4
Tuesday. December 8, 1970
University Daily Kansan
KANSAN comment
LETTERS
A 'Fill-in-the-Blank' Yearbook
To the Editor:
Congratulations must be given Scott Smith, editor of the 1970-71 Jayahawk, and his illustrious staff. I was elated to see all the books he purchased. "book" or "box" I was too poor this year to purchase one and I didn't waste any money on this misuse and miscarement of good taste. If anyone I meet inquires about my alma mater, I will only answer. "traditional" editions to show them, but at least I won't have to explain that the Jayahawk is our symbol (would you believe Moses and the burning bush)? not a woman giving birth from her ear.
The "box" can:
Having discussed this issue with my friends at this university (Woodstock on the Kaw), we wish to stock the following:
1) Impress your colleagues sitting on your library shelf 10 years from now.
2) Hold your crayons and Big Chief tablet until the rest of the "fertilizer" corrs.
3) Decomp. » quickly, saving the environm. » if you choose to "use it" or express your attitude toward it, then your cover is the cover. See: Covering this cover, is.
toward it by some other means.
The cover: Seeing this cover, is this hook the . . .
1) Kaw Valley Hemp Picking guide?
2) Prenatal care for pregnant hippies?
3) Street people's handbook?
4) Yearbook of a 100-year-old university, representing more than 17,000 students?
Inside title: the word "fertilizers" means . . .
1) This book is about agriculture or animal husbandry.
2) They can't print a fourletter word for excrement.
Introduction: "I think I'd call it. '.. book.'"
1) A street person's
1) Your
2)
2) Your
3) Scott Smith's
3) Scott Smith's
4) A spaced-out
6) S. Agnew Coloring
Introduction: This Scott Smith is ...
7) The entire "University" of Kansas Year—
1) Saying he is doing a great job, and will tell us, to prove it.
2) Talking about people he knows who may be many, or just a few.
3) Forgetting some people buy bookbooks because they are "traditional" more than poetic, educational, or able to "better" people's minds, just as his friends forget some people liked the books of the ROTC review, homecoming festivities and the like.
Art Work: (Various pages, especially 39 and 71) the art work represents:
1) Many examples of "good taste."
2) Relevant, coherent deniction of life at KU.
3) A valuable means of recruiting the best freaks and drug addicts, since competition for their services is so great.
4) A collection of visions had while on assorted trips.
5) A vast improvement over "pretty pictures with appropriate quotes by the Beatles, Simon and Garfunkel, Joni Montii."
6) Not so pretty pictures with quotes by Uble B, Joler, Litton and of course Paul Johnson, not "... as surface as Rod McKenna's
7) Something you can't wait to show mom, dad, the kiddies, your clergyman and the boss.
"The prose, poetry and art in this book were selected because they covered a wide spectrum:
poetry."
1) Of Paul Johnson, Litton,
Paul Johnson, John Kley, Litton,
Joler, Litton, Uncle B, Joler,
Litter, Attwood, and
Paul Johnson,
2) Shakespeare, Keats,
Browning, Johnson, Rembrandt,
Johnny Carson, Aristophanes,
Cicerio, De Gaulle, Lincoln,
Dickens, King Jr., Henningway,
e. cunningham,
Franklin, and "Peanuts."
3) Scott Smith can't find a better way to market a Litton-Joler-Attweet, Johnson-Uncle B antholoy.
4) And a 50 per cent vote of the student body.
5) And were seldom found on a restroom wall, and thus were rejected by the Oread Daily.
Some people will like this yearbook very much, and we must agree with them to a degree. Our critique is slightly different, for find much to praise in this edition, in fact a whole three or four pages. For example, the back cover has nothing we find distasteful. We must credit Smith and Co. for their valiant criticism, like this critique, it may have been too severe and one-sided.
