ENTERTAINMENT
The University Daily KANSAN
February 21,1984
Page 6
Variety show tradition rewritten over the years
Jeff Bragalone, Leavenworth senior, belts out a song during a open at 7:30 Thursday and continue through Saturday in Hoch rehearsal for his upcoming Encore performance. Encore will Auditorium.
By MELISSA BAUMAN
Staff Reporter
When the University of Kansas began its variety show tradition 35 years ago, the show was marked by off-color humor, bawdy jokes and cutting political satire.
Encore was originally the Rock Chalk Revue and the variety show now sponsored by the Rock Chalk Revue.
Although the format is the same, the show's content, name and sponsors have changed.
WHEN THE CURTAIN rises at 7:30 Thursday in Hoch Auditorium, the audience can expect light humor. "slick choreography and a howl set to the theme," "beyond the 20th century."
Rock Chalk's off-colour humor was one of the first issues addressed when it originated 35 years
A 1952 Kansan editorial reported that "while the sororites seemed to strive for clever costumes, sets, and song and dance routines, the men's only goal seemed to be rough humor."
In 1960, Allen Crafton, professor of speech,
wrote a letter to the editor complaining of Rock Chalks's "smutty humor." He also objected to
the term "homosexual tale" because of its reference to homosexuality.
Then, in 1972, the issue of obscenity arose.
McCollum Hall's skit was cut from the Rock Chalk Reveal during dress rehearsals because it was "crude, grotesque and had no place in the revue," the Kansan reported.
BETTY ALDERSON, WHO has attended every production since 1950, agrees that Rock
"Some of the original Rock Chalks were not
the things you would have taken your mother
from," he said.
However, obscenity has no place in this year's production, said David Watson, executive director of Encore. Watson said that the emphasis now is on tasteful shows.
"I've read the McCollum Hall script, and it shocked me that something like that had been allowed to even be considered. I'm not a prude, but I can't believe that it wouldn't have gone undiscovered. So we try and monitor that really closely." Watson said.
He said scripts now were selected by eight judges, who stated any objections they might have so the scripts could be changed. He said he had an advisory board to deal with any problems.
However, not all has changed since the show's beginning. Fraternities and sororites still dominate the production. This year 10 Greek houses will perform: Alpha Delta Pi and Beta
Watson said that Encore did not address politics issue as he said that the company required Broadway production
"THEY'RE NOT CENSORED, but they are followed closely so we don't have an incident repeat itself in 1972." Watson said.
Over the years the show has also become less satirical, a 1964 Kansas editorial noted.
"It's a shame that the Rock Chalk Revue is becoming more slick and professional and less satirically effective every year," the editorial said.
Aderson said that the campus humor and political issues that characterized early Rock Chalks were missing.
"I think that at one time Rock Chalk did have more college humor in it than it does now. I don't know whether we don't have the issues bothering us or that's something bonding to them in a different way," she said.
ALDERSON SAID THAT sometimes skits were so political that University administrators ordered changes in the skits before the next
performance, so skits could vary from night to night, she said.
Theta Pi; Delta Delta Delta and Kappa Sigma;
Kappa Alpha Theta and Phi Gamma Delta; Chi
Omega and Delta Upsilon; and Alpha Chi Omega
and Sigma Nu.
Last year BOCO started Encore as an alternative to Rock Chalk, but KU-Y opted not to put on its production. KU-Y, which is now defunct, was KU's combination of the YWCA and YMCA. Rock Chalk was KU-Y's fundraiser from which they kept 90 percent of the show's proceeds.
Watson said that this year the team of Joseph R. Pearson Hall with Gertrude Sellars Pearson and Corbin Hall was the only non-Greek group to submit a script, which was later rejected
Bingo hits the jackpot as local sport
"WE DON'T WANT this to be a Greek show. For us it would be better financially if it wasn't. If we got a dorm in here that has a couple of baths, we would have sold out all three nights," he said.
THIS IS THE FIRST time since 1978 that a residence hall has submitted a script for the program.
BCOO thought that the cost of the production might be hindering non-Greek groups from entering. But, even with the financial incentive, few groups entered the competition BCOO divides 40 percent of the show's proceeds among the groups to help defray expenses.
