by Frank San Miguel

Daily Cougar Staff

They say punk is dead, but that hip-hop is the new punk. On <I>Judgment Night<P> the dead rise to meet the new kids in what is the most immortal mix yet.

Just a shade after Kurtis Blow, Run DMC released one of the first hip-hop singles to incorporate hard rock. In 1986, "King of Rock" was one of the band’s first hits, and it ushered in the still-untapped market of rock-rap fusions.

Granted, DMC kicked a rhyme or two with Areosmith and Public Enemy slammed with Anthrax, but still there are conspiracies yet to be hatched. <I>Judgment Night<P> is just that.

More than recycled songs, this soundtrack offers all new songs and all new tag teams lumping it together for original rock-rap compositions for which the bands share songwriting credits. Some of the most provocative artists in hip-hop and college rock – Sonic Youth, Fatal, Dinosaur Jr. and Cypress Hill among them – come together in a musical coupling of the most immaculate kind.

Early on, House of Pain and Helmet do the gratifying although slightly overwhelming "Just Another Victim." Same can be said of Therapy? and Fatal on "Come and Die." A rough ride is promised here.

Run DMC returns to the throne with the abetting of Living Colour on "Me, Myself and My Microphone." Since its comeback on <I>Down With the King<P>, DMC has been going nonstop with music and touring (having just completed a bid on Dr. Dre’s road show) while Colour’s <I>Stain<P> is doing pretty well indeed. The pairing is excellent.

Onyx and Biohazard, who previously teamed up for a version of the former’s "Slam," steal the show with the title track. Onyx’s cranked-up rhyme style is made for confrontation and Biohazard’s loud guitars are tailor-made for shouters like Onyx, whose release <I>Bacdafucup<P> showcases that rap form.

In fact, many of the combinations here couldn’t have been better.

For instance, the no-bones-about-it pining for chaos of "Disorder" weds the two most formidable artists from the two most formidable genres: death metal’s Slayer and the Original Gangster Ice-T. Over the years, each has expanded the music in which they worked and become icons in the process. Putting them together yields an appropriate sound.

The spacey De La Soul and poppy Teenage Fanclub team up for the wistful soundtrack sleeper "Fallin’," which tells the story from reminiscing rapper’s musings of his long-gone friends and fame: "Remember when I used to be dope/I owned a pocketful of fame/But look what you’re doin’ now/I know, I know/Lost touch with reality/Now my personality is an unwanted commodity."

Faith No More’s amorphous putterings click with the ever-changing Boo-Yaa Tribe on the great "Another Body Murdered." FNM’s trademark violins and piano zip in and out before the Tribe’s rhymes begin to fly, though, which might be for the best.

Cypress Hill waxes its comrades twice, with Sonic Youth on the spliff sonnet "I Love You Mary Jane," and Pearl Jam on "Real Thing." With DJ Muggs producing, a Cypress lean is almost guaranteed, but turning the band’s Sen Dog and B-Real loose in the sparse instrumentation is a takeover pledge. Sonic Youth proves to be the partner best able to keep up with the rappers, with Kim Gordon’s vocal thick with stoned sensuality caressing B-Real’s helium balloon nasality.

Despite being one of this year’s more promising releases, there are certainly points where <I>Judgment Night<P>‘s collaborations could have been better.

As with "Real Thing," the rock bands turn into backup bands to rappers’ mastery. Rarely do vocalists participate further than as backup.

The other extreme is work like "Just Another Victim," where there seems to be rock parts, a guitar solo and then rap parts slipped in. All stay in unspoken segregation.

Such isn’t the case with Mudhoney and Sir Mix-A-Lot’s "Freak Momma" and Del the Funky Homosapien and Dinosaur Jr.’s "Missing Link." While the songs aren’t the best <I>Judgment Night<P> has to offer, they are a nice slice of what a true rock-rap fusion – where instruments blend with vocals to direct the song – is all about.






by Paula L. Pierre

News Reporter

A lifetime of dreams is shattered by the news of infection with HIV. AIDS victims Gerry Brinex and Charles Broussard recently shared their collective insights on surviving life with the fatal disease.

The free flow discussion was part of HIV/AIDS Awareness Week which was sponsored by more than a dozen UH student organizations and departments.

