WEBSTER'S CAN'T COVER HELTON'S NEW 'O'

Run-and-Shoot not completely gone, but depth, fitness, running game different

by Jason Paul Ramirez

Daily Cougar Staff

Bal-ance (bal'uns) n. 1. a state of equilibrium in weight, value, etc. 2. a new and improved Houston Cougar offense.

While Webster's doesn't actually include the second definition in its publication, it is a word football head coach Kim Helton says he hopes becomes a vital part of his team's vocabulary.

"We will be a three-wide (receiver), one-back and one-tight-end team. And we will be a two-back, two-wide and one-tight-end team," Helton said on first arriving at the University of Houston from the National Football League in May of 1993.

However, since the offense Helton inherited that offseason did not have a tight end on its roster because of former coach John Jenkins' Run-and-Shoot scheme (four wide receivers and one back), the new Houston head coach had planned on employing that system until he was able to recruit his own offensive players.

But 1993 injuries to starting quarterback Jimmy Klingler and running back Lamar Smith forced Helton to fill in the empty spots with other, less-experienced players, giving them a crash-course in his new multiple pro-set offense a year early.

The results were not pretty.

After a 24-3 victory over Baylor in which both Klingler and Smith were effective, the injuries began to settle in and the Houston offense averaged a mere 15 points over the next seven games.

Even more discouraging were the 37 turnovers the Cougars committed on offense that led to 144 points for their opposition.

Fortunately for the Cougars, 1994 offers the opportunity to start over and get better with Helton's new offensive scheme. And should Houston encounter any injuries on offense, they should be loaded with plenty of balanced depth on the bench.

"Last year, when we lost a running back, we had to replace him with a wide receiver," Helton remembers. "I think we have more depth in our backfield this year.

"I don't think we have a better runner than Lamar Smith, but we have people who have (had) flashes of showing that," Helton said.

Even Houston's fifth-team running back, freshman Aaron Bluit, has shown tremendous speed at practice for one who probably will not see much action this season. It just goes to show how much progress the offense has made in the preseason.

"But in order for us to be successful, it is important that we stay balanced," Helton said.

Some of the schemes left over from the Run-and-Shoot are still a part of Helton's balanced attack. Receivers still run several of the same routes on certain plays.

But because of the greater emphasis on the running game, the offensive line is involved with lower, run-oriented blocking schemes rather than a basic pass-protection technique in order to create bigger holes for the offensive backfield.

"We've learned a complicated system and done well with it," said senior offensive tackle Billy Milner.

The vigorous off-season calisthenics program shaped up everyone on the offense physically and was especially effective on junior projected starting running back Lawrence McPherson.

"We're moving the ball pretty well," McPherson said. "The off-season really brought us closer together."

Going into the Cougars' first regular-season game against the Kansas Jayhawks Thursday night, Houston is also carrying six quarterbacks on its roster. That could be defined as "depth."

"We're all having good practices," said sophomore starter Chuck Clements. "It's important for me to show my best every time because with five guys waiting behind you, it can become pretty easy to lose your spot at any time."

As of this weekend's practices held at the Astrodome, the Cougars' starting trio of wide receivers looks as though it will be seniors Ron Peters and Julian Pitre on the basic two-wide set. Houston should then add senior Daniel Adams when it moves to its three-wide formation.

"Unlike the past with our running game, it (running) is able to set up the passing game," McPherson said.

But is it the end of the Run-and-Shoot? Not totally.

"Our intentions are to throw 40 times a game and complete 30," Helton said. We are still a Run-and-Shoot team sometimes, but it is important to also establish a running game that can take pressure off our passing game."

Pres-sure (presh' ur) n. 1. a state of distress?

Maybe not.

 

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EATING DISORDERS FEAST ON ABOUT 1-IN-5 WOMEN IN COLLEGE, STUDIES SAY

by Jenalia Moreno

Daily Cougar Staff

Karen Carpenter died from it. Supermodel Beverly Johnson suffered from it. Lynn Redgrave wrote a book about it. Princess Diana was ashamed of it. Actress Tracy Gold was hospitalized for it.

It's not drugs that have caused these people such pain. Each of these people had an eating disorder, the most fatal mental disorder in the nation, according to Gina Touch, a psychology resident.

Eating disorders can lead to heart attacks, dental problems, malnutrition, memory loss, irritability, kidney failure and the list goes on.

"They (eating disorders) can cause some kind of impairment on almost any organ system," said Leonard Bohanon, a UH counseling and testing psychologist. "It's the same as being malnourished."

Recent studies show that serotonin, a neurotransmitter that tells the brain the stomach is full, does not function properly in people with eating disorders.

"They (people with eating disorders) have an inability to regulate when they are full or empty," Touch said.

"The brain is or is not functioning to tell people when to eat and when to stop eating," Touch said.

Despite fatal and dangerous effects, it has been estimated that between 15 and 25 percent of college women have some type of eating disorder – anorexia nervosa, bulimia or overeating. Bulimia, which involves binging, purging and fasting, seems to be the most prevalent.

"Eat what they want and still not gain weight; for some college students, they see it as a dream," Bohanon said.

Everyone with an eating disorder may not began suffering from it in college. Most of them are never treated for their problems, which may develop in high school or as early as junior high.

"In college, socialization is a big goal, so how people look is important," Touch said. "You're in an environment that reinforces eating disorders."

However, college women are not the only ones who have eating disorders. Men and women of all ages have them, too.

"Depression runs the age range and I guess eating disorders do, too," Touch said.

People develop eating disorders for several reasons. They may develop them because of some sort of trauma or from being isolated. According to Touch, 50 percent to 60 percent of women who have been sexually abused may develop an eating disorder.

"It's a pretty logical way to survive sexual abuse, to develop a wall around yourself, and if that is with a layer of fat, that makes a lot of sense to me," Touch said.

