Funday Hot fun in the summertime Funday is one of those events most students just don't attend . But really, it is not their fault. The DB-sponsored event is conducted when almost no students are at Eastern - in the summer. The 3,000 of us that were here had the chance to go to the fourth annual Funday, which was conducted July 25 on the South Quad. Music was provided by two respectable bands, the funk group Popular Demandd and the rockabilly trio, The Hellbillies. Ice cream and watermelon were also provided . Maybe the best aspect of this event was the price- free . I was happy about that because I, like many other summer students, was at Eastern not making any money. What I noticed about summer at Eastern was that almost every aspect of life is different than the other semesters. Classes are impossible to miss, because so Fred Zwicky This page, Top: Popular Demandd, a funk-rhythm & blues band, performs before a small crowd on the South Quad. Bottom: Graduates Steve jones, Tisa johnson, janet Maloney and janice Kiser scoop up some of the free ice cream the University Board provided at Funday. Watermelon also was served at the fourth annual event. 132/ Activities much material is covered in one day, and the day to day workload is heavier. Some form of tension release was needed every week. Most of my tension was taken out in the bars. Funday was a bit healthier form of tension release though. The UB tried to make this release a little more socially significant than other events conducted throughout the year. By placing a black funk band, Popular Demandd, with a white rockabilly group, The Hellbillies, the UB brought people from different backgrounds together to have a little fun . It was not the greatest integration of races ever conducted, but it did give summer Eastern students a chance to get loose for a couple of hours before they had to get back to the books. - Matthew Krasnowski 0
D.]. Photos by Stacey Flann igan -tuned to responsibility WELH 98 FM, 640 AM; Striving for professionalism Dennis Wettig, a freshman disc jockey for WELH, plans to pursue a career in radio after graduating from Eastern. Meanwhzie, he continues as a D) for the campus radio station. My favorite part about working at WELH is talking. I like to talk over the music during the intro of a song until the artist starts singing. Like , I say, " ... and here's Michael Jackson singing 'Beat It'," then Michael takes over. It's called a talk up . I also like playing music . I have to know a lot about music and I'm pretty good with the history of radio and groups. My responsibilities include being on the air from 6 to 9 p .m. every Friday, but that time changes throughout the year, so really the only responsibility I have is to be there . If I can't make it, I get someone else. A music log has to be kept. I have to write down all songs, the artist and the side of the album, just basic information for the station. We don't play any song that is vulgar and I can't sing along with songs on the air. I try to be as professional as I can because it is a learning experience. Like I said, though, I can talk when the music is playing. We cater to almost everybody, we play rock and roll for teenagers and we always throw in country music and other types of music older folks may like . WELH basically compares well with other university radio stations. Technically, the board (the control panel for microphones and turntables) is like the ones the professional radio stations use. We're a professional station- we do have public service announcements. But as far as Pepsi commercials, no, we're not into that stuff. Some students don't know about the station. I wish we could advertise in The Datfy Eastern News. It's pretty hard to get a station up here. WELH is good for party's. We're on 98.1 FM and 64 AM. You have to hook up a cable to get the FM station. It's real hectic and hard to keep organized, but everyone tries their best to act as professional as possible. -Interview by Michael MooreD This page, Top: Senior Dave Switzer prepares a public service announcement cart for WELH. Bottom: Sophomore jeff Long prepares to play a cart during his show, 6 to 9 p .m. Mondays. Activities/ 133
Greeks pull to get her Senior Roger }ern is a member of the Sigma Chifraternity. Greek Week really pulled the Sigma Chi house together. It was a big turning point. Greek Week gave fraternities and sororities a chance to show themselves as one unit to the campus and greek community. We also had a little fun in the process. But I didn't think it brought the community together as much as everybody said, but it brought individual fraternities together. Preparing for the games meant getting together weeks in advance. It had a snowballing effect that built up until greek week. That's when everybody wanted to make a real good showing. We started preparing about two months in advance for the greek sing. We usually had a guy every year who knew a little bit about music and volunteered his time . We had a really good deal. Kevin Gainer helped our composer Tony Tomassini compose a Barry Manilow medley and Kevin played piano for us. We met over in Buzzard once a week at first. We usually worked on one song a night and got it down. Right before we were supposed to go on, we went over it again so when we walked on stage everybody knew what they had to do. I really didn't get too nervous because you're up there with about 65 or 70 other guys. We got first place. We had a lot of help from Kevin; the music was just fine . We got to look at the judging sheets and every one said the piano player was great. Of course it was all the practice too. The highlight of the week for me was the little man tug. The little man/big man tugs were always pretty much the highlights of Greek Week ceremonies and the finals are always held on the last day. A lot of fraternities really get into it. This is the first year we had actually taken it seriously. We practiced real hard and got second in the little man tug. Other fraternities were real nice. We didn't have a rope so we had to borrow one. In practice we tugged against the Alpha Sigma Taus. We usually praticed about three times a week for about an hour or hour and half at night. For the most part it was rainy and wet and muddy all the time so it was hard to get a good practice in. You'd always be sliding. We were all really nervous. A lot of us hadn't tugged before and we wanted to make a good showing. It was kind of scary. I knew the water was pretty damn cold and I didn't want to get pulled in. When we got our confidence was after the first tug. We tugged the Sig Taus in about five seconds, made it to the finals and then the Phi Sigs beat us in the finals in about ten seconds. I think we got third in the relays but I'm really not sure. The tug team was over at the house getting psyched up. Our guy won the triathalon, John Caesar, and we thought we were going to win the canoe race this year. Last year we came in second and all our guys were back but we got tied up with the Delta Sigs in the first leg and came in third. At the end of the week there's always a big party every year out at Springhaven. You talk to other fraternity members about the tugs and the other competitions. We were having an apathetic attitude and we weren't making a very good showing in the greek community. It started something and from now on I think we'll take Greek Week more seriously. -Interview by Hart GatelyD Opposite page, Top: Members of Alpha Phi give it Week. Bottom: Members of Sigma Tau Delta take a their all in a tug of war competition during Greek dive and end a tug of war battle at the Campus Pond. 134/ Activities
Brian Ormiston Activities/135
Caffeine and writing go hand in hand Publications' works diverse Walking into the large gymnasium of the Buzzard Building, one is struck by a mass of protoplasm in a state of confusion. Phones are ringing and the constant, but muffled tapping of typewriter keys bringing news flashes into the (Associated Press) wire room defines the large operation of The Dazly Eastern News. With the crowds gathering around the VDTs and the shouting for this and that, i.e. ''I need that story by ... ," one can hardly believe this mess usually runs as smooth as a well oiled locomotive. This news gathering operation lasts until late at night and working up to and past 2 a.m. is routine for many staffers. When the paper has been put to bed in the composing room, preparation for printing begins. It starts with pasted-up flats being photographed and burned on metal plates, which are then put on the barrels of the press. With the ring of the bell, the barrels start rumbling and churning, slowly picking up speed, beating as if it were a heart. With each turn a new copy of that days edition comes out, the ink still moist to the touch. After 8 a.m. the separated offices and desks become as busy as the day before. The coffee and cola move fast, very fast. Steve Binder, editor in chief, usually walks in smoking a half finished cigarette and heads for the coffee pot. As the clock reaches the tenth hour, others of this intrepid band of journalists file in from either an early class or from their beds to reattack the events of the day. Then the usual daily fights begin: which is more important, Photos by Han Gately 136/ Activities local stories or international? Do you give the reader what he wants or what he needs to know about the world? The News is not the only student publication that runs about daily in a state of confusion. The Warbler also is constantly busy during the days. Or more correctly the nights. This pace places a great strain on a already strained staff to make their weekly deadlines. Production Manager Dave McKinney, Editorial Director Matt Krasnowski, Executive Editor Hart Gatelythe triumvirate of the yearbook - are usually bleary eyed and weaked kneed, as well as the rest of the Warbler flock . The yearbook is set at a different pace, somewhat slower until the end of the week when "we start running around like a giant chicken with its head cut off,' ' Krasnowski said. Things at the yearbook sometimes go so late in the evening that a bedroom has been established with a bed, dresser and mirror, popcorn popper, coffee maker and radio. The staff is much smaller than the news, but does a very important job- the recording of a year in the life of the university. The "Vehicle" is the smallest of the publications, but also fills a very important role. It is the high culture of Eastern with the presentation of poetry, drawings and photographs done by students from all majors. The three of these student publications form a lifeline to each and every student, without them, Eastern would be an informationless vacuum. -Jerry MooreD
Opposite page: Senior Stacey Flannigan, after looking at some negatives, tries to decide which frames to choose before writing print requests. This page, Top: Maureen Foertsch, Daily Eastern News assistant news editor, attempts to get a story out of an hourlate reporter. The datly deadline at the News is at 4 p.m. Bottom: jim Talley labors over a rough draft of a cartoon layout he is working on for The Daily Eastern News. Activities/ 137
Miss Black EIU Pageant mirrors all students At the inception of the Miss Black EIU Pageant, eight years ago, former Black Student Union President Booker Suggs recalls having audiences of 250. Even though minority enrollment declined nearly two percent in the spring semester, more than 400 attended the April 9, 1983 pageant. Perhaps black students, which composed less than five percent of the student body at Eastern that semester, realized the importance of having a woman representing blacks on campus,. ''A great amount of interest has picked up over the last three or four years and the pageant has gained a lot of credibility," Suggs said. The Miss Black EIU Pageant was designed to symbolize positive aspects of being black. The pageant, Suggs explained, accomplishes this by allowing black women to explore their talents and abilities through competition. "It is an avenue through which contestants can express themselves.'' Many blacks have had to deal with inferiority stigmas, Suggs noted. The pageant acts as a positive force to help destroy the easily acquired feelings of inadequacy some black women may possess. He attributed low participation in the pageant's history to black women's lack of self-confidence and the uneasiness of performing in front of a large audience . He added some students, mainly freshmen and sophomores, may have the ''wait and see attitude," and want to find out what the pageant is about before entering the competition. Shernita Banks, 1983 pageant coordinator, said the winner of the Miss Black EIU title should be a "beautiful person, inside and out." Candidates for the title were drilled during almost every rehearsal on questions similar to the impromptu questions that would be asked at the pageant. Also, each contestant designed and modeled an African garment and modeled an evening gown. The winner of the competition, 1983 graduate Almetris Snulligan, said she had her eyes on the Miss Black EIU title since she arrived at Eastern four years ago. Snulligan said although displaying a positive black image is important, her actions as Miss Black EIU will represent the black and white students at Eastern. She added she did not want people to feel that because it is a Miss Black EIU Pageant she is only a representative of black students. 138/ Activities Snulligan believed the area of the pageant's competition in which she excelled in individual talent. She took a poem entitled "I'll Rise Again" by Maya Angelou, added music by David Sanborn and Russell Hill, and performed an African dance. Snulligan said the poem was ''very symbolic of what black people have been through." Despite the decline of minority enrollment this year, black students who remained on Eastern's campus did become more aware of the need to have a realistic and symbolic figure to promote a positive image of blacks. - Lisa Green D This page: Almetrius Snulligan stands before a crowd of nearly 400 persons in the Grand Ballroom after being crowned Mtss Black E. I. U.