"University" has been placed in quotes because we want to state our major goal: We want the earbuds on our ears, and we want the university," meaning "universal." This. "University" has people in it like "engineers"
who are so literary they don't even know who Paul Johnson is; and “chemists” who believe “acid” is not always the poor man's "74". There are even chemists former format, thinking tradition still had merit. Some people bought yearbooks thinking they were getting "old-fashioned" yearbooks, not poetry anthologies. It is a shame we can't place these "yearbooks" on our bookshelves because we decide what kind of "book" or "box" they want to own.
Stan Demster
Shawnee fifth-year
Engineering student
Some people even get angry when every form of tradition is destroyed in the name of "blasphemy" or a "splash of change."
Book Reviews
A little more than 10 years ago, Evan S. Connell Jr. published *Revenge of the Reverend*. Several years after that his MR. BRIDGE appeared. Now the two are available in paperback form and are revealing portraits of an American famer born in Kansas City. He is a former bishop in Kansas and attended, among other schools, the University of Kan-
Yearbook: Creative Effort
Here are several new volumes in paperback that treat contemporary problems, three of which are published almost already long-time best sellers.
not appear in photographs of the football games nor in the various organizations of the school, but they are here and they are part of the University. This presence is the reason for their appearance in the Jayhawk. True, 20 or 30 years hence they have graduated from high school to finger and the words "I used to date him," or "She was in my Math 2c class," but at some future a former KU student may be able to sit down and actually read this particular section of the yearbook. On the other hand, perhaps hiss it up that you can simply as an adjunct to their old Carpus Directory and University Events Calendar.
I must take issue with Ted Iliff on his review of the 1971 Jayhawk Yearbook, for he has made the mistake of reviewing and criticizing an author's book, and has probably compromised one-seventh. Because of the form of the yearbook—a series of magazine-type supplements—lifted not, of course, review the book in its entirety. In this case, he should, I promise, give his comments to the book in question.
To the Editor:
Konft Stu,
Shawnee Mission senior
and Business Manager,
1971 Jiahawk Yearbook
Ignoring considerations of whether this year's book is approaching literary and historical disaster, Lliff is correct in his judgment that the first edition is not a book theory. That is, it is not a "periodical cataloging of events and persons on the history of art" but one of remaining issues of the jahyawker. With full knowledge of this fact, one may then ask the purpose of the first edition.
It may come as a surprise to many attending this institution devoted to the absorption of the thoughts of others, but there does exist a small cabal of creative people at KU. These people, or more exactly, the thoughts and efforts of these people are the fabric of the first edition. They do
If such is the case, one may ignore the first section of the Jayhawk, but I would prefer to feel that the students of KU would like to possess not only a total representation of their subject matter, but also be called a "book"—more than a mechanical assemblage of names and their respective faces.
Ron Stitt.
Rachel Carson's SILENT SPRING (Premier, 95 cents), with an introduction by Paul Ehrlich, which it does not need. It is a powerful example of the monumental volumes of our time. It is the book that first focused so much attention on insecticides and other chemicals that were polluting the environment and upsetting the balance of nature.
Vance Packard's THE NAKED SOCIETY (Pocket, 95 cents) and THE SEXUAL WILDERNESS (Pocket, 95 cents) expose of the way our lives have been invaded by governmental, educational and business smooping, the second a detailed, social revolution, the first a sexual revolution in our society.
Barbara Flandri Bentziger THE PRISON OF MY MIND (Pocket, 75 cents), a personal account of mental illness, taken from a book published in 1946 kept while undergoing treatment and suffering mental depression.
Two under the heading of "Problems in American Schools" DRUGS (Washington Square, 72 cents each). These are original volumes, edited by Gerald R. Miller and published as used texts in urban problem
When Dave Awbrey suggested that the Student Senate abuon the Student Code because it served as a justification for oppression rather than justice, many of us felt he acted a bit hurriedly. I must now admit that I was naive.
