2A Thursday, May 23,1985 Daily Nexus

Nancy Merrill and three professional artists in residence; Carnival— Laezer Schlomkowitz, Patti Bradley, and John Kelly. Similar to the annual Go-down-D.P. on Halloween, the Solstice is a treat to the imagination of others, especially to parade participants. Viewing the campus through parade- of Illusions potential glasses, I see an abundance of talent parading At noon on Saturday June 22nd you’ll find me on State around. Everyone is invited to share with the community Street beside the colorful brilliance and just plain their curiosity, maybe even a fantastical idea or two in the merriment of the 1985 Summer Solstice Celebration. The annual Solstice workshop. ninth annual Summer Solstice Celebration greets the This year’s theme is “ Carnival of Illusions” created by longest day of the year with a celebration of the visual and Artistic Director Robin VanLear. This and past themes performing arts. Rolling out a carpet of mime, dance, such as “ Performance” and “ Sound” are meant to invite theatre, giant puppets, costumes, non-motorized floats and ideas and suggest guidelines though a person or group have a purple balloon or two hundred, Santa Barbara will share perimental musicians and choreographers highlight the no restrictions to a theme. its communal and creative spirit. festival. The interaction with the crowd combined with distinctly From its humble beginnings as a group of street artists Pass by the paper mache guard and peek into the Solstice Santa Barbara themes create an appealing community getting together with Micheál Gonzales to celebrate his workshop at State and Cota on Saturdays 12-5 and Tuesdays parade with State-wide fans. The workshop has opened its birthday, the Solstice has grown to an event with 1,500 and Thursdays 6-10 pm, and you’ll see a parade in doors to the campus and community to start the building of participants parading to a crowd of 50,000. The celebration preparation. The workshop, open since May 11th, is under parade fantasies. For more information call 965-3396. is a parade followed by a festival. A collaboration of ex- the direction of College of Creative Studies Art graduate, — L y n d a P o la n d