Janet Hutchinson, associate professor of anthropology, opened the panel discussion by dispelling some of the tiresome but pervasive stereotypes associated with AIDS.

"AIDS has nothing to do with sexual orientation, but sexual behavior," said Hutchinson.

Brinex, who is married with an infant son, said she never suspected she had a health problem until she took her ailing 3-month-old son to the doctor.

The doctors ran countless tests, all with negative results. Then they tested for HIV. The infant tested positive. He died in December 1991.

Although AIDS and the death of her young son have dealt Gerry Brinex a stunning blow, she does not blame anyone for infecting her.

"No one should blame anyone for having the virus; it takes two people to tango and it takes two people to have sex, so you have only yourself to blame," Brinex said.

Broussard’s said his Christian upbringing initially led him to practice abstinence, but he later adopted a more promiscuous lifestyle and was subsequently diagnosed with HIV in July 1991.

"I went on a binge for three or four months and had sex with women who didn’t know their last names," he said.

Broussard said he doesn't blame anyone for his infection either.

"People don’t want to take the responsibility for knowing that they can prevent themselves from getting AIDS," he said.

The speakers have received sporadic support from their families and friends.

"My father doesn’t talk about it when I visit him; my dad is still my dad," Broussard said.

Brinex said, "All of our friends before are still our friends now."

The speakers stressed that the discussion was meant to promote understanding about the disease and its victims, and was not a scare tactic.

"I think if (people) see a healthy person with (HIV), that is scary enough," said Brinex.

Broussard said, "For people’s behavior to change, they will have to know someone who’s HIV positive."

Karen Carter, a junior in psychology, said, "A lot of us are in denial, just seeing real human people right in front of me has made a difference."






by Matthew Waterwall

News Reporter

The re-birth of the self-proclaimed ultimate crime fighters is at hand. No, its not the second coming of Superman, but the resurrection of the Houston chapter of the Guardian Angels.

Two former Guardian Angels who are UH students are spearheading a citywide campaign to rebuild the local chapter of civilian crime fighters, whose distinctive red berets lent them a quasi-official aura.

"We want to bring the Angels back to the stature we once held here in Houston," said Chris Maury, head of the Guardian Angels Student Association.

Maury was referring to the mid-’80s when the Angels enjoyed a large membership in Houston, favorable press and endorsements from the mayor and chief of police.

Maury said the approval of former Houston Police Chief Lee Brown was not easily forthcoming. "We were not accepted initially by the police and had to prove our effectiveness in helping reduce crime and helping the community," Maury said.

It wasn't until the Angels helped convert an old bookstore in the Montrose area into a police substation that the angels were recognized by city administrators. This action prompted former Mayor Kathy Whitmire to proclaim Aug. 9, Guardian Angel Day in Houston.

Shortly afterward, the group lost its leader and experienced declining membership and general lack of interest, culminating in the breakup of the organization in 1988.

Mike Porterfield, a UH graduate student and leader of the Houston chapter of the Guardian Angels, said he would like to see the Angels reach a membership of about 200.

"With a large membership we could be very effective in crime reduction. We could patrol the various wards and serve as the eyes and ears of the community for the police."

Porterfield said, "We are not vigilantes and we do not carry weapons. We patrol looking out for the communities well-being and never enter a situation we are not capable of handling. We are out to help the police not create more work for them."

Porterfield said he is looking for former members who might be interested in coming back. The new organization has eight former members now and about 20 prospective recruits.

The Angels require applicants to be at least 16-years-old and be in good physical shape. Porterfield said a background in martial arts or military training is helpful but not necessary. "We offer a three-month training program after which the recruits patrol approximately eight to ten hours a week."






by Viky Tickell

News Reporter

Educators and community leaders confronted the national epidemic of violence in schools, communities and the media during a conference last week.

The two-day Youth, School and Media Violence Conference held at UH-Clear Lake included prominent keynote speakers, panel discussions and concurrent workshops that dealt with strategies designed to help potentially violent children and adolescents curb their aggressive behavior.

Judge Eric Andell compared the audience of educators, law enforcement personnel and community and civic leaders to bridge builders, pleading with them to erect more social service policies designed to help youth become productive members of society.

