8
Monday, June 4,1979
Summer Session Kansan
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.
He was held briefly in jail and released after a 500 ball was posted later that night.
Kuby...
From page one
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 the protest does not interfere or obstruct University activity. 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 banner 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.
He said the University had consistently defined "political" in the Board of Regents' regulations as "electionearning," or political engagement for public offices and issues on a ballot.
Thomas said that banners should be checked with the commencement committee.
A member of the commencement committee, Downer Dykes, professor of design.
Technics
99.95 Reg. 139.95
SL-220
Men's Wear with Flair
Technics direct drive, luminaires are respected throughout the words for their accuracy, reliability and superior quality. The BL220 and BL370 both also examined the SL220 and BL370. They both perform the same function but differ in price considered less重要. The BL220 gives you same automatic operation while the SL220 is fuzzy auto, and furthermore 0.045* WiFi, 70 GB DIN 8 and further 0.045* WIREM, 70 GB DIN 8 with a technics lift can make?
SL-220 and 230
Fantastic Buys on Technics Stereo Components Throughout our store.
Hurry Limited Quantities!
said banners must be approved by the commencement committee before the
928 MASSACHUSETTS
DOWNTOWN
However, Kuby said, "If I had displayed a banner that said 'We love you Archive Dykes. I don't think I would have been arrested, arrested and dragged out of the stadium."
"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."
Chancellor Dykes said Saturday that he and Mike Davis, University General Counsel, would not comment on the incident. A spokesman was filed with the chancellor's office.
Kuby's complaint is being typed and will be sent by registered mail this week to those charged, according to J. Hammond McNish, president and chairman of the University Judiciary.
CHANCELLOR DYKES he found it difficult to believe that free speech was under the interference with the distribution of pamphlets handed to graduates as they processed toward the stadium. The pamphlet-protected KU investments in South Africa.
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.
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."
Davis will determine the definition of political advertising, the chancellor said.
"Good legal opinion must come from the University's counsel," he said. "His vested position is that he will accept."
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 advertisin
The Whitenight's
After meeting with the chancellor next week, SenEx will give its opinion on whether a rule was violated, according to Gerhard Zather, SenEx chairman.
Fashionable clotts and crisp colors,
You'll enjoy shop selecting from or and sportswear,
839 Massachusetts Street
WE'RE REMODELIN
But it's b
(Please excuse
kansas union BOOKS
All Your Summer Sc
Level 1 - textbooks, used books school supplies art supplies
Level 2 - gifts, calculators, sundries, t-shirts, shorts
Gigantic Calculator Sale now in progress
VISA'
Ampersand
IAN HUNTER
You're Never Alone with a Schizophrenic (Chrissalis)
Mott the Hoople was one of the few great rock® or band rolls to emerge during the early Seventies and a seminal influence—quite possible the major one—on the British punk movement. Their work, Hunters, whose highly personalized visions were filled with resignation but simultaneously possessed an inspirational quality, a sense of carrying on in spite of overwhelming resistance.
After a brilliant debut album in collaboration with ex-Bowie guitarist Mick Ronson, his latest release seemed fated for the obscurity reserved for those who are ahead of the times. But but he's Never Alone with a Schizophrenia finds him a new label and with a new leather on artistic life.
Schizophrenia doesn't break any new ground. Hunter instead has chosen to re-use his first solo effort so memorable. Rather than the slashing guitars of yours, the sound here is firmly anchored by the E Street rhythm section and the focus on Hunter's
"Just Another Night" and "Wild Ear" are characteristically incisive urban street travelables while "When the Daylight Shines" is an effective re-write of the "Sweet Jane" off.
"Cleveland Rocks" is the author's hardest rook and a text-book example of Hunter's sylvester (notice how the chorus almost impersonates him). But there is one section. But the pinnacle is "Standin' in My Light," a haunting description of his internal struggles about returning to the performing arena marked by the kind of simple language used by Hunter has always been so adept at creating
Nezhibzico is a very solid, enjoyable album with few weak links. While it's true some of the punk bands have replaced him as spokesman for restless youth, Hunter spores here that the still has a finger on the emotional pulse of the times. It's great to see him back in command, and both of me heartily recommend the LP.
