ENTERTAINMENT
The University Daily KANSAN
November 7,1983 Page 6
Subtle rapport between local riders and horses will be put to the test at The American Royal
Stephen Phillips/KANSAN
Sarah Ailor, 16, grooms her horse, Aristo Domino, after a muddy workout at Stable of joy in preparation for competition at The American Royal Livestock Horse Show and Rodeo in Kansas City, Mo.
The stocky, black Morgan horse troted in a circle, leaping and straining at the long tether defining his path. Gripping the tether at the hip, she ran toward her girl, her figure dwarfed by the horse's bulk.
By PAUL SEVART Staff Reporter
"Round and 'round he ran in the twilight, cats and humans dodged his path in the muddy barryward. The girl called "Hall," and Domino to Domino to his friends, stopped in his tracks.
Control is what showing horses is about, and Sarah Allor, 16, a sophomore at Lawrence High School, had Domino under control. She called "walk" and he walked, not in half a minute but right then. Sarah's teacher, Joy Underderg, watched from a distance and
"They call him 'The Black Gelding,' Underberg said. "You do know the difference between a stallion and gelding, don't you? You'd be surprised how many people don't."
She recognizes that the language of horse lovers, with their lunging, canters and drivers, is full of subtleties that may escape the trained ear. When Underberg goes with Sarah and two other students Nov. 16-18 to the American Royal Arabian and Morgan show, subtlety will make the difference in the eyes of the judges.
The American Royal Livestock Horse Show and Rodeo, which billts itself as the largest show of its kind in the country, began Satu-
mber 19. In City, Mo., and continues through Nov. 19.
The horse categories are saddle horses, hunters, jumpers, Arabians and Morgans. The competition is divided by age and skill level of the rider and style of riding, and only a few of Underberg's students are ready for such a prestigious show.
Underberg operates the "Stable of Joy," a sprawling oasis for horse-lovers, on 31st Street just west of Iowa Street. Among her 40 or so students are Sarah, her friend Pam Studebaker, 14, a ninth-grader at South Junior High School, and Janelle Bellew, secretary to the dean in the School of Architecture and Urban Design.
Underberg and those three students have put in many hours of practice at the farm, preparing horse and rider to go in front of the American Royal judges. The preparations were hampered recently by wet weather which has turned the lightened arena there to mud.
styles of riding. This summer she took the class in horseswainship offered by the University of Michigan.
"I went from riding no times a week to riding six times a week," Bellew said. "I've wanted a horse since I was little, but I never had opportunity until recently. Now I have two."
As the days become shorter and Daylight Savings Time has ended, Belle will have less time to ride her Arabian, Sa Dresto, at Underberg's farm. Because she needs practice before the American Royal, she said, she might begin riding during her lunch hour.
Sa Destroy is a station, a difficult horse for a beginner, and Belle said she had to learn how to stop.
Work at the American Royal will be showing the judges that the horse knows his paces, and that horse and rider can demonstrate the Western and English styles of riding.
"He's a challenge — that's the nature of a stallion," she said. "He's real strong, and he can stand out there are certain things to do to calibrate him, so you can get him book to work again."
The former, as Sarah described it, is "more like cowbys"; it is easyaging and relaxed. In English riding, the horse steps more lightly, and the rider is more formally dressed. In the races, in categories of those styles, the judges also want to see a horse that appears to be at ease.
Underberg said that it was more difficult to train for the English style of riding because different paces were required. Paces and other actions of the horse are taught by instructions from the rider's hands, legs, voice or posture and from "artificial aids," such as a whip.
Horses learn that a certain cue or combination of cues is a signal for a certain action, such as trotting or stopping in their tracks.
Sometimes riders in a panic forget to use the cues they were taught, and the results can be painful. Sarah said that three years ago, she was riding a horse that started to throw her.
"She did exactly what I told her to do."
Sarah said "She stood up on her legs and they were walking upstairs."
Instead of reacting as she had been taught, she tightened up on the reins.
The resulting broken pelvis taught her a lesson that she hasn't forgotten, she said, and is not likely to forget. Despite hard-learned lessons along the way, Sarah and Pam said,
Pam said, "You get really tired and it’s a lot of work, but why do it if it’s not going to be hard."
Pianist to present concert to benefit scholarship fund
By DAN HOWELL Staff Reporter
KU's pianist-in-residence, internationally renowned as a performer, will present a solo concert tomorrow as a benefit for the University's Music Scholarship Fund.
The benefit concert will be at 8 p.m. at the Crafton-Preyer Theatre in Murphy Hall.
Menahem Pressler, pianist for the well-known Beaux Arts Trio and distinguished professor of music at the University of Indiana, will perform four pieces, including one considered to be among the most difficult of all piano compositions.
"There is a great desire." he said. "I find it very inspiring and very gratifying to be part of the experience."
Pressler, in his second year as pianist-in-residence here, said last week that he had developed warm feelings for the University and its enthusiastic people.
At the benefit recital, Pressler will play "Gaspard de la Nuit" by Ravel, widely considered to be exceptionally difficult. Pressler said for years the nigo was golden performed.