Ann Eversole, director of Student Organizations and Activities, said that the intent of BOC*') when they presented the first Encore was to create a campus culture that less than fraternities and sororites to participate.
However, BOCO donates 50 percent of the proceeds to the United Fund, gives 40 percent to the groups participating and keeps 10 percent for expenses for the next Encore.
Last fall Watson and the All-Scholarship Hall Council met to discuss ways of involving non/Greek groups, but he said he received few constructive suggestions.
Ewansole said that raising money for charity was the primary reason BOCO began Encore.
One reason for lack of residence halls in the production was that these living groups had a larger student turnover than the Greek houses and that Greek houses expected their members to participate in campus activities, Eversole said.
Because of the emphasis on charity, an award is no longer given for best script. The team that sells the most tickets, thus raising the most money, receives an award.
Watson said that another reason BOCO started Encore was because the organization thought the Rock Chalk tradition was dying. He said that it had been one of the least number of scripts submitted decreased each year.
Staff Reporter
By GRETCHEN DAY
Staff Reporter
With heads bent and eyes furtively combing the numbered sheets, about 120 people waited apprehensively for the right plastic balls to be plucked from the box near the front of the room.
A knife could have cut the tension in the smoke-filled room.
A whistle shrieked, a flag went up, and the crowd hewed a sigh of disappointed relief.
Bingo is no longer a sport restricted to church basements and county fairs as more people find new games.
snow show them off.
"BINGO!" a voice in the crowd yelled.
"Bingo is not a little old ladies' game any more." Jeanne McMurry, manager of the Bingo
ALTHOUGH 119 PEOPLE won *the* $500 jackpot at the Bingo Bug, 6th and Kasold丝场, chances are they will keep coming back to try their luck.
wars, 138 Alabama St.; and the Knights of Columbus, 2206 E. 23rd St.
She said that younger people were finding that bingo could be an alternative to going to bars or movies.
A bingo game can be found in Lawrence every night of the week at one of several places: the American Legion, 3408 W. 6th St.; the Eagles Lodge, 1803 W. 6th St.; the Veterans of Foreign
Luck reigns in the game of bingo, where winning doesn't always come easy or often.
THE AVERAGE COST of a night of bingo in Lawrence ranges from $10 to $20.
At the Bingo Bug, groups rent out the hall, run
at the Bingo Bug and are allowed to keep the profits for
charges.
“It’s a hobby — something fun to do,” she said after winning $25 and an “I love bingo” button Monday night.
Three KU fraternities, Alpha Phi Alpha, Phi
Kappaalpha, Imperial Phi Alpha, operate
battle stations at the Bungo Inn, for
their training.
"SINCE IVE WON, the teasing has stopped and a few friends have joined in," she said, dabbing out numbers on her paper cards with a fair pen, as the computer voice called out each
The anticipation of winning keeps Liggett coming back to the bingo boards. She plays bingo
Julie Liggett, 944 Jana Drive, said she had won about $600 in the six months that she had been in college.
Liggett said her friends had teased her about playing bingo when she first became attracted to the game.
Joe Bouska, a senior, said, "I kept
joe getting close the first night, and I knew I have
done it."
Bouska was skeptical the first time he played bingo about a month ago, but now he says he is hooked on the game.
"I didn't think it would be any fun," he said.
"It is."
Winning the $500 jackpot at the Bingo Bug recently probably helped to encourage his addiction.
JoAnn Berard drives to Lawrence from Topeka with at least one of her four children to play bake a few times every week.
"IT'S SOMETHING FOR me to do and keeps me out of trouble," Berard said with a grin as she stuffed the night's $500 jackpot into her purse.
She said that she hadn't won often and that she probably broke even after paying for the bingo
Brian Burch, Prairie Village junior, has only played bingo a few times, but he said he would rather play bingo than spend money on other things.
He said a night of bingo would cost about the same as two people going out to movie. And the next night, he would say, it would cost
"That's part of the excitement — knowing that you might win," he said.
