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University Daily Kansan, March 25, 1983
Entertainment
Pick the Oscar winners and pick up a little cash, too
- This is it! The contest you are all waiting
* for. The University Daily Kansas's first and
* important victory.
"YOU PICK 'EM: THE OSCARS COM-
PETITION!!"
After doing our best to educate you, the public, on the finer aspects of motion pictures, the Kamanis in a wacky, reckless gesture of power and control, show off your knowledge and pick up a big, busting pocketful of jack accounting to the princely sum of FIFTY DOLLARS!
Let's begin.
ENTERING THE CONTEST: If you are at all observant, you will notice at the end of this introduction a list of 16 Academy Award categories. First, write your name and other pertinent information in the box provided. Next, pick your favorites, one to a category. Please circle the letter of your choice. In other words, if your choice has a letter next to it – and it will – circle it. OR? Cut this form out of the paper and bring it to the Kansan newsroom, 111 Flint Hall, or the Daily Kansas 111 Flint Hall, University of Kansas, Lawrence, Kan. 60045 And smile when you do it! (No phone-ins, please.)
\* WARNING — neatness counts. If your entry is smeared, disfigured, mutilated or disgusting in any way, we will throw it out. So there!
- DEADLINE: Noon, April Fool's Day. One entry per person, and the Kansan forms — what you're reading right now — WILL BE THE ONLY ONES ACCEPTED. No forgeries; please! We'll throw them away. And don't come late!
ELIGIBILITY: All creatures great and small, as long as they are students, faculty, staff or administrators at the University of Kansas and ARE NOT staff members or contributors to the University Daily Kansan, or members of a member or contributor. We know who you are.
WINNING: As in the Academy Awards, there is only one winner — no ties allowed here. And guess what? THE WINNER HAS TO GET THEM ALL RIGHT. Every one All 16. No joke. If we win all, they'll be winning entry, we'll have a drawing. Depend on the weather, a consolation prize may be
given to a particularly close entry. Maybe. No promises. Don't count on it.
ANNOUNCING THE WINNER: We will announce the winner on this page in the April 15th Kansan.
NOTE: Upon entering this contest, you are giving the Kansman permission to use your name in this newspaper and on buses, floppy-shaped clowns and billboards around the world for the rest of your life. (Just kidding about the billboards.)
Good Luck! Bonne chance! Buy Bonds!
BEST PICTURE:
BEST PICTURE
A. "E.T. The Extra-Terrestrial," Universal
B. "Gandhi," Columbia
C. "Missing," Universal-Polygram
D. "Tootsie," Columbia
E. "The Verdict," 20th Century-Fox
BEST PERFORMANCE BY AN ACTOR:
BEST PERFORMANCE BY AN ACTOR:
A. Dustin Hoffman, "Tootsie"
B. Ben Kingsley, "Gandhi"
C. Jack Lemmon, "Missing"
D. Paul Newman, "The Verdict"
E. Peter O'Toole, "My Favorite Year."
BEST PERFORMANCE BY AN ACTRESS:
A. Julie Andrews, "Victor-Victoria"
B. Jessica Lange, "Frances"
C. Sissy Spacke, "Missing"
D. Meryl Streep, "Sophie's Choice"
E. Debra Winger, "An Officer and A Gentleman."
REST SUPPORTING ACTOR
A. Charles Durning, "The Best Little Whorehouse in Texas"
B. Louis Gossett Jr., "An Officer and A Gentleman"
C. John Lihgow, "The World According to Garp"
D. James Mason, "The Verdict"
E. Robert Denton, "Victor Victoria"
D. James Mason, "The Verdict"
E. Robert Preston, "Victor-Victoria"
BEST SUPPORTING ACTRESS:
A. Glenn Close. "The World According to Garp"
B. Teri Garr. "Tootsie"
C. Jessica Lange. "Tootsie"
D. Kim Stanley. "Frances"
E. Leslie Ann Warren. "Victor-Victoria."
BEST ACHEVEMENT IN DIRCTING A. Richard Attenborough, "Gandhi"
