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University Daily Kansan
Monday, March 8, 1965
Rock Chalk
Here's to Rock Chalk 1965! That loveable, laughable, satirical parody on life within these hallowed ivv-covered walls.
My first vote goes to the films shown between acts. Poking good-natured, but often biting fun at the life of a lowly frosh, and jibing at the super-sophisticated way the state legislature lets our "higher-ups" know how they rate moneywise. What made these films the success that they were—as the audience reaction demonstrated—was the familiarity every member of the audience had with the subjects dealt with.
IT WAS JUST PLAIN FUN TO SEE the "powers that be" in Strong Hall participate in the campus spoof. The traffic control booths, some of our run-down architecture, and our "fence-sitters"—each an integral part of campus life—drew their share of the barbs.
It is true that the films had the advantages of having the whole campus for scenery, but with casts numbering less than forty and expenses far less than the organization skits, the films were by far the most popular attractions of the evening.
These films dealt with those subjects which every KU student knows about and has probably griped about at some time or other.
THE IN-BETWEEN-ACTS PRIZES, LE., "free speech" buildings and ground crew, also dealt with subjects which had universal campus appeal—the result was appreciation on the part of the audience.
My second vote goes to Hoite Caston, producer of the 1965 Rock Chalk Revue. Bringing to this year's revue much theatrical experience and new ideas, Caston is to be credited with a production which looked more professional, ran more smoothly, and had new innovations.
The dancing and costuming of this year's Rock Chalk certainly made the skits and the in-between-acts stand out from what they have been in the past. Only additional practice time could result in this and Caston was at least partly responsible for this. It was also evident that the skids had been polished and re-vamped from performance to performance.
MY THIRD VOTE GOES TO THE ALPHA Phi-Alpha Kappa Lambda skit—and not just because they won the prize. The skit "The Spouse
that Roared" symbolized best what Rock Chalk should be.
Their good-natured jibes at the Airwick Social Climbers (alias ASC), Castle Rights Committee (better known as the CRC) and the Improving Body Measurements machine (IBM) brought laughter and applause from an approving audience. The key was that everyone was familiar with the subjects being satirized.
They also satirized the 8th wonder of the world as Chancellor Wescoe's signing the Human Right's Bill, and the Unbelievable Daily Kingdom (alas, UDK)—once again relying on recent campus events and common campus institutions for their subject matter.
THE OTHER SKITS HAD GOOD LINES. They also showed the tremendous amount of work that must go into a production like Rock Chalk, but none of the other skits made as good use of campus events to base satire—consequently the audience could not always follow exactly what the joke was. For instance—how many people know that a famous oil company has home offices in Bartlesville, Okla.—(the underprivileged people in Bartlesville referred to in the Kappa Alpha Theta-Kappa Sigma skit).
The Sigma Chi's tried to put over the "Hallelujah Chorus" again this year with a different skit and different words . . . fortunately something like that only goes over once.
The joke about the Indians who sell cokes at football games got as much appreciation as it deserved — not much, especially being borrowed from senior cheerleaders at the 1964 Senior Day.
EACH SKIT HAD ITS HIGH POINTS AND its bloppers, and all had some good lines and some bad ones.
Since 1950 when the idea for Rock Chalk originated the theme has been campus satire—and since 1950 the university has grown and changed to meet the needs of added enrollment. Fortunately or unfortunately the changes have resulted in more institutions (if the traffic control booths or the library checkers can be called institutions). And these institutions can be turned into more material for satire in the Rock Chalk Revue.
But back to this year—my final votes goes to the Rock Chalk Revue . . . institution and an event.
—Bobbetta Bartelt
Music Unions
KU living groups decided last week to hire only unionized bands for their social events. The decision came as a result of a "request" by the secretary of Local 512 of the American Federation of Musicians.
The "request" actually informed the living groups that if they did not hire only union bands, they would be placed on the "unfair list." This means that living groups would be unable to obtain a union band. The union members in the Lawrence area consist of ten bands.
It is unfortunate and unfair that KU living groups would have to comply with such demands, just so they can get bands for their parties. The prices demanded by the union bands are often somewhat high and many living groups simply cannot afford them. Where do they get their bands? Few organized houses can afford to spend $150 just for a band. But unless they want to be labeled UNFAIR (the italics were used in the union's letter) they have to hire only union bands,
An interesting and very valid point was made in the discussion of college students working their way through school by playing in a band. Unless they pay $44 for the first year and $14 for each year after that, they cannot play for living groups' parties. It would seem obvious that if they are working their way through college, they cannot afford to pay union dues.
I DO NOT UNDERSTAND why KU living groups had to submit to pressure from an organized minority in order for them to obtain bands for their parties. Their adopted policy makes it impossible for student non-union bands to be able to make any money playing for student parties.
It is unfortunate that labor has become so organized that people in need of money and with a desire to enter the musical field cannot because they cannot afford it. It seems a vicious circle.
