8
Monday, June 4, 1979
Summer Session Kansan
Kuby...
From page one
He was held briefly in jail and released after a 500 bill was posted that night.
Kuby said he chose the location to display the banner in accordance with guidelines in Articles 8 and 17 of the Code of Student Rights, Responsibilities and Conduct.
A STUDENT, according to these articles, may not cause a disruption or obstruction of University activities. The code also provides for freedom of peaceful protest, if the protest does not interfere or obstruct University activities. The University community have a right to be.
But Thomas said the banner violated a Kansas Board of Regent rule that prohibits a display of political advertisements in enclosed areas of the campus devoted
"Even though there is no lid on the stadium, it was still considered an enclosed area." Thomas said. The decision to remove the waned bag was not based on its content.
primarily to instruction, or in other enclosed areas during non-political events.
BUT KUBY contends that the banner was not political advertising.
He said the University had consistently defined "political" in the Board of Regents' regulations as "electromoney," or political finance, for public offices and issues on a ballot.
Thomas said that banners should be checked with the commencement committee before use.
A member of the commencement committee, Downer Dykes, professor of design.
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said banners must be approved by the commencement committee before the commencement.
Chancellor Dykes said Saturday that he and Mike Davis, University General Counsel, would not comment on the incident. A spokesman complaint was filed with the chancellor's office.
"I AM holding the Chancellor personally responsible for the incident. I don't know whether his involvement was direct or indirect, but his antipathy toward freedom of speech has contaminated the atmosphere of the University."
Kuby's complaint is being typed and will be sent by registered mail this week to those charged, according to J. Hammond McNish, the university chair and chairman of the University Judiciary.
CHANCELLOR DYKES he found it difficult to believe that free speech was interference with the distribution of pamphlets handed to graduates as they processed toward the stadium. The pamphlets also protested KU investments in
Chancellor Dykes said, "We do not now know the nature of the charges, but if the University police made a mistake then, of course, we'll make corrections."
The issue, Chancellor Dykes said, would be decided when it was determined whether the code prohibiting political advertising violated the campaign policy is correctly interpreted by the campaign police.
The Whitenight's
Davis will determine the definition of notical advertising; the chancellor said.
"Good legal opinion must come from the university's counsel," he said. "His wished to have a court hearing."
But Kuby said that Davis had a conflict of interest because he would be representing the University at the same time he determined the definition of political advertisements.
After meeting with the chancellor next week, SenEx will give its opinion on whether a rule was violated, according to Gerhard Zathmer, SenEx spokesperson.
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ANDREA L BERNSTEIN
Billie&Rossi
TV's Ace Reporters
BY DAVIN SEAY
For two seasons *Low Grant* has been providing voyeurs of the vast wasteland an hour of good taste and originality. At a time when Fred Silverman and his scanty clad mimes seemed to have witnessed the malignant witnessness, the folks at MTM Productions, who for seven years elevated the situation comedy to an art form with The Mary Tyler Moore and Bob Newbart Shows, came through again with good scripts, multi-dimensional characters and exceptional ensemble acting. Ed Amor is gruff but charming, and she is Charife, the managing editor; Nate Marchand as Mrs. Pynchon, the elegantly aceric publisher; Daryl Anderson as Animal, the grubby photographer; Jack Bannon, as Donovan, Grant's witi, vested assistant; and Linda Kelae as Billie Newman, the woman reporter who always seems to be unlikely like Robert Walden as Joe Rosni, the paper's ace reporter, an obvious, overbearing sort.
Grant's health disdain for Rosa's personality, coupled with his respect for Rosa's talents, are evident in many shows; with Donovan's running commentary on the "this personality entitle" provides low-key humor in an otherwise dramatic series.
Like most other members of the cast, most Kelsey and Walden have had extensive training in summer stock and off-Broadway productions. They also have a great number of guest sports on shows such as *Rhoda*
Harry O. The Bold Ones, Mary Tierney Moore and the Rockford Fisks. Walden, additionally, has logged considerable time in films, including a newspaper drama, All the President's Men.
"Somehow my fief's tired up with these two professions," Walden murmels beneath the responder greenery of La Serré, one of L.A.'s more orientated showbirds big. Habitats like a park or a resort, in which a promotional trip to the Fiji Islands and Australia, the unmarried, Mahnmann-born actor is dressed with impeccable casual wear and tweed jacket, setting off nicely his knee-length glistening brown eyes. Though short of conventional good looks, Walden has a nearly perfect actor's face, memorable in his hairstyle, that linger long after an initial encounter.
"Before I got this job I was trying to work the networks on a show called The Muckrakers, about a male/female investigative journalism network that was lined up for the script, but when the inevitable delays developed, he dropped out and started writing Allred States. I still might do it."
