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Joseph N. Scionti (pronounced shawn-tee) is the Chairman 
of the SMU History department. The more literal-minded 
among you might derive some satisfaction from this 
dedication of a 'Bicentennial' yearbook to an historian. That 
actually had nothing to do with the decision, but far be it 
from us to destroy an illusion. (Actually, we liked his 

Scionti is a warm, engaging, intelligent man who knows his 
stuff and communicates it effectively to his students. He 
spices his lectures with such commentary as How to get a 
good seat in a restaurant, The importance of learning Italian, 
How to meet members of the opposite sex, and visual sight 
gags. When the mood strikes him, he brings forth serious 
poetry from what seems a formidable stock he has 
committed to memory. (The women, it seems, especially 
enjoy this. He could be perhaps considered a 'male-liberated' 
romantic. The women's basketball team made him their 
mascot.) His wide and varied interests and knowledge 
certainly qualify him as a modern Renaissance man of sorts. 

A Scionti class begins with a pronouncement of the 
current fates of the Boston Red Sox and/or Celtics, 
whichever happen to be playing at the time. One such, after 
the memorable sixth game between the Red Sox and the 
Reds Went as follows: 

/ hope there's nobody in the room who was unfortunate 
enough not to see that game last night, because that was a 
classic if I ever saw one. It was one of the best World Series 
games-or games of any kind-I've ever seen in my life. ..and I've 
seen a lot of baseball. When you get to the eighth inning, and 
it's six to three like that, you just don't believe in miracles 
any more. The guy (Don Gullet-ed.) had complete control of 
the situation, Dwight-who he had just struck out-Evans, 
who had been hitting well in this series, he got Burleson on a 

short fly or something... I've forgotten already. And here 
comes Carbo, he's got two strikes on him, he fouls off a 
pitch-he got it by about an eighth of an inch-that pitch on 
the inside, and that previous pitch-he just barely got a piece 
of that- and you've got the back view from behind the 
umpire, so it's hard to tell exactly what the last pitch was, it 
looked like a straight fast ball, maybe a little under the waist, 
and towards the outside part of the plate possibly, I dunno, 
but he really slugged it. You could see that bat hit the ball, 
and it really came off there hard, and watch out to center 
field and there it is, a tie ball game. It's like you read in 
fiction, right? You don't expect it. And then, in the ninth 
inning, when they had the bases loaded, nobody out, and 
here comes that short fly to left. Now, most of the time, I 
agree with Zimmer, the thing to do on that is take the risk 
most of the time, because it is a difficult throw. But, with 
nobody out in that situation, and a fly as short as that one, I 
think it was a mistake. He would probably acknowledge it 
himself afterwards. Another ten feet back, maybe. But with 
nobody out and Petrocelli on deck, a guy who usually gets 
enough wood on the ball to hit it someplace you want him to 
have a chance to get to bat. I was calm, I took it very 
calmly-I ate a little of my carpet, right in front of the telly, 
but it's all right... chewed it a little, but my wife doesn't 
mind, the carpet's all torn up there any way... and then, after 
the homer in the twelfth inning, I was doing the same thing 
Fisk was, except you know the old umpiring instinct took 
over.. .I'm down in front of the television like this (assumes 
an umpire-assessing-home-run stance-ed.) and Fisk-did you 
see the picture of him afterwards? Here he is, standing at 
home plate, doing this, you know, trying to get the English 
on the ball, to get it over there. He wasn't moving 'cause he 
knew he didn't have to run, it was either going to be a foul 
ball or a home run. So he stood there and watched-waved at 
it, y'know. It hit the foul pole, inside. It was a sensational 





Scrimshaw: I think one of the 
things that impresses the students is 
that you really don't seem to be 
afraid to do anything up there. 

Scion ti: Part of this job is being 
a ham. It really is. You have to 
enjoy showing off a little bit, to 
teach at all. People don't have that 
kind of personality have trouble 
with this. Probably all their 
teaching career; they have to fight 
themselves as much as the material 
they're dealing with. Everybody's 
run into teachers like that who are 
shy in front of crowds and have a 
lot of trouble, and they're really in 
the wrong business. They should be 
doing something maybe 
teacher-related. They should do a 
lot more research, maybe. And 
publish a lot, because a lot of the 
people who are very good as 
publishers and really contribute a 
lot that way, are really bad in front 
of a class. I've had that experience a 
lot in my own career as a student. 
I've run into guys who are famous 
as scholars who just couldn't leach 
their way out of a paper bag 
because they couldn't get in front 
of a class and confidently state 
what they thought and give an 
orderly kind of lecture. 

Scrimshaw: How have you been 
following the Celtics? 

Scionti: Gee, since the founding 
of the league in 1946. I hate to 
admit that. In fact, it wasn't the 
NBA then, it was called the 
Basketball Association of America 
or something like that. The Celtics 
were a rather weak team in a rather 
weak league then. But, since then, 
things have changed a lot. I've had a 
season ticket since... I came back 
from the service in 1957... 1959 I 
guess. I like basketball. They used 
to have games when they'd score 40 
points ... 40-35 would be a normal 
score. I like the sport more than 
hockey. I don 't like hockey at all. I 
like football, but I don't go the 
games.... For one thing, it's a 
matter of practicality and money. 
If you're a season ticket holder for 
one sport, it costs you a bundle 
anyway. If you try and do it for 
more than one... not only the 
money, but then I'd be away from 

home too much. My wife would kill 
me. She'd be right. 

Scrimshaw: Anything 
particularly memorable happen to 
you these ten years here? 

Scionti: Often. When I got my 
degree, my PhD in '67, I had a 
class, a Freshman class, and they 
surprised me with a cake, and all 
kinds of stuff right in class. And, 
that kind of thing is valuable, 
because you know you're getting 
across when students will go to the 
trouble to do something like that 
because it doesn't frequently 

Scrimshaw: What is the biggest 
difference, in your opinion, 
between SMU and a larger college? 

Scionti: Well, we're a state school, 
which means that most of the kids 
have to work, at least part-time, to 
foot the bills. We don't get a rich 
student body, like the ivy-league 
schools, for instance, where kids 
have grown up in families who have 
already got a good deal of money, 
or have had college experience 
before. Whereas, a lot of our 
students are the children of 
immigrants, as I was myself so you 
can get into the same wavelength 
with students like this because if 

you've got the same kind of 
background yourself you 
understand them very well. 

Scrimshaw: Do you think the 
economics of our present situation 
here will sway the legislature from 
the logic of funding SMU equally 
but leaving it autonomous? 

Scionti: I hope not. Geez, who 
knows what those guys will do?I 
don't have a lot of faith . in the 
legislature. But, I think they should 
be smart enough to recognize that 
that's a bad idea (total state 
reorginization). I think we need an 
independent board of trustees, we 
need to have our own financial 
apparatus. In other words, they 
should give us the money, the way 
they have, and let us handle it, or 
let our people deal with it, and not 
control it from a central position. If 
they centralize too much, I think 
they 're going to stifle us. This part 
of the state's been ignored, anyway, 
it seems to me, over the years... 
until this place came along, we 
didn't have anything... We've been 
sort of the poor relations of the 
state for years. This school's really 
the hope of the area. I hope the 
legislature has enough sense to see 




The beginning of this academic year, September 1975, saw 
a nation of disspirited and cynical people. The rash of 
scandals following Watergate left us numb... new stories of 
corruption and incompetence among those in power broke 
almost daily. Worse, no major reforms followed. This bred a 
strong feeling of distrust of leadership, and, as it seemed to 
the general public that they were helpless to stem the tide, 
most Americans went about their daily tasks unconcerned 
with the ills of the nation insofar as they were not affected 
by them. 

This attitude could be seen most graphically on the college 
campuses. The image of students deeply involved with 
political and ecological concerns was washed away by waves 
of students meekly attending classes and caring little about 
the world outside the University except for the job market. ( 
These are broad generalizations, of course, but if one 
considers the national trend, they hold true.) 

Of course, at this time we are also experiencing a 
Bicentennial celebration of sorts, but its form remains 
nebulous, taking concrete form only in that it seems someone 
is always trying to sell us something. If our founding fathers 
could have. known how much garbage was going to be sold in 
their name, they would have kept their mouths shut and 
PAID their taxes. 

Come to think of it though, it isn't so unreasonable that 
everyone's out to make a fast buck on the Bicentennial. This 
country was built by tax evaders. 

Jeff Faria 
SMU Scrimshaw 
April 2, 1976 









/ like it when they call 
and say, 'Give me the 

office'. I feel like saying, 'There's 

only five hundred offices, lady, 
which office?or they say, 'Gimme 
the dean!' 'What dean, Ma'am? 

'Oh, you have more than one? 
Barbara Pontes, Telephone operator 

exposing my feet to the world?.. I 
was disillusioned when I came here. 
I think it's because it's such a new 
place... There's no tradition, no 
football team.. .The last time we all 
got together is when the kids were 
streaking, now that was a good 
night ...I feel really old... I look 
forward to leaving next year. 

getting an apartment... I liked the 
food freshman year, we used to 
really pig out. It's gone 
downhill... really gross... you know 
the yearbook the year before last 
(1974) had interviews... Every one 
was saying something bad about the 
school... no school spirit... nobody 
says 'hi'... we're nerds... one good 
thing about living in the dorms is 

everything is at your fingertips. . . the 
school is right nearby... your meals 
are taken care of... no hassles with 
your parents... all you have to 
worry about are your dishes... she 
never does her dishes... I wish 
everybody had a phone in their 
room. . . 

Andrea Nixon 
Diane Skowiera 
Cathy Moore 
Dorm residents 


all, people must listen intently to 
the life all around them to achieve 
an initial glimpse of the force that 
must be comprehended to live 
properly. Inner and outer peace can 
only be achieved through patience 
and a strong but calm perserverence 
in the path of truthfulness. To feel 
the blood flow and to know that 

now is then leads to a constructive 
state of mind and a clearer elevated 
consciousness. This caboose will be 
here and gone. Those who hesitate 
are delayed but there is another 
along the line. 

Bill Bylund 

Ex-SMU Fine Arts major 



/ have 
nothing to say about her. We're not 
speaking at the moment. Actually, 
we're very friendly. We've had our 
fights. We had a big fight first 
weekend I was here. She had 
someone over. I don't know who he 
was, but he was strange. I came 
puttering out, in my old pink 
bathrobe, to get a glass of water, 
and Donna started in about how I 
never go anywhere, how I never ask 
for the car. So I said, 'Well Sunday 
I'm going to church. So Saturday 
night I reminded her and she said, 
'Well, wake me up and I'll go with 
you!' Well, Sunday morning came 
and I tried to wake her up and I 
couldn't do it. So I wrote her a 
note and got in the car and started 
it up, sitting in the driveway, 
warming it, and I hear all these 
obscenities being yelled at 9:00 in 
the morning. Well, I was very upset. 
Nine o' clock on a Sunday morning, 
people yelling obscenities. So I 
looked to see where it was coming 
from and it was coming from 
Donna Clarke. Yelling obscenities 
at me. So I got mad. And I just left. 
Got out of her car and took off. 
And I went for a walk around the 
block. Got lost. Found my way 
back, she was out, patrolling the 
streets of New Bedford looking for 
me. She had the main downstairs 
out looking for me. She had Alma, 
from the dorms out looking for me. 
She called my parents. She was at 
the bus station looking for me. She 
thought I had gone home. Now, do 
you think I would walk all the way 
to the bus station (you KNOW I 
won't thumb)?I thought that was 
rather silly. 

W e 
fought about her tupperware last 
year. I didn't feel too good, I 

was kind of ill, and she came out 
and she went on about somebody 
dirtied her Tupperware and didn't 
clean it, and she was just so upset. 
So I said, 'Why don 't you take your 
Tupperware and wash it out, and 
put it in your roomlAnd when you 
want it, it'll be clean!' And she said, 
'Oh, I don't wanna do that! 
Stupid So I said, 'Well you know 
what you can do with your 
Tupperware!' And she said, 'What? 
And I said, 'Well you can just do 
that with it. ' And then she said 
something nasty as she was leaving 
the room so I took her Tupperware 
and threw it off the balcony. Then 
she came out and screamed at me, 
and I got a hammer and I was going 
to break her toes. And I chased her 
all through the dorm. And then she 
put toothpaste on my head. That 
was the whole fight. Tupperware. 
It's still here, you know, it's still 
dirtv, 'cause I won 't wash it. 

I was 
in my bed, sleeping. And when I'm 
in my bed sleeping nobody wakes 
me up, 'cause I just sleep like a log. 
Well, you see, Donna came home 
and it was quite late at night and 
she got into bed and her bed is right 
by the window. And Donna was 
laying there, reading. And Donna 
hears this funny little noise by the 
window and she says to herself I 
wonder what that funny little noise 
is - it must be a squirrel or a branch. 
But then she heard a grunt. 
Somebody was trying to open the 
window. Now, Donna Clarke, in all 
her brightness, came out of her 
room - didn't knock on the door 
and try and get me up - came OUT 
HERE, didn't get on the phone and 
call the police, went in the 
bathroom and got a can of 
deodorant and got back in bed, 

poised for action. She stayed there 
all night. 

na was studying for an Anatomy & 
Physiology exam on blood. 
Cardiovascular. So I was here 
quizzing her. And, she couldn't 
remember the difference between 
lymphicides and lucacides. Because 
they sound like the same thing, and 
they're really the same thing. But 
there's a little distinction. So she 
went to bed. And I was sleeping. 
And I woke up. I had the feeling 
there was someone in the room. 
Well, I checked. And it was dark. 
So I figured nobody could be in 
here. So I rolled over to face the 
wall. And I heard this voice saying, 
'Bodio!...Bodio!...' Now, last 
summer I went to church and this 
woman gave me this prayer book 
that had all these strange prayers in 
it. And one of the prayers said if 
you say this prayer every single day 
two weeks before you die God will 
come and tell you you're going to 
die so you can do whatever you 
have to do. You know, buy a plot, 
get a coffin, stuff like that, pick out 
the dress you 're going to be buried 
in. So I hear this voice saying, 
'Bodio!... ' and I thought it was God 
coming to get me and take me 
away. Well, I thought I wanted to 
see who he was, so I turned the 
light on and there was Donna 
Clarke, standing there, and she said, 
'What's a lymphicite? And I said, 
'Huuh? and she said, 'Oh, thank 
you!' and she just walked out and 
shut the door and went back to 

Dorene Bodio 

Presently Junior Med-Tech major 

Sometimes, people maybe 
because I'm a foreigner... I'm not 
talking about every body... try to 
take advantage of me, taking for 
granted that I don't know what's 
going on. What impresses me most 
is the freedom here (at SMU)...I can 
get all (kinds of) help from 
professors. ..books from the 
library... I can get the best 
education in the world if I want 
to.... I'm going to have a 
bicentennial kid, too ...(the baby) 
wilt be born in August, or maybe 

Yurek Kepinski 

SMU tennis coach, 

also Ted Williams' camp pro 

/ eat a lot of my own hot dogs, 
but I eat a lot of other people's hot 
dogs. I need that constant 
reassurance that mine are better 
than theirs... 

I think I'm going to go back to 
school. But not around here. 

Gerald Kirk, The Hot-Dog Man 

(on theatre people) They're just 
people. Instead of going to work in 
an office, they happen to go to 
work in a theatre. It's terribly 
cliqueish and in-bred, it's that, but I 
don't think the people in the 
theatre consider it a very special 
thing. Workers in the theatre are 
just workers. One of the remarkable 
things about theatre parlance is that 
actors, or anyone in the theatre 
refer to everything that goes on in 
the theatre as 'work'. For instance, 
'Look, go away, young lady, I've 
got plenty of girls who can do the 
'work'. ' Or, 'Look, have you got 
any 'work' coming up next season? 
They refer to everything as 'work'. 
The outside world thinks of it in 
terms of art, illusion, glamor... the 
props 'work'. 'Does this glass 'work' 
in the second act? It's not a 
snobbish world and people like to 
put that label on it. ..That's why I 
get annoyed with the kids 
backstage when they give me any 
crap about their 'art'. Or when they 
come backstage for nasal sprays or 
cough medicine or throat 
sprays. ..give me a break, huh, 
kid?.. Or they give you the 
temperament. ..'Oh, I can't play 
tonight, I'm not feeling it...' -Get 
out of my life, willy aP... 'I'm not 

feeling it '...what's that got to do 
with it ?Get out and do it! How 
would you like to believe that 
everyone's out there feeling it?Just 
go do it well because you have to 
do it. That's a very British point of 
view, by the way. The British 
theatre is healthy today because the 
British have a very healthy respect 
for the work-a-day of theatre. They 
respect it as a 'work' thing. And 
they don't mix it up with actors' 
studios and scratching your anus. 
Someone asked Noel Coward once, 
'Mr. Coward, what is my 
motivation in this scene? He said, 
'Thursday. ' Which is payday. 

