FACULTY BLAST UH SYSTEM'S HEAF ALLOCATIONS

by Kevin Patton

Daily Cougar Staff

Faculty leaders challenged the UH System's control of Higher Education Assistance Funds Thursday during a marathon Board of Regents meeting, claiming UH has the right to manage funds allocated to it by the state.

Gerhard Paskusz, engineering professor and president of the Faculty Senate, read the resolution passed in Wednesday's Faculty Senate meeting blasting the System for the way it spends HEAF money and asking that the amount spent at UH be proportionate to the amount raised because of UH's enrollment.

The Faculty Senate's resolution cites figures showing that UH receives only 67 percent of HEAF expenditures, although it's responsible for 75 percent of state appropriations.

"The System controls all HEAF funds," said Giles Auchmuty, head of the Faculty Senate's Budget Committee, who also spoke to the regents.

"We're only asking that the HEAF funds appropriated to UH be the same amount generated by the university," he said.

Regents Chairwoman Beth Morian, in response to faculty worries, said, "We really haven't taken up the HEAF question yet."

HEAF came into existence in 1985 to offset the Permanent University Fund, a $2 billion endowment protected by the Texas Constitution for the University of Texas and Texas A&M.

This legislative biennium, HEAF funds have been increased to $175 million per year from $100 million, with $50 million to be set aside for an endowment to eventually equal that of the PUF money. UH is expected to receive as much as $37 million per year, up from $16 million.

This is the first time there has been a public session at the beginning of the meeting. Auchmuty said that all in the university community should organize and speak their concerns directly to the board, the highest authority in the UH System.

In other business, the board heard presentations on efforts to increase student retention. UH-Downtown and UH-Clear Lake showed aggressive recruitment and retention, moving toward more independence.

In addition, UHCL has changed its colors to green, blue and white, and UHD has asked for permission to start a graduate program.

In response to UH's recent loss in enrollment and the sister campuses' aggressive recruitment, UH President James Pickering said, "We are up in every category. We're much better-focused.

"My view is that we have moved in a relatively short time from being a seller's market, where people just came, to a buyer's market. We now have to do what buyer's markets do. We have to take our product and market it to the right people. And once those people are here, we have to serve them well to make sure they are retained, and we have to graduate them."

After the regents came out of executive committee, in which no action was taken, the regents approved UHD's continued northern expansion, which includes: a construction contract for the One Main building central plant expansion; the design for a new Academic/Student Services building; a development plan for Physical Image/Sense of Place, a part of the Student Life and Student Services buildings.

The regents also addressed one of the more volatile issues between UH and the System by reporting that the board "seeks to engage an independent panel of three recognized leaders and policy makers who are former members of governing boards or presidents/chancellors of nationally recognized multi-university systems of higher education," according to the agenda.

The panel will evaluate ways of structuring its organization and designing its processes:

• to maximize its effectiveness in meeting the educational, research and service needs of the Houston area and the state of Texas.

• to improve its efficiency in delivering primary mission services and support functions.

The fight between UH faculty and the System administration has resulted in an external management audit.

 

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RHYTHM AND BLUES, SOUL MUSIC ENDURE ROUGH HISTORY

by Lady Oliver

Daily Cougar Staff

Black History Logo

The phrase "rhythm and blues" was first introduced in 1949 by Billboard magazine as a substitute for the word "race" in a chart representing black musicians. The chart’s name was formerly "The Top 15 Best Selling Race Records."

During this era, there was a profound change in the consciousness of blacks. There was "a kind of frenzy." Music was becoming electrical and making what could have been dubbed "noise." Sometimes the music was too loud to hear the singers, who might have been dressed in gold lame dresses or jackets.

T-Bone Walker of Houston helped bring rhythm and blues to the forefront when he introduced the electric guitar as a lead instrument.

"In those days, rhythm and blues was felt to be degrading, low and not to be heard by respectable people," according to Alan Govenar's <I>The Early Years of Rhythm and Blues<P>. That's one reason why Willie Mae "Big Mama" Thornton's "Hound Dog" fell far behind Elvis Presley's remake.

Thornton's rendition did make it to the number slot, but because it was labeled "rhythm and blues," it had limited distribution.

By the 1960s, rhythm and blues was in full swing. There was quite a bit of tension between blacks and whites. Blacks were still searching for freedom from stigmas of society, and music was a mental release.

Black America found its release this time through "the Godfather of Soul," James Brown. Brown was ambitious and had a big ego. These character traits combined to give him a second title, "the hardest-working man in show business."

Even though he had a white manager, he still had co-manager say-so over himself. He was on the road year-round, playing almost daily. Until 1973, he worked as long as nine to 11 months at a time. This was his choice. He also handled a lot of the business involved in his music making.

According to <I>A Turbulent Voyage<P>, his popularity gave him the best dates and places. He also had a relationship with the disc jockeys, whom he "persuaded" to play his records. Between himself, the DJs and his manager, Brown's tours were very successful. His current release would be played a week or two before the concert date. Ads and promotions were monitored and executed.

