8
Monday, June 4, 1979
Summer Session Kansan
Kuby...
Kuby said he chose the location to display the banner in accordance with guidelines in Articles 8 and 17 of the Code of Student Rights, Responsibilities and Conduct.
From page one
He was held briefly in jail and released after a $500 bail was posted later that night.
A STUDENT, according to these articles, may not cause a disruption or obstruction of University activities. The code also provides for freedom of peaceful protest, if proclaimed before or obstructed dream, by members of the University community have a right to be.
But Thomas said the banner violated a Kansas Board of Regent rule that prohibits a display of political advertisements in enclosed areas of the campus devoted
"Even though there is no lid on the stadium, it was still considered an enclosed area," Thomas said. The decision to remove the wasser was not based on its content.
primarily to instruction, or in other enclosed areas during non-political events.
BUT KUBY contends that the banner was not political advertising.
Thomas said that banners should be checked with the commencement committee before installation.
He said the University had consistently defined "political" in the Board of Regents' regulations as "electionering," or political engagement for public offices and issues on a ballot.
A member of the commencement committee, Downer Dykes, professor of design.
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said banners must be approved by the commencement committee before the
However, Kuhy said, "If I had displayed a banner that said 'will you love my Archie Dykes,' I don't think I would have been arrested, arrested and dragged out of the stadium.
Chancellor Dykes said Saturday that he and Mike Davis, University General Counsel, would not comment on the incident at graduation until Kubya's complaint was made.
"I AM holding the Chancellor personally responsible for the incident. I don't know whether his involvement was direct or indirect, but his antipathy toward freedom of speech has contaminated the atmosphere of the University."
Kuby's complaint is being typed and will be sent by registered mail this week to those charged, according to J. Hammond McNish, adjunct professor of business and chairman
Chancellor Dykes said, "We do not now know the nature of the charges, but if the University police made a mistake then, of course, we'll make corrections."
CHANCELLOR DYKES he found it difficult to believe that free speech was interference with the distribution of pamphlets handed to graduates as they processed toward the stadium. The pamphlets also protested KU investments in
The issue, Chancellor Dykes said, would be decided when it was determined whether the code prohibiting political advertising was correctly interpreted by the campus police.
Davis will determine the definition of political advertising, the chancellor said.
The Whitenight's
"Good legal opinion must come from the University's counsel," he said. "His vested interest is in getting a deal."
But Kuby said that Davis had a conflict of interest because he would be representing the University at the same time he determined the definition of political advertising.
After meeting with the chancellor next week, SenEx will give its opinion on whether a rule was violated, according to Gerhard Zuthrin, SenEx president.
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VISA'
Lots of metaphor here for a late-night night rom. Romero catches the crux of America: the good guys don't save Mankind, but to protect their Sony Trinitron. In one gorgeous scene, they are savagely assailed by bikers bargaining through the carriage barrier to collect *thirst* share. Flesh tears and guts rip but the audience watches in moral confusion, wondering what separates the bikers from heroes or the corporations from the corpses.
Technically excellent, fast-paced and in living color, it is a movie worth seeing, if not for the graus and gore, and then for its reenlarged social value.
Lark Filmmakers
that phrase into two movies; this sequel to Night of the Living Dead reportedly grossed more in its first week than either The Deer Hunter or The Chinese Syndrome.
"The dead" are groping cadavers hunger for live human flesh and intestines. They can't starve back to death because they can only die their brains have been busted from their bodies, so Romero designed a most graphic decapitation and intestine-pulling war fought on a most deceptive battlefield on a Manhattan shopping mail near Pittsburgh.
F
TWO VOICES
At the end of the world, signaled by the closing of the television networks, our move's four heroes run for their lives aboard a stolen civil defense chopper. Sanctuary is a bricked-in shopping center, anybody's novice in shopping. The novices invites it. The mall is rife with stereo, fancy clothes, microwave ovens and Saleway food to burn. After nearly losing her life to a Krishna corpse, the female protegist begins a race-saving pregnancy soon march to the battlefield, plaza level, in front of Petunia, popping off muzak.
I was considerable difference of opinion over the merits and demasures of Voices. The editor edit is cranky when people bleed all use her, as here in this book, because we are present opposing views on the same film.
**times** is pathof the most dastardly sort; the film manipulates emotions with such casual disregard for truth that the more basic rules of logic and common decency fail quickly by a series of events.
The story derives from the unreused love of older brother Drew Rothman (Michael O'Keane) for dancer and deaf teacher Rachel McCarthy. The singer would-be singer who drives the delivery truck for his father's cleaning shop; she deaf, and so vulnerable looking it’s a wonder she doesn’t just blow away in a strong breeze. The singer, and anyway, her mother thinks he’s a burn
VOICES, starring Michael O'Keefe, Amy strong
Bercer, wrote, by John Herrelin, direct
by Derek Hearn.
The plot needs something to keep Drew from getting to Rosemarie's dance audition on time so, presti! His gambler father is suddenly pursued by Chicago-style gambles who are going to break both his legs, the guy who owns the house, the fire to collect insurance, and Drew must run to the shop to put out the fire, while poor deare Rosemarie—who never really wanted to be a dancer anyway—is humiliated. At which point a foot-stained Drew shows up, and in the best Rocky tradition, the dance mansor to turn the volume up real high and turn the camera on as soon as we get around Rosemarie dances like Nureyev without an ounce of effort.