People who are teased as children for being overweight also develop some problems such as alcoholism, drug addiction or eating disorders.

"Eating disorders are only one of the ways that depression gets manifested," Touch said.

Women who are in very controlling or very distant families often develop eating disorders. There are a lot of extremes with women who suffer from eating disorders, Touch said.

"It's either this or that: Either I'm good or I'm bad, I'm perfect or I'm nothing," Touch said.

When people have an eating disorder, they may have never been overweight. Many gymnasts and athletes suffer from eating disorders because of pressure to stay thin to become good competitors.

"The way they see themselves in the mirror may be actually inaccurate," Touch said. "They may see themselves as very fat and they are in fact emaciated."

People often think that eating disorders are about weight and appearance; however, eating disorders are much more complicated than that. Eating disorders are more about control than appearance, Touch said.

"Eating disorders are a way of coping with feelings and distress," Touch said. "It's a way that ends up turning against you."

Women who suffer from an eating disorder may have irregular menstrual periods, lose significant amounts of weight, exercise compulsively or use the bathroom after eating. They may lie about whether they have eaten.

"There are lots of ways that people can deal with an eating disorder," Touch said. "On campus, the way we like to do that is through counseling in the psychology department, working with professional physicians, psychologists and nutritionists in the community and the Health Center who affiliate with us."

Treatment is most effective when the person is working with a treatment team from different areas of expertise, Touch said.

As a psychologist, "We like to focus on what it is people are eating over," Touch said.

Even after people have overcome an eating disorder, they may suffer a relapse.

"They (relapses) should be expected and they usually are a reminder that there's something distressful and the new ways of coping aren't sturdy enough, so that you go back to the old ways that used to work and that used to be successful, to deal with stress," Touch said.

Counseling and Testing might offer a workshop about eating disorders, pending enough interest. To find out more about the workshop or about group or individual counseling, contact Mary Nickson, counseling and testing psychologist at 743-5311.

 

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LEARNING A FOREIGN LANGUAGE CAN ENTAIL DRILLS, TEXTBOOKS -- TRAVEL

by Kevin Patton

Daily Cougar Staff

Foreign-study programs seem to luster, even glisten. Down departmental corridors, the signs are forever on the wall. In language classes, professors rant about how much students learn while there.

It's true.

This summer, the UH Department of Modern and Classical Languages sponsored a nine-week program in Bourges, France, uniting students from universities across Texas. Students came from as far away as Lubbock and Waco to take part in the program.

<I>The plane was arctic. Three blankets and I still could not seem to adjust.<P>

"No one speaks English, you're forced to live their lifestyle," said Mandy Matlock, a senior majoring in French. This was her second trip on the Bourges program.

"The best thing is you get to live with a family. It opens all the doors, breaks all the cultural barriers," she added.

<I>When my family, the Guillots, came to pick me up from at the train station, I stood dumbfounded not understanding a word my French "father" said. <P>

"The idea of the program is that the student is immersed in French language and culture. The student can progress much more rapidly than in conventional programs," said Arlene Oakley, assistant director of the program.

Oakley, a senior majoring in French, has participated in the program three times, once as a student, once as a teacher and now as the assistant director.

"It serves its purpose and gets the students right into French," said Robert Shupp, founder of the program and a UH professor of French.

He founded the program in 1983 based on a program he initiated in 1970 as a professor at Dartmouth University.

<I>As we rode to what would be my home for two months, I was struck by the age of the city. Founded before the advent of Caesar and the gaelic wars, Bourges showed its history in the cobblestone streets and its majestic medieval cathedral, St. Etienne.

It stared down on the entire city, a constant reminder of things past. Everywhere you turned, you could see knights fighting an English invasion during the 100 Years War or a mother crying as her son returns dead from the Crusades.<P>

The Bourges program offered a curriculum change this year broadening the course selection. Students could choose from three levels of grammar and composition, literature, theater, conversation and a history course taught by a French university professor.

"This was the first year that such a diverse curriculum was offered," Oakley said.

<I>The house I stayed in was ancient. One of the crossbeams in the ceiling was from the 13th century. It still held up the roof.<P>

But perhaps the most enriching aspect of the program was the families, who provided for a student's physical needs, as well as providing emotional support. To move into a completely different culture can be a harrowing experience for some students.

"Some (students) adjusted well, while other students took longer. But we have always found the families in Bourges make the students' acclamation much easier," Oakley said.

Some families have been with the Bourges program for more than 15 years.

"My family gave me such a warm reception. The houses were beautiful," said Matlock, who went on the program in 1992.

"My 'mom' even went out and bought cornflakes for me. But the only thing I really missed was Tex-Mex. There was nothing lacking," she added.

Mariana Boatwright, a senior majoring in French, said, "They were nice, great hosts. They did the best they could. They made me feel at home," she said.

But cultural adjustments, such as food, were more difficult to deal with than homesickness.

"They made me liver and, because it's such a delicacy, they thought I was going to like it; I almost puked," Boatwright said.

<I> The first weekend with my new family, we went to Montluçon for the birthday of my grandfather. Not having even sat in class yet, I wound up saying 'yes' a lot.... I still don't know what the first course of the meal was. <P>

The main focus of the program is, of course, the study of language and culture. Being stuck in an environment that does not allow relaxing back into usual customs and, above all, English, forces students to really learn the language.

"The first time I went, my progress was unbelievable. I mean, in classes you file it all away and memorize conjugations and nouns, but when you are forced to speak it, you can attain fluency," Matlock said.

She said that on this trip she learned more about culture and history.

<I>We were all sitting at the bar in the only jazz club in the city,<P> Pub des Jacobins, <I> arguing about the differences between America and France with some of the regulars. Full of questions and doubts, they continued to argue about how Americans lack culture.

"Your history is only 200 years old," he said gently. He was right; after all, he was French.