"This country has spent more money on concrete than any social service. Humpty-Dumpty has fallen and it's gonna take a ton of glue to put Humpty-Dumpty back together again," Andel said.

Dr. Vic Strasberger, a pediatrician at the University of New Mexico, identified the notion of justifiable aggression as the single most dangerous theme that politicians and media convey.

"There is no more powerful role model than TV, after parents. Kids look at TV and see the real world --real adults -- and imitate what they see. From ages 1 to 8, violence is imitated most frequently. From ages 8 to 13, sex and drugs are viewed as not only acceptable, but desirable," Strasberger said.

Strasberger stressed that too many movie executives feel that violence in films is purely make-believe and that the effect of violence on today's youth is overblown. Strasberger said 1,000 studies link violence on television with aggressive behavior in kids.

Strasberger and fellow conference speakers and attendees said that children are exposed to too much too soon, and that schools and the media are primarily responsible for this exposure.

"We could change the nature of the media over night, but it won't happen, because too much money is at stake," Strasberger said.

Nancy Eason, a Spanish teacher at the Kinkaid School in west Houston expressed outrage at the showing of an R-rated production at the school last week.

"They think these kids are adults. They're not! Their bodies may be maturing, but their minds -- their brains are still babies. They can't possibly process all this information without being affected. It's not healthy," Eason said.

Studies show that children's cartoons account for the majority of violent acts kids are exposed to, followed by promos for television and movies, full-length movies and toy commercials.

Panelists also addressed the real violence abused children experience in their homes.

Dr. Joan Shook, emergency pediatrician at Texas Children's Hospital identified the abused adolescent as more difficult to identify because he or she can more easily cover it up. In many cases the abused adolescent will act out this learned aggressive behavior at school.

"Twenty percent of the adolescents interviewed in an Iowa study remembered an incident in which they were hospitalized. You'd think that in Iowa of all places that children would be safe," Shook said.

"Children are viewed as economic potential or something to own. The parent's unrealistic expectations of their children is a direct link to their abuse," she said.

"Many children in this situation feel hopeless because it never ends. At least soldiers in a war zone know that their situation will eventually end. These are the kids who look at death as an escape," Shook said.

Shook suggested that life management skills should be a mandatory part of all school districts'' curricula, and that the existing agencies are not doing enough to ensure that effective policies are implemented.

"TCH's mission is to care for the children who need us most," Shook said.

The UH-Clear Lake Institute for Family and Community Development will host "Intervention and Prevention Programs for Youth, School and Media Violence" Nov. 10-12, in the Sheraton Astrodome Hotel.







by Sara J. Marchant

News Reporter

"No experience necessary" is not a phrase students looking into the future job market commonly encounter.

Experience may be the edge that lands that much sought after first job, and the Metropolitan Volunteer Program at UH offers experience opportunities.

"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.

Requests from organizations needing volunteers throughout Houston and on campus cover the walls of the MVP office in the UC-Underground. 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 fund raising, newsletters and grant writing.

For students interested in art, the 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 Corp.

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

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 a resume than just 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 perspective employers something unique about an applicant. Listing volunteer work can also provide an opportunity for the interviewer to ask more questions about applicants.

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.

Bishop said that "resume padding" is not the only benefit to volunteer work.

Students may also meet other people in their field of work who might know of possible job opportunities.

Bishop said, volunteer work also has a spiritual nature.

"It (volunteering) challenges everything you believe about everything." For Bishop, the best benefit of volunteering is that it benefits others.






by Ivana Segvic

Daily Cougar Staff

A pair of blue jeans, shirt and jacket paints a disquieting picture of the opera’s conductor. In Houston, however, it is an accurate picture of Maestro Vjekoslav (Gigi) Sutej, without his tails, white shirt, black slacks and stick.

Sutej is the principal conductor for the Houston Grand Opera.

Maestro Sutej said he is delighted to be in Texas. "I am from the South – Croatia. I live in Spain but it's no surprise that I'm in Texas. I like that the people here are very friendly and very open. People in the South are always warmer and different and closer to me because I am from there. That's why I'm glad to be in Texas," he says with a charming smile.

His musical training began well before he came to Texas, however. "I started learning piano when I was six. Because my father and mother sang at the theater, I could say I was born in the theater," he says.

