NOTORIOUS, ON­LY ANGELS HAVE W INGS, THE BISHOPS WIFE, MY FAVORITE W I F E , T H E

BACHELOR AND TH E B O B -BYSOXER, NORTH

BY NORTHWEST, HIS GIRL FRIDAY, PENNY SERENA­

DE, BRINGING UP BABY, MONKEY BUSINESS, I WAS

Need WeSay Goodbye?

Cary Grant died unexpectedly last Saturday night of a massive stroke. At 82 years of age, he was still the epitome of suave grace and dignity he had always been. He was probably the best romantic comedy talent of the Hollywood studio era. Several of Grant’s performances rank among the very top ever on the screen.

And yet, most of us won’t really and truly miss Cary Grant, Cary Grant the person. The man had become a cultural icon. He was never a real person to me in the sense that the people I come in contact with every day aré real. I heard about his life and his daughter, and this or that person who knew or met him. That’s who’ll be mourned — Cary Grant the human individual.

The Cary Grant I know will never alter, age or die. He’ll always be opposite Rosalind Russell and Ralph Bellamy in His Girl Friday. There will always be that chemistry between him and Katherine Hepburn in Bringing Up Baby. Forever will he be the existentialist hero being chased by

the crop-duster in North By Northwest. So charismatic in To Catch a Thief. So enigmatic in The Bishop’s Wife. So touching in Penny Serenade.

Grant stands as one of those larger-than-life genuine movie stars — Gary Cooper, Jimmy Stewart, and James Cagney. It is perhaps easy to summon nostalgia when facing the knowledge that there may never be personas of this type or magnitude again. Grant projected his presence to the maximum and honed his craft to perfection — both with seemingly no effort.

I offer my condolences to those that where close to Cary Grant, for they must examine the severity of their loss in the fortune of having known the man so well. But for myself, I will continue to hunt the TV Guide for showings of Notorious and My Favorite Wife.

We recognize that the space in American, life that Cary Grant occupied will never be swallowed or snuffed. It is merely sad that it is Grant’s death which reminds us of this fact. — Brett

Star Trek IV Enterprising LaughsThere I sat at midnight in the third row of the Arlington Theater,

eagerly awaiting the Santa Barbara premiere of Star Trek IV : The Voyage Home. The rest of the crowd shared my enthusiasm as they chanted “ Start the movie!” and “ Star Trek! Star Trek! Star Trek!” After sitting through six previews of coming attractions, the film finally started; and when it was over, I walked out of the theater both pleasantly surprised and — at the same time— disappointed.

Star Trek IV picks up right where III left off. Spock, who was literally “ reborn” in the third installment, has been retrained on Vulcan, where the rest of the crew of the late Enterprise has decided to return to Earth to face the consequences of the actions they took in III (in which they deliberately disobeyed Starfleet’s orders). When they arrive, however, they discover a giant alien space probe hovering over Earth, threatening to destroy everything unless it can communicate to a whale. Since whales are extinct in the 23rd century, Kirk and friends decide to go back to the 20th century, where they find a couple of whales and a lot of humor. They manage to beam the whales onboard, but will they be able to make it back to the exact time when they left? If they do, will the whales communicate the right message to the probe, or will the Earth be doomed?

The best phrase I can think of to describe Star Trek IV is “ radically different.” According to Leonard Nimoy, the film’s director: “ This one is very different in setting and tone. Star Trek IV starts out like a Star Trek movie and then it makes a left turn. It is intentionally very dif­ferent.” But does this make it a better or worse film? It makes it both.

(See ENTERPRISING LAUGHS, p.7C)

A 1986? I Do Not Pass Goe

P Laugh Trek

M attilda Squawks Bored? I B I've 'ad It

W alk. Up to EarParental Discretion Advised

2C Thursday, December 4,1986 Daily Nexus

Look Back in the Bin and Give it a SpinSo lode. I ’m in the record store,

and there are all these albums by these people I really like. I look at the price tags (at Licorice Pizza they’re coded with letters) and the ones I want are coded not with A-D, but with $. I hate that.

