10
Wednesday, September 20, 1972
University Daily Kansan
Waters' Pure Blues
By JOE ZANATTA
Lyon Business Editi
Today's rock music did not just spring up out of the minds of its performers. It's roots go deep into many fields, among them—
Muddy Waters was playing the blues long before bands such as Cream, Led Zeppe and John Cain, but with young audiences. Waters is performing nightly this week at the Red Baron and it's a performance that shouldn't go unnoticed among blue and rock music fans.
Waters' brand of blues is untouched by rock music. It's a pure strain of blues that has been made by black musicians for decades.
The show is opened by Waters' backup band. The band's purpose is to warm up the crowd before the arrival of the show's star
DURING THE BAND the 45-minute set there's a chance for the members to show off their instruments, and the group's crowd-pleaser, as he sits behind the keyboard smoking a cigar and pounding out rhythms. It's a delight to watch musicians perform both ease and musical skill.
Louis Meyes and James Madison play lead on the faster rythm and blues numbers and Meyes leading on the slow
An interesting point of the group is George Buford, who plays harmonica in the band. His blues sounds blend with blues sound, featuring both
background and solo work by Buford.
STAYING IN the background are Kevin Jones, bass, and Willy Smith, drums, though neither instrument is enough to music that they drive its band.
After the band complete its job of getting the crowd in an accepting mood. Muddy Waters is called "The Guitarist" under his under control.
The most interesting guitar work done by Waters is on slide guitar, an instrument slowly gaining popularity in pop music.
AMONG THE more recognizable songs played by Waters are "Hoochie Kochie Man," "Sail On" and "Rock Me, Baby." These songs that have been adapted for use by rock
But basically the blues are more a feeling than a type of music. It's this feeling that conveys the Muddy Waters Show is both an enjoyable evening of music and an interesting performance that should please both blues and rock music fans.
Poet Ciardi: His Art 'An Act of Language'
BY DAVID HEALY
Kansan Staff Writer
The 28th Humanities Lecture, taught by the poet, a program by the poet and critic, John Ciarald. His topic, "The Act of Language," concerned the ways in which human beings communicate.
Clerard began by saying that it was not necessary for the poet to be beautiful, but that beauty was necessary for the poem.
A definition of poetry, he said,
would stop any conversation about poetry. Instead of a definition, he gave his perception of poetry.
"A poem is an act of language, like the Pieta is an act of marble, painting is an act of paint on the body" is an act of the body. *Gardi* said.
The belief that the differences made between science fiction and mainstream fiction should be bridged has caused both sale and criticism. *James Gunn*, lecturer in English, and journalism and writer.
KU Author Finds Problems With Fiction Classification
By LYNNE MALM
Kansan Staff Writer
Selling a story classified as science fiction outside of the science fiction magazine and anthology market is difficult. First, it's not even Playboy caters to a specialized science fiction audience, he said.
"I submitted a story once to the editor of a women's magazine, who had expressed an interest in her work," said Danielle rejected "The Technological
Revolution' saying that she wasn't sure if the story was science fiction."
"The Reluctant Witch," a story from Gunn's "The Witching Hour," is romantic science fiction rather than distinctly science fiction. It's a story about plans. Plans for a movie of this story are being completed now.
FINANCING, casting and
creating movies, he says. Doug Curtis of Hollywood, who will be the director of the film, is negotiating
Specialists in the field of Asian studies at the University of Kansas recently received a plea from a local body demanding work working in the Soviet Union.
G. Cameron Hurst, assistant
administrator of the Asian
Institute, last week received
a copy of a letter appealing
to him about his deportation,
a Russian Sinologist.
He compared poetry to music.
He said that poetry has as full a power of expression as poetry, every line comes to rest against a piece of white space that is indiscriminate. Good punctuation. Good structure and words to be punched.
WHEN RUBIN, who specializes in Chou Dynasty Philosophy, announced his intent to emigrate from the United States, he forced to resign his position at the Institute in Moscow. In the meantime, he had to wait while the new head of the institute was pending. The chief of propaganda department of the regional committee of the National Museum of History he return to the Institute. Rubin refused and two days later he received formal notification that his return was denied. The official reason given for refusing was that he is
Rubin had until recently been a senior research worker at the University of St. Petersburg, U.S.S.R. Academy of Sciences, in Moscow. He had decided earlier this year to emigrate to Israel, and was embarked exit by the Soviet government.