BvGUSDIZEREGA
RAPPING LEFT Student Code Unfair To Students
Since the code's inception, only students have been punished under its provisions, although the University Judiciary ruled that a faculty member who violated a law in connection with his decency—was above the law. Now, even the chancellor and the judiciary have been implicated in a wholesale denial of justice by the university.
Conn O'Leary of the Jock Liberation Day Committee filed charges against the Athletic Board alleging the board's violation of the Student Code by denying permission for the committee's proposed "Jog-In," in response to a court order that ordered athletes not to wear the Student Code is quite explicit in statina in Article I A bank.
At the hearing, Oldfather, representing the Athletic Board, contended that the charges be "summarily dismissed" for the following reasons:
The code was clearly breached when Charles Oldfather, chairman of the Athletic Board, called O'Leary to refuse permission for the game.
"Orderly picketing and other forms of peaceful process are protected activities on the University premises in the absence of interference with free passage through areas where members of the University community have a right to be."
Article 10 of the Code also states in full: "University facilities shall be assigned to student organizations for regular business meetings, social functions, and for programs open to the public. Reasonable conditions may be imposed to regulate the timeliness of requests, to determine the appropriateness of the space assigned, time of use and to insure proper maintenance of the facilities. Subject to the same limitations, the University facilities should be made available for students in the university community, even though not formally organized; but preference may be given if programs designed for audiences consisting primarily of members of the University community."
1) The Athletic Board acted only in an advisory capacity to the chancellor over the issue of the "jog-in." We must ask why it was
"The Code was clearly breached when Charles Oldfather, Chairman of the Athletic Board, called O'Leary to refuse permission for the "Jog-In" to be held."
Oldfather and not the chancellor who informed O'Leary that the "jog-in" could not be held. If any administration action is the Chancellor's responsibility (which Oldfather implicates), then the code can be broken only by the chancellor, who is above it.
With one hand Chalmers promises to uphold the code, with the other he makes its enforcement against the administration impossible. As students vis-a-vis the administration, the only redress we have is . . . but let's not go into that.
2. Oldfather states, "The Athletic Board voted not to approve the request, substantially on the ground of inappropriateness, as to which reference is here made to the full text of Article 13 of the Student Code of Conduct and is based upon the account. The Athletic Board committee never met to discuss the issue. Members were polled by phone and the Jock Liberation Day never got a chance to testify. Worse, some members were never polled, for example the student body president, Bill Ebert. Article 13 is included to make it up your own mind. Oldfather doesn't deal with Article 17a."
3) Oldfather continued: "Having been informed of the vote of the Athletic Board, having received no pofer of security, and observing no steps having been taken to cooperate with campus security forces, we should have been told not to fight wrong. Both the question of security and the cooperation with the police were settled, as members of the University Events Committee will testify. Perhaps Oldfather didn't know this, because his panel was not so well-versed in the question to deal with the problem, Oldfather, however, also claims to be speaking for the chancellor on "statements of fact," which we must presure include these supposed "facts." Perhaps Chalmers, too, was too indifferent to the question of Oldfather, not Chalmers, denied the request until it was taken up.
The Athletic Board's position is untenable unless Chalmers did make the decision to deny the "Joe-In." If he did, he grossly violated the very code he agreed to sign. The athletics affirms the very code he agreed to sign (1) misused everyone involved in the decision into thinking he had delegated his authority on the issue—thus a avoiding flair aimed in his direction and 2) is a party to false testimony to the judiciary. It seems good "larry" has some
The testimony quoted above was presented in writing by Oldfather in a letter dated November 3, to philosopher professor Richard Cole, professor
if philosophy and chairman of the hearing division of the is
of philosophy and chairman of the hearing division of the judiciary. Interestingly enough, as late as Dec. 4, O'Leary was asked Cole to write a letter to him concerning the case because Cole said he needed written testimony to wrap up the case. Cole claimed that Oldfather had failed to give him the letter. He continued to deny having received the letter until O'Leary and Oldfather agreed with it, with the fact that the letter had been written in early November.
