KANSAN
University of Kansas Lawrence, Kansas
The University Daily
Thursday, June 18, 1981 Vol. 91, No.149 USPS 650-640
Contractor contests OSHA's asbestos citation
By TIMELMER Staff Reporter
Alilegations to the R.D. Andersen Construction Co. mishandled asbestos at Marvin Hall have been contested by the contractor. The representative for the company, Stewart Entz, Topoka lawyer, said yesterday, "We don't know where there were any Violations of the federal law."
The citation is being contested on three issues, Entz said. The issues are whether Marvin Hall is within OSHA's jurisdiction to issue the citation, whether OSHA's procedures in filing the citation were proper and whether there actually was a legal violation.
In early June, the Occupational Safety and Health Administration in Wichita issued a citation against the Andersen Construction Co. alleging that the company violated a federal law regulating the handling and disposal of asbestos at the Marmyn Hall renovation project.
Entz said the most significant of the three issues being contested, was whether a health safety violation had occurred. He declined to elaborate.
"I don't believe I should go into detail about the issues," he said, "because we don't want the other side to read about it in the paper."
Lee Enberg, industrial hygiene supervisor at the Wichita OSHA office, said asbestos had been identified as a carcinogenic substance.
"If the old asbestos material is not disposed of
The contractor failed to take proper precautionary steps in handling and disposing of the asbestos, he said.
OSHA's citation alleged that the contractor "willfully" violated OSHA regulations.
Enberg explained that "willful" means that OSHA thought the company was aware of the potential health hazard created by the violation.
"A citation is a list of allegations against the company and proposed penalties." he said.
the citation explained, excessive levels of the material were found at the site and waste materials contaminated by asbestos were not properly disposed of.
Because asbestos levels were not monitored.
In addition to the specification of violations, Enberg said, the citation ordered an end to the violations and imposed a $2,000 fine on the company.
The Andersen company had 15 days to resound
to the citation. Entz said a letter of contest was filed this week with the OSA office in Wichita.
Entz said the asbestos that had fallen from openings in the floors had been removed from the site and that the asbestos remaining in the floors had been sealed and encased.
"The elevator shaft and the air ducts are there and they have all been sealed," he said. "The
See ASBESTOS page 10
May, 1981
4071C6N-8811BRAUNSTEIN
With comedy enjoying a Hollywood renaissance, Brooks had no such troubles get him started. He's earned clout not only because he turns out hits, but because he turns them out on time and makes an astonishing cost about $12 million to make — not much by Hollywood standards, especially since it's so rich there from different historical periods.
Where other filmmakers pad budgets with cocaine expenses and travel allowances, Brooks works hard to eliminate waste — a standard he applies to his own life as well "I don't feel I am a Rolls Royce," he says, by way of explaining why it was so important old Honda Accord. "I'm a little person, you know ... I would look silly in a Rolls Royce."
"I said, I'm gonna go past the genre state, right to where it happened. I gonna go right to history. History is so beautiful, so grand, so sweet, that to play little human jokes against it is perfect context point."
Still, the new film is his most expensive, ambitious project to date. It's a tale of the unwavering wrapping up *High Above*. A salute to Hitchcock-style suspense films Brooks had already done sendups of *Flaming Saddles* and *Flipping Saddles*, the horror film in Young Frankenstein, the older in *Silent Mist* — and he wanted to tackle
"For instance, in the Roman Empire (that's where he got the helmet), Gregory Hines, a young black actor, and I are running away with the camera so much that us because we've had a lot of trouble with Nero. And we run into Oedipus, and he has a big sign that says, 'Give to the king,' and he's揍ing his big way along.
"And Oedipus somehow recognizes
13
Ampersand
the black guy, Josephus, and say 'Hey, what do you say, Josephus?' And Josephus says, 'Hey, mother- r- how are you?'
So a lot of people laugh because we just use the word mother-er, but a lot of people realize that Oceania is one of their populations and use the population for it.