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UP TO $3.00 EVENINGS SUN-THURS 4:30-1:00 AM Seniors 60+ $9.00 at box office only with I.D.! 928 Embarcadero del Norte FRI £r S A T T V »MiliiiTi PWaante fair* k a preOnrgBn of t V LMag Htotorv Centre 4:30-2:00 A M ■ C d it n d t non profit p M t V n H It corpora«— © T V LM m History Centre IMS Daily Nexus Thursday, May 23,1985 3A A Good Time In Hell \Khadra's Coming Have you seen those weird, funny-looking intimacy, and struggles which keep rabbit-like people that star in a comic strip relationships going. Groening is quite frank called Life In Hell? They have a big cartoon when poking fun at our insecurities and book all their own now called Love Is Hell ignorance. His cartoons are shameless, and (thanks Bob) by their clever creator whose blatantly spell out what most of us to some name is Matt Groening, whose last name is extent repress (Freudian comics?). pronounced groaning. And that’s pretty So you want to have a shameful affair yet funny since we’re living in hell. somehow you can’t justify it. The next time The book stars Binky, the one with buck you are contemplating a decision in which teeth, and Sheba, “ Binky’s strange and you are debating whether or not to go for the estranged girlfriend.” She’s the one with gusto, ask yourself this important question: long eyelashes and a necklace. Binky and “ How long am I going to be dead?” With Sheba act out all kinds of love escapades that perspective, you can make a free, including How To Get The Love You fearless choice to do just about any god­ Deserve, How To Keep From Getting Sick damned sneaky thing your devious little And Tired Of Your True Undying Eternal mind can think up. Go ahead. Have your Love, and The 9 Types Of Relationships. The fun. You’re welcome. Go on. See you in hell. latter explores the advantages and Hell is funny. Rather, going to hell is drawbacks of modern day 20th century funny. Groening seems to think that life on relationships like “ Woman + Wimpy,” earth is hell, so what the hell does it matter “ Look-Gooders,” “ Mr. and Ms. Boredom,” if we’re going to go there after we finish “ Sourballs vs. die World,” “ Love Bunnies,” here? He’s not wallowing in self-pity or UCSB Arts & Lectures 1984-85 BIG ART movement, character dancing and and “ I ’m With stupid x 2” . Advantages of trivializing relationships, or even slicing season performing arts events comes to a acrobatics into an explosive display that heartbreak: love into shreds. But he does do something rousing conclusion on Sunday, May 26 at 8 rivals anything from Moiseyev and com­ 1. More room in bed. very nice for our nerves and that slight p.m., when Khadra International Folk pany.” 2. Time slows to a crawl. insatiable part of us which wonders how odd Ballet of San Francisco performs in UCSB Part of Khadra’s appeal is the lavish, rich 3. Opportunity to get in touch with your our thoughts can be sometimes. Groening, Campbell Hall. costumes that color the stage as the dancers weeping. via Binky and the rest, calms our anxieties This adventurous ethnic dance troupe will whirl and glide across the floor. More than Groening strikes a nerve somewhere and smoothes any jagged insecurities. And perform a program of folk dance from just a museum showcase for the preser­ down in the grunge and sanctity of our he does it all on paper, in cartoon form. It’s around the world, including Appalachian vation of cultural dance, Khadra presents subconscious. He makes fun of the things we sort of like humor therapy. We can laugh off clogging, Russian quadrilles, Hungarian bold interpretations of folk material, naturally keep within the barriers of our any tension-causing love-related things and gypsy dances, French Canadian contra blending ethnic, ballet and character dance fragile and private selves and don’t talk take some sort of perverse comfort in dances and contemporary choreography to make a unique artistic statement. When about to anybody. Things like one night knowing that we don’t have a monopoly on based on traditional steps and music of the these dances are combined with the stands, the pain of breaking up, moments of the big barrel-o-love. (H a! Happy B’day Ukraine, Poland, Romania and other lands. sometimes buoyant, sometimes soulful