I remember this not because it was unenjoyable or mean-spirited – it wasn't. But it was the first time I did not have to translate from French to English. I just understood. <P>

The program also provides an opportunity to travel. With the option of returning any time after classes at no extra charge, many students were able to spend a month traveling Europe.

<I>By the time the sejour was over, I had grown close to my family, and the Brousts, Arlene's family.

On the night before we left Bourges, Arlene, Jim Magydich, another UH student and I were initiated into the <P>Bonnet Rouge.

<I>We walked into the Broust's ancient wine cellar and knelt down wearing red bonnets while Maryange, Mrs. Broust, chopped the head off of a bottle of champagne with a machete.

We kneeled as she threw champagne in our faces, one by one, baptizing us into their family. <P>

"When you go somewhere else, you realize that maybe you should open yourself up to other cultures, other people and other customs," Matlock said.

 

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AUTHOR TO TEACH SPRING CLASS FOR PLAYWRIGHTS

The noted American playwright Edward Albee (author of such modern classics as <I>A Delicate Balance<P>, <I>Seascape<P>, <I>Who's Afraid of Virginia Woolf<P> and <I>Three Tall Women<P>, for which he received his third Pulitzer Prize) will teach a class in playwrighting open to students of any major during the 1995 spring semester.

Class participants will be selected by Albee on the basis of a sample of the applicant's writing. The manuscript, which may be short and in any form (essay, short story, etc.) must be submitted to the School of Theatre, 133 WT, no later than Sept. 30. Authors must provide name, address, phone number and degree status with all submitted manuscripts. No manuscripts will be returned without an accompanying self-addressed, stamped envelope.

Students selected for the class must enroll through the University of Houston Office of Admissions.

 

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TWO TOWNS

Houston, Seattle similar

by Bobby Summers

Daily Cougar Staff

Impressive skylines; abundant recreational, high-tech industries; and pioneer beginnings are just a few things Houston has in common with the city of Seattle, Washington.

<B>Similar Origins<P>

Known as the "Emerald City," Seattle was named for Chief Sealth, a friend to early pioneers. Lee Terry and John Low built an encampment along the shores of Elliott Bay on Puget Sound in the Northwest Territory. The territory of Washington was formed in 1853.

Houston, the "Space City," was named for General Sam Houston, who led the Texas army against the Mexican army at the Battle of San Jacinto. The city-to-be began in August 1836 when the Allen brothers, Augustus and John, paid about $1.40 an acre ($9428) for a parcel of 6,642 acres on the banks of Buffalo Bayou several miles west of the San Jacinto Battleground in the newly formed Republic of Texas.

<B>Industry<P>

The skyline of Houston, which grows more impressive each year, is dominated by the futuristic designs of the Pennzoil Building and the Texas Commerce Tower.

Dominating the ever-growing Seattle skyline is the Seafirst Tower; the Space Needle, the centerpiece of the 1962 World's Fair; and the Kingdome, the home of the Seattle Seahawks, Supersonics and Mariners.

Both cities experienced great successes and growth over the years. They also share a history of dramatic setbacks.

Houston's economy, anchored for years by the oil business, was forced to diversify in the early 80s when the oil business declined, leaving many workers unemployed and many investors scrambling to maintain their fortunes.

Seattle's economy, anchored for years by the Boeing Aircraft Company, was forced to diversify in the early 70s when Boeing lost the contract to build the supersonic transport plane. Today, Seattle's diversified economy includes companies like Microsoft, Nintendo of America, Recreational Equipment Inc., Weyerhauser and the Musak Corp.

Seattle, like Houston, has developed into a major cultural and artistic center. The Seattle Symphony is known worldwide. The Pacific Northwest Ballet is recognized as one of the nation's top five ballet companies. The Seattle Opera presents every production in its original language and offers simultaneous video translations. Some of Broadway's greatest shows were nurtured in the footlights at the Seattle Repertory Theatre. The city is also home to eight Equity theater companies.

<B>Music<P>

In the last few years, the Seattle music scene has accomplished what Houston's music community would like to achieve. With the phenomenal success of groups like Pearl Jam, Nirvana, Soundgarden, Alice in Chains and Queensrÿche, Seattle has developed not just one style, but various distinct sounds ranging from grunge to metal. Lesser-known groups that hail from the city include 7 Year Bitch, Tad, Screaming Trees, Sunny Day Real Estate and Candlebox, among others.

In Houston, with the exception of ZZ Top, King's X and country acts like Clint Black, Doug Supernaw, Mickey Gilley and a few others, the music scene has failed in the past few years to develop groups that have achieved national status.

<B>Leisure<P>

Leisure activities in both Seattle and Houston center around the local waterways.

Seattle offers both freshwater boating in Lake Washington and Lake Union, and access to Puget Sound, an inland saltwater paradise that boasts hundreds of miles of shoreline. Whether fishing, water-skiing or just cruising on the water, residents of the Pacific Northwest spend more on recreational boating each year than people in almost all other parts of the country.

One out of every five people in Seattle owns a boat. Many people live on their own houseboats. Lake Washington has hosted one of the races on the unlimited hydroplane racing tour since the 1950s.

Houston's proximity to Galveston Bay, the Gulf of Mexico and several large freshwater lakes and rivers also offers many recreational opportunities. Unlimited hydroplane racing, first presented on Clear Lake just a few years ago, is drawing larger crowds each year.

The tourism industry injects a large amount of money and many jobs to the economies of both cities each year.

<B>Port City<P>

Seattle, just an hour's drive from the mountains or the Pacific Ocean, is the southern terminal for most cruise ships that navigate the inland passage to British Columbia and Alaska. Ferry service from Pier 52 on the waterfront delivers drivers and their cars to Vancouver and Victoria in British Columbia, the picturesque San Juan islands and the rugged Olympic Peninsula.