Don Snowden
TERRY ALLEN
Lalibock (on Everything) (Fate Records)
Now, I don't expect anyone to believe me when I say that this is the best country-rock album I've ever heard, but, then, a man's gotta do what a man's gota do, so I hereby say that this is the best country-rock album we've ever heard. I don't care if anyone believes me or not.
Alen's voice is modest but he never misses
never jars. It is folky and wise-as without
ever getting tiresome. On piano he sounds
like Leon Russell with sweet fingers missin'
The real thing is the songs (this is a two record set, and there are a lot of them —21 in all), mostly about growing up in Texas, being an artist and the continuity of relationships and discontinuity of love. They're full of charm in memory of magergy and sometimes strikingly sad lines.
Writing of a football hero gone bad in "The Great Joe Bole (A Regional Tragedy)," Allen Kashle wrote about the end of the film.
Texas Tech | for drinking during training |
"an' breaking the neck's neck . . . / Then he got suspended for acting obscene / Around the Cum-Landy Caum-Lady / Daughter of the Dean. In "The Wollman of Del Río" the kind of song Jackson Browne might have written if he'd spent more time with teenage Mexican cooks when he was a kid and less time with the school district first release. On 'the back seat' of O'196 black V-B Ford / 'An she just give up all control. On that vickuck nklahoma," in "The Girl Who Danced Oklahoma," his hero ... met her at a party. For a painter (She was naked and sitin' in this chair) That comes from France. "In 'My Amigo', she writes bluntly. I need money I need love! I need a Cadillac / In give me a show / I know 'My ego / I'm my amigo Anymore.
Colman Andrews
The only thing wrong with LaBook (on Everything) is that it's very hard to find. Try writing to Fate Records, 63 West Ontario Street, Chicago 60(10).
Production by ("Everyone on this record") is neat and very imaginative in a quiet way. Musicians include the spectacular Jole Ely and various people from his band, and some stand-out guitar work on one track by Luis Martinez.
ON A MISTY NIGHT
John Coltrane (Prostige)
The two sessions represented on this double album package are from 1956 and feature Coltrane as a sideman in baskatbalah from the Miles Davis band. We hear a hard-bopping Irish whose brief tenure with Miles Davis influenced their share and shame pinched his improved wits.
The first record was originally titled "Tenor Clave" with Trane as one of four frontline tenor men. The others are Al Cohn, Hank Mobley and Zoot Simms—a interesting ensemble of "four brothers." Cohn and Simms are more cool, working out of the Lester Young tradition, while Mobley and Trace curve out rough-hewn statements: With Red Garland, Paul Chambers (also on the album) and Drew Porter, this record cooks, notably so during Cohen's sexy first chorus on "How Deep Is the Ocean?"
Tadd Dameron was the consummate badden apparrer and an important composer in modern jazz. His recorded material, however, has ever been re-reissued under everyone's eyes. He worked with Miles, Evans, and now Coltrane. This LP was titled *Mating Call* and Trawe was the only horn player backed by Dameron on piano bassist John Simmons and Phyll Joe Jones Dameron wasn't a great solist and pretty good guitarist, but allowing Coltrane plenty of room to stretch
The title track is an easy-swing jam! "Roma" is a low-down blue, "Super Jet" is boppy and features a rough Philly Joe. All of the songs are tie with Dameron's hallmark ballkamp.
TONY WILLIAMS
TONY WILLIAMS The Joy of Flying (Columbia)
Kirk Silsbee
Greatness has never eluded Tony Williams, but it seems that public recognition and fame
have. Only 33, he has played major roles in the classic Miles Davis duet琴谱 of the mid-Sixies and more recently with Herbie Hancock. He's a talented solo artist who not exactly been meteoric.
This is due mainly to two reasons. First, in this day of Guinness Book record-conscious speedy drummer, Tony Williams plays the first time he's recorded. Secondly, and most important, is his sparsely recording output under his own name. The Joy of Flying is his first album in three years, but he more than makes up for lost time with the band's older self. That brings Williams his own legation of fans.
All the right ingredients are included. As John McLaughlin did on *Electric Guitarsit*, Tony has assembled an all-star east, with different groupings rather than one large blow-out jam band. The sound is commercial enough to generate airplay and gain a wide audience, yet even the most ardent critic of electronic jazz *fellow* will be put to hand to against Joum's music. As with everything Tony plays his sticks on, the *Flying of Joem* has taste.