Right now, you get a feeling that 
no one cares. It's very frustrating. 
It's a feeling you get that no one in 
the administration is paying much 
attention. I want to quit, you 
know. Every six months. They 
really don't give me all that much 
money. They really don't. This is 
m y fifth year and never a penny 's 
rise - Do you understand? Not a 
penny. And you feel like you're 
going in for no good reason. No one 
pressures you, essentially no one 
ever bitches or complains to me - 1 
give them nothing to complain 

about. However you get this feeling 
you're just rattling around there. 
That's not a good feeling. 

I think we're headed into some 
rather gloomy times. The quality of 
life is deteriorating. I can remember 
when the United States was king 
shit - and that's what it was, you 
did not debate that. You lived that 
way, and you felt that way, and 
other people saw it that way, but 
the world changes. I think there are 
just too many people. There are 
how many Chinese sitting over 
there?Frightening number. There's 
not enough food, not enough 
energy, the environment's being 
screwed up beyond repair. I 
remember you could drive from 
Fall River to New Bedford, and 
essentially you were driving along a 
wooded road. It is now a mishmash 
of garbage. Route Six. Just a mess. 
Your're going to have a lovely 
macadam world to live in by the 
time you 're sixty. Enjoy it in good 
health. I'd like to change it, but I 
don't know how. 

Tom Higgins 

Auditorium director 

Former journeyman Broadway 'grip' 

one time editor SMU scrimshaw 

/ feel very contemplative right 
now so I can't get very angry... but 
I still have the same thoughts under 
any circumstance. Involved as I 
was, I never came face to face with 
what I always knew existed. The 
apathy and total unorganization 
which runs this school, and more 
importantly, every other underlying 
system which tends to support our 
way of life. The word 'apathy' is a 
nasty word to many people. It 
implies a laziness and boredom with 
their environment. So... they don't 
use it and even worse, they reject 
and deny its existence. Over the 
past year I contributed to the Thea- 
ter Company, the Women's Center, 
the Student Senate and its com- 
mittees, a couple of student litera- 
ture magazines (SMUT and TEM- 
PER), and several agencies off-cam- 
pus, to mention a few. In just about 
all these organizations I came up 

against snobbery, egocentrism, red 
tape, frustrations unbounded, a 
lack of responsibility and commit- 
ment from the average student and 
total chaos! It's really ,,,uhm... 
terrible. And exhausting. Fighting 
this within the organization is bad 
enough, but to have to fight the 
people who aren't involved and 
don 't want to be involved and then 
bitch about not getting the full 
extent of what they're paying for 
is.. .RIDICULOUS. It's irrational. Il- 
logical. Overemotional. Mary Hart- 
man. But I know all this.... So I go 
home and talk to my cat... we call 
him monster and kitty., and my 
mouse Rudy. Then I feel better. 
That's why I love them. They're 
not like anybody else. 

Pat Manning 

When I was a kid I played 
hockey all the time while everyone 
else played basketball. The other 
kids all though I was crazy is just a part of the whole 
academic thing. I'm not Don 
Cherry, my players aren't Bobby 
Orr... We're here to have fun. 

Joe Prenda 
SMU hockey coach 

dorm heard it, all day and all night long. He just 
played it. Constantly. 

They were crazy people. They were very unique 
crazy people, though. There was the Birdwoman, 
she had a lizard, a tree toad, a cockatoo. ..She 
wanted to bring her boa constrictor. Now get this, 
her roommate hated anything that wasn't human. 
She hated bugs, she hated animals, she just 
couldn't stand them. And one day the Bird Lady 
left for the weekend and she asked Laurie to feed 

her toad. She was supposed to feed it live flies. It 
was really cute. I think shefinally got somebody 
else to do it for her, though. Then they lost the 
toad. The toad went and hibernated, he came back 
again eventually. At the same time she loved all 
these lizards and stuff she was deathly afraid of 
furry animals. Caterpillars, y'know? Just freak her 
right out. In the same hallway, it was in my suite, 
we had a rabbit, a cat, and two gerbils. One of the 
girls in my suite, the first thing she did when they 

got the rabbit was crochet it a little jacket. They 
had a leash for it, they took the rabbit for walks, 
they'd get the rabbit high... they had the two 
gerbils, one of them croaked. 

This place makes me laugh. It's... crazy. I can't 
wait to get out of here. I won't have to eat this 
food anymore, I won't have to look at all these... 
crazy people, won't have to go through all the 
stupid fire alarms... What's really sad, though, is out 

there in the world, there's just as many creeps and 
crazy people. 

Joan Blue 

Resident Advisor, Yellow House 

Visual Design major 

What did I learn ? Well... I was more involved in 
I guess what they consider extra-curricular 
activities... being involved in all this bullshit up 
here, these newspaper jackasses... I just saw more of 
the university from the flip side, which made it all 
the more pointless. ..see these flaming morons 
running around here, trying to run the place.. .So I 
think I learned more from that side of it on what 
happens outside than people who just go to class 
and go home. They're just learning what the 
university is teaching them, they're not really 
making use of the university to learn about real 

What do you do with it (an Art History degree)? 
Well, what you should do with it is get a job in Art 
History. You should go on and get your Master's or 
P. H. D., or whatever.. .And then you can teach. 
You know, the age-old solution: "What do I do 
now? Well, I know, I'll teach!" Except there are no 
teaching jobs. And, I guess, if I had the interest and 
motivation I'd hunt out a position where I could 
combine my photography with the art history that 
I've learned. Those are pretty rare, too. It's a rare 
job, you really have to kind of stumble across it. 
You can search and search forever and all of a 
sudden you run into some guy and he'll say, "Oh, 
yeah ? I got a job for you!" 

But then that's part of the problem with the 
university, it doesn't get you ready for any of that 
stuff. They don't tell you they're going to throw 
away your resumee, when you go for a job. They 
don't tell you these things. You're lucky if they 
even mention the word 'resumee' in class. In 
courses I had, there was no orientation toward the 
fact thatwhen you graduated, you were going to 
have to find a job. They just kind of avoided the 
whole subject. It was too difficult, y'know? What 
are you going to tell them? Some guy, who's 
studying for four years to be a whatever, and he 
gets out there and he's going to find no job. If you 
tell him halfway through, "Oh, you're not going to 
find a job!" Kid's going to say, "Well, fuck it, I'm 
not going to waste my time doing this bullshit, I'll 
go to Mechanic School or something!" And then 
where will all the English teachers be? All the 
psychology professors? They'll have no one to 
teach. They'll be out of work. So they keep the 
myth going. 

I would say my time here was well spent, in 
spite of the university. I learned the things I 
learned here in spite of what they were trying to 
do. Actually I guess that's the way you should do 
it. A college education is a very strange thing. You 
come to it in a position where you're getting a 
product and you're not even in a real informed 
position to know whether you're getting a good 
product or not. You pick a college, you go by 
hearsay, reputation that you read in 
some. ..whatever. You have to make a sizeable 
financial committment to the school before you 
find out what it's like. If you go here it costs you a 
couple hundred bucks-three hundred, whatever it is 
now-you go somewhere like B. U. It costs you 
thousands of dollars, and then you find out, "Shit, 
this place is no good!" What do you do? There's no 
money-back guarantee. You know? There's no 
refund policy. They don 't give you back a year and 
say, "Well, we're sorry you didn't like it!" That's 
it, you've lost a year, you've lost money, you've 
lost the whole thing, but you just have to hope the 
place is going to be right. And even once you get in 
there you may not be able to evaluate. They don't 
teach people to evaluate their education. People 
seem to be conditioned to accept what is poured 
out on them. "Come to be educated, we're going 
to teach you!" It's not like any other kind of 
consumer product, where the customer is always 
right. The university is always right. You're paying 
them, and they're telling you what to do. It seems 
crazy. You know, I liked my arrangement here 
much better. They paid me. That was more like it. 

Mark Mattos 

Photo Editor SMU Yearbook, SMU Torch 
Photographer for SMU Theatre Co. and 
occasionally other campus organizations 
Art History major 


(Reply to question: What did you get from SMU?) 

1 got run down and got every disease in the book 
now, because I'm so weak and malnutricious (sic) 
from running around like a turkey for five years. 
No, I don't know... What did I learn from SMU... I 
think my department (Business) is all right... as 
some of them go.... some of the departments over 
there are for the birds... lot of gulls go to class. I 
think the Business Department has some really 
good people there. ..I don't know... You can learn 
so much more in other ways... I've always been the 
kind of person who learned not so much from the 
book, in the classroom, but from experiences, and 
I think that's one thing the business faculty 
has... They don 't just teach you from the book, but 
you learn from their experiences. ..Their personal 
experiences from their job, and every thing... That's 
why I thought they were good faculty... They gave 
you a lot of their own background... And you learn 
a lot from it, because it's like an informal way of 
learning.... A lot of that is due to the fact that 
many of them were part-time faculty that worked 
on other jobs and then came and taught courses, so 
you got everything right off the fire... Since my 
major was management, I think I learned a lot 
more in management in other areas.... Other 
places... And most of that was in the campus 
center building.. .theatre. ..because most people, a 
lot of them go through the courses and out.. .but 
then missed a lot. ..because they didn't have the 
practice.. .A lot of places don't, a lot of schools, 
you can't get it. SMU you could get it, I think, you 
could work on it, because it's so young, that 
there's a chance to work. SMU is young, the 
organizations at SMU were young, small, just 
starting, so ther was a chance to just go right in, 
and build. If anyone wanted to start a club, or 
any thing... you could start it. That's where a lot of 
people missed the boat. They should have gotten 
more involved. ..of course,, SMU was a commuter 
school, so a lot of people just went from home to 
school and back and then to work and that was it, 
which was a shame. Of course, that's changing 
now... but at that time, there were so many 
possibilities with the Torch and the theatre and all 
those groups. ..concert series.. .they missed a lot if 
they didn't get involved, I think.. .Now, I'm not 
saying that each of these organizations always were 
developed to the best that they could (sic) by any 
means.. .maybe they could have been developed a 
lot better by more people who were willing to 
work... but at least it was something to strive for, 
somewhere to go-and you could learn about so 
many different things... when I was in the newspaper 
I didn't know anything about it. Of course I 
started by writing articles, but I can't write at 
all... they were just in fun. Then I got into the rest 
of it, I got into the graphics part which I didn't 
know anything about... when I was in high school I 
did some work on the year-book... Layed out in the 
year-book... that was nothing.. .so I learned it all 
there, not that I know a hell of a lot but I 
understand it, and I know what can be done. ..say 
later on I have a restaurant and I want to make 
menus or something for example I know the things 
that can be done. ..Maybe I can't do them, but I 

know that I can have someone else do them and I 
know what I want and I know how they can go 
about doing that and I can say well, you can do 
this, you can do that, and so forth. ..of course, my 
fun was in the management-type end of it, 
organizing it, getting things rolling... it was a lot of 
fun. And, of course, you work with so many 
different kinds of people, that you learn a lot from 
them. And, most of the people involved in these 
groups were people from out of this area. If you 
think about it, people in The Torch, when I was in 
The Torch, came from someplace else to SMU. It 
was true with the theater. Even though there were 
more people at SMU from this area, it was the 
people from out of the area who got involved in 
these things. They did these things, I guess , since 
they were torn away from home, they didn't have 
that to go back to, to fall into, to be comfortable 
in. And I guess, since they were torn away from 
that, they could really get involved, it became a 
part of their life that was missing. Friends, a group 
of friends where everyone was working towards the 
same.. .It was like a family, you know? A family 
they didn 't have here. This was true of the theatre, 
too. I know it's tough for the people around here 
who have to work, and everything, but... it might 
be good for them if they could move into the 
dorms or something.. .just to get that kind of 
opportunity that would allow them to go into 
those kinds of things. (When asked if he would 
have become a 'hippie' if he had started school a 
few years earlier) I don't know. That's a good 
question. I've never been 'wild' in the hippie 
sense-Tve always been extravagant for sure. I don't 
know , everyone was so riled up in the Driscoll era, 
where Driscoll must go, and every thing... may be I 
would have gotten into it, but I've never been the 
kind of person that would work at something like 
that. I know it might have been a good thing to do, 
to get all against Driscoll, and get him out, and 
change things, but I've always worked in a more 
constructive-well, I know constructive isn't quite 
the word, but- you know, a more physical sense of 
seeing something happen, developing something, 
building something, some kind of organization-you 
know, working along those lines. Something more 
tangible, you can see. ..maybe I would've, I don't 
know. ..but I just got the end of it, as it was, and a 
lot of people (after) this had been over, a lot of 
those active-type people, restless people, were sort 
of looking for other ways to go, other directions to 
go, now that this was over with. Some people never 
found them, many still at SMU, and will never find 
them, because those romantic days are gone for 
them. But, a lot of other people did, and that's 
where this constructive push to build these 
organizations and to build up the Campus Center, 
that's where I think a lot of these people came 
from, that started this big push, more or less... and 
get that place developed and running right. 
However it is, right now... 

Now, I think, it's changed. At first it was, as 
we(sic) said, the more activist type with Vietnam, 
and the demonstrations and the strikes, and 
Driscoll and everything out and then that era 
ended, and then we went into an era, a time where 
students were more concerned about building these 


groups, formulating these organizations, a pushing 
them and doing.. .there were a lot of conscientious 
people. For a good while there... and now, it's 
changed again, now I think that it is over with, and 
the people that are coming in now are more... I 
don't know if they really care or not... more 
apathetic (in) attitude... they came in, the 
organizations were there, they were running 
fairly... you know, good.. .so they just fit right in. 
And I think it meant, at that time... if they wanted 
to develop these (organizations) any more, it was 
going to be a lot of work, because they were at a 
level that was-okay...I think it's just go in, do, 
plan, and get out. I don't think the devotion is 
there. I don't see people getting gung- ho over 
these things, staying up hour after hour, night after 
night, working... maybe it'll change, I don't 
know... but I think it's a whole attitude, I don't 
think you can pinpoint it... I think it's across the 
country.. .1 think if you went to look at another 
university, look at another student organization 
structure, you 'd find the same thing.. .and I think if 
you talked to students who went through at our 
time who have graduated and who could still look 
back into the universities that they would probably 
have the same ideas that we do about it... I think 
so. I don't think it's just SMU. 

(you never lived like other college students?) No. 
(Why?) I was crazy, that's why. I do think in this 
locale, in this area here, I have been unique. I don't 
think there are that many other people that sort of 
went through this. ..When I came here, of course, 
there wasn 't much, actually, it was small. I don 't 
remember how many students there were, maybe 
three thousand. I think the size has almost doubled 
now... There were no dorms... The dorms were 
supposed to open the next Fall (after I came here). 
So I came down and looked around for apartments 
and so forth and so on... they had a housing list... so 
I found a place, I moved out to Fischer Road... 

If you became friendly with anyone from SMU 
when you were a Freshman... from out of the area 
like I was.. .It would again be people from out of 
the area... I can never remember meeting students 
or friends or any one... who lived with their family 
here.. .It just never happened. Somehow those 
people gravitated together. It's amazing, when you 
think about it. These were the people you'd find in 
the clubs, again, too.. .1 don't know which was first, 
probably you met them in the clubs... but then 
again, there they were, where the other people 
weren 't. 