"Brown was genuinely moved by the black-pride movement. Seeking to fulfill his role as a leader, he made 'America is My Home.' " His efforts backfired. He was considered a sell-out, an Uncle Tom, by the black community, according to the <I>A Turbulent Voyage.<P>

Later, he came out with "Say It Loud, I'm Black and I'm Proud." This song woke up the movement and took its place as a Black Power anthem.

Every king has his queen. Rhythm and blues soul music is governed by Aretha Franklin, "the Queen of Soul."

With deep roots in the church, Franklin emerged with a gospel flair. Her voice ranges four octaves while massaging a song with her breath control.

"Aretha Franklin was not just indisputably the best singer in the R&B-soul world, but the focus for, to use a '60s cliché, the positive spiritual energy of her listeners," the book also said.

Her songs were written for her with her gospel piano style in mind. She also picked her own songs. This was an advantage and a luxury other singers during that time didn’t have.

If you ever have any doubt as to what soul music is, just play any of Franklin’s records.

But Franklin was not in the soul arena alone. She was accompanied by other greats, like Tina Turner, who played in New York's Apollo Theatre in 1965 with her then-husband, Ike Turner.

Gladys Knight and the Pips is another soul music group that whipped out soulful songs starting in the early '60s.

This Grammy Award- winning group featured Gladys Knight and her cousins, Edward Patten, William Guest and her brother, Bubba Knight.

Although the group has since broken up, the soul in its music lives on.

 

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COUGARS TAKE ON NEW ORLEANS TODAY IN START OF WINN-DIXIE BASEBALL TOURNEY

by Ryan Carssow

Daily Cougar Staff

It may be too early in the season to start celebrating, but the Houston Cougars baseball team will be in the Mardi Gras capitol of the world this weekend for the Winn-Dixie Showdown at the Superdome in New Orleans.

Houston (2-3) will take on New Orleans today at 1 p.m., Louisiana State on Saturday and Tulane on Sunday.

Cougars head coach Rayner Noble said his three starting pitchers for the weekend tournament will be lefthander John Box, righthander Bo Hernandez and righthander Jason Farrow.

"I feel real good about Box at New Orleans, going with Hernandez against a really good LSU team and finishing with Farrow at Tulane," Noble said. "I think those three can get us where we need to be."

Contrary to the last two seasons, Houston has pitched well this season; but until Wednesday's doubleheader split with Texas-Pan American the Cougars' bats had been rather silent. UH scored 12 runs on 12 hits in the two games. While not awe-inspiring, these statistics do show an offensive improvement over the first three games of the season, and an ability to get the most out of a small number of hits.

Lead-off hitter and freshman right fielder Geoffrey Tomlinson went 2-for-8, but collected three runs, three RBIs and his first collegiate home run.

"Tomlinson is raw, but he has a lot of ability," Noble said.

"Acquiring and developing young hitters is one of my goals this season. We just need more bats."

 

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UH WOMEN RUN, JUMP INTO 1ST AFTER FIRST DAY OF SWC INDOORS

by Jeff Holderfield

Daily Cougar Staff

The Houston track and field teams took to Will Rogers Coliseum in Fort Worth with a vengeance Thursday. The women's team was in first place through three completed events after the first day of competition at the Southwest Conference Indoor Championships.

Three Cougars finished in the top five in the women's long jump finals. Dawn Burrell finished second with a leap of 19 feet, 10 and three-fourths inches, and LaToya Blitt took fourth with a jump of 17-8 1/2.

Finishing fifth was Nashika Stokes, the Cougars volleyball star, jumping 17-7 in only her second collegiate tournament. Prior to this season, the last time Stokes competed in the long jump was her senior year of high school.

Several Cougars qualified for the semi-finals in sprints. Those qualifying were Yvonne "Slim" Williams, 800-meters, Drexel Long, 400-meters, and both De'Angelia Johnson and DeMonica Davis, qualified for the semis in the 200-meters.

Returning 1994 champion Katrina Harris finished second in the high jump with a mark of five feet, nine and three-fourths inches. This finish provisionally qualifies her for the NCAA Indoor Championships March 10.

"I was nervous. But I knew I had to have good jumps to qualify for the NCAAs," Harris said.

Christy Bench, a junior distance runner, placed sixth in the 5000-meters.

Within an hour of finishing the 5000, Bench, who is recuperating from a cold, ran the mile.

Shortly after finishing the mile, Bench said, "I don't want the cold to be an excuse. I just hope I can score for the team."

Several men also qualified for the semi-finals in sprints, including: junior sprinters Vincenzo Cox and Lawrence Forbes, who each qualified in the 200-meters and 400-meters, respectively, and senior Paul Lupi, who qualified in the 800-meters.

Cox finished the 200-meter with a season-best time of 22.21 seconds.

 

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LADY COUGARS, AGGIES VIE FOR SECOND PLACE IN SWC

by Jason Paul Ramírez

Daily Cougar Staff

In a game that will give the winner sole possession of second place in the Southwest Conference, the Houston Lady Cougars (12-10, 6-4 in the SWC) face the Texas A&M Aggies (15-6, 6-3) Saturday at 7 p.m. in G. Rollie White Coliseum.

