sc , Ireboard major league baseball San Francisco NATIONAL LEAGUE EAST DIVISION W L 4 1 4 2 3 2 3 2 3 3 3 3 ..Now York "GHILLIES PIRATES St. Louis Chicago Montreal WEST DIVISION 4 1 .800 - 3 3 .500 1 1 / 2 2 3 .400 2 2 4 .333 21/2 San Diego Claclnnag Atlanta Loa Angeles LX• LX• LX• AX• AX• AX• AX• AX• AX• AX• AX• The 10th Annual Delta Chi Marathon April 13, 14, 15th Registration ends April 11th Sign-up in dorm areas or at the HUB For more information call 4X• AX • AX • ,6,X 0 AX • AX • AX • AX • ,6,X e AX • AX • :: ... :.. tosticir:' ' . • - v\v .... .. 0 4 ,, 6 , . \ 1 1.:..,0.1 111_, ACTUAL SIZE •• \ 1 W (SELF-ADHERING) . . • ' •. \I a t a F -1-'4 Ittr---- --- • 41 4Z-v.tra ---- u mm ea: li.i. I- i-- - Two.- 5.99 Is 11111 4.0 cans ONLY PERSONALIZED STICKERS • HIGH QUALITY FULL COLOR REPRODUCTIONS • 1 1 / 2 " x 7 / 8 " WITH SELF-STICK BACKING • MADE FROM YOUR COLOR PHOTOS OR SLIDE— ORIGI NAL RETURNED WITH ORDER. Copy Your Favorite Photos Of: People, places, possessions, pets, parties, performances, proms, etc. Stick On: Letters, invitations, greeting cards, thank you notes, birth announcements, lunch boxes, personal belongings, etc A Unique Gift For: Birthdays, Christmas, Mother's/Father's Day, weddings, anniversaries, graduations, sports events, etc. Use Your Imagination: Trade and/or save; unlimited applications Penn State Oookqtore on campus Owned and Operated by The Pennsylvania State University :ti Monday's Games Cincinnati 9, Montreal 6 Los Angeles 4, Chicago 2 Only games scheduled Pct. .800 .667 .600 600 500 500 Yesterday's Games PHILLIES 3, Houston 1 New York at Atlanta, (n) Montreal at Cincinnati, (n) St. Louis at San Diego, (n) PIRATES at San Francisco, (n) Montreal (B.Smith 1.0) at Cincinnati (Berenyi 0.1) PIRATES (Tudor 1-0) at San Francisco (Laskey 0- New York (Terrell 1.0) at Atlanta (Dayley 0.1) It's Here! 237-9157 or 238-9944 1 4 .200 3 1 5 .167 31/2 Today's Games Houston (Scott 0-1) at PHILLIVS (Hudson 1-0), (n) SI. Louis (Andu)ar 1-0) at San Diego (Lollar 0-0), (n) Chicago (Sanderson 1-0) at Los Angeles (Honey. cult 0-0), (n) Tomorrow's Game Atlanta at San Diego, (n) Only game scheduled AMERICAN LEAGUE EAST DIVISION Detroit Cleveland New York Baltimore Milwaukee ************ * * * * * * * * * * * PENN STATE STAMP CLUB followed by a Box of Covers April 11 *** * * ** * * ****** * * * * * * ARE YOU GOING TO BE FREE U HERE THIS SUMMER? HOW ABOUT STARTING A FREE U COURSE? Course Forms are available at 223 HUB or you can do it by phone 863-0038. DUE DATE FOR SUMMER FREE U COURSES IS APRIL 20th AT 223 HUB R 000325 Kansas City Minnesota California Texas Monday's Gams Oakland 4, Toronto 3 Only game scheduled L Pct. GB 0 1.000 Detroit 5, Texas 1 New York 4, Minnesota 1 Kansas City at Baltimore, (n) Cleveland at Chicago, (n) Milwaukee at California, (n) ELECTIONS for the 7:30 p.m. 207 Sackett Bldg WEST DIVISION 5 1 .833 - 4 1 .800 Vz 3 2 .600 1 1 / 2 3 3 .500 2 2 4 .333 3 2 4 .333 3 1 3 .250 3 Yesterday's Games R 347 * * Boston at Seattle, (n) Toronto at Oakland, (n) Today's ,Games Kansas City (Gura 1-0) at Baltimore (Boddicker 0 1), (n) Cleveland (Blyleven 1.0) at Chicago (Dotson 0-1), (n) Milwaukee (Haas 0.1) at California (Romanlch 0 0), (n) Boston (Eckersley 0-0) at Beath() (Young 1.0), (n) Only games scheduled Tommorow's Games Texas at Detroit California at Oakland Minnesota at New York, (n) Only games scheduled • 20—The Daily Collegian Wednesday, April 11, 1984 'transactions ATLANTA BRAVES—Acquired Terry Leach, pitch. er, from the Chicago Cubs in exchange for Ron Meredith, pitcher and assigned him to Richmond of the International League. CHICAGO CUBS—Assigned Ron Meredith, pitcher, acquired from the Atlanta Braves, to lowa of the American Association. PHILADELPHIA VlERS—Extended the contract of Wes Matthews, guard, for the remainder of the season. BASEBALL National League BASKETBALL National Basketball League 411 ', Oscars turn out few surprises I. R I. L• t 6 $4 It 1.1 1 By 808 THOMAS Associated Press Writer f LOS ANGELES (AP) When Shirley Mac- Laine and James L. Brooks entered the Academy Board of