B. Sidney Lumet, "The Verdict"
C. Wolfgang Petersen, "Das Boot"
D. Sydney Pollack, "Tootsie"
E. Steven Spielberg, "E.T."
BEST FOREIGN LANGUAGE FILM
BEST POPULAR LANGUAGE FILE
A. "Alsino and the Condor," Nicaragua
B. "Coup de Torchon," France
C. "The Flight of the Eagle," Sweden
D. "Private Life," Soviet Union
E. "Volver a Empezar," Spain
BEST ORIGINAL SCREENPLAY
A. Barry Levinson, Diner
B. Melissa Mathison, "E.T."
B. Melissa Mattson, D.V.
C. John Briley, "Gandhi"
D. Douglas Day Stewart, "An Officer and A Gentleman"
E. Larry Gelbart, Murray Schisgal and Don McGuire, "Tootsie."
BEST ADAPTED SCREENPLAY
B. Costa-Gavras and Donald Stewart, "Missine."
mg C Alan Pakula "Sophie's Choice"
C. Alan Pakula, "Sophie's Choice"
D. David Mamet, "The Verdict"
E. Blake Edwards, "Victor-Victoria"
BEST ORIGINAL SCORE
B. Ravi Shankar and George Fenton, "Gandhi"
C. Jack Nitzsche, An Officer and A Gentleman
Jim Goldsmith, "Poltergeist"
D. Jerry Godswall, Forgegess
E. Marvin Hamlisch, "Sophie's Choice"
BEST ORIGINAL SONG
B. Michel Legrand and Alan and Marilyn Bergman, "How Do You Keep the Muskets?"
A. Jim Peterik and Frankie Sullivan III, "Eye
C. John Williams and Alan and Marilyn Bergman, "If We Were In Love," in "Yes,
Dave Grusin and Alan and Mairlyn Bergman, "I Might Be You, in 'Bootsie'
Willen," in *White-Marie and Will Jennings*, "Up Where We Belong," in "An Officer and a Gentleman."
D. Dave Grusin and Alan and Marilyn
BEST CINEMATOGRAPHY
B. Allen Dávau, "E.T.
C. Billy Williams and Ronnie Taylor "Gandhi"
A. Jost Vacano, "Das Boot"
B. Allen Daviau, "E.T."
C. Billy Williams and Ronnie Taylor, "Gandhi"
D. Nestor Almendros, "Sophe's Choice"
E. Nicholas Chin, "Sophie's Choice"
BEST COSTUME DESIGN
A. John Mollo and Bhunu Athaya, "Gandhi"
B. Piero Tsoi, "La Travinta"
D. Rizzo Witsky "Sophora's Choice"
R. Rizzo Witsky "Sophora's Norton, 'Tron'
E. Patricia Nestor
BEST VISUAL EFFECTS
B. Carlo Rambali, Dennis Murren and Kenneth Smith, "E.T."
Bouglas Trumbler Richard Vuricich and
B. Davie Rambaldi, Dennis Murren and
B. Carlo Rambaldi, Dennis Murren and
REST DOCUMENTARY FEATURE
C. Richard Edmund, Michael Wood and Bruce Nicholson. "Polteretress."
D. "Just Another Missing Kid," John Zaritsky
Canadian Broadcasting Corp.
A. "After the Axe," Sturla Gunnarsson and Steve Lucas, National Film Board of Canada
B. "Ben's Mill," John Karol and Michel Chalfour, Public Broadcasting Associates
C. "In Our Water," Meg Switzgable, Foresight Films
E. "A Portrait of Giselle," Joseph Wishy,
Wishun Prods.
BEST DOCUMENTARY SHORT SUBJECT
A. "Gods of Metal," Robert Richter, Richter
Prods.
B. "If You Love This Planet," Edward Lee Lrair, Legan National Film Board of Canada
C. "The Klan: A Legacy of Hate in America," Charles Guggenheim and Werner Schumann.
D "To Live Or Let Die," Freida Lee Mock,
Film Foundation
E. "Traveling Hopefully," John Avildsen, Arnaultfonus Films.
ADDRESS:
KU AFFILIATION:
DID YOU CHEAT?
DID YOU HAVE A GOOD TIME? ___
KANU show features five hours of folk songs
Staff Reporter
By LADONNA LONGSTREET
The Flint Hills Special is one of the few sources of radio-broadcasted bluegrass in the area, said Darrell Brogdon, program director.
Local bluegrass fans do not have to wait for the Walnut Valley Festival or touring bands to hear the music of Earl Scruggs, the White Sisters and other folk musicians.