Sutej describes conducting as an manifestation of power. "It's tying one, two or three hundred people together to make a unified happiness with music and that's very difficult to do. Anything that ties hundreds of people together is difficult, but especially with music which can be played a hundred different ways."

He says he loves to sell his ideas through music. Sutej first conducted an orchestra at the age of 19. He conducted Schubert's unfinished symphony.

"At the beginning, you have a crescendo. It goes from very quiet to louder, louder and louder and it lasts about half a minute. I felt such an awakening I said: That was the moment a conductor was born. I fell in love with it. That feeling cannot be compared to anything."

Sutej has conducted for 20 years. He became music director of La Fenice in Venice in 1990, and artistic director and principal conductor of the New Orquesta Sinfonica de Sevilla in 1991. He also led concerts with Jose Carreras in Berlin and Vienna. Last year, he conducted a Christmas concert in Vienna with Placido Domingo, Jose Carreras and Diana Ross.

He was asked to create an orchestra for Seville. "I heard over 4,500 people from the (everywhere in the) world play. A large problem in the beginning was that they had (been) given the money and they wanted fifty percent of the musicians to be Spanish. At that time, the situation in Spain was that there weren't many good musicians because there weren't many good orchestras," he says.

"I told them if we make a first-rate orchestra, no matter how many Spanish people are in it, if we get high results, after a few years children in (Seville) will start to study music and that it will create many new musicians. And this is what happened. I think many new and great musicians will come out of Seville because of this."

Maestro Sutej is conducting <I>Madame Butterfly<P> for the Houston Grand Opera. "A thousand little details create <I>Butterfly<P>, but in any case it is my <I>Butterfly<P>. It's mine because I create it. I don't know how different it is from others. I don't want to know, nor does it interest me. It's up to the critics, newspapers and public to decide. The first thing is not to make it different but to make it yours," he says.

Sutej says the opera is best in America because of the discipline and organization. The money comes from private sources and therefore is carefully spent. "In Italy, it's all state money and so it's not cared for the way it is here. (In Italy) they know it will (always) be there next year.

"I like working in America because everything is done quickly. I work fast so it’s well that (America) works fast. As for the audience, it's an audience. It's hard to say where the best audiences are. For me, the one that shows the most emotion and is really awed by the music and opera is probably in Vienna and Italy till now."

He says people go to the theater to experience and feel something. "For opera and music and art, you don't have to know it to understand it. Especially an opera like <I>Butterfly<P>. An ordinary person won't be able to say why it's nice, it just is. All art is based on emotion not rationale. Many people cried at the opening of <I>Butterfly<P>; that was a sign that something happened, that the opera didn't go by them, but through them, if you know what I mean," he says.

Sutej says he would like to see less expensive opera tickets in America. "I'd like to see more young people. They don't go because it's hard to find $50 for theater."

He also lamented the sad state of America’s operatic traditions.

"You live in Houston, a city that is phenomenally wealthy with music life. It has a (world-class) opera and orchestra. It is very strange that( America) gives so little for culture." Sutej says this is not good because culture is what molds the soul of a person.

"It's what makes people better and that is what makes less crime, less drugs, less problems. I think that this land is, sadly, already paying because it doesn't devote enough (thought) to culture. There are not enough events that evoke emotions which make us human beings. The more nice things we live, the better we become as people – to one another and to ourselves."

He said that of all the arts, music is the easiest to understand and the most emotional. "All you have to do is listen. We all have ears.

"You have to give music a chance and see if it will touch you. Newcomers will be pleasantly surprised if they give serious music a chance to touch them.

"It is important today to (listen to) a lot of music, to try to make people, people again – in the best sense of the word."

Sutej says everyone, not only musicians, should set ambitious goals. "Never be happy with a little. Almost never be happy with what you've done. Always want more and then you will get something more."

His plans include three symphonic concerts in Seville and a concert with Carreras. He will also conduct a Christmas concert in Vienna with Placido Domingo, Dionne Warwick and Ruggiero Raimondi. This concert will be broadcast to 56 countries.

Maestro Sutej will conduct <I>Madame Butterfly<P> through Nov. 19. Wearing the traditional black and white suit, of course.






by Devor M. Barton

Contributing Writer

<I>RoboCop<P> is <I>still<P> cool.

