IN: Robert Maynard Hutchins (also Maynard Hutchins) (January 17, 1899 - May 14, 1977), was an American educational philosopher, dean of Yale Law School (1927-1929), and president (1929-1945) and chancellor (1945-1951) of the University of Chicago. He was the husband of novelist Maude Hutchins. Although his father and grandfather were both Presbyterian ministers, Hutchins became one of the most influential members of the school of secular perennialism.

In 1929, he moved to Chicago, Illinois to become President of the University of Chicago at the age of 30, becoming the youngest president of a university in the country. Over the next several years, Hutchins came to question Legal Realism, which he had previously championed, and grew skeptical of the ability of empirical research in the social sciences to solve social problems, especially in the face of the Great Depression. Particularly through contact with Mortimer Adler, he became convinced that the solution to the philosophical problems facing the university lay in Aristotelianism and Thomism. In the late 1930s, Hutchins attempted to reform the curriculum of the University of Chicago along Aristotelian-Thomist lines, only to have the faculty reject his proposed reforms three times. Hutchins served as President of the University of Chicago until 1945, and as the University's Chancellor until 1951. During his Chancellorship, he recruited a commission to inquire into the proper function of the media. By 1947, the Hutchins Commission issued their report on the "social responsibility" of the press. Hutchins was notable as a defender of academic freedom. When the University was accused of fostering communism in 1935 (by Charles Rudolph Walgreen, who claimed his niece had been indoctrinated with communist ideas whilst studying there) and again in 1949, Hutchins defended the right of the University's faculty to teach as they wished, arguing that the best way to defeat communism was through open debate and scrutiny, rather than suppression. "Hutchins stood behind his faculty and their right to teach and believe as they wished, insisting that communism could not withstand the scrutiny of public analysis and debate." Hutchins was able to implement his ideas regarding a two-year, generalist bachelors during his tenure at Chicago, and subsequently had designated those studying in depth in a field as masters students. He moreover pulled Chicago out of the Big Ten Conference and eliminated the school's football program, which he saw as a campus distraction. Hutchins heaped scorn upon schools which received more press coverage for their sports teams than for their educational programs, and the trustees provided the support he needed to drop football in 1939. The decision was hailed by many, and Hutchins today serves as a model for those who argue that commercialized college sports are incompatible with the academic and intellectual aims of institutions of higher learning. He also worked to eliminate fraternities and religious organizations for the same reason. While he exhibited great fervor for his curricular project and numerous notable alumni were produced during the period, nevertheless, the business community as well as donors became highly skeptical of the value of the program, and eventually were able to have the four-year, traditional A.B. and S.B. reinstated (and in time, football). The College's financial clout, which had been considerable prior to his tenure, underwent a serious downgrading with decreased collegiate enrollment and a drying up of donations from the school's principal Chicago area benefactors. As such, his critics view him as a dangerous idealist who pushed the school out of the national limelight and temporarily thwarted its possible expansion, while his supporters argue that it was his changes that kept Chicago intellectually unique and from taking on the vocational inclinations that he denigrated in his writings.

Why did he move to Chicago?

OUT: to become President of the University of Chicago

IN: Fairport Convention are a British folk rock band. Formed in 1967, they are widely regarded as a key group in the English folk rock movement. Their seminal album Liege & Lief is considered to have launched the British folk rock movement, which provided a distinctively English identity to rock music and helped awaken much wider interest in traditional music in general. The band have drawn heavily on the Child Ballads, songs of the British Isles from the later medieval period until the 19th century.

The new band began a hectic schedule of performing in Britain and the World and prepared material for a new album. The result was the all-instrumental Expletive Delighted! (1986). This showcased the virtuosity of Sanders and Allcock, but perhaps inevitably was not popular with all fans. This was followed by the recording In Real Time: Live '87 which managed to capture the energy and power of the new Fairport on stage, despite the fact that it was recorded in the studio with audience reactions dubbed on. In this period the band were playing to larger and larger audiences, both on tour and at Cropredy, and it was very productive in terms of recording. Fairport had the considerable composing and arranging skills of Allcock and, to fill the gap created by a lack of a songwriter in the band, they turned to some of the most talented available in the contemporary folk scene. The results were Red & Gold (1989) The Five Seasons (1990) and Jewel in the Crown (1995), the last of which was judged 'their bestselling and undoubtedly finest album in years.' At this point, with Mattacks busy with other projects, the band shifted to an acoustic format for touring and released the unplugged Old, New, Borrow Blue as 'Fairport Acoustic Convention' in 1996. For a while the four-piece acoustic line-up ran in parallel with the electric format. When Allcock left the band, he was replaced by Chris Leslie on vocals, mandolin and fiddle, who formerly worked with Swarbrick in Whippersnapper, and had a one-off stint with the band replacing Ric Sanders for 1992 Cropredy Festival. This meant that for the first time since reforming, the band had a recognized songwriter who contributed significantly to the band's output on the next album Who Knows Where the Time Goes (1997), particularly the rousing 'John Gaudie'. By the time of the 1997 thirty-year anniversary Festival at Cropredy, the new Fairport had been in existence for over a decade and contributed a significant chapter to the history of the band.

what is the most interesting part of the article, to you?

OUT:
the band shifted to an acoustic format for touring and released the unplugged Old, New, Borrow Blue as 'Fairport Acoustic Convention' in 1996.