8
Monday, June 4, 1979
Summer Session Kansan
Men's Wear with Flair . . .
From page one
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.
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 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 "electioneering," or political campaigning for public offices and issues a ballot.
Thomas said that banners should be checked with the commencement committee.
A member of the commencement committee,
Dower Dykes, professor of design.
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said banners must be approved by the commencement committee before the
However, Kuby said, "If I had displayed a banner that said 'We love you Archie 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, will not comment on the incident. A complaint 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 Judicial Board.
Chancelor 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 said he found it difficult to believe that free speech was being thwarted since there was no inhibition of free speech. The pamphlets handed to graduates as they processed toward the stadium. The pamphlets also protested KU investments in the school.
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.
"Good legal opinion must come from the university's counsel," he said. "His vested position is that we should have this knowledge."
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 advertisements.
The Whitenight's
After meeting with the chancellor next week, SenEx will give its opinion on whether a rule was violated, according to Gerhard Zuther, SenEx chairman.
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New Barbarians, Cobo Hall, Detroit, MI
It it didn't really seem to matter when none of these big names showed up for the concert at Cobo Hall in Detroit. The New Barbarians, a makeshift band thrown together to promote Run Wool's new solo album, Gimme Some Neck, didn't need help from anyone. Performances by Wood and Richardson on bass and drums were still standing as was the strong backing from Bobby Keyes on sax, Ian MacLagan on keyboards and Joe Modelle on drums.
This band was to be a once-in-a-lifetime collection of rock superstars. Formed around a nucleus of Rolling Stones Ron Wood and Keith Richards, the Barbarians had reportedly asked the blues of Jimmy Page, Jef Fleetwood and Mick Jagger to per form with the group.
The hand's stage material is almost exclusively Wood's, with just enough Stones cuts thrown in to pacify demanding audiences. After years of performing in the shadow of Rod Stewart and the Stones, this is clearly supposed to be Wood's show, although frequently upstaged by stunning performances from Richards and Clarke.
The New Barbarians, it has been said, is less a real band than it is a performative adrenaline-pumping band that will probably never perform together as a unit once its current tour is completed. But it also irrelevant. The Barbarians play a more mainstream rockers in the shade.
Richards, the all-time bad boy of rock, was in top form, trading licks with Wool in sizeing guitar duels and jamming fiercely to his guitar. He is the world's best bassist by any standards. Clarke proves with the Barbarians that he can rock @ roll with anybody. With Wood and Richards doing most of the singing, the group's vocals are pure Wood's "Buried Alive" and "Seven Days"
ersand
Brad Flory
(written by Bob Dylan) were particularly outstanding, the former containing as much raw electricity and power as anything the Stones have done lately.
Billy Joel, Cobo Hall,
Detroit, Michigan
With Wood handling most of the vocals, the band satisfied the Stones-hung crowd with Barbarian versions of four Rolling Stones albums. "Buried," "Jumpin' Jack Flash," with Richards, Wood and Clarke exploding into an electronic fury on "Jack Flash" 'equal to any recorded version."
Detroit is supposed to be a special place for rock & roll. Someone associated with this concert obviously agreed: Detroit was the only city on Billy Joe's current tour that was soaked $15 per ticket (obstructed view in cluded).
Led by the powerful drumming of Liberty DeVito, Joiel and his five-piece band pleased the crowd with a greatest hits package mostly the fayes and raves off Joiel's latest album 32nd Street, including "Siletto" and "Zanariz."
And it all sounded "just like the record," according to one breathless concert-goer.
Indeed, the concert sound was one of the bus to ever grace the interior of Cobo Hall. Additionally, the concert performance had the advantage of a roll-through — it is often missing in Jock's records.
Joel pretended to be Sylvester Stallone and faked punches at the audience between songs. He also alternated between shaking hands and reaching out the bracelets of the people in the first row.
Joel sang his 'songs, drank his beer, and smiled at the audience, delivering something that was meant to be funny. Emotions of 'Piano Man' and 'Angry Young Man' are "gone" supplanted by pop fluff. One sensed that Joel's aim was an audience so loud that he might have刚好 shell out $1 a tie in Detroit next week.
Walt Turowsk
Leonard Nimoy in Vincent, Hartke Theatre, Catholic University, Washington, D.C.
At first blush, the story of Vincent van Gogh must have been a very attractive dramatic concept indeed for Leonard Nimoy, who not only thrives on difficult roles as an actor but also publishes his own poetry and photography from time to time. But the life of the great painter was hardly a great drama in itself; it was more like one long wave of pain, without highlight or texture. Until the last few weeks of his life it not a single one of his paintings has survived, acceptance among critics or exhibitors. And his expressive talents as a painter were complements all too completely by his dismal failures as a lover, friend, son and brother.