Yes, that's right – there's another <I>RoboCop<P> movie out, completing the trilogy for the unstoppable cyborg.

In this third outing, the company that created RoboCop has been purchased by the Japanese. In order to pave the way for a city-of-tomorrow, they have hired a group of mercenaries to evict the current citizens of a Detroit suburb.

Due to his humanity and his prime directives, RoboCop (Robert Burke) joins forces with a group of rebels to protect their homes and lives.

Complicating matters are a vicious gang known as the Splatterpunks and a <I>very<P> interesting Japanese ninja.

Simplifying things are a stereotypical beautiful rocket scientist and a clichéd precocious computer whiz kid.

From the very beginning, <I>RoboCop 3<P> was a bad idea. <I>RoboCop 2<P> was not so good nor did it do well. <I>RoboCop 3<P>'s executive producer (Patrick Crowley) produced the the second film too.

The script for <I>RoboCop 3<P> was co-written by Frank Miller, who wrote the script for <I>RoboCop 2<P> but he is better known for his graphic novel work, as in <I>Batman: The Dark Knight Returns<P>

The other co-writer and director, Fred Dekker, brought us <I>The Monster Squad<P>.

Peter Weller did not reprise his role as RoboCop.

Topping it all off, the production company of Orion Pictures went completely bankrupt and kept the film sitting on the shelf for over a year until they saved up enough money to release it.

Fortunately, <I>Robocop 3<P> is better than <I>Robocop 2<P>. The quality of the special effects is much better than the previous film. Burke (<I>Simple Men<P>) is a wonderful replacement for Weller.

If you don't know there's a change, you're unlikely to suspect it. He conveys the same sense of presence as Weller, and the same kind of grim, heroic stoicism in the face of absurd adversity that was shown by Michael Keaton in the <I>Batman<P> movies.

But the greatest improvement stems from the similar success of <I>Lethal Weapon 3<P>. The movie is more of a comedy than anything else.

The violence is muted, garnering a PG-13 rating instead of the standard R. While humor has always been present in the <I>Robo<P> movies, it's never been this prominent, and since you can't take something like a third RoboCop movie seriously, humor was a good choice. RoboCop has a lot of great one-liners, and the filmmakers' treatment of his indestructibility is reminiscent of the good parts of the <I>Toxic Avenger<P> movies.

All in all, if you don't mind seeing a few people killed, <I>RoboCop 3<P> is fun and a real hoot. If you liked RoboCop before, you'll like him now.







by Tony Lanman

Joint Chiefs is one of the biggest bands in the local music scene today.

At great expense (time) and at the last minute I talked with Brett Needham, master Chapman Stick player and band financier.

Joint Chiefs started on New Year's Eve, 1991, with Matt Kelly (now in Sprawl) on guitar. Later (I was not given a specific date) they did a production of <I>Jesus Christ Superstar<P> at The Axiom (now Catal Huyuk) with Sprawl, de Schmog, and Fleshmop.

After that Matt Kelly had to decide either to stay with the Joint Chiefs or to go on tour with Sprawl. He chose the latter and as a result, Fleshmop singer Jay Maulsby agreed to sit in for him until eventually he was part of the band.

The permanent lineup now is: Skat (pronounced Scott) Beliveau on percussion, Doren Bernard on guitar and sax, Lisa Harrington on drums, Jay Maulsby on vocals, Brett Needham on Chapman Stick, and Pat Stallings on guitar.

Needham describes Joint Chiefs music as heavy, noisy and tongue-in-cheek, with a little funk here and there. They used to refer to themselves as psychafunka-grungadelic when they first started.

It's basically a whole bunch of genres thrown in together that produces a really original band, as voted in a Public News' readers poll. Needham was also voted best player of a not-normally-used-instrument (I can't remember what the title actually was), and Lisa Harrington got the well deserved award as best drummer in Houston.

Joint Chiefs recently scraped up some money and recorded a CD called <I>Fat and Busy<P>. This is one of the best recordings from a local band I've ever heard.

Bernard and Stallings are definitely competent and effective guitarists that know their instruments. You'll hear all styles from these two, from crunching power chords to funky-type triads to noisy dissonance. They explore several different guitar effects that compliment the music instead of just using effects for the sake of using them.