Working at a bastion of con­servatism such as the Nexus, I don’t get paid too much, and therefore, have a limited budget to work with while buying records.

But then one day (and all columns have some kind of rejoinder like this), I ’m in Licorice Pizza, and I notice their selection of good, cheap music. It’s in the back. All bargain bins are in the

back.To get by at UCSB and still have

money to spend on Corona tank tops, you have to know where the cheap shit is. It’s not going to be found where most pseudo-trendy valley types buy their records. Nope.

To get the really good deals here, you have to dig. Dig deep. Like way in the back of K-Mart. Like at the thrift shops on lower State. You begin to get a taste of what really cheap music is. Trini Lopez. Herb Alpert. Slim. K-Tel. And those illegible labels you find strange compilations on.

It’s under this premise that I

bring to you:THE BEST CHEAP MUSIC OF

1986To find the cheap music, you

have to curb a natural instinct to retch at the sight of polyester. Or of really organic material. Like burlap. You probably won’t even be able to find most of this cheap shit in the tri-counties area anymore. Such is the nature of the blue light. It’s special.

By far, the best cheap music must be cheap. Real cheap. Five dollars and under. No ups. No extras. And the best music of this category probably isn’t even recorded in this decade. But it’s

cheap now and it wasn’t then. And in 10 years, you’ll see the K-Tel collection of Arcadia’s greatest hits on this list.

Uno. 20 Greatest Hits, Bob

SORRY,NO PHOTO

Marley and the Waiters. This was a true gem. It was in the bin at Licorice Pizza, next to Glen Campbell Sings Christmas Favorites. Basically, they were the same songs on the Legend com­pilation, but with a new twist. These probably aren’t official Bob Marley, and I ’m sure that Rita Marley isn’t going to get any royalty money. So send a $2 donation to the AMC Cancer Research Center in his name after you buy this one. The really cool

thing about this tape was that the songs were really old, and you could see the progress Marley made, from a looser, calypso sound to the tighter, electric sound he was famous for. Price: $3.88.

Dos. Beach Blow-Out ( I t ’s A Killer). Various Artists. When historians look back on the ’60s, they probably won’t give a shit about the anti-war protests, the bank- and bra-burnings or the invention of polee-estah, the mother fabric. What they will really dig about the ’60s is surf music. You know. Twang gee-tars. Singers who escaped from the Vienna Boys Choir. Songs about Woodies. This compilation features the best surf music from the era. The Hawaii Five-0 theme is on this tape. So is “The Bird,” by the Trashmen. You know it as that really weird music on one of the California Cooler commercials. This tape was surprising, because I expected really lame surf music. The most lame song on this is David Lee Roth’s version of “ California Girls.” A hell of a deal at $3.99.

Tres. 20 Greatest Hits, Little Richard. Another one of those

(See GIVE IT A SPIN, p.7C)

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Daily Nexus Thursday, December 4,1986 5C

1986? Don't Get M att Started1986 will go down in the annals of

music history as one o f the least eventful and exciting years ever to waste our entertainment dollar. Nothing happened. There were no breathtaking revelations to stir the savage human soul. Nobody got off.

We saw busloads of poppy brainless trash infesting top-40 stations. The gap between rock and success widened as synthesizers continued to take the place of guitars and drums.

In addition, we were treated to a lot of bad, but extremely popular albums by talented artists. Billy Joel found happiness but lost songwriting ability in the anemic Bridge. Stevie Wonder came back with a severely sub-par effort. Phil Collins and Genesis made their worst — and best-selling — albums to date. Heart synthed its way to number one with a heartless collection of almost-catchy songs. Journey escaped into obscurity. The Rolling Stones pounded another nail in their musical coffin.

Bands like the Moody Blues, Starship and Chicago exploded into the eighties with awful excuses for albums. Motley Crue and Ratt failed to deliver on the hard-rock promise they had sparked in the past few years. Huey Lewis and the News, Lionel Richie, Paul McCartney, Ozzy Osbourne, John Fogerty. The list of major disappointments is stunning in its girth.

