by Ryan Carssow

Daily Cougar Staff

The Houston special teams has earned a grade of "I" on its mid-season report card.

"I" for inconsistent.

Donald Moffett has returned kicks of 50-plus yards. Punter Thery George has pinned the opponent down within inches of its own goal line. The coverage teams have smothered opponents' kick returners. Trace Craft is a perfect 14-for-14 in extra point attempts.

However, the special teams have yet to make the big plays and dominate a game. At times they have even blown key plays.

The Cougars have not returned a kick for a touchdown, although Moffett did have a TD called back on a penalty. George has kicked punts of less than 10 yards. The coverage teams have missed tackles and Craft missed two field goals against SMU.

"Everyone has to do their job," said special teams coach Frank Gansz. "We've been too inconsistent. If one guy screws it up, it doesn't work."

Craft didn't miss a field goal all season, until the SMU game. His second miss, had he made the 36-yard field goal, would have won the game for Houston.

Craft is now in a week-to-week competition with Auburn transfer Jason Stoft for the place kicking duties.

Head coach Kim Helton said, "I know if this guy misses one more or if the other guy misses one, we'll just go for (a touchdown)."

Gansz was more optimistic.

"He's done well until last week," he said of Craft.

George is sixth in the Southwest Conference with a 38.5-yard punting average. His job is secure because he is the only true punter on the team, but he is still trying to improve his consistency.

"Coach Gansz and I have a couple of little drills we work on," George said.

Moffett has averaged 23.1 yards on kickoff returns. Punt returner Lawrence McPherson was averaging 5.3 yards until a dislocated shoulder against SMU sidelined him for three weeks. McPherson's replacement, Sherman Smith, isn't doing any better. Smith has averaged only 4.2 yards.

Overall, Gansz is pleased with the return teams so far.

"We're blocking the returns properly," he said.

"Donald's not Mel Gray (Detroit Lions return specialist), but he's not a bad return man. Sherman's physical health was the only thing hampering him early in the season. He's got a chance to be a hell of a return guy."

Gansz said he is pleased with the play of Delithro Bell and Alfred Young on coverage teams. He is still looking for a dominating presence, however.

"One week, one guy makes a tackle and then doesn't show up the next week," he said.

Gansz is optimistic about his team's chances for improvement.

"We have potential," he said. "We're gonna put a good game together here soon."

Perhaps then they will raise their grade from an "I" to an "A."






by Tiffany Vaughner

News Reporter

A gathering of UH's African-American students and faculty were reminded of the sacrifices made by the founders of UH's AAS program at Tuesday's kickoff celebration of the program's 25th anniversary.

UH regent Zinetta Burney said that if AAS is to become truly multicultural it must first remember those who paved the way.

Before 1968 there was no African American academic curriculum at UH. When the campus was integrated in 1965, the small number of African American students at UH wanted a curriculum that reflected their community, said Linda Reed director of UH's African American Studies.

"The black student leaders got the attention of the central administration and the students got one course to become part of the curriculum through the history department," Reed said. "The course was taught by Robert Haynes."

"The movement that gave birth to the ASS was the same movement that gave birth to Shape Center. Children from third ward, from the hood, use to come on this campus and sit under the trees by Oberholtzer Hall and learn black history. It was the birth of a conscience," said DeLloyd Parker, Executive Director of Shape Community Center and one of the founders of AAS.

Burney read from a list of demands that, in 1968, were presented to UH by the small group of black student leaders. The group demanded that the African American Studies Program be created, that more black faculty and staff be hired and that more black students be recruited into UH.

They asked that more scholarships and financial aid for black students be offered and demanded fairness in grading and equal pay for African-American faculty and staff. The founders wanted a university-funded black student union and funding for tutorial programs for children in surrounding neighborhoods.

"While the demand for an African American Studies program has been met, the down-side is that the other demands are as much needed today as 25 years ago," Burney said.

Burney said that of the 900 tenured faculty at UH, less than 30 are African American. She said that of the 33,000 students less than 10 percent are African American.

"(However,) I know that the University of Houston's commitment to diversity and increased participation of people of color is real," Burney said, "I believe my fellow regents when they say that diversity is a priority. The creation of this program is one of the many achievements I can proudly point to at the University of Houston." Burney closed by saying that the AAS program at UH is in the position to lead the state of Texas to a more culturally diverse community.