Richard.) Although Khadra now ranks as one of music, the effect on stage is irresistible. What We Have Learned: What is love? California’s best ethnic dance companies, “ Khadra is a company of great vitality, LOV£ (5 -HfcbL Love is hell. Who wrote the book of love? the troupe first performed as a demon­ energy and enthusiasm,” wrote the Some goddamned liar. What if my feelings stration of Graham Hempel’s master’s Peninsula Herald dance critic. “ Their get hurt? Join the club. How can I get over thesis project at San Francisco State dancing is infectious enough to make their my love loss? You’ll get bored eventually. University. Hempel later became Khadra’s audience want to dance, and the foot­ Can love ever succeed in the end? Yes. In first director; the company slowly built up tapping all around me attested to that.” fairy tales, TV commercials, and certain an audience and expanded its repertoire Arts & Lectures presents Khadra in naive and foolish cartoons. Eventually she until 1977, when the company sponsored its conjunction with “ Fiesta Folklórica,” the came back and they lived happily ever first concert series and began using live statewide folk dance festival that will take after. The End. music. place in Santa Barbara on Memorial Day If you want Life in Hell too, send $8.95 to “ Almost anything Khadra puts its mind to weekend. For more information about Life in Hell, P.O. Box 36E64, Los Angeles doing is fetching and joyful,” wrote the San Khadra International Folk Ballet of San CA, 90036. Francisco Chronicle. “ Khadra takes second Francisco, or to charge tickets by phone, — Valerie DeLapp A CAß-FooO ßoöVc. Bjy place to no one in the department of call the Arts & Lectures Ticket Office at 961- daredevil bravura, often combining ballet 3535. MA*H" Fotech Studios and Fotech One Hour. Color Labs are divisions of Fotech Color Labs. 66 fi Knock, Knock, They’re Selling Film A Who's There? Pizza Bob. 0 Pizza Bob Who? i r For WHAT?” Pizza B ob A DELIVERS!! • Fotech Color Labs is selling film at prices that will make SPizza anybody sit up and take notice. 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I had never heard of the Parachute Club until last week (I Two other songs “ Act Of An Innocent’’ and “ Freedom think they’re a relatively new Canadian band); they have Song” are too long and repetitive. terrific potential. Their At The Feet Of The Moon is I ’ve been pushed and shoved from here to there/ Looking full of excellent rhythms — reggae, soul, and Caribbean fo r my freedom anywhere/ ..All I know is I got to find this influences are present. The Parachute Club do some in­ Freedom Song. teresting things with the blending of backing vocals (listen to the title track’s a cappella). There is always so much What’s the point? Other songs, however, have better going on in the background but it never distracts. With all lyrics, including the title track and “ Middle Child,” which kinds of percussion, synthesizers and ranges of voice, they successfully uses a simple and basically infectious beat, a remind me of Joan Armatrading, Bananarama and Sade. smooth yet sharp combination of synths, and some clear, The seven member band includes three males (, high and strong vocals. It’s danceable and the synthesizers, drums) but the talented Julie Masi and Lorraine Sega to are as on the rest of the album, are in general light and natural responsible for all the vocals. The variety on the album and do not smother the otherwise echoey and soulful voices. results from the fact that almost all members contribute to Parts of “ Middle Child” remind me of some of Thomas either the lyrics or the music. Dolby's songs. “ Rise Up” has an uplifting and quick tempo At The Feet Of The Moon has a few faults; some songs that makes you want to dance while “ Innuendo” is more of end too abruptly or leave you hanging. The piano solo that a haunting and eerie track (real subdued rockabilly starts “ Equal/Equally” is unexpected and doesn’t seem to perhaps?); I like both. Buy this album, play it loud, and fit with the rest of the album, llie solo wouldn’t break the dance! album’s continuity perhaps, if it were more rhythmn and — Maureen Fan blues. This is also the only song where the singing is weak. Album supplied by Leopold’s Records

