Page 2
Maroon and Gold
Thursday, May 7, 1970
Editorials
Student-Aides
By A1 Zink
It has often been quoted that a man is best judged by
his peers, but the validity of this statement can be
questioned when it is applied to student-aides. Sev
eral of the departments at this College employ stu
dent - aides to teach laboratories.
It is an unwritten duty of a professor to grade his
or her students as impartially as possible, and
because of this duty the professor must maintain a
well defined student - professor relationship. Any
deviation from this relationship throws a shadow of
doubt and suspicion on both the student and professor.
Naturally this does not exclude a good “Working
relationship” which often enhances interest in a parti
cular subject or course. But because of the necessity
of this sort of alienation, how is it possible for one
student to objectively grade his peer? And how Is it
possible for one student to objectively grade his
peer? And how is it possible for the student - aide to
objectively teach his best friend, roommate, or girl
friend? What about the student- aide who realizes
his influence and does favors for favors in return?
These many problems will occur in the future if they
have not already occurred.
The honor system at Elon College works very well
for those who are willing to respect it and should in
most instances eliminate the need for a discussion of
this sort, but let’s be realistic, it doesn’t always
work. So why put either the student of the professor
in such a position to be doubted? It seems most
logical to eliminate this problem by continuing the
student - aide’s job, but removing responsibility
of grading. Student - aides can very often better relate
to students problems, and it would be a grave mistake
to eliminate the student-alde completely; he serves
an important function. But for the sake of the stu
dent, student-alde, and the professor, allow the pro
fessor to be the judge of all student grades.
Today’s Pop-Rock
Splits
By Phil Larrabee
In recent years there
has been a trend toward
individualism. This trend
is evident in contempor
ary pop music. Recently
there have been many mu
sicians, whom we have
associated with popular
rock groups, thathave left
their group to strike out
on their own in the music
world. John Sebastian and
Paul McCartney are but
two examples of this trend
toward individualism in
pop music.
Both Sebastian 3nd Mc
Cartney split from their
groups, namely the Lovin’
Spoonful and the Beatles,
when it seemed as the fu
ture of the group and
that person’s position in
the group were secure.
It seems to me that both
of these artists wanted
something from their
music that the group
couldn’t provide, name
ly an outlet for their mus
ical individuality. Of
course, this was not the
only reason they left their
respective group. It is
known that Paul McCart
ney, for example, was not
getting along at all with
John Lennon, and that
John Sebastian had dif
ferences of opinion with
certain members of the
Lovin’ Spoonful. But a
quest for an individual
musical expression could
have been at the root of
these disagreements.
Recently, both of the
above mentioned artists
received a chance to ex
press this individuality by
releasing albums under
their own name. In the
opinion of this writer ,
Letter
to the
Editor
A Review
both artists did express
individuality extremely
well and with a great deal
of originality.
The first of these two
albums to be released was
recorded over a year and
a half ago by John Se
bastian but was not im
mediately released due to
a contract hassle between
MGM and Reprise. The
album is currently out un
der both labels and is
titled simply “John B.
Sebastian.”
In the album, Sebastian
wrote all of the music and
lyrics and sings and plays
all of the leads. He is
backed up mostly by
Crosby, Stills, Nash, and
Young. The songs are
mostly about himself and
deliver a mixed message.
For example, in “My
Darling Children,” he re
fers to all children as his
and benevolently states,
“I wish I had presents
for each of your smiles.”
In “The Room Nobody
Lives In,” he complete
ly befriends and human
izes an empty room in
such a way as to evoke
great sympathy from the
listener.
Not many days after the
Sebastian album was re
leased, Paul McCartney
released his first album,
entitled “McCartney.”
This is a completely in
dividual work. Not only
did Paul McCartney write
all the music and lyrics,
but he also sings all leads,
plays all instruments, in
cluding lead guitar, rhy
thm guitar, bass, piano,
organ, and drums. This
was done, of course, by
means of sound-on-sound
recording. He also pro-
To the Editor:
As some students and
faculty members will re
call, I recently challenged
the data being used by a
distinguished scholar who
was appearing on our
campus. The information
which I knew to be in
accurate concerned the
relative audit efforts put
forth by the U.S. General
Accounting Office (GAO)
toward the defense and
poverty programs. By
letter of April 28, 1970,
the GAO has now provid
ed the correct informa
tion on their audit pro
grams. Following is a
display of the differen
ces;
Number of Auditors As
signed to
Defense Programs 7
As reported by the schol
ar
Office of Economic Op
portunity Programs..260
..As reported by the
scholar
Defense Programs..1,575
...actual data from GOA
Office of Economic Op
portunity Programs...