Curtis *Kansas City* production company will be used for location shooting, Gunn said. The story takes place in summer in the Ozarks and the Ozarks and centers on a vacationing professor.
Profs to Intercede For Jew in Russia
Shiffrin in his letter posed two questions: Does this mean that he has been worried about the China front that they cannot spare the services of a scholar who specializes in English for foreign students? or Do they think that a man student, Confucian and Legalist, has secrets, and that the interests of national security would be jeopardized if he leaves the university.
In response to the letter sent by Schiffrin, Hurst and Daniel Bays, assistant professor of history, will send a cablegram urging that Rubin be allowed to emigrate to Israel. The cablegram will be sent to U.S.S.R. Academy of Sciences in Moscow.
"an important China specialist."
By PATTY JOHNSON Kansan Staff Writer
"A few lines may need to be
added." In addition, the sappathal leave to accommodate the changing color of the trees is production begins this fall," I said.
an importation he knew very little about the incident but that it was not rare. He said that Rubin should be supported in his desire to succeed.
HURST RECEIVED the appeal in a copy of a letter from Harold Pike, President of Association for Asian studies. Schiffrin had originally sent the letter to Frank Shulman of the University of Chicago, then sent the letter to Hurst. Both Hurst and Shulman are editors for Asian studies journals in the
THE ABC VERSION focused on one continuing character who was immortal, played by Christopher George. Gunn said.
primarily an action-adventure series.
The plots were limited to the fact that he was blinded through his eyes, Gunn said. While the premise of immortality may be considered science fiction it is not a myth, it exists.
"The more difficult contract is the more satisfying," he said. "The only way to achieve action of a poem, the final action, was dependent upon what had happened."
In "The immortals," Gum was concerned with the social immunity of the monarchy, immortality, which was the science fiction aspect of the story. The book was written from the perspective of those who were pursued the immortal.
The story was originally written in 1865, Gunn said. Harrison expressed an interest in Science Fiction convention in Berkeley California. Publication in Harrison's "Nova One" collection of stories was missed when Harrison asked Gunn to revise the story. End surnum sent him six weeks ending from which to choose.
Cardi said that poetry was a form of performance "of words and not of what was being said. He used his poem in a Wiccap, "in a weepy," example.
"The Old Folks," a Gunn story included in Harrison's *Riverside fiction* stories, was a sales problem because of its lack of a literary classification. Gunn said that the editors' rejection notices from different editors. Many of the editors noted the rejection as the classification in the rejection slip.
"THE OLD FOLKS' was an attempt to bridge classifications, as is most of my writing," Gunn said.
When a poet uses certain subjects or poetic devices such as alliteration, he said, the poet should use it. Poets in the rest of the poem used it in the rest of the poem.
"T.S. Eliot had Queen Elizabeth say, 'In my beginning was my end.' All poems say this, 'he said.'
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"Everything in a poem is a thematic possibility, and one never knows which irrelevance will return out to be fruitful," he said.
Harrison decided on the original ending with the first kiss. The story was sold, but publication was delayed for more than two months. No one compiled.
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As an example, he quoted Chekhov's adage, "If you bring a cannon on stage, fire it."
Gunn first published a story when he was 25-years-old.
Ciardi used Henry Reed's
Gardi said the introduction of a cannon in the first act could lead to its use many times later. He also added that the postoffice by hiding messages in the barrel and indicating the exploiteness of their situation. Gardi suggested the barrel for a slippery slide as a metaphor on youth and death.
"Naming of Parts" to describe the use of repetition in turning a flat statement into one with philosophical meaning.
Clardi said that a term or phrase which fulfilled the contract did not need to be true.
842-9479
"Any lie will do if it reaches the truth," he said.
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The Hall Laboratory for Mammalian Genetics, an education to Snow Hall in 1959, honors Nancy Dudley Hall. She was a member of Joyce Hall, whose contribution made construction possible.
would answer. "Water should know is what to learn," Cardi concluded his lecture with several of his poems for children. He said he writes them in the margins of his book. The poems illustrated how an act of language was constructed.
Those interested should contact the Student Senate Office, 105B Student Union, 864-3710, and leave their name address and phone number.
The first skill a writer should know is what to leave out, be good.
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