Normally gentle and kind-hearted, Brooks gets worked up over critics who don't like her. When it turns out that Molly Haskell once wrote that he championed the "buling gins eyes and bowsisms of hustle and bustle," she still kell, and what will she ever contribute to the education, culture or entertainment of her world? She's put together a program that will understand the process and have no talent for it — very much like an enewatch watching the sexual act perp that she describes it, but he doesn't understand it.
No need to tell Brooks that some people might call them a crass way to get attention. He was a personal cause. From all indications, History will allight his sins.
What the critic does, in typical Brooklyn fashion, is stand on a rock and use his feet to wash away the artist's work and chasing admirers by the foul side.
"I think taste is one of the worst deterrents to good comedy," he explains with obvious commitment. Taste is in the eye, ear, nose and throat of the beldler, right Thank God, I am bereft of any sludge of me.
If brooks gets any ass over criticism of such scenes, it's because they use a comedy style for film comedy. "Comedy is a very tricky and delicate process, the closer you are to the mark, the easier it is for the reaction is going to be," he says.
books gets his revenge in *History of the World, Part I* (no opening segment, which takes place during the Stone Age, has a plot half Caesar plays the world's rulers, a critic, a cavernic critic), he says, delighted with the imagery. "Right art represents our first artist apprears, there's the critic."
"Hizzing Sadies" did nothing more than just tell the truth about some people, but they didn't do anything but have them eat beans and drink coffee, and what follow.
Not surprisingly, Brooks began developing his style as a "tummerler" in the Catskills during the 1940s. There he was charged with running around a hotel hotel and playing drums for the saxophonist-comic, Sid Caesar. When Caesar broke into the fleeting television industry in 1949, he brought Brooks on his way to write his memorial for $5 a week.
Your Show of SHOWS because Brooks' vehicle for starmont His salary increased a hundred-fold during the next 10 years, and he developed illuminates as Woody Allen, Neil Simon, Lary Gell and Carl Barrett.
No, no, that's not it. He really does have a process, it involves screening him for the signs of abuse and that sort of thing. And he's certain that it works, so certain that they'll allow himself a little bit more control. "On that night," he says, "I'm a little suicidal. I'm always on the ground." He isn't a bad balky. I hurt myself my death."
His association with Reiner soon made晚会 history when in 1960 Brooks created a character dubbed *The Grit*. His performance, Capitalizing on his quick wit and Reiner's talents as straight man, the two would go into the record for best opening act.
From there, Brooks jumped into films, and he hit the ground running. His first picture, *The Producer*, included the classic production sequence, "Springtime for Hitler (in 1933)," in which girls formed into swashbucks, singing this absurd number that Brooks wrote. Even today he admits that, artistically, *The Producer* is a tough act to top and in the Sixties, Brooks created the TV series *Get Smart* on local channels across the country.
bribed 16 million Americans. I've given them $3 apiece to laugh at my movie."
P now, Brooks says, he has developed an involved process of filmmaking that practically teaches him how to handle with each work. I have
"Carl would ask me about different characters," Brooks says. "He would say, 'Did you know Cleopatra?' And I would say, 'I knew her, she was the next pyramid over.' And he said. He really die the way that I was." Nonsense. No asp, no binging, none of that. A woman died at 85 from a stroke."
The situation can indeed be a problem. One LA journal tells a story about the time she was invited to view an early screening of *Blazing Saddles* and had the misfortune to sit in front of some people who, every time anything the best bit amusing on screen, it would blow so loudly as to obscure the lines.
She finally got up the nerve to ask him to quiet down, but thought better of it when she turned around. He went into the parlor, she realized, was Brooks.
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leftrys: intriguing passionate stirring
(Continued from page 10)
Lastly, Abercrombie's electric main-dinon, which emits a dimming sound, results in an unexpected tint amberate Tiny's vaxer, and there is a soothening glance. Glance, a moody number with subtle shifts in harmony, 'forbidden Land,' a remake of Coetran's impressions, finds the electric spewing firms that rise above the heat of the fire created by Tiny's vaxer.