Five hours of folk tunes and Irish bards await listeners on KANU 92 FM every Sunday from 7 p.m. to midnight, the airing of the Flint Hills Special.
"We have a lot of contact with our audience," he said.
"IT FILLEDAS in the community," broodon said. "P folk music and bluegrass is not what I expect."
Michael Allen, co-host of the Flint Hills Special, which is named after a song by Scruggs, said the program was only about an hour long when KANU started broadcasting bluegrass in the early 1970s. Some people have listened faithfully to it for 10 years, he said.
People who enjoy this type of music seem to be more vocal, he said, and call in requests and messages.
In 1981, the show, which always begins with Scrubgs' banjo solo, was expanded to five hours. Today, it is divided into segments. Rick Desko, producer, and Allen play old-time and folk music from 7 to 8 p.m.; bluegrass from 8 to 9:30 p.m.; recordings from the Walnut Valley Festival from 9:30 to 10:30 p.m.; and Irish records from 10:30 to 11:30.
"DURING THAT last half hour we will play just about anything," Allen said. "Usually it gets pretty bizarre."
He said they had played finger-picking ragtime and Bulgarian folk during the final
Sometimes musicians who are traveling through Lawrence have played on the show, as well.
Another popular segment of the program, he said, is Irish folk music.
"The live shows are a highlight," he said.
The network recently dropped Ballads, Bards and Bagpipes, a series produced by KCUR in Kansas City, Mo., though, because of lack of funding, he said.
Now, Allen said, they are just playing Irish music from their collection, which consists of
"We get records from many sources," he said. Companies sometimes send the station promotional copies of new releases, and KANU has bought many. Some people donate extra records when they want to hear a certain artist the station does not have.
Artists themselves send copies of their albums, he said, because the exposure helps them. People call in requests so that they can hear albums before buying them.
Chamber orchestra stars prized flute, soloist
flutist for the Orchestre de Paris since 1967. His flute, considered an equivalent of a Stradivarius violin, was made by the famed flute maker Louis Lot.
Murphy Hall Box Office. All seats are general admission. Tickets are $8 for the general public and $4 for students and senior citizens.
A free shuttle-bus service will be available from the KU parking lots west of Murphy Hall and east of Allen Field House.
The program is part of the University of Kansas Chamber Music Series.
BY JOHNNIE BETH FISCUS
Lawrence area residents soon will have a chance to solve the mystery of poet Emily Dickinson's life for themselves.
Staff Reporter
The Lawrence Community Theater will present "The Belle of Amherst" and "Come Slowly Eden" on alternating nights at the Lawrence Arts Center, 6th and Vermont streets, from April 6 to 10. The two plays focus on the life and poetry of Emily Dickinson.
Dickinson was best known for her love poems, but the inspiration for her poetry remains a mystery, said NaN Scott, who will play Dickinson's sister. Lavina, in the plays.
Tickets for the concert are on sale in the
In her later years, Dickinson withdrew from the world and became a recluse and her only contact with reality was her poetry, she said.
France's Toulouse Chamber Orchestra, featuring Michael Debost playing a 110-year-old flute, will perform at 3:30 p.m. Sunday at the Plymouth Congregational Church, 925 Vermont
"THE PLAYS are companion pieces," Scott said. "They present two different biographical views and two different slants to Emily Dickinson's life."
"The Belle of Amherst" will play April 9, 7 and 10 at 8 p.m. It is a two-and-a-half hour, one-woman show that focuses on Dickinson and the inspiration for her poetry, Scott said.
"It is physically draining for an actress to be up on stage that long, not to mention doing things like singing."
“Come Slowly Eden” begins with Dickinson’s sister and editor runnaging through her stories, which have been published by *The New Yorker*.
"THROUGH A SERIES of flashbacks they try to see how the poems are linked together. They are looking for possible life inspirations for the poems," Scott said.
- admission to all performances will be $4.*
Art Sloan, director of both plays, will be available for $10 to watch at one time, this was a unique experience which challenged both the actors and the audience.
"Come Slowly Eden" will play at 8 p.m. April 6 and 8. A matinee will be given April 10 at 2:30 p.m.
Slaan said he decided to present both shows and let the audience decide the truth of Dickinson's life. To link the play together, he wrote a short essay, *Sally McNall*, an English lecturer at KU.