Like Silly Putty, Cole, when confronted, changed shape. Now he was waiting for Cole to come back. He needed to wait in Charlmsons so that he could write his opinion. It is therefore enlightening to repeat the last sentence of Oldfathers' letter: "Finally, I am authorized to say that the Chancellor affirms the
In short, Cole has either knowingly withheld evidence or has had a lapse of judgment. In either event he is scantily fit to serve on a
Section 11 of the "Regulations of the University Senate: University Judiciary" states in full: "Each party to a proceeding shall have the
"...unless Chalmers did make the decision to deny the "Jog-In". If he did, he grossly violated the very Code he agreed to sign . . ."
right to examine, in person or by representative, in advance of the hearing, all documentary and tangible evidence that the other party intends to offer in the hearing; provided that the University Judiciary has accepted such evidence as appropriate of the exercise of this right when necessary to protect the evidence.
For almost a month, Cole denied the existence of vital testimony that is extremely significant for two reasons: Cole ruled in favor of what he said, thereby emasculating the code and, if we might speculate, wouldn't she be able to circumvent it during final week that their code was screwed? They'd have been too easy to do anything about it, eh what? Also, O'Lery is leaving KU at the end the first semester to go to California and won't be around to harass other afterwards, which Cole knows. If the case wasn't that the evidence was gone . . . but then, again, maybe Cole had a lapse of judgment.
We can only conclude that the KU Judiciary is more an arm of the administration than a genuine instrument of justice. The only purpose the KU Judiciary has is to maintain and unruly students and not faculty and administration members who are above the law. And we can't grip, because we wrote the code ourselves.
To participate within such a system borders on Pollyanna-like insanity.
1) That SenEx immediately remove Cole from the University
Judiciary and any office of trust.
2) That the University Senate investigate the conduct of the university, and that the investigating committee counts 60 per student.
(3) That Chancellor Chalmers' and the Athletic Board be censured by the University Senate for presenting false evidence at the hearing.
(4) The Athletic Board be reorganized with 50 per cent student membership, including KU athletes. My God, we pay for the damn thing.
5) That the Student Senate amicably abolish the Student Code
Letters policy
Letters to the editor should be typewritten, double-spaced and should not exceed 500 words. All letters are sub-encoded in a standard indentation cording to space limitation and the editor's judgment. Students must provide their name, year in school and home town; faculty and staff must provide their names; students must provide their name and address.
KANSAN reviews
Van Cliburn's Piano Artistry Enthralls Concert Audience
By STEVE SHERMAN Kansan Reviewer
Van Ciburn, one of the foremost pianists of our time, shared part of his soul with an enraptured audience in a concert with the Kansas City Philharmonic Dec. 1.
The highlight of the orchestra's portion of the program was Haydn's "Surprise Symphony." The band played in a dazzling manner Haydn placed grand chorus for the full orchestra in several places during the quiet and delicate second movement in order to awaken ladies and gentlemen (who court who went to sleep during his performance).
The concert, which featured Overture to "The Ruler of the Spirits" by Weber, "Prelude and Bacchanale from Tannhauser" by Wagner; the "Surprise Symphony" ("Symphony No. 94 in G) by Piano Concerto No. 5 in E-Flat Major; by Beethoven; the highlight of this Flat Major's Philharmonic activity.
Beginning with Weber and concluding with Wagner, the orchestra provided an admirable prelude in the first half of the program to the appearance of Cilburn in the latter half.
In the symphony, the delicate and gentle themes of Haydn are delightfully evident. The Philharmonic under the baton of Hans Schwieger invests the melodies with a great amount of expertise.
However delightful, the Weber, Haydn and Wagner combination was a mild fare beside the Beethoven as interpreted by Cliburn. If all complimentary adjectives were assembled, one in each position would be described as a facet of Cliburn's performance. The sum of their praise would not be an extravagance.