Houston can learn some lessons from Seattle's Pioneer Square historic district. The area, which is much like the Market Square area of downtown Houston, has recently been renovated. Just a few years ago, tourists wouldn't go near the area. The buildings were in disrepair and were inhabited by derelicts and homeless people.

Through the efforts of civic organizations, city government and business entrepreneurs, the area is now bustling with quaint bookstores, galleries, cafes and specialty shops. After dark, nightclubs are hopping with great blues, jazz, rock and comedy acts.

Right up the street from Pioneer Square is the Pike Place Market, a lively combination of an open-air produce and fish market, and a collection of interesting restaurants, antique, clothing, novelty and specialty food shops. Thousands of tourists and locals visit the market each year.

Seattle has a reputation for rain. However, the city ranks 44th in rainfall for U.S. cities and has less rain each year than Houston, New York, Boston, Atlanta or Philadelphia.

Local people in Seattle would rather not advertise the beauty of the Pacific Northwest to outsiders. They say they don't want southern carpetbaggers invading their area unless, of course, they want to spend their money and then go back home. Houstonians felt the same way after hordes of people from the northern Midwest came to Houston in the mid-80s thinking there would be many jobs available.

 

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THESPIANS TO BREAK A LEG

Daily Cougar Staff Reports

The University of Houston School of Theatre will present four plays for its 1994-95 season at the University of Houston Wortham Theater.

<I>Antigone<P>, an adaptation (of Sophocles' drama of the same name) written by Jean Anouilh and directed by Carolyn Boone, is a version of a Greek legend. The French import has parallels to modern times, and a <I>Saturday Review of Literature<P> writer described it as a work of "noble dimensions and uncompromising intentions." The play will be staged Sept. 30, Oct.1 and Oct. 7—9.

On Nov. 11, 12 and 18—20, writer Tom Stoppard's <I>Rosencrantz and Guildenstern are Dead<P> will be staged by director Sidney Berger. The play won both the Tony and New York Drama Critics Circle awards.

Plays to be presented during the 1995 spring semester include Oliver Goldsmith's <I>She Stoops to Conquer<P> and A.R. Gurney's <I>The Dining Room<P>. The former is described as an 18th century comedic treasure, and the latter work is described as a play in which a wide array of diverse characters delineates the dying lifestyle of wealthy WASPdom.

Each spring semester, playwright Edward Albee teaches classes for aspiring playwrights and presents some of his students' plays during workshops. For more information, call 743-2913.

 

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MEXICAN ELECTIONS SUGGEST FRAUD

by Christian Messa

Contributing Writer

The results from the Aug. 21 Mexican presidential and congressional elections left many people crying foul and others rejoicing.

And others wondered about dead voters, possible election fraud and one party's control of Mexican government for over 65 years.

Ernesto Zedillo Ponce de Leon, 42, of the Institutional Revolutionary Party garnered 50 percent of the vote, while Diego Fernandez de Cevallos, 53, of the National Action Party received about 27 percent. Cuauhtemoc Cardenas, 60, of the Democratic Revolution Party received almost 17 percent.

Lorenzo Cano, associate director of the UH Mexican American Studies Program, said the new voting procedures used to ensure a fair election are an improvement, but that "the perception of fraud remains.

"We're going to see new types (of fraud) to coerce people to vote," Cano said.

The Houston Chronicle reported Mexicans in some polling places were not guaranteed the right to vote in secrecy and were pressured by officials from different political parties to vote for their candidates. Some precincts also ran out of ballots as well.

Despite these problems, steps had been taken to improve the election process.

A new electoral register had been prepared, and registration identity cards were issued.

People who had voted were fingerprinted with an indelible ink to prevent multiple voting.

Cano said Telemundo television network in Mexico and The Committee in Solidarity with the People of Mexico questioned why Mexican citizens living in the United States could not vote in the election. Cano pointed out that U.S. citizens serving in the military can vote in presidential elections while stationed abroad.

But Luis Bauza, deputy consul general at the Mexican Consulate in Houston, said, "Mexicans in Mexico know more of what's going on."

Bauza said the problem of collecting millions of votes in the United States from Mexicans would be difficult and would require a "special infrastructure" to process them.

As for the election results, Bauza said, "We don't have any special feelings for Zedillo, but we are very satisfied with the way the elections were conducted."

Since Zedillo served as a Cabinet member for President Carlos Salinas de Gortari, Bauza expects him to follow Salinas' policies.

Cano also said Zedillo will follow in the footsteps of his predecessor, but "it will depend on (the influence of) organized groups."

Zedillo's six-year term as president begins Dec. 1.

 

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ZINES SPORT RADICAL BENT

<I>Black Fist<P> #7

<I>Black Fist<P> is an "anarchist zine of politics, culture and society" coming from our lovely city. Good to know that all the weird shit doesn't happen on just the East Coast.

This issue covers Operation Rescue's current programs of surveillance of abortion doctors, how to get your FBI files and credit history, the status of blacks in leftist movements and a list of (often illegal) ideas for "direct action," whatever that means. There is a section about prisoners and a section about activism in Russia and Poland called "On Gogol Boulevard."

<I>Black Fist<P> is a cleanly put-together publication – more so than a lot of zines out there, but not as slick as others. The material is lively and interesting and is pretty thought-provoking stuff all the way around, even if you're not totally into it.

<I>Black Fist<P> is available for $2 at Sound Exchange on Westheimer or at 15110 Bellaire, Box 317; Houston, TX 77083.

– Frank San Miguel

 

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ZINES AVOID TRADITIONAL MARKETING VIA DESKTOP PUBLISHING TECHNIQUES

by Ericka Schiche

Daily Cougar Staff

Although the concept behind zines has existed for decades, the latest independently-produced, low-budget publications exist in various refreshingly unique mutations.

Zines can be free or range in price from 25 cents to $10. Some zine publishers, aware of the fact that readers have only paltry sums of cash in their pockets, let them pay by sending stamps or copies of zines.