I lived there (on Fischer Road) for two years. It 
was a nice place out there... it had everything, we 
were out in the woods, there... I guess that's what 
started me off, starting in a place like that. , 

We had the whole house... complete kitchen, 
dishwasher... it was great. Of course, when they 
sold that house I had to find a place to go, and I 
looked for quite a while- and it was really tough to 
find something comparable to that- but that's 
when we moved into the palace. On Shirley Street. 
That was a first, too, 'cause at that time Rockdale 
West wasn't open, and (Shawmut Manor) was just 
starting to open. And we were the first students to 
move in there, so... we were the first students to 

move into that kind of a life... luxury apartment 
type situation... later on, other students started to 
move in, either there or Rockdale or somewhere 
else like that. ..that was a beautiful place. ..It was 
when we first moved there, anyway. ..that was 
different, because people weren't used to 
that... most students... they didn't care, really. I 
don't know why they didn't care. I just don't like 
living in a dump. It wasn't really very expensive, 
with four people you could make ends meet very 
nicely, and live in a nice place. And I can 
remember, when I first came here we used to buy 
food- and this was five years ago- you say, "five 
years," it really isn't that long ago, five years... we 
could buy food, back then, that I just couldn't 
imagine nowadays. Because I used to go shopping, 
and I would be able to buy, oh,. ..we used to have a 
different meat every night. Pork chops, chicken the 
next night, a roast the next night, fresh fish... you 
know... every night, six, seven 

days a week, we'd have a meat main meal. ..I used 
to buy six pounds of hamburg- just for snacks-and 
everyone would just make hamburgs and it was like 
eating potato chips, know what I mean?- and it was 
like sixty cents a pound, one of the best hamburgs 
we got, we used to buy it at Norman's Meat Market 
up in the North End... I used to get all my meat up 
there... whatever it was, sixty, sixty-eight cents a 
pound, I mean, that's no thing!... and it was 
fabulous meat. ..really was, top meat... and you 
could eat all you wanted to!... and I think we used 
to spend- there were six of us in the beginning- like 
thirty -five dollars a week, or forty dollars a 
week.. .and you could eat all you wanted to, 
non-stop-eat for a week on thirty-five dollars for 
six people... and it's amazing when you think back 
only five years ago. Now you can't even buy a 
cracker... and you'll starve... but it was much 
different. I don't know, maybe more students now 
have to go to the dorms. ..I don't know. When the 
dorms first opened it was a lot cheaper to go out 
and live in an apartment... the costs are getting 
closer and closer now. 

So, as I was saying, then we moved to the 
Palace, and it still (food) wasn't that bad, I used to 
buy it wholesale... that was a nice place, and I can 
remember when we went to Colorado. That was 
something, too. ..We just left. That was, uh... I don't 
know, three years ago... and of course now that 
would be an expensive thing to do, I mean, you'd 
have to think about it a little bit more than we 
did... we just went.. J think we each took a hundred 
dollars... we had a great time... you know what I 
mean?... 'cause the gas wasn't that high back then. 
We used to do a lot more traveling back a few years 
ago. When I was here, I used to travel all over the 
place, New York, used to go to New York a 
lot.. Stet and I often used to go to Atlantic City, 
Pennsylvania, and then of course when we went to 
Colorado we just left. ..You know?- I said we were 
going to go,visit Scott. ..we just about got in the 
car, and drove away! You know? -for a week. ..week 
and a half, ten days... but now, you have to think 
about that, you have to say, well it's going to cost 
me this much, cost me that much.. .so forth, so 


on.. .but that was part of that whole atmosphere. 
You were freer to do what you wanted to... because 
the economic conditions weren't half so bad... you 
know? Now, you've got to think if you're going to 
go to the store to buy a loaf of bread, and you 've 
got to decide if you've got enough money. Before, 
it was nothing, It really was... and of course even 
though wages have supposedly gone up, too, along 
with the prices, it hasn't gone up. ..they 're not 
comparable. They're not. I mean, it was much 
easier to do things before, Now it's tight... 

That life was good, and of course, as I was 
saying, we were in the Palace, we were there two 
years, and I can remember as I said we went to 
Colorado... Paul (Graham) came over one time 
with Sue Powers to feed the fish, you know? -and 
he walked in there, and he said, 'My God'... Sue was 
telling me... 'Students live here?' He just couldn't 
believe it. Of course, we didn't think it was that, 
you know, wild... but, if you think about it , 
looking at it through someone else's eyes, because 
he had lived down on Dean Street in an apartment 
that was down by the Rug Rat City, and he just 
couldn't believe it, y'know? Then it started to 
spread, kind of, 'Well, maybe. ..that's not a bad 
arrangement, really nice,' and so forth and so 
on... and people started to do more things like that. 
I think it was a bad time, because things were 
getting more expensive. 

After two years there, it was time to move again. 
So, uh, we ended up here. I always wanted another 
house after Fischer Road, because having your own 
house is just, you know, the nicest thing. So we 
looked, and we looked for months, and 
months. ..well we found this place. I didn't want to 
move for months, and months.. .well we found this 
place. I didn't want to move in here, at first. We 
came, and we looked at it, and it was really a 
dump. We had looked at so many beautiful places 
that were really out of the question, they were just 
so big. We looked at one place on Mount Pleasant 
St. That was gorgeous. It had this beautiful 
mahogany staircase that came down, and 
split... beautiful beams and stained— glass windows 
and fireplaces everywhere... a real mansion, 
y'know. Oh, we wanted that place so bad, but of 
course, it's a good thing we didn't get it because we 
never would have been able to afford to stay. So, 
Paul actually talked me into this place, he 
did... 'cause it was so bad, such a mess in here, I just 
didn't want to even move into it. But then, we 
realized it was really kind of what we wanted 
because we could do what we wanted to with it, 
and so, we spent a month, a whole month, in here, 
to make it like it is, and now people still come in, 
in amazement... It's really interesting to see, 
because we forget-we do, we easily forget-the way 
we live. You know, you get accustomed to living 
certain ways and you forget, you know, what you 
have, y'know. And when people came in the other 
night, just from the party, y'know, there was one 
girl ther who just couldn't believe it. And that 
makes you realize more that you really have more 
than most people. I've always been extravagant in 
that way, and I've moved so much furniture and so 
many things down here now, over the course of the 
years, five years, I've just. ..I've accumulated so 

much stuff. Moving now is going to be really 
something. I came down here with nothing, 
practically, and now I'm going back with 

I don't have time 
to waste, now. Things are becoming much 
faster-paced, I think. You can 't take the time you 
could before, leisurely. can't do this, or do 
that... Now it's... time and money are so important, 
now, because money is so tight, y'know, that you 
just can 't afford to take these little detours and do 
these things as much now. You have to... unless 
you're financed by somebody.. .parents, or 
someone else. ..but, I think that's the case, too, 
you've got to get in there, and do the work, and 
just get out. I don 't think we're going to be finding 
as many long-time school veterans like we have at 
SMU, people that are there five, six and seven 
years... I don't think you're going to see too many 
more of those kind of people. Simply because of 
economics, you can 't afford it anymore. I don 't see 
that many new ones, at SMU. You know? It's still 
the same old bunch, hanging in there... but I think 
when those people leave, I don 't think you 're going 
to find so many long-term people that just Jiang 
around the university for the, uh, university life, 
and security, and all that. I don't think people can 
afford it anymore. Because you can't live that 
cheaply anymore. So that's it, you have to get 
down to business. It's unfortunate in some ways, 
because you can learn so much... from these things. 
You don't get an opportunity to have so many 
things around you and just say, 'Well, I'm going to 
try this, and learn about this, and work on this...' 
There's not many opportunities like that, except in 
a university. 

... There's a lot of things I'll never forget, because 
I did so many bizarre things at SMU. It was all tied 
up with these people who would kind of lock-in' 
to a certain goal and would all work... those people 
were around... Every one in the theatre working 
towards a certain thing. When we first started in 
theatre.. .Sue Powers was president of the theatre 
company... we tried to do the December show, 'No 
Place to be Somebody ', and we couldn 't cast it, 
and all that happened, then Marat-Sade, then we 
tried to do Marat-Sade in five weeks. And everyone 
just sorta rrrrmmmmmmmmmmmm! I mean, 
everyone just sorta seemed to be there. People 
were there, the goal was there. ..I mean everything 
was there, all the factors that could get people 
together to work and push were there. And that's 
what happened, it just happened. And I can never 
forget that People were just going wild, working 
night and day on 'Marat-Sade', just get that show 
on the road, rehearsals, rehearsals, day after day 
after day. And that really started things moving. 
That show went so well, and it was such a tough 
show,. ..We moved to 'Two Gentlemen of Verona' 
and we decided... 'Well, let's put up a sign'-we got 
that tarp. I'll never forget as long as we live.. .See, 
we were supposed to go back to Denver, in the 
spring that we did 'Two Gentlemen of Verona'. We 
had a Winnebago rented, and we had everything set 
to go... 'Two Gentlemen' was coming up, and we 


were now getting entrenched over there... you 
know... and, uh, we didn't go. So, since we didn't 
go, I said, 'Well, if we can 't go, we're going to make 
this fun, we're going to do what we want,' -it was 
vacation week-and we're just going to have a lot of 
fun! So I had ordered that... crack... Paul was 
saying, 'You know, we ought to put a sign up on 
the building or something, ' and I said, 'You know, I 
was thinking about that, we ought to put a big sign 
up there, ' so Paul says, 'Well why don 't we put up 
a... well, how big? Maybe get one like five by ten 
feet or something like that! I said, 'No, we're not 
thinking of that, I says look, there's a lot of room 
up there, let's make it like, Oh, I don't know... fifty 
by twenty- five feet! And Richard just... 'Fifty by 
twenty-five feet You're crazy! Fifty by 
twenty-five-Do you know how big that is? That's as 
big as a stage!' I said, 'Yes, Yes! The bigger the 
better! We'll cover the whole side of building I said, 
'Yes, yes! The bigger the better! We'll cover the 
whole side of the building!' And of course, I was 
always great for coming up with ideas like that. 
You know. Most of the time people go 
blah-blah-blah. But if the right people are there, 
then they'll go with me. You know? And will go 
through it- you know what I mean? 'cause I 
won't.. .If there's other people around, that'll go 
along with it, then I'm not going to back out! I'm 
all set, to go! y'know!? So Richard said well you 
can't make that! So well all right forty by 
twenty-five feet. So Richard said noooo! 
Everybody started laughing. Laughing, laughing 
said 'That's just gigantic!' I said, 'That's right the 
whole building with lights and everything' So 
everyone got excited, y'know, yes, yes, so Paul 
went down and ordered it. Wc got it back and oh, 
we put it on the stage and Tom, Tom Higgins was 
there and we opened it up and it filled the whole 
stage. The whole stage. It was great. 
He's... you'll never get that up, you'll never get that 
up, cut it in half, cut it in half, that's the biggest 
sign in the world you '11 never make it! So anyway, 
we put the thing down and we started with it. That 
was the first tarp we ever put up. And uh, it took 
us a while to paint it, all night long we worked on 
that thing of course we didn't know that muck 
about, it but we found out how to do it. We 
gridded it out and.. .those kind of people were there. 
You know? Let's figure this out, you know? They 
were interested, and, you know, it wasn't just a- 
Aaaah,. Richard gridded it out, in proportions and 
we cut out cardboard, and cut letters 3-foot letters 
and... pain ted that thing all night long. Then we put 
it up. So well, let's put it up. 'Cause that's when we 
were supposed to go as I said to Colorado. So we 
were all upset 'cause we couldn't go so we were 
going to make the best of this. So we hoisted that 
thing up from the grid all the way from the stage 
floor up through the grid up to the... the roof 
there... and lashed that thing up with steel cable 
and that was at 6 o'clock in the morning and we 
were on top of that building and oh, it was cold 
out- this was in May-it was in May, and uh, the sun 
was just coming up. Oh, it was beautiful. Not a 
cloud in the sky and the sun was just coming up 
(over) the horizon.. .We were all on top of that 
building.. .we let that sign down little by 

little... Barbara was there, down the bottom, 
and... we couldn't wait... We lashed the thing on- 
there, ran downstairs... I remember saying, 'No one 
goes out! Everyone waits down that door! No one 
gets to look first!' No one could get ahead. I said, 
'Everyone' We were going out there together. We 
didn't want anyone to get out there first and see it, 
y'know? We all went down and waited at the door 
until everyone was down off the roof and 
everything and we just ran out the campus road 
there and we just laughed. We were in hysterics. We 
saw that thing up there and you couldn't imagine. 
We laughed and we laughed so hard we were 
crying. We were just so... you can't imagine. We 
were in tears! We were so happy that thing was up 
there. It was just beautiful. It was... what an 
experience at seven o'clock in the morning. We 
were in tears. We were so happy that we actually 
did it. You know, 'cause everyone was sayin'You'll 
never do it, you'll never do it...' And, of course 
that made us... drove us... Richard, of course, when 
you tell Richard he can't do something, it pushes 
him more and more and more... I'll never forget 
that. We were in tears. We were so happy we were 
crying. I'll never forget that. 

Peter Cantone 

former Managing Editor, TORCH 

former President, Theatre Company 

former chef, P.J. Kelley's 

former Business Major, SMU 

presently attending graduate school, Hotel Management, 

at UMass 

...just a slab of concrete between two disgusting 

Bob Parsons 
Concert Series 


College can't offer you a job right now... the only 
one who can offer you a job is your godfather... a 
talented uncle or something.. .(the theater) has 
given me a place to go to work. It's given me 
something to do with my life. Something to care 
about, because I care about it... some thing to work 
in a positive direction, to go after something, to 
keep producing.. .It's entertaining at times, even. 
It's given me a name, I think. People... in old days 
would say, 'Oh, that's Gary Hartwell, he's a 
farmer.' 'He's the meat cutter.' In these modern 
times, when we look for identity, we go beyond, 
but it's nice to have a standard one, too. ..'stage 
manager', I like. I like to be in a managerial 
position... It is a good feeling to be 'the boss' of 
something, anything. This chair... It is, it's a very 
good feeling, a very rewarding experience 
sometimes, to be able to say, 'This is how we're 
going to remedy this situation, carry it out like 
this, this is the manouever I want you to do, ' and 
they do it, and Bang it works, man... It feels really 

I've felt better about myself in the past few years, 
(although) it really doesn't have anything to do 
with the theater, but I do feel better about myself 
than I used to. When I was a freshman here -well, 
all through high school, anyway- 1 began to get the 
feeling that I really wasn 't very smart, I was kind 
of dumb... slow, lazy, a bum, you rat, you dirty rat, 
you know?... Then I worked in a bank for a while 
and I knew this person who was a T.A.... 

therapist... He was a good friend of mine for a long 
time through high school and stuff and anyway he 
was a minister and started getting involved in T.A. 
and he finally got some kind of degree, I don 't 
know what you get. ..anyway. ..we used to just talk 
about it all the time, so we started to use ourselves 
as examples of how to practice this T.A. business, 
and I learned an awful lot, and I soon became a lot 
more positive towards myself, I started getting a 
better image of myself... I feel now that I'm just as 
smart as anyone. ..I'm just as capable as most 
people, too... Some people can do things that other 
people can't do, but in general I'm just as capable 
of becoming some rich superman as anyone is... As 
a matter of fact, sometimes I feel that I am going 
to become somebody great, and I think that that is 
the only way to look at life right now. ..don't 
bother with fifteen thousand dollars a year. ..go for 
a million, because it's just as realistic... Don't 
bother to be a peon, don't bother to become a 
middle-class American, you may as well just 
become a tycoon... I don 't know how I'm going to 
do it, I don't actually have any kind of battle 
plans... I have a feeling that it's just going to 
happen to me... My real goal in life is to, uh, figure 
out to a certain extent what the fuck I'm doing 
here. And to die, peacefully. 

Gary Hartwell 

Fine Arts major, 

head carpenter, Theatre Company 








Deborah Discount 

Mark Laughlin 

Ellen Winkler 

Magnus Aadland 

Peter J. Abren 

Dennis P. Adams 

Gary R. Alaownis 

Susan A. Albert 


Carol A. Albrecht 

Teresa R. Alfano 

Hannes Alholm 

David J. Almeida 

Michael J. Almeida 

Cheryl Amaral 

David M.C.F. Amaral 

Kenneth B. Anderson 

Marjorie E. Anderson 

Gary Anderson 

Audrey B. Andrews 

Michele E. Almeida 

Barbara A. Alves 

George Angelo 

Stephen J. Ansay 

% f 

Martha L. Antaya 

Beverly A. Antone 

David V. Arel 

Stephen G. Arnold 

David C. Assad 


Carleen J. Avila 

Simon Awofesobi 

Robert O. Bailey 

Susan M. Bailey 

Robert P. Balzarini 

Quinton M. Bannister 

Robert J. Barboza 

Catherine M. Barnes 

Phyllis J. Barney 

Deborah Ann Bastoni 

Carla M. Bayides 

Kathleen M. Bear 

Richard F. Beaulieu 


Norman R. Beauregard 

Margaret V. Belknap 


M. ,; 





John J. Belli 

Raymond J. Belli 

Sharon R. Belsky 

Spencer B. Belyea, Jr. 

Louise A. Benedetti 

Jean Beneduci 

Joseph M. Benevides, Jr. 

Melody J. Bennett 

Ruth H. Benson 

John G. Bergeron 

Carleen Bernart 

Raymond Bertrand 

Normand Berube, Jr. 