Homecoming Spirits high, stars come out "EIU Goes Hollywood." Homecoming '83- remember? OK, so Homecoming at Eastern wasn't a big deal like it was in high school, but many people did put forth a lot of effort into the week of festivities. For example, the parade didn'~ equal the St. Patricks' Day Parade in Chicago, but it was enjoyable. Then there was the concert and pig roast on the Library Quad which took a lot of planning, but only was attended by a small fraction of the student body. Probably the only event similar to a high school homecoming was the coronation. While the freshman attendant election still held some student interest, the queen election was easy to predict- Greeks have won each year since 1980. That was when the Panhellenic Council began to sponsor only one Greek candidate. If the Greeks did not attend the coronation to receive their spirit points, the coronation would have had a lower participation rate than most of Eastern's economics classes. The Hollywood sign on the hill by McAfee Gym was a definite step in the right direction, as were the gold stars with pseudo-star autographs that decorated campus sidewalks. It was too bad that these decorations were not appreciated by all of the students; the Hollywood sign was defaced daily during Homecoming week. The football game had the flavor of any high school homecoming game. The Panthers beat the Youngstown State Penguins 21-20 in what proved to be one of the most exciting games the Panthers played iQ a couple of years. The massive tailgate parties and the large, enthusiastic crowd proved that Eastern does have homecoming spirit. Homecoming '83 should not be remembered as the week that didn't have a dance, but as an effort by a lot of people to help Eastern's student body have a good time. -Bill TuckerD This page, above: Constructed on the hz/1 near McAfee Gym, the Hollywood sign, signifying the Homecoming '83 theme- ''EIU Goes Hollywood' ' - was twice the victim of vandalism. Michael Sitarz Activities/ 139
Photos by Micheal Sitarz 140 I Activities This page, Top: The Marching Blue 's bass drummer marches on the field of 0 'Brien Stadium at Eastern's Homecoming football game when the Panthers defeated the Youngstown Penguins 21-20. Bottom: EIU Flag Corps await the drum major's salute before proceeding further on the field for their show. Opposite page: The Marching Blue align into formation during halftime.
The Marching Blue The third team on the field George ]. Kelecich, a junior economics major, has a strong interest in music. He plays the trumpet in Eastern 's Marching Blue. Marching band is worth it for me because I enjoy the music. Sure, music isn't related to my major, but I like it. It's my little hobby. We mainly perform "marching band chart songs." Like, for one show we did "West Side Story" music. We're very fortunate to get good arrangements of p1eces. Greg Clemons, the director of the band, teaches us our drills. The various drills of movement make various patterns or designs. We always form an "E" for the pregame show. Drills are difficult to do especially when we only have one week to prepare for a show. We perform at every home football game and there are four home games in October. We change our show every game . When it's raining we can only practice inside so that makes learning and practicing a drill even tougher. If it rains a lot during a week we usually cut a drill. The halftime show is about 12 to 14 minutes long. The Flag Corp, Pink Panthers and Majorette work with us on the field , too. The Pink Panthers work out a drill and they perform it on Friday's rehearsal. On Tuesday, we play the music and tape it for them. They practice quite a bit and they are good, I haven't seen any mistakes all year. The band drill consists of circles, circle expansions and company fronts. A company front is when the whole band is in a straight line. This band is a 130 piece group with 90 playing parts. The rest is comprised of the Flag Corp, Pink Panthers and the Majorette. We're really a tight group. We do a lot together. After the games we all meet at Caesar's or we have picnics, semi-formals and hayrides. Anyone can join the band. If someone cannot play an instrument, there's always room for flag twirlers. Guys can twirl flags too. A lot of colleges have guy twirlers but we don't. Like I said, marching band is just a little hobby ... actually it's more than a little hobby . It takes up a lot of time and I enjoy it. I don 't want a career in performing, but I'll continue playing my trumpet when the opportunity arises. -Interview by Michael MooreD Activities/141
Performances Entry 06: When I think of performances this year I think of concerts. The year before concerts meant going to see bands that normally played at Ted's and or having friends back home ask why we didn't get any real bands. This year we finally got something. First there was Alabama. We actually got to see a big name band without driving to Champaign or Terre Haute. Even though they got the biggest crowd~ a good percentage of it was townspeople. The Tubes concert was a horse of another color though. Practically everyone I know likes The Tubes, but only about 2,500 people went to see them. I thought there would be about 4,000 there at least. Maybe it was better for The Tubes that a lot of people weren't there - their show was so weird. The simulated rape scene was a bit too much for a lot of the crowd. It went on a little too long to have been done all in fun- as the band claimed. The other things I saw were the plays. I saw "You Can't Take It With You.'' It was kind of funny but the story was a bit far out. I also saw "Good," which was very weird. The acting was great but the story was pretty scary, sort of a black comedy. From what I heard I would have really liked "Pippin" but that was during the summer and I wasn't here. The storyline in that was a little more down to earth. The one thing that seemed to be missing was speakers. Maybe that was the price of getting the concerts. There was Seymour Hersch, the journalist that worked on Watergate and put a book on Kissinger in the summer. He was here last spring, but that was about it. Seeing small bands was a good time, like the Uptown Rulers and Near Myth- too bad they broke up- over at Ted's, or Kevin Gainer at the Cellar. The UB would always get little bands, like Heavy Manners and the Billy Taylor Trio, that were not that popular but were great. Both shows were excellent but barely anyone was there. I guess some people have better things to do with there money. Contents Alabama .......... ... .... .. . 144 Tony Bennett .......... . ..... 146 Near Myth ............. .. .... 148 Uptown Rulers ..... . ... . ..... . 149 Heavy Manners ... . .. .. . .. .. .. 150 BillyTaylorTrio ... . ... ..... ... 151 Pippin ..... . . ... ............ 152 You Can'tTa.kelt With You ..... 154 Five O'Clock Theatre ........... 156 Seymour Hersh ........ . ..... . 158 Tubes .. ....... .... ... . ..... 160 Champaign Concerts .. ......... 162 Good .... . ................. 164 TAC .. . .... . .. . ...... .. .... 166
Photos by Suzanne Cummings This page: Alabama singer/guitarist Randy Owens per- Cook also plays lead guitar. Bottom: Bassist Teddy forms for the crowd of 5,400 at Lantz Gym. Opposite Gentry keeps the rhythm for Alabama at its Sept. 9 page, Top: Fiddler jeff Cook harmonizes with Owens. concert. 144/ Performances
First degree country Alabama visits Lantz The lights were dimmed, green smoke filled the stage and the crowd went crazy. Some of the fans crowded around the stage to cheer the four-mao country band from Fort Payne, Alabama. On Sept. 9, Alabama made its way into Lantz Gym. Drummer Mark Herdon, lead guitarist/violinist Jeff Cook, bassist Teddy Gentry and lead vocalist/ guitarist Randy Owens were capable of driving the crowd of 5,400 insane just by their mere presence. Several members of the audience tried to touch the Owens as he bent down toward the audience . People were giving the band gifts such as roses, cards, stuffed animals and t-shirts. The chanting women were in a daze as Owens sang his love songs. The crowd was into the band. The band members, who began playing together in 1969 when they were attending high school, were full of enthusiasm. They were almost always dancing around the stage. Alabama's playlist was filled with hits. They opened with ''Love in the First Degree'' and followed the hit with a variety of others including, "Take Me Down," "Dixieland Delight," "Mountain Music" and "The Closer You Get." I spoke with some members of the audience, they said that they got their money's worth and they would come back and see the band again. Randy Owens of Alabama seemed just as enthusiastic about playing at Eastern. ''The college atmosphere made us think back to our school days. The crowd was so enthusiastic it naturally generated to the band,'' Owens said. He added, "The band works together as a team. We want to make sure the audience gets their money's worth and that they really enjoy the show." From the stamping and clapping sounds that filled Lantz Gym I think the members of Alabama can rest assured that they put on a fantastic show. Opening up for Alabama was Janie Fricke and The Heart City Band. They both received overwhelming response to their songs. The only trick to this concert was getting in. The lines were backed up from Lantz all the way to Fourth Street, but the those who attended the event agreed it was well worth the wait. -Valerie BasileD Pe.rfonnances/145
That's entertainment! Tony Bennett croons oldies in Parents Weekend concert Senior Kim Schone saw the Nov. 5 Tony Bennett concert, the centerpiece of Parents Weekend, with, who else, her parents. Mom and Dad had been looking forward to Parents Weekend for a long time . Mom particularly. They had been to other performances on Parents Weekend before, but this year Tony Bennett was the featured performer, and that was hot. They had always liked Tony Bennett, and it was much more in their time frame than the older Red Skelton (who performed in 1981) and yet not as recent as Doc Severensen (1982). I had occasionaly heard his records played on my parents' stereo. My parents drove from Bluffs, which is three hours away from Charleston, on that brisk November morning in their Delta 88 Royale. They stopped off at my apartment then took me shopping in Tuscola. We got back in the late afternoon then went to Krackers for dinner. Then , we were ready for the show. Mom and Dad had sent for tickets well before the show, but our seats were set in the third row of the bleachers of Lantz. I've always wondered who gets the front row seats? The 7:30 show began with Tony coming on to greet his combo and fans. When I scanned the rest of Photos by Kathy zur~k 146 I Performance the audience, it seemed that the majority of the concert goers were parents without their students. Their sons and daughters must have been getting an early start on the night's festivities. Bennett did a set of tried and true numbers in the in the Frank Sinatra style. You really can ' t go wrong with "I Left My Heart In San Francisco" or "New York, New York;" both were show stoppers of the evenmg. Response seemed to be very strong among the parents, but students didn't seem that excited. Later that week, my mom was quoted by the UB Entertainer saying, "He was singing straight to me." After the hour and a half show (the second set began at 9 p.m.), we decided to go out and catch up on the early bar goers. After going to Marty's, we went around to Mother's, where my parents had a very good time. But when the clock hit midnight, they decided to call it a night. They had a hotel room in Mattoon; there were no rooms in any of the . Charleston hotels. Sunday morning was set for brunch at Fat Albert's and then we shopped some more in Mattoon. When they left to go back to Bluff, I think Mom and Dad had a good time. -Interview by Jack PalmerO
This page: Entertainer Tony Bennett sweeps around the piano at Lantz gym as he introduces his next song, ''I Left My Heart in San Francisco. '' Opposite page: Bennett peers out at the Parents Weekend crowd dun.ng his November appearance at Eastern. Performance I 147
Michad Sitarz Homecoming schedule Near Myth "Lot's of Loverboy and Journey" could often be seen on the sign outside Ted's Warehouse when Near Myth was going to play. But inside, that advertisement proved to be misleading. The band usually performed only one Loverboy song. Near Myth is beyond that. They are a band which started playing at local bars and Eastern events in 1981, when Eastern students, Rick Sondag and Jim Reilly, decided to form a band. Rick, the guitarist/vocalist of the group, and bassist Jim settled on Rick's brother Robbie, and U of I student, Mark Willis, to round out the group on keyboards and drums, respectively. They decided to play rhythm & blues-oriented dance-rock that was easily accessible to public taste. The group has evolved since its start. They tried to incorporate a female vocalist twice, but prefered the four piece format they started with. The members of Near Myth have similar musical tastes and opinions about the direction the band should take . "My first influence was definitely the Beatles," Rick, the group's front man on and offstage, said. "I think their stage show and offbeat sense of humor have definitely been a positive influence on the band . 148/ Performances I also enjoy groups like Rush and the Who." They like the dance-rock format because, as Reilly puts it, "Good musicians and long instrumentals have their place, but I'd rather play something that is crowd motivating." When asked to comment on current trends in music, the so-called "new wave" that has been gradually filtering its way into the public's powerchord damaged ears, Jim said, "I like the new music. Much of what is going on musically today is good. People should be exposed to a variety of music." Consequently, they have added such group's songs as the Squeeze and the Stray Cats to their repertoire. Rick sees rock and roll as a cyclical process and believes in incorporating new sounds to the groups R & B format. The main focus of the group is to provide an enjoyable atmosphere for people to get together and listen to familiar songs. ''If I can make just a few people happy with our music, I'd be satisfied," Rick said. The future plans of the group are uncertain, since the members will all graduate this year. "I plan to finish school," Rick said. "After that I would like to go and play music. We'd like to stay together as a band. We have similar ideas about what we would like to play, so it would be convenient to stick together.'' The group is perhaps best summarized by Jim, the comic of the group. "We don't take ourselves too seriously. I got into music because I ordered a book from the back of a magazine HOW TO PICK UP WOMEN. It said girls like musicians, so I became one. Look for us on the cover of RED BOOK ... and TIGER BEAT." -Joseph ButlerD This page: Rick Sondag, guitarist/vocalist, and jim Reilly, bassist/ vocalist for Near Myth, perform on the Library Quad Sept. 25. Opposite page: On the same day Chris Grigoroff and Mike Goodrich of the Uptown Rulers jam together for an enthusiastic crowd of25 0.