Lost in the 'Long GrassL-iiM ÊtÊÊikUlw km

Is (who co-wrote Band-Aid’s “ Do They Know There is some interesting background instrumentation on It’s Christmas?/Feed The World” ) selling out? The “ A Hold of Me” but it is fairly repetitive. “ Once again” has Boomtown Rats ( “ I Don’t Like Mondays” ) sixth and latest a Spanish rumba insert but the song itself is too polished album tends too much towards the pop. and boring. The opening to “ ” seems a bit Just a look at the cover shows their new concern with silly — a dumb, early Duran Duran sound. “ Another Sad image. Story” begins with a beautiful saxaphone introduction Geldof’s distinctive vocals, haunting, slightly nasal and ( “ Rain” gets off to a nice start too...) but it lasts only a few almost as if he’s crying out for help, are still there, but the seconds before the song turns into heavy uncreative pop, music itself lacks depth and emotion. The lyrics are as like “ Drag Me Down.” Unlike their earlier work, the songs unusual as ever: on In The Long Grass are monotonous and sometimes just I ’ve always felt that you were touched by fate/ And irritating. If I had to pick one decent song it would be “ A maybe you were both chasing this/ F lirt with death/ But Hold of Me” because its catchy but then its one of those never kiss her. songs that you’ll probably get sick of only too soon ( “ Rain” I f Time remembers you/ The trouble is/ I t ’s only skin and would come in second if it was a little less boring). I’m bones. disappointed with this album, but I ’m sure will be coming out with another, and another, and But several tracks sound too similar. Nothing is par­ another... ticularly outstanding and the album lacks life, vitality, and — Maureen Fan perhaps originality. Album supplied by Leopold’s Records MÉtiàÊiàiMÉirÉiâéÊâëimkràkirtiiÈiamHiititMtàiMiâMÉtiàÉimiiMufàÊëmtiiMÉiïiimâÊmtaitWtomiàmMHÊiitfiâàààiftiiiùMHiàtiàÊimii