Maurice L. Bessette 

Donald C. Betts 

Bradford P. Biancuzzo 

Marie Binder 

Iva R. Bird 

Elizabeth H. Bissanti 

David M. Bixler 




Patricia M. Blackmer 

Barbara A. Blake 

Joan L. Blue 

Joyce M. Boler 

Yolanda A. Bonito 

Anne Booth 

Wayne T. Borge 

Kathleen T. Borges 

Denise I. Bouchard 

Richard P. Bougie 

Bruce P. Branchaud 

Maria C. Branco 

Deirdre L. Brennan 

Peter Bousquet 

David Bozzi 


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Corron Brierley 

Gilbert D. Briggs 

Herbert W. Brown 


William R. Brown 

Jeffrey H. Bunce 

i v J 

Kathleen L. Butts 

Albertina M. Cabral 

Barbara J. Cabral 

Gary I. Cabral 

George Cabral 

Teresa A. Cabral 

John M. Call 

Maureen Callan 

Cathy Campbell 

Eugene P. Campbell 

Walter Carreiro 

Bryan A. Carritte 

Barbara A. Carson 

Manuela R. Carvalho 

Arthur F. Cassidy 

Donna E. Cataldo 

Laurie Carlson 

Stephen G. Carreiro 

Anne E. Cesan 

Marsha A. Chace 


Michael J. Chadwick 

Sarah A. Chaplain 

David B. Charette 

Marion 'L. Charette 

Randolph E. Charles 

Marcia J. Charpentier 

Douglas H. Chase 

Serina K.Z. Cheung 

Roy Chirayil 

Robert E. Cilley 

Margaret L. Clark 

Robert C. Clarke 

Steven T. Clement 

Joseph Colangelo 

James P. Cole 

Don C. Coleman 

Robert E. Connor, Jr. 

Eileen A. Coogan 

Paul E. Coogan 

James J. Cooney 

Frederic C. Cooper 

Patricia A. Cormier 

Serafim J. Correia 

Richard L. Corriveau 

Celeste G. Costa 

Richard H. Cote 

Sharon M. Courtemanche 

Normand R. Couture 

Stephen A. Couture 

James Couza 

Michael D. Croghan 

Robert S. Cummings 

Brian R. Curt 

Brian E. Curtis 

John F. Cushman 

Kenneth R. Cyr 

Diane L. Crabtree 

Stephen W. Cranshaw 


: . ...::... 


Kerry M. Dacey 

Richard R. Dagwan 

Karen L. Davidson 

Diana K. Davis 

Michael H. Daniel 

Paula D. Dashuta 

Carlos DaSilva 



Theodore E. Dawson 

Richard D. Debalsi 

Michael E. DeBarros 

Leonard T. DeBenedictis 

Maurice Decotret 

Nanette E. Defeo 

Earl W. DeLacy 





Mark R. Delisio 

Wayne Dellorusso 

Frank J. Dembkowski III 

Audrey B. DeMello 

Joan E. Densberger 

Frank E. Denzer 

Barbara L. Depina 

Wayne A. Deree 



Deborah A. Derrig 

Kenneth F. Deschenes 

Augusta A. DeSilva 

Gerard L. Desrosiers 

Ronald R. Desruisseaux 

Carlene A. De Young 

Steven S. DeYoung 

Richard S. Dias 

Karen A. Dickson 

Paul R. Dion 

Brian T. Dolan 

Brian J. Donahue 

Gary G. Donnell 

Thomas B. Donnelly 

John E. Donovan 

Stephen H. Donovan 

Christina G. Dodd 

Paul Doherty 


Claire M. Doyle 

Arthur H. Drevitch 


Jorge C. Duque 

^■1 SLj 

kdMB* « 

Michael Dusoe 

Walter M. Dzioroz 

Karen L. Easton 

Richard R. Eckman 

Mary G. Edwards 

Florence S. Eng 

Ronnie K. Eng 

Robert A. Enos, Jr. 

Christopher Esancy 

George F. Faidell 

Colleen R. Fallon 

Carlton M. Faria 

Deborah Z. Farmer 

Debra A. Fazekas 

Denise M. Ferland 

Raymond E. Ferland 

Joanne A. Fernandes 

Franklin Fleck 

Richard S. Fine 

Barry S. Fineberg 

Alan B. Fink 

Michael P. Finneran 

Mark E. Finni 

Barbara J. Fitzgerald 

Thomas J. Fitzgerald 

Martha B. Flanigan 

■■■! ■: ■ 


HMnraP C, ■m^H^IBjH^I BK 

Joyce M. Forand 

Deborah A. Fournier 

Karen A. Francoeur 

Michael R. Francoeur 

Melinda J. Frawley 

Charles Funches 

Maryanne Furlong 

Grace S.L. Furtado 

Karen A. Gagnon 

Mitchell F. Gaj 

Alice R. Galinat 

Mary E. Gallagher 

Paul R. Gallant 

Joseph J. Ganem 

Paul E. Garrido 

John Gary 

; i .. I H it I 111 

Isaiah O. Gbabe 

Diane R. Geggatt 

Thomas W. Geggatt 

Karen M. Geissler 

Bruce M. Genhold 

Pamela Geppner 

Edward G. Ghareeb 

Anne Marie Giacobbe 

Gary E. Gibson 

Warren Gilbert 

Steven D. Gioiosa 

Kathleen A. Gladu 

Karl H. Gleason 

Christopher Gledhill 

Nancy Glista 

Carl J. Golinski 

Jay E. Gonsalves 

Susan C. Goodwin 

Mary G. Gouveia 

Anna Gratia 

Maryjane Grant 

Michael J. Greco 

Beverly J. Greenwood 

Charles F. Gregory 

Mark D. Gregory 

James J. Gribouski 

Stephen Grossman 

Jerome M. Grota 

Frances R. Guilbert 

Jeffrey P. Gworek 

Bonnie J. Gwozdz 

Raymond A. Gwozdz 

Lauren E. Hagerty 

Kathleen J. Hall 

Deirdre L. Hanlon 

Phyllis L. Hanson 

Edward E. Hardy 

Martine M. Hargreaves 

Edwin E. Harrington 

Robert E. Harris 

Janet M. Harrison 

Scott P. Harrison 

Jeffrey M. Hastings 

Michael T. Hastings 

Mary P. Hay 

Karen L. Hayward 

Robert P. Hebda 

Michael J. Hevey 

Kevin J. Higham 

David P. Hill 

Karen L. Hochu 

Kim I. Holland 

Deborah C. Holme 

Scott W. Horsley 

Richard Huey 

E. Jacqueline Hunt 


Karen L. Hunt 

Robert G. Hutchings 

William C. Jeffers 

Anne M. Jenkinson 

Suzanne Jenness 

Kristine F. Jodat 

Maureen B. Jodoin 


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John H. Johnson 

Sandra A. Johnson 

Denise A. Jones 

Daniel P. Juttelstad 

Earl C. Kadiff 

Barbara L. Kaerwer 

John Kim Kahler 

Joanne C. Kaminski 

Lawrence A. Kaner 

Nicholas E. Kathijotes 


^T\ wH 

Marilyn Katler 

Jane L. Keenan 

Karen J. Keeping 

Nancy Kennedy 

Susan M. Kenney 

Elizabeth Kent 

Josephine A. Kenyon 


John D. Kerr 

Mark A. Kielbasa 

Glenn A. Kimmwlell 

Roberta C. King 

Peter R. Kinkade 

Michael A. Kostka 

Kenneth M. Kozak 

Nancy J. Krajewski 

Garry W. Kirker 

Alan S. Kirshner 

Rosemary Kros 

Peter A. Kuchinski 

Justin Kuo 

Deborah M. Kuras 

Aija Z. Kusins 


Mathew S. Kut 

Alan J. Labrode 

James K. Lamb 

Raymond C. Landers 

Paul W. Landesman 

Christine L. Landgraf 

Susan Marie Langlois 

Paul A. Lapointe 

George M. Laronda 

Henry R. Lasch 

Steven J. Lasorsa 

James R. Layfield 

Kevin Leblanc 

Denise Marie Lefebvre 

Anthony J. Lennon 

- \ 



David P. Lennox 

Joseph A. Lentini 

Daniel R. Lepage 





John M. Lepage 

Terry R. Letton 

Michael James Levine 

Lawrence S. Lewis 

Theresa A. Lewis 

Matilde Gore Lima 

Robert A. Lindeblad 

Robert A. Lindquist 

Martin E. Linkiewicz 

James R. Longstreet 

Alan W. Loomis 

David Lopalme 

Christine E. Lorenzetti 

Robert Lucas 

Francis J. Lucey, Jr. 

Lucy B. Lufkin 

Aileen F. Lynch 

Catherine P. Lynn 

Donald A. Lyonnais 

Manuela F. Maciel 

i 1A 

Michael MacNamara 

Mary A. Magagnoli 

Susan Malek 

Heidi Malin 

Debra A. Mancini 

Pamela Mannes 

Patricia A. Manning 

Amy Marie Mansfield 

Thomas W. Manter 

Bryan S. Maranhao 

Michael A. Marcoux 

Roger F. Marcoux 

Charles Marshall 

Wallace J. Martin 

Ann Marie Massa 

George Matta 

Cliff Mattson 

George P. Mavromoustakis 

Marianne H. May 

Brian S. McCarthy 

Eileen C. McCarthy 

John J. McDonagh 

Emily-Jane McDonah 

John F. McGraw, Jr. 

Kenneth J. McKenzie 

Ellen M. McPhilomy 

Rose A. McQuaid 

Elaine J. Medeiros 

Irene L. Medeiros 


Joanne E. Medeiros 

John Medeiros 

Richard Medeiros 

Sharon Mekelatos 

Joyce A. Mello 

Louis A. Mello 

Mark M. Melton 

Russell M. Mendes 


Daniel C. Mendonca 

Jan T. Messek 

Robert Messier 

John J. Michael 

Paul P. Milcetic 

Glenn E. Miller 

Kathleen M. Mills 

Michael R. Monahan 

Dennis P. Monast 

Anne C. Monger 

Randall L. Monte 

Joyce A. Monteiro 

Kevin D. Moore 

Michael D. Moran 

Susan Moran 

Maryann Moses 

Charles Walt Moszczenski 

Barbara A. Mulligan 

Margaret A. Morrissey 

Donald S. Morton 

Paul M. Munroe 

Kim E. Murdock 

Dorothy M. Murphy 

Elizabeth C. Murphy 

James E. Murphy 

Peter J. Murray 

Normand L. Nadeau 

Roberta A. Nagle 

Dennis D. Nahorney 

Jeffrey P. Najarian 

Robin A. Najarian 

Carol M. Nassr 

Susan D. Negri 

Linda Nelson 

Linda A. Nelson 

Paul L. Neron 

James A. Newkirk 

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Paul Nicholson 

Robert E. Nickerson 

Donna Marie Niewola 

Alan L. Noll 

Alan Joseph Norman 

Janice M. Normand 

Holly Nunes 

John D. Nuttall 

Alice M. O'Connell 

Charles E. O'Gara III 

Abel O. Nwabuoku 

Barbara E. O'Brien 

Sean P. O'Brien 

William B. O'Leary 

Maria D. O'Nakket 

James P. O'Reilly 

Amy A. Oades 

Susan M. Oakes 

Armando Oliveira 

Marilyn Oliveira 

James T. Oblinger 

Ukwenga R. Oleru 

Michael E. Oliveira 

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Philip A. Oliveira 

Susan L. Olmsted 

Thomas T. Osobu 

Fernanda Otero 

Peter G. Ouimette 

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Richard B. Owen 

Margarida M. Pacheco 

Maria A. Pacheco 

Richard F. Packard 

Kevin A. Paquin 

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Roger C. Pare 

Scott G. Pare 

Ronald L. Pariseau 

Donald C. Parker 

Dennis P. Paulino 

Aires R. Pavao 

Ralph A. Pecora 

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Barry R. Pelaggi 

Mary Elizabeth Pelletier 

Michael G. Pelletier 

Robin M. Penha 

Elliott S. Perchuk 

Maria C. Pereira 

Gloria A. Perron 

Peter A. Petch 



Maria G. Pimental 

Carol J. Pimentel 

Olive A. Pimentel 

Steven Pinault 

Christine A. Pitliangas 

Jane Plamondon 

Joseph A. Polito 





Debra A. Polselli 

Robert E. Pontbriand 

Kenneth C. Ponte 

Constance Poulos 

Ronald S. Powell 

Nelson E. Pratt 

Donald L. Quiet 

Thomas F. Quinlan 

Roger E. Race 

Rosemary E. Ponte 

Darby-Lou Pontes 





I H 

Steven E. Raffin 

Edward T. Rapoza 

Paul A. Rapoza 

Marc R. Ratte 

Sandra M. Read 

Marsha L. Rebeiro 

Jilll. Rebello 

Nazare J. Rebello 

Susan E. Regis 



Maryanne Rego 

Louise R. Renoir 

Raymond Herb Reynolds 

Martin T. Rich 

Daniel R. Richards 

Paula A. Richardson 

Warren N. Richardson 

Charles G. Richmond 

Joan M. Rickert 

Gail E. Roberts 

Gail L. Robinson 

vy , 

Michael J. Rocha 

Alice M. Rojko 

Daniel Romano 

Martin Frank Rooney 

Sandra L. Rose 

Jerome Rosperich 

David F. Rossmeisl 

Daniel J. Roush 

Robin L. Rousseau 

Juliette C. Roy 

Charles P. Ruddy 

Debra L. Rue 

Kenneth Robert Ryan 

Denise T. Rybka 

Theresa Ann Sadeck 

William A. Samaras 

Dawn E. Samuels 

Kyle A. Sandahl 

James E. Santos 

Judith Ann Saraiva 

Lynne E. Sauta 

Stanley D. Sawicki 

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Kenneth Scarpelli 

Brian P. Schoepfer 

Roslyn Schwartz 

David Schweidenback 

Mary E. Scott 

Nancy M. Shea 

Rudolph Sikora, Jr. 

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Karen E. Silva 

Victor M. Silva 

James A. Silveira 

Robert Silveira 

Charles E. Silvia 

Gail M. Silvia 

Gary J. Silvia 

Peter F. Skaves 

Thomas Skibinski 

Barbara L. Smith 

Roger A. Smith 

Roslyn Smith 

John J. Smolski 

Arts & 

S c i e n c e s 



George Angelo, Jr. 
Barbara Anne Blake 
Roy Joseph Cagliostro 
Robert E. Cilley 
James Patrick Cole 
Paula Dona Dashuta 
Joan Elizabeth Densberger 
Thomas Brian Donnelly 
Alan B. Fink 
William Henry Flood 
Karen A. Francoeur 

M elinda J. Frawley 
Jeffrey M. Hastings 
Kim I. Holland 
Scott William Horsley 
Richard Huey 
Susan Mary Kenney 
Mark Anthony Kielbasa 
Peter Robert Kinkade 
Susan Marie Langlois 
Linda Ellen Lavallee 
James John McCarthy 
Susan W. Malek 
Cynthia E. Manica 
Alan John Metro 
Joyce Anne Monteiro 



Arthur H Drevitch 
Joanne E. Medeiros 
Abel Osodi Nwabuoku 
Alan E. Snow 
Jonathan D. Steere 


Barbara A. Alves 
Paula Anselmo 
Stephen Gardner Arnold 
Lenore R. Balliro 
Robert John Barboza 

Norma E. Morris 
Stephen Joseph Muise 
Susan Mills Negri 
SusanLyn Olmsted 
Dennis Philip Paulino 
Cary L. Pereira 
Peter Allan Petch 
Roger E. Race 
Alice M. Rojko 
Daniel Romano 
Robin Lee Rousseau 
Arthur D. Shattuck 
Harold Prescott Stevens III 
Peter J. Soja 
Richard M. Starzyk 

William Arthur Thompson 
James Edward Throne 
William Earl Ullstrom 
John B. Vaughan 
Mitchell T. Ziencina 


Robert Oman Bailey 
Phyllis Jean Barney 
John Martin Call 
Eugene Paul Campbell 
Suzanne M. Chapdelaine 
Douglas Hoyt Chase 
Nanette E. DeFeo 
Wayne Arthur Deree 
Camille M. DeSisto 
Christopher Allan Dewey 
Barbara Jean Fitzgerald 
Gary Edward Gibson 
Christopher Thomas Gledhill 
Maryjane Grant 
Jeffrey Paul Gworek 
Josiah John Kirby, Jr. 
Steven J. Lasorsa 

