University of Maine - Prism Yearbook (Orono, ME)

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economic downturn hit the college population as heavily as this one.” SOCIAL LIFE For on-campus students, probably one o( the most significant gains of the year came within their dormitories. Parietal hours were extended at the beginning of the spring semester from the pre- vious two hour weekly limit. The new policy allowed visiting hours to be held from noon to midnight on weekdays and noon to 1 a.m. on weekends. The new policy was enacted after, though not as a direct result of, a violation of the old policy in November. Eightv-six male students in Stodder Hall ran through the women's side of the dormi- tory as a demonstration against the conservatism of the parietal policy. In early December, the dis- ciplinary office issued a warning to the students. No other punishment was given. Before this incident it was generally thought that the initiation of co-ed dorms on campus was itself quite a step for UMO. By spring 1971 (here were three dorms providing male-female hous- ing-Estabrook. Stodder and Chadbourne. At the end of the 1970-71 academic year, stu- dents felt satisfied with the progress made in parietal reform. But many called this progress only a first step toward enactment of a 24-hour, seven-day a week policy. MUSIC The concert series at UMO during 1970-71 was in tune (or out depending on your ear) with all the previous concert scries at UMO. The “big name” groups rarely make it to Orono when they are big. They sometimes come on their way up. more often on their way down. The ICC makes the excuses: the big names are expensive, UMO students do not pay a concert fee. Maine does not have ade- quate facilities, it’s a bad location (apparently Bangor is the cut-off point for big groups since Husson, Colby and UMPG have better luck ac- quiring talent.) But if Maine misses the most popular bands and singers, it does get a wide and often inter- esting variety of the not-so-well knowns. The series started with Mountain—very loud and top rock. Then came Homecoming Weekend and an altogether improbable mixture of sounds: Manhatten Transfer with their 1950’s remem- brances from grade school, and John Sebastian, whose easy voice and guitar drifted over the crowd like some other kind of smoke. There was also traditional folk music in 1970-71 from the Scotsfolk, and Maine folk music, tradi- tional and not. from Gordon Bok, and even the concert scene of Elizabeth I from the New York Pro Musica. Non-musically. Winter Carnival was a good weekend, the Proposition and Jean Sheperd were funny. But the weak end was Jaime Brocken: he wasn’t on the way up or down but on the bottom. Paul Butterfield decided not to show and students spent the next few weeks sifting rumors con- cerning when and if he would show. Butterfield did show, a month late. But in the meantime The Paul Winter Consort came with music spanning four centuries and sounds to bridge all gaps. By general acclaim, it was good. To further round out the musical selection of the year, there was The New Boston Percussion Ensemble in April. But by then everyone was awaiting Bill Cosby. He came, accompanied by the New Christy Minstrels who surprised everyone by giving out some enjoyable music in spite of the spotless white boots and cowboy shirts. But everyone was there for Cosby, and in two consecutive shows he disappointed no one. Said one coed, still giggling on her way out after the show, “It was good to hear so much laughter.” And it was a good note to end the year on. 10

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