Some of the best zines have the DIY (do it yourself, homemade) look, and tackle various subjects ranging from feminism and African American issues to the vegan and punk rock scenes to cartoons. A zine titled <I>Ho-Boy<P>#1 features musical groups Green Day (which should be renamed Supersellout) and Samiam. It looks completely photocopied and features humorous restaurant reviews and columns.

Another zine, titled <I>Alien Psychic Factor<P> no. 9, is based on the theme, "How to raise and train a Chihuahua." It celebrates circa-1960s kitsch and this diminutive canine.

A zine titled <I>Moonshine<P> no. 8, is chock-full of cartoons and interviews with really obscure bands. These and similar zines are available at Sound Exchange, DiverseWorks and at some bookstores. <I>Factsheet Five<P> is an essential guide to zines.

To document the zine explosion, The Daily Cougar features section will feature a bevy of zine reviews and zine-related articles in upcoming issues. To send submissions (zines or reviews), stop by room 151 in the Communications Building.

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COUGARS WON'T SEE RED CROSS

by Jason Paul Ramirez

Daily Cougar Staff

The Houston Cougar football team was fortunate enough to have several of its players back from nagging injuries suffered last week as it spent the weekend practicing in the Astrodome.

Back in practice pads were one of the projected starting running backs, Jermaine Williams; starting center Ben Fricke; and backup running back Ryan Burton.

Williams had been out of action last week due to a case of heat exhaustion, causing him to spend last Tuesday night in Methodist Hospital for examination. Williams was released Wednesday.

"(The doctors) just gave me a lot of fluids to put back in my body," Williams said. "Right now, I'm working my way back into practice slowly and doing what the doctors are telling me to."

Fricke missed time last week with a bruised Achilles tendon while freshman Burton was left hobbling with a sprained right foot.

"(My ankle) is still a little sore, so (the coaches) are holding me back a little," Burton said. "But I'll definitely be ready for Thursday."

The injuries to the Cougar offensive backfield prompted coaches to conduct much of last Wednesday's two-a-day drills with fifth-team freshman runner Aaron Bluit.

Defensive tackles Eric Harrison and Carlos Chester sustained minor injuries last week with Harrison nursing a sore ankle and Chester a head injury. However, both saw sufficient practice time in the weekend's sessions.

Several of the Cougars say they hope the team's current health holds up, as their season opener against the Kansas Jayhawks looms just three days away.

"We'll be all right," Williams said.

In addition, the Cougars are still awaiting word on the academic status of senior running back Tommy Guy and senior cornerback Alfred Young.

As of Sunday, there was no official announcement on whether the two will be eligible this season.

 

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BANK'S DEATH HEADLINES BU WOES; BEARS ENDURING DEFECTION, RED TAPE

Cougar Sports Service

Baylor basketball forward Jerode Banks, the 1994 Southwest Conference Newcomer of the Year, died in a one-car accident Thursday when his car burst into flames after running into an overpass support at about 2:55 a.m. on Interstate 35 in Bruceville-Eddy.

The body was identified by medical examiners Friday in Dallas. He was the lone occupant of the car.

Banks, 6-6, averaged 9.8 points and five rebounds per game in 27 games last season. He started 15.

Banks was a 20-year-old sophomore.

<B>No Clearinghouse winners<P>

Baylor was forced to discontinue aid to 10 athletes who became caught in the bureaucracy of the NCAA, as none were cleared for initial eligibility.

The problem apparently lies in the understaffed clearinghouse staff of 60 people who must handle 9,000 letters and 1,500 phone calls a day.

Until the clearinghouse makes up the backlog, none of these players may practice or receive any aid.

<B>Lambert Lost<P>

Troubled forward Jerome Lambert continued the crunch on the Baylor athletic program by announcing his transfer to Oklahoma State last week.

Lambert led the nation in rebounding in 1993-’94, but has become more well-known for allegations he was faxed a term paper by a Baylor coach while in junior college.

Under NCAA rules for transfers, Lambert will be eligible to play in the ’95-’96 season.

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GODSPEED HAS NO VIRTUES

by Tom Turner

Daily Cougar Staff

Time to introduce yet another highly touted metal band that plays all of the same chords and rhythm patterns as most of the other bands on the metal music chopping block. I suppose they also subscribe to the musician's guide to playing metal just like their idols.

Well, not to hold the suspense any longer, this is Godspeed with what it considers "one of the loudest, fiercest records to come down the pike in eons." I suppose this can be true as long as you don't look at this statement in any sort of positive light.

"Godspeed is a five-piece power sludge unit that boasts demented grooves and an ultra-thick sonic assault courtesy of two bass players." Now let's examine this just a bit closer. Let's see ... the words "sludge" and "demented" fit well. As far as the two-bass player thing goes, wow, let's be real impressed. Hey guys, it's been done before. No big deal!

Anyway, Godspeed has just released its debut album for Atlantic Records, titled <I>Ride<P>. How these guys got signed to Atlantic is beyond me, but the group does have a few scattered rays of hope. The members are able to lay down a few minutes of somewhat decent music through the course of the 11 tracks on the album.

<I>Ride<P> was produced by Skid Row bassist Rachel Bolan. Hmm, that sounds like a bad idea to begin with.

Godspeed is said to be "one of a breed of bands who, like Pantera and White Zombie, is setting new standards for hard rock by combining metal and alternative influences into one brutal sound."

Godspeed can by no means be considered in the same league as groups like Pantera and White Zombie. The band may be able to hold its own with lesser-known groups of this genre, but not anywhere close to the larger bands. If anything, Godspeed is merely a genetic defect from this "breed of bands."

 

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MAGNAPOP MAKES POWER POP

by D. McAdams

Daily Cougar Staff

Never before has a band's name so aptly described its music. Magnapop is just that – magna pop.