Thomas Louis Lauttenbach 
Joseph Anthony Lentini 
Alfred R. Lima 
William Forest Lutton 
Heidi Lynne Malin 
Rose Anne McQuaid 
Michael Arthur Marcoux 
Kevin D. Moore 
Barbara Mulligan 
John Joseph Nicholson 
Richard F. Packard 
Rosemarie F. Petrecca 
Joan G. Rodrigues 
Lynne Ellen Sauta 
Brian Patrick Schoepfer 
Dennis Thomas Stokowski 
Thomas James Trott 
John Vieira, Jr. 
Robert Williams 


Bradford P. Biancuzzo 
Bruce P. Branchaud 
Arthur Francis Cassidy, Jr. 
Richard Raymond Eckman 
Maureen B. Jodoin 
Garry W. Kirker 
Paul Wayne Landesman 
James R. Layfield 

Pauline Machado 
Thomas F. Maestrone 
Charles W. Moszczenski 
Peter Joseph Murray 
Stella Ching Yee Ng 
Paul Rapoza 

Robert Mitchell Sieminski 
James F. Walder 
Diana J. Yee 

John J. Belli 
Raymond Joseph Belli 
Denise I. Bouchard 
Jonathan Jude Boyce 
Gary Brown 
Cathy Campbell 
Robert Aloysius Charlton 

Frederic Cecil Cooper 
James Paul Couza 
Richard Raymond Dagwan 
Beth Ann Frias Doherty 
Michael Edward Dusoe 
Michael P. Finneran 
Helen Beals Freitas 

Ronald A. Snell 

Joseph Ferre Soares 

Peter J. Soja 

Donna M. Solomon 

Henry Sousa 


' J19 


Janice E. Souza 

Michael W. Souza 

Robert John Souza 

Ruth A. Souza 

Kenneth J. Spindola 

Claudette R. St. Germain 

Richard M. Starzyk 

William Staubin 

Donald Stebenne 

Deborah A. Steele 


■■ : :* s ^^ 

Jonathan D. Steere 

Harold P. Stevens 

Donald S. Stidsen 

Dennis T. Stokowski 

Jane L. Summers 



Karen A. Gagnon 
Janet M. Harrison 
Gary A. Haslam 
Michael J. Hevey 
Phillip L. Hulina 
Karen Leslie Hunt 
Pauline Kane 


Paul R. Bergeron 
Yolanda Alves Bonito 
Anne E. Cesan 

Evelyn S. Kawahara 
Jacqueline T. Kenworthy 
Roberta C. King 
Nancy G. Lacerra 
Neil Martin LaFrance 
David Preston Lennox 
Carroll A. Lima 
John McDonagh 
Garrie A. Madison 
Margaret Marco ux 
Louis A. Mello 

Robin A. Najarian 
Gloria J. Nielsen 
Maria do Ceu' Pereira 
Lynne Frances Poulos 
Christine Cooper Poyant 
Lynne Mari Reynolds 
Gail Esther Roberts 
Alda Vargas Roderiques 
Juliette C. Roy 
Mary Elizabeth Griffin Roy 
Cecilia Marie Santana 

Deborah Carol Holmes 
Denise Ann Jones 
Robert P. Moore 
Robin Marie Penha 
Christine Aronis Pitliangas 
Claudette R. St. Germain 



Gary R. Alaownis 
Michael Joseph Almeida 
Stephen J. Ansay 
Paul Gilbert Avila 
Fredrica A. Benedetti 
Joyce Ann Chicca 
Joseph Colangelo 
Audrey B. DeMello 
William P. Desmond 

Alice Ruth Galinat 
Paul R. Gallant 
Frances R. Guilbert 
George Manuel Laronda 
Chester P. Lizak 
Brian S. McCarty 
John F. McGrawJr. 
Richard John Olson 
Andrew P. Roth 
Anne E. Silva 
Gary Joseph Silvia 
Nancy Lee Sylvia 
Lois Ann Wanat 


Michele Cipollini Almeida 

Mary Elizabeth Scott 
Karen E. Silva 
James A. Silveira 
Edward John Soares 
Ruth Ann Souza 
Arthur Edwin Tebbetts II 
Donna Elizabeth Urban 
Jeanne Maria Walsh 
Lisa Wolff 

Britta Herz 

David Schweidenback 

Gerold Paul Veara 


Magnus Aadland 
Ronald Alves 
Edwin Roy Andersen 
Quinton Miller Bannister 
Carlos F. Barbosa 
Joyce Marie Boler 
Teresa Ana Cabral 
Stephen George Carreiro 
Sarah Ann Chaplain 
Robert Edward Connor, Jr. 
Diane Louise Crabtree 
Cornelius Robert Driscoll 
Joyce Helene Dufresne 
Robert Paul Faria 
Kevin J. High am 
Robert C. Hutchings 


Carlene A. DeYoung 
Deborah Z. Farmer 
Debra A. Fazekas 

Mark P. Lawrence 
John Alan McKay 
John Medeiros, Jr. 
Michael James Murphy 
Linda A. Quinlan Nelson 
Paul L. Neron 
John David Nuttall 
Lawrence M. Oliveira 
Robert Edward Pontbriand 
Darby L. Pontes 
John Runcis 

Diane Marie St. Lawrence 
Dawn E. Samuels 
Allan Keith Vieira 
Edward F. Wallbank, Jr. 
Patrick Wilkinson 
Donald William Winland 

John Joseph Michael 
Cheryl M. Morrell 
Michael Wayne Souza 
Martha Sylvia 

Jeffrey W. Ward 
Kenneth Ward 


Louise Andrea Benedetti 
Patricia Marie Blackmer 
Debby Briggs 
Serina Kang-Zong Cheung 
Karen A. Dickson 
John Edwin Donovan 
Linda R. Edwards 

Joyce Marie Forand 
Margaret A. Morrissey 
William Anthony Neilan 
Gloria Anne Perron 
Stephen Norman Perry 
Sandra Marie Kot Read 
Denise T. Rybka 
Janet Kathlyn Schubert 
Robin Sabra Shaker 
Arlene A. Zolla 

Georgia M. Surprenant 

Andrew B. Sutcliffe 

William A. Swan 

Thomas J. Sweeney, Jr. 

Diane Sylvia 

Johanna Sylvia 

Martha Sylvia 

Nancy L. Sylvia 

Ronald Sylvia 

Andrea V. Szala 


Richard John Laronde 


Joan Claire Callahan 
George P. Lawrence 
Terry R. Letton 

Lucien Pferiseau 



George Faidell 
George A. Fisher 
Roger A. Smith 



Gene William Allison 
Gary A. Almeida 
Marjorie E. A. Anderson 
Wayne Thonas Borge 

Gilbert Dean Briggs, Jr. 
Steven Michael Cadieux 
Nadeen M. Correia 
Janis Gertrude Costa 
Kenneth F. Deschenes 
Steven S. De Young 
Bruce C. Ditata 
Robert Anthony Enos, Jr. 
Barry Lee Freedman 
Donna M. Gallucci 
Danton A. Grant 
Robert Grady Harp 
Donald Francis Hinman 
Patricia A. Horvitz 
Gary M. John 

Raymond Adelard Jussaume 
m Kahler 

Peter Karukas 
Lynn Marie Mallen 
Kim Elizabeth Murdock 
Jeffrey Paul Narjarian 
Alan Joseph Norman 
William Burke O'Leary 
Maria D. O'M alley 
Scott G. Pare' 
Eliot Francis Parkhurst 
Kenneth C. Ponte 
Kenneth Michael Scarpelli 
Richard B. Scranton 
Allen C. Sherman 
Gail Marie Silvia 
Henry Joseph Sousa, Jr. 
Roger F. Sullivan, Jr. 
Andrew Brent Sutcliffe 



Joyce Lynn Taylor 
Ronald E. Teachman 
Edmond A. W. Tessier 
Nancy Griffin Thomas 
Thomas M. Tucker 
Roland R. Vigeant 
Patricia Ann Walsh 


David Manuel C F Amaral 
Lenore A. Barbosa 
Laudelina M. Borges 
Maria C. Branco 
Albertina M. A. Cabral 
George Cabral 
Carlos DaSilva 
Paulo Soares DeSousa 
Antonio Furtado 
Grace S. L. Furtado 
Manuel Correia Gomes 
Mary Gabriela Gouveia 

Matilde Goretti Lima 
Manuela Maciel 
John M. Medeiros 
Maria G. Pimental 
Rosemary Elizabeth Ponte 
Nancy Pontes 
Mary Jo Santos 


Julia G. Allen 
Robert J. Alley 
Cynthia L. Ambroseno 
Kathleen A. Arel 

Janice A. Arruda 
David Cole Aston 
Carleen Joyce Avila 
Vincent A. Baiardi 
Jean Beneduci 
Iva Rose Bird 
Suzanne Bishop 
James S. Boardman 
Joyce L. Bobrowiecki 
Ann Booth 
Mark E. Bower 
Deirdre Lee Brennan 
Carol Ann Brissette 
Beatrice A. Carmody 


Donna E. Cataldo 
Michael J. Chad wick 
Janine A. Chagnon 
James C. Ciborowski 
Denise I. Coulombe 
Celeste Costa 
Helena Crosslin 
John Gilbert Crosslin 
Jeff D'Ambrosio 
Cynthia Tabor Delano 

Deborah A. Derrig 

Sheila Marie Doherty 

John William Downey 

Dennis C. Draleau 

Dorothy Anne Dube 

Karen L. Easton 

Carol Jean Ellis 
Liisa K. Fasse 

Patricia Mary Feeney 

Deborah A. Ferreira 

Robert Ferreira 

Thomas J. Fitzgerald 

Martha Beatrice Flanigan 

Deborah A. Fournier 


Susan A. Albert 
Carol Albrecht 
Kenneth A. Almeida 
Cheryl Amaral 
Mary Gonsalves Andrade 
Audrey B. Andrews 
Beverly Ann Antone 
Joseph Andrew Balestracci 
Deborah A. Bastoni 

Jacqueline E. Bessette 
Louise A. Bouchard 
Corron Elizabeth Brierley 
William Robert Brown 
Sharon L. Cabral 
Barbara A. Carson 
Glen G. Chandler 
Joseph L. Cimmino, Jr. 
Clifford Clement 
Paul E. Coogan 
Richard H. Cote 

Mary Anne Furlong 
Charlotte Gary Gallaudet 
Paul E. Garrido 
Kathleen A. Gladu 
Kathleen A. Goes 
Jay Edward Gonsalves 
Mary E. Gorczyca 
Paul Stuart Graham 
Beverly J. Greenwood 
Paul J. Gregoire 
Mark Douglas Gregory 
James Joseph Gribouski 
Lauren E. Hagerty 
Phyllis Louise Hanson 
John W. Hawkins 
Ellen P. Healey 
Lucien Hubert, Jr. 
Suzanne Jenness 
Karen Jean Keeping 
Robert Arthur Kenworthy 
Josephine Ann Kenyon 
Sheila E. Koss 
James Robert Labbienti 
Paul A. Lapointe 
John Michael LePage 
Debra A. Mancini 
Pamela M. Mannes 
Amy Marie Mansfield 
Bryan S. Maranhao 
Ann Marie Massa 
Roland A. Masse 
Marianne Helena May 
Joyce Ann Mello 
Debra Ann Mendes 
Romayne A. Middleton 
Kathleen Mary Mills 
Linda A. Moffatt 
Frances M. Motyl 
Lawrence Charles Mowatt 
Cheryl Joan Murphy 
Elizabeth Catherine Murphy 

Barbara W. Naughton 

Roberta Ann Nagle 

Marcia Kay Nishanian 

Holly Nunes 

Susan Marie Oakes 

Barbara E. O'Brien 

Margarida M. Pacheco 

Maria A. Pacheco 

Judith Ann Panora 

David E. Paquette 

Barry R. Pelaggi 

Mary Elizabeth Pelletier 

Debra Anne Pereira 

Olive A. Pimentel 

Jane Plamondon 

Debra Ann Polselli 

Constance Poulos 

Helene Poulos 

Kathleen A. Proulx 

Lauren S. Pullman 

Edward T. Rapoza 

Donna Marie Ray 

Roberta Reed 

Susan Ellen Regis 

Maryanne Rego 

Jerrilynn Theresa Ricciardone 

Paula Anne Richardson 

Malcolm McBurney Riggs 

Diane Marie Robinson 

Stanley D. Sawicki 

Wayne Sloman 

Rebecca Anne Souza 

Victoria Steele 

Georgia M. Surprenant 

William A. Swan 

Sandra Sycafoose 

Andrea Veronica Szala 

Margaret Thibault 

Anne Christine Thompson 

Robert Adison Van Wart 

Joseph Stephen Viveiros 

Nancy E. Zwicker 

Richard D. DeBalsi 
James Robert Daley, Jr. 
Leonard Thomas DeBenedictis 
Barbara Louise DePina 
Annelle Delorme 
Augusta Amado DeSilva 
Colleen Elizabeth Donnelly 
Walter M. Dziordz 
John Couto Ferreira 
Pamela F. Geppner 
Charles Fredrick Gregory III 

Deborah Joy Hamel 
Scott Peter Harrison 
Robert Peter Hebda 
Manuel G. Henriques 
Ena Jacqueline Hunt 
William Cambel Jeffers 
David A; Jennings 
Joanne C. Kaminski 
Marilyn L. Katler 
Nancy Jane Krajewski 
Rosemary Krol 

Michael B. Szwaja 

Anthony T. Tarn 

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Edmond Tessier 

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Nancy J. Thomas 

William A. Thompson 

John A. Thornton 

James E. Throne 

Deborah A. Trahan 

Robert A. Trahan 

Richard H. Travassos 

Thomas J. Trott 



> M 



1 ' ^1 

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Si 1 ■' 


' 1 

Michael F. Trznadel, Jr. 

Ann T. Turcotte 

Donna E. Urban 



Christine L. Landgraf 
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le Harereaves 

/alter Carreiro 
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Business & Industry 

, i. ■ i i ' i ■ 1 1 i n I.) ii i i i n i j 



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- , 

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Daniel Christopher Mendonca Ronald A. Snell 
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E n q 


rin g 


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James Edward Murphy III 

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Jan Thomas Messek 
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Hannes A. Alholm 
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Sanh Le 

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Richard Paul Bougie 
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Susan Willis 

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Janice L. Wysocki 

Diana J. Yee 

Carol Ziajor 



Dennis C. Draleau 

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Dorothy A. Dube 

Joyce M. Dubois 

Wayne F. Dubois 

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Joyce H. Dufresne 

•r '\\ \ 


Derrick P. Dupre 

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Fine & A p plied Arts 



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Nancy Zwicker 







Congressman Gerry Studds 
speaks at SMU. 




Times were tough in the fall semester 
of 1975, as the nation entered what 
was termed a 'recession ' in its econo- 
my. Jobs were nonexistent, and those 
who had one hung on for dear life. 
Very few people had money to spend 
on anything. Even the state was bank- 
rupt (see piece on Alike Dukakis, 
next). The nation's auto industry-a 
barometer of our economy- was giving 
out rebates in an attempt to bolster 
alarmingly sagging car sales. Strangely, 
prices on the wholde did not go down 
considerably, (in fact, many rose una- 
batedly) which did not help the situa- 
tion. Many feared a depression. 

At SMU, located in the most ne- 
glected area in one of the most 
neglected states in the union, it al- 
ready seemed like a depression. Facul- 
ty were laid off left and right, budgets 
were curtailed drastically, work study 

facilities and its deplorable financial 
situation) they wondered if they 
could set up a program to train 
Iranian naval cadets in engineering. 
The number would be small at first 
,then would increase to 600 or 1000 
as the years passed. In return, SMU's 
libraries would be filled with books, 
its buildings completed, and other 
financial wonders would be worked. 

To a drowning university this 
seemed almost too good to believe. 
The administration proceeded cau- 
tiously at first, presenting the idea to 
a selected group of students and facul- 
ty, who received it with mixed react- 
ions. The scope of the debate was 
then widened, and open meetings 
were held with Iranian representatives. 

One of these representatives was 
Rear Admiral Charles Grojean, an 
amiable and soft spoken retired U.S. 

(some of whom were from Boston), 
and others from within and outside 
the school. Whereas the majority of 
the students either didn't care about 
the situation or hadn 't made a decis- 
ion, the leading opponents of the plan 
had very definitely made up their 
minds on several points: (1) The 
administration was trying to shove the 
Iranian plan down their throats, (2) 
SMU would become an Iranian 
military academy swarming with Sec- 
ret Service agents, and (3) the Iranian 
government was a tyrannical one 
which spied on and tortured any of its 
citizens it feared opposition from; and 
therefore SMU should have nothing to 
do with it. 

