BONFIRE ’88
pictures
tu SCOREBOARD ’88
pictures
The Fish Drill Team will be
Selling 8x10 pictures of:
• Bonfire ’88
• tu Scoreboard ’88
• 5 in A Row Scoreboards
Pictures for sell In the MSC
Monday, March 6 thru Friday, March 10
Spring Break for Sale
Page 12 The Battalion Wednesday, March 8,1989
Bush decides against settling
Eastern strike by intervention
WASHINGTON (AP) — Presi
dent Bush on Tuesday virtually
ruled out intervening in the Eastern
Airlines strike, saying “man-to-man
negotiation” is preferable to a gov
ernment-imposed settlement.
While he didn’t flatly rule out
stepping in to end the walkout, Bush
said his policy “will hold firm” de
spite pressure in some congressional
quarters to force him to act.
Fielding questions for more than
40 minutes in the White House
briefing room, he insisted that
“there isn’t malaise” in his adminis
tration because of the drawn-out
fight over confirmation of Defense
Secretary-designate John Tower.
“A lot is happening,” the presi
dent said. “Not all of it good, but a
lot is happening. . . . We’re on track.”
Bush defended his chief of staff,
saying John Sununu, the former
New Hampshire governor, knows
his way around Washington and is
doing his job well. Bush said he has
“total confidence” in Sununu.
Bush noted that Tower has
pledged not to drink a drop of liquor
if he gets the job and told his nation
ally televised news confreence,
“You’ll have 25,000 people in the
Pentagon making sure that’s true.”
The president said his backing of
Tower against Democratic opposi
tion in the Senate “isn’t iron-willed
stubbornness; it’s a question of fun
damental principle here.”
The president had spare time in
HTn^cHsiv ir»_
news conference statement to “res
tate my belief that free collective bar
gaining is the best means of resolv
ing” the strike.
He exhorted Eastern manage
ment, the Machinists union and
other unions to conduct “head-on-
head, man-to-man negotiation” and
said he thought that would be “bet
ter and more lasting . . . than an im
posed government settlement, which
could cause the airline to totally shut
down.”
On other subjects during the
more than 40-minute question-and-
WASHINGTON (AP) — The
Bush administration will replace
Alan C. Nelson as head of the Immi
gration and Naturalization Service,
an administration source said Tues
day.
Attorney General Dick Thorn
burgh, who recently received a de
partment audit that criticized man
agement and operations of INS, is
searching for someone to take over
the agency, said the source, speaking
on condition of anonymity.
The source confirmed a report in
Tuesday’s editions of the Los An
geles Times that Nelson would be
rw~»t oc T M Q r-rv ice t rt
answer sesion, Bush said he woul
like to see Palestine Liberation Orgi
nization Chairman Yasser Arafe
“speak out” against raids that ha\(
been carried out by Palestinian guei
rillas against Israelis in southei;
Lebanon.
Bush said he hoped these ino
dents would not jeapordize Ui
talks with PLO representatives be
said he thought that Arafat shouli
“forthrightly condemn any terroi
that might be perpetrated by the Pi
estinians.”
1986 immigration reform law, whiti
provided for massive amnesty fori
legal aliens.
INS became embroiled in a mm
ber of lawsuits charging that it mi
improperly making it difficult fori
legal aliens to obtain legal status ut
der the new law.
The justice Department aui
completed two weeks ago, cited INS
for its failure to conduct backgrourt
checks on many applicants for cii
izenship and found that 23,000 vain
able naturalization certificates hai
been lost by the agency’s Miami re
gional office.
President intends to replace
immigration head, source says
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Julian Cope
Cope still fails to
set himself apart
By Jeff Clark
■ The Signal
Georgia State U.
Julian Cope is a puzzling case. His
polished psychedelic pop breaks no new
ground, but all of his albums, both his
solo works and and those with his for
mer band The Teardrop Explodes, con
tain some memorable songs.
Cope is so obsessed with his idols that
his music practically screams out
“Doors! Stooges! Bowie!” That in it itself
is not such a bad thing; in fact, almost
every neo-psychedelic band around has
the same habit. But Cope’s version is
seeping with incompleteness — an in
sincerity that effectively flattens his
overreaching intentions.
My Nation Underground is Cope’s
first record since 1987’s St. Julian, by
far his best album. While Underground
is more conventional musically, it lacks
the cohesiveness and bouncy enthu
siasm that made St. Julian click. Only
two numbers really stand out: his cover
of The Vogues’ “5 O’Clock World” and
his own “Charlotte Anne,” which is re
petitious but “haunting.”
Both of these tunes sound great on
the radio, although the latter is marred
by Cope’s hokey poetry. Julian would
probably be better off if he exorcised a
few of his role models. Until he sheds
the image-obsessed shell, he’ll amount
to nothing more than a forgotten blip on
the ’80s and ’90s music scene.
MlUlS
C
Dead : A handful o’ nuts
By Mark Piorowski
■ The Cavalier Daily
U. of Virginia
I know it’s the queers Stuart / They’re
in it with the aliens / Building landing
strips for gay Martians.
— The Dead Milkmen, on “Stuart.”
Middle America, beware. The Dead
Milkmen are back with a new album,
Beelzebubba, which targets one of this
Philadelphia-based band’s favorite pet-
peeves: the paranoia, closed
mindedness and general ignorance that
they consider the dominant traits of
many bucolic Americans.