begins with local bands Uptown Rulers With the Hollywood sign looming on the hill in the background, the Uptown Rulers took the stage on the Library Quad on Sept. 25 to start Homecoming week 1983 . But the set-up was rather strange for a RocksteadySka dance band like the Rulers, who took their name from a line in a Neville Brothers' song. The stage was set back next to the Union, with the graveled hedges preventing anyone from getting close to the band. A youthful emcee started things off with a pitch for the shy audience to move up so, "it could be like a rock concert,'' but added that the show was being video-taped and the audience should refrain from getting in the way of the cameras. The Rulers started out their set with a rousing version of Van Morrison's "Domino," although it seemed guitarist/ singer Mike Goodrich had a little trouble getting all the words in at the staccato pace the band held . He concluded with the credo, "we're a crazy band ." Next they went into a snappy original called "Special Brew," a song you could tap your feet to and even had a dramatic pause near the end. The pedestrian crowd didn't react to singer Chris Grigoroffs dance plea; "I know it's outside, but it's OK to dance," he said from behind his Wayfairer shades. Two grade school girls heard the call; got up and shook. Charging into an uptempo drum-driven keyboard number, a small group of pseudo-hardcore punkers began their gyrations a third of the way back into the crowd. Things began to move . The lead was set by those magazine readers and the rest followed . They followed this up with a song Grigoroff said was about Russia. It started out with a dirge pace and then built speed until it sounded like an Emerson, Lake and Palmer record being played too fast. It was hard to dance to this cacophonous jazz rhythm. Luckily they slowed it down to the Badjan swing that have made the Rulers famous at Ted's and other clubs throughout the central zone. With the addition of more crowd rousing songs like Alton Ellis's " Rocksteady" and the Specials' "Monkey Man," no one seemed to want to leave, even with rain seemingly imminent. In the tradition of a true entertainer, Grigoroff grabbed one of the kindergarten girls and danced with her on stage. Judging from her wide grin afterwards, they have a fan for life . The video cameras had a spark of popularity half way through. The hardcores realized they could achieve a sort of immortality if they ran out front, in the filmers' range and be captured on film forever, even though the emcee advised them not to. The dance of the day was the "Grand Mall," with tongue depressants available at the Health Service. Although the Rulers have probably never been to Jamaica, their sound is completely true to form. Grigoroffs melodica, a hand held piping keyboard, playing is a unique sound addition that Peter Tosh doesn't even delve into. But at break time, he broke a Rastafarian rule. He encouraged the audience to frequent the concession stand and "eat some pork." Jah would frown . That's not kosher. Finishing off the second set with songs like a Ventures style-Marcus Garvey "Exodus," the Rulers won over many new converts to their vision. As Goodrich's skat echoed over the quad, the band reminded us that, along with all the fun, everything on this earth is not great and just, "We say we don't care, you say you don't care." -Jack PalmerO PerforDlances/149
Heavy Manners ska evening As we walked into McAfee Gymnasium to see the Chicago-based Ska band, Heavy Manners, the anticipation of a large crowd or possibly a sellout was on our collective minds. The parking lots in the periphery were consistently jammed. It seemed like a New Music show, on a weeknight even, would actually go over big at Eastern. When we crossed the threshold of the door, we received a shocking surprise. At the most, 20 were standing in the foyer. As the clock went passed the 8 p .m. scheduled concert time, UB members let us into the hall. As more people filed in, a casual emcee came on and told us, "The band is having problems in traffic ," and wouldn't come on until 9 p.m. So, most of the audience left en masse, with small black marks on their hands, to go over to Marty's. After several soda pops, the word came back that the band was on stage and ready for an audience. Starting with a hypnotic dub number, cryptically titled "Flamin"' on the play list, the night dubbin' crowd danced. And danced. Weaving a diverse combination of sounds from an even more diverse lineup of members, the band set a haunting spell. Reflecting the universality of man, as the basis of the Jamaican Ska-Reggae ideal, the band's lineup includes representatives of the races and sexes as a cohesive unit. Singer/keyboard player Kate Fagen struck an image of early '60's punk, women's division. Her button-inthe-back Victoriana maxi-mini-skirt and " really don't care'' blonde hairstyle was much in the tradition of the Los Anglean Go Go's and Bangles, only not appearing contrived. But her siren voice was the real show. Bringing a schizophrenic forefront to the melodic backdrop of unaffecting guitar and saxophone runs, her warm inflections somehow came together with a sterile vocal style. Changing duties often throughout the show, Heavy This page: Rick james n·nger, Jim Robinson, adds his rocksteady bass line to Heavy Manners' aural punch. 150 I Performances Manners ran through a rousing set of English Ska type dance songs, interspersed with catatonia inducing Dubsway dirges. Each band member took a hand at singing, along with switches in bass, keyboard, and saxophone playing, demonstrating their far-reaching musical talents. Beginning with each song, singer/saxophonist Frank Hill, would make some play on words applying to the song title and the situation at hand. Going onto the fourth number, Hill apologized for making us wait and then, reversing the roles, they played "Wait for You." Finishing the show with an inflaming version of '' Ska Jam," singer Fagen told, singing, "I am the Rude Girl I Rude Boy and I love the Ska jam.' ' The crowd love it too. -Jack PalmerO
All jazzed up Billy Taylor and Trio perform Language takes a much broader form than colloquialisms- it's also musical. It has a varied history and just as many diverse dialects as the spoken word. What we now know as jazz was born from a combination of African, European and Latin influences which came together in this country during the 18th century but didn't surface until around the turn of the century. Eastern students and faculty were treated to a superb exhibition of this form of language by men who speak it quite fluently, when Billy Taylor and his Trio performed at the Grand Ballroom on Oct. 24 . The band, composed of Billy Taylor on piano, percussionist Keith Copeland, and bassist Victor Gaskin, played a rwo and a half hour non-stop set of of moving jazz to a small, but extremely enthusiastic audience. Taylor and the trio, dressed in formal attire, took the stage promptly at 8 p.m. The first number, a Taylor original called "Your Smile," started out with a lovely, slow ballad tone which rapidly switched gear into a soaring Latin tempo. Lis2) ohn.son This page: After a brief talk to the sparse crowd in the Grand Ballroom, pianist Bzlly Taylor begins a powerful rendition of "Night in Tunisia, " a Dizzy Gzllespie classic. Following this, Dr. Taylor, Ph.D. in jazz, talked briefly and warmly to the audience, describing the lingual-dialectical nature of jazz. He explained to the audience how each player's distinctly individual voice added to the legacy of the music. After that short, promotional lecture, the band went into a powerful rendition of the Dizzy Gillespie classic, ''Night in Tunisia,'' in which all three musicians were given ample solo time to exhibit their individual voices. The next piece was a grand undertaking. It was described by Taylor as a "musical suite" done in the style of the late Duke Ellington. The compromise of six movements, each with a spiritual theme, was titled "Make aJoyful Noise." The song ranged the full musical gambit, from slow spritual blues to moments of raging improvisational cacophony. A joyful noise, indeed. After that expulsion of energy I was sort of wondering about the programmed intermission, but I quickly forgot about it. The band immediately went into a bouncy, funky arrangement of Horace Silver's, "Juicy Lucy." The title brought laughter and applause from the audience . This was followed by an arrangement of one of the most difficult jazz composers to emulate, the late Thelonius Monk. Of Monk, Dizzy Gillespie once said, "there are little secrets in Monk's compositions, little things that are so unorthodox that you can be playing it wrong.'' The Billy Taylor trio did Monk's tune, "Around Midnight,'' beautiful justice. Using new musical lessons learned on their tours of Europe and the MidEast, the band's individual members showcased their respective instrument. The piece began with percussionist, Keith Copeland doing a barehanded Yemen rhythm pattern on his dtum kit, to bassist, Victor Gaskin reaching the low end on "One for the Woofer", until the master could take over. Billy Taylor introduced the last song of the evening with none too much modesty. He said it was the last movement of a suite he penned for a symphony. In this tune, he said he would "first ... make my left hand sound like two hands, then I'm going to make both hands sound like one and then many.'' The performance that followed was stunning. Taylor's pride in this piece was not vain. The end of his performance was followed by a thunderous standing ovation. The band reciprocated to this, with a two song encore. If only my English classes were so grand. -Kevin DoughertyO Performances I 151
Bawdy performance puts spice into summer The heat wave of 1983 was not the only thing sizzling in Charleston. The Summer Theater Company's production of "Pippin" was also taking Eastern like wildfire, keeping the house filled for seven performances of the Roger 0 . Hirson play. The jocular musical comedy is based on a quasifootnote in history which mentioned a son of the most famous ruler of the Holy Roman Empire , Charlemagne. The son was named Pepin. From this historical fragment Hirson created "Pippin." The musical is a multi-coursed banquet, serving up magic, comedy, music and love- all liberally spiced with sex. The play follows the Quixotic quest of Pippin, alternately played by seniors Rex Rund and Dan Sullivan, for meaning in life. Depicted as a bumbling ninny, Pippin goes from adviser to adviser, seeking something to live for. He said he was ''determined not to waste my life in common, ordinary pursuits.'' Seeking greatness, he goes to war to please his father. Disillusioned with that, his step-brother coaches him in the art of lust. Drained, Pippin turns to anarchy, grabbing his father's crown only to find that power did not have the answers either. Finally, he turns to love. After even that, he still says, "Nothing turned out the way I thought it would. " Leading Player, played by sophomore Lewis Blake, brought Pippin's little drama to an abrupt end. Pippin is given the choice of instant glory through a fiery death or continuing his mediocre existence, but stripped of all the magic he had known . The production is laced with sex. Everything from the storyline to the explicit sexual encounters, interspersed by the burlesque portrayal of Fastrada, Pippin's stepmother, senior Laurie Hadfield, sizzles. "Spread a Little Sunshine," Hadfield's bump-andgrind routine, could have possibly been offensive to some tastes but received good audience reaction. 152/ Perfonnances Another favorite was ''No Time at All,'' a song done by Berthe, Pippin's grandmother, portrayed by sophomore Susan Morse . Even those who felt uncomfortable by the directness of the play (fair warning had been given that the production was for mature audiences only) joined in this sing-along number. In fact, the audience's reaction to most of the music and dance routines was enthusiastic. The voices, when in range, were mellifluous. Noteworthy were the voices of Rund and Sullivan, Blake, Morse as well as sophomore Kathleen Scott who played Catherine. Eliciting laughter were junior Kurt Christensen as Pippin's brawny but brainless stepbrother, Lewis, and junior Steve Scherer as Charlemagne. Unfortunately much of what Blake and Scherer had to say was lost through poor enunciation. Their stage presence by far made up for the distortions. "Pippin" was a sizzling musical comedy. - Sue Oiler MillerD This page: Lewis (junior Kurt Christensen), imagines how "he'll shine in the sun, " whtle showing off the new suit of armor his mother, Fastrada (senior Laun'e Hadfield), gave him dun'ng the Eastern Summer Theater Company's production of ''Pippin. '' Opposite page, Top: After ktlling his father, who happened to be king, Pippin (senior Rex Rund), left, is crowned king by Leading Player (sophomore Lewis Blake). Bottom: To gain Pippin's attention, Theo (Charleston resident Ian Davis), left, shows an uninterested Pippin his lovable duck.