This last point was hammered home 
on what turned out to be the final day 
for debate by a girl in her mid-twen- 
ties known only as 'Leyla. ' On a crisp 

the Admiral 

hours were cut down, and some stud- 
ents had trouble meeting the school's 
modest tuition fees. 

In the midst of this economic crisis, 
the government of Iran-a third- world 
oil-rich country made extremely 
wealthy and influential largely from 
U.S. petrodollars-made a discreet in- 
quiry to the upper echelons of the 
SMU administration. After having 
studied the school (and having noted 
its proximity to the sea, its fine 

Admiral who was in the employ of the 
Iranian government for the sole pur- 
pose of representing them in their 
search for a training grounds for their 
Navy. (The Admiral comes into our 
picture towards the end of the open 
meetings, which ran for about two 

Now at about this time, the oppo- 
sition seemed to congeal. It took the 
form of Professors Hill and McCabe of 
SMU, a number of outside agitators 

October morning just prior to a press 
conference to be held with Grojean 
and other officials, 'Leyla'- a non-stu- 
dent who claimed to be Iranian in 
origin- expounded upon the evils of 
the Iranian government from in front 
of the administration building with 
other opposition leaders. In a scene 
largely reminiscent of a sixties' 'pro- 
test' gathering, a large throng of stud- 
ents gathered, and were led in chants 
by Hill and McCabe- who were active 

the Admiral 

in this same fashion during the bygone 
Driscoll days. 

The press conference which fol- 
lowed was that in name only. The 
ballot box was stuffed, so to speak, as 
the room was filled to capacity with 
students who only moments ago had 
been fed great heaping ladles of the 
opposition's views; and the only no- 
ticeable proponents of the plan in the 
room were Dr. Donald Walker (the 
University President) and the Admiral 
(though there was at least one Iranian 
official there who remained silent 
throughout the proceedings). In fact, 
the half-hour or forty- five minutes 
were spent in cynical interrogation of 

Admiral Grojean-of whom it can be 
said, much to his credit, that he never 
raised his voice or lost his temper. (Dr. 
Walker also, though at times visibly 
frustrated by the proceedings, handled 
himself well). Particularly inexcusable 
were the actions of a local television 
reporter present (whose camera lights 
shone in Grojean's face in a manner 
reminiscent of an interrogation-see 
photo). Abandoning all pretense of 
objectivity, he fired insinuations at 
Grojean ('Don't you stand to get 
something out of this? and seemed to 
be playing to the crowd, which out- 
numbered Walker and Grojean about 
60 to 1. 

After this display, it became appar- 
ent to the Iranian(s) in attendance 
that their presence at SMU was most 
heatedly not desired, and they shortly 
thereafter withdrew their offer, so the 
matter never was put to a general 
student vote. We have been unable to 
discover whether or not the Iranians 
had a similar offer accepted at another 
university (or if they decided after 
their experience here that this country 
just wasn't for them.) And therefore 
do not know how it actually would 
have turned out. All we know for sure 
is what the student body at SMU lost- 
its freedom to choose. 

(next page, counterclockwise 
from upper left) Admiral Grojean, 
Dr. Walker, Iranian representative, 
and 'Ley la'. 




If Admiral Grojean didn't draw the 
most hostile crowd seen at SMU since 
the Driscoll days of the sixties, it was 
only because Massachusetts Governor 
Michael Dukakis also appeared on 
campus. Dukakis' sin, in the eyes of 
the SMU Community, was one of 
inaction - failing to take the largest 
White Elephant in the state off the 
students' hands. The Campus Center 
building could never be paid for by 
the students, because the interest on 
its debt each year exceeded the 

crowd and deliver bad news) many 
times before. Now, any man having to 
make a living by repeatedly facing a 
dangerous situation in order to survive 
has to work out some method where- 
by he can accomplish his task while 
skirting the worst of the danger. (Ask 
anyone who wrestles alligators for a 

There was an even larger crowd 
waiting outside the administration 
builing upon Dukakis' arrival than 
there had been for Grojean 's-and they 

was, the only person on stage who 
actively agreed with Dukakis was Sec- 
retary of Education Paul Parks, but 
the other people on stage-student 
leaders, administrator s-at least helped 
maintain some order.) 

During a good half-hour of non-dis- 
cussion with the students, both sides 
clung tenaciously to the views they 
had entered the auditorium with. 
Dukakis insisted the state had no 
money with which to purchase the 
Campus Center, while the students 

the Duke 

amount the student body could raise 
m fees. This year it was about to come 
to a head, as failure to meet a mort- 
gage payment was about to close the 
cen ter. 

It had not been a pleasant term as 
Governor for Mike Dukakis by any 
means. The state's financial situation 
(he stated twice while here that the 
state 'can 't even afford to buy teeth 
for its Senior Citizens') had been such 
that we suspected he had been in this 
situation (having to face an angry 

were at least equally prepared to take 
him to task. Rather than face the mob 
outside, the Governor elected to hold 
his meeting with the students in the 
auditorium. This gave Dukakis at least 
two advantages over Grojean in hand- 
ling a very similar situation: it kept 
Dukakis' back to the wall, and gave 
him a 'buffer zone' of sorts where he 
could (at least potentially, if not in 
actual practice) deploy persons who 
would either back him up, or at least 
not violently disagree with him. (As it 

insisted they could not pay higher 
student fees to support a building for 
which they could never fully pay. 
Finally a lengthy petition signed by 
hundreds of students in favor of state 
takeover of the Campus Center was 
dramatically unveiled. After a few 
moments private consultation with 
Parks, Dukakis announced with equal 
drama that he would work for 
Campus Center takeover- with the 
catch of a tuition increse making 
tuition at SMU equitable to UMass. 

the Duke 

The students seemed to be too busy 
cheering to notice that part, they 
seemed to have felt they had won a 
great victory. We sat in awe of a 
Master alligator wrestler. 

It seems in hindsight that although 
the crisis was upon us and the Campus 
Center was in danger of being closed, 
assumption of ownership by the state 
in such a situation was inevitable-if 
only because the holders of the mort- 
gage would have no use for the build- 
ing, and would petition the state to 
assume responsibility for the students' 
debt. Holders of such a mortgage, 
being very much in the economic 
mainstream, along with area legislat- 
ors, would have made a very powerful 

lobby indeed - much more effective 
than any mere students could have 
mustered. It seems to us, then, that 
we had been allowed to get ourselves 
into a position (a position, remember, 
that we inevitably had to slide into, as 
our debt was always greater than our 
ability to pay) where we seemed to be 
in a grave situation and had to 
petition the state for aid. Whereupon 
Dukakis (again we are speculating 
here, albeit not Too Wildly) after 
coyly hesitating until we were on the 
very brink, swooped in mid capitu- 
lated to the inevitable state takeover - 
and added with a flourish the tuition 
increase. The stroke was delivered so 
artfully the students did not even 

notice it. The real point here was not 
so much the tuition increase per se- 
-we concede that as perhaps inevitable 
although Dukakis would have met 
opposition had he tried to legislate 
this as anything other than a 'tie-in' 
for the takeover. The point was (and 
still is) that SMU's independence from 
a UMass 'system' is really at stake 
here, as Dukakis hinted in the way he 
turned many of his phrases that day 
(for one, his insistence that since the 
state was buying the C.C., we must 
pay tuition equivalent to U 
submission to the state's Superboard 
system was subtly linked to the take- 
over. Time will tell whether or not it 
was actually the first step. 


Henry Steele Commanger, noted 
historian, was another personality 
whose presence on campus touched 
off a controversy. When Commanger 
(the very stereotype of the dusty, 
rumpled and absent-minded professor) 
appeared on campus to speak as part 
of the Lecture Series, the Black Stud- 
ent Union immediately appealed to 
the Student Senate to ratify a letter of 
protest. The exact details are unclear, 
but what it amounted to was that 
Commanger had shed an unflattering 

light on blacks in the introduction he 
wrote to a history book many years 
ago. Without having read the text in 
question, the Senate ratified such a 
letter (a move it later regretted, and 
later officially withdrew support 
from-but after the damage had been 
done). When Commanger arrived to 
speak, he was presented with the 
letter, picketed and generally har- 
rassed while delivering his address to a 
small crowd. 

Commanger himself proved to be a 

quite dull and uninteresting man 
whose presence on campus would not 
have been worth note here except for 
the incident with the Senate, which 
proved once again that a legislative 
body can be coerced into supporting 
almost any notion. (Take for example 
the U.N. 's recent stand equating Zion- 
ism with racism. Perhaps, as nationally 
syndicated cartoonist Jeff MacNelly 
noted, stupidity will be declared a 
form of intellectualism.) 


The 'new' Bob Dylan rolled into 
SMU atop a wave of publicity, with 
big-time media coverage which put 
SMU on the map for a while, at least. 
SMU's lack of size was Dylan 's induce- 
ment to begin his tour here, as the 
Word was he wanted to play small 
colleges to re-introduce himself to 
college (i.e.. record-buying) audiences 
in an atmosphere more intimate than 
most modern-day concerts (with tens 
of thousands of people) allow for. 

Despite the heavy-handed tactics of 
Dylan 's production crew (during the 
performance they ran up and down 
the aisles ripping out film from camer- 
as they had spotted in the audience 
from the stage) the 'Rolling Thunder 
Revue ' was generally enjoyable and 
certainly well worth seeing. The per- 
formers of note were, of course, Dy- 
lan and Joan Baez. Dylan 's perform- 
ance was intense and controlled, as if 
he were performing a task requiring 
such concentration and energy that he 

could not for a moment relax to 
notice or acknowledge his surround- 
ings. He performed as if driven, and 
one got the feeling he applied the 
same intensity to brushing his teeth in 
the morning, or ordering a pizza. 
Baez. in contrast, was relaxed and 
communicative with the audience, as 
if performing in a coffee house. Amaz- 
ingly, they managed to find a middle 
ground for their duets, and worked 
quite well together. 




It's hard to believe that Jimmy 
Carter actually came to SMU. It's 
almost as hard to believe that the 
Democratic Party at the time was 
composed of a hundred small factions 
fighting amongst each other and 
threatening to bring about a collapse 
of the party, while the Republican 
Party was a solid wall behind Ford. 

It seemed to many of us almost 
lunatic at the time. We really thought 
he was just another nut trying to beat 

out the other nuts for party position. 
The way he spoke- WHEN I am 
president. ..WHEN you elect me... this 
guy was a peanut farmer! 

At this writing this peanut farmer is 
ahead of the incumbent, Jerry Ford, 
by 10% in the polls. No matter what 
happens in the November election, his 
is one of the most astounding rises 
from obscurity to national promin- 
ence since Adolf Hitler (no similarity 

Jimmy, if you're out there reading 
this, come on back, we love you. All is 
forgiven. That Massachusetts absten- 
tion was a mistake, really! 







At/ile tics is a sensitive issue for 
many people especially when it comes 
to women. Athletics reflect cultural 
norms which have tended to perpet- 
uate sex stereotypes and myths. Men 
are known as the 'strong and aggres- 
sive type', and women are known as 
'passive and weak'. It is because of 
this and the idea that women are not 
achievers, aggressive and leaders, that 
they were encouraged not to partici- 
pate. And myths die slowly. 

As many of us have come to be- 
lieve, the traditional exclusion of the 
'weaker sex ' from athletic life has all 
but declined in this so-called modern 
era. However, the discrimination still 
exists. The subtle slanting of interest 
of a growing girl; the desire for her to 
pursue her femininity; the overem- 
phasized male athletic scholarship; 
better paid male coaches; and the very 
much alive discrimination in the pro- 
fessional sports world. From one of 
his selections, The Dynamics of Exclu- 

sion, Herbert Spencer (1882) con- 
demned this female exclusion from 
'masculine games' and attributed this 
to the widely held belief amoving 
middle and upper classes that 'rude- 
health ' and athletic prowess were un- 
ladylike. In 1965, Margaret Coffey 
presented in her essay The Modern 
Sportswoman, an historical review of 
the increase of women in athletics. 
S/ie describes three periods of the 
female sportswoman; The emancipa- 
tion of the 20's - of jazz and dancing, 
growing leisure, shrinking clothes and 
Freud, of required P. E. and the 'Gold- 
en Age' of sport itself. The second 
period of the 30 's and 40 's - of formal 
organization and women heroines and 
finally of the 50 's - the post war 
decades of participation. So in view of 
what women have had to put up with, 
things seem to be changing pretty 
quickly. Across the country, colleges 
are reviewing their sports and athletic 
programs to determine if they provide 
equal opportunity to their female 

students. Federal law now mandates 
that institutions eliminate policies and 
practices which discriminate against 
students on the basis of sex. From a 
report to the American Council on 
Education - on athletics found that; 
'the most important and far-reaching 
recent development on the college 
sports scene has been the movement 
to achieve equal treatment for women 
in intercollegiate sports. It is safe then 
to assume that with all this growing 
recognition, the women 's athletics 
scene is likely to change drastically 
within the next ten years. 

Five years ago in 1970, Marie 
Snyder arrived as Women's Athletic 
Director of SMU. At that point there 
was absolutely no sports or programs 
in existence for women. During the 
spring of that year a tennis team and 
several recreation classes had been 
formed. The response was fair. Over 
the years, seven other sports were 
formed. Although there is no recorded 


V* . ? * 


: rrc 

i Ha 


information regarding the amount of 
use the gym gets. I talked to several 
people involved in the direction of the 
gym and received a fairly agreeable 
respo)ise for all. I first spoke to Bill 
Gat bright. Intramural and Sports In- 
formation Direction. He feels that the 
gym does get a great deal of use but in 
all probability there are more men 
than women who use it. especially 
when it comes to the weigh troom. 
Accord if ig to Ms. Snyder, the athletic- 
department offers as much for women 
as for men and that the usage of the 
gym was best described in terms of 
needs. She also felt that the average 
woman doesn't want to simply go 
down and 'work out'. After thinking 
over both these statements, the one 
overriding question was why? Why 
don 7 the women want to go down 
and work out and why do they stay 
away from the weight room '.Over the 
last five years I have used the weight 
rooms extensively. At first I found the 
reaction from the men to be one of 

amusement which gradually turned to 
acceptance. In contrast to that, how- 
ever, I found the response from a 
passing female to be of pure amaze- 
ment. Several approached me to ask 
why I was doing this thing and 'wasn't 
I afraid of getting big muscles? This 
statement in itself is indicative of a 
major fallacy on the part of women 
and athletic training. The 'Billie Jean 
King Syndrome ' is one of the fears of 
many women that they will be over- 
developing their bodies. Being only 
one of the complexities involved in 
attracting the female population to a 
gymnasium, it is important to note 
the immediate need of reeducation on 
physical fitness. 

The cost of the gym alone is im- 
pressive: two million, eight hundred 
thousand dollars. Of 14, 000 day and 
evening students in the 75-76 year, 
the gym collected $97,000 from a 
portion of their general fees. Although 
the staff feels that the gym gets it fair 

usage, I question why the response 
isn't a greater one?Is it time, laziness, 
lack of knowledge about its existence, 
or what?There now exists eight wom- 
en's varsity sports and eight varsity 
men 's sports, an Olympic sized pool, a 
weight room, a large gym floor, equip- 
ment, programs and activities. But of 
all this, one could guess that maybe 
35-407c of the student population are 
involved in varsity and intramural 
sports and perhaps another 5% in 
intermittent use of the other facilities. 

In summation, this editorial is not 
written from a negative viewpoint. 
The gym and its programs are, ope tixt& 
the student body in good faith. I write 
this hopefully to enlighten and pro- 
vide awareness of its existence and 

Pat Manning 


"'* • '^H 

J? ■ 

^^ 1 II- -- ' 


Just what is field hockey?It seems 
that anyone with a stick and a ball can 
just bat it around from one end of a 
field to another. So what makes bat- 
ting this ball into a sport? 

The game is unique in that essent- 
ially it is the only sport played by 
women and founded by women. It 
requires speed, determination and 
skills including evasive tactics, passing, 
dodging, and strong manipulation of 
the equipment. SMU's first field hock- 
ey team started in 1972. Over the 

years it has developed into a strong 
and skillful team. This year the team 
played an eleven game schedule in- 
cluding two winning scrimmages. The 
overall record was 5 wins, 2 ties and 2 
losses. At URI on the weekend of 
November 1-2, the team attended the 
Northeast Field Hockey College 
Association Tournament. They tied 
0-0 with both Gordon and Williams 
Colleges and lost out 2-0 with Wor- 
cester State. 