New artists seemed bent on staying as close as possible to the center of pop. Mr. Mister, the Outfield, Bon Jovi, the Hooters — don’t get me started.

So what was good about this year? Was there anything to twist and crawl about? Well, there was a little.

I was asked to do a list of the top- five of albums and songs from 1986. Keep in mind I ’m biased as hell and I think Depeche Mode sucks.

Let’s go albums first. Bobby Hilburn, eat yofir heart out.

Topping off the list is R.E.M.’s Lifes Rich Pageant. No, I didn’t choose this because I ’m a trendy neo-college hipster. No, 1 didn’t choose it because Those Guys From Athens are the vanguard of the new grass-roots American Dream folk-rock movement. I

chose this album because it is top- notch rock ’n’ roll, and we could use a little more of that, baby.

There were no other blood­pumping albums this year, so the rest are the best of the good.

Steve Winwood, Peter Gabriel and Paul Simon are all classy guys and excellent songwriters who came back and made it big this year. But I feel kinda of funny giving them the bulk of the top five because the albums are just good, and far too many critics have gone overboard in their praise of them.

So we’ll give the number two spot to Steve Simongabrielwood, and his smash album, Back in So-Land.

Number three goes to Elvis Costello’s Blood and Chocolate, a welcome and energetic return to homeboy’s angry rock days.

Number four is Run D.M.C.’s Raising Hell. Why not? They’re not

(like certain analytical fogeys would have you believe) the last bastions of street morality. Nobody gives a shit about that. What they do have are some killer (dude) beats and some real catchy toons. I told you this year sucks.

Rounding up the magical five is Led Zeppelin IV. Why don’t people make music like that anymore?

Other notable efforts put out this year include Joe Jackson’s Big World, King of America by the Costello Show, The Queen is Dead by the Smiths, Havin' a Bad Day by Dweezil Zappa, True Stories by Talking Heads and Strength by the Alarm.

Okay, now for the year’s best songs.

Song of the year: Hell, I don’t know, I can’t really choose one. Up there is R.E.M.’s thundering rockstorm “ Begin the Begin.” Actually, this was never released as a single, but it is arguably the best song on the best album of the year.

Next, and this is where I get in trouble with my friends, is the Bangles’ “ Walk Like an Egyp­tian.” I really can’t explain why I like it. It’s just a groovy, catchy song that pumps me up, dammit!

Another one my friends don’t like is “ Missionary Man” by Eurythmics. It’s a throbbing, pulsating, writhing, kick-ass hellion of a song which showcases Annie Lennox’s musical and sexual versatility.

Van Halen came back this year with a new lead child and a lot of horrible songs. Yeah, I hate ’em too. But 5150 had three good songs, including number four “ Why Can’t This Be Love.” They still have hope.

Rounding out the five is a song that came out in ’85, I think, but what the hell: U2’s live version of “ Bad.” One of the best songs of the eighties. Enough said.

Other groovin’ or semi-groovin’ songs included “ Strength” by the Alarm, “ Mad About You” by Belinda Carlisle, Prince’s “ Kiss,” “ Cool the Engines” by the rejuvenated boys from Boston, “ Face to Face” by Pete Town- shend, “ Scarecrow” by John Cougar Mellencamp, “ This Time” by INXS, and “ Wild, Wild Life” by the Talking Heads.

1986 basically ate it. Greatness was as hard to find as originality in Loverboy albums. Or something like that.

— Matt Welch

GENEwith special guests

LOVES until Decem ber

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6C Thursday, December 4,1986 Daily Nexus

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If I hadn’t known that the Fountainhead, a recent Irish in­vader, would be playing at Oscar’s 1129 on Dec. 9, I might not have bothered to give their debut album The Burning Touch a second listen. But they are, and I did. If not in­credible, the result was at least favorable. It’s nice to know that the record industry still signs groups that have the gritty sound of a garage band. They’ve probably been made-over a bit (nice haircuts, guys), but not too much.

