Page 4 The Battalion Tuesday, July 9,1991 Varga finishes Music Fest ’Judgment Day' for Schwarzenegger's 'Terminator 2' Continued from page 3 twangy, however, and overpow ered the delicate melody in the piano. The two demonstrated exquis ite trade-offs in the Adagio, and Tomfohrde exhibited varying tone colors in solo and accompaniment passages. At times, Varga's upper register was too loud, and almost harsh, but when he played piano it was breathtaking, and the final chords floated oft into sublimity. The highlight of the evening was the Dvorak, with violinists Fredell Lack and Albert Muenzer and violist Lawrence Wheeler join ing Varga and Rose. Differences are bound to emerge when musicians from dif ferent stylistic backgrounds come together, but the quintet overcame most of these problems and blended well. The somewhat thin sound of the group can easily be attributed to the hall. Often, strong teaching and strong performing do not go hand in hand, but not so with Lack. Her reputation as oneof the finest teach ers in the country has not adversely affected her playing. Her sound was like delicate crystal, and the phrases silky. Rose maintained constant eye contact with the others (a critical action in chamber music) and he was always sensitive to the others. In the Dumka, his expressive solos were beautiful, and he let the final note linger, which retained the at mosphere. Wheeler is the sort of violist you dream about playing with, and nis solos projected beautifully. He suffered a few slips in intonation in the Dumka, but they can easily be forgiven. The group's unison passages were really unison (a difficult feat), and each person played as both a chamber musician and a soloist. Ritards and dynamics were to gether, and the group's phrasing was delicate. The overall musicianship of this performance was at an all-time high, and the concert was wholly satisfying and impressive. Rock-A-Fellas perform rock'n'soul at Equinox Continued from page 3 board, guitar, vocals), James Kirkpatrick (drums) and Renn Carson (bass, vocals, guitar and keyboard) reunited witn Mann in 1990 to continue playing the rock and soul scene. Part of the Rock-A- Fellas success on stage came from not only a good selection of oldies, but the band's enthusiasm and an obvious love for their moonlight ing job. The Rock-A-Fellas are all- The Battalion Phone: 845-0569 / Office: English Annex Help Wanted Services Visiting Europe this summer/fall? Notes-n-Quotes needs simple research done. Call 846-2255. Spain, Italy, Austria, Greece, Switzerland, and others. Knowl edge of the language helpful. TYPING In Macintosh computer. Laser writer print-out. Done 24 hrs. or less. 696-3892. For Sale Need help deaning residential homes weekdays, 15-20 hours/week. Need phone/transportation 823-4717. Clean my house weekly. Supplies furnished. References needed; $5/hr. 775-4115. 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C.S., shuttle. 693-0551,764-8051. Announcements SCHOLARSHIPSavallablelromprivate sector (to $20,000/ yr.) Call 24-hr. message for details: 213-964-4166 Ext. 88. Roommate Wanted House near carpus need non-smoker, male, $190/mth.. bills paid 696-3884. Lost & Found Continued from page 3 one believes her story. Everyone just thinks she's crazy, even her own son, whom she has been rais ing as a future warrior and leader of the war against the machines. Ten-year-old John is in foster care, but due to his unstable family life, has resorted to larceny to get his kicks. Things are in this sorry state when two visitors arrive from the future, both of them Terminators eager to find young John. T-1000 (Robert Patrick), the aforemen tioned liquid metal hit man, is a new, sophisticated model sent back in time oy the machines to destroy John. T-800 (Schwartzenegger), an identical version of the same basic model Sarah crushed in the first adult John to protect his boyhood self. As Sarah intones in a solemn voice-over, it's just a matter of who reaches him first. Butbeing chased by a killer juggernaut isn't the Connors'only problem. They must also destroy the microprocessor technology being designed by sci entist Miles Dyson (Joe Morton), before he invents Skynet, the com puter destined to start WWIII. The ensuing game of cat and mouse, played as John, Sarah and T-800 attempt to thwart the deadly T-1000, is an unremitting, edge-or- your-seat roller-coaster ride, full of surprises, and guaranteed to leave you breathless and perhaps a bit nervous as you head out to the parking lot afterwards. Filmed mostly in shades of cold, steely blue, 'Terminator 2" presents a familiarly pessimistic view of the future, but tempers such statements as, "It's in your nature to destroy yourselves," with a sly, often wicked sense of humor. Schwartzenegger, ever the Teu tonic wundermensch, turns in an impressive performance as the cy