Gene Locke, an attorney with a Houston law firm and another founder of UH's ASS program, said there is still much to be done and that the future of the program depends on African American students.

"You can take the list (of demands) and go over it, and it is almost like we were writing it for 1993. The changes have to be made in the mind set of the minority students here. They have a right to this education and they should demand that that right be executed by the administration," Locke said.






by Yonca Poyraz-Dogan

Daily Cougar Staff

Students are voting this week whether or not to fund athletics separately, instead of giving athletics a fixed percentage from student service fees each semester. However, President James Pickering will make the decision whether or not to present the result of the vote to the Board of Regents.

If passed, this week’s referendum will set a dedicated athletic fee at $34 per student per semester for fall and spring and the nine and 12-week summer sessions. The fee will be set at $17 per student for each six-week summer term.

In addition, the Student Service Fee, which is $96 for students taking nine to 22 hours a semester, will be decreased to $68 if the referendum passes, said Roger Peters, Student Fee Advisory Committee chair.

Since the fiscal year 1988, 35 percent of the student service fees have gone to athletics, regardless of how much the fee is raised. For the fiscal year 1994, the total amount from the student service fees is more than $6.5 million. About $2.3 million, which is 35 percent of the total, out of the whole is expected to go to athletics.

When student enrollment went up, and the student service fees were increased, the Intercollegiate Athletic Department received more revenue generated from the student service fees, said Peters.

If the dedicated fee is increased more than 10 percent over the previous year’s fee as a result of the referendum, the increase will not be effective unless approved by a majority vote of the students.

He said SFAC has been working on the referendum for more than one year.

He said $34 was established by calculating 35 percent the Student Service Fee. This comes out to $33.60, is rounded off to $34, he said.

Conflict over athletics funding is not new to UH administration.

Peters said in 1988, then-UH President Richard Van Horn proposed the elimination of veterans and handicapped student services along with cuts in all other student services.

Van Horn’s proposal would have provided the Intercollegiate Athletic Department as much as 43 percent of the student service fees, Peters said.

He said in response to Van Horn’s proposed cuts, the Students' Association negotiated an agreement that would not allow any student service unit to receive more than 35 percent of the revenue generated from the student service fees.

The agreement was approved by a student vote and implemented by the Board of Regents in 1988.

However, Peters said the problem was that the administration interpreted the agreement to mean that athletics was to receive 35 percent of the Student Service Fee even though SA did not state that athletics should receive the fixed percentage.

Peters said SA’s agreement could have meant that any student service units could receive up to, but not more than 35 percent of service fees. Therefore, administration didn’t go against the agreement but SA could not foresee the result of its resolution, Peters said.

In 1989, the Student Service Fee Planning and Allocations Committee (now Student Fee Advisory Committee) proposed to cut the fee to 34 percent from 35 percent. Peters said the administration declined the recommendations and responded by saying that Van Horn would give athletics 50 percent of the student service fees.

In the 1988 referendum, students thought SA’s resolution was the best way to handle the injustices imposed upon them, Peters said.






by Rivka Gewirtz

Daily Cougar Staff

Faculty Senate members were not apologetic when a poll showed that students do not support the professors' votes to abolish intercollegiate athletics.

Although UH students don't want to pay for intercollegiate athletics, they are against abolishing the entire program according to the poll.

The Faculty Senate conducted the poll to find out just how high student support of intercollegiate sports is.

Out of 300 students polled, 8 percent said they attend games regularly, 28 go occasionally and 64 percent never go at all.

While 60 percent of the students were unaware that 35 percent of their student fees go to athletics, only 20 percent were in support of giving athletics appropriations.

Twenty-two percent of the students said they would rather give the money to the library, 25 percent said that they should be able to keep the money and 24 percent said that the money should be given to other causes in the university.

President of the Faculty Senate George Reiter says that he would be happier if the students supported the faculty's vote, but he believes that the poll shows that students have "very little interest" in intercollegiate athletics.

Reiter said that students don't realize how greatly they are effected financially by intercollegiate athletics. "I don't think students know that there is $5 million dollars of scholarship money on campus and that $2 million of it goes to 250 athletes, while $3 million of it goes to 1,300 students," he said.