Photos by Jay Sain Perfornlances/153
Photos by Beth Land<r 154 I Performances
Special effects-comedy booster On Sept. 30, the curtain rose and the lights came on. Eastern's production of the Kaufman and Hart comedy, "You Can't Take It With You" opened . The comedy is the tale of a family which has forsaken the rat race pace of American life to pursue their own diversions and delights. Grandpa Vanderhof (senior Jeff Bennett) is the main example of this desire. He quit working years ago and attends college graduations, just to watch the ceremonies. It is his philosophy to enjoy life to its fullest that puts the family on this less than average track. Typing plays that never will be performed is the case with Vanderhofs daughter, Penny (senior Kathleen Scott). The other members of the cast are Penny's husband Uunior Ed Brumley), whose hobby is the maufacturing of fireworks with the aid of Mr. DePinna (freshman Tim Estep), who has been a member of their household for over eight years. His entrance as a member of the family comes when he delivers a block of ice and never leaves. Essie (sophomore Diana Hopkins) and her husband Ed (freshman Andrew Bid) are the daughter and sonin-law of Penny and Paul. Essie's fascination is with the art of candy making and ballet, while Ed is interested in mask making and the printing press. Of the whole family, the only one who seemingly does not exist in a world of bizarre pursuits is Alice (freshman Lynn Mara). She attempts a dinner party with her fiance's parents. When she tries to cover up her family's unusual idiosyncrasies, the party turns into one disaster after another. The play was done very well with the minor exception of over acting done by the IRS agent that had visited Grandpa Vanderhof and the ]-Men (G-Men), better known as government agents, but this did not take away from a good performance that was surrounded by a perfect stage of a 1936 home . The special effects of the fireworks exploding added to the production- I could even smell the burnt sulfur. The play was full of sight gags, such as the snake in the glass box on the end table and an ancient Greek discus thrower with a newspaper in his hand instead of a disc. Of the minor characters, the one outstanding player was Boris Kolenkov (senior Karl Daniel), the overbearing and flamboyant ballet instructor. His comment, "It stinks," summed up his opinion of Essie's ballet lessons. This opinion also carries over to his feelings about several other famous ballet performers. At points, the audience laugh~d so uproariously that several of the lines of dialogue could not be heard. The audience couldn't take it with them, though. -Jerry J. MooreD Opposite page, Top: Sophomore Andre Copeland, junior Ed Brumley and freshman Andrew Biel perform in Eastern's production of "You Can't Take It With You . " The play ran during Homecoming week. Bottom: Senior jeff Bennett (Grandpa Vanderhof) and Bet/ (Ed) discuss Ed's wtfe Essie. This page: Diana Hopkins (Essie) dreams of being a ballet star. Performances/ 155
The arts! Theater: a 'total' experience Kathie Scott, a senior theater arts major, directed a 5 o'clock theatre production dun·ng the fall semseter. She has been in many main stage productions and other 5 o'clock theater shows. Directing a 5 o'clock theater is a good way for a theater major to get a total theatrical experience, because the director does everything from designing lights to publicity. The director is also the producer. Five o'clock theater is a required course for theater majors and they are evaluated by a faculty member. They're not overly concerned with the sets, lighting, etc., but with the .acting and with my directing. This is a directing class and I like to direct. I feel a good director should go the whole nine yards to make it easier for the actors to separate their performance from their everyday life. Good sets, costumes and lights also helps the audience separate the play from their everyday life. My play is called "Next" by Terrence McNally. I chose it because it only has two characters. I wanted to concentrate on each individual as far as characterization. I like the show. It's light, yet it has a message and sad parts. Before casting, every director is given the 5 o'clock rules and regulations. Then we put up posters announcing auditions. Casting is really difficult for two reasons. Number 1, there's so much talent and different characterizations, that it's hard to choose . And number 2, I'm kind of loyal to the people in the department and you tend to want to cast them. It's good for majors to be in 5 o'clocks because it gives them a good chance to build up their theater experience. I cast (junior) Steve Scherer, a theater arts major, and (senior) Jane Anthony, an English major. The next step is rehearsing. We're given three to four weeks for rehearsals. When I started blocking I told my actors what I wanted and told them to 'wing it.' If they did something I didn 't like, I said so. Directing is really trial and error. When my actors were off script, I wanted their lines memorized verbatim, they have difficult lines too. Steve's lines are basically a bunch of long speeches and Jane's lines come from no logical order. On Thursday, October 20, my job is over. I just make sure Jane and Steve are in make up and costumes and then I tell my stage manager to start the show. I sit down and relax .. . well, not really, I see what they can do for me and themselves. Directing was the easy part. There are a lot of 156/ Performances Photos by Fred Zwicky hassles. If a prop was not in storage I had to borrow it. I also had to put money out of my own pocket into the show. Of course, I'd rather not do that, but if it means a more complete show, I' 11 do it. I could have had someone design the lights, costumes and set for me , but when I read the script and I saw the way things should be done , so I'm designing everything myself. Five o'clock theater is not only a good directing experience but also a good way for theater majors to act in many shows. Directing a show is also good for a resume and portfolio. -Interview by Michael MooreD This page: junior Kurt Chnstensen helps graduate student Mark Holland gather hzs senses after a spasm in the 5 o'clock thearter's production of " The Last Straw. '' Opposite page, Top: Getting frustrated with hzs work and lzfe, Holland, as the psychiatrist, ''flips out. '' Bottom: Using hzs electncal device, Holland teaches Chnstensen the evzls of homosexuality.
Perfornlances/157
Interviewer turned interviewee Journalist compares Vietnam to Central America situation It was five minutes before the event was scheduled to begin. Most of the Union Grand Ballroom's 500 available seats were filled - yet the students continued to file in. Many had notebooks in hand, pens were poised. They shifted uneasily in their orange plastic chairs. Some "force" had drawn the interest of these many students. And it wasn't a rally against tuition hikes, or the Charleston mayor talking about raising the bar entry age . It was Seymour Hersh~ Seymour Hersh: world-renowned journalist. Pulitzer Prize winner. Former New York Times investigative "ace." The man who broke the My Lai massacre story. The man who opened up the Watergate trial. A man with numerous journalistic awards under his belt. Despite these impressive credentials, there was an even more compelling reason for some students to see Hersh other than his journalistic fame and experience. It's called mandatory attendance . Most journalism instructors required their classes to attend Hersh's speech on Journalism Day, April 18, 1983. Odds were good, too, if you had a journalism class, a reaction paper or summarization of the night's events also was required. However, there are only 250 journalism majors, and many of them were working in the newsroom that night. In any case , it's doubtful the students who were "railroaded" into going regretted it. The disheveled, frumpy Hersh, sporting a wrinkled gray suit and uncombed hair, held the audience's attention throughout his hour-long speech. "Vietnam is an obsession for me," Hersh began in a speech that was as disorganized as his appearance. He told of his meeting with Lt. Calley, the man who claimed he was responsible for the My Lai massacre. Hersh said Calley "calmly" related the details of the massacre to him. Mter their discussion Calley went 158/ Performances into the bathroom and threw up blood. As Hersh went on with his monologue , something came to him. He said, " here's something I have to think about and live with, so I guess you can too." The crowd grew still with anxiety as Hersh described Calley's murder of a child who survived the intial genocide at My Lai and tried to escape. The focus of Hersh's speech, however, was not Vietnam itself, but how the Vietnam experience parallels the situation today in Central America. Central America must be watched closely, Hersh warned. Furthermore, Hersh said, Americans should not rely on the press to keep the situation in check. ''We (the press) have a serious function to report the news. We aren't makers and shakers," Hersh claimed. To prove his point, Hersh gave his version of the events which led to Watergate. The first series of events were the secret bombings of Cambodia ordered by former President Richard M. Nixon. Next were the illegal wiretaps Nixon ordered. Finally, there was the illegal CIA domestic spying on anti-war movement leaders which was also ordered by Nixon Because of the failure of the press to discover these events, until after the fact, the press gave us Watergate because Nixon thought he could get away with it, Hersh said . Mter his speech, Hersh answered questions from the audience for half an hour before proceeding to the Indian Lounge inside the Bel Aire Bowling Alley for a few beers. There, the famed journalist sat in the dark corner of the bar. To his left was a picture of a pheasant, to his right an owl's portrait and in front of him a Buckhorn beer. He was surrounded by an inquisitive and admiring group of Eastern journalism instructors and students. Their questions were answered in his fast-paced, Chicago ish way. He was looking a little more disheveled now with suit jacket off, tie undone and hair more messed up than before. He looked relaxed, at home. Then, one knew he was seeing Seymour Hersh, the man and the reporter, not Mr. Journalism Day speaker. -John WanglerD