The Fountainhead is a duo comprised of Pat O’Donnell and Steve Belton, who write and perform all their own material. One of them is the keyboard man, the other plays guitar, but who knows which because it doesn’t say anywhere on the album jacket or in the promo material. I ’d say for the

most part, the instrumentation is fairly uninspired, but I liked the drums on “ Open Up” and other cuts, but that contribution came from Graham Broad, a studio musician.

What I liked about the Foun­tainhead was their songwriting, which had substance. Their Irish hit single, “ Rhythm Method,” felt like it had more potential per­formed live than the track they laid down on the album. The harmony was okay, but the lead vocals left me with the nagging feeling of “ I ’ve heard this somewhere before.” Some friends helped me realize that it sounded a lot like Billy Idol at times, with a lot of Simple Minds thrown in, to boot. They also sound a lot like a Canadian band called the Extras. I tried playing it alongside some Duran Duran to see if that was

there too, but that connection didn’t pan out.

That’s my biggest complaint: when I listened to the Foun- .tainhead, I wasn’t sure who I was listening to. For a debut album, it’s okay. It’d be nice to see what happens to their sound when they realize that they’re not just a party band and they can sound like themselves and not just covers of other people. Their bio says “ the Burning Touch is a joint artistic effort and creativity over the easy formulae and empty cliches of much of present day pop music.” It’s truer to say that the sound is fairly representative of much of present day pop music.

A trip to Oscar’s on Dec. 9 would probably be a worthwhile ex­cursion, because the album gives the impression that they would put out in concert. They’ll have the

!|||||

f-

best chance to come into their own| when left alone with a crowd rather than a recording company exec. They’re winding up their American club tour here, so they’ll be as honed and ready to play as they’ll ever be.

—Mary Hoppin

Get Beyond Board Boredom with MonopolyOK, we know. Ever since you’ve

been 13 years old, Monopoly has been the last ditch effort to have fun. It’s raining, it’s cold, you’ve watched every video cassette available, the only thing on television is a National Geographic nature documentary and your date is boring. So you pull out the board, dust off the pieces and give it a try. After about four rolls of the dice, you remember why you used to beat up your little sister to add

• • .where the food really matters

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some action to the game. But wait, don’t pass the game off to a niece or nephew yet. Noel Gunther and Richard Hutton have devised a new, exciting way to play Monopoly that could make that board as trendy and fun as a BMW ... well, almost. Beyond Boardwalk and Park Place: The Unauthorized Guide to Making Monopoly Fun Again will be published as a trade paperback by Bantam Books in December, 1986.

Since 1935, there have been over one hundred million Monopoly games sold in 19 languages. In fact, Parker Brothers builds more houses every year than the entire real estate industry. However, Gunther and Hutton realized as they played the game one day, Monopoly needed some spicing up for today’s adults to take it off their shelves more often. They worked on revising the rules, tested them out on friends and came up with Beyond Boardwalk, a game that requires more strategy, quick thinking and is more unpredictable than Monopoly. For instance, in Beyond Boardwalk, when you land on a property you can buy it for double the list price or it will be auctioned off to the highest bidder, thus resulting in land ownership relying less on the luck of the dice and more on bidding, bluffing and skill. One player in each game may a ls o v o lu n ta r i ly d e c la r e bankruptcy; by surrendering his assets to the bank, he is given one Monopoly and $800 cash, setting

him back on his feet again just like Braniff Airlines. Among other changes, they also invented “ Go” cards. When a player lands on the Go space, he not only collects $200 but also draws a card with directions that can either further him along in the game or constitute a major setback.

By studying the game closely, Gunther and Hutton also discovered secrets about the game that may dispel many popularly held beliefs about Monopoly. Through a probability of landing chart and calculating return on investment, they realized that those venerable properties of Boardwalk and Park Place are not all that legend makes them out to be. The Jail/Just Visiting square is the most landed on square in the game, s o . consequently the two middle sides of the board have the most valuable properties, with the orange and red monopolies being the ones to strive for. In addition, they also give advice on other devices that will help players survive the tough business world of Beyond Boardwalk, including:— how to win the bidding wars— using communication skills to make important deals with other players— using time in jail strategically.