borg devoted to saving John's life. As a machine, his character is lim ited with respect to emotion, but he skillfully deadpans some of the funniest lines in the movie as he trades banter with his pint-sized co-star. Edward shows promise as the beleaguered John, who is des perate for a father figure he can respect and who will spend qual ity time with him. Here, the film makes a kind of ironic comment on the current state of fatherhood. To John and Sarah, only a machine has the kind of unswerving com mitment and dedication needed to be a good father. Like the original, the film also lets Sarah, played sans make-up, get into the thick of the action in stead of relegating her to the side lines as a cowering, helpless dam sel in distress or a mere ornament. No shrinking violet, this Mama kicks butt with the best of them. I hope to see Linda Hamilton, who acquired some major muscles for this role, as the star of her very own action flick sometime in the near future. In the meantime, if you think you can handle it, get thee to a multiplex, and prepare for the action blowout of the summer! American boys, who prefer to per form in blue jeans ana their logo T- shirts. Their past Fourth of July performance at Olsen Field was the perfect setting for their good ol’ rock'n'roll. The Rock-A-Fellas will make you wish for a red convertible Cadillac, headed down a long high way, with huge furry dice hanging from your rearview mirror and Jimmy Buffet's "Margaritaville" blaring in the wind. The show is far from over when the Fat Lady Sings the fat lady sings By Rob Newberry With the rut of dance-pop crap flowing out of the U.K. these days, the Fat Lady Sings keeps my hopes alive that new music isn’t going to get continually worse. In fact. Twist has got me thinking that the state of pop music might not be so bad after all. The simplest, most obvious comparision of this Irish band's debut sound is Hothouse Flow ers. Vocalist-songwriter Nick Kelly sounds so much like Liam O'Manoli it isn’t funny - that's not to say the music is unoriginal; far from it, Kelly's lyrics are more painful and searching, where the Flowers' songs can seem preachy at times. Twist as a collection of Kelly tunes is a statement of searching and longing. Each song de scribes the void created in a person’s life when other people refuse to see an individual as a whole. From "Broken Into" to "Who Wants You" to "Love Turned Up side Down," Kelly depicts the emp tiness of the self-searching and soul-searching of humanity. Several orthe songs from Twist have been previously released as singles while the band was a thriv ing independent in the U.K. Now that these songs have been put to gether for an album, it’s ratner ob vious why the Fat Ladies' have caused such a stir in the English scene. " Arclight" is a song of inspira tion that takes joy in tne fact that humanity can't ever reach a set goal, yet always keeps on striving. In "Dronning Maud Land, " Kelly imagines himself in the "loneliest place in the world" - the song was inspired by Antartica, and yet, the only coldness recollected in the songwriting is the coldness be tween people. "Contact," another of the pre released singles on Twist, cries out for the physical touch between people that is emotionally neces- saiy. Kelly's lyrics are straightfor ward and plain, but when they’re set against the moving accompani ment of the rest of the band, "Give me that contact" rings like an an them. The rest of the band - Dermot Lynch on bass and keyboards, Tim Bradshaw on guitar and several other traditional instruments, plus Robert Hamilton on drums - pro vides a strong, traditionally Irish- folk background to the music, while still sounding full of integ rity and raw energy. The band doesn't feature all the complex ar rangements that some of the Flow ers' songs do - but these guys are a four-piece, and they stick to a four- piece sound all the way through. Kelly’s lyric writing is still the band's strenght. The title cut sums up the frustra tion of empty relationships that are kept alive: "What do I do when the love of you makes me hate myself, and makes me hurt everybody else?" And Kelly doesn’t give many answers; instead of a message- ridden sermon about dealing with life's crises. Twist is a straightforward plea for help in the midst of misunderstanding. Tivist is an extremely intelli gent and exciting album, and one helluva project for a debut. If the show isn't over until the Fat Lady Sings, I know I'll be there scream ing for more and more encores. BECAUSE EVERY AGGIE DESERVES THE BEST... .UNIVERSITY 'COMMUNICATIONS Presents Nerd House by Tom A. Madison Buddy buwbr D6L.60D. BUR.GBR CHum ou me goop BUDDY BURGEe Home 80Y 6UR.GER fllYUGO BURGER. i 8JPpy MEAL *a.85 ; : Am iso mrAL *5.95 : ; feiES Lfl.L99 sm. * .19 DR.INLS f.93 03 * .b3 ! : mOkJLEV B£AIMS *2.45 : i; EAR.THu»c