BINGO! Trying to keep track of all the numbers on her bingo boards as the announcer calls them out is Kathy Kelly. 4029 Crossgate Court. Kelly plays bingo every Monday night at the American Legion.
Original KC jazz artist to play at Jazzhaus
By PHIL ENGLISH
Staff Reporter
The yellowed, tattered posters that lined the living room wall of this small downtown bungalow hailed the giants of the Kansas City izz era.
Claude Williams pointed proudly to the placards of himself and his friends Count Basie, Jay McShannon and Stefan Grapelli. He reminisced about his days as "The Fiddler," when he played on street corners and some of the hottest Kansas City, New York, and Los Angeles jazz
THE BLACK AND WHITE photographs that fill Claude "Fiddler" Williams' cluttered living room tell the story of the 75-year-old Kansas violinist who was one of the first jazz violist in the world.
Tomorrow night. Williams will celebrate his birthday by playing his special brand of Kansas City blues and jazz at the Jazzwha of Lawrence, 92%; Massachusetts St.
Williams is a soft-spoken man, and his small gray mustache curls up to reveal a smile marked by several gold teeth.
He is obviously delighted by any opportunity to perform, and shows little sign of his age and the health of his brain.
Williams first achieved fame as the original guitarist in the Count Basie orchestra, winning the Down Beat magazine's critics poll for best guitarist in 1936.
HE IS ONE OF the last surviving original Kansas City jazz artists, who used to play the busy jazz section known as Orchard street.
Richard Wright, associate professor of music, noted Williams' greatness, calling him one of the elder statesmen of jazz violin.
"He was never recognized in the same light as a Duke Ellington or Count Bastie, but he is certainly one of the most outstanding jazz violinists." Wright said.
When he visited Copenhagen, Denmark in 1976 he was thrilled when local musician Nils Adelius helped him adapt.
"We D'TAKE THREE OF us at a time and go play our instruments outside of the local barbershop or hotel," Williams said. "When the taps are turned, we split up the tips and leave with about $5 each."
Williams is delighted when people recognize his talent
Born in Muskogee, Okla., in 1906, Williams was raised by a musical family. Before he turned 10-years-old, his brother-in-law had taught him to play the guitar and mandolin by ear.
After 10 years on the streets, he wanted to move on to bigger events. He moved to Tula to play with the hottest trumpet player in Oklahoma, Thomas Holder.
"We'd make our money on what was called a Gitany dance. We would charge 10 cents a dance song and the place would always be hopping, every day of the week."
In 1928, Williams headed back to Kansas City when it became obvious that the Giltan dance was not going to last. He decided that Kansas City would place he would call home for the next 50 years.
"Kansas City always seemed to have a heart and soul for jazz — even during the troubled times," he said. "The town was starting to really develop." He started its starting to call Kansas City the jazz capital."
HE LATER JOINED THE Afonso Trent Band that they the first black group to play the largest爵士乐队.
Williams talks fondly of playing with Kansas City pianist Jay McShann in 1952. He said that then jazz dominated the clubs on 12th and Vine streets.
He began touring again, this time on the East Coast, where he played with such greats as Nat Jackson.
"THEER WERE VERY few jazz fiddle players in the country," he said. "I had always played it on the side, but after awhile I wanted to play it on the other unique instrument and I play it in a unique way."
It was in Kansas City that he met Count Basie
"Everyone thought it was hip to hear a jazz join, so I played with lots of people during that."
and went on the road with the group. But, he and went on the of nine-month touring schedule and left the hotel.
He then decided to begin professionally playing the jazz fiddle.
Williams admits he is disappointed that Kansas City has capital it once was, but optimistically about the future.
Williams admits that the years have been catching up with him. He usually stays home with his wife of 58 years, and says he is saddened by the condition of his old friend Count Basie, who is contined to a wheelchair. Williams says the hopes he will stay healthy by taking it easy.
"Kansas City has gone through so many phases," Williams said. "One minute the place is jumping with jazz and the next it's taking a rest."
But, he doesn't plan on giving up playing his fiddle.
BY BERKE BREATHED
"As long as my heart is pumping and my fingers are moving, I will keep playing in my Rocker."
BLOOM COUNTY