The Battalion
LIFESTYLES
6
Monday, November 27,1989
Lifestyles Editor Dean Sueltenfuss 845-3
Life’s a laugh for this Aggie joker
Student moonlights as stand-up comic
By Todd Stone
Of The Battalion Staff
The true love you always dreamed about tells you it’s
over. So what do you do? Senior education major Jason
Porter became a stand-up comic.
“My shows weren’t going that great because I was
happy,” Porter said. “I was in love.”
Porter was performing once a week last spring at “A-
mateur Night” at Houston’s Comedy Workshop. He
transferred from A&M to the University of Houston to
be closer to his girlfriend and pursue comedy. On a day
when Porter was suppose to perform, he learned the
bad news.
“I called her, but he answered,” Porter explained.
“That night, I didn’t want to go on stage,” he said. “I
was tense. I was emotional. My voice used to be mono
tone, but that night, I was outgoing. I bitched about be
ing dumped. I was still upset, and I didn’t even know I
did a good show.
“Then, the manager walks up and says, ‘Good show
— you’re a regular.’ ”
Porter began performing at the workshop six nights
a week through the summer and also performed at
Garfield’s in College Station.
“I wondered, ‘To be a good comedian, do I have to
get dumped every week?’ ” Porter said.
Porter became the weekly opening performer at Gar
field’s and returned to A&M in late August to get his
degree.
“If it wasn’t for Garfield’s, I wouldn’t have my
friends and my degree,” Porter said, “I owe everything
to Garfield’s and the great audiences.”
Porter’s background with the Comedy Workshop in
Houston has given him the opportunity to observe and
work with many talented comics, such as Sam Kinison.
Porter said one of his best moments in comedy came
during two days that he spent with comedian Barry So-
bel, who was a regular on the NBC sitcom “227.”
“It was great just to hang out with him,” Porter said.
“He gave me a very open attitude, and I bounced ideas
off him. I was getting coached by someone who coached
Tom Hanks (for the movie “Punchline”).”
Porter was impressed with the success and notoriety
Sobel had achieved.
“It’s weird sitting across from someone who says, ‘Oh
yeah, Paula Abdul is a cute girl,’ ” Porter said.
For Porter, being a comedian is a great opportunity
to relate with people and share mutual problems.
“It’s therapy for me,” Porter explained. “I go up
there (on stage) and say what my problems are. If they
(the audience) applauds my problems, that means
they’ve had them too.
One of Porters favorite topics to discuss on stage is
his problems withwomen.
“One girl wanted me in the worse way possible — as a
friend,” Porter joked. “I think PMS means Poor Man
Suffers.
“I asked a girl if she wanted to go to a party with me,
and she says, ‘I don’t know. Are there going to be any
good looking guys there?’ ”
Porter says he looks forward to performing every
week, but he wouldn’t describe being on stage as heaven
on Earth.
“It’s not quite orgasmic, but it’s a great feeling,” he
said, “After a perfect set, it’s the best. Especially when
people come up to me after shows and say what they
liked.”
Although he’s not famous yet, Porter already has no
ticed that his status as a comedian makes him different
from others. Porter says he prefers people to think of
him as a person first, a comic second.
“If you’re a comic,” Porter explained, “and people
find out, the first thing they say is, ‘Tell me a joke,’ or
Tve gotta joke for you.’
“It’s not like I’m an expert on comedy. I’m not the
funniest guy at A&M. When people ask, ‘Who is your
favorite comedian?’ and I say, ‘I am,’ that’s when I know
I’m good.”
Porter said that his first performance in comedy was
at Fish Camp ’88. He impersonated David Letterman
and was a big hit among the students and counselors.
An hour before his first performance as a stand-up
comic in Houston, three counselors from Fish Camp ’88
came to see him perform. Porter was flattered by the
support.
“I felt I owed something to Fish Camp,” he said.
Porter returned to Fish Camp last summer and per
formed during all four sessions for no money. He ho-
pesto be a Fish Camp counselor this summer.
Porter still has problems being a supporter of A&M
traditions.
“I tried to hitchhike to the bonfire last year,” Porter
said, “Everyone kept driving by, yelling, ‘Gig ’em.’ ”
After graduation, Porter plans to teach for a few
years, but he still wants to perform as a comic.
“I would like to get booked over the summer and
during Christmas,” Porter said. “Ultimately, if things
work out, I’ll dump teaching because comedy pays bet
ter.”
With success in comedy being difficult to achieve,
Porter remains realistic.
“Comedy isn’t going to last forever unless you get a
movie deal with Steve Martin or Mel Brooks,” Porter
said.
‘Of course, that’s my dream.’
One of Porters favorite topics to discuss on stage is said. Jason Portar, a stand-up comedian and a
his problems withwomen. “Of course, that’s my dream.” senior education major at A&M, has been
Nachos! Get your hot dogs! Egg rolls! Pizza!
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Photo by JayJw
performing for several years. His
comic performance was at Fish Camp
By James A. Johnson
Of The Battalion Staff
If the way to a person’s heart is
through his or her stomach, then all
Aggies must be in love — with Food
Services, that is.