"It is a piece that I love very much. Besides being very difficult, it is very beautiful. It is that way of being."
The other pieces on Pressler's program are *Choral Preclude* "Nun kommt der Heiden Holland by Hutch-Busson" "Sonata in A Flat" and *Sonata in B Minor, Op. 38* by Chopin.
Pressler's visits to KU fit into a crowded schedule that included East Coast performances the past two days and a four-nation European tour beginning Thursday.
He comes to Lawrence about eight times in the academic year for about two days at a time, said Stanley Shumway, chairman of the department of music. Pressler's main duty is to teach master's classes in piano where he works with advanced students in a setting open to the public.
Michael Kimber, assistant chairman of the department, said that the Music Scholarship Fund was helping about 170 students this year; both music majors and non majors. The awards are announced in high schools for four years, are announced in high schools and other schools and are won by audition
MOVIE REVIEWS
Rating System
excellent
Running Brave
It's hard to live in Lawrence and take this movie seriously.
The problems with the locations exemplify the overall problems of the film. The film reads like an old Hollywood glamourization and is really corry — sometimes downright melodramatic. Sure, Billy Mills' career was fantastic, but the film overdoes it.
The movie, about former KU runner and Olympic star Billy Milly, is supposed to take place, in part, in Lawrence. Those scenes, however, were filmed in Canada. To a Lawrence film, it is sometimes comical and the appearance of so many Jayhawks on the screen is almost terrifying.
One of the most disturbing problems with this film is its anachronisms. The story is supposed to take place at the University of Kansas during the late 1950s and early 1960s.
So, there's KU's Stadium on the screen. It looks suitably old to be the real thing. But what is
that new stadium lurking in the background during many of the running scenes? It looks as if it could be no more than 10 years old, and it is a very nice stadium. Kansas City Harry S. Primm Sports Complex
The real insult, however, comes when the producers use that very stadium — the one shown in the background throughout the film — as the Olympic Stadium in Tokyo.
And how about when Mills' wife, Pat, is shown in the crowd at the Olympic Games? She is surrounded by Japanese, with no other Ameri- tian friends, with whom she shared those moments Japanese?
Throughout the film, the film makers seem almost embarrassed about the measure of realism depicted in their film. So they go too far into making themselves some sense of proof that they tried to be realistic.
The story itself is contrived and over-dramatized. Some scenes seem to have been left over from the Hollywood soaps of the '60s and '70s, and are incidentally spliced into the running reels of this print.
In this movie about a half-Indian athlete, the film makers raise questions about racism and discrimination and alienation, then seem to forget they ever brought them up. There is no resolution of any of the problems Billy Mitchell has faced in his life. What about the problems he's had making a place for himself in the world? Did winning the Olympics solve all these problems?
If it did,fill us in
It just doesn't seem fair that three or four slow motion replays of the finish of the race are possible.
-Mike Cuenca
Richard Pryor Here and Now [a]
tension. Mills and the rest of us deserve more than just another version of "One on One."
Dear Rich.
I saw your new movie the other day, and I didn't like it very much. Let me explain.
You talk about how you haven't used drugs and alcohol in many months, which is great, but then you give routines on using drugs and being drunk. The routines are boring, anyway. I hate to be blunt, but that's the way it is. Tell funnier jokes.
You need some variety, too. Rich. Some of your stories are funny, sure, but they're too obscene to print.
One big plus for your movie, Rich, is your ad lib with the audience. It's your greatest gift, and it's the funniest part of this film. If you do another movie, put in more audience participation.
I'll be waiting for your next flick
Your friend in comedy.
—Victor Goodpasture
'Hair' flaws weaken enjoyment
"When the moon is in the seventh house, and Jupiter aligns with Mars, then peace will guide the planets, and will steer the stars."
Elizabeth L. Blanchard's sharp-voiced Sheila failed on numbers that seemed to be out of her range, such as "I Believe in Love," and John D. Anderson's Claude was often flat and unsteady.
The sweet, clear voice of J. Guevara as Ron sent the lilting lyrics of "Aquarius" soaring above the audience, and the cast moved as a unified whole in circles on the stage.
The choreography in KU's production of the "Hair," which opened Thursday and will be performed again this weekend, was powerful but not always strong enough to rescue the production from a lukewarm puddle of mediocre voices and uninspired acting.
However, Becky Barta's spaced-out, innocent, pregnant Jenie sang in well-rounded bell tones, and her songs rang pleasantly throughout the show.
Lisa Engelken, as Debbie, met the challenge of performing "White Boys" with a lusty, vivacious vigor. Engelken proved with her randy, charming demeanor that the part could be played by a white or a black
"Hair" concerns a tribe of hippies at a toll booth on a highway leading to the sky, loving and laughing, protesting war and doing drugs. The hippies didn't move along the road, they just lived there, frozen in time and space, New York City 1969
The anti-war theme came across hard and strong. The choreography and sound of *Three Meets Zero-Zero* were made in *Three Meets Zero*-How Dare They Try* she cast the cast not as a group of hippies who
met death with a lily-livered whimper, but as a met group of people who were so in love with living that death seemed like a terrible, repulsive waste of beauty.