George Benson, Tom Scott, Herbie Hanbock, Stanley Clarke and JAN Hammer all bring their unique identities to the music, and the results are never less than stirring. Benson especially curses loss, attaining a more tender tone than he has used in quite some time.
The most interesting cuts, however, are the two side-closers. Side one ends with “Open Fire.” an all-out hard-rock guitar free-for-all featuring Montone and Bronte Bayor that was recorded very much in Tokyo, a proof that Tony can rock out when he wants.
Side two closes with what should prove to be the classic cut from this album. "It's 'Morgan's Motion,' an aural travel through mountains and valleys of sound, created spontaneously by pianist Cecil Taylor and Tony 'Motion' is a tour de force (and short enough for airplay), and is reason alone to watch." Flying should help Cecil Taylor reach a mass audience, along with Tony Williams. And that would be doubles nice.
Paul Andersen
JOHN MCLAUGHLIN Electric Dreams (Columbia)
E
What is new on *Dream* is a bold political statement as well as a fruited merger of East
a sepia-tinted, sinister McLaughlin sits on a cup of coffee while ghostly images of electric appliances hover behind. Something different is cooking in Johns's kitchen.
June, 1979
ern and Western music, with blues and jazz influences predominating, in regard of what McLaughlin calls "new jazz roots" rubbling within."
Borrowing from mainstream fusion melodies that twist through sharp and mostly gentle turns, these new tunes are imbued with blues-inspired lyrics. "Miles Davis," the first of four songs in the mode, propelled by the drumming of Tony Smith. Just when the music hurts to bury itself in an avalanche of percussion, it is resurrected by a carefully harmonized movement led by McLaughlin, who peels off bird's feet, the bass and treble of "Electric Dreams," Electric Sign" opens with a sublime impressionistic soundscapes which draws inspiration from Roy Buchanan's "Messiah Comes Home Again." With L. Adkins's song "The influence shifts from West to East.
The compelling rhythmic backdrop of *Desire and the Comfortor*—with its upbeat Jeff Beck's tempo—is spirited by Smith who proves himself to be a polished drummer, hard-hitting yet able to shift through an array of percussive textures.
The new things brewing in John's kitchen are most evident in the "Unknown Dissident," a highly emotive cut featuring spirited exchanges with seamless transitions between scenes. To break from "God-consciousness" tradition, McLaughlin lets this melancholy hallball with sounds of execution — the grating noise of a jail cell door, footsteps, and finally a gunshot in the distance. The juxtaposition of this political commentary against the realities of the world is bending and serpentine phrases — makes his the most powerful cut on the album.
Gideon Bosker
ORLEANS
Forever (Infinity/MCA)
According to a recent advertisement in the record business trades, "The new Orleans sounds better than the old Orleans" Well, the sound of the old Orleans is dancing the fact that the lyrics—by the group's since-de departed leader John Hall— were the most vicious scribbling this side of Into. They were fun songs for driving along and dancing at the clubs, upbeat and nourishing as a Twinkle.
The new Orleans is not nearly so brightly-eyed and clean-squish in sound as the old Orleans, but the band, as presented on *Foreer*, still bounces along to a happy beat that would make Elvis Costello poke. Its latest songwriting honchos—Marilyn Bald Man, Leinbach and organist R.A. Martin—have an acute ear for human pain, the agony of love and the torment of life. After blather like "Sull the One," which was best used as the theme for the past ABC season, it's good to see Orleans dealing with genuine sentiment and emotion. With any other sound will follow obediently be mindful.
RICKIE LEE JONES
Rickie Lee Jones (Warner Brms.)
It is probably annoying for a young singer/songwriter like Rickie Lee Jones to be compared to the leading lights in her field—particularly when her own work displays a singular sense of craft, of poetry, and an emotional, wry intelligence. Nonetheless, there was an interesting contrast: the short-story scenarios of Randy Newman, the moody soul colors of Laurea Nyro, the rhythmic lyricism of Joni Mitchell and the scruffy lifestyle that pervades Ioan Walls'