Plus, this is the only book toadvise on basic training for the game, including the optimal food groups to consume (m alt beverages, chocolate, grease and salt) and how to spot and

u O H O P O O - W *'“ ' fUHAßW*

HIGHER RISKS. . IM+ MORE SKILL. 4 *1

FASTER ACTION.

HO Q &UNTHER A l» RICHARD HUTTON

manipulate certain players like the skinflint, rail baron and huckster. For the true addicts, they have also included variations on the game, like the Robber Baron version.

Noel Gunther and Richard Hutton are long-time friends and Monopoly rivals. Between games, Gunther can be found practicing law in Washington, D.C. and writing free-lance articles for such publications as Ad week and The Village Voice. Hutton is a television producer whose projects include the PBS series “ The Brain” and its upcoming sequel, as well as a book author and jour­nalist.

(See MONOPOLY, p.7C)

y

A Modern Dance Concert Directed byTonia Shimin December 4-6 8 pm UCSB Main Theatre Tickets $5 and $4 Information 961-3535 Presented by Department of Dramatic Art & Division of Dance

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Daily Nexus Thursday, December 4,1986 7C

ENTERPRISING LAUGHS(Continued from cover)

The most prominent difference in IV is that it is funny (sometimes very funny). This is a refreshing change of pace in the series, especially after Star Trek — The Motion Picture, where much boredom was derived from the fact that it was humorless. It also adds new dimen­sions to the characters not seen before. We see it in Sulu, who admires a helicopter like we might admire a Model A; in Dr. McCoy, who hardly admires the “ butcher-like” methods of what we consider to be “ modern medicine;” and most especially in Spock. After his retraining, he is more Vulcan than human and has a hard time doing “ human” things in the 20th century; like using colorful metaphors, swearing and lying.

The nicest part of IV ’s sense of humor is that it is friendly. Instead of being slapstick oriented, it is concerned with creating humor out of the characters and their situation on 20th century earth. By doing so, Star Trek IV gently reminds us of some of the problems we face today, but also reminds us that there is hope for the future in the form of the crew of the Enterprise.

There is a problem with IV ’s humor, however. Granted, it adds new dimensions to the characters, but it also pays less attention to their other qualities. The serious side of the crew is practically non-existent. I can understand Nimoy’s desire to leave the serious behind since it was so well covered in II and III, but he has overlooked it too much here. Whenever there are to be moments of tension, they are somewhat diffused by the lighthearted nature of the film. Since it was “ all for fun,” I found myself caring less about what was going to ultimately happen to the earth and crew, and more about what sort of “ 20th cen­tury situation-comedy” would develop next. Regardless, Star Trek IV ’s

sense of humor will undoubtedly be a refreshing new appeal for both Trekkies and non-Trekkies that will show itself in the form of high box- office receipts.

Some of the special effects for IV are, unfortunately, noticeable. The matte-painting of Starfleet Command looks like a matte-paining (and it is ); while the whales look like models of whales (and are). If you keep in mind, however, that the effects are as different in nature as the film, you can’t help but have respect for Industrial Light and Magic. Instead of the usual spaceships flying through space, we now have one flying under the Golden Gate Bridge. Note, also, that I said “ some of the special effects....” There are many new effects that come off great, like the way the Klingon Bird of Prey moves at warp speed, or the way it flies under the bridge.

Even the score for Star Trek IV is different. Jerry Goldsmith’s music for Star Trek — The Motion Picture fit the “ classic” style of the film; and James Horner’s music for II and III was great for emphasizing the action and emotions in both movies. Leonard Rosenman’s score is a combination of the two, and a departure. It is more “ classical” than Horner’s, but not as much so as Goldsmith’s. The main theme, however, is very lighthearted, and sounds a lot like Rosenman’s earlier work on Ralph Bashki’s The Lord of the Rings. But so what, the score is good and fits the film well (indeed, Horner copied II and III from his earlier work on Battle Beyond the Stars).

Because of its dramatic difference from the rest of the Star Trek films, Star Trek IV : The Voyage Home is not the best in the series. It is, however, a really good film — whether you are a Trekkie or not — worth checking out.