The 12-piece ensemble, directed by Georges Armand, will feature Debost, the principal
THE SAME BASIC set design also is used in both nlws. he said.
Other members of the cast are Ambree Saricks, KU professor of history, who plays Dickinson's strict, overbearing father; Stan Kramer, who plays one of Dickinson's beaux; Charles Whitman, who plays her editor; Mark Kramer, who plays Dickinson's brother; and Chris McKenzie, who plays the Reverend Charles Wadworth. Dickinson's secret love.
"The only problem we have had is that many of the lines are similar and the same poems are used in both plays." Slaan said, "but the actors must an excellent job at remembering their lines."
Lane Dexx of the KU facility planning staff designed the sets for both shows.
Wall of Voodoo' casts spell on New Wave fans at KU concert
Marc Moreland, guitarist for Wall of Voodoo, performed with the band in the Kansas Union Ballroom Monday evening. The band, described as Tex-Mex new wave, neo-Neanderthal or metropolitan rodeo, played its hit single "Mexican Radio," from its current album, "Call of The West."
David Waterman/Special to the KANSAN
By LAUREN PETERSON Staff Reporter
Some call it it metropolitan rodeo, neo-Neanderthal or Tex-Mex new wave. But whatever you choose to call the music of the Wall of Voodoo, it's unique and rising on the charts.
Eight hundred fans, in dress ranging from black leather jackets and skinny red ties to starched powder-blue button-downs, gathered Monday night in the Kansas Union Ballroom to make their own judgment about the Los Angeles-based band.
"I saw them on MTV (Music Television Station) and American Bandstand," Lisa Ogburn, Overland Park sophomore, said. "Their hit single 'Mexican Radio' is great like the way they sound."
The group kept the best for last as Stan Ridgeway, loud vocalist, broke into his lemonade-tart voice singing the hit single's quote of the month, "I wish I was in Tijuana eating barbecued iguanas."
THE SINGLE "MEXICAN RADIO," off their eight-month-old album, "Call of the West," is at 84 with a bullet on the Billboard singles chart, while the album is at 46 with a super bullet on the Billboard album chart.
The video features the group in a desert setting, flashing from scenes of an iguana on a rotisserie above an open fire to the lead singer's headooning up through a bowl of beans.
Unfortunately, the twelve songs played before the hit were not enough to arouse the crowd's excitement.
Marc Moreland, the guitarist who had the idea to write "Mexican Radio" when he was in a Tijuana grocery store store tequila and heard new wave music in Spanish blasting from an artist's studio video on YouTube. Television Station had helped to popularize its music in the Midwest.
THE FACT THATIbe Wall of Voodoo has carved out such a unique style with its odd rhythms, strange sensibilities and moody synthesizer passages seems to have caused the band to endlessly repeat itself with slight variations.
accidents and crimes seemed to part of the manhua
MARC MORELAND, guitarist, said before the
Ridgway's voice was tough to hear over the din, even on the front row.
The twangy lead guitar, the dry rhythm guitar and the programmed rhythm machine accompanied by percussionist Joe Naniun's peculiar beats. The intriguing oddities were powerful, almost too powerful.
The band looked washed out, but the somber faces and clothes seemed to be part of the image.
concert that the origin of the quintet's name could be traced to the ACME Soundtracks, a company that he and Ridgeway started in Los Angeles in 1977.
Ridgway said that soundtrack buyers did not approve of their company's name, so they needed a catcher one.
"When Marc and I were involved in the soundtrack company, we were big admirers of the Phil Spector 'Wall of Sound,' " he said.
"One dark and stormy night we were in our studio mixing down some ACME soundtracks and it was pretty creepy because the machines kept going on and off. There was something wrong with the power. The fuses kept blowing.
"Marc leaved over to me as this was going on and said, 'Stan, this is no longer like a "Wall of Sound," and I said, 'Yeah, it's more like a "Wall of Voodo."'"
0
THE SOUNDTRACK company changed its name the next day, he said, and the band later.
Moreland said that after the group's two month tour of the United States, they would go to England to do a few television concerts and then back to Los Angeles to make a new album by
He said there would not be any drastic changes in the new album.
"It'll be good old Wall of Voodoo," he said.