Vincent's brother Theo, played by Nimoy in this solo show, recounts his experiences as the painter's chief admirer, defender and collaborator. He also once fascinated Vincent's art and applauded by his erratic behavior, constantly mediating the running feud between Vincent and their parents, and always frustrated by the pubic refusal to buy. In fact, Theo grew so ill that he was often himself went insane and died only a few months after Vincent died in his arms.
Nimoy's gruff Theo takes the stage by storm, enraged by the latest critical harbits clutched in his hand, venting half a lifetime of frustration. He's a quiet man at war with his times. Nimoy's utterly convincing portrayal is made a bit less impressive by his use of Vincent's works on a pair of large screens behind him, evoking the tense atmosphere of Warrior Like a stacked deck. This production was just a couple months' diversion for Nimoy after he finished shooting the Star Tiek flick. But if he takes it on the road again, don't miss it; the movie is much more than the sum of its parts.
John Kraut
The Tubes The Palladium, NYC
In 1975, when the Tubes first "caught on," they wowed audiences with hilarious jokes and an unparalleled assortment of outrageous and quirky characters people to use phrases like "X-rated theatrerock!" In their Palladium show proved, the alarming theatres used to underplay their musical talents which, man for man, are so engaging that audiences display unpleasant energy, a wonderful
June, 1979
I
To put it as simply as possible, the Tubes are a sensation with a show that, apparently consistently, exceeds the wildest hopes of heartbreak. And that's done on great players and riveting visuals.
voice and spellbinding stage presence; synthesis player Michael Cotton is an absolute wizard; guitarists Roger Steen and Bill Spoonler like magicicians and Vince Welnick plays screamingly tasteful keyboards. And this is to say nothing of the rhythm seen in the songs performed by Prairie Prince. The one work spot is, also, singer (and propitant) Re Style.
This time around, the Tubes, in an attempt to countermand their theories-before music reputation, have deleted props and honed in on cult favorites, letting the music stand alone. Let no Tubes fan panic—smoke machines; rampaging TV sets; giant cigarettes; hamburgers and cameras; girls in school uniforms; the cheap costume changes and even a motorcycle (used in the incompatible "Don't Touch Me There") are intact.
The Tubes have triumphed in a potentially risky renovation. Material from the latest album, *Remote Control*, slides easily into the show; witness the Rundergroene ballad, *Love's a Mystery*, performed with no theatre and their recent 45 rpm release "Prime Time"
There were a few disgruntled fans. One of them, most certainly a White Punk on Done, shouted "Tood Rundreum sucks" over and over in reference, one assumes, to Todd's old band on Candyland on LP. Some others just booed—and were drowned out. Alison Wickire
The Doobie Brothers, Allen Field House, Lawrence KS
When the Doolie Brothers kicked into their set-ending "China Grow" 90 minutes after they opened, the Field House the audience was already in overdrive. But when fireworks and flashpots began exploding in 4/4 time with the song "The Chase," the crowd that could have been heard in Kansas City.
Led by guitarist Patrick Simmons and keyboard player Michael McDonald, the hand opened with a five-song medley of early hits, including a fuel-injected version of "Long Train Runnin." The song featured some singing lead guitar trade-offs between players and soloists. She shot the audience to its feet for the first of many times during the course of the evening.
The band proved early in the show that the addition of McFee, saxman Cornelius Bumpus and drummer Clet M-Craack more enhanced their sound. Jeff "Skunk" Baxter and drummer John Hartman. The trio of new Doobies added a versatility suit to the band's diverse style, with Bumpus putting in some time on organ parts, while others, some inspired琴ival and pedal-stew steel work.
Simmons, who has a big band in most of the band's all-out rockers, shook the rafters more than once with his power choreading and singing. His flamey, synaponic, chromatic tunes charged with the same tensions that mark his vocals—his jazz and R&B-influenced songs rounded out by his drumming.
The band's newer material drew avid response. On three songs from their new album Minute by Minute, the crowd broke into spontaneous sing-alongs—not only the choruses, but the entire songs. "What a Fool Believes" was one of them, with the album's title cut a clue second.
When they finished playing "Listen to the Music" for their second encore, the old and new Doblies walked off the stage amid a new fleet of flying dramatics and long-armed robes.
Jeff Kious & Rick Jones