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
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Registration ends April 11th
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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.
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$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.