It is up to Coach Barbara Orreiro 
to prep each player for upcoming 
matches. She must know the different 
styles of each member and utilize this 
to increase further winning plays. This 
year's co-captains were Nancy Ken- 
nedy and Sue Negri, who are both 
graduating seniors. Attention^ should 
also be directed to Lisa Drouin who 
was selected as College B II's goalie 
and to Mary McCarthy who aseen in 

Coach June Pinto cited several 
problems with the team this yea, 
emphasizing particularly the lack of 
women who go out for the sport. Her 
team consisted of only four seasoned 
players with the rest being far too 
inexperienced to stand up to the 
competing teams. Antoehr problem 
was height. 

In a couple of games, the team 

wasn't playing up to par and lost out 
on two possible wins against Bridge- 
water and Eastern Nazerene. The 
game of volleyball was invented in 
1895 and a winning team resulted 
from good physical fitness, skill, team- 
work and good coaching. SMU's best 
showing was in the tri-match of URI 
vs. MIT. Against exceptional compet- 
ition, SMU rose to the challenge. 

Hoping to see a number of improve- 
ments next year coach Pinto ex- 
plained that she would like to see a 
tighter practice schedule, an earlier 
season with better publicity and per- 
haps most importantly, a new coach 
who could provide a better job, as Ms. 
Pinto is both bolleyball and basketball 
coach for women at SMU. 

field hockey/ volleyball 

As usual SMU's cross country team 
did what comes natural to teams 
coached by Bob Dowd: they won 
most of the time. 

SMU's 1975 dual meet record was 
14-1 pushing the Corsair cross country 
mark to 95-24. 

But that was just a warm-up. In 
post season action, SMU placed fifth 
in the NCAA Division III National 
Championships at Boston's Franklin 
Park. This was the highest finish ever 
by a SMU cross country team in a 
National Championship and it pulled 
the Corsairs to an eighth place finish 
in the New England Cross Country 
Poll for 1975. 

In that Nationals meet. Senior co- 

-captain Peter Smith became the sec- 
ond athlete in SMU history to earn 
the title of Ail-American. Smith's 
10th place overall finish and eighth 
place finish in team scoring put him in 
the select category. Senior Dave Hill, 
high hurdler and track co-captain, is 
the only other SMU athlete to win the 
coveted honor. 

But one athlete does not make a 
cross country team. Mike Murphy, 
George Itz, Senior Buddy Harris, and 
Dan Doyle all finished within 15 
seconds of each other and only 42 
seconds behind Smith at the Nation- 
als. SMU combined for 10th, 44th. 
45th, 58th, and 59th place. Not bad 
when you consider there were 310 
runners from 61 colleges and univer- 

sities represented in Boston. And little 
SMU finished fifth. 

Yet, the National meet wasn't the 
only invitational SMU participated in. 
The Corsairs won the SMU invita- 
tional for the first time in the meet's 
three year history. Their fifth place 
finish in the Cod Fish Bowl qualified 
them for the National Championship. 
This was followed by a first place in 
the NCAA Division III District I 
Championship. SMU also was the co- 
champion of the Tri-State Conference 
and placed 11th in the New England 

Nineteen seventy-five was just an 
ordinary year for Bob Dowd's har- 


The Corsair swim team, despite a 
2-7 record, had a season to cheer 
about. With a squad made up of 
mostly rookies and freshmen, the 
aquamen took giant steps toward re- 

James Filippo, in his first year of 
head coaching, developed the talents 
of his swimmers to a high degree. 

Filippo, a graduate of Springfield Col- 
lege, brought a thorough knowledge 
of swimming to the SMU campus. 

Freshman, Dave Olson was the 
bright spot for the swimmers as he 
churned his way to seven University 
records: 100 yd. freestyle, 50.4; 220 
yd. freestyle, 1:57.4; 200 I.M., 2:13.3; 
200 yd. backstroke, 2:15.1; 500 yd. 


freestyle, 5:30.5, and a share in the 
Medley and Freestyle Relay records. 
He was undefeated in dual meet 

Captain Bob Cilley helped set the 
Medley record, swimming the breast- 
stroke leg. 'Spitz' only lost once over 
the season in his specialty, the 200 yd. 

At the beginning of the basketball 
season things looked bleak for the 
Cagers. They had lost four men to 
injuries and had gotten off to a dismal 
2-3 start. When Charlie Funches was 
injured against Gordon College, obser- 
vers gave the roundballers little chance 
for success. 

With their height and rebounding 
muscle diminished, the Cagers went to 
speed and finesse. At times, four 
guards played with the lean, 6'7" 
General Holman. This change turned 
the team around completely. They 
won fifteen of their next twenty-one, 
won the Western New England Basket- 
ball Classic, and went to the finals of 

the N'C.A.A. Division 3 New England 

As the team rolled on, Ron Mag- 
nant, the scrappy 5' 11" playmaker, 
emerged as the team's court leader. He 
totaled 184 assists and became SMU's 
all-time leader in that' category. His 
passing wizardry left more than one 
fan shaking his head in disbelief. 

Providing the scoring and the re- 
bounding punch for the Corsairs was 
Holman. 'G' averaged 26.2 points a 
game as well as 13.6 rebounds. Over a 
torrid stretch of four games, he aver- 
aged 36 points and 20 rebounds. 
During his career at SMU he scored 
more than 2000 points to become the 
all-time leader in that category. In 
addition, General received the Christ- 

mas Tourney M.V.P. 

Despite a tension-packed loss to 
Boston State, 97-95', the Roundballers 
had high hopes for a post season 
playoff berth. Two hours prior to 
their final regular season game, the 
team received word, via the telephone, 
that they were admitted to the 
N.C.A.A. Division 3 New England 
Playoffs held at Rhode Island College 
on March 1 1 and 12. 

In the semi-finals, SMU squeezed 
by first seeded Suffolk University 
79-76, with Magnant scoring 24 
points. The Corsairs were nipped by 
Rhode Island in the final game 89-87, 
with a controvertial last second bas- 
ket. The Cagers argued (unsuccess- 
fully) that R.I.C. hadn't inbounded 

Senior Ric Cooper, along with Cil- 
ley, leaves SMU with his share of 
glory. Cooper shared the Medley and 
Freestyle marks and set the 1000 yd. 
freestyle record. 

The team's biggest surprise was 
rookie Mark Griffin. In the last meet 
of the season, against Lowell, Griffin 
cracked the 200 yd. butterfly stan- 

dard with a time of 2:39.0. He low- 
ered the old mark by more than ten 

On the springboard, freshman Cliff 
Manchester and Ron Wilson provided 
a tough combination. Manchester, 
only lost once all season. Sophomores 
Brad Cheney and Don Stewardson, 
though new to swimming, performed 

like veterans, turning in some excel- 
lent times. 

Randy Corwin and Jeff Stoloff, 
next year's captains, were familiar 
sights in the freestyle events. Fresh- 
men Steve Clancy and Greg Garber 
added depth to the team. 

the ball in the required five seconds 
with only one second left on the 
clock. Coach Bruce Wheeler summed 
up the team's dejection when he said, 
'It's a damn shame that a Champion- 
ship Game had to end in this fashion.' 

Even with the sour taste of defeat 
still in their mouths, the Basketball 
team could look back on their accom- 
plishments over the season and be 

Five men finished the campaign 
with scoring averages in double fig- 
ures. Along with Holman were Mag- 
nant, 14.4; Mark MacLeod, 12.6, 
freshman Doug Hayden, 12.2: and 
Doug Crabtree, 11.8 This kind of 

scoring balance was the Corsair's basic 

Other outstanding contributers for 
the Cagers were Len Brophy, John 
'Pole' Allegrezza, and the injured Flin- 
ches. Though he saw action only in 
the first seven games due to a torn 
knee cartiledge, Funches led the team 
six times in rebounds. Brophy played 
guard with a mean tenacity that epito- 
mized the Corsair spirit and hustle. 

Allegrezza, probably themost im- 
proved player over the season, played 
like a veteran during the playoffs. His 
long arms gave him the ability to play 
sticky defense. 

The Corsairs were 17-9 overall on 
the season. They sported an impres- 
sive 16-3 divisional record. General 
Holman wrapped up an unbelievable 
season with first team, N.C.A.A. Div- 

ision 3 New England honors. 

In addition to the potent front- 
liners, the Corsairs bench was a big 
boost all season. Keith Miceli, and 
Freshman Robert Holmes helped to 
carry the Corsairs. When Keith Jones 
and others were on the injured list, 
Jim Ciborowski stepped in to provide 
bench strength. 

What did the Corsair Cagers accom- 
plish this past season? Aside from 
individual honors and adulations, they 
gained respectability and credibility. 
In the future, the SMU basketball 
team will be one to reckon with. 

swimming /basketball 

if *$#* 


- "*^n 

• ' c 

Like the Boston Red Sox dream 
team of 1967, SMU's 'Cinderella Kids' 
did the impossible coming back from 
last year's humiliating 1-13 hockey 
season to skate their way into our 
hearts with a 11-7 mark. These new 
kids on the NCAA-ECAC block 
showed the neighborhood they aren't 
going to stand for any more bullying 

The team worked its magic spell on 
the rest of the league by putting 
twelve freshman on its roster. This 
new blood was the transfusion the 
doctor orderedas SMU was 
transformed into a scoring machine. 
In 18 games, the Corsairs scored 106 
times while holding their opposition 
to 85 goals. 

What the team lacked in experience 
it gained back in sheer enthusiasm. 
There's nothing more fun to hockey 
player than putting the puck in the 
net. 'The kids" showed they could do 
that very well. In the season's first 
two games, SMU steam rolled over 

Curry 9-4 and Gordon 12-3. 

But they finally made believers out 
of the league in the middle of the 
season. Down by one goal after two 
periods, SMU exploded for five goals 
in the third stanza to upset 
Assumption College 8-4. This was a 
grudge match as Assumption's 13-2 
pasting of SMU last year was still fresh 
in the mind of Coach Joe Prenda and 
his six veterans. 

At this point in the season SMU 
owned a 5-3 record. This looked more 
impressive when you consider seven of 
those games were played on the road 
and two of the losses were only by 
one point. The third loss was a two 
point spread as an open net goal was 
scored in the closing seconds. 

But by no means was the 
Assumption game the high point of 
the season. After being demolished by 
Massachusetts Maritime in the opening 
game of their seven game homestand, 
'the kids' proved what a classy hockey 
club can do. First, they squeezed out 
a 5-3 victory over Stonehill College 

playing almost as Hat as they did 
against Maritime. But this game 
highlighted one fact: SMU could win 
on an off night. Yet, two nights later 
they looked like a veteran hockey 
club. They tripped Westfield State 3-2 
in overtime proving they could handle 
pressure. The next three games were a 
breeze as the Corsairs extended their 
winning streak to five games. Roger 
Williams, New Hampshire, and 
Gordon Colleges fell to the SMU 
barrage as 'the kids' averaged nine 
goals a game. SMU was now 1 1-4 
placing them in a position to make the 
EC AC playoffs. 

However, it just wasn't meant to 
be. Assumption, Mass. Maritime, and 
Fairfield overpowered 'the kids'. Sure, 
they were disappointed, but they were 
also very proud. 'The Cinderella Kids' 
had earned SMU respect in 
NCAA-ECAC hockey circles which is 
something comedian Rodney 
Dangerfield has been hopelessly trying 
to get for years. 


ft § « I !$ 



With ten letter-men returning for 
the 1976 season, the SMU baseball 
team was expected to rank high 
among small colleges in New England. 
Coach Bruce Wheeler, an integral 
factor in the university's successful 
basketball and baseball programs, 
would have no problems with 
inexperienced ball-players. 

The season began in the middle of 
March at the University of Maryland. 
It wasn't a very impressive start for 
the Wheelermen as they were 
completely overwhelmed in a 24-1 
defeat. This, however was no 
indication of how the Corsairs would 
shine in '76'. 

After winning seven out of twelve 
encounters on the trip south, SMU 
returned home to host their first 
annual Invitational Tournament. 
Some of the best teams in the state 
provided the opposition. The weekend 
was blessed with excellent baseball 
weather, but SMU salvaged only one 
victory in four games. The University 
of Massachusetts, who shut-out the 
Corsairs, eventually won the two-day 

The following week began with a 
crucial victory over last year's division 
three champs... Eastern Connecticut 
University. Rookie right-fielder Dave 
Liimatainen stroked a late inning 
home-run to cap the inspiring 5-4 
conquest. Liimatainen led this year's 
nine in home runs (as well as vowels). 

April proved to be a prosperous 
month as SMU captured sixteen out 
of twenty contests. A modest 
nine-game winning streak high-lighted 
the long stretch of high performance. 
Apparently another play-off berth was 
forth-coming, but not until Eastern 
Conn, visited North Dartmouth for a 
final show-down. 

Once again Mr. Liimatainen struck 
the decisive blow with a 
run-producing double in extra innings. 
Although the night-cap was lost, SMU 
had managed to defeat ECU in two 
out of three meetings during the 
regular season. A season which 
produced an outstanding 31-15 

There were many significant 
individuals in the success at SMU. 
Seniors Jim Ciborowski and Don 
Arruda, along with Junior 
second-baseman Joe Jason were the 
most notable., .(and of course 

Liimatainen). Jason, who belted the 
ball consistently throughout the 
campaign, led all hitters with a .420 
average. Cibby had an impeccable 
pitching slate, earning five wins in five 
performances. Jim was the 'man' 
when Coach Wheeler wanted a sure 
victory. Cibby in many cases was the 
unexpected starting pitcher... 

'Stubby' Arruda, as Don was 
affectionately called by his mates, was 
a solid performer at the k hot-corner' 
with a .926 fielding percentage. Don 
also was the team leader with thirty 
runs batted in. 

The remaining contributors to this 
season's success were: Steve Tito' 
Taber (base-stealing center fielder), 
Gary 'Gilly' Soares (.322 batting 
percentage), catcher Greg Morris, 
first-baseman Rick Rego...and a fine 
pitching staff of Steve Camara (6-4), 
smoking Joe Miller (6-5), rookie 
south-paw Dave Fogaren (4-0) and 
Gary Felix. 

Rounding out the squad were Bruce 
Garifales (.310 batting average), Jim 
Lang, switch-hitting Brian Cassidy, 
Paul 'Sleeper' Starociak, Mike Priscella 
and Kevin Considine. 

Steve Knowles handled the 
coaching duties with Bruce Wheeler. 







( righ t) Cons true ting se t 
for Lysis trata. (far right) 
Set collapses during dress 

The world for some years has been sodden with tears 

on behalf of the acting profession: 

Each star playing a part 

seems to expect a purple heart. 

It 's unorthodox to be born in a box. 

But it needn 7 become an obsession. 

Let's hope we hare no worse to plague us 

Than two shows a night in Las Vegas... 

When I think of physicians and mathematicians 

Who don't have a quarter the dough. 
When I look at the faces 
Of people in Macy 's 
There's one thing I'm burning to know- 
Why must the show go on? 
It can 7 be all that indispensable. 
To me it really isn 7 sensible on the whole 
To play a leading role 
When fighting those tears you can't control. 

J «*&#f 


Why kick up your legs while draining the dregs 

Of sorrow 's bitter cup? 

Because you have read some idiot has said, 

'The curtain must stay up!' 

I'd like to know why a star takes bows 

Having just returned from burying her spouse? 

Brave 'boop-a-doop'-ers, 

Go home and dry your tears. 

Gallant old troopers 

You 've bored us all for years. 

And if you're so blue, wept-through. 

And thoroughly woe-begone. 

Why must the show go on? 

We're asked to condole 

With each tremulous soul 

Who steps out to be loudly applauded... 

Stars on opening nights 

Weep when they see their names in lights. 

*f ; C! 

The people who act as a matter of fact 
Are financially amply re ward ed- 
it seems when pursuing their calling 
Their suffering's simply appalling. 
But butchers and bakers and candlestick makers 
Get little applause for their pains. 
When I think of miners 
And waiters in diners 
The query forever remains: 

Why must the show go on? 

The rule is surely not immutable. 

It might be wiser and more suitable just to close 

If you are in the throes 

Of personal grief 

And private woes. 

Why stifle a sob while doing your job 

When, if you 'd use your head, 

You'd go out and grab a comfortable cab 

In the audience and back- 
stage prior to opening curtain 
for Peter Pan. (next page) Break 
in work for set painters. 


And go right home to bed? 

Because you 're not giving us much fun. 

This 'Laugh clown laugh' routine's been overdone 

Hats off to s/iow folks for smiling when they 're blue. 

But more 'comme il faux' folks 

Are sick of smiling through. 

