, which filled my nostrils once again with her earthy scent, she set about chiding me for my clothes. "Where are your wooden shoes?" she mooed, tapping her hoof on my new, but carefully worn, Topsiders. ''Those will never do. And those pants. Really.

They're baggy and drab. And don't think I don't see that nasty alligator leering at me beneath that shirt.

Buttoned down, too." And with two quick nibbles she tore the buttons off, and to show her full disgust at my appearance, she lifted her tail, breaking several strings of my squash racket without even aiming. Blushing, I stammered something about doing as Romans, then offered her her chocolate letter. "At least you dido' t forget that, but you didn't bring me any frozen yogurt,"she said, quickly devouring the chocolate 'H'. (For the uninitiated and untapped: in Holland, we give each other chocolate letters at St. Nicolaas, just to remind each other of who we are, for the letter is the first letter of your first name).

"And here's yours," she said smiling, handing me my 'A'. "And here's your present.'' Decency does not permit me to say what it was, but my heart and parts of my body melted as I kissed her eyes, and tears gently fell on her steaming snout {it was pretty cold).

Just then, St. Nicolaashimself appeared at the uough where we were standing, allowing his white horse to drink with that dreadful equine way that those things do. The Stately Spanish bishop, clad in red and white, his tall hat swaying gently, his miter tapping impatiently on the ground, nodded once at me, then turned to one of his black servants, motioning with his gloved finger to hand him the Great Book. Not finding me in it (I am now a resident of Connecticut}, he had Black Pete give me a few lashes with his bunch of twigs, as is the custom w!th all naughty boys. Just for good measure, he threw some candy around (continued to p.l4)

-

ROSEY'S TAILORS THE WALL ST. CLEANER Est. 1888 90th YEAR WOMEN'S ALTERATIONS A SPECIALTY

Homespun Shoulderbags from Portugal and Afghanistan Copper Curios

by Copral Attache cases & wallets of exclusive design made from Europe's finest leather Local Craftwork Natural Fibers & Peltry

• 2 HOUR DRY CLEANING • DRAPES CLEANED • SUEDE-LEATHER CLEANING

European & Domestic Clothing for men and women

• RE-WEAVING

Aviator Scarves Seven Foot Length

• ALTERING • FUR CLEANING • CHAMOIS ELBOWS • SOFA COVERS CLEANED

Jewelry & Gifts

• REPAIRING

Italian Coral Abalone, Filigree

• BLANKETS CLEANED • ALL TYPES OF COATS RELINED

Rug Hanging Handwoven 100% Wool

Picture Jasper Malachite, Turquoise

• SWEATERS REKNITTED • ALL-TYPE ZIPPER REPLACED

HELLO BOUTIQUE INTERNATIONAL

• RE-WATERPROOFING • COLD STORAGE

82 WALL ST.

562-8338

( opp Silliman)

phone 776-0435 Hrs. 11 - 7 Fri. till 9 Open Sunday 12- S p.m.

82 Whitney Ave. New Haven, Conn.

Next to Clark Dairy

We*re Specialists in our business. No matter the occasion, we have the right item for vou. Whether it be trophies for your little league team or a momento for a retiring member of your office staff, we have it.

If we don't .w e'll make it for you.

for men and women.

Manufacturers & Retailers of: • Sales & Service AwardCi • Emblematic Jewelry """'"- ~"".... • • • • •

A whole line of insulated waterproof boots. many more styles

• Special Order Work

'

available at:

Badges Repair & Restoration Presentation Awards Gavels Watch Repairing

For the best

the earth shoe store

of

impressions see--

59 broadway

PANIKOFE ..

t

·-

..... ~..,

•••

••

.l. ...

f

~

... ....

•

,._ •