Overall, the senate agreed that if athletics were not going to be abolished, they should be tamed.

In reaction to the poll results, which were revealed at a Faculty Senate meeting Wednesday, Senator Robert Palmer proposed a two-part motion asking that intercollegiate athletics become financially self-sufficient and that the athletics appropriations be split between the library and other student needs.

Palmer said the use of the latter 50 percent of the money should be decided upon by a student assembly.

"They (students) know the flashpoint of where student problems are," he said. Palmer added that money could go toward "disastrous" registration and drop/add procedures, student counseling and other clinical services.

The first part of the motion passed with Senator Steve Huber saying that "athletics should be a ship on it's own bottom."

The second part of the motion failed, but will be looked at for further consideration.

Faculty Senate President-Elect Ernst Leiss said that the focus should be more on academics and graduation rates for athletes and less on money.

Reiter said the next step for Faculty Senate is to look into athlete graduation rates and success rates. He also said he wants to talk with Athletics Director Bill Carr to find out Carr's strategy to change the Athletic Department.






by Robert L. Arnold

Daily Cougar Staff

Assault cases plagued UHPD officers over the weekend, making the UH campus a hotbed of crime.

Police started the morning of Oct. 21 by responding to a call reporting the assault of a female student. Cherisse Middleton told police her former boyfriend, Clarence Richardson, had been trying to talk her into reviving the relationship.

Richardson reportedly followed Middleton around campus as she went to her various classes. He continued to follow her back to Moody Towers, where he cornered her in a stairwell.

Middleton managed to maneuver around Richardson to try and climb the stairs. Richardson then grabbed Middleton by the ankle and dragged her down the flight of stairs.

Middleton was taken to the Health Center to be treated for abrasions and bruises to her head, arms, back and shoulders.

While police were taking Middleton's statement, a call came from Moody Tower's coordinator, Juanita Barner, reporting she had seen Richardson.

Police approached Richardson in Lot 1A when he began to run away. Officers finally tackled Richardson in Lot 2B and arrested him.

Richardson has been charged with a class A misdemeanor, assault and a class B misdemeanor, evading arrest.

Another incident occurred in Lot 9C on Oct. 24 when Abel Gallegos-Aguilar flagged down a UHPD officer to ask for directions.

When the officer approached the driver's side of the car, he noticed there was no key in the ignition and Aguilar's hand was swollen and bleeding.

When the officer asked Aguilar to step out of the car, he realized Aguilar had been drinking and prepared to arrest him for public intoxication.

When the Sergeant on duty arrived Aguilar became violent and threw punches at both the officers when they tried to handcuff him.

Aguilar was transported to Harris County Jail and has been charged with a class A misdemeanor for resisting arrest.






by Vincent Barajas

Contributing Writer

Few would have believed in the last years of the 19th century that an anemic-looking Englishman, named Herbert George Wells, would pen a tale where Martians invaded Earth.

Or that it would become a world-renowned classic in his lifetime.

<I>War of the Worlds<P> was (H.G.) Well's greatest opus, the third novel in a classic science fiction trilogy that began with <I>The Time Machine<P> in 1895 and continued with <I>The Invisible Man<P> in 1897.

First published in 1898, <I>War<P> tells this tale of horror from the first person point-of-view. The nameless protagonist recounts the initial interest with which he and the people of England watched the strange green flare-ups on Mars, and how they dismissed them as little more than meteoric or volcanic activity.

His own doubts were given weight by the incredulous observations of his friend Ogilvy the astronomer ("The chances against anything man-like on Mars are a million-to-one").

As the cylinders from Mars crashed to earth, he seamlessly transformed the spectators' initial wonderment into confusion then mild panic as the cylinders remained motionless on the English soil, leaving the natives to ponder the cylinder's ultimate purpose.

Finally, in detailing Earth's brutal conquest by the Martians, the narrator describes the metamorphosis of featureless cylinders into spidery tripeds, each armed with a deadly heat ray capable of disintegrating humans, buildings, or battleships (rather, "ironclads" in the vernacular of the time).

The chapters dealing with Earth's conquest are particularly ominous – those passages reading like a darker, less optimistic version of the <I>Diary of Anne Frank<P> ("There were sad, haggard women tramping by ... with children that cried and stumbled, their dainty clothes covered in dust .... With many of these came men ... sometimes lowering and savage.")