— Peter Bors

Give it a Spin(Continued from page 2 0

probably illegitimate bootlegs. Is that how he signs his checks? Do his magazine subscriptions go to L. Richard? Does the Publishers Clearing House send those letters that say, “ and, Little, you’ll also be eligible for our super triple grand prize drawing if you fill out the following 80 number sequence in triplicate” ? This week’s Calendar section of the Los Angeles Times says Little Richard has converted to Judaism. That’s just dandy, because for more than 20 years, Little Richard has been into some serious heatheh fun, as well as becoming an ordained minister. As long as he does the same kind of balls-out ROCKANDROLL he is famous for, he could become a Rajneeshi, for all I care. This

compilation showcases his most outrageous, most obnoxious, most BEST stuff. And if you find a better tape for $2.88, buy it. Now.

Cinco. The Ever Popular Tor­tured Artist Effect, Todd Run- dgren. Difford and Tilbrook (eponymous — album of same name for you illiterates). A tie. Two of the better recent releases that have now made it to the bargain bin. But just because they have made it there doesn’t mean they suck. Just that they didn’t sell well. Rundgren has always been the Ken Howard of rock music. He makes music that is just slightly out of step with current trends. Artist Effect is an album of great pop tunes that just didn’t catch on when the album was released in

1983. (But hey, we were too fucking busy wondering what vegemite sandwiches were. Yeah, how many of those bands took the Love Boat Cruise To Hell? Lots.) The same could be said of Difford and Tilbrook. Chris Difford and Glenn Tilbrook, also known as the songwriting team in Squeeze, are masters at wordplay and fluid melody. Their album is a showcase for those abilities, which are almost nonexistent in current critical faves. Have you ever tried to understand the lyrics to an R.E.M. song? Or the Jesus and Mary Chain? Impossible. And it really pisses me off when people try to pawn either of these bands off as saviors of modern music. But hey, what the HELL do I know? I ’m just reviewing pissant dimestore records. Listen. If you like the work these two did while members of Squeeze, then this

MONOPOLY(Continued from page 6 0

Editor’s Note: Because of the proxim ity o f Christmas, we thought that this fine book might be the perfect utilitarian gift. Why not buy something that is not only entertaining in itself, but also aids you in making new use of something old.

But we would not allow you to invest your hard-earned money (six bones, to be exact) in an item

that turned out to be a crock o' shit. So, a highly trained team of Nexus troubleshooters were gathered together fo r the expressed purpose of testing the radical alterations that Beyond Boardwalk proposes. We dug out the Monopoly set, rented a room at the Holiday Inn and locked ourselves in for 72 hours of consecutive boardgame action.

We found in our . extensive research that the book is pretty worthwhile as far as reviving the

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album is a must-have. What is surprising is that both albums are basically obscure gems, and both can be had for the cost of just one Whitney Houston album. Or Hugely Lewis. Or Sigue Sigue Sputnik.

But just wait. Someday, Whitney and Huey will too languish in the eight-track section of some thrift shop downtown. Personally, I ’d rather listen to that Glen Campbell record. Or Slim. Or Tony Randall. On second thought, another listening to Love Missile Fi l l doesn’t sound too bad.

—Doug Arellanes

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old game. Monopoly takes on a faster pace and involves every player in each roll o f the dice. The rule changes set down in Beyond Boardwalk open up the once-quaint family pastime considerably. We were making trades and deals that make Ivan Boeski look like a tiny- brained wiper of other peoples’ bottoms.

The book provides a solid rethinking of the pre-eminent game of the American dream. Stuff it in a sock.

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8C Thursday, December 4,1986 Daily Nexus

TONIGHT AT 8:00 PM

Gene Loves Jezebel

Finally, TONIGHT, they’re here! Gene Loves Jezebel will play in Campbell Hall at 8 p.m. Live, the Jezebels are colorful and exhilarating, and feature their newest recruit, James Stevenson, on guitar. Fronted by Welsh Twins Michael and J. Aston along with their newest recruits Chris Bell, Peter Rizzo. In 1983 Gene Loves Jezebel began their extraordinary run of hit singles — “ Screaming For Emmalene,’ ’ “ Bruises,” “ Punch Drunk,” “ Influenze,” “ Shame” and “ Cow.” All appeared in the upper reaches of the independent charts, as have their two indi albums, Promise and Immigrant, the latter shipped in 1985, reaching number 2 on the British charts in the first week of release.