Governors Ball early Tuesday, the glittering crowd erupted into applause for the Oscar achievements of "Terms of . Endearment." The °sem; came to "Terms" five times at the Music Center on Monday night: best picture, actress (Miss MacLaine), supporting actor (Jack Nicholson), direction and adapted script.. Brooks • won his awards for his first film as producer and director and his second as writer; his other script was "Starting Over" for Burt Reynolds. "The Right Stuff," about America's first astro nauts, and "Fanny & Alexander," which Swedish director Ingmar Bergman says is his last film, won four Oscars apiece. For triple winner Brooks the cheers were something special: he had taken all the marbles for•his "orphan" movie. "Yes, it's true that 'Terms of Endearment' was offered to all the studios," he told a reporter over the din at the Beverly Hilton. "The package Bruce's its audiences wanting more anecdotes By MIKE KINKOPF Collegian Staff Writer t it Jil CII It t M.: "To beat or not to beat: that is the question!" comedy review So begins Scott Bruce's modern adaptation of Shakespeare: a stern soliloquy on the pains and gains of Scott Bruce, a connoisseur of fine cookies, also has a fine sense of humor that is present in his Comedy Company shows. included the two female stars (Shirley MacLaine, Debra Winger), but not Jack Nicholson. He came later." Most of the studios declined the project be cause of its tragic ending and the feeling there was no market for its mother-daughter theme. But Paramount Pictures agreed to undertake the film,. adding Nicholson for box-office strength. He reportedly was paid $1 million compared to $500,000 each Ms. MacLaine and Ms. Winger. Robert Duvall scored over four Britons as best actor at Monday's ceremonies, honored for, his portrayal as the stolid Mac Sledge of "Tender Mercies." • The most poignant winner was Linda Hunt as best supporting actress. The tiny New York actress, who had worked in the theater for years, played a male war photographer in "The Year of Living Dangerously." Her only other film role had been as the wrestler's mother in "Popeye." The best-picture award for "Terms of Endear ment" marked the third year in a row that an "orphan" movie has won Hollywood's top prize. The 1981 choice, "Chariots of Fire," was rejected Comedy Company keeps masturbation. If you had to pick Bruce's climactic moment, as the Comedy Company's leader sweats to pull one more big laugh out of your innards, this Hamlet bit might be just a cut above the rest. Playing Sunday night to a capacity crowd in the HUB ballroom, Bruce and three other witmasters proved that even sorry acoustics can be overcome with smiles. The Comedy Company doesn't just make you laugh it makes you think! Husky "Big Daddy" Graham delivers a witty analysis of the worst come-on and put-down lines that can ever come out of collegiate mouths; if these don't get you (and they will), his Lou-Reed-in-the-Nit tany-Mall gag will wear you out. ("You bought some bad grass, suck-er, take a walk on the Wild Side.") No kidding: remember, these guys get paid for their work. They get paid because of Scott Brupe. 30-years-old and goodlooking enough to get carded in the Bottle Shop, Bruce decided three years ago to become a State College stand-up, "becauSe I was unhappy cleaning carpets." Piling on many layers of success since then, he founded the Comedy Company last September, booking young talent from Philadelphia and New York City for three- and four-night gigs at local clubs and "rooms." Lately they've been appearing at Gullifty's in Altoona and Cafe 210 West. "If you're .a hard-core comedy fan,, you can see a different act every week," Bruce said as we lounged in his cold basement. "The acceptance has been real good." There area number of reasons why New York and Philly acts would want to come to State Col lege. Money and experience are two of the big ones, according to Bruce. "You can't even get gigs in New York City; you're there to be checked out by booking agents, and that's about it." He modestly ad mits that he's also a pretty