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Application forms may be obtained from your dean or department THERE'S chair, and from the CALIFORNIA POLICY SEMINAR (Institute of SOMEONE FOR Governmental Studies, 109 Moses Hall, University of California, EVERY (Sicero saysfRIGnm rOTOLB ‘THE HEÄlßV“ *The People Rule Th e Nexus' Berkeley 94720; phone 415/642-5514; ATSS 8-582-5514), ONE. Daily Nexus Thursday, May 23,1986 5A □□□□□□□□□□□□□□□□□□□□□□□□□□□□□a New Order mwwvwwvwwww kivwwvwwwvwvwwvm WWMWVWWWWVWV Love Vigilantes uwwwwwwwwww VIDEO FILE □□□□□□□□□□□□□□□□□□□□□□□□□□□□□□ “ Hello everyone it’s nice to be here/ come so far to see you Sade “ Smooth Operator” all.” Rave. Rave. Rave. Coast to coast and in to Chicago, what “ Sooner Than You Think” from New Order’s ‘Low-life’ is this, a flight manual? I fail to see what critics have found in Brit’s new sensation. She has some punch in her vocals, A certain few bands demand special attention. New but Smoooothh Operatahh needs a chunk of spice. (Girl Order is one of these bands. Emerging from the shattered loses boy, tells the world in a night club act, mean gangster remains of Joy Division after the suicide of vocalist Ian boy leaves with slinky barmaid. Ooo inticing!) Get this girl Curtis, New Order has lived an enigmatic existence since out of the blender and into an elevator. its inception. Curtis’ death exalted Joy Division to legen­ dary status yet has also beset New Order with the over­ Jason and The Scorchers “ White Lies” whelming burden of living up to the great expectations Jason’s got spunk in this American Hoe Down. The song created for them. Rather than attempting to reproduce the isn’t that infectious, but it holds enough interest. The video, sound of Joy Division, New Order put its past aside and however, goes astray (and gets worse) as soon as the first searched for a new direction of its own. In their consistent cartoon bubble appears over a band members head with the defying of the status quo of the music industry, they have words “ White Lies” in it. Fun turns farcical and they end been labeled anything from elitist zombies to the greatest up looking stupid. The scenes on stage give it a save. * band in the world. One thing is certain though — New Order is a unique band that does things its own way. Five years Robert Plant “ Little By Little” after'Curtis’ death Low-life emerges as New Order’s first This song is much more typical to Plant’s familiar style. album in two years and the most important release of 1985 Demonic marriages, greyhounds, and ghostly dancers fill thus far. English moors. Plant is charmingly intriguing with his Joy Division expressed an ironic fatality in their music. sinful stares. The filming and editing leave a soft touch. The The posthumously released “ Closer” was an eerie most mature and balanced work to date yet in the process ending slow motion and stop action shots of pale faced testimonial of defeat and a shattering of hope. Coming have sacrificed much of the innovation that has been dancers are interesting and uncontrived. * * * * closer to and exploring the shadow of death which Unknown crucial to their success. Bernard’s vocals beam with a Pleasures had glimpsed into, it ventured too close for ' confidence and authority sorely lacking in earlier works. Eurythmics “ Would I Lie To You” return. Joy Division’s wounds of despair were still bleeding Musically Low-life is their most accessable alumb yet; I am a little disappointed about this one. There’s nothing when Bernard Sumner, Peter Hook, Stephen Morris and combining the pulsating heartbeat of the dance hit Blue really special in the song nor in the concert/club act. Lenox new-member Gillian Gilbert reformed as New Order. Monday with the swirling spaciousness of “ Thieves Like is teasingly strong and Stewart pulls toward to share the Healing was a slow and painful process for the band as Us.” With its faster tempos Low-life avoids the meandering stage with some powerful solos. The vocals are as tragic undercurrents still pervaded throughout their music. regressions towards minimalism of some earlier works yet fabulous as usual and the dance tune has some character; Gillian’s atmospheric keyboard riffs and new vocalist falls victim to increased repetition. True to New Order’s mostly it’s reflective of their fun live stage attitude.* * * * Bernard’s fragile pools of reflective verse created visceral nature, Low-life is loaded with contradictions. landscapes of introspective melancholy. Some of their Owing to it’s more mainstream sound and positive mood Lords of the New Church “ Method To My Madness” growing pains were ironed out in 1983’s Power, Corruption, Low-life is bound to garner a wider audience for New Or­ Hard Core Punk hits Heavy Metal, but it’s a compatible and Lies which signified a step forward for the band with its der. To the cheerleader Low-life will be a masterpiece. To mesh. The video is like a scene from Rocky Horror with rich textures and sweeping rhythms of hopeful passion and the purist this album may prove a letdown, but everything sixties costumes. It needs to be played really loud above a honesty. It was last year’s single “ Thieves Like Us” that New Order has ever done has had its shortcomings. The packed dance floor. * * ★ dealt with the subject of love head-on for the first time since strength of New Order’s music lies in its ability to touch the menacing beauty of JD’s last single “ Love Will Tear people, and this is what makes them a special band. New Don Henley “ All She Wants To Do Is Dance” Apart.” But this time the message was a passionate “ love Order’s songs transcend the boundaries of language with a Unga. Unga-Bunga. Me cave girl. Me want this man in is the cure for every evil” rather than the chilling sensorial communication that affects the emotions on a me cave singing sappy pop tune with Idol clenched fist to realization of “ you cry out in your sleep/ all my failings very personal level. Objective criticism is thus difficult as leave me alone. Ugh. Transport me back if me have to exposed.” With Low-life New Order has broadened their New Order occupies a space all of its own in the music listen to this. optimism from a ray of hope to a Sunrise. world. Low-life is a very worthy and touching album from — Laurie McCullough New Order seems to have settled into a home of humble perhaps the most influential band of the eighties. solace. In settling down New Order has come up with their — Jason Lees □□□□□□□□□□□□□□□□□□□□□□□□□□□□□□ □□□□□□□□□□□□□□□□□□□□□□□□□□□□□a ftftfWWIftftftfWWIftftAftftft/WWWWIfWWWWWWWWWIfWWWWWWWWWWWWIftiWWWVW