The widespread panic Wells described in print became a virtual reality to American audiences on Halloween night 1938, when classically trained actor Orson Welles broadcast his, now infamous, American adaptation of <I>War<P> on the 40th anniversary of its publication.

For the radio drama, the basic story remained the intact, but with a few significant changes in detail and, or course, the style of presentation.

It was broadcast in authentic-sounding news broadcast style, complete with up-to-the-minute flashes describing the most recent landings of the sinuous red demons.

Tellingly, the "greatest city in the world" was transmogrified from London into New York. Welles' broadcast created such a brouhaha among pre-television media consumers, who took him seriously, that the FCC had to place a ban on any further fictionalized news announcements.

Perhaps feeling that he had played a fine trick before its time, 'Citizen' Welles apologized to the American public the following day – some say, tongue-in-cheek.

The next version of <I>War of the Worlds<P> to invade public perception was the first after its creator's death. Sadly, H.G. Wells did not survive to see '50s producer extrordinaire George Pal's big-budget sci-fi silver screen rendition.

Once more the story was updated to reflect a timely setting, the tripeds giving way to flying saucers, an atomic bomb supplanting the ironclad "Thunderchild" as Earth's last hope.

This movie – like its immediate parent the radio broadcast, and its grandparent the novel – became something of a perennial favorite, which is still popular at video stores and on cable television.

But back to 1978. Eighty years after the source text, a musical version of <I>War<P> was re-remade by an unknown American musician named Jeff Wayne as a double LP. It can only be described as a true period piece.

Although it retained to the original verbiage for the dialogue (projected impressively by none other than Richard Burton), the soundtrack is full-on '70s. The end result is truly collectible: A disco oratorio based on a literary classic.

Nevertheless, the musical version of <I>War<P> is, in many ways, the truest to the Wells' tale. Actual chapter titles from the book become tracks on the album, and many verbatim passages are exhumed, too.

For the music conscious listener, the best contributions to the album come from Justin "Moody Blues" Hayward, himself a veteran cosmic minstrel who previously wrote Moody's tunes on subjects ranging from Merlin the Magician to Doctor Who.

On the musical <I>War<P>, Hayward delivers two numbers, one of which (the haunting "Forever Autumn") became a top-40 hit single when the album was released. The lyrics are filled with sentiments: "Through Autumn's golden gown we used to kick our way/You always loved this time of year/Those fallen leaves lie undisturbed now/Now you're not here."

No new versions of <I>War<P> have been produced since the album. Perhaps this can be attributed to the fact that each time <I>War<P> broke out, it accomplished exactly what its perpetuators sought to achieve in their respective media.

<I>War<P> has, in each of its reincarnations, always been a tough act to follow. Its poignancy remains to this day, nearly a century after its inception.

In 1898, England and the free world stood a fighting chance against any real conceivable threat, and the thought of being as helpless as the terran citizens in <I>War<P> was truly fiction.






by Vincent Barajas

Contributing Writer

Yul Brynner and the T-Rex.

What does the venerable <I>King and I<P> star have in common with Steven Spielberg's thawed out megamonster? Simple. Both have been featured as science-spawned tourist attractions operating "off line" and racking casualties in miracle amusement parks that first opened in the mind of Michael Crichton.

The T-Rex is, of course, the star of <I>Jurassic Park<P>, a movie based on Crichton's novel of the same name.

<I>Jurassic Park<P> is this year's number-one movie, and has the distinction of being the biggest grosser in cinema history.

Yul Brynner was the star of Crichton's <I>Westworld<P>, an early '70s flick that bears some amazing similarities (theme-wise, anyway) to the aforementioned blockbuster.

In <I>Westworld<P> vacationers are offered the chance to escape into the past, or at least a pretty darn good facsimile of it; there to live out their fantasies about the Old West.

The park looks realistic in every detail, but is completely automated underneath its rough surface.

The horses aren't real and neither are the affectionate saloon girls or confrontational gunslingers. The six-shooters <I>are<P> real, but don't worry. The good ol' 'droids are programmed to miss and hence make even the lousiest shot feel like he or she is one of the Magnificent Seven.