likeable guy The Company was well-received at the HUB. Additional performers were Fred Stoller, who drew thun derous applause by downing a glass of water, and Grover Silcox, whose imitation of a perverse Mister Rog ers shed a fresh light on the man so many children adore. by the major U.S. companies until the Ladd Company agreed to sponsor it. Richard Attenbo rough was unable to find backing in Hollywood for "Gandhi," last year's winner. He finally got it made through an English-Indian consortium. "It's not unusual for successful films to be rejected by studios," said director Steven Spiel berg,• who escorted nominee Amy Irving to the ball. "Two of my pictures were turned down by other studios: 'Raiders of the Lost Ark' and `E.T.' "You can't really blame the company exec utives. They're in business to say `no.' Let's face it most of what they see deserves a 'no.' " Said Brooks: "I don't think that being an orphan is the important thing about 'Terms of Endearment.' The fact is that Paramount took it on and it did get made. And it found an audi- ence." Beside the general assent over the winners no surprises this year the talk over the rack of lamb and crab-stuffed avocado at the Oscar Ball concerned the excruciating length of the 3-hour, 45-minute telecast. To be a comedian, Bruce said, you must learn how to "intentionally be just like yourself. If your 'self' hap pens to be funny, you'll know soon enough. And if not, well. . ." What drives a person towards the comic life? "I think a lot of comedians start out feeling a little insecure; they have a need for the affection and approval of others." A self-pro claimed "oddball in the comedy community," Bruce attributes his success at booking big-city per formers in State College to his own intelligence. No insecurities there, Scott. But what about hecklers? Couldn't they screw up his timing, ruin his act? How does the intelli gent Bruce handle a heckler? "Hecklers don't bother me; the trick is to turn it to your advantage. Like, somebody in the back will shout something really, really dumb, and I'll just sort of stop and look back there and say, 'lsn't it awful when the fetus doesn't get enough oxygen?' " In his limited spare time, Bruce also teaches a Free University course, 'aptly titled "Insanity 102," based on stand-up comedy and "spontaneous improvisation," which is something like what you get from Robin Williams on a good night. Insanity students are urged by the self-taught Bruce to seek out performance opportunities at local coffeehouses and bars. The key word is experience. Will the company become a cor poration? "I'm 'in it for the long haul," said Bruce. "I'm doing what I love to do." And he does: "Age 30; sex Tuesdays," reads his resume. Watch out', State College. This townie has some serious moti vation! Parks° album tells of old 'Uncle Remus' By PAT GRANDJEAN Collegian Staff Writer VAN DYKE PARKS: Jump Warner 8r05.,1-23829 • Van Dyke Parks, one of the more idiosyncratic composers/ly r i c is ts /pr o du c er s /k ey boardists/actors of our time, has just released Jump, a musical comedy album based on Joel Chandler Harris' "Tales of Uncle Remus." Specifically, this is a musical comedy that concerns it self with the story of Br'er Rabbit and his two nemeses, Br'er Fox and Br'er Bear. Jump is a musical comedy with a twist, however: thus far, it hasn't been staged, nor has there been a "book" written for it. Its success depends strongly upon the ability of its audience to fill in their own plot details. Despite these facts, it stands as a crowning recorded achievement of this or any other year, a triumph of the human musical and literary imag ination. Some background on the "Tales" is perhaps in order. Har ris, a native of Georgia and a journalist with the Atlanta Consti tution during the late 1800 s, used his Uncle Remus stories as an opportunity to write about a rela tively unchronicled segment of Southern society: plantation life in the South prior to the Civil War. With the advent of Reconstruction and the coming of industrializa tion to the South, Harris