But just when the Cougars thought they were going to be challenged by some of A&M's top players in the teams' first meeting Jan. 21, reserve forward Marianne Miller snuck up behind them and spooked Houston for 26 points on 11-of-15 shooting.

Although star point guard Lisa Branch (15.8 points per game) scored 22 points, it was Miller who stole the show.

"I knew (Miller) was a good player. We watched her last year," Kenlaw said. "But she did surprise us a little. At least we are aware of what she is capable of."

Miller (6-2) is just one of seven Aggies at least six feet tall.

Texas A&M starts two posts and both are among the conference leaders in blocked shots. Junior Kelly Cerny (6-5) leads the team with 22 rejections, while junior Martha McClelland (6-4) has 18.

However, while A&M's large frontline players may appear to create a lot of traffic around the basket, it is somewhat surprising to find that the Aggies are next to last in the conference in rebounding (42.3 per game).

"Sometimes it doesn't matter how tall you are," Kenlaw said. "They are not very aggressive around the boards.

"Though they do have the size, they've shown the tendency to be pushed around a little bit."

Houston won the rebounding battle with A&M 41-37 in the first game as junior center Rosheda Hopson pulled down 15 boards.

No Aggies player had more than six.

Hopson (7.6 rebounds) and freshman forward Jennifer Jones (8.9) remain among the league's top rebounders, fourth and second, respectively.

Not to mention, sophomore forward Pat Luckey, this week's SWC Player of the Week, continued her impressive play with 24 points in a slim 78-76 loss to No. 7 Texas Tech Wednesday.

"She is probably playing her best ball since she's been here," Kenlaw said.

 

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HOLY MACKEREL, ITS BAD RELIGION AT NUMBERS

by Chris Stelmak

Daily Cougar Staff

Bad Religion's newest release, <I>Stranger than Fiction<P>, combines a hard rock-and-roll rhythm with smooth vocals to create its best album yet.

Greg Graffin, lead vocals, gives this Southern California band's heavy rock-and-roll style a hard, yet smooth sound. Jay Bentley, on back-up vocals and bass, described Bad Religion's music as "aggressive folk." Its guitarists, Brian Baker and Greg Hetson, provide flowing accompaniment, combining well with the bass' deep and low rhythms. Drummer Bobby Schayer adds awesome varying beats. The band has been together since the early '80s and has had a lot of time to define its style. <I>Stranger than Fiction<P> was co-produced by Andy Wallace, who has produced such famed bands as Nirvana, Sonic Youth and the Rollins Band.

Being together for more than a decade, Bad Religion has produced all of its albums through its own label, Epitaph Records. However, for <I>Stranger than Fiction<P>, it decided to switch over to Atlantic Records. Mr. Brett (stage name), Bad Religion's former guitarist, could not accompany the group on its current tour because he needed to stay behind and take charge of Epitaph. Brian Baker replaced Mr. Brett for this tour and possibly for its next album.

Most of Bad Religion's songs deal with topics of today, its lyrics referring to issues such as parents neglecting their children, television's adverse effects and the way people no longer keep promises. Bad Religion's "21st Century (Digital Boy)" is deserving of air play and has been on the radio for several months.

<I>Stranger than Fiction<P> is a great album that brings out Bad Religion's best sound. Bad Religion should put on an awesome show this weekend that rock-and-roll fans should definitely enjoy.

Who: Bad Religion

Where: Numbers

300 Westheimer

When: Sunday

 

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TEXAS LEGEND GOES ACOUSTIC

by Sean Fitzpatrick

Daily Cougar Staff

The Texas rocker and road warrior Joe Ely comes to Rockefeller's Saturday night with only his guitar and his considerable catalog of songs for a solo acoustic show.

Ely's live shows are the stuff of legend (and two albums, the recently reissued <I>Live Shots<P> and <I>Live at Liberty Lunch<P>, recorded at the fabled Austin club in 1989). With his ace road band, Ely can rock and tonk with equal conviction.

Without his band, he is a balladeer in the finest Texas tradition. Saturday night's solo format will give Ely the opportunity to stretch out and explore his older material as well as other writers' songbooks.

If Townes Van Zandt is the Bob Dylan of Texas singer-songwriters, Joe Ely is the Bruce Springsteen. His energetic live shows and choice of sidemen (Ian Moore and David Grissom, both Ely band alumna, have gone on to successful careers as sessions men and solo recording artists) first bring the comparisons, but it is the threads of romanticism that underpin his writing that are most reminiscent of Springsteen.

Ely was one of the founding members of The Flatlanders, the seminal Texas roots band which released one album in 1971 and called it quits soon after. That experience gave birth to three distinct artistic voices: Butch Hancock's classic country songwriting, Jimmie Dale Gilmore's New Age western swing and Ely's rocked-up blues and honky tonk.

Ely draws on the two as influences, so expect their songs to pop up in his set. He's a hot draw in Houston; call ahead for a good seat. Will T. Massey will open for Ely.

 

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