Lloyd Smith, director of Food
Services, said the number of dining
facilities on campus has increased
considerably in the last 10 years. In
the early days, Aggies didn’t have
the freedom of choice we enjoy to
day.
Between 1912 and 1979, there
wasn’t much variety for students and
faculty. Only 10 campus sites housed
eating places within those 57 years.
Since 1979, though, that figure has
more than doubled. Currently, Ag-
gieland features more than 20 dif
ferent places where people can ei
ther enjoy a formal luncheon or zip
through one of the many snack bars
available for those who prefer to eat
and run.
“The whole university is in a
catch-up game with campus
growth,” Smith said.
A catch-up game, indeed.
In an average food shipment,
Food Services receives half a million
pounds of hamburger meat, 400 to
600 cases of lettuce and 500,000
pounds of frozen potatoes. Ship
ments are delivered two or three
times a year, depending on demand.
The oldest facility on campus is
Sbisa Dining Hall. Like Elephant
Walk, Silver Taps and Twelfth Man,
Sbisa is another one of those names
so familiar that, when you hear
someone mention it, you can imme
diately identify them as an Aggie.
Along with Commons and Dun
can Dining Halls, Sbisa offers full
breakfast, lunch and dinner meals.
An extensive variety of menu items
are offered at the different food sta
tions in each dining center including
several entree selections, vegetable
and salad bars, dessert choices, fresh
breads, and fruit and beverage lines.
What has lured many people to the
three centers is the second helpings
they offer.
Gena McElyea, a junior recreation
and parks major from Mesquite, said
convenience is what she looks for in
food.
“I enjoy eating dt Sbisa for the
freedom and variety it offers,” McE
lyea said. “I can get what I want —
when I want it. At some places, the
hours suck.”
Although hours vary at different
eating locations, they are scheduled
to meet the busiest hours and days of
each semester, Smith said. He added
that serving hours depend on the
dining hall: what it serves and where
it is located.
The Memorial Student Center
Cafeteria opens earliest on campus
(at 6:30 a.m.) while Bernie’s Place
stays open until 1 a.m. Most other
campus eating places are open from
8 a.m. and 5 p.m.
The MSC Cafeteria, located on
the main level of the MSC, is another
popular facility for students and fac
ulty because of its quick, hot selec
tions and adequate seating space. Of
fering cafeteria-style meals for
breakfast, lunch and dinner, it fea
tures a variety bar and deli. Unlike
similar off-campus cafeterias, it pub
licizes specials every day so frugal-
minded customers won’t lose their
appetite once they reach the cash
register.
Smith said the MSC Cafeteria is
probably the most expensive dining
facility on campus because the cafe
teria offers a wider variety of foods,
which all are served on china.
Rumours, located on the south
side of the MSC, serves gourmet
hamburgers, hot dogs, sandwiches,
Mexican food, snack foods and bev
erages.
No matter what your nationality,
the Underground will have some
thing that will make you feel like
mom is in the kitchen. Located in the
northwest corner of Sbisa’s lower
level, it features Mexican food,
Oriental food, good of American
food, an ice cream parlor, fresh bak
ery items, a deli, fresh salad and
fruit bar, snacks and a variety of
drinks.
Smith said ethnic backgrounds
were taken into consideration when
the Underground was proposed as a
new site.
“You have to please people from
all backgrounds, ethnicities and reli
gions,” Smith said. “We aim the me
nus in many of our facilities to cover
a broad spectrum.”
Another facility which offers a
distinct menu is Bernie’s Place. Lo
cated above the Underground at
See Food/Page 7
‘Back To Future IT offers
action, pleasant surprises
By Todd Stone
Of The Battalion Staff
sequel.
In an era of filmmaking where the sequel fails to del-
viver the quality of the first film, this movie is a much-
elief. It is
Warning: “Back To The Future Part II” should not
be seen until the original “Back To The Future” has
been viewed.
If you haven’t seen the original, you will be lost —
you’ll miss many of the subtle and funny references to
the first film.
Part two is a clever continuation of part one. The
filmmakers of part two begin exactly where the original
ended.
Marty (Michael J. Fox), Doc Brown (Christopher
Lloyd) and Marty’s girlfriend (Elizabeth Shue) take off
into the future (2015) in Doc’s DeLorean time machine
to repair problems for Marty’s future kids.
As they attempt to repair the future, a problem in the
time-line forces them to return to a changed present
and past. The how’s and why’s I’ll leave for the audi
ence to enjoy.
What happens during the rest of the film will be a
pleasant surprise. The plot twists, and clever references
fil
to the first film make this movie a surprisingly strong
needed relief. It isn’t as good as the first, but part two is
definitely entertaining.
With the success of “Back To The Future,” a sequel
was inevitable. Money rules, and sequels keep appear
ing. However, the filmmakers worked hard to put to
gether a great story. The laughs are not as consistent as
they are in the first film, but the plot goes in many wild
directions.