Opposite page: Panelists Lola Burnham, former editor in chief ofThe Daily Eastern News, and Bzll Lair, managing editor of the Charleston Times-Courier, listen as journalism Day speaker Seymour Hersh shares an anecdote regarding his discovery of the My Lai cover-up in Vietnam. Hersh's lecture was presented to approximately 500 people in the Grand Ballroom. This page: Former New York Times journalist and Pulitzer Prize winner Seymour Hersh. No clue on book given while visiting Hersh had finished only one of two Buckhoms he ordered that night at the Indian Lounge. He offered the last half of one to whoever was dry thirsry. He did not offer any precede on what was going to happen to him in the next few months though. Hersh had led us all on at the speech with criticism of the mistakes of the journalism profession. He gave the impression they caused the world more pain than good by not getting the information before the fact. But he feigned answering what could be done to correct the problems. He was playing the other side for a change. All the aspiring investigative journalists at the lounge, concentrated five to the square yard, failed to ask him what he was up to and what his soon to be published book ''The Price of Power: Kissinger in the Nixon White House" was going to cover. Hersh did not bother to give any dues to how much controversy his book would cause either. Most of those at the speech had only one chance to ask questions. Those who joined him at the lounge had a second opportunity. But all heard the cock crow the third time on Thursday, June 2, if they happened to see the news or read the paper. When Hersh's book was released that day, a portrait of Henry Kissinger as a doubledealing opportunist was made public. Hersh, who gathered information from about 1,000 sources, presented Kissinger as a man who worked both the Democrats and the Republicans for whatever he could get in the '68 presidential election, who increased tension in the Nixon administration and who decreased the chances of peace in the Middle East and Vietnam. But, back a few weeks earlier at the lounge, no one asked about the book in specifics, so Hersh did not volunteer any information. As he pointed out before, we journalists must get the information before the fact. Not after. -Jack Palmer• Performances I 159
Phoros by Michael Sitarz This page, Top: Tubes' vocalist Fee Waybtll tells the tale of the Beauty in ''She's a Beauty " - the Tubes first encore- as they performed at Lantz Gym on Oct. 15. Bottom: Waybtll, donning an Eastern football shirt, keeps the sexual overtones of the concert in tact as he and one of the ''Tubes Girls'' perform ''Sports Fan. '' Opposite page: The Romantics's vocalist/guitarist Michael Sktll warms up the crowd prior to the Tubes show. 160 I Performances
The Tubes Back in business again October 15, and I already missed The Romantics. I was late again. Everyone was loitering around to see or to be seen, but I was here to see my first Tubes concert in three years, that was before they Michael Sitarz had a hit SOng. I found my seat while the lights were still up but it wasn't long before they went down and the band came on stage. Seven men in two-piece suits, forming a line, quickly shed their corporate image during the first song, "Out of the Business." In business is what they were on their last album "Completion Backward Principle. " They went from being a small cult band to a large corporation. I guess they enjoyed being in business, so they consolidated their image a bit. But it seems they are always changing their image . Lead singer Fee Waybill did his first (of many) costume changes and became ''The Sports Fan .'' He was soon thrown out of the game after a violent argument with an umpire. The umpire was a extra of the Tubes show who, like others, added to the combustible theatrics that took place throughout the concert. Fee then came back to do a few more songs from their latest album, Outside Inside the Tubes. After another Hollywood-style costume change, he came back as Mr. Hate- a real rough looking character. There was a pretty shocking simulated rape scene during the "Mr. Hate" number. Judging from the reaction of the audience, they dido' t get the joke. But in the end the lovely "Tubette" stole Mr. Hate's gun, chased him then gunned him down. Justice was served. Vince Welnick wiped the fake blood from his keyboards as Mr. Hate was reincarnated in a studded leather jockstrap for an old Tube number, " Mondo Bondage. " The last two songs made some people a bit uneasy. So, permanently seated guitarist Bill Spooner slowed things down a bit with his ballad , "Don't Want to Wait Anymore." He also promised more "sex music'' later on. The music turned from sex to drugs during their all-time-favorite ''White Punks on Dope," an anti-drug song written as a parody of the rich white brats of Hollywood . 'It seemed they got bored doing this song night after night and changed the character from Quay Lewd to Quay Louie XIV. Quay, still the glitter rock star sporting 12-inch platform shoes, ended up crushed by falling amplifiers and giant foam boulders. A drastic ending for a set, and yet something still was missing- their two biggest hits. Sure enough, for the first encore they did "She 's a Beauty," the band's latest and biggest hit and their first top 10 single on the Billboard cfiarts. The next song was their first big hit "Talk to Ya Later." An apropriate ending for the show? No way. We had to talk more. Time to get backstage . Getting there was no problem, dropped a few names and I was in like Flint. I found refreshments and drummer Prairie Prince in the hospitality room. After a few questions his bus left, and I knew where It was going. Ten minutes later, the Tubes and I were sitting in the lounge of the Charleston Motor Inn making cocktails disappear. We planned to talk and drink all night. Or so we thought. It was an unpleasant surprise for the band, especially Bill Spooner, to find out the bar closed at 1 a.m. The disabled Bill used his crutches to topple chairs and ashtrays on his way out. But I was accustomed to having my drinking privileges cut short. I spent the rest of the nutty evening with the Tubes and friends in their suite . But as fun as it was, I still felt as if more should have went down. It reminded me of what Fee Waybill told me earlier, '' ... You're in a band for over ten years, you finally get a top ten hit ... and you're still not satisfied." Well put Fee. - MarkJamesonD Performances/ 161
Out of town shows Police, Gang bust it up in concert Two years ago, the crowd in Champaign seemed to move more for the opening act, Joan Jett and the Blackhearts, than it did for the main attraction- The Police. But on a cold Monday night, November 28, the cries of ti.:ket scalpers outside of the Assembly Hall gave only a small due to the excitement that was about to explode inside. Fans, more than 15,000 of them, danced and sang as the The Police, put on their last show in America promoting their latest album Synchronicity. Sting, in response to the surrounding crowd yelled, " I feel like the lion in the colosseum. Are all the Christians eaten yet? Never!" Sting's voice showed the strain of a long concert season. His voice no longer had the boyish quality of earlier albums. but a more hardened sound closer to the mood of Synchronicity. The fact is that it was hard not to move when listening to The Police, as evidenced by the wild dancing in the aisles that went on throughout the entire show. Singing along with Sting proved to be a difficult prospect because he usually took the melody through several improvisational trips before a song ended. However, the group was careful to keep such well-known hits as " Every Breath You Fred Zwicky 162 I Performances Take" fairly dose to original renditions so as not to alienate their Top 40 audience. The Police broke away from the heavy studio sound of their last two albums. It was just a good jam session among three friends. They were also aided by three backup singers and an occasional bass player to fill in while Sting was busy playing synthesizers, wooden flutes or horns. Although Stewart Copeland took a more laid-back approach on their last album, as well as the opening concert in Chicago, it was good to see him back in form, beating the distinctive rhythms put down on their earlier albums. Andy Summers isn't the greatest technician as a lead guitarist but his solos always hit right-on -weaving harmonics and simple lines that were often dissonant but still upbeal. Sting, proficient in dealing with local crowds, called out " Good luck at the Rose Bowl, whatever the hell that is." And the excellent sound of the warmup band, UB-40, hinted at The Police's roots: strong reggae topped with a catchy melody. But The Police have evolved from those carefree roots to Sting's more somber ramblings. The lightness missing from recent albums was the best thing they revealed live. -Fred ZwickyO The Gang of Four. The name conjures images of Cultural Revolution . Or, depending on your political sentiments, the happy stay of execution of Mao's widow, after her conviction of ordering the killing of her political enemies in China. But in relation to music, the Gang of Four means a clever band of four from England, who opened its American tour on Wednesday, October 5, at Champaign's Auditorium. I would count six members, though, because of the additional Gospel singers, Alfa Anderson and Brenda White, contributng fine backing singing, swinging African garb and the ocassional rhythmic woodblock, lead pipe or keyboard punch. Entering the Auditorium, I noticed the stage was backed and framed with rows of huge prison bar fluorescent lights. They were each at least IS feet tall. If they turn them on all at once, I thought, it would be very bright. They were. Starting of the show with, " We Live as We Dream Alone" to a lively crowd of over 600, the Gang began a evening of excitement, contrasting the boredom of the opening acts. Featuring most of the songs of their new record, Hard the band also covered many from their last disc Songs of the Free. Standing out particularly was, "I Love a Man in Uniform," bringing to mind the difficulties of Eastern's own "Bagg" not attracting the attention of the pretty girls, even in his Carrot Ice Cream uniform. Singer and Melodica player (a recorder like instrument, well used these days) Jon King was the standout of the show; moving, as opposed to the stationary stanch of his cohortS. Crouched over at the waist, King would sway his arrns, much in the style of childhood imitations of an elephant trunk. Flailing the breadth of the stage, he seemed in constant danger of falling over_ As the show progressed, the crowd seemed to grow in huge in size, not in numbers, but in volume; audibly cheering on the band. Finishing with one encore, the band did " Damaged Goods, " which logically ends with "goodbye" repeated over and over again. But the crowd was not leaving. Coming back for a second encore, menacing guitarist Andy Gill began a feedback routine of rubbing his K-Mart guitar over the amps, creating a piercing, industrial drone. This was culminated by a big surprise. Evidently overcome with emotion, Gill smashed his guitar on the stage. I don't know if this was planned or spontaneous, but it was pretty exciting. Not since Pete Townshend. -Jack PalmerO This page: The Police, perform the last concert of their North American Tour at the Champaign Assembly Hall, in November.