That's where Yul Brynner comes in. Silent, dark, and eerie as hell, Yul is the circuit-driven cowboy who's part of the fun for vacationers Richard Benjamin (a familiar face in the 1970s) and Dick Van Patton (the dad from the television series <I>Eight is Enough<P>).

They waste Yul a couple of times and there's no problem. He's back the next day for a rematch, although he's never allowed to win.

That's about when things start going wrong in <I>Westworld<P>.

A computer virus infects the automatons and they start acting irregularly. A facsimile rattlesnake bites the shit out of a guest. An "easy" female android refuses a guest's advances, and wrangler Brynner isn't shooting to miss anymore.

He stalks his former superiors all over the grounds with the same dogged conviction of <I>Jurassic Park<P>'s flesh eating 'raptors.

As in <I>Jurassic Park<P>, the scientists who started it all watch helplessly from their centrally located office wondering how they could have let this happen.

But the movie is definitely Brynner's. Totally bald as ever, Brynner is back in black as he gives life to a soul-less, deadly version of himself.

His intrepid, single-minded pursuit with intent to kill brings to mind another recent big-screen villain – T1000 of <I>Terminator 2<P>.

What is really surprising about <I>Westworld<P> is Michael Crichton. Not only did he write <I>Westworld<P>, but he also directed it!

All this time, most people believe that Crichton was just a novelist and his first involvement with Hollywood having come only earlier this year when the studios made his <I>The Firm<P> and <I>Jurassic Park<P> into serious hits.

But that's not the case. Crichton's been in Hollywood for at least 20 years, as <I>Westworld<P> proves. And the biggest movie of all time is nothing more than a retread of a decades old idea: genetic experimentation replacing robotics as the hot scientific topic of the day.

Whatever the case, Crichton is making a mint. And he didn't even have to be very original.






by Glenn R. Wilson Jr.

DailyCougar Staff

If the American Civil War had contained as many speeches per battle as <I>Gettysburg<P> portrays, there would still be fighting today.

Fortunately, the real armies who fought this war did their talking with bullets and cannons, and in the process kept the War Between the States to about four years. This would have been an excellent precedent for the film makers to follow.

<I>Gettysburg<P> is more than four hours long!

In excess of 240 minutes.

Over 14,400 seconds.

And there are times when you'll find yourself counting every one of them.

Just to really rub this point in, it even comes equipped with a built-in intermission.

Maybe this is nitpicking, because the overall quality of the performances and the lavishly staged battle scenes are outstanding. The latter is almost worth the price of admission in itself.

This is the most historically accurate portrayal of the Civil War ever and director Maxwell should be applauded for his sticking so closely to the truth.

His cast is on target both in appearances and attitude.

Tom Berenger leads the way with an excellent performance as Confederate General Longstreet, even if he is saddled with the worst phony beard in film history .

Jeff Daniels is perfect as Union Col. Joshua L. Chamberlain, the unlikely hero of the Battle of Gettysburg.

Other cast members give solid performances too, especially the late Richard Jordan as Gen. Armistead and Stephan Lang as George Pickett.

But the most disappointing performance is by Martin Sheen as a very quiet and very mystical Gen. Robert E. Lee.

This performance would not have been so bad except at times, Sheen's persona is way too quiet and entirely too mystical to make any sense.

But all of this good work is overshadowed by the unnecessary preaching scattered throughout the film.

You could almost believe that all those soldiers came to Gettysburg to make a speech of some kind.






by Frank San Miguel

Daily Cougar Staff

Texas troubadour Alejandro Escovedo returns with a masterful pop recording.

Kudos will likely already be pouring in for Escovedo’s new release, <I>Thirteen Years<P>. After all, his solo debut, <I>Gravity<P>, won him praise from the New York Times, Rolling Stone and a dozen others. For good reason – his heartfelt lyrics pierce through the jaded music world to touch listeners in a way no others can.

Escovedo first gained attention as a member of the regional circuit-riding Rank and File and, later, True Believers. It was a full six years after the True Believers’ self-titled debut before he surfaced with his own record.

<I>Gravity<P> was hailed as one of 1992’s best and Escovedo was named Musician of the Year at the Austin Music Awards.