Ampersand
And if this hasn't led most of the audience straight to their Kleenexes, the final scene.
with Drew singing to Rosemarie in sign lan guauge, could make a status weep. In the end, though, **loices** leaves us with nothing, just a sour feel. Great pieces of pathhes — like the Heart is a Lonely Hunter and *Coming Home* — at least take us on an interest-building journey through our final catalysis. **loices** only makes one thankful that the main character isn't blind, too.
This movie has the considerable charm and appeal of Michael O'Kean, last seen in *Slap Shot* and on television's *The Rookies*, and Amy Irving, who wiedo blycraw crazy in the Pursy. together they create that elusive quality of being a kid with sparks generated in the good old days by Henry Fonda and Margaret Sullivan or Robert Walker and Judy Gurald. The story is hackneyed, but a fresh approach to a conventional happy-ending love story is almost impossible. In this variation we have Owen Terry, a child who joins Joel still looking for his voice, and Irving as a teacher of dead children who is overprotected by her concerned mother. Ontkean is out to find a princess in New Jersey, and Irving needs a prince who can waken her from her long sleep. Newcomer director Bob Markowitz has a nice feel for urban romances, and he also finds a kind and dreamy setting with the same kind of finesse as *On the Waterfront*.
The key to any successful movie love story is the degree to which we care about the two protagonists. If we respond to the lovers, the movie is just about home free.
Merrill Schindler
What doesn't work in *haines* — and almost drowns it completely — is a last-quarter rush to the Rocky finish. It isn't enough for Irving to be a great teacher; no, she has to have a linen cinematic goal—she wants to be a movie star and a director of *Burning Paint*. We are subjected to a ridiculous sequence in which Irving auditions for a third-rate dance company by feeling the music through the vibrations beneath her feet. Irving could reach those kids, say no to her mother and take a chance on a new man; he would probably do so, and it means a good deal more than some soapy nonsense about dancing that comes out of nowhere. Equally maudlin is the ending which has Onkean singing (and making deaf-language signs) with Burton Cummings' dubbed voice. It was just embarrassing. In the end, the singer on the charm and appeal of Onkean and Irving. There is a great deal in *haines* that rings true.
Jacoba Atlas
Kansas City, and Jesse James, Wyatt Earp and Ion Pendergast, the political rascal who ran this city for close to thirty years, a town where in the Thirties it was estimated that 250 nightclubs were open within a twelve-square-block area, leading to plenty of work opportunities. The early band leaders Benie Mointe (who gave Count Bass his first important job). Walter Page (later Bass's basister), and Bashe himself highlight this section. In New York, we read of the founding of Harlem, of its white and black zazars, of the legendary night life and culture of Philadelphia with profiles on Duke Ellington and Firehall Henderson included.
(Continued from page 14)
From the Thirties we head to the Sixties with Michael Budd's 'jazz in the Sixties' (University of Iowa Press, $8.95), a volume short on pages (85 plus appendices) but long on topics such as the early Sixties jazz. Budd goes on to give his impression of the important developments in the jazzworld during that decade. Only new and innovative movements and directions are given serious attention; pait styles and the artists who maintained them are discarded.
InPrint
A lengthy chapter is devoted to "new colors" and the African, Brazilian and Indian instruments that lent those shadings. A good chunk is included on electronic instrument music, with some exceptions. Advances in melody and harmony are noted with musical sketches and an exploration of Miles Davis' introduction of modal, or one key, jazzy. There also a look at the hows and whys of composition in the Sixties, using the jazz Quartet and Charles Mingus as examples.
If readers would like help in playing jazz, then **Jazz Impronization** by Trent Kynaston and Robert Ricci (Prenice Hall, $15.95) could be of service. It is an 8 x 11 format that allows the player to bind the binding have helped keep the book open) and contains many examples of the fundamentals one needs to know to be able to solo. Major, minor, diminished, modal whole tone and blues scales are explained and all necessary chords are included.
The book pulls no punches. The authors say jazz playing is no easy matter, but hard
June, 1979
work and attention to details can pull the student through. This book, supplemented by some of the rhythm section records that are available today (many excellent discs are published by Jamey Aebersold, 1211-D Aebersold Dr., New Albany, N 17150), should get the prospective player definitely headed in the right direction.
Zan Stewart
"In the city of the Oleksia fruit," writes Norman Dubie, an often astonished, somewhat Frontian, 14-year-old American post-war poet, who is the author and with the power of the sometimes painful sensual ammunition carried by the commonplace. "A citizen never dies, he just wakes One morning without his legs, and he is given/A City of his very own making a
Cold, Sweet, Blue Pears
The idea that the poet makes a deal, that he must barter something for the right to reinvent the world "In this way his existence narrows," the verse continues. "While exile is an insult, it is also an empowerment themes that runs through itself The City of the Olehra Fruit (Doublebedy, $6.95). Among the other themes is the related notion that an observer is sometimes more nearly the architect of the scene observed than are the people who participate in it. The complexities and especially, "The Ambassador Diaries of Jean de Bosschere and Edgar Poe").
The "Olesha" in the poem, and the volume's curious title is the Russian author Yuri Olesha (1899-1960), also known as Yuri Oliosha. The "Olesha fruit," at their first meaning in any case, are blue pears, but "Olesha" means city (That is being constructed all of the time)
"—a reference, apparently, to an image of Olesha's. The Russian, in fact, loved describing color—mostly simple, splendidly unambiguous color.
Dubie's poetry is, among other things, strikingly sensual: we see his colors, we smell, we sense heatily. His strange worlds never seem quite real. "You drop a pencil ... It falls stiff like a drunk, like a drunk falling onto a whorl;" "a brain of a whale? That is steaming like a newborn call ...") but because they seem so beautiful, we couldn't wouldn't have thought of them ourselves.
Colman Andrews