by Adam King

Daily Cougar Staff

After opening the season with a victory at the Kiawah Island Intercollegiate Tournament in South Carolina, the Houston golf team settled for middle of the pack in the Oct. 11-12 Taylor Made/Red River Classic in Dallas.

The Cougars, ranked in a five-way tie at No. 16 by Golf Week, finished eighth among the talented 15-team field that included second-ranked Texas and No. 3 Oklahoma.

Oklahoma State took top team honors with a 12-under-par 852 at the 6,766 yard, par-72 Dallas Athletic Club, finishing one stroke ahead of Oklahoma at 853.

The Sooners were followed by Georgia Tech (855, 9-under), Wake Forest (862, 2-under), Texas (864, even), Arizona State (867, 3-over), Arizona (873, 9-over) and Houston (883, 19-over).

Texas Christian closed out ninth at 19-over-par 883, and North Carolina was tenth at 20-over-par 884.

Sophomore Dean Larsson’s three-round performance of 67, 70 and 74 led all Cougars and tied Texas’ Justin Leonard for fifth with a 5-under-par 211.

No other Cougar finished below par, which led to the team’s mediocre placing.

Eric Bogar shot a 4-over-par 220 and tied for 30th place. He was tailed by Noel Barfoot (tied 39th, 7-over), Anders Hansen (tied 43rd, 8-over) and Brad Montgomery (tied 57th, 13-over).

Up next for the Cougars is the Oct. 18-19 Fore Tulsa Intercollegiate Tournament in Tulsa, Okla., hosted by the University of Tulsa Golden Hurricane.






by Devor M. Barton

Contributing Writer

"Weird Al" Yankovic’s new album, <I>Alapalooza<P>, is marketed to ride the coattails of this summer’s blockbuster <I>Jurassic Park<P>. Unfortunately, this only serves to emphasize how Yankovic himself is now a dinosaur in the pop music world.

The cover features a T-Rex skeleton with Yankovic’s head within the now-familiar JP circular logo. The first release is titled "Jurassic Park" (set to the tune of Jimmy Webb’s "MacArthur Park").

There is a Red Hot Chili Peppers compilation about the Flintstones titled "Bedrock Anthem," and the liner notes are covered with random lizard footprints.

<I>Alapalooza<P> is supposed to commemorate the ten years Yankovic has been making music. With a little math, one realizes that would put the genesis of his career in … 1983.

Wasn’t that the heyday of Boy George, Abba, Taco, Devo, Wham, etc.?

Unfortunately, while mainstream music has evolved since then, Yankovic’s music hasn’t. It seems as if his career peaked with the release of the album and movie <I>UHF<P>. Following the undeserved failure of his wide-screen debut, he just hasn’t been listening to the muses as well as he could.

The only really good song on his previous album, <I>Off the Deep End<P>, was the inspired "Smells like Nirvana," which was the only justification for the album, as evidenced by its late release date. Today, even with slick production values, his music more annoys than interests all listeners, including those who consider themsleves die-hard "Weird Al" fans.

But the album does emphasize what made Yankovic’s career: the lyrics are hilarious.

"Jurassic Park," while almost idolizing the movie, does make you laugh. "Waffle King" takes an absurd premise and runs with it. And Yankovic can still make fun of things that annoy people.

"Young, Dumb, & Ugly" could be the new Beavis & Butthead theme song. "Traffic Jam," sounding strangely like Prince, sympathizes with everyone trying to drive through rush hour. There’s even a song for the new trend of mime-hating.

The only track where the humor misses is "Achy Breaky Song," which features the music for "Achy Breaky Heart" while the lyrics explain why it’s the worst song ever, a confusing situation at best.

What’s absent from this album is the vocal variations that made "Weird Al" so enjoyable in the past. Instead of emulating the singers he’s parodying, Yankovic whines from song to song, an attitude that is reflected in the music.

Only "Livin’ in the Fridge" (based on Aerosmith’s very recent release "Livin’ on the Edge") maintains the sound that made the original a hit.

But don’t think you won’t be hearing these songs. Now that <I>Jurassic Park<P> has surpassed <I>E.T.<P> in gross profits, expect to hear the "Jurassic Park" single on many radio stations.

"Bedrock Anthem" has the makings of a title track for next summer’s <I>Flintstones<P> movie. And <I>E!<P> Entertainment’s weekly talk show compilation "Talk Soup" does have an identically-titled theme song by Yankovic on this album.

So if you know someone who has a copy of <I>Alapalooza<P>, borrow it and take a listen. It’s good for a laugh, but that’s about it.






by Frank San Miguel

Daily Cougar Staff

It’s very doubtful that you will see a pair of white Jewish boys and think, "golly, I’d bet my bottom dollar that they’re good rappers," but Blood of Abraham is, in more respects than this, the exception.

The Los Angeles-based Blood of Abraham was discovered by Eric "Eazy-E" Wright, who founded Ruthless Records off money he admittedly made as a drug dealer. He put it into a small band called Niggers With Attitude, with history filling in the rest.

While Blood of Abraham may not make the impact of the legendary NWA, it cooks up a heady brew on its debut <I>Future Profits<P>.

The band doesn’t genuflect on vignettes of America’s decay as its mentor. Members Mazik and Benyad debut LA-style by way of Las Vegas and Africa respectively. Instead, it’s more a hip, militant sound.

<I>Future Profits<P> gets started with PO’d songs like "This Great Land Devours" and "I’m Not The Man." "Southern Comfort" is spit in the face of racist attitudes in the deep South ("Send the redneck over/Ka-blam," the boys chant). "Stick to Your Own Kind" addresses the need for unity and harmony in fighting oppression.