With Linda Hopper doing main vocals, Ruthie Morris playing guitar, Shannon Mulvaney playing bass and David McNair heading up the drum duties, Magnapop takes power pop music to new levels.

Imagine smart, catchy lyrics accompanied by fierce, angst-ridden guitars and a solid rhythm section. Add in a nice, crisp, slightly lilting female voice and you've got the makings of an excellent power pop band.

<I>Hot Boxing<P>, Magnapop's second full release, was produced under the watchful eye of Bob Mould (of Sugar fame) at Willie Nelson's Pedernales music studio near Austin. Hopper et al are well pleased with Mould's influence on this work and for good reason.

<I>Hot Boxing<P> is rife with songs that Magnapop mastered. Tracks that are particularly good include "Lay it Down," "Here it Comes," "Piece of Cake" and "In the Way."

Enough can't be said about Morris' six-string skills. Julianna Hatfield was so impressed by Morris' playing, she wrote a song in the guitarist's honor entitled "Ruthless." I've heard many a guitarist play and I can honestly say Morris holds her own.

<I>Hot Boxing<P> will have you bobbing your head in rhythm with the music and mouthing lyrics you won't know that well. Not since Tsunami have I heard a band that can walk that fine line between the pop and alternative music genres so nimbly.

 

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MEDICINE NOT RIGHT RX

by D. McAdams

Daily Cougar Staff

Medicine has released an EP for American Recordings titled <I>Sounds of Medicine<P>, a move I suspect was geared to cash in on all the hype surrounding <I>The Crow<P>.

The song "Time Baby 3" is featured in the film, and they perform in the film. (Remember the first band, shown as the audience, is introduced to the guy who runs the city and his wicked sister with the eye fetish?)

"Time Baby 3" opens the six-song EP, a song which features a guest appearance by Elizabeth Fraser. Halfway into the second song, I wished Elizabeth had stuck around and finished the EP out.

Medicine's press release says, "The band's <I>distinctive<P> amalgam of white noise and sweet-toned pop melodies has excited fans and critics across the country."

"Okay," I said to myself, "maybe this EP isn't a cash-cow for American Recordings. Let's have an open mind and see what Medicine is all about."

"Time Baby 3" turned out to be a glorified, quasi-Cocteau Twins song, but it was pleasant on the whole. Then it began – the meaningless guitar-noise bullshit. Almost every other song sounded like Sonic Youth gone bad (and self-consciously grabbing at some mainstream, techno "cool" sound).

I began to wonder if the excitement the press release mentioned was the kind of excitement people experience when they have the opportunity to harm their enemies. Of course, some people like that pretentious techno-posturing.

If you happen to fit into the aforementioned category, then Medicine is your ... well, Medicine. If not, don't fear – the band still retains its medicinal qualities ... this album is sure to relieve any constipation you've been experiencing.

 

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SUSANS' SAUNTER SMOOTH

by Tom Turner

Daily Cougar Staff

What are the first bands that come to mind when I say Australian music? Well, besides INXS and Midnight Oil, there is another band to add to the list, The Blackeyed Susans.

Granted, the band does not have nearly the same fame as these other bands, but with its latest release, the group hopes to take a step forward. The Blackeyed Susans have just released <I>All Souls Alive<P> on Frontier Records.

The 10-track release produces a "country saunter" and "a melancholy air," combined with a light style of rock. Yeah, even though I said country, it still isn't a completely awful release.

Some of the tracks on <I>All Souls Alive<P> are similar in some ways to the music of Big Head Todd and the Monsters, except without much of the straight, rock style of the Monsters.

<I>All Souls Alive<P> passes from slow, ballad-like tracks to straight-ahead rock music. Some of the stronger tracks on this release include "A Curse On You," "I Can See Now" and "Dirty Water."

Unfortunately, the group tends to lean too much toward the "country sounds" on a few of the tracks, basically the only flaw for the band on this release.

The Blackeyed Susans are lead by Rob Snarski, lead vocals and acoustic guitar. Behind Snarski are Jim White, on drums; David McComb, on electric guitar; Graham Lee, on guitar and vocals; Warren Ellis, on organ and various other instruments; and Phil Kakulas, on bass.

<I>All Souls Alive<P>, by the Blackeyed Susans, is a fairly decent release. However, if the band had steered farther away from the "country saunter" and closer to the flowing rock sound established on a few of the tracks, <I>All Souls Alive<P> could have been a stronger release.

The Blackeyed Susans have made a small step forward with its latest release. Hopefully, the group will be heard from in the future with a stronger album. Wait to buy <I>All Souls Alive<P> until you find it at your favorite used-CD store or until the band's next release.

For more information on The Blackeyed Susans, contact Frontier Records; P.O. Box 22; Sun Valley, California 91353.

 

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STONE RECREATES BONNIE & CLYDE

by Ericka Schiche

Daily Cougar Staff

In this poststructuralist mix of prevarication, sensationalism and nihilism, violence is not only a means to an end, but an end in itself.

Everyone seems to be focusing on the violence in <I>Natural Born Killers<P> – which is not gratuitous in the manner of exploitation – that is part of director Oliver Stone's attempt at rendering a filmic Menippean satire. After films like <I>Platoon<P>, <I>Born on the Fourth of July<P> and <I>JFK<P>, people should not be expecting to see a Panglossian edge in any of his subsequent films.

<I>Natural Born Killers<P> is Stone's portrait of an unremittingly violent society that practices an extreme form of idolatry in its worship of ruthless mass murderers Mickey (Woody Harrelson) and Mallory Knox (Juliette Lewis).

In a society that overdoses on caveats like "Just Say No" and "Stop the Violence," this couple looks like an extreme '90s version of Bonnie and Clyde. A mutation of B&C complete with a scorpion tattoo, yin/yang earring, his and hers shotguns, matching silver snake rings and various coifs. The script, written by David Veloz, Richard Rutowski and Stone, is based on a story by Quentin Tarantino (<I>Reservoir Dogs<P>, <I>Pulp Fiction<P>).