GARLAND JEFFREYS Escape Artist
their own drivers on by Bosters pack in kit, while Mackie supplies the necessary harmonic foundation, and then wields with sensibility and vigor.
Zan Stewart
(Epic) Garfield Jardines has been a rock and roll also ran for so long that one wonders if his star will ever truly shine. He keeps trying, though, and Escape Artist shows that he more desire to be a rock star than the rock is in the lap of a key, but a low hearted effort.
Something fundamentally likeable about Jeffrey's brand of street-tough rock makes his shortcomings less gratifying. "The Modern Lovers," "Chrineise," urban alienation (Mystery Kids) and youth ambition (RO.C.K.) with the beats of '90s pop, are at his best. But his flaws are hard to ignore — he tends to be awkwardly pretentious as a songwriter, reaching up to the audience but rarely saying anything near Beach" (included on the album's bonus EP) is an irritating example of this, intended as a hard-fitting comedy against racism but ending up sighy and sady.
Jefferys is on firmer ground musically. He rocks out with a vengeance on *Escape Artist*, forcefully singing over exertion性地 band an
ranglements. Its the production, in fact that grabs the attention most. featuring appearances by members of the band Kiss and other notable ones, each track is a voluble firecracker drum burst, churning guitars and reedy organ lines. One cut, "Jump Jump," jumps a synthesizer sound and then lifts into a strange cabane ballad/rock hybrid The album's overall sound is dense and garish, but its stirring music
This is yet another semi-successful but still worthwhile LP from Jeffreys, one of rock's more inturging lesser lights. He may never make the break through the hems, but he has staring at that definitely counts for something.
Barry Alfonso
JESSE WINCHESTER Talk Memphis
(*Beaverville*) Though often light and breezy in his viewpoints, Jesse Winster has always shown glimmers of brilliance. His latest album is a work of impressive art and sincere warmth. Bouncing to a lively hip-hop beat, its exertive rhythm forms four harmonies with similar efforts by James Taylor and Stephen Bishop.
Winchester has always tempered his honey-sweet romanticism with fatalistic respect to this tale: "If Only" and "Love You No End' work well in this vein. His coy humor is present, too in such books as 'The Lifespan of Enough'. If the topics aren't fresh for him, he handles them with greater care and ease than ever. His general sense of humor is to touch totes of palace, is also in fine form. Don't expect to be overwhelmed by Talk Memphis — its virtues are displayed, in both evidence all the same.
Barry Alfonso
of white supremacy is wrong." See story on page eight
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neatre works
Averill said there was also a possibility he would have a paid fund raiser next year.
would have a paid instructor.
He did not know the status of the touring subsidies given by the KAC at this time Averill said.
Under this program, any school or art center in Kansas has to pay only half the cost of having the Seem-to-Be Players perform or conduct games where any funds paid by the school or art center.
"WE'VE GOT THE gracious support of a lot of different people, broad-based community support," he said. "In a couple of years to come, I hope we can get some good, strong pledges from local businesses because the slack is going to have to take up some of the slack."
The Averiils also work together at the Apple Valley Farm Theatre. The Ric Avail Players perform adult melodramas at the dinner theater on Friday and Saturday evenings.
"The productions are so stylized with a really broad style, a lot of getting out of character and playing around with the audience, hissing and cheering and people getting beer and pop peanuts," he said. "It's an real relaxed, fun live atmosphere, just an incredible release for all of us."
See AVERILL page 10
MARTI FRUMHOFF/Kansas Staff
theatre director, jokes with some youngsters while
Weather
it will be mostly fair today with a high of 80.
Winds will be out of the north at a 10 to 20 mph.
It will be mostly fair tonight with a low of 55.
Turbulence will partly close with a high in the low 80s.