Lead singer Rodney Amadeus Anony
mous and Co. paint a frighteningly au
thentic portrait of rural hell in a wild
collection of 17 songs. He dusts off his
best white-trash accent in “R.C.’s
Mom,” a stinging indictment of macho
stupidity in the land of trailer parks:
I’m gonna beat my wife / I’m gonna beat
her with a lead pipe / I’m gonna beat her
with a two-by-four.
But Beezlebubba doesn’t just lambast
middle-American morons. It also cele
brates the anarchy that arises out of the
boredom of youth. Following this vein,
“Punk Rock Girl” is musically the best
cut on the album, and one of the most
entertaining lyrically: We got into her
car and then we started rollin’ /1 asked
her ‘How much did this cost?’ / She said,
‘nothin’ man, it’s stolen.’
Musically, Beelzebubba is somewhat
monotonous. Many of the songs, with
the exception of “Punk Rock Girl,”
sound remarkably similar. However,
the essence of The Dead Milkmen is
found in their creative and subversive
lyrics. The music is, for the most part,
an added bonus.
Milkmen fans who were afraid that
the band had reached its peak with its
last album, Bucky Fellini, have nothing
to fear. Beelzebubba is the Milkmen at
their very best and their very worst. For
them, that’s pretty good.
Listen up — The
Dead Milkmen let loose
some dairy diatribe for
America on their
newest album, Beelze
bubba. From
left to right: Rodney
Amadeus Anonymous,
Lord Maniac, Jasper
Thread and Dean
Clean.
SOUNDbites
The Violent Femmes
Violent Femmes
3
I gel nervous whenever a great band
comeback, because greatness, especially
music, lends to be transitory And Ihe Viol
mes were a great band even Ihough II
recorded a great album The Violent Ferni
great because they took chances, and when
home, they hit harder than almost anyone else, 0'
ing their energy from Gordon Gano's inner coni
he is half preacher and half snot-punk—Ihe
attacked with savage abandon and an impish
The most surprising thing about the newaltt
its consistency. On previous records, Ihe Fee
ever stomped the same ground twice. It I
furious energy of the earlier stuff, but it’st
embarrassment. They handled the production If-
selves. Guitars sling, drums sound solid and te gy j an
whine pierces without grating.
There's cynicism and compassion here, along*' p
■ emerous helpings ot the humor that rescued so itp Oameron
f emmes songs from sell indulgence: /hopeyot;
lal cause ilyou really got tat/you just mightu
come hack and see me
It their music has lost a little bite, it has gate:'
< w confidence. If the songs lean a lot closer lote
than punk, it's because Gano has always Itadi '
more in common with Johnny Cash than Jot' 1 ,,
Rotten. 3 might not be challenging, but itisente 00 ^ e
lonely and a lot of fun Angst for grownups iGla
Hirshberg, The Montana Kairnin, L.;
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A thrill
Motorhead
No Sleep At All
What could be better than a vicious
tion ol heavy metal power? How about a kw
glomeration of heavy metal power? And
heavy metal, but Ihe thrashing speed-metal ol Mole
head. Formed in 1975, Motorhead
numerous personnel changes, but their
always been the battling guitar and screaming« more rest
sound that resulted in several U.K. top-five ate;
and top-30 singles. No Sleep At All is a run ttipf
the band's past hits. All 10 tracks on the albumte :
the same manic beat and the melodies and gie
work boast a rigid uniformity. Highlights include"
driving power ot "Built For Speed" and “Qveif
■ Jim Morgan, The Daily Pennsyl»
nian, U. of Pennsylvania
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°Ut one,
It’s
Old style may be history, but Rush still rocks with best
By C. Fredrick Lathrop
■ The State News
Michigan State U.
Since its debut album in 1974, Rush has
become perhaps the premier arena rock
attraction in music history. The band’s live
shows are always well-received, and the
sheer musical brilliance of Geddy Lee, Alex
Lifeson and Neil Peart takes on an even grea
ter dimension in a concert setting.
The outstanding element that exists in
Rush’s first two live albums, 1976’s All The
World’s A Stage and 1981’s Exit. .. Stage
Left, is an incredible sense of timing — both
were released at critical points in the band’s
career, when it was on the verge of a drastic
change in musical direction.
Since 1981, the band’s collective musical
vision has taken it in a direction not always
appreciated by fans and critics. Rush has
now become the ultimate high-tech band,
smoothing out its previously aggressive styl
ings in favor of synthesizers and state-of-the-
art electronics.
It is this side of Rush that is presented on
the new double-live A Show Of Hands.
Although difficult to do, it is important to
disregard Rush’s past when weighing the
merits of this album. The days of “Free Will”
and lengthy conceptual pieces are gone. This
is what Rush does now — exceptionally well.
The most striking aspect of this album is
the incredible sound quality. Lee’s bass and
pedals come through the speakers with a
substantial, but not overwhelming, amount
of muscle, particularly when he latches on to
Peart’s drums. Lifeson also makes his pre
sence felt, slashing his way through the mix
with sharp, metallic guitar lines.
Musically, there are some exceptional mo
ments and few disappointing ones. The band
engages in some breakneck jamming on
“Marathon” and “Mission,” displaying ele
ments of tightness and adventure not found
on the studio versions. Lifeson cuts loose on
one of his more impressive solos on “Turn The
Page,” which is also better live.
It’s a shame that Rush’s recent albums
have been given the cold shoulder by fans.
Rush shouldn’t be penalized for exploring
new avenues. A Show Of Hands is a must for
anyone who appreciates amazing sound and
incredible talent, not those who insist on
dwelling in the past.
Steady Rush lineup: Neil Peart, Alex Lifeson and Geddy Lee.