Mickey and Mallory are obvious fodder for trashy tabloidesque magazine shows in the tradition of <I>Hard Copy<P>, <I>A Current Affair<P>, <I>American Journal<P> and <I>Inside Edition<P>.

The deluged republic has witnessed the spectacles of a johnson-cutting wife; a police-brutality survivor-turned-rhetorician; two sobbing, sweater-wearing brothers; and a much-maligned ice skater. Stone apparently set out to make a surrealistic, satirical film, but was slightly diverted from that path when these sensationalistic stories broke. The film still has both elements, but in 1994, as Stone contends, a Mickey and Mallory are not only conceivable, but believable.

The nomadic couple wanders from place to place, in search, possibly, of the ideal setting for carnage and bedlam. The film begins in black and white, with tight shots of a rustic community, and rattlesnakes.

While Mickey eats his key lime pie, his then-flame Mallory dances a shimmy near a jukebox. Mickey hears the sexist comments of another customer at a greasy spoon's counter and starts to get real ticked off with these folks who have redneck sensibilities. Mickey and Mallory end up killing most of the people in the place, but their escapade is not quite as bloody as a nervous viewer might expect. There is actually some humor in this murder spree – the bullets and a jackknife appear as slowed-down, ridiculously large projectiles à la the silver orbs in <I>Phantasm<P>.

Stone met his objective, which was to parse the American psyche to discover elements of it that make an acceptance of such blatantly negativist antiheroes. "But in accepting the post-<I>Clockwork Orange<P>/Sam Peckinpah zeitgeist of dramatic crime around us, what I set out to do was satirize the painful idea that crime has gotten so crazy, so far out of hand, so numbing and so desensitizing that in this movie's Beavis-and-Butthead 1990s American crimescape, the subject approaches the comedic, as does the media, which so avariciously covers it," he wrote in his statement of intent.

In this context, to have subjected Mickey and Mallory to a critique would have resulted in a deflecting of attention from the subject of criticism – the mass media and a society in which people (who look like they're on the way to Woodstock '94) think Mickey and Mallory are "cooler" than Charlie Manson.

There are no throwaway scenes in <I>Natural Born Killers<P>. Well-executed (no pun intended) scenes range from the dark, twisted parody of <I>I Love Lucy<P> involving Mallory's father (Rodney Dangerfield) to the surrealistic scene that features the couple's stop at a store called Drug Zone to the last few incredible prison and post-incarceration scenes.

Stone sells his film and its subject matter by using various film narrative and cinematographical techniques. Whereas he used the Rashomon technique to maximum effect in <I>JFK<P>, Stone invents his own story-telling technique for this film. The influence of <I>The Twilight Zone<P> is obvious in some scenes, and Stone also uses animation, negative prints, nonlinear images and videotape shot in shaky, hand-held documentary style.

Cinematographer Robert Richardson and editors Hank Corwin and Brian Berdan definitely deserve Academy Award consideration.

The performances are also excellent. Harrelson outshines other cast members, including Lewis, whose startling intensity and sinister smile make her farcical character quite scary at times. Robert Downey Jr., who stars as a tabloid show host, is also good, as is Tommy Jones, who stars as a backward prison warden with a corny drawl.

Stone's statement to the same media that crucified him for <I>JFK<P> is that if thou disheth it out, thou must also take it. His film pokes fun at a criminal justice system taxed by a high recidivism rate. <I>Killers<P>' only flaw is that it is intense to a fault, and the violence everyone is hyped up about is not all that violent.

 

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GROUPS MAKE NAME FOR THEMSELVES ON DEBUT

by Frank San Miguel

Daily Cougar Staff

There seems to be so many musicians, particularly those selling the Alternative Dream (read: muddy guitars, "cool" T-shirts, et al) who are hopping from small labels to large. A lot of it tends to be a grab for a piece of a certain pie and comes off as dishonest. Not so to the same extent in these cases.

While musically, Sponge and Stompbox are on different planes – Sponge is grunge and Stompbox is part of the odd growth of so-called new metal -- they share some commonalities. Both had gained local reputations before being snatched up by the mother of all conglomerates, Sony Music, which owns, among other companies, Epic and Columbia. Both are hawking a debut apiece on said conglomerate and both do a pretty fair job in making a name for themselves.

Stompbox's release is titled <I>Stress<P> and the music here is more of what heavy metal is evolving into sonically. It's metal that is radio-friendly and, while supposedly rough, is most aggressive in making sure you know what the band is about – playing music. Not terribly original, perhaps, but, hey, this is America. Whaddya want – a Mitsubishi?

The new-metal sound is a combination of metal with indie rock (read: credibility, to your record exec), blues (read: money) or album-oriented rock (read: mo' money). The new-metal bands ought to owe a royalty to Led Zeppelin (circa early '70s) for mastering it, Flipper (circa early '80s) for legitimizing it and Soundgarden (circa late '80s) for popularizing it.

Stompbox borrows generously from the aforementioned traditions and adds its own stamp to it. Stompbox's sonic signature is power chords that don't pound you over the head and a rhythm front that isn't fronting – at least too much.

Stompbox is essentially a two-piece with rotating drummers. Erich Thaler does the ranting for the band, and his vocals are sort of a crooning grunt without devil's-bowels guttural screaming, which is a style that's the passion of death metal. There are points when he sounds like he's trying too hard to sound like that once-hairy guy from Soundgarden and the bald guy from Pantera, but it doesn't seem to be on purpose. His voice has an edge that puts him a nose ahead of the field.

The opener, "No Woods," is a strong track, and other cuts float with a driving, but ethereal purpose. Others drift from moderate loudness to moody rock.

The music is pretty well-executed and Stompbox seems earnest. The big problem is that there are at least 200 other bands that are also earnest, making Stompbox indistinguishable sometimes. Lucky for it that <I>Stress<P> is such a pleasant slice of plastic.