Psychedelic, Violent bands give performances "It's a new way; I will follow where my mind goes," Ri~hard Butler scratches in the Psychedelic Furs hit "Love My Way. " At the Furs spring of '83 show at the Auditorium in Champaign, they made a pitched attempt to bring the audience along on their head trip. Beginning the show dramatically with a synthesized classical movement, reminiscent of past "Fanfare for the Common Man" shoe-in's of many 70's bands, Butler and his crew entered to the ovation of the crowd of over 1,000, many of which were psuedo-punking for the evening. Practically from the stan, the sound was marred by heavy feedback. Mter traveling through three numbers, accompanied by the high-pitched whine, the band walked off and allowed their roadies to do the technical wock. Doing mostly slow songs to stan, it seemed the band was attempting to build some kind of high drama and tension, but Butler's mesmerization of the crowd was destroyed by all the sound problems. The crowd quickly grew indignant, but finally, the band came back to try again. The audience then had an opponuniry to appreciate the charasmatic showmanship of Butler. Butler is not driven to do the frenzied stage kenetics of his many New Romatic contemporaries. Instead, Butler's stage presence, decked in leather trousers and waistcoat, lies more in the theatric tradition of David Bowie or Iggy Pop. Delivering the words in a voice described as the flip-side of a pair of second hand vocal chords, Butler's stream of conciousness descriptions of the world are clearly reminiscent of Gregory Corso's beatnik poetic stylings. As the show progressed, the slow mind music was interspersed with more danceable hits like "Pretty in Pink," and the obligatory, "Love My Way." The band also did several numbers from their first record, such as "India," "Sister Europe" and "Soap Commercial," which ended ending cacophonously with cellist, Anne Sheldon, and saxophonist, Gary Winde, competing for the anarchy prize. Finishing the show with three encores, accompanied by the trappings of smoke along with high school play lighting, the Furs ended with an electric version of "Dumbwaiter," which made the guy that screamed for it throughout the entire night very happy. The warming band was Our Daughter's Wedding. They were very loud. -Jack PalmerO " You may dance." This was permission given by Violent Femmes bassist Brian Ritchie to a crowd of no more than 200 at a smalllecrure hall in St. Louis. The atmosphere gave the statement the equivalency of a professor telling srudents "you may learn." For those not familar with this lecture tour, the Violent Femmes are a Milwaukee-based trio- discovered by now deceased James Honeyman-Scott of the Pretenders. Labeling this band is perverse. This son of pigeon-holing evenrually has ruined bands that were new and original, especially when the band began to believe in and conform to that label given. Musically, the Femmes don't hide their influences- from the early Stones/Beatles-like rave-up "Prove My Love," to the Velvet Underground-flavored "Kiss Off." Singer/guitarist Gordon Gano whines, growls and screams through the band's spur of the moment repertoire, including a pleading a cappella opening to the first encore, "Add It Up." His voice recalls Lou Reed, and John Lydon at his most outragous. In their set the Femmes hit on the high points of their first album and then included songs yet to be released, such as the "The Country Death Song," a dedication to James Watt, "Ugly;" and a wonderful bit of socioreligious commentary, "Hallowed Ground" . The Violent Femmes have actually taken a garage sound to the road, and with it an unpretentious garage attirude. Not only did they thank their opening act, the Aviator Club, for performing but they dedicating their final number to the band. Also, in a fantastic bit of originality, they used the chalkboard behind the stage as a message board. In their own intimate way, making a comment on the coldness of the currently popular concen video screen. As I watched the show I could not help imagining that I was standing in the shoes of those who saw Elvis Presley in 195 5, the Beatles at the Cavern Club in 1961, or the Clash in 1977. Their stage presence was special. Maybe this is simply the first chapter in a story that will continue to get better. -Jim CaldwellD This page: Richard Butler, lead singer of the Psychedelic Furs performs in his theatric way at the Auditorium in Champaign. Perfor.ntances/163
164 I Performances
Thespians' portrayal 'Good' The stage was minimally decorated. The band played a love song inside Professor Halder's head, and the "Good" descent into the hell of Nazi Germany began for the Dec. 2-6 audiences the Doudna Fine Arts Center Theater. Audiences who expected a little more humor of what had been described as a "black comedy" were probably disappointed. The gallows humor- apart from Halder's (senior ]eft Bennett) almost-total disrobing to don his SS uniform- was sparse; however, there was sophomoric laughter at the distracting profanity. Even the stream-of-consciousness swearing was historically incorrect- but a playwright fault. Otherwise, C.P. Taylor's script faithfully followed the hor-· ror good people got caught up in . It begins with the mercy deaths of the incurably ill and insane and ends with population control centers, like Auschwitz; where our story ends with Halder realizing that the music is real. It is a death march to the gas chambers. The music, however, was wunderbar! Tenor Karl Daniel, a senior, sang both tenor and soprano roles in a Wagnerian opera which was mimed by Halder and his frau (senior Karen Vogt)- a truly hilarious moment. Freshman Ray DeArcangelis' Chaplinesque-cumFreudian depictation of Hitler was riotous, as well, and a light moment in an otherwise grim story line . The most famous line being Hitler's "We'll never give you an order which goes against your con- . " sc1ence. Halder was caught in a vortex through his fatherin-law's urging and encouraged to continue, by his·· SS friend , Major Freddie (junior Kurt Christensen) and praise from the Fuhrer. Maurice (freshman Tim Estep), a Jew who is Halder's very best friend, is sucked into the whirlpool; but Halder, floating along with the tide (and only wakening when the band plays) is unable to rescue Maurice, for he, too, is sinking. Told in a James Joyce/William Faulker stream-ofconsciousness fashion, the tale was fragmented , but gnppmg. It was more than "Holocaust" with a beat, but the music only Halder heard represented the horror. As he said , " The bands came after the Nazis." But in the end, when Halder heard the doomed Jews playing Shubert inside Auschwitz , he realized "The band was real! ' ' "Good" was a bad , tragic story , but "Good" was good. - Sue Oiler MillerO Opposite page: john Halder (senior jeff Bennett, discusses with Freddie (junior Kurt Christensen) the possibility of Holder joining in with the Nazi party in Eastern 's theater department's presentation of " Good. " This page: The good Professor Halder consoles his frightened wzfe (senior Karen Vogt). Performances/ 165
T arble Arts Center offers artists This page: This sculpture series was on display at the Tarble Arts Center in the fall. In its second year the TAC has brought many world famous artists' exhibits to Eastern and has allowed local artists to display their talents. The T A C also feature workshops, poetry readings and theater performances. 166 I Performances
the chance to exhibit their works Senior art major Patrick Mzller has had his works on display at the Tarble Arts Center and in various places across the state. One of the most valuable acquisitions made by Eastern in many years is the Tarble Arts Center. The uniquely designed building, with its sharp angles and white brick surface is considered a work of art in itself; it woo the Midwestern Architectural Association's Best Design award when it opened in 1982. The TAC, essentially a gallery space, provides world renown artists, as well as Eastern students and faculty with a desirable environment in which to show their works, something that the Charleston area had previously lacked. It also offers local residents and those from surrounding areas the opportunity to see professional exhibits which might never have been available to them if not for the sprawling building. The TAC offers a variety of visual arts exhibits, activities and events open to the public. These include poetry recitals, musical performances, slide presentations, lectures, and movies, to name just a few . These generally are free to the public. The TAC also provides a wide array of arts and crafts workshops and classes for adults and children . These classes are taught by professional artists and faculty members and are available throughout the year. Some of the classes offered for adults are calligraphy, painting, ceramics, quilting, and many more . There are also art classes from the pre-school to the high school level. Since its opening the T AC has presented exhibits by some of the world's greatest artists. One of the first shows by a major artist was the joint display of the works of Raucheoberg and Rosenquist. Raucheoberg is considered to be one of the world 's finest living artists. His show at the TAC was exceptionally good; with intriguing imagery of rural Americana through the use of Purina Animal Chow packaging in collages, showing that one of America's founders of Pop Art is still in fine form . Other memorable shows were the American Masters of Photography exhibit, the sculpture of Johann Eyfells, the Walter Sorge Retrospective (an internationally known artist and member of Eastern's art faculty) , the Dan Howard Retrospective and Eastern's Art Department faculty exhibit. One of the best exhibits at the TAC was last year's EIU All-Student art exhibit. This show was professionally selected by a jury of art judges from outside the Charleston area. While most of the work was done by art majors, there were also entries from artists of different majors which were selected. Faculty, critics and students agreed that this was one of the best student shows at Eastern in many years. I was one of the student artists who had artwork in this show, and was proud to have been involved. Having a professional gallery space , in which to exhibit works, increased the quality of the show immensely. Unfortunately, during the spring and fall of '83 there was a rash of vandalism directed toward the T AC in which some of the large outdoor sculptures on display were damaged and tipped over. This occurrence was especially bothersome to we art students who like to feel secure in displaying our work outside. The very few students who do vandalize contribute to the sad fact that Eastern is the only university campus in Illinois that doesn't have outdoor sculptures enhancing the beauty of its grounds. The vandalism does seem to have stopped and hopefully signifies a trend towards a greater appreciation and understanding of art. There are so many things offered at the TAC that it is a shame if students don 't take full advantage of what it has to offer. It brings cultural enrichment, social activities, entertainment and so much more to the Charleston area. Its easy accessibility to Eastern students should never be ignored. - Patrick MillerO Performances/ 167