They also use the aspect of two guitars effectively. They are not simply playing the same thing together that you hear in a lot of metal or punk bands. They are often playing something totally different from one another which makes the music ten times more interesting.

Needham's Chapman Stick also makes for a more interesting sound. There's one part in "Rigged" where the possibilities of a Chapman Stick over a bass guitar become evident.

Every great band needs a great drummer and Joint Chiefs are set. Lisa Harrington is simply one of the best drummers in Houston or anywhere.

Doren's sax makes for an interesting component as well. He doesn't play it in the tired old Chicago/Tower of Power style where brass instruments are used simply for background. The saxophone is part of the music, being out front with the guitar and the rest of the instruments.

Jay Maulsby has one of the most distinct voices around. He's not only a great singer, he's a smart singer. He constantly varies his vocal delivery to fit the mood of the music or the lyrics, which adds greatly to the Joint Chiefs staple sound.

They plan to go back in to the studio in December to start work on a future project (which I'll be looking forward to). As far as seeing them live goes, they play every conceivable venue all the time so you should find no trouble finding time to go see them.

Lanman is a sophomore RTV major.








by Ryan Carssow

Daily Cougar Staff

The Houston baseball team had a chance to learn from former Cougars and professional ballplayers at the annual alumni game Saturday at Cougar field.

The current players taught the ex-Cougars a thing or 11 in an 13-inning 11-1 victory.

It was the last chance for the 1994 team to play in a game situation before the end of fall practice. It was also a fun and often humorous reunion for the ex-Cougars.

"It's a good chance for everybody to get back together," said last year's Most Valuable Player Phil Lewis. "I'm going to go out there and try not to kill myself. It's really cold."

Like many of last year's departing players, Lewis returned to UH this fall to finish up his degree.

Degrees of a different kind hurt the ex-Cougars. Temperatures in the 40s combined with the lack of hitting in some, gave many former-Cougars a sting when they hit one of their many weak ground balls.

Current pitchers Brad Towns, Matt Beech, Brett Jones and Jay Dixon combined to hold the alumni to one run on four hits.

The alumni's pitching wasn't nearly so spectacular.

Ben Pardo, who pitched for Houston from 1987-89 and now coaches varsity baseball at Dickinson High School, was asked before the game whether he would tell his players about the game.

"It depends," he said. "I'll tell you in a little while."

After starting the game and giving up four runs in the first inning, the Dickinson players quite likely won't hear a word about it.

Carlos Perez capped off the four-run first with a two-run double. Billy Waid had a bases-loaded walk and Ricky Freeman slapped an RBI single.

Pardo hit Freeman with a wild pitch in the second inning and Freeman faked a charge toward the mound to set off a chorus of cheers and shouts from both benches.

Jeff Wright, the top starter from last season, relieved Pardo and held his former teammates to one run in three innings.

A former member of the rival Rice Owls took over for Wright in the sixth. Don Spivey, the "adopted Cougar," pitched for head coach Bragg Stockton at San Jacinto Junior College before Stockton came to UH as an assistant in 1981.

"They made me come out here because they don't have any pitching," Spivey said.

The alumns also appeared to be short on outfielders when, in the 13th inning, umpire John Kleis traded places with former Cougar and Arkansas Razorback Greyson Liles.

"He said he wanted an SWC umpire cap like I had on," said Kleis, who played in the Milwaukee Brewers' organization. "So I told him if you let me play I'll let you keep my hat.'''

Liles said, "He gave me his hat and I thought 'wow, now I get to be the umpire.'''

Even current Cougar coaches took a few swings at the plate. Russell Stockton bounced out twice and struck out in the eighth inning after Beech brushed him back with a fastball high and inside.

Assistant coach and former Cougar All-Southwest Conference catcher Mike Gardner stepped to the plate in the ninth. Jones threw the first pitch slow, and about 10 feet over Gardner's head.

Gardner then hit a slow grounder to shortstop Matt Giescke. Giescke took his time throwing to first for the put-out of Gardner, who had lost a few steps since his playing days.

Gardner said he is still, "probably one of the best catchers to come out of this conference.

He was obviously forgetting another former Cougar catcher – Chris Tremie. Tremie, who is currently in the White Sox organization, showed off his cannon arm to a group of unsuspecting Houston base runners.

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