Although he never worked professionally as a reporter, Walden seems singularly well suited for the role of Rossi, whom he calls, with an actor's habitual pride transfer, in "A Christmas Day Doubt." Aside from teaching acting at San Francisco's American Conservatory Theatre a few years ago, Walden is a scriptwriter between jobs and has also contributed to a number of newspapers nationally and internationally, including the New York Times where he never write about show business; he "assert that as a direct conflict of interest."
With a storyteller's love of anecdote, he recounts his recent experience with Australian journalism. "When I got over there I was asked to a piece for a piece daily in Sydney, in
so I gave them a piece about my recollections of bomb drills in school. I was sure everytime I heard that alarm go off that it was the real thing . . . lights out time. It was a good piece, but they're funny over there, very dry. Just the news, that's all, no gossip, no local color and here I was giving them a feature length film. They 'tan the first paragraph'. His laugh is funny, the displaying, well-tended teeth—the television industry's truest measure of success.
"The show is required viewing in some journalism school," he continues, still on the subject of his own and Loa Grant's journalistic credentials. "I think that because we go to great lengths to present the workaday side of journalism, I need a reminder to be a glamour industry. A lot of times reporters report seems positively pedestrian. For example, I think All The President's Men glamorized the business far more than Loa Grant ever does. As far as acting and reporting goes, I think being an actor for 15 years really helped me play Rossi. Both professions involve observing minute behavioral details; I have the amount of research necessary to do either job. In my experience, the research is sometimes the most exciting aspect of the job."
Conversation strays into the success of the series and television's current state of health. "Low Grant" is a hit show because there is an absolute dearth of intelligent programming in America, "Walden" flatly states, "Greeed is the prevailing motivation . . . the profit motive, but that it's obvious. Beyond the fact that it does not include any and no car chases, Low Grant works best as part of a bureaucracy that almost anyone who works for a living can identify with."
"We have one of the few shows where people can accept there not being an answer It has no set formula, it's not a comedy or a drama, but it's got elements of both. That, in itself, is very unusual. There was a time when all we were doing was splashing around in an
E
June, 1979
enormous talent pool, trying to get out, footing, to discover what the show was all about. *Loan Grant* is the first example in TV history where a character's been taken out of the show and deprived. If you don't think that set Chelsea can . . . "a waved forgate the whole form,"
"There isn't much satisfaction in being a television actor," he admits, pushing away the cold fish for another glass of criminally expensive wine. "The only real benefit is in having an audience. It also gives access to people and places. Of course, the financial rewards are considerable, but I don't measure my life that way. Besides, it's hard work. Exhausting. The human mechanism just doesn't function that fast for me." But when he calls 12 hours a day for 9 months at a time.
Walden confesses a certain nostalgia for the theater, where he first picked his trade: "I turned down a part as one of the heavies in Who I Stop the Rain, a really underdressed film, because it was not a series, to do a show here in L.A." The play, *A History of the American Film*, is described by Walden as a mixed-media extravaganza which gave him a chance to play several juicy roles. It also takes us to the theater at that some point I can afford to return to the theater. But, listen, I'm not complaining. I've got an apartment here in Los Angeles, a beach house in Malibu where I do my work. I may even get a business manager I'm happy with the way things are for the time being."
Does he ever experience the fear of type-casting, of being tied to one role for the rest of his professional life? His answer reflects the same attitude. "I've learned predominant personality trait," I know my own versatility," he replies, "I've played every . . . junkies, hillbiles, physical and mental cripples. Rossi, basically, is just a little bit more like me. There's a lack of sophistication . . . at least I like to think so. I can identify with him, but he's very much a separate entity. There's people inside and outside this industry who know I know what I'm doing, but it's not something that keeps me up at night."
Lunch over, Walden passes the check, without a glance, to the MTM publicist. "I'm grateful for *Lou Grant*, he concludes, and I think the people who watch the show will be amazed at her the place and when I talk to their attitude is, ' Thank you for not imitating us.'
wake later, Linda Kelsey has grabbed an hour for lunch between some final takes on the show's last episode for the season. La Sere has suspended a few more Boston fists and upped its prices a couple of bucks. With expense accounts in evidence (this time it's Linda's personal manager who does the honors) nobody's counting, least of all Linda, who will shortly be on a promotional tour of her own, to be asked.
"It's a amazing," she observes, "people really think I'm a reporter." More petite than she seems on television, Linda carries herself with careful dignity; there is a finishing touch to her makeup, in the dress, a combination of understated dress — muted beige jacket with matching mid-calf skirt, sensible, low-heeled shoes and a deliberately neutral blouse, opened one ear and cropped up so that the tasteful make-up — a touch of rouge, no lipstick, no eye-liner — and good posture. Her carriage, in fact, is remarkable in its precision: her spine straight, barely touching the ground, but sitting entirely meal, the food (veal today) ascending, the mouth never descending. A generally