They couldn't understand the war they were protesting.
As one character said, "War is white people sending black people to kill yellow people to protect the land they stole from the red people."
THEATRE REVIEW
young hippie pipple in opposite directions by the free-living hippies and his conservative, God-
forsaken religious.
Anderson convincingly portrayed Claude as a
At the end of the upbeat first act, the players stood together, nude and lovely in the shadows as claude sang of confusion and alienation. The second act ended as a protest of beautiful bodies vibe.
But they understood that life was beautiful and war meant death, so they fought against it.
Anderson convincingly portrayed Claude as a
The show began with effective choreography that reoccurred during the group numbers. The dances 'effectiveness existed in their simplicity, and they could be performed in a kaleidoscope of movement with meaning.
Sound problems marred the show's effectiveness. Almost every time that the leader of the gang, Devin Scillian's Berger, ran, crackling noises ran with him. Most solos played a black and white routine, a tinny music of a 13-piece band, and when the group moved, the sound was turned up to
Although Richie Robert's Woo looked like an he let Sabra Harmla's frumpy blonde Cheryl pull the microphone out of his pants, most of the movement goes on to against the easy flow of movement onstage.
The microphone kept the players distant from the audience that they wanted so desperately to reach. If players cannot project their voices, they should not be cast in a musical production.
compensate for breathlessness. Berger's voice overpowered the group effect that could have made the song "Hair" an exciting, vibrant number.
Images of the '60s were projected on two screens at the sides of the stage; more powerful images could have been selected. The projections were mild; a commonplace photograph of Lyndon B. Johnson was used even as the cast sang that L.B.J. was on L.S.D.
Despite an over-dressed cast, inadequate voices and some technical problems, and some failed attempts by the cast to create a group feeling with the audience by wandering down the aisles before the show began, the joyous message of "Hair" reached the audience by the climactic finale, when the audience stood and clapped in time to "Let the Sun Shine In."
That appealing message overcame jokes that were old and tired more than 15 years after they
When Woof sang "Musturbation can be fun," nobody seemed shocked; not a giggle erupted from the audience. "Hair" belongs in the 70s, but its love for life is everlasting.
—Kiesa Harris
Music Television alters students' musical tastes
Staff Reporter
Stewart, a senior from Pretty Prairie, Kan., has not discovered a miracle drug, nor does he own a sauna or any other familiar symbol of hedonism. He is simply one of the many KU students who avidly absorb the offerings of Music Television, or M-TV.
As soon as the whistle signals the end of classes with its deafening groan, Roy Stewart rushes out the door and heads for home, where he relax, enjoy and enjoy one hour of purity bloom.
By LYNN HUMPHREY Staff Reporter
M-TV, which first appeared in August 1981, has permeated the lifestyles of KU students, not just influencing what records they buy, but altering their musical tastes as well. In fact, some students treat their daily video-viewing sessions as others would treat their hallowed commitment to "General Hospital" or "Dynasty."
"I usually watch M-TV for one hour each day, between classes." said the devoted Stewart.
The network has a reputation for introducing new and different kinds of music, and according to Dave Stroun, program director for KLZR (Keller-Lorenz Media), "M-TV is usually the first to play a new song.
M-TV spokesman Jonathan Jacobson said, "I'm sure we're having a great effect on (people's tastes), even though there haven't been any studies conducted for me to comment on."
Sharon McMurtry, St. Louis freshman, said she didn't like New Wave music at all when she first heard it. However, her opinion changed when she began watching M-TV.
"I watch it a lot, especially when I'm home for the summer." she said.
Strout said that he strongly believed in the influence of M-TV.
"M-TV's actually a bonus for us," he said.
"We've always had a reputation for playing newer songs first, so if M-TV starts playing something that we're playing, it good for us."
"Listeners are becoming open to a wider variety of music today. If you really like a video and think it's kind of fun, your tastes may be affected more than if you just heard the song."
Duran Duran, the group that many say owes its monumental success completely to M TV, is
'Listeners are becoming open to a wider variety of music today. If you really like a video and think it's kind of fun, your tastes may be affected more than if you just heard the song.'
—Dave Strout,
KLZR program director
The songs most often requested of Dave Street at KLZR all are featured in video form on M-TV.
'What's on M-TV is what's selling for us.'
Steve Wilson, buyer for Kief's Discount Records and Stereo Supply, said, "People buy in large numbers what they are exposed to.
Although the pre-M-TV Beatles are still among favorite rock groups, Stroat said, all the other most popular bands, including the Rolling Stones and the Who, have made rock videos.
"We did a survey back during enrollment, asking for peoples' three favorite bands," said Strout. "The results were surprising."
According to the station's tabulations, most students still listed long popular bands as their favorites. However groups such as the Police and Guns N' Roses, said Sprout, largely because of their videos.
BLOOM COUNTY
BY BERKE BREATHED
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