On another level, Sponge comes from the slightly generic college rock school of Husker Dü. Actually, the band sounds more like Touch & Go Records band Seam in the older days, yet Sponge is able to carve out a (very small) niche for itself.

<I>Rotten Piñata<P> is the name of Sponge's release, a bagful of dissonant noise and understated vocals. From the opener, the really smooth "Pennywheels," to about the sixth track, "Plowed," Sponge does a good job making a case for its consideration for respect. Later, Sponge tends to lose water and unravel, but the foibles can't delete the roundly spiffy bit of plastic it has put out.

The double-guitar job, courtesy of Mike Cross and Joe Mazzola, indicates a lot of chemistry between the players, as they bounce off one another's strong points to create brick-thick backdrop. Vocalist Vinnie is fairly distinct, but vaguely sounds like a few indie rock artists you know, but whose names you can't remember. The bass and drums are nice here as well.

If you really want these, you can likely find <I>Stress<P> and <I>Rotten Piñata<P> at any record store on the planet. This time, that status is lucky for you.

 

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RODGERS BLASTS ADMINISTRATION

 

by Tanya Eiserer

Daily Cougar Staff

The increasingly bitter conflict between UH President James H. Pickering and former Dean of Social Sciences Harrell Rodgers continued when Rodgers released a letter Friday condemning the administration.

The conflict arose recently when Pickering demoted Rodgers from his position as dean.

The letter, dated Aug. 10, was originally an interoffice memo to the faculty and staff of social sciences. Besides the letter, Rodgers also released an editorial explaining his objections to Pickering's handling of the university. (See page 3)

On Thursday, Pickering responded to the appearance of three faculty members and an alumni director before the Board of Regents Wednesday, in which they condemned his decision to demote Rodgers, who, by some estimates, was not fitting in well with the team Pickering had created.

"The issue of a top management team is very important to the university. I need to have leadership from a team of deans in whom I have complete confidence," Pickering said.

Because deans are a part of the administration, they can voice opposition at debates, but they must eventually come together and present a unified front, Pickering added.

Rodgers will return to his post as a political science professor.

In the letter, Rodgers wrote, "The President and Chancellor were convinced that I do not have faith in their major policy objectives and that I am a supporter of the Coalition of Excellence. I plead guilty to both."

The coalition consists of more than 50 professors who are concerned about the overall quality of the university and the university's lack of success in legislative lobbying efforts, said Kent Tedin, a professor of political science.

The appearance of the professors at the regents' meeting was an unprecedented occurrence, as faculty members rarely appear before the board. The effort was also rare because faculty members seldom fight to restore a dean.

The group was unsuccessful in their last-ditch effort to restore Rodgers, as the regents refused to become involved in the issue. Pickering also said he would not change his mind about the decision.

At the meeting, the group pointed out that Rodgers received positive evaluations last spring in his performance review and from an audit of the college.

Over the years, Rodgers raised over $2 million for the college and worked to create a strong college alumni group to help support the college, said Joseph Carbonari, an associate dean of social sciences.

Carbonari and several other faculty members met with Pickering and Provost Henry Trueba before requesting an appearance before the regents.

"It was a cordial meeting; it was quickly made apparent by the president that there was no room for negotiation or compromise," Carbonari wrote in an Aug. 19 letter to the regents' chairwoman of the board.

That letter requested that the regents reconsider their earlier decision not to allow the faculty members to appear before the board.

Carbonari pointed out that Rodgers' term will not expire until September 1995, thus the term "nonreappointment is an incorrect word usage and that the terms "dismissed," "terminated" or "fired" would be more applicable.

Carbonari also pointed out that the board intervened last year with the hiring and salary level of a basketball coach, but has not intervened in the "makeup of the administration of the university."

Carbonari also questioned whether due process was used in the demotion of Rodgers and if the doctrine of shared governance between faculty and the administration was followed.

He also questioned whether the university was acting in the best interests of the institution when a "competent and effective" dean is removed with less than one month's notice to the college and whether the doctrine of "open dialogue" was violated, with a dean essentially fired for speaking out on certain issues.

Deans are appointed, demoted or not reappointed at the discretion of the president.

The president serves entirely at the will of the regents, and the deans serve entirely at the will of the president, a source close to Pickering said.

Even so, deans are rarely removed before their term of office ends unless questions of impropriety or illegality are involved, Carbonari added.

"Deans are rarely removed when they are doing an excellent job," he said.

The former dean of the College of Hotel and Restaurant Management, Joseph Cioch, who was indicted on charges of third-degree felony theft, was not removed from office; he resigned.

Rodgers says he believes his firing was a result of four coalition representatives appearing before the Board of Regents at their June meeting, where they criticized Pickering and Chancellor Alexander Schilt's reshaping efforts, legislative lobbying efforts and perceived bureaucratic wastefulness in the UH System.

"The Chancellor and the President, wedded to the status quo and seemingly incapable of understanding the magnitude of our problems and failures, have articulated no vision or long-term plan for the university," Rodgers wrote. "Their decisions have worked toward the transmutation of UH into a large, undistinguished teaching institution burdened by a stifling and wasteful System bureaucracy."

Rodgers said Pickering and Schilt will not tolerate any opposition to their opinions or the way they run the university.

Other deans said they felt they could express their opinions to Pickering.

"I have never had any problems with Pickering. I have never felt like he stifled my opinions," said Dean Alan Stutts of the College of Hotel and Restaurant Management.

Stutts said he did not view Rodgers' job change as a demotion, but rather as an opportunity to go back into teaching.

"Nobody is tenured in administrative positions," said interim Dean Allen Warner of the College of Education.

Robert Timme, dean of the College of Architecture, said he does not believe any of the deans feel threatened by Rodgers' removal.

 

 

 

 

 

 

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