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A Work of Collaboration Hour of Triumph In an article last week, I wrote about the The UCSB Dramatic Art Department’s most of a rather poorly sketched character ; increasing degree of collaboration between production of The Children’s Hour by Lillian Heilman doesn’t bring us close enough to artists in different fields. The Music Heilman opened last week, providing a Joe for us to feel any great empathy with Department’s recent production of Mon­ strong start to the Spring season. him. teverdi’s L ’Orfeo illustrated both the Set in the 1930’s, the play examines the The degree of characterization brought to remarkable achievements possible under effect of distrust and intolerance on the lives the smaller roles was impressive. Connie these conditions and the necessity for fur­ of two women, Karen Wright and Martha Breding took a part which involved perhaps ther collaboration. Dobie. Mary, one of the pupils in the school a dozen lines in all, that of Agatha, and Presented jointly by members of the they run, makes unwarranted accusations created a cameo performance which cap­ Opera Theater, Cappella Cordina, Musica of lesbianism and a train of events is set in tured the cynical and bossy maid perfectly. Antiqua and the Dance Department, motion which cannot be unrailed. Marla Weinholtz did a similar job with the was originally composed in 1607 for the As Mary, Lisa Weingard gives a per­ role of Catherine, a know-it-all swot who has court of Mantua. Although it was the first formance which is difficult to fault. Having no patience with those she considers stupid. opera written in the style we recognize taken the decision to play Mary as The other girls in the school were played by today, it retains the lushness of its Ren- aggressive, rather than cunning, in her Diana Ward, Teresa Hadly, Caroline Mit- naisance ancestors with large and varied dealings with those around her, Weingard chum and Jo Therese McElroy, all of whom instrumental writing and numerous Gary Towne and Grace Mannion poured every possible ounce of venom into overcame the difficulty of portraying much choruses and dances. This problem of combining two skills the character. The result was a little girl younger girls with impressive ease. A decision was obviously taken early in shows a need for greater cooperation bet­ possessed by a cynical, embittered Harpy; Much of the credit for this depth of rehearsal to attempt a production that was ween the Music and Drama Departments. It a true child from Hell. character analysis must go to the director, close to the original. This is a laudable aim, is just as important for an aspiring opera Such unremitting evil in a fourteen year Judith Olauson. She had obviously trusted but it does present severe limitations. The singer to take classes in acting as well as old girl could perhaps strain the her actors with a considerable degree of use of static tableaux, as was done in the singing. However impressive a performer’s imagination, but Mary has a powerful tool in freedom in creating their roles, and this seventeenth century, can be dull over long voice is, without a strong stage technique her doting grandmother, Amelia Tilford. trust paid dividends. Her creative stamp stretches. This was particularly so during the effect of the voice will be lost. There are Whatever she does, she can always run to was set on the play by an excellent use of the very beautiful aria in which Orpheus opportunities for collaboration in other her grandmother and rely on her support. tableaux, an important element in any pleads with Charon, the boatman, to carry areas as well. The costuming, stage con­ Without the actions of Mrs. Tilford, a name production but especially so in “ theatre in him across the river Styx. Accompanied by struction and lighting were all perfectly would never have been given to the child’s the round.” The moment when Mary is a mournful organ recitative and punctuated adequate, but were done without the help of impulsive accusations. Carrie Spangen- caught out in her lie, and is surrounded by by paired violins, trumpets and guitars, this the Drama Department’s huge resources of berg’s portrayal of the grandmother was her accusers, was especially chilling. aria offers considerable possibilities for both materials and manpower. Cooperation impressive, but would have benefitted from Olauson’s confident direction extended even dramatic action which were not taken up. in these areas would have two important a closer attention to detail— more than once to minor details; the scene change from the The scope of the director, Carl Zytowski, effects; standards would improve, and she crossed the stage spryly, and then, school to Mrs. Tilford’s house was done by was hampered by the limitations of his cast. trainee theatre workers would have greater remembering her age, sat down with the actors themselves, who moved the A perennial problem with directing opera is opportunities to put their skills to work. exaggerated care. furniture while continuing with the the necessity for performers to combine the One artist who has demonstrated the All of the acting was, however, of a con­ dialogue. The result was a seamless flow skills of acting and singing; something that results possible in collaborative art is Frank sistently high standard. Pamela Macintosh which avoided breaking the momentum of is not always possible. In the long and dif­ Ries, the choreographer for this production. was an intense Martha, while Rebecca the action. ficult role of Orpheus, Gary Towne sang A professor of dance, he has previously Covey played Karen with quiet aplomb. Her The set designed by Jennifer Norris, was very beautifully but was much less ex­ worked with the Drama Department on No performance was remarkable for such a an understated triumph. The assymetrical pressive in his acting. The same was true of No Nanette!, and his choreography for young actress, and the sense of classical hardwood floor, laid in an irregular pattern the other members of the cast; the singing L ’Orfeo brought a much needed dimension dignity which she brought to the role made like that of broken glass, provided an un­ was of a uniformly high quality, for which of movement to the opera. her bitterness towards Mrs. Tilford all the derlying symbol of the destruction of Alejandro Planchart, the musical director, This kind of collaboration is welcome, and more affecting. Martha and Karens’ lives. The furniture should be praised, but few of the cast should be encouraged. L ’Orfeo was a good Dana Marley -was a marvelously flam­ was stark and functional, never detracting seemed very comfortable on stage. Grace production of an important piece; a greater boyant Lily Mortar, flirting confidently with from the dramatic action. Steve Epstein’s Mannion was a notable exception in her dual emphasis on theatrical elements would have the danger of over-acting but never doing lighting, moody and evocative, com­ roles as Music and The Messenger. Her made it an excellent production. I hope that so. David Clements seemed less confident plemented the play well, but at times left the singing and her stage presence were both of another time this will be possible. as Joe, Karen’s husband-to-be, but made the (Please turn to pg.7A, col.l) an equally high standard. — Andy Stevenson