40 actual data from
GAO.
My purpose is not to
detract from the basic
message of a distinguish
ed and stimulating schol
ar or to continue discus
sion of the scholar’s the
sis. I simply am hoping
to encourage students to
see this as an example of
how data can become
distorted, and to be skep
tical of all data until
verified.
Allen Sanders
Assoc. Prof. of
Bus. Admin.
Letters
Letters to the Editor
i should be sent to box
|3118. Letters are edit
ed for spelling, gram
fiar, libel, and length.
i|Lcttcrs must be signed.
‘Hamlet’ Viewed A Success
Rv
Miss Becky Jon Hayward
duced the album and de
signed the cover. The al
bum was released by a
recording company, Ap
ple, which he partially
owns.
Almost all of the lyrical
cuts on the album are
about his current family
life and in particular a-
bout his wife, Linda. All
of the cuts, including the
Instrumental, seem to re
flect a contented author,
(Continued on page 4)
i Maroon I
&
I Gold I
;Published weekly by the:;:
I'students of Elon College S
Photographer:Raymond S
> Bailey $
ijCartoonist: Mikei;:
■; MuldoonS
|:Co-editors: Larry Sage
•: A1 ZinkS
Advisor: Miss Marilyn S
;i'; Spencer.
The Elon Players’ pro
duction of HAMLET, di
rected by Ed Pilklngton,
confirmed by theory that
Shakespeare is frequent
ly better on the stage
in the book. With sets and
lighting designed by Dice
Wyllie and costumes de
signed by Sara Draper,
the production took a per
haps overly familiar work
and made of it a fresh and
sparkling dramatic ex
perience.
Dale Kaufman in the
starring role displayed
astrounding ener^. His
interpretation of Hamlet
was perhaps unique, one
which emphasized the
method rather than the
madness. Mr. Kaufman’s
portrayal subordinated
the traditional psycholog
ical elements of melan
choly and hesitation, em
phasizing rather those
qualities which highlight
the ironic aspects of the
drama. Particularly no
ticeable in this respect
was his fresh interpre
tation of Hamlet’s
“great” speeches:^^ the
soliloquies and the “What
a piece of work is man”
speech demonstrated his
originality.
Perhaps the only flaw
in this impressive per
form ance appeared in the
rapid shift from melan
choly to madness early in
the play. The problem
here, however, is pos
sibly more properly at
tributable to the play it
self than to Mr. Kauf
man’s performance. In
general, his original in
terpretation was one
which must significant
ly broaden one’s percep
tion of the character and
the play.
As audience response
implied, Jim Gillespie’s
performance of Polonius
was a show stealer. His
gesture, cadence, tonal
variation, and timing
were superb. His beau
tiful acting made Polonius
what he is, a bumbling,
officious, and thoroughly
captivating old fool.
Other impressive per
formances were offered
by Sandy Moffett as King
Claudius and by Bill Sha
ver as Laertes. Mr. Mof
fett’s Claudius, though
perhaps at times in
sufficiently sinister,was
LITTLE MAN
particularly moving in the
confessional scene, in his
confrontation with Ham
let prior to the latter’s
departure for England
and in his machinations
with Laertes concerning
their plot against Hamlet
The performance by Biii
Shaver conveyed just the
proper balance between
youthful impetuosity and
tender sensitivity; and
his performance was cli-
maxed in the brilliant
acting of the duel with
Hamlet which ends the
play.
The major femalecha-
racters, Sara Draper as
Ophelia and Stevie Cow-
den as Gertrude, were
most effective in their re
spective crisis scenes.
Miss Draper conveyed
Ophelia’s madness in a
tender and convincing
manner. Miss Cowdenas
Hamlet’s mother contri
buted greatly, in her bed
room confrontation with
her desperate son, to one
of the highlights of ten
sion in the entire drama.
Another effective per
formance, this time in a
minor role, was offered
by Cathy Albair as the
Player Queen.
Two other minor per
formances deserve spe
cial mention. Randy Spen
cer as Marcellus was
both forceful and sensi
tive. Clay Buckner as ±e
gravedigger achieved
that perfect balance be
tween insight and iodiocy
requisite to the effective
portrayal of Shake
speare’s minor comic
characters.
The highest accolades
in this impressive per
formance must, however,
be reserved for Ed Pil-
kington, the director. One
element, a result of sen
sitive direction, which
contributed major aes
thetic unity to the play
was the careful spacing
of characters. Thus the
audience was offered a
series of character
groupings which, empha
sized by the striking con
trasts between richly
colored costumes and an
essentially bare stage,
achieved a tableau effect
that stressed the various
important unities and di
visions among charact
ers and consequently in
theme.
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