The Baltimore Sun from Baltimore, Maryland on September 21, 1987 · 9
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The Baltimore Sun from Baltimore, Maryland · 9

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Baltimore, Maryland
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Monday, September 21, 1987
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9
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THE SUN Zl n SECTION Personalities Movies Television Comics (Ml MONDAY, cnx SEPTEMBER 21, 1987 J8 New Miss America backs AIDS testing but hedges on 'safe sex' Associated Press Atlantic City, N.J. The newly crowned Miss America 1988, Kaye Lani Rae Rafko, is a nurse who said yesterday she believes in mandatory AIDS testing but is not sure if she'll be allowed to promote safe sex in her new role. Miss Rafko, 24. of Monroe, Mich., of Ukrainian ancestry in spite of her Hawaiian name, was quizzed by reporters during a morning news conference while the other competitors were packing to return home. (Miss Maryland, Tammy Alaine Walker, 21, of Kingsvtlle, a student at Towson State University, was among the top 10 finalists. For the talent segment she sang "Don't Rain on My Parade.") Until she became Miss America Saturday night, Miss Rafko was a registered nurse at a hospital In Toledo, Ohio, working with terminally ill cancer and AIDS patients. The pageant winner said she advocates mandatory blood testing for everyone to halt the spread of acquired immune deficiency syndrome. "Why not? We have blood tests," she said. "This is important. This is affecting everyone." Miss Rafko also believes the public needs to be better educated about AIDS, especially that the fatal disease is said to be transmitted only through blood and semen. "People don't understand the disease and Its transmission, and I understand how they feel," she said. "But I have gone up to AIDS patients and held their hands without wearing gloves." Miss Rafko hesitatingly looked at officials from the Miss America Pageant when asked if she would use her title to promote safe sex. "I'm not sure about working with the Miss America program what's within rules and regulations," she said. Based on her medical background, though, she said: "I would say the best thing Is abstinence. But you know that people . . . are going to perform the sexual activity, and I think (it's important that they're Just well-educated on how See WINNER, 8B, Col. 3 J f Mi-s i ASSOCIATED PRESS Kaye Lani Rae Rafko is crowned by Kellye Cash, Miss America 1987, Saturday night In Atlantic City. '"if-,.",',. - ; , 47 u ASSOCIATED PRESS John Larroquette of "Night Court" shows his affection for the Emmy he received last night as best supporting actor In a comedy. Bonnie Bartlett, below, of NBC's "St. Elsewhere," displays her Emmy for best supporting actress in a comedy series. MmummmmiM mm I. v t NBC RULES THE ROOST 4L.A. Law 'Grolden Girls,' Tear in the Life' win top Emmys; Fox, McClanahan honored By Bill Carter Sun TV Critic Last night's Emmy Awards telecast was unusual for the worthiness of most of Its winners and a lot of Its Jokes. Except for those Intimately Idiotic moments backstage, it wasn't a bad show, either, for an awards show, which brings it to the level of upset of the year. For the most part it was another night for NBC to prove it still holds the patent on putting the better shows on television. NBC won the bulk of the major series awards of the evening Including "L. A. Law" for outstanding drama series and "Golden Girls" for outstanding comedy series. It also got the awards for best lead comedy actress (Rue McClanahan, "Golden Girls") and actor (Michael J. Fox, "Family Ties"). It also grabbed the mlnlseries award for "A Year In the Life." In addition, you could say that the honorary awards given to Grant Tinker and "Hill Street Blues" basically were celebrations of NBC's decade-long television renovation project. But the other networks got a few trophies for their most esteemed representatives. ABC had Bruce Willis, the man who has made "Moonlighting" whatever the heck It is. He got the Emmy for best actor in a drama series. . CBS had Sharon Gless, who was the expected winner of the Lead ActressDrama Series for her showcase role of Chris Cagney's descent into alcoholism on "Cagney and Lacey." For the first hour or so it looked like NBC might pitch a shutout, winning the first seven major awards announced. NBC had winners with one name (Jackee of "227," who won as supporting actresscomedy series) and winners with three names (Gary David Goldberg, who won for writing on "Family Ties.") John Larroquette proved he should get permanent possession of the supporting actor In a comedy prize, taking his third In a row for "Night Court." (He also made a respectably funny speech again, especially when he thanked "whoever Is responsible for getting Michael J. Fox out of this category.") "L.A. Law" wound up as NBC's biggest winner, taking five awards (it received 20 nominations), including the writing and directing prizes as well as the best drama show. Not bad for a rookie. Looks like NBC's string won't be ending too soon. But the evening's other big show belonged to CBS: the movie "Promise," which took all the key awards in the drama special category, Including best drama and best actor. The latter was won by James Woods, who beat out co-star James Garner, the night's sentimental choice, and Randy Quaid, who lost despite a once-ln-a-lifetime perfor- I Jackie Gleason, who died this summer, was among those saluted during last night's Emmy awards ceremony. mance as Lyndon Johnson in "LBJ." Gena Rowlands got another ma-)or award for ABC in a mild upset over an awesome