Robert Zemeckis returns as the director and wrote
the story of both films with Bob Gale. Zemeckis keeps
the action going, which makes up for the lack of one-
liners. His vision of the future is fascinating, and the
special effects are fantastic. Zemeckis also brilliantly
uses doubles for the same actor playing two parts in a
scene.
If you liked Michael J. Fox before, there’s nothing in
his performance in this film to keep you from liking
him again. Christopher Lloyd is still amusing as the
sweetly obsessive Doc Brown. Thomas F. Wilson re
turns as the obnoxious Biff, and he adds more flair and
style to his character than the principal stars.
It’s disappointing that Lea Thompson, who plays
Marty’s mother, didn’t have more to do (she was great
in the original movie). However, there wasn’t enough
room with Fox, Lloyd and the creative ideas of Ze
meckis and Gale, so Shue, too, disappears after the first
few scenes of the film.
The ending is left open because there will be a sec
ond sequel. The previews for part three (shown at the
end of part two) suggest that it may be the best of the
trilogy. Both parts two and three were filmed at the
same time. Zemeckis and Gale couldn’t fit their
brainstorming into only two films.
“Back To The Future Part IT is a clever table-setter
for the third film, which is scheduled to be released this
summer. The cliffhanger ending may disappoint you,
but part two certainly whets your appetite for another
sequel.
Bowie collection charms
even devout CD haters
By John Righter
Of The Battalion Staff
Let me start out by saying that
I hate CDs. I hate them because
they are too damn expensive and
because they have single-hand
edly made LPs obsolete. Also, I
have rarely heard a CD that has
sounded much better than the
original recording.
So, to call a spade a spade, I’m
a CD basher, and a quite proud
one, too.
But last week this situation
changed slightly. I was finally
presented with a CD (actually a
whole collection) that was worth
all the hype dished onto the CD
market by record companies and
listeners alike.
Ryko, a Massachusetts-based
firm that is arguably the best CD
company on the market, two
months ago released David Bo
wie’s Sound & Vision collection
(Bowie’s pre-1984 albums are
soon to follow, a la the Beatles) to
great interest and critical acclaim.
Much of this interest was due to
the fact that the collection is the
first smidgen of pre-Let’s Dance
material released for Bowie on
CD.
Because Bowie has been em
broiled in a major legal squabble
with RCA, his early material for
RCA and Mercury (RCA had the
rights to his Mercury material as
well) has been held up for years,
awaiting first a resolution with
RCA (who has been phasing out
his early material altogether) and
then the right company to remas
ter, package and market Bowie’s
fantastic induction into the age of
silver disks.
An audacious endeavor for any
company, the early success expe
rienced by Ryko only pours on
more praise for this tiny Jack-in-
a-world-of-cannabilistic-conglom-
erate-music monsters.
Large collections highlighting
an artist’s musical career have be
come as common as a Who fare
well tour over the last couple of
years, but none have actually suc
ceeded in capturing the essence
of the artist.
Bob Dylan’s Biograph, the first
so-called “box set” released four
years ago, came close, especially
in reference to selection, but any
remastering done for it (if there
was any) was horrible, leaving too
many songs that sounded like
they were recorded in a 4-track
garage.
On the other hand, Bowie's
collection offers a whole new in
sight to his material through the
remixing and remastering alone
For the first time the separation
of each instrument is dedphera
ble, and passive, subdued sound™
effects are finally clear and audi
ble in songs like “Ashes To
Ashes.”
The difference in sound qua!
ity between this collection and his
original recorded material is re
markable, and this includes the
many songs picked from Bowies
three live albums and someunre
leased obscure recordings (aqual
ity the Rolling Stones can’t daiffi
on their dismal box set of earl)
singles).
Every song on the CD sounds
I he collection costs a
steamy 60 bucks, but ever
to this anti-CD reviewer
it’s worth it.
as if it were recorded yesterday
which adds a necessary elemeni
of relevance. Unlike the total
forgetable box-set attempts bf
Jethro Tull and Rod Stewart, Bo
wie’s collection is as applicable tfr
day as it was 15 to 20 years ago.
Sound 8c Vision is split into
four CDs (it’s also available ini
three-cassette package), the firsi
three presenting a 180-minute
plus chronological selection ofal
16 of his pre-Let’s Dance albums
{ jlus a couple of previously unre
eased outtakes and demos, and
the fourth presenting three nei 1
live tracks and a CD-video fot
“Ashes To Ashes.”
Ryko also has taken care to
provide a magnificent package
and a great 36-page booklet
chock full of facts, quotes and
photos. Great effort has beenev
pended all the way through to
provide a clear understandingo(
this legendary performer who is
responsible, among many things
for creating the rock alter-ego
with duo-personas such as Zigg?
Stardust, Aladdin Sane and The
Thin White Duke.
The original demo for “Space
Oddity,” recorded in 1969 as i
duo with former partner John
Hutchinson, a German versiono(
“Heroes” (“Helden”), a psyche
delic cover of Bruce Springsteens
‘It’s Hard To Be A Saint In This
See Bowie/Page 7
ft