Gene Loves Jezebel have always been a popular live attraction, continually touring around the UK and Europe in late 1985. They made their first trip to America which went down so well that they were invited back for a second tour earlier this year. With the release of “ Desire” in November 1985, people outside the independent record scene, apart from the band’s many long-time fans, began to notice Gene Loves Jezebel. “ Desire” was their first obviously commercial single and, apart from great music paper reviews, it played on the BBC’s Radio One.

This success was swiftly followed in early 1986 by “ The Sweetest Thing,” another new

and equally successful song that sparked a UK tour which saw glowing regional reviews around the country. This all helped to spread the word and by May, with a new single en­titled “ heartache,” and another sold-out UK tour, Gene Loves Jezebel had won many new fans, selling out the electric Ball room in London.

Now comes Discover, the band’s third album and their American Geffen Records debut. It’s Gene Loves Jezebel’s most con­fident release yet in every aspect including songwriting, presentation and style.

Tickets for Gene Loves Jezebel are on sale at A.S. Ticket office and other usual outlets.

W W W » / / / *

A.S. Program Board’s Honor ListProgram Board would like to thank all of the volunteers who

have helped us throughout this quarter. We're sorry that this list is incomplete, please don’t feel left out if your name was missed.

Have a happy vacation, and we look forward to working with all o f you next quarter.

Special Fronts Kristan Orton Anuiea zverett Liz Giffin Cheryl Kafka Becky Bennett Clint McDonald Eric Bennett Yitz Brenman John McHenry

Advertising Jeannie Fox Sharon Gamer Kim Gilbertson Juley Glazer Wendy Harris James Horn Ellen Leo Howard Ogawa Deena Rosenberg Deena Silver

UCen EventsJoshRobinSimoneWarren

SharonJaneAnnaMarianneHolly

Films/Video Robin Oppligher Steve Bobes Ellen Leo Karen Molitz

Cultural/Fine Arts AlissaDavid

Security - Annette Clasen Anna Castillo Jeff Carson Jeff Delman Linh Dio Jim Erikson Tim Evans Sandy Finney James Firmage Vicky Fish Shelly Fosty Simone Friedman Steve Gehrig

Dave Glaubiger Cheryl Gralnik Lindsey Green Bill Hadinger Cathy Haggerty Tony Hannemann Mike Harris Julie Hashbarger Carolyn Healy Kevin Healey Mike Heintz Dan Holloway James Horn Jen Howard TomJevens Elisabeth Kirk Wei Ko David LaVine Ellen Leo Mark Levin Jim Leslie Mary Lindquist Karla Lykken Cathy McKissok Mark Miglio Brian Momsen Marianne Morettini Matt Poiset

biThis pigs provided end paid for by the Associated Student Program Board

Sheila Pedersen Mark Potts Laura Ravenko Mark Reynolds Phillip Riedel Carl Rimbach Debbie Rosenfeld Vince Salvati Jay Schmid Karen Segelke Terra Selak Melissa Sentman Dana Shubat Glenn P. Taylor Robyn Tennebaum Victor Vorrath Kiko Weston Monica Woodman Kim Wooten Elizabeth Wrelffen Jean Yee Bruce Zuker

Sound John Eaton Marc LevaggL Kerry Rosenberg Matt Nattaly Clinton Stockton

iM U i

Craig Meyer Steven Park Garrett Mathew Cynthia D. Schellenberg Whitney Rightmeyer Kimberly Wright Mike Murray

And...UCen Custodial Campbell Hall Staff Arts & Lectures Staff Pubbies Miki Koyama Pam Lipscomb Michelle Dusig Nati & Acct. Staff Richard Gillen & his kids

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