6
Wednesday. October 14. 1970
University Daily Kansan
Sketchy Accounting Of Women's Revolt Weakens New Book
By JULIE SMITH
Kansas Staff Writer
Jill Ellis has entitled her new book, "The Revolt of the Second Sex," most appropriately. It is a very revolting book.
The book professes to be "the *book* of the full length people on today's women's swinging life styles." It is supported by the people and organizations involved in the women's liberation movement today. It
The first chapter is a humblest and early women's rights movement. It was destandable that Miss Ellis began this period before she begins her account of the present day movement. A long in-depth study of this period is fortunately the sketchiness of the first chapter persists at a higher level.
The National Organization of Women's Rights has issued a new women's liberation organization in the book that is covered even halfway decent. Miss Ellis says this group is the only one that is working on this issue and provides information about the various equal rights case the group has filed against her. The group provides no documentation for her material, and this tends to delay her report about the group.
Her study of the other women's groups is pathetic. Ellis points out from the start that these groups are "honey for females," and usually no dues, and no membership records." This may be true but that is no excuse for her failure to account of them. She stereotyped leaders to a point of utter frustration to the reader. She simply does not have enough knowledge of the groups to write a book.
Miss Ellis' style is worse than her stereotypes. Repetition is a technique that, when used correctly, produces nothing. However, there must be a purpose other than lack of anything better to say. Her use of this technique is quite irritating. She was the leader as "Abby Rockeeller" (Daddy is David Rockeeller of the Chase Manhattan bank) four different times throughout the book and is irritating enough the first time.
The most frustrating thing about "The Revovit of the Second Empire" is that it has been treated in the movement who does not know much about the current leaders, and leaders in society wish to pursue the subject any further. They took the book seriously. They would be completely turned off.
Dwarf Crushed Anywhere By Pliers With Electrician
Kansan Reviewer
How do you critique total insanity?
By TED ILIFF
The Firesign Theater, a group of four multi-voiced, creative actors have produced three books by the late Jeananne the traditional party records.
These records take on every segment of society in a clever, at times hilarious way.
The records are quite deceiving, and unlike regular humor records, they start out slow and grow on you as you learn them over and over again. But their substance is, I really can't tell.
The first record, "Waiting for the Electrician or Somone Like Him," takes a devastating swipe at
The Third effort, "Don't Crush That Dwarf, Hand Me the Piliers," defies any description.
derground stations in the area
Honestly, the content of the records is a little shy. In fact, if you can give a detailed explanation of the third record, I'll be forever in your mind.
I know of nine persons who have the "Dwarf" album almost memorized, and they still don't know what's going on.
The beauty of these records lies in their multitude of humorous gimmicks, such as puns, voice gags and audio slapstick.
you can listen to the records repeatedly, and every time you will catch something new you hadn't heard or understood
the American treatment of the Indians in a surrealely lively story. The side is loosely connected nonsense based on the adventures
The next record, "How Can Vince Give You a Band?" comes when You're Not Any Place. All," sports a first side of random centering on the used car purchaser. The flip side is the story called "The Continuing Story." The Continuing Story this bit may be betteranger it has been played on several un-
before. Some of the voice characitations and one-liners will start to creep into your mind, but you can learn with a friend who also knows the record, you can be at the most boring party and still entertain yourselves with appropriate remembers from the albums.
If you get one of the albums, be patient. They all start slowly, but if you stick with them their true quality emerges as you listen.
KANSAN reviews
The Firesign Theater humor is unique, refreshing, and well worth giving a try. If you don't
Janet Baker, mezzo-soprano,
opened the 1970-71 University
Concert Course series with a very
elegant evening in evening
in University Theatre.
Accompanied by John Newmark at the piano, Miss Baker gave us a little bit of everything in the way of com-
munities and nationalities, but not enough in particular to bore us.
Variety Highlights Soprano's Recital
Rv JAMES RARNES
Entering the hall with a firm hand, she smiles and recalls are an instant cure for insomnia. I was most pleasantly surprised that only one of them is a fine singer, but also a very fine musician. She possesses a most fascinating voice. The first time she utterance to the stout earthiness that is required of all good mezzo-soprano.
She gave us a very musical presentation, and we sang a braving song that made most coloraturas sound as if they were struggling for their last chance.
Her voice was well controlled and her singing seemed so soothing. She almost struck me as being rather unimpressive. But that stigma
Miss Baker opened the recital with three songs by composers of her generation, and this one, I was most impressed with the "Lord, What Is Man" by Herbert Sattler in recitative lyrics, the accompaniment to the vocal line even more expressive, harmonic progressions and with the immaculate taste that Purcell used in never covering the voice texturally or rhythmically.
Then came a set of five songs by Bakey chubert, in which Miss Baker bakes cookies masterfully. The most impressive of these was the "Schwere wergestruer," very romantic and sweet. Newmark performed so well that it was a shame that the audience's applause broke the mood.
Miss Baker also performed four songs by Beethoven. I was particularly interested in writing of Beethoven in these works, especially the "Ich Liebe Dich," a change from the first powerful style of the great master.
In the next series of songs, she "attacked" the French, as all touring recitalists do, and I will often with them than with any of the other composers whose works she sang. Her voice is well suited for the French style, since it is very bold and boisterous as are most mezzo-
Of this set of songs the most charming was the "Chanson D'Amour" by Gabriel Bafure, which seemed to slide by with so
much ease, that there wasn't even time to try to get any deep aesthetic meaning out of it. Or should we?
Miss Baker closed her recital with two folk songs, that, although she knew she was not ready, were hampered by typically lousy English accompaniments that could best be compared to a monkey's performance when the morning after a party.
Then Miss Baker rather isappointed me. She ended with
a tour de force aria from one of Rossini's lesser known operas. To end such a musical recital on the whole, Rossini added the entire mood of the recital, although Miss Baker sang the song as well as Rossini played in the composer; Rossini best being described as having composed opera alia John Philip
time between composers in order to prevent the recurrent from turet to saumur. The saumur穿 through musical history, which it best would interest a
Nevertheless, it was a very well programmed recital, in which the performer jumped in
If I missed Janet Baker, I missed one of the finest mezzos in the world, and it will be a long time before we at KU will have access to hear such a wondrous, perfectly contoured voice again.
know which one to buy, get the "Dwarf" album. It's by far their best.
If you think you might buy more than one, buy the second album first, just to get with the group, then buy the third.
STICK IT IN YOUR EAR!
But I highly recommend at a store in our collection. It's a guaranteed laddie for bigs, bigots, voyeurs, cynics, sties and anyone whose
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