The Michigan Daily-Wednesday, April 24, 1991 - Page 13

Norman returns to University
The University Musical Society, which brought Leonard Bernstein and
the Vienna Philharmonic to Ann Arbor two years ago, is now giving us
world-renowned dramatic soprano Jessye Norman. She will be
performing with the Metropolitan Opera Orchestra and its conductor,
James Levine; the Ann Arbor show will mark the Met's first time ever
out of the New York orchestra pit. The executives at the Metropolitan
Opera decided to include a preliminary stop in Ann Arbor because of the
overwhelming response by both students and residents in the Ann
Arbor community to the Bernstein concert. Norman, a Grammy-award-j
winning alumnus of the University's School of Music, who is so popular
in France that she has an orchid named after her (let's see Jerry Lewis
top that!), is performing with the orchestra in Ann Arbor and at
Carnegie Hall only. Norman is most famous for several roles such as
Sieglinde in Wagner's Die Walkire, and will also be performing
excerpts from operas by Berlioz and Wagner. The singer has become a
legend in her own time for her uncanny vocal range and incredible
breadth of emotion within her musical expression. Although Norman
has performed on opera stages all over the world, you might catch a
glimpse of her singing spirituals on television. She has also exhibited
her versatility in numerous recordings of art songs as well as operas.
$25 student tickets are available for the concert at Hill Auditorium on
'April30, at 8p.m.

BOOKS
Continued from page 12
distribution of the flier declaring
"open hunting season" on "porch
monkeys," the poster in a classroom
saying "Support the KKK College
Fund; A mind is a terrible thing to
waste - especially on a nigger" all
occurred in 1987. This was well
before the discriminatory
harassment policy was originally
implemented in the spring of 1988.
D'Souza also misrepresents the
sentiment for and against the anti-
discrimination policy. He states
that students and faculty clamored
for the policy and were in virtual
agreement with it. On the contrary,
I recall a split student movement in
1988 when then-President Robben
Fleming presented his policy
sanctioning offensive speech. Many
wanted to fight racism whatever
way they could, but others - even
those in the so-called minority
community - opposed any
restrictions on speech.
This schism continued after the
University's original policy was
ruled a violation of the First
Amendment and when the
president's office went about
collecting community opinion on a
new anti-discriminatory policy.
Some wanted no part of a policy
that would institute academic
penalties for what students said;
others, such as then-Michigan
Student Assembly Women's Issues
Commission Chair and later MSA
President Jennifer Van Valey, urged
that the policy b-. broadened. Van
Valeyhasked that the University
prohibit non-inclusive ianguage,
such as the saying of "chairman"
instead of "chair," "fireman"
instead of "fire," and the use of the
automatic "he" as a reference to the
third person.
Nevertheless, D'Souza is correct
to point out that restricting speech
- and segregating students - is no
way to fight bigotry. At this
campus, there are far too many
speech taboos for Blacks and whites
to come to any understanding, and
there are far too many barriers
between us. Socially, Blacks and
whites are rarely seen together. Take
a look at any residence hall
cafeteria: there are Black and white
tables. Rarely do the races mix. The
University certainly makes no
effort to force us to integrate. On
the contrary, they acquiesce in
demands to further separate the
races.

Something must be done about
these tensions on campus, and
D'Souza rightly points out how
Michigan, and many other colleges
and universities, are going the
wrong way in fighting bigotry.
D'Souza will be speaking
tomorrow night at 7:30 in the
Anderson Room of the Michigan
Union.
-Noah Finkel
Kokigami: The
Intimate Art of the
Little Paper Costume
by Heather Busch and Burton
Silver
Ten Speed Press/softback
Tired of French Ticklers? Ready
to add another eye to the one-eyed
monster? Then Kokigami is for you:
the latest evolution in sexual inno-
vation and perilous paper cuts. Yes,
origami for the penis: "the intimate
art of the little paper costume."
As with so much country-west-
ern music, I found myself wonder-
ing whether this book might be a
joke in disguise. Sex lives may be
drab, and turgid tumescence is al-
ways difficult, but after Judy
Blume personified the male organ as
"Ralph," I thought we'd tackled
the "my penis, my best friend"
thing for good. If dog is indeed
man's bosom buddy, then we can
now add the dragon, the cock, the
squid, the moth, the pig, the fish, the
horse, the rose, the car, the steam
engine, the space shuttle, the fire
engine and the private investigator
to the list.
No special tricks to this amusing
little sheath, no sirree Tempura, just
a lot of touchy navigations of the x-
acto knife and a little imaginative
tomfoolery in the boudoir. With the
"Nippon Slip-on" or, alternately, a
tad of "Art Dicko," you can solve
romantic problems such as mis-
communication, bad cooking and
body odor. Never mind "just look at
yourself." Try, "slip one of these
on, honey, and think of me as a large
garage." Guaranteed, no marital
therapy will be necessary, though
psychological counselling for
species misidentification and copi-
ous supplies of band-aids might help
out.
With a foreword by Dr. Mary
Scrott (famous sexologist), a his-
torical and etymological perspec-
tive of the male-dominated Japanese
society, tips for integrating this ad-
dictive practice into your own per-
sonal libido life, and a step-by-step