Organizations Entry 07: Belonging is something that we all strive for. To be a part of a group is better than standing alone or at least that's the way we've always been taught. I got involved in a couple groups and I found that past all of the smiley recruiting spiels that each had to offer, being a part of an organization was something that I liked. To me, belonging seemed to bring with it ambition. It must have been a really great feeling for an organization to be recognized nationally or even in terms of being recognized campus-wide. It must also have been a great feeling to work your way to the top of an organization and be the president or the editor. To do this, though, I found that it took a hell of a lot of hard work. But in the long run, I'd have to say that that hard work almost always paid off. I suppose what turns people off, as well as determines success in the eye of society, is responsibility. Being the top dog takes responsibility, courage to make a decision and not end up worrying about whether it was right or wrong. Society, in general, seems to reward an individual who is not afraid of responsibility. Corporate successes, the Ted Turners and Ray Kroes, are those who worked their way to the top, those who had ambition and weren't afraid to try new things. Belonging could offer hopes of that. Bingo- the American dream. I'm sure that all of those success stories found that being a group member is a necessary process of socialization. Here at school, what isn't? To be a functioning part of society I'd say you have to belong. In a sense, those that don't belong really end up belonging anyway. Good or bad, there's little choice. On campus, you are either Greek or you aren't Greek. A voter or a non-voter. An athlete or a non-athlete. Each represented segments or interest groups of society. When you put them all together, you get a society as a whole, perhaps on a lesser scale at Eastern, but a society nonetheless. Contents Academics ..... .. 0 0 0 0 • • • •• 170 Soc ial ........ 0 0 0 0 • 0 • ••••••• 189 Resident Hall .. 0 0 0 0 ••• . ... 208 Athletic. ••• 0 •• 0 ••••• 2 15
Academics Springtime light sculpture at O'Brien bagged twice, lit once Senior Chris Witt is an art major in graphic design who helped prepare a light sculpture, designed by john David Mooney, on the bleachers in 0 'Bn'en Stadium dun·ng Celebration in May of 1983. The sculpture consisted of about 5,000 paper bags containing candles. We started on the Thursday night before the Celebration weekend. We met with Mooney and discussed what the sculpture was going to be. Mooney did not have the drawings or the plan for the sculpture when he came here, he wanted to see the bleachers and what they were like . Fred Zwicky He gave students an idea of what they were going to do by showing a slide presentation of the light sculptures he made before. (Mooney) has done quite a few light sculptures before but he has never done one on bleachers like that. He always did them on the ground. So, this was the first of its kind . On Sunday we had to weigh the bags down again . The sculpture is a performance ... it is a one time thing. It was preserved on the 600 slides he made though. Friday, we started preparing the paper bags, which had sand in them to weigh them down. After we had everything set up on Saturday night, when it was supposed to happen, it got too windy and the bags started catching on fire. We had to replace them. So we put it off until the next day. It is good to have a well-known artist to come here and work with students. It gives students a chance to work with a professional, it also gets several people involved; not just one or two . -Interview by Matthew Krasnowski D This page: This light sculpture was created by members of the art department dun·ng Celebration week in the spn·ng of '83. Table of Contents Alpha Epsilon Delta ... . ....... . ... .. . . ... 181 Geology Science Club .... . . . .. . . . .. . . .. . .. 187 Psi Chi . . .. . .. . .. . ...... . . . .. . . .. . . . .. . 185 Alpha Kappa Delta ... . . .. .. . ...... . ...... 185 Heath Club / Eta Sigma Gamma ........ . ..... 177 Public Relations Society . . ... . . . . . . . . . .. .. .. 175 Alpha Phi Omega .... . .. . ...... . . . ....... 1 77 Junior High Majors .. .. .. . . . .... . .. . .. . .. . 188 ROTC. ....... . .... . .... . . . .. . . . . 171 American Chemical Society .. .. ...... . . ... . . 174 Kappa Delta Pi .... . .... . . . .. . . . .. . .. . . .. 173 Sigma Alpha Iota ............. . .......... 180 American Marketing Association .. . . . . . .... .. 181 Kappa Kappa Psi . .... . ................... 180 Sigma Gamma Epsilon .. .... . .. . .... . . . .. . 175 Association forlndusuial Tech . . . . ... . ....... 1 7 6 Kappa Mu Epsilon .. . . . . . .... . .. . .... . .... 185 Sigma Rho Epsilon . . .. . .................. 187 Association of Honor Students ... . . . . . ....... 184 Kappa Omicron Phi ............... . ....... 176 Sigma Tau Delta .. . . .. . . .. ............... 174 Association of International Students ....... . .. 175 Kappa Tau Alpha .. ...................... 182 Society for Collegiate Journalists ... . .. . . .. ... . 17 6 Beta Beta Beta .. .... .... . . . ... . .... . . .. .. 188 Math Club . ... . .. . . ...... .. . ........... 185 Society for the Advancement of Management . . .. 187 Beta Tau Upsilon .. . ........ .. . . ......... . 180 Model Illinois Government ...... . . . .. . .. . .. 172 Sociology Club .... .. . . . .. . .... . ......... 173 Black Student Union ...... . . .. . . . ........ . 187 Peolple Advancing through Communication ..... 188 Student Accounting Society .. . . . .. . . . .. . . . .. 178 Botany Club . .. ......... . .... . .... . . . ... 179 Phi Alpha Eta ........... . . . .. . .. . ...... . 177 Student Government .. . .. . ................ 182 Data Processing Association ........ . ........ 172 Phi Beta Lambda .. . . . .. . . . .. . . . . . .. . . .. . . 173 Student Home Economics Association .... . . . .. 171 Delta Psi Kappa .... . .. . ........ ... ...... 180 Phi Epsilon Kappa . .... ... . .. . . . .. . .... . . . 178 Tau Beta Sigma ................... . . . .... 179 Eastern News ...... . .... .. ........... ... . 183 Phi Gamma Nu ...... . ........ . .. . . . .. . .. 186 University Board ............. . .. . . . . .... . 176 Economics Club ........ ... .. . . . .... . . . . . 171 Phi Sigma Society ......... .. .... . ........ 182 Warbler . . .. . . .. .. . ....... . .. ... .. . . ... 183 English Club .... . ...... . . . . . . . ..... . .... 174 Pi Omega Pi ...................... . ..... 178 WELH . .. . . .. . . .. . .......... . ......... 182 Financial Management Association ... . . . .. . ... 186 Pre-legal Fraternity ... . . . . . . .. . . .. . . . .. .. . 1 75 Women in Communication Inc . . ..... . . . . ... 172 Flag Corps ... . . . . . .......... .. . . . . ...... 179 Professional Psychology Club ... . . ..... ...... 174 Zoology Club . .. . ............ . . . .. . . . . .. 184 170 I Organizations
J ROTC Ranger Battalion Row 1: Captain Herbert Lattimore; cadet major, Greg Combs; commander, Robert Haycock , Joseph Fortner. Row 2: Greg Lanman, Doug Quivey, Jaime Martinez, Paul Lee, Ranger Ruby. Row 3: Jim Roth , Ken Louise, Ron Gibson, Karl Roth . Row 4: Everett Tackett, Greg Jach, Glen Babicki , Jo hn Cisney, David Fraembs. Row 5: Leonard Huff, Bob Utter, D. Beard, Brad Sinkler, Dave Stenzil. ROTC Row 1: D. Weathersby, J. Soskin . D. Ziccarelli, D. Coleman, F. Crews, J. Cox, G. Combs. Row 2: D. May, .L. Foster, J. Ashworth , G. Beard, J. Miller, B. Patterson. Row 3: A. Gibson, V. Kodatt. Row 4: H . Lattimore, M. Mims. C. Hert, D. Gayles, C. Lee, K. Wendle, M. Kelly, L. Mathes. Row 5: E. Minney, A. Fortney, T . Bulter, R. Reinke, M. Hotto, P . McCarthy, J. Napier. Economics Club Row 1: Jeff Wile, Mark R. Rudisill, Scott J. Fjelstad. Row 2: Julie Johnson, Fred Shumake, Jeff Dayton, Tammy Rappe. Row 3: Nancy Abney, Mary Ann Manna, Russel T. Burge, Tim Sullivan; adviser. Row 4: Hart Gately, Dan Swick, Harold Wissell, Dr. A. Murad, Dr. Harold D. Nordin. Student Home Economics Association Row I: Jessie Tingley; president of education. Tracee Hoffmeyer; president of family services. Row 2: Maureen Frangella, Ci ndy Saldeen ; graduate adviser, Janet Swope; secretary of family services. Row 3: Sandy Beard, Brenda Goad. Row 4: Tammy Miller; vice president , Katrina Paddick, Laura Davis. Row 5: Virginia Johnson ; secretary, Anne Marie McCann, J anice Brauer; secretary . Organizations/ 171
Women in Communications Inc. Row 1: Beth Kenny; treasurer, Jeanne Patterson; president, Cathy Gregory; secretary. Row 2: Deborah Johnston, Sandra Gagliani, Debbie Klauer, Vicki Vass. Row 3: Kathey Dufek, Stacey Flannigan, Becky Lose, Ashlyn Schwartz. Row 4: Evelyn Goodrick; adviser, Barbro Hines, Sheila Billerbeck, Carla Axt. Row 5: Bev Little, Shelly Armstrong, Gail Lichthardt. Model Illinois Government Row 1: Matt Glover; president, Karen Yonker; secretary, Teresa Collard ; treasurer. Row 2: Ana Cecilia Velasco, Randy Saucier, Andreas Gerling, Ed Brazil; adviser. Row 3: Jim Mueller, Bridget Houre , Lynanne Feilen . Row 4: Stephen Caputo, Gary Welsh . Data Processing Management Association Row 1: Rajendra Sinhaa , John Kiedaisch , Lisa Schweitzer, Dolores Ford, Rick Pfenninger. Row 2: Syed lftaqar, Kim Pieper, Robin Gainer, Lynn Miller,Jane Elliott, Stan Redden . Row 3: Jeff Armantrout, Jack Cullen, Mark Meyer, Wendy Sheehan , Jeff Shapuras, Donna Lewis, Veta Lueke . Row 4: Cindy Hoagland , Debbie Walters, Jim Arnold , Michael Price. Data Processing Management Association Row 1: Gerri Gaines; treasurer, Chris Keller; chairman for speakers, Robert Zins; president, Juli Tomse; vice president, Carol Blickenstaff; chairman for entertainment, Mary Wilson; secretary . Row 2: Edee Carbonara, Steve Kupsky, Christi Land , David Gregg, Donna Myland, Susan McCoy , Tammy Rappe , Steve Tarrant. Row 3: Greg Buck, Mike Nacius, Jerry Bell, Tim Wolff, Tracy Taylor, Fred Shumake , Andre Poelling, John Lewis. Row 4: Jim Brandt, Edwin Goodridge , Kristy Wiman , Cindy Oerrwig. Dave Kolmer, Todd Kutz , Candy Muehlhauser. 172 I Organizations
Sociology Club Row 1: Sam Jenkins; adviser, Tina Hilt; vice president, Marianne Tucker; secretary, Cheryl Casica; president, Lee Conrad . Row 2: Miriam Lancaster, Richard Hummel; adviser, Debra Johnson, Liz Mattson, Pamela Jones, Janet Mitchell, Jerri Collins, Becky Cook. Row 3: Erik Gould, Susan Laitas, Georgianne Burkett, Cindy Sikes, Connie Farrell, Ed Mears, Tim Jenkins, Ron Ostrowski. Phi Beta Lambda Row 1: Susan English, Robert Bremer, Colleen Connell; vice president, Doug Rozzell; president, John Rogers; treasurer, Laura Dierker; corresponding secretary,Janet Blanchard; recording secretary , Melissa Paquin. Row 2: Joe Dorf, Sean Simmons, Jeff Bierman, Stephanie Brandt, Amy Bierman, Jill Piana, Wendy Sattler, Sherilyn Allen. Row 3: Lisa Fogle, Ron Heitzman, Rex Klomparens, Lori Renner, Denise Kroll, Jackie Clapp, Lynda Partington. Row 4: Sandy Blom, Bob Cook, Alphoze Townsend , Jeff Rice, Jeff McGlade , Kevin Lucier, Lisa Dubio, Sandy Nichels, Donna Knittle. Kappa Delta Pi Row 1: Anita Jo Heninger, Shawn Walker; historian, Susan Staats; treasurer, Kellie Dowell; president, Susan Poi, Cheryl Lamont, Mary Lynn Dillow. Row 2: Cathy Tuthill, Patricia Winkler, Brenda Weckler, Ann Marie Milnamow, Tracee Hoffmeyer, Debbie Whalen, Denise Dare, Glenda Frederking. Row 3: Laura Dively, Judy Graven, Betsy Acklin, Linda Herkert, Sandra Sage, Jayme Barr, Kathy Sturlini, Paula Doester. Row 4: Anita Watts, Susan Coad, Kim Thurman, Debbie Sedlacek, Tom Floyd; adviser, Jim Prosser; vice president, Shelley Franzer, Elizabeth Rade Tsoumas, Peggy Michel, Donna Heckler. Organizations/ 173