From the moment that his hands caused the first ripping on the keyboard until the vibrations from the final note had perished in the vast auditorium, the drummer covered over the concert with an air of quiet dignity.
The Beethoven concerto that provided the music for Cliburn's air is the "Empire" his air of dignity as majesty Cliburn's performance certainly paralleled the magnificence of the piece in all
Pursing his lips slightly and closing his eyes, he began to play. The sounds that resulted were so controlled, so reserved, so soft and yet somehow so hard, so hard that they seemed to impart a bit of electricity to the air.
During the evening he did not relinquish his rigid control over even one note. Rather, he shaped and accented each detail with more care and expertise than a great painter might lend to a masterpiece.
The first movement allowed Cliburn to demonstrate his interpretive abilities. As the notes flowed out into the auditorium in a gentle cascade, they were perfectly placed, perfectly timed and perfectly accented. Cliburn's ability to perform in this manner clearly demonstrated the difference that can be made between two movements. In contrast, the third movement allowed the artist to show off the power and flambancy of his style.
However, it was not power, flamboyance or control that made his performance so successful. It cannot be described as a genius. It cannot be described as it can only be described as greatest compliment that could be given to Cliburn, who has received so much acclaim is not that we have the best of manners but that we empathized with him as an artist.
Buffalo Bill a Confused Hero
By MELISSA BERG KINGSEY BROOKS
Kansan Reviewer
When most Americans think or the Old West, visions of gun-toting folk heroes such as Buffalo Bill and Annie Oakley spring to mind.
"The cowboys are the good
guys and the Indians are the bad guys," said William Kuhke, who plays Buffalo Bill in Arthur Capit's "Indians."
However, viewers of the up-
coming University Theatre
production will find these roles
reversed. In the play, Kopit
Kuhlke as Buffalo Bill
exposes the greed and ambition of the white man which led to the downfall of the Indian nations.
Kuhike, associate professor of speech and drama, said that the villains out of any specific character in the play. But he said that he has not been able to order "to study the motives behind American's actions in the last 100 years and the essence of heroism and glory."
The play is a commentary on all folk heroes, past and present, he said. "Buffalo Bill represents the archetypal American with his disarming charm, energy and passion of glory and romanticism."
"Buffalo Bill, like a lot of Americans doesn't really know how to play the game, only by playing the identity assigned to him." Kuhle said. "He's confused as to what is the realness and wherein lies greatness."
Bill, on the one hand is a tremendously attractive guinea pig who can help into what his company of the moment wants him to be and becomes quite the hero in the popp and glory of the Wild West Show. However, he also resorts to thinking he will triumph, leaving dead buffalo behind, which leads to the destruction of the Indians," he wrote.
To background himself for the role. Kuhlke has done extensive
Buffalo Bill had a naive assumption that he could conquer nature and leave his mark, but a book in the name of ignorance of the fact that acts have consequences. Kuhke said. To background himself for the
In discussing the difficulties of the role, Khukhe said he must be careful not to use vowels and not worry if the script doesn't completely coexide with the font.
research. His preparation has included reading Buffalo Bill's autobiography, biography and the book *Researching the concept of manifest destiny and studying programs and protests of Wild Turkey*.
Kuhike has had to brush up on the finer points of horsemanship
"Kopit found it necessary to
carry the book of Buffalo Bill's character for the play," he said. "However it is clear from the autobiography of Buffalo Bill that he pushed to make friends and a preoccupation with what is
too. His role requires some degree of skill in handling a fake white horse.
THE UNIVERSITY DAILY KANSAN
Kuhike, a member of the KU student, acting commercial horseman Horner William. Wycherley's "Country Girl" and Edward Edmond Rosland's "Cyrano de Bergerac" and the father in law are also worked with the Centron company, educational and industrial film.
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