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Harvard Production
Chosen For BMI Award
“The Devil Touched My
Tongue,” written by Josh
Rubins, produced by the
Kadcliffe Grant-In-Aid Society
of Harvard University, is the
winner of the Fourteenth annual
BMI (Broadcast Music Inc.)
varsity show competition. The
same composer and
organization won last year's
BMI award. An award of SI,OOO
was made today to Mr. Rubins,
composer and lyricist of the
production, and SSOO to the
Harvard sponsoring
organization.
An honorable mention cer
tificate was also awarded to Avi
Kriechman, composer and
lyricist of “Counterpoint,”
sponsored by UAC Musket ’74 of
the University of Michigan.
Jerry T. Bartlome, composer
and lyricist of “Merlin,”
sponsored by Alpha Kappa
Chapter of Phi Mu Alpha Sin
fonia of Ohio University,
received a second honorable
mention certificate.
The BMI varsity show
competition isopen each year to
student composers and lyricists
Poet’s Corner
He sat beneath a fruit tree
And thought of his coming
He saw himself walking upon this place
And he saw himself from the point of looking,
He was of wisdom
Though he had done no great deeds,
Nor wore a flowing beard of cloud white,
He saw much of what surrounded him
Knowing there was much more than time
would allow him to see
His mind awakened,
And was stimulated,
He learned
He learned that to see is the key by which we
move
To understand is the knowing for moving
correctly,
Lastly,
He learned of love
That final element
Which is the reason for doing all.
—Katz
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on college campuses in the
United States and Canada.
Prizes totaling $1,500 are
awarded to the producing
organization and to the writers
of the best show.
The panel of judges for the
14th annual BMI varsity show
competition included the
following: composers Richard
Adler. Jerry Bock, Gretchen
Cryer, Nancy Ford, Sheldon
Harnich and Robert Sour;
producers Ira Bernstein, Barry
Brown, Joseph Cates, David
Cogan, Shelly Gross, Albert
Hague, Joseph Harris, Richard
Hummler, Lorin Price, Cyma
Rubin, Les Schecter, Barbara
Schwei and Leonard Sillman.
Lehman Engel, director of
BMl’s Musical Theater
Workshop and BMI executive
Stanley Catron also served as
judges
Rules for the 1974-75 BMI
varsity show competition,
which closes June 30, are
available from Allan Becker,
Broadcast Music Inc., 40 West
57th Street, New York, New
York 10019
WEST GEORGIAN
ENTERTAINMENT
Movie Review
Reynolds Scores In *Longest Yard ’
BY KRIS CRADDOCK
The movie “The Longest
Yard” has something for just
about everyone. For the women
there is Burt Reynolds, of
certerfold fame, and for the
men there is plenty of rough
football.
Cavett
Comedian Shows Wit
A REVIEW
BY CHUCK CARTER
“Cavett,” by Dick Cavett and
Christopher Porterfield. 373
pages. Harcourt, Brace,
Jovanovich. $8.95.
Dick Cavett is a true genius of
comedy. Instead of spending
time trying to develop gag-line
routines, Cavett sets out to
capture such provocative types
as Katherine Hepburn, Orson
Wells, Marlon Brando and
Lester Maddox to appear on his
late night talk show. Asa host,
lie questions his guests with
intelligence and humor.
In “Cavett,” he brings these
talents so frequently used on
stage into a world of black print,
and the result is a most
imaginative account of how it
feels to be a famous television
star.
The book is set in the form of a
talk show with Cavett the sole
Burt Reynolds has finally
broken his mold as a male sex
symbol with his role in “The
Longest Yard”. In the film,
Reynolds portrays an ex
professional football player who
had been paid off for throwing
football games. He plays a
character who is totally self-
guest. The host is Christopher
Porterfield who was once
Cavett’s roommate at Yale and
now is executive producer for
Cavett’s production company.
This literary format works well
even though Porterfield’s
questions seem to be a bit too
long. The questions do allow
Cavett to describe his boyhood
in Nebraska as well as some of
his personal traumas in high
school.
Upon graduating from Yale,
Cavett sought fame and fortune
in New York. After several
small acting assignments, he
sneaked backstage to give Jack
Paar a two-page monologue he
had written for the renowned
talk show host. Paar used the
material that very night and
hired Cavett as a comedy
writer. This was the beginning
of a rather long and often
bumpy rise to stardom.
With the same entertaining
and witty style that has earned
him an occasional Emmy
award, Cavett lavs it all out on
the table, and along with
Porterfield, has assembled one
beautiful interview.
At certain spots in the book,
the reader may feel as if he is
reading an old script left over
from “This Is Your Life,” but
these are almost totally over
shadowed by the good points.
So, if you want a good time, I
urge you to either beg, borrow
or steal a copy of this book.
Then, settle back in your
favorite chair and watch Dick
Cavett walk through the looking
glass on his way to “Never-
Never Land.”
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THE WIST GEORGIAN NOVEMBER I, |74
centered all his life until he is
finally put in prison.
Reynolds is put in prison for
assaulting his girlfriend,
stealing her car, and abusing a
policeman. Only after he is
placed in prison, does he begin
to change. Reynolds begins to
care about his fellow prisoners,
and he even sacrifices early
parole in order to win a football
game for the prisoners.
Eddie Albert is outstanding as
the egotistical prison warden,
who is also a football fanatic. He
cares about nothing but winning
and will go to any extreme in
order to achieve victory on the
football field.
“The Longest Yard” is worth
seeing even if you do not like
Burt Reynolds or football. This
film is one of the rare ones
because it is thoroughly en
tertaining from beginning to
end.
Records
Jefferson Starship-Dragon
Fly (Grunt Records) featuring
Grace Slick and Paul Kantner.
This is progressive inventive
sound, yet retains the consistent
quality that has marked Jef
ferson Airplane in the past
years.
Aside from the dynamite
lyrics of Kantner, being belted
out by Grace Slick, there is the
incomparable violin of Papa
John Creach helping out. All in
all, this is the sort of album you
could expect from Starship.
John B. Sebastian-Tarzana
Kid (Warner Bros.) Over the
years we’ve seen John
Sebastian move from the catchy
bubble gum lyrics of such songs
as Daydream, being recorded
by the Lovin’ Spoonful, to the
spacy lyrics of magical con
nection. He has now moved to a
down home Grass ~ Roots
approach to music. The serious
follower of John Sebastian
should consider this a pleasant
change in the direction of his
music. (Lynn Parris)
9