CRUCIAL ART a n d PRESENTERS'

A

DANCE PARTY !! Welcomes buck UCSB student \>y celebrvtfcna THURSDAY NIGI HAPPY HOUR 9-11! ENJOY À 32 oz..d BEER wjists 100 DANCE.IVt)h*£'H to all year favorite Videos -till 2A M !

* R EGGA&U SKAtrAFRICANS SOC/Kt NBA •bSAlSAtr CAiyPSOir R&Bix STESI DRUMtx FRIDAY, MAY 24, 8:30 P.M. PLAYOFFS LA CASA DE LA RAZA TO BE ANNOUNCED $8.50 ADVANCE DONTM ISSTHE EXCITEMENT

'TVld Cwaduate • <9 ‘35’ frmbpd hbrte AVAILABLE AT: LOBERO TICKET SERVICE, SOUND FCTORY. LICORICE PIZZA IN S.B., leva, Vista- • 625-3112- MORNINGLORY MUSIC IN I.V. AND ROCKPILE RECORDS IN QOLETA Daily Nexus Thursday, May 23,1985 7A Children's Hour... (Continued from pg.6A) actors underlit; unable to see their features clearly, the audience was deprived of some details of characterization. Elizabeth M iller’s costume designs captured the period quietly and efficiently. The subtle differences in each of the V S »® .. schoolgirls’ blouses allowed for a degree of individualism while still showing their basic conformity. Everybody involved in this production should be proud of gKvAer® their work; an important and challenging play has been r t f * most effectively brought to life. The Children’s Hour will continue until Saturday. ? \ \ d¡«>W CON®* — Andy Stevenson

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Start your Memorial Day of hours at the end of a hard school ochool. In addition, we intend to back, and support. This Friday, the weekend off right! This Friday, week enjoying yourself, dancing, have many sponsors set up outside bands “ E X IT ” and Erotic Con­ May 24th, marks the premiere of or having some food. This event is including food, drinks, t-shirts, vention will be supplying the an event whose time has come. not merely a dance, however, as it etc., so that we may expand the sounds for you to dance to. So come This is a series of Friday dance aims next year to include different scope of the event and prolong its out and dance, meet some people, concerts out behind the UCen at the organizations set up to provide you success. This is a great opportunity and just have a good time! It’s free. lagoon. Each week from 4 p.m. to 7 with information about how you to get rid of some tension and have It’s fun. And it’s brought to you by p.m., we would like to have bands can get involved, or to answer any fun! But, we can only do this A.S. Program Board. And let us out there so you can spend a couple questions you may have about your through your cooperation, feed­ know what you think !

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Erotic Convention Last One Next Wednesday MI How About Some Reggae? Get yourself to the Pub and don’t be late. Campus Network is a great, new and Tonight in the Pub exciting co. that is offering one of Santa Barbara’s students the opportunity to finest collection of create and promote student Reggae artists per­ videos to be aired into the community. The A.S. form live. Top Rankin’ Program Board is taking begins about 8ish and advantage of this op­ TH E Y ’RE HOT! If you portunity and beginning to have been around for put together a network of students to help the projects awhile you have and create some of our own. probably heard a If you are interested in couple great reggae getting involved with a state bands such as One of the art adventure in Heart and Ray gun. videos come on up to our and see some in action. collection of new progressive floor! Come visit the A.S. Campus Network is offering music videos including the Well Top Rankin’ is the Program Board and fill out a AUDIOPHILIA which is a top ten countdown, #1 club combo of the two. committee member form for concert series spotlighting video, special guests and Don’t Miss out on your the new opportunities in such luminaries as Phil more. So ONCE AGAIN Rasta Fix, tonight video. If you don’t want to Collins, Randy Newman and DON’T MISS THE VIDEOS Free and in the Pub. take part come NEXT U2. We are also showing NEXT WEDNESDAY AT WEDNESDAY to the Pub NEW GROOVES which is a 4:30 IN THE PUB. Come on down and don’ t forget your bowling gloves.

REGGAE- T O N IG H T - TH E PUB - FREEH