— Leta Roth
The People Say
I PRESUME FROM THE TONE of Linda Ellis' editorial, "Discrimination," that she is not a Negro.
To the Editor:
The outstanding feature of her editorial was that it exhibited an ignorance most unbecoming to one entrusted with editorial responsibilities. In saving, "We should not be so zealous about minority rights as to forget the rights of others," she is using one of the oldest—and weakest—arguments against progress in race relations. She is blithely ignoring certain infringements upon basic rights of certain people for hundreds of years, abuses which continue, scarcely abated, today. She is ignoring the
basic fact that legislation on race relations provides legal recourse for those who have been discriminated against on the basis of race, religion, or national origin. NOT on the basis of individual qualifications. (This fact was grossly misrepresented in her parable.) She is ignoring the fact that civil rights legislation carefully protects people against just such abuses as she fears, namely unfounded claims of racial discrimination brought against them.
May Miss Ellis' ignorance become informed, may her midwestern viewpoint be enlarged, and may her bad editorial be forgiven.
To the Student Bodv:
Carol Borg
Manhattan senior
THE REGISTRAR'S OFFICE have been working on a plan to create a system of pre-enrollment at our University. The All Student Council heartily appreciates their work and, with the Registrar's Office, would appreciate any suggestions with regard to ideas or practices that should be incorporated into this program. Please do feel free to inform the Registrar's Office of any suggestions that you might have on this matter.
Thank you.
Michael Miner Lawrence senior Chairman of the All Student Council
Johnny Moonbeam
Throughout the year the University Theatre entertains audiences from the Lawrence area and KU with light, serious and avant-garde productions, but once each semester, the theatre devotes a presentation to children.
Although the plays presented in the Children's Theatre Series deal with themes and stories appealing to the age group from five to 12, the productions are no less serious from the dramatic and technical aspects...if anything they are more difficult.
Last Thursday, Friday and Saturday afternoons, the Children's Theatre presented its second production this year, "Johnny Moon-beam and the Silver Arrow."
THE AUDIENCE WAS NOISY, RESTLESS AND EXPECTANT. But quieted when the house lights dimmed and the narrator, clad in "Davy Crockett" garb with only an umbrella replacing the nusket, strode down the main aisle. Sitting in a pool of silver light, he unwound the tale of daring and excitement about a young Indian boy, Johnny Moonbeam and his quest for the Silver Arrow.
Burt Eikleberry, who portrayed the narrator, kept excellent contact with his junior audience by drawing them into the action many times. "Wouldn't you . . ." and "We'll have to . . ." were some of the phrases that caught and held the attention of the children.
The story was an old one, one which some of the children were probably familiar with, but the players brought to life the dances and the customs of Indian-lore.
THE MEDICINE-MAN (FRANK COX), ANGRY-LOOKING in his bison-headdress, did intricate Indian dances as he told Johnny (Steve Grossman) of the feats he must perform to win the Silver Arrow. Johnny had to steal the pouch of rain that hung from the neck of the Rain God; he had to take the fire from the neck of the Sun God; and finally, Johnny had to steal the maize that swung from the neck of the Earth God. And when he had captured all these, he had to return with them to his village.
Tension mounted and the audience grew quieter as Johnny had his first encounter with the vicious Rain God (Connie Bohannon). The costuming of the god was colorful—as were the costumes of all the gods — and the face mask made the god seem even more ferocious.
From the audience came cries "Watch out, Johnny," or "Be careful," as the hateful god would sneak up behind the unsuspecting warrior.
Encounters such as these carried the action through the meeting and eventual over-powering of each of the adversaries. Finally Johnny had the rain, the fire and the earth all in his possession and was ready to start back to his camp to collect his Silver Arrow.
ALL THE TIME THE NARRATOR HAS KEPT the audience informed as to exactly what Johnny is doing.
This educational function became more evident through the play as Johnny, on his return to his village with his booty, was accosted by three beggars—one thirsty, one cold, and one starving. After meditation Johnny released the rain, fire and water to each, and returned to his village empty-handed.
Through the encounters with the gods, much can be learned about the dance and dress and beliefs of the Indians. So the theatre turned into an educational as well as an entertaining medium.
At first, empty hands meant failure, but the moral becomes obvious as the wise medicine man unveils the three beggars as the Rain God, the Fire God (Pat Melody) and the Earth God (Kay Habenstein), each in possession of his element.
ALTHOUGH HE DIDN'T RETURN TO THE VILLAGE with his prizes, Johnny demonstrated the virtue of unselfishness in his giving, and consequently he wins the Silver Arrow.
The play was short, and with all the action, the players held the attention of the younger audience very well. The bright costumes and fast-moving dances combined with the action of the play and the constant narration held the viewers in rapt attention.
The production ended as the actors walked out into the audience greeting and shaking hands with the wide-eyed youngsters.
Dailii'Ifänsan
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