<I>Thirteen Years<P> is a well-crafted hunk of progressive rock that combines elements of pop, Latin rhythms, folk, bluegrass and classical. It offers a pleasant and hopeful look at life, even though not all the slices of life are perfect.

"The End" and "Losing Your Touch" are fine songs that are toe-tapping and thoughtful. "Ballad of the Sun and the Moon," credited here as the first song Escovedo ever wrote, is mesmerizing, with its harp introduction and breezy sound.

Escovedo himself gives a solid performance both on vocals and acoustic guitar. His backing musicians range from guru Stephen Bruton to Arc Angel Charlie Sexton. Brought together, the cooperation seems equally beneficial for all parties.

<I>Thirteen Years<P> is Escovedo's career signpost, marking his time in music. If he continues to present work of this caliber to the public, it's a certain bet he'll be doing music for at least thirteen more.






by Sara J. Marchant

News Reporter

No experience necessary. It's not often that concerned students looking into the future job market encounter those kinds of jobs. Experience may be the edge that lands you that much sought after first job.

The Metropolitan Volunteer Program at UH offers experience opportunities for anyone willing to take them.

"No major field of study has come up to me that I have not found a volunteer opportunity for," said Shannon Bishop, director of MVP at UH.

The program's office walls in the Underground UC are covered with requests from organizations needing volunteers throughout Houston and on campus. Opportunities are available for almost all fields of study.

Public relations majors can work for AIDS Foundation Houston, Inc.'s public relations committee and help with fundraising, newsletters and grant writing. For students interested in art, Harris County Juvenile Probation Department is looking for an art instructor. Those interested in social work may gain experience by making child abuse presentations to local elementary schools for Houston's Mental Health Program.

Other requests for volunteers include audio/video production, accounting, coaching and tutoring.

Volunteering also offers travel opportunities all over the world through organizations like Vista and Peace Corps

"There is nothing in the world that you can't get prior experience in through volunteering," said Bishop.

Betty Brown, coordinator of alumni career services at the Career Planning and Placement Center, agrees that volunteering is beneficial to future employment, even for those who don't necessarily volunteer in a position directly related to their field.

Employers want to see more on your resume than just your GPA, Brown said.

Volunteer work on your resume shows that you can, "Organize, communicate and coordinate ideas," she said.

Brown added that everything on a resume tells a perspective employer something unique about an applicant. Listing volunteer work can also provide an opportunity for the interviewer to ask more questions about applicants that might not be found in a resume.

Besides volunteer jobs, career options are also available through non-profit and social organizations, Brown said.

Many jobs have been filled in these organizations from within the ranks of volunteers, she said.






by Heather Ellis

Daily Cougar Staff

With basketball season merely three weeks away, the Lady Cougar basketball team is gearing up for what could be dubbed "The Comeback Season."

The 1992 season wasn't kind to the Cougars as they finished 11-16 overall and 5-9 in the Southwest Conference. The team found it difficult to adjust to the nine new players who joined the team last year.

Fortunately for the Cougars, all that's in the past where they hope it will stay.

This season the Cougars have a veteran front court with senior guards Michelle Harris, Tanya Davis, Gigi Gaudet and junior guard Antoinette Isaac.

They can also boast the fourth-best 1993-94 recruiting class in the country led by Pat Luckey. The 6-1 forward/post from San Marcos should help fill the void left by Margo Graham, who now plays basketball in Turkey.

Coach Jessie Kenlaw, now in her fourth season, looks forward to the season with eager anticipation.

"We have a tremendous opportunity to have one of the best seasons ever in women's basketball at the University of Houston," Kenlaw said.

"I am looking forward to the challenge of generating the excitement, enthusiasm, confidence and level of competitiveness necessary to accomplish our goals for the year."

An obvious goal for the Cougars is to jump to a commanding lead in the SWC.

That could prove a challenge for the Cougars. The SWC will be stronger than ever with the presence of the NCAA Champion Texas Tech Red Raiders.

Even though the Red Raiders lost their most valuable everything, Sheryl Swoopes, to the CBA, they have the best recruiting class in the nation.

The Texas Longhorns, though not NCAA champs, have proven nearly every year to be a force in the SWC as well as the rest of the country.

Cougar basketball fans may have to adopt a "watch and wait" attitude for the beginning of the season. The Cougars promise that the season will be worth waiting for.




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