guide for assembly and sizing,
Kokigami fits the Dr. Ruth criteria
for start-to-finish sexual fun. "This
beautifully simple system," purrs
Scrott, "allows the mind to get
more deeply in touch with the male
sexual center by pretending that it
is something else," becoming "far
more than a rather odd piece of
blood-engorged flesh." Because "it
is given a new personality," the or-
gan is "much easier to relate to and
therefore to understand and con-
trol."
Although Western males might
find this fetish initially repugnant,
its benefits far outweigh the leap of
faith required to cloak one's protru-
sion in a Halloween condom.
"Kokigami enables women to come
to terms with the male organ and
relate to it in a nonthreatening
way," greatly helping phallopho-
bettes everywhere. Realize, men,
that if you wrap your woody in an
aesthetically pleasing fashion, your
girls will look upon your masculin-
ity as a gift, rather than a curse.
Before cutting the erotically se-
lected Koki, the book instructs its
followers to size the member in
question, "to insure that it doesn't
fall off during The Play," which, no
doubt, can be simultaneously humil-
iating and deflating. Once size has
been established, if too much face
has not been lost, we move on to
"The Play" (from the Japanese
"Renso Gehumu"), somewhat like
ancient call-and-response rituals of
Aboriginal tribes and the neighbor-
hood game of hide-and-go-seek.
Because the Japanese revel in the
double entendre, these sexual
scripts are filled with subtle refer-
ences to the penetration and trea-
sure-seeking that characterizes the
coital act. For example, because the
"happy" pig ("buta") "likes to

root about in the soft earth with his
pink nose," this persona allows its
partners to undulate as if in a sty.
Kokigami instructs the man to call
"Oink! Oink! How about a bit of
juicy swill?" to which the woman
replies "Here Piggy Wiggy! Lots of
lovely warm slops just for you."
followed by the play, in which the
man/pig must "thrust the hips for-
ward and up with short jerky
movements while jumping quickly
towards your partner. Make low,
enticing grunts. If thwarted, jump
back and emit a startled squeal."
Kokigami's art is characterized
by the soft strokes and firm lines of
Japanese painting. The authors have
attended to every aesthetic detail,
down to the gently phallic pattern
on the back of each Koki page. One
drawback, however, remains the
time required to assemble the Koki.
although expertise is quickly ac-
quired, each papyral sculpture de-
mands at least 15 minutes after siz-
ing, which can permanently inter-
rupt the erotic experience. Plan
ahead for this performance, as one
might precook a romantic meal.
This book most clearly suits
those couples unafraid of experi-
mentation; like traditional theater,
participants must lose themselves
in their roles, a prospect that horr-
fies those still in search of self.
Remember, however, that while the
Koki may hide blisters and sores, it
in no way protects its partners from
pregnancy and other sexually , V
transmitted diseases. Look soon forf
Nipplegami: The Lumpy Art of the
Large Paper Bra. -Jen Bi/ik
thirtysomething Stories
by the writers of
thirtysomething
Pocket Books/softcover
See BOOKS, Page 14

]RECORDS
Continued from page 12
Discotheque, kicks off in a simi-
larly gainful manner: the chorus of
!51 Have the Gun," a trucking, coun-
tryish shuffle, offers the proclama-
tion "This road is my road/This road
is your road/This road is our road."
But "The Last Dictator," the four-
song suite that closes the album, is a
grotesquely comic satire of a de-
posed autocrat sardonically named
"Dick." And it ends with three
words - "No more door" -that
are an ironic verbal conclusion to an
album which explores musical pas-

sageways with stunning versatility.
The Bride Ship, indeed, had been
carrying the rugged sonic legacy of
particular Doors - Jim Morrison's
- and CCS take that sound into
dark, post-punk territory, demon-
strating a bravado more than equal
to the promise that Echo and the
Bunnymen had left unfulfilled af-
ter 1984's Ocean Rain. "The Sun
Before the Darkness" - which
builds a haunting contrast between
Edenic South Seas conga/ guitar-jan-
See RECORDS, Page 15

Former West Bloomfield
High School Students -
Registered to vote in West Bloomfield, Michigan?
Get your absentee ballot for the June 10th
millage election
Help save our schools
Call 682-3555
Paid for by Citizens for West Bloomfield Schools, 6610 Corral Court, Union Lake, MI 48387



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