And if you 're out cold 

Too old 

And most of your teeth have gone- 

Why must the show go on? 
-I sometimes wonder- 
Why must the show go on? 

Despite the beseechings of Noel 
Coward, the shows went on at SMU 
during the 1975-76 season. Two of 
them reflected the ghost of the sixties 
which seemed to haunt us during the 
academic year: 'Moonchildren' and 
The Rolling Thunder Revue. 1 

'Moonchildren' is a play revolving 
around a group of college students 
living communally in the classic 
sixties' style, and the trials and 
tribulations brought on by their 
lifestyle and the times. Having the 
period brought forward for 
larger-than-life inspection in this way 
seemed to make some students, who 
lived in the fashion during that period, 
uncomfortable. 'Moonchildren' is 
indeed a bitter-sweet period piece and 
many people feel uneasy about that 
time. As two ex-hipsters remarked in 
Garry Trudeau's 'Doonesbury' strip: 
'What's happened to us?' In the Fall 
of '75 there had been talk of a sixties' 
nostalgia, with Nehru jackets and 
other paraphernalia coming back into 
vogue, but the idea was dropped 
quickly. The period is too close for 
comfort, and the thought of all that 
energy and excitement, however 
naively directed, grates hard upon the 
nerves of today's more complacent 
younger generation, whose energies 
are more directed towards finding 
work. When ten, twenty years have 
passed we will be able to view the play 
more objectively, and will appreciate 
it more for what it is. (In much the 
same way we appreciated the season's 
other period piece, 'Where's Charley?', 
on which there is more later.) 

'The Rolling Thunder Revue,' our 

second sixties-based presentation, 
heralded the return of Bob Dylan, 
who WAS the sixties to those who 
were there. However, a lot has 
changed since then. The culture (or 
cult, if you'd rather) which spawned 
Dylan has all but evaporated, of 
course, and many people on campus 
had never heard of Dylan (many of 
these came to the concert out of 
curiosity.) Also, Dylan, who usually 
performed alone (like a rolling stone) 
brought a troupe of performers with 
him, including Joan Baez; as well as a 
heavy-handed production crew (which 
probably was formed just to handle 
this particular tour) dubbed Zebra 
Productions. The entire production 
was handled rather unusually: the 
tour was booked only into small 
colleges and only students attending 
the colleges were allowed to attend. 
Also Zebra attempted to keep all 
information about the tour under 
wraps until the last minute, but it 
leaked out anyway. The official 
reason for all this was that Dylan 
wanted a relatively small audience, 
and wanted to give the students a 
chance to see him. However, the real 
tone of the production was set by 
Zebra as soon as the contracts were 
signed, as they told the concert series 
they could not say in their advertising 
'The SMU Concert Series presents...' 
because, 'Nobody presents Bob 

The night of the 'Revue' 
performance saw students lined up for 
what could have been several blocks 
waiting to enter the gym. Zebra 
actually frisked many students for 

cameras (although many obviously 
still got in. ..see pages 126,160 and 
161). Zebra also confiscated t-shirts 
printed by the Concert Series for its 
crew (God knows what they did with 
them). Meanwhile Dylan (the sixties 
nonconformist) had apparently 
acquired over the intervening years 
some expensive tastes- he drove up in 
four large camper trailers and ordered 
several hundred dollars worth of food, 
which he ate off silver platters. 

The actual performance was 
well-received, although many in 
attendance were disappointed that 
Dylan did not sing more of his sixties' 
standards ('Blowin' in the Wind'), 
apparently expecting a sixties' revival. 
Dylan spent most of his part of the 
evening singing new solo releases 
('Hurricane') and several duets with 
Baez (the high points of the evening 
for many). It was generally agreed, 
after the concert was over, that it was 
Joan Baez, not Dylan, who was the 
one they'd want to see again. Times 

'Where's Charley?' underwent a 
widespread theatrical revival this 
season, as did Ray Bolger-the play's 
original star on Broadway. 'Charley?'s 
charm lay in the fact that it had been 
out of circulation for awhile, and gave 
a public hungry for nostalgia some 
straw hats, vaudevillian backdrops, 
soft shoe, period costumes and other 
idiosyncracies to sink their collective 
teeth into. 

Also worthy of note as a current 
phenomenon was 'The National 
Lampoon Show.' This revue was based 
on the philosophy of success in satire 

which guides the National Lampoon 
magazine: (1) spare nothing, 
including/especially your readership, 
(2) a little porn keeps 'em interested, 
and (3) if they don't buy the 
magazine because they think it's in 
bad taste, you didn't want them 
anyway-and if they do buy it they get 
calloused fast, so find bigger and 
better ways to shock'em. Of course, 
following such a philosophy does keep 
the law suits pouring in, but 
apparently the bucks pour in faster. 
One of the 'Lampoon's' editors was 
on national t.v. listening politely to 
various charges leveled against his 
magazine- it was trash, pornography, 
scandalous, bad taste and so forth. 
When the critic's venom was spent, 
the editor nodded politely and 
justified his magazine's existence in 
three words: 'But, it sells!' Indeed it 
does, and the magazine has spawned, 
besides the show (which was actually 
quite funny, poking fun at Watergate 
prisoners, plant lovers, Billie Jean 
King, and especially the audience) a 
t-shirt and poster industry, other 
printed parodies, a radio show, 
records,etc, and N.B.C.'s Saturday 
Night'-an Emmy-winning late-night 
satire/variety show. What really seems 
to worry some people is :what kind of 
perverts are we giving our money to in 
these enterprises? The answer, 
perhaps, was given to us by the road 
manager of 'The National Lampoon 
Show' who said of his troupe of 
actors, 'They're really just people like 
you and me, actually... They have 
families, mothers, kids, dogs, wives, 


Why must the show go on? 

Now, why not announce the closing night of it? 

The public seems to hate the sight of it, dear, and so, 

Why you should undergo 

This terrible strain we'll never know. 

We know that you're sad, we know that you've had 

A lot of struggle and strife, 

But is it quite fair to ask us to share 

Your dreary private life? 

We know you're trapped in a gilded cage- 
But for heaven 's sake, relax and be your age. 
Stop being gallant, and don 't be such a bore. 
Pack up your talent, there's always plenty more. 
And if you lose hope, take dope 
And lock yourself in the john- 
Why must the show go on? 
-I'm merely asking- 
Why must the show go on? 



■ H 



n- * 








■ ---.i 




» -m 





The Prime of Miss Jean Brodie 

Peter Pan 

Three one act plays 


Where's Charley? 


The Rolling Thunder Revue 


The National Lampoon Show 

The Medium 









?* "*" 


■■-'■ ■'■ 1— 

Lonnie Liston-Smith 










Drinking Again. 

Thinking of when you loved me... 

Having a few. 

Wishing... that You were here... 

Making the rounds. 

Buying a round for total strangers 


Being a fool - 

'Cause I keep on thinkin ' 


Hoping that you '11 be... 

Sure I can borrow 


I can sit here all night 

And tell these jokers some jokes, 

But who 

wants to laugh - 

Who wants to laugh 

at a broken heart.' -My heart is aching 

I swear 

it's breaking 

and I'm 

Drinking again. 

Thinking of when you loved me... 

And I try to get home 

with nothing 


But a memory... 

Yes, I'm trying to get home 

Dyin ' to get home 

And I got no thin' but a bottle of beer 

And just 


Mem or 


'Drinking Again' by Doris 1 auber and Johnny 
Mercer/ and as sung by Bette Midler 



Hard drugs- that staple of the 
sixties subculture- are no longer 
widely used or experimented with 
on most campuses, although most 
students, in the course of their 
four years come in contact with 
it. Students across the country 
have turned to alcohol -often rather 
heavily. Drinking has become the 
student's ( and this same trend is 
being reflected in our high schools) 
number one pastime- and problem. 
Alchohol is no safer and no less 
addictive than many other drugs- 
it is simply more legal. 

(facing page) students at various 
local spots ( above) the SMU Rat 
is closed from violence and vandal- 
ism brought about by its patrons. 

(previous page) Patron of the 
Oktober Bier Fest in an unguarded 
moment, with Bette Midler accom- 
paniment. (For best results, we 
recommend a little nightclubbish 
melancholy piano music in the 





(both pages) Television 
studios in Audio- Visual. From 
the juxtaposition of photos, 
it appears Brian Moriartv (facing) 
is fiddling while Mike Laney 
and friends (above) burn. 


( this page) Oktober Bier Fest 
(facing page, top) Printmaking 
exhibit in library (bottom) Textile 



*^ - 






(facing page, top to bottom) Lines 
at freshman registration, crowds at the 
TV lounge, lines at the bookstore. 
Waiting in lines is a familiar, and rather 
annoying, custom at the beginning and 
end of each semester, as books must be 
bought, courses must be applied for, 
and added and dropped (this page) 
Rest in Group One lounge. 




(Above) The Torch office 
after a hard day 's work. (Right) 
Construction on new Fine Arts 

(Counterclockwise from upper 
left) Dr. Jazz on stage, Women 's 
Center people under a tree. Civil 
Engineers receiving an award. 
Student Advisors. 

(Counterclockwise from upper 
left) Burned- out Fiat in 
Parking Lot 5, Sandi 'stone) castles 
sold for the Vet's Club, 
Art Fair for children. 

(left) Disco night in the Campus 
Center, (above) The most striking 
feature of SMU is its sophisticated 
concrete architecture. It seems to 
reflect the moods of its populace- 
dismal in rainy weather, bright and 
alive in sunny, clear weather, mysterious 
and elusive in fog, inspiring and 
beautiful on cool summer nights. 

fireworks over Boston rooftops, July 4, 1976 


If there is a spirit of the seventies on the college 
campus, it is one of searching-back in time for its 
Heritage. The period is marked by a return to classes, to 
short hair, to normalcy- and complacency. This has been 
viewed by many administrators with relief and many 
educators with alarm. Fraternal or- ganizations, nearly 
neglected to tneir deaths in the sixties, have made 
something of a comeback. Brief attempts were made at 
some institutions at such things as goldfish swallowing, 
but these were not met with enthusiasm and went the 
way of the streakers. 

The students are much more subdued than they once 
were, and much more aware of the world outside the 

[mo longer is a college degree a guarantee of e- 
mployment-in fact, as many grads have discovered, not 
only can tney not get work in their fields,but tneir 
degree often prevents tnem from getting lesser work. It 
is an age of over qualification, of thousands upon 
thousands of bitterly disappointed unemployed young 

Tnis disappointment stems in a large measure from 
trie way we were raised to think about college-as THE 
stepping stone, THE means to a good (equated, among 
the middle and lower income classes as good paying) 
vocation. This is wnat prospective college students 
question, not trie obvious opportunities to learn-though 
this is small consolation, since how many college 
students come toJearn for learning's sake? Nevertheless, 
trie future looks bright for state colleges such as SIViU, if 
not necessarily for many of its graduates, because 
private institutions are folding in increasing 
numbers-largely due to inflation- giving prospective 
students less leeway in selection. Also, as inflation 
spirals, the modest tuitionbecomes more appealing. 
These factors will assure state colleges the luxury, for 
tne foreseeable future, of selection of applicants they 
deem most desirable. As we see it, even if everyone and 
his brotner has a degree, and the value depreciates 
accordingly, a college education will still be an 
important consideration-if only not to be left out. 
Indeed, tne day may come wnen acquisition of a degree 
of some sort will be as assured as a high school degree is 
to most of us--in fact, to help its citizens to cope with 
an increasingly comples society, college may become a 
mandatory continuation of high school. But that day 
will only come if our society today can solve tne 
problem of providing meaningful work for its college 









This man is Crazy Arthur, 
owner-operator of the Met 
Photo in Providence. Even 
though we gave him our 
business all year, he refused 
to buy an ad from us. We 
trust you will take appro- 
priate measures. 


Best wishes from 



Tel. 617 994-7713 

579 G. A. R. HIGHWAY, SWANSEA/ MASS. 02777 

Tel. 617 675-0091 





206 Rockdale Ave. 


New Bedford, Mass. 


Compliments of a friend 

The TORCH staff extends its congratulations 
and warmest wishes for happiness and success 

to this year's graduating class. 

Best Wishes I 

from the Campus Center 


luggage / wallets / gifts / 

North Dartmouth Mail-on the cinema aisle-tel. 993-078 1 




285 State Road 
North Dartmouth, Moss. 02747 

Tel 996-9338 

Congratulations to the Senior class. 

Wautucket SOUND 


e r v i e e *. 
y s terns® ; 


Congratulations to the class of 76. 


Congratulations \ 

■.*-.-■'■■■■ ^t«. n***-«ia4K'*4rH»«w* i *>ia£**>> i-v wr ->'.»"ir*«**-^'-iw*^'«i'*»'{?''.vrtfcjs-^s*a#' , !'* ,r *' 

_«,.-! . -■»—*«».-. 



W P i — i n ■ 

aim %r e W* #%• 

Congratulations I 

New England Amusement Company 

652 Bedford St. 
Fall River 





Learning never ceases. 



hair styling 8 Champion Terrace North Dartmouth 

compliments of SERVOMATION 

Congratulations \ 


Norman Zolkind 


wishing each and every graduate 
good luck in his or her endeavors 


Tint /no 


Davidson's Meat Products 

424 South Second St. New Bedford. Mass. 992-7988 

Ray-Stel's-The Hair People 

1 06A State Road, He. 6 

North Dartmouth (opposite Bishop Stang ) 


Except where otherwise noted, the text used in this book was written by the editor, who must take the credit, or 
the blame. To: our typists- Martha Sylvia and Cathy Hickok, our ad people- Colin Williams and Debbie Derrig, the 
people who gave us their time for interviews, our advisor- Howard Glasser, our patient yearbook representative-John 
Levis, our soggy campus center director- Dick Waring, our handy handyman- Ray Lavassee, to Ann Cloutier and 
expecially to Mark Mattos, and to any others we may have forgotten to mention in our haste, our thanks. 

The philosophy behind the book-which hopefully shows-was to produce as accurate and incisive a time capsule of 
SMU as we could achieve with our very limited staff and funds. Our inspiration for the form in which the book was 
conceived came from two books: Bill Owen's photo-essay 'Suburbia' -from which came the idea of photographing 
university people the way we did ( the 1974 SMU yearbook was produced along these same lines), and Studds 
Terkel's 'Working', in which Terkel allowed working people to tell the stories of their respective lives. We feel this sets 
the 'Scrimshaw' above the banal superficiality of the average college yearbook; which usually follow formulas 
virtually interchangeable with each other, saying nothing very substantial about the college or the times. 

It must also be gratefully acknowledged here and now that we were given a good studio from which to work and a 
tremendous amount of administrative freedom in creating this book- freedom which I honestly do not feel we would 
have gotten at most universities, and which quite possibly may not be available at SMU at some future point, as the 
bureaucracy expands- as they are prone to do. 

Photo credits: interview photos Of Joe Scionti, telephone operator, Tom Higgins, Gary Hartwell, Joe Prenda, Joan 
Blue and 'the Nerds' by Mark Mattos. photo of Mark Mattos by Ann Cloutier. photo of Bill By hind by Pam Garceau. 
photo of Yurek Kepinski by John Belli. All other interview photos by Jeff Faria. 

Senior portraits by T.D. Brown, Inc., Cranston, Rhode Island. Special thanks to T.D. Brown for aid in printing 

Sports photos by the Audio-Visual Photo Dept.- Thanks to them for their co-operation. Graduation photos by Ann 
Cloutier. Candid photos of Whale's Tail and Smuggler's Den drinkers, pumpkin carvers, and a few scattered candids by 
Deirdre- Hanlon. Candid shots of ballet dancers and photo appearing on 'Senior Section' divider page by Mark 
Laughlin. Photo appearing on 'Diversions' divider page by John Belli. All other photos by Mark Mattos. 

Women's Sports written by Pat Manning. Men's Sports written by Greg Garber, Paul Cordeiro, and Tony Adriano. 
Special thanks to Bill Cathwright, Marie Snyder and the SMU Sports Department for their co-operation and 

■*■■■ '■ *4/*t3K» 1 


Book design by Jeff Faria. Senior Section designed, by Deirdre Hanlon and J 'effxFmrih. Primary text faces: Press 

Roman Bold, Medium, and Italic, II Point. Divider page titles and cover set in slightly altered Helvetica Light capitals. 
Endsheet photo by Mark Mattos, using a Speed Graphic 4x5 camera furnished by T.D. Brown. 
The 'Scrimshaw' was published by the Taylor Publishing Company, Dallas, Texas. 







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