field as best actress In a drama special for her work In the TV movie "The Betty Ford Story." For a hostless show the telecast moved surprisingly well, and even included more passably written )okes than about four Oscars shows put together. Maybe that's because the producer imported some comedi- See EMMYS, 5B, Col. 1 MUSIC U2 delivers despite RFK's uneven acoustics By J. D. Considine Sun Pop Music Critic There are basically two ways to approach an event such as the U2 show at RFK Stadium in Washington last night. On the one hand, it can be looked at as a matter of exclusivity. After all, 40,000 seats sold out In record time late last month, tickets for U2 Instantly became the hottest in town. Merely having them being able to say you were there while flaunting the ticket stub the next morning could be reward enough. On the other hand, It can be considered strictly in concert-going terms. Right now, U2 has a reputation as one of the top two or three live acts In rock; seeing the show from this perspective then becomes a matter of comparing last night's workout against previous performances. Which was the more profitable choice? Frankly, that depended upon where you were sitting. Down on the field, where the patrons were no further from the stage than they would have been In an indoor arena, the sound and view were wonderful. Back behind the lawn seats, in the center of the stands, the sound was still serviceable, If a bit boomy. Off to the sides, things were even worse, with the sound growing progressively muddier the higher and closer you got. Up in the press box, where we reviewers sat, the music ricocheted throughout the evening, creating a persistent, unsettling echo. Not that any of this was the band's fault. After all, U2 didn't build RFK, and the group was no doubt unaware of the arena's acoustic Achilles' heel. Nor, to be honest, was U2's performance otherwise hindered by Its stadium setting. Singer and front-man Bono demonstrated that almost instinctive command of the larger-than-life dynamics required for such a presentation. Addressing the audience with a surprising intimacy, he acted both as cheerleader and commentator, seeming both superstar and equal. Moreover, the band's best songs still managed to get the point across, even if the specifics got lost in the sonic haze. The hits, such as "With or Without You" or "Pride (In The Name Of Love)" were recognizable enough, but the real strength came from the band's instrumental intensity, whether delivering the driving pulse of "I Will Follow," the folkish bounce of "Still Haven't Found What I'm Looking For," or the martial fanfare of "Sunday, Bloody Sunday." BY ROBERT MOTHERWELLTYLER GRAPHICS LTD. The lithograph "Black With No Way Out" (1983) is Included In the Robert Motherwell exhibit at the Cordlsh-Edelson Gallery. Robert Motherwell, taking shape Exhibit displays mastery of means, subtlety of mind By John Dorsey Sun Art Critic Think of Pollock and think of drips. Think of Rothko and think of big, fuzzy squares of moody color. Think of Kline and think of black slashes on white. Think of many of the first generation of abstract expressionists or, as Robert Motherwell termed them, the New York School, and a mental picture comes to mind. But think of Motherwell himself and it's harder to conjure a single Image. Oh, you might think of the huge black circles and rectangles of an "Elegy" painting, but you might Just as well think of an expanse of color with a few straight lines in it from the "Open" series. Or of one of his refined collages, such as "The French Line" (1960). ART One of the reasons Motherwell may not be quite as well-known as the other leading members of his generation is that he is associated with no single, instantly recognizable signature image. As art historian Jack D. Flam has written, Motherwell's "formal repertory Is very broad, from simple, Zen-Uke calligraphs to elaborately worked fugal compositions: from complex networks of angular and biomorphlc shapes to severe rectilinear geometry; and across a range of feeling that moves from the lyrical to the violent to the austerely serene." See MOTHERWELL, 3B, Col. 1 DANCE Carman's 'Reveries' gently launches HCB's fall season By J.L. Conklin Phillip Carman's newest work, "Autumn Reveries," which premiered Friday night at Goucher College's Krau-shaar Auditorium when the Harbor City Ballet launched its second season, is a satisfying, expertly crafted dance that managed to create and sustain an atmosphere of gentle contemplation. The dance is not narrative, there is no plot or locale, but nonetheless Mr. Carman HCB's artistic director brilliantly Invents a world patterned on relationships. Each of the dance's 10 sections is similar to a tableau, In which the dancers flicker by like so many leaves colored by their life experiences and memories. The choreography is totally compatible with the impressionistic music of Leos Janacek. Mr. Carman's fine attention to phrasing, his smooth transitions between sections and the dancers' restrained, gentle gestures further the soft aura of romanticism that envelops the dance. Most noticeable was the section "Good Night," sweetly performed by Deborah Lampman and Karl Coffman. Reminiscent of the period of courtship when every movement and thought is a reflection of each other, "Good Night" began with a couple simply strolling through the space. Each arm movement, extension or curve of the torso was mirrored and shared by the dancers like a private conversation until the pair See DANCE. 3B. Col. 4 Channel 11 expands evening newscast, 4B QMovies, 3B Bridge, ,6B Comics, 6-7B D,Horoscope, 7B Dear Abby8B

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