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Thursday, September 27, 1973
University Daily Kansan
'Superstar' Shows
By DIANE YEAMANS
Kenneth Raviere Editor
Jesus Christ, while on the cross, said, "My God, My God, why hast thou forsaken me?" The rock opera "Jesus Christ Superstar" made into a movie by Norman Jewison, tries to explain Christ's reason for these words.
The interpretation is valid and is one many people have been looking for in recent years.
Judas, played beautifully by Carl Anderson, summed the theme when he sang "Strip the myth from the man, you will soon see where we'll be."
The very humanness of Christ may be the reason he knew so well how to heal men's souls. He knew what men needed to give them strength. Perhaps the goddess, said
in other reviews to be missing in "Jesus"
and not play as large a role as history has assigned.
THE CHRIST in "Superstar" has become tired and disillusioned with the path God set for him. It's been too demanding for him, and he has seen more truth than he can
He understands human nature to the point that he can see no hope of changing it. Judas tells Christ that people who are hungry and need money are worth more than his hands and feel on his knees. He was rubbed in tears when he met with the idea that there will always be poor people.
Some people might complain that the rock opera isn't a faithful reproduction of the love Christ taught man. It's not supposed to be. More evilness and hatred is shown,
Jesus Doubted Self, God's Plan
which is a more accurate reflection of mankind.
Moreover, the movie is artistic. The acting, singing, dancing, choreography and music are intricately linked.
CARL ANDERSON plays Judas with a skill movie patrons seldom see. He doesn't just sing, he also acts with all the greatness of art. He's Academy Award material.
Ted Neeley plays Christ. He is a small man that could easily show the tensions and frustrations Christ felt. His singing fluxuates from quiet, serene tones to anguished, screeching tones of the grandest rock style.
Mary Magdalene, played by Yvonne Elliman, becomes a very striking, beautiful woman. No one will be able to complain without the addition of 'I Don't Know How to Love Him.'
BY FAR the fumiest of the movie is when Jesus is presented to Herod. The incident is portrayed farcically with painted and sequestered men and women, Herod's bulging stomach hangs over his white shorts and jiggles like Jello as he dances.
The finishing touch of the movie may be the choreography. Rob Iscove has used dance to punctuate the themes presented in the script. The crowd parades into town on what has become known as Palm Sunday, singing "Hosanna" and waving the palm舞 to make up the scene even more exciting than one might generally expect.
OF COURSE, excellent direction pulls the movie together. Jewison, who has also worked at Paramount, knows what works.
Gally," filmed "Jesus Christ Superstar" in the Temple. The set is among the ancient ruins, the Last Supper is a picnic in the Garden of Gethsemane, Roman soldiers wear violet T-shirts and carry machine guns, five tanks represent the Roman army come over the hill to chase the frustrated Judas and Christ prays to God as
his climbs around the rocky mountainside. Jebswid an owlcher's job of pulling a rope across the mountain
The film production of "Jesus Christ Superstar" makes Christ seem more like one of us. This makes Christ's sacrifice of Jesus so compelling that we would do the same for our fellow men.
K. U. EXPERIMENTAL THEATRE Presents:
3 Original One-Acts
864-3982 Sept. 26-30
Flack's Songs, Style Is "Killing Us Softly"
By CAREY GROOM Kansan Reviewer
You heard she sang a good song, you heard she had a style and so you could to see her, to listen for awhile at a concert here in September 1972.
Many of the songs Roberta Flack sang then are on her latest album, "Killing Me Softly with His Song." It's hard for University of Kansas students to describe the absolute joy they feel when listening to his album and remembering the concert.
THE SONG that had us standing for a ten minute ovation in Hoch Auditorium, "No Tears (in the End)" is on the album. Regardless of what kind of mood you're in, the song will cheer you up. It's happy, heavy soul.
The Flack version of Leonard Cohen's "Suzanne" is also on the album. Formerly artists have described the song as one about a heroin addict. The Jesus movement has always adored "Suzanne" because of its verse about Jesus. Flack changed the meaning woman in his music and told her that she was a song about a very vain and selfish woman. Apparently, Flack was interpreting only the last line, "While Suzanne holds the mirror."
IN "SUZANNE," Flack uses a tambourine to muffle the piano strains, and invention she discovered accidentally at a university in New York. D.C., where she was first discovered.
FLACK IS A BALK CHAMP who is truly beautiful for white people to see. She makes
the listener understand through almost every song what it means to be a black woman. She doesn't need to be a speaker for black people, she is their artist. Every white person should listen carefully to what she is singing.
"River" is a funky song. In a dispainting television special last summer, Flack sang this song with a background of several black artists doing "The Robot," a dance invented on a TV show, "Soul Train." You listen to a song like this, you can't sit still.
ONE OF THE FIRST times Flack ever sang, "Jesse" was when she was at KU. You'll remember this song well if you went to the concert.
"TME 'THE GIRL' and "Conversation Love" are songs for a quieter, pensive mood. Here one can't help noticing what a perfect voice Flack has.
The album is a collection of songs that are sung with all the energy that any woman could ever hope to imitate. This is a black cover of "Love's Black Section of Arlington, Va." This is a woman who came to Kansas City, Mo., last Thanksgiving and gave a benefit concert for the Niles Home for Children when she auditioned at Auditorium was practically empty.
Some of us had the honor to meet Flack when she came to KU. We know she is the right person to be singing such beautiful songs.
Pornography Is Subject Of Eastern College Class
Newsday
By MIKE MCGRADY
NEW YORK—The first obligation of any teacher, the primary responsibility, is to capture the student's attention. Everything else comes second.
Michael C. Luckman, 31, teaching at the New School for Social Research in Manhattan, N.Y., has solved this problem for the coming term. In fact, barring the presence of a police raid, he seems almost certain to have the undivided attention of his class.
Moreover, the class should be as large as it is attentive. Registrars at the New School have seldom seen such enthusiasm for any academic discipline. In fact, there is some concern as to whether the 550 seats in the school's main auditorium will be sufficient.
Luckman, you see, is teaching history's first x-rated college course. Course number 25 in the current New School catalog is officially listed as "Pornography Unleashed" or "Exposed." But it is already named "the Pron Course" to most of the students here.
The prospectus reveals a series of panel discussions on the subject and, in addition, there will be some remarkable classroom demonstrations. The very first class of the year, for example, will feature the Kumquats, "The World's First Erotic Puppet Show." Later classes will introduce members of the pornographic line, bullets demonstrations, a topless cellist named Charlotte Moorman and the world's first erotic fashion show. Luckman anticipates no attendance problems at all.
"I consider myself a shock therapist of sorts," Luckman said recently. "My feeling is that people are being exposed to this sort of thing all the time and the educational institution is the right place to do it. When I was going to school, the big complaint was that so many of our classes were irrelevant. This one deals with the here and now."
So far there has been no criticism from the New School administration and a quiet favorable reaction from students who have read the prospectus.
Accept no Substitutes.
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