Professional Psychology Club Row 1: Bill Kirk; sponsor, Mary Crowe ; recording secretary, Susan Mehl; president, Ray Cruthis; vice president, Sue Hubert; treasurer, Amanda Barche; sponsor. Row 2: Nancy Courtney , Don Schroeder, Andrea Hausser, Nancy Mohrman, Dorthy Popmarkoff, Kathleen Brown. Kathryn Eischen , Kathy Tanaka. Row 3: Juleene Hrasch , Becky Zoeller, Debbie Hampsten , Chris Kominoski , Eileen Kostka , Ann Katherine Synder, Ada Dolz , Andy Phillips. Row 4: D.]. Potter, Carol Stawick , Jean Davis, Gregory Bell, Karen Best, Carol Kalas, Ke lly Whan, Lisa Spencer. English Club Row 1: Nancy Semlow, Sharon Anderson; treasurer, Brooke Sanford; president, Kathleen Alaks. Row 2: Deb Hoelscher, Michelle Mitchell, Francine Hamerski, Tim Ipema. Row 3: Sue Sutton, Tammy Snapp , Reonna Lutz. Row 4: Brad Waltrip , Marlene Weeks, Brook Wilson, David Raybin; adviser. American Chemical Society Row 1: Marcia Bell , Steve Roepke. Row 2: Karen Vaughn, Tracy Champion, Todd Houts. Row 3: Alan Young, Scott Franco, Mike Ziegler. Sigma Tau Delta Row 1: Keila Tooley ; president, Nancy Semlow; treasurer. Row 2: Sara Farris, Brooke Sanford; secretary, Francine Hamerski . Row 3: Sharon Anderson, Janet Kensil , Jim Caldwell . Row 4: Evelyn Haught; adviser, Chrystal Clark, Brook Wilson. 17 41 Organizations
Pre-legal Fraternity Row 1: Beverly Ring , Jerry Edwards, Jerri Collins; president, Matthew Fitton; treasurer. Row 2: Jim Reilly, David Despain, Jamey Rodgers; vice president , Nick Balderas. Row 3: Gary Overton, Peter Leigh ; adviser, Michael Burke , Lee Bailey, Marcus Motta, Kris Keplar, David Falter; secretary. Public Relations Student Society of America Row 1: Kim Johns, Dr. Daniel Thornburgh; adviser, Rich Heffley; president, Crystal Schrof; secretary, Deborah Johnston; liaison, Scott Mountford; vice president, Gail Lichthardt; public relations chairman, Jeff Scott; treasurer. Row 2: Denise Nolan, Sue Rissman, Graham Whitehead, John Wangler, Dawn Pavlik, Debbie Klauer, Vicki Vass. Row 3: Patty Hayes, Mike Pramshafer, Marc McMullen, Ashyln Schwartz, Becky Lose, Shelly Armstrong . Row 4: Kelly Fisher, Jackie McBiain, Jennifer Joslin, Marsha Eigenbrad, Ed Wilson, Karen LeBica, Bev Little, Jeanne Patterson, Kathy Dufek , Deann Leatherwood. Sigma Gamma Epsilon Row 1: Geogiann Eugenis; president , Karen Nelson; vice president. Row 2: Steve Liston, Rita Schuster, Tom Mcnamee . Row 3: Debbie Murphy, Tom Grissom. Row 4: Steve Kline, Scot Johnson, Sara Zimmerlee. Association of International Students Row 1: Sabine Mussgnug ; secretary, Rajendra Sinhaa, president. Row 2: Mrs. Brigitte Chen; adviser, Sharifah Ahmad , Jamaliah Ahmad. Row 3: Dr. Ahmad Murad ; sponsor, Ezra Anyango, A.B. Mohammed . Row 4: Syed Iftaqar, Rosni Bakar, Dr. Abdol Gholamnzhad. Organizations/ 175
Society for Collegiate Journalists Row 1: Crystal Schrof, John Huminek , Carl Pugliese; vice president, Denise Skowron; president, Brian Ormiston; treasurer, Sharon Bray; secretary historian, Beth Kenny. Row 2: Kirby Flowers, Donna Segro, Nancy Yamin, Lisa Green, Vicki Vass, Debby Klauer, Jerry Moore. Row 3: Michael Dominick, Marc Pacatte, Dave McKinney, Matthew Krasnowski, Becky Tinder, Douglas Backstrom, Tim Broderick, Cathy Gregory. Row 4: Mike Pramshafer, Stacey Flannigan, Sheila Billerbeck, Audrey Dumentat, Maureen Foertsch, Beth Lander, Becky Lawson. Row 5: John David Reed; adviser, Steve Binder, Linda Wagner, Madeleine Doubek, Len Krasnowski , Hart Gately. Kappa Omicron Phi Row 1: Jill Wilhelm, Julie Jorgensen . Row 2: Virginia Vogel, Kim Bednar, Mimi Moore. Association for Industrial Tech. Row 1: Brian Meyer; programming chairperson, Daryl Beeler; president. Row 2: Steve Smiley; treasurer, Wayne Coleman; adviser. University Board Row 1: Tim Mulholland; lecture coordinator, Diane Capranica; performing arts, Nancy Martin; chairperson, Sharon Williams; public relations, Suzie Newkirk; homecomingcrazy daze coordinator, Theresa Meier; graphicsadvertising coordinator. Row 2: Joyce Becker; adviser, David Fike; video tape coordinator, LaJoyce Hunter; human potential coordinator, Floyd Akins Jr.; productions coordinator, Carol Poppeck; special events coordinator. Row 3: Barry Burford; mainstage coordinator, Booker Suggs; adviser, John Brom; movies coordinator, John Karol; concerts coordinator. 176/ Organizations
Health Club Eta Sigma Gamma Row 1: Maeve Spicer; secretary , Gail Pavick; treasurer, Tammy Baker; vice president, Mary Mangan; president. Row 2: Marla Bradford; historian, Deanna Cox, Tina Vitek . Row 3: Sherry Ulrey, Marcia Vaughn. Row 4: Darla Prillaman , Kama Baker, Patty Krenz, Jill Richard. Row 5: Terry Donahue , Kath y Doyle, Keryl Keller. Phi Alpha Eta Row 1: Diane Gronewold; treasurer, Theresa Vahling; president. Row 2: Winnie Mannion; secretary, Emily Bunnell; vice president, Dawn Dieckgrafe; historian. Alpha Phi Omega Row 1: Lisa Pannarale , Mary rose Reusz, Denise Macon , Linda Young , Chris Walters, Yolanda Young. Row 2: Chris Rummel, Sheryl Budde , Sandy Boyer, Kate Feeley, Karen Renfro, Marcy Hearell , Jackie Frazier, Denise Kroll. Row 3: Jan Meyer,Julie Nemmer, Karen Best, Melinda Soderstrom, Mike Regin , Micheel Wiliams, Carlotta Sims, Paul Smith. Alpha Phi Omega Row 1: Michele Pierre, Diane Duing; treasurer, Steve Kupsky; president, Jeff Mann ; first vice president, Lisa Wiseman ; secretary, Sandy Beard; second vice president. Row 2: Willie Hodges, Paula Johnson, Karyn Purcell, Deb Johnston , Linda Ogle, Leanne Clark, Kay Charlet; social chairman. Row 3: David Bryden ; pledge trainer, Debbie Hodgerson, Jennifer Wolf, Felicia Weinstein , Jacqueline Blasingame, Missy Glidden . Row 4: Daniel Ziccarelli, Barbara Green , Mona Woods, Lisa Mosley, Susan Taylor, Monica Carnarillo, Sue Struck, Carol Weyeneth. Organizations /177
Student Accounting Society Row 1: Kevin Lucier, Kevin Kelly, Cindy Scott, Lori Kingston , Jon Rohrer, Paul Blair, Dr. Sandra Byrd; faculty adviser, Laurie Price. Row 2: Heidi Steffen, Carol McGrath, Lori King. Row 3: Larry Nichols, Doug Kelsey, Myron Salmon, Hannah Fish, Carol Zwilling, Lisa Volk . Row 4: Debbie Weller, Barb Padgen, Sue Hoffee, Veronica Sample, Barb King, Shirley Starwalt, Susan Young. Student Accounting Society Row 1: Rob Cepielik, Susan Swinford, Bonnie Sprengel; secretary, Rick Shields; vice president, Tama Gould; treasurer, David Kreke; president, Diane Reinhardt, Janet Blanchard. Row 2: Keith Krout, Joe Carnes, Bob Salzman, Lisa Dubio, John Goaring, Pam Blythe, Diane Johnson. Row 3: Peggy Snoddy, Linda Zehner, Janie Odie, Nancy Stevens, Susan Dunbar, Darcy Ford. Row 4: Eric Carlson, Jayne Defend, Tom Lithgow, Debbie Devlin, Jeanne Defend. Pi Omega Pi Row I: Suzanne Albers; president, Melanie Sidwell; vice president. Row 2: Dannette Hutton; secretary recorder, Charles Stolz; treasurer, Kim Galli , ).E. Murray; co-sponsor. Row 3: Joni Botkin , Barbara Bidner, Leslee McGinness, Andy Richmond . Row 4: Tom Sherman, Paula Elliot, Karen Bailey. Row 5: Eric Runck , Suzanne Skul,Julie Morrisey, Bob Sullivan. Phi Epsilon Kappa Row 1: Ta·mmy Baker; vice president, Debbie Polkow; president. Row 2: Stella Hazel; historian, Laurie LaVoie; secretary - treasurer, Brenda Bingman. Row 3: Phil Willis, Wendy Hill. 178/ Organizations
Flag Corps Row 1: Scott Hellen; drum major, Sharon Ernst; co-captain, Stephanie Simon; twirler, Peggy Michel; captain, Ray Richert; assistant drum major, Marti Boyer. Row 2: Jill Harland, Valerie Aquirre, Brenda Smith, Karen Henke, Carleen Bj ork , Alinda Butz, Denise Wilkey. Row 3: Janice Brotherton, Sharon Ryley, Louise Leonard, Melloney Brown, Patti Seaton, Pam Smith, Kim Mattes, Karynne Moist. Tau Beta Sigma Row 1: Mary Ellen Horney; sponsor, Amy Aumann ; president, Jean Duffy; vice president, Deb Pollina; recording secretary, Shirley Olson , Kris Felstehausen ; treasurer, Mana Testa, Angi Katz ; histOrian. Row 2: Dana Mansfield, Jean Hartman , Michelle Edfors, Ange la Redlingshafer, Suzanne Boucher,Janice Horsman , Angela Welch . Row 3: Bonita Watts, Julie Smith, Nancy Martin , Sandy Ratliff, Kris !mig, Kelly Newron , Karen Kingery. Row 4: Kathryn Murphy , Sue Mikicic , Jan Reynolds, Karyn Cornwell, Lori Haskell, Heather HattOn, Mary Jane Slocum. Row 5: Rose Allen , Sharon Ryley, Sharon Ernst, Susie Briggs, Erin Henn , Colleen Hartman, Loni Ture , Ruthanne Krueger. Botany Club Row 1: Tim Dring; co-president, Jim Hefley; vice president, Lynn Tupa; treasurer, Nancy Pliml; secretary, Jane Sch uler; co-president, Laurence Crofutt; adviser. Row 2: Judy Blakeman, Becky Ewing, Mike Ba nach, Edie Martin, Kay Frey. Row 3: Jacque Spencer, Judi Johnson, Carol Sorensen, Karen Abrams, Chris Hart, Candee Phillips. Row 4: Karen Black, Kent Boyles, Chris Lundin, David Shunk, Weldon Kunzeman. Organizations I 179
Sigma Alpha Iota Row 1: Jan Holsapple; recording secretary, Lynn Puzey; treasurer, Gena Groppel ; president, Stacey Green ; vice president; Sarah Hardaway; corresponding secretary, Susan BalmerPemble ; chaplain. Row 2: Angi Katz , Jan Reynolds, Roxanne Rehberg , Susan Dennis; sergeant-at-arms, Ann Minser, Angie Welch . Row 3: Suzanne Boucher, Carin Weiss, Jean Hartman, Bobbi Young, Melissa Marchman. Delta Psi Kappa Row 1: Brenda Bingman; vice president, Nancy Grider; president. Row 2: Dana Woltman; historian , Susan O'Brien; treausrer, Lorraine Flower; faculty sponsor. Row 3: Christine Capion; pledge trainer, Angie Adams; chaplain. Row 4: Judy Lobacz, Jalyn Sales. Beta Tau Upsilon Row 1: Tom Vickers, Jim D'Andrea, Tracy Hoock ; secretary, Brian Fron; president. Row 2: Mike Bernauer, Michael Mohler, Jim Morgan. Row 3: Bill Schmitz, Lee Morris. Kappa Kappa Psi Row 1: Martin Reilly; historian, Allen Rogers; recording secretary, Kent Nightlinger; president, Scott Hellen; vice president, J ohn Harrer; treasurer, Jim Simonson; corresponding secretary. Row 2: Steve Jennings, Nathan Jesse, Rob Lower, Gordon McClure, Bart Rettberg, Douglas Tucker, Shawn J ohnson, John Wolff. Row 3: David Benedeck, Todd Black, Brad Behrens, Ray Richert, Doug Marrs, Shawn McBride , Keith Fatheree. 180 I Organizations
Alpha Epsilon Delta Row 1: Roy Harper; treasurer, Jane Schluter; president, Mike Macek; historian, Patty Hinz , Cary Brown; secretary, Jackie Race. Row 2: Leslie Garrigan, Anna Rumen, Jim Jessen, Lisa Gift, Steve Schrafer, Joe Toman, Dr. R. ). Smith; adviser. Row 3: Brad Lewis, Barry Rogers. American Marketing Association Row 1: Alice Caveny, Ray Henrich , Gina Grillo; president. Kim Bollinger; vice president, Catherine Goddard; secretary, Susan Cross. Row 2: Jeff Miller, Susan Chesnut, Dave Demel, Janet McCracken , Douglas Neary , Thomas Hughes, Molly Butler. Row 3: Judy Mayer, Marsha Sadler, Susan Barger, Lisa Leonard , Greg Einhorn, Craig Kimmel, Jayne Defend. Row 4: Gary Clark; faculty adviser, Donna Ridgway, Mark Lee, Jean Kauffman , Ann Kabbes, Cathy Stevens, James King, Bob Layne. American Marketing Association Row 1: Sherilyn Moats, Diane Ezerins, Carol Welter, Dennis Anderson, Karin Kraai. Row 2: Mark Jackson, Mike Fagan, Linda Commerford, Amy Streibich, Kathy McCiarey. Row 3: Mike Mohler, Dawn Einfeldt, Mary Sizemore, Cindy Staton, Dave Eisenbarth. Row 4: Wally Lauchner, Marc Lodi, Tim McClintick, Jeff Dayton. Organizations I 181