felt com pelled to present a picture of antebellum life that preserved it honestly for future generations. , Harris also attempted to portray the problems of economic and racial readjustment that post-war circumstances created for both whites and blacks. While Harris was favorably disposed to pro gress, he feared that the growing emphasis on business and money in the South would erase the gentil ity that had been a Southern tradi tion. Harris was particularly striking in his depiction of the "Recons truction Negro." His characteriza tions reflected a compassion for the "freedman" unusual for a white Southerner of his time. He attempted to draw faithfully upon his recollections of the "Negroes" he had known during his own boy hood on a Georgia plantation, and to record with precision the dialect he had heard them speak. Remus is a character with dignity, who emerges as a great storyteller with a keen knowledge of human nature. Van Dyke Parks' rationale for turning the stories into a "mini opera" as he has done is unknown. One can relate it to his proclivity for taking on unusual musical pro jects. Parks is widely hailed/re viled as one of the first purveyors of what is labeled "art-rock." In 1968, he created Song Cycle, seem ingly an ambitious attempt to inte grate the whole history of popular music in one concept album. The Daily Collegian Wednesday, April 11, 1984 This album is structured quite firmly along the lines of a musical comedy score. It will perhaps be a turn-off to thos l e disinterested in musical theater tradition. Jump is precise enough to include first and second act overtures ("Jump!" and "Taps"), an invitation to the audience ("Come Along"), a cli mactic song ("Look Away") and a denouement ("Hominy Grove"). Along the way there is adventure, love, and high drama for Br'er Rabbit until the happy conclusion. Parks takes himself, and us, on quite a musical adventure as well. He is seemingly influenced by every theatrical composer in his tory, including Steven Sondheim ("After the Ball"), Rodgers &. Hart ("Hominy Grove"), Gilbert & Sullivan ("I Ain't Going Home") and Brecht & Weill ("In vitation to Sin"). He also borrows liberally from 20th century music hall, vaudeville and pop music traditions. He makes all these influences meld together seamles sly. Lyrically and stylistically, Parks incorporates literary and rock music traditions as well. The lyrics, written in collaboration with Martin Fyodr Kibbee and Terry Gilkyson, are an attempt not only to adapt the content of the. Remus tales faithfully, but to re main as faithful as possible to the original Southern dialect of the tales. The lyrics are as precise, witty and literate as the music itself. Park's rock influences seem to include Randy Newman's satiric sense and John Prine's/Tom Waits' love of the small, everyday detail. His primary influence seems to be the "rock opera" concept but not the grandiose epics brought forth by the likes of the Who ("Tommy," "Quadrophe nia") or Weber/Rice ("Jesus Christ Superstar," "Evita"). More directly connected to his conceit would be the Kinks' oper ettas of the early 19705: Preserva tion Acts I and 11, Soap Opera and Schoolboys in Disgrace. Parks proves himself more successful at this sort of conceit than Davies was, perhaps because of the disci pline required in working with the raft of collaborators used here. Parks himself sings the role of Br'er Rabbit (and other support ing characters). He is a passable singer who is here in fine compa ny: Jennifer Warnes, Danny Hut ton ("Look Away") and the remarkable Kathy Dalton, a love ly singer who plays Br'er Rabbit's "femme fatale" ("Invitation to Sin"). All of this still begs an answer to the question: why was this done at all? Perhaps for a couple of rea sons. For one, Parks is himself a Southern native (Mississippi) raised on Harris' tales, so this may simply be a tip of the hat from one Southern gentleman art ist to another. It may also •be, as were Harris' tales, an attempt to preserve the legacy of tradition.
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