"Devils Got No Dap" is a muddled retort to pro-Nation of Islam rappers’ use of the demonic designation for whites. "Nearly every form of evil that we would attribute to the devil is of human creation/Humans of every color," the spoken introduction starts. "Who sells the dope?/Who pulls the trigger?/Who causes the pain?/Who creates the lies and greed?" In fact, it paints issues of exploitation with a brush as broad as a truck, thus taking away from the otherwise fine sound.

Actually, the strong content of <I>Future Profits<P> is even better because the sound is so explosive. Credit must go to Bret "Epic" Mazur, who produced Bell Biv DeVoe and others, for a semiautomatic beat as well as DJ Lett Loose’s snappy sampling. Keyboards squeal in once in a while, but Blood of Abraham generally stays in the old school camp with voice, samples and drums.

"Stabbed by the Steeple," the band’s first single, whacks hypocritical organized religion with funky beats and funny lyrics. "Niggaz and Jews" features Eazy-E and his charges wrecking the place with great skill. Eazy is considerably improved since his debut, <I>Eazy Duz It<P> and the fact that Blood of Abraham can keep up is testimony to its members’ powers.

Like the Disposable Heroes of Hiphoprisy’s 1991 underground hit against gay bashing "Language of Violence," Blood of Abraham is significant in taking hip-hop’s anti-authoritarian and anti-racist roots to a new level – in this instance, against anti-Semitism.

In a hip-hop climate where anti-Semitism is accepted, Blood of Abraham shows courage by telling off anti-Semites while at the same time disrespecting Zionists. A precarious balance, but they do it well.

One of the only annoying things – or the most redeeming, depending on your perspective – is the band’s wide-eyed idealism. The desire for harmony seems strong enough to gloss over some issues, which is disappointing. Nevertheless, Blood of Abraham puts out a positive vibe.






by Ericka Schiche

Daily Cougar Staff

Inhibition, a hat and a species of hominids predating <I>Homo sapiens<P> are the subjects of <I>Thirteen Pictures<P>, a collection of late bassist Charles Mingus’ vintage recordings.

Mingus’ <I>oeuvre<P> includes colorful musical swatches representing just about every genre, from classical to blues to instrumental gospel.

Arguably the finest cut of the two compact disc set, "Cumbia & Jazz Fusion," contrasts the seamier, grittier side of New York City – the concrete jungle – with the relatively uncorrupted nature of the jungle. In this piece, he incorporates the ‘Spanish tinge’, a term coined by Jelly Roll Morton that suggests a Latin American influence. There are drops of Birdland, big band, folk music and Colombian dance rhythms in this musical bucket. He clearly mastered the transition and technique of melding styles.

The Latin percussion, congas and bass carry the work in places, while an oboe, clarinets and saxophones add the sound of a symphonic band gone jazz crazy. <I>Musique concréte<P>, jungle sounds, create an atmosphere in which creaking insects and exotic birds perform nature’s music.

In "Myself When I Am Real," Mingus substitutes the bass with ivory 88s. He addresses internal conflict, lost innocence, cracked facades and pretense.

"Jump Monk," prefaced by a bass intro, was recorded live in 1955 at Cafe Bohemia. The <I>tsssst<P> of cymbals, clapping in sync. Clinking of glasses give it a timeless element only a visionary artist could capture.

In "Haitian Fight Song," the flavor of that French-colonized isle is strong in a piece that focuses not on the poverty of Port au Prince and political turmoil, but, possibly, its golden years. He shifts from his earthy bass solos to an ensemble mode.

In "Half-Mast Inhibition," which includes cellist Charles McCracken’s solo and drumming that sounds like it is played for a regiment, Mingus fuses jazz with Eastern rhythms.

"Wig Wise" is a lighthearted composition that features the dream trio of Max Roach, Duke Ellington and Mingus. Ellington plays the piano forcefully as a member of the group.

"Better Git It In Your Soul" has rhythms rooted in several idioms. Stomping, clapping that recalls the days of Southern black railroad workers of the 1920s and 1930s. Dannie Richmond’s drum work and the wailing vocalist’s shouts of "Oh yes lord, I know" give the work soul.

In "Portrait," Jackie Paris has a voice with such a low register that it sounds at times more masculine than feminine, like the voice of someone who has communed with nature.

The 13-selection recording ends with "Ecclusiastics," Mingus’ answer to those who call jazz nothing more than the Devil’s music. Piano. Sing-songy feel of a sermon shouting connects a synthesis of jazz and gospel elements. Moaning is in the spirit.

Jazz aficionados should say amen when Mingus calls.






by Stori Carpenter

News Reporter

Santa Claus, Christmas trees and candy canes are all part of the holiday season, but don’t forget the Christmas music forever lingering in the background of every shopping mall and home.

Aaron Neville was added to the list of music stars who will be heard on radio stations throughout the holiday season.

That’s right. Neville recently recorded his own Christmas album on A&M Records.

<I>Aaron Neville’s Soulful Christmas<P> gives listeners a combination of the usual sing-a-long favorites and an original, Cajun-flavored song called "Louisiana Christmas Day."

While the album contains many traditional Christmas songs, Neville adds to the sound his sometimes falsetto R&B style and musical diversity that has characterized his career.

"Louisiana Christmas Day," written by Jim Cox, is a hand-clapping, foot-stopping, dance-around-the-fire kind of song about the holidays in a down-home fashion. It’s not the traditional Christmas song, but it’s definitely fun.

"Such a Night," a 1954 rhythm and blues hit by the Drifters, is a love song about a kiss from one’s girlfriend. It’s a playful tune which incorporates the monologue from the holiday standard "The Night Before Christmas" with the song’s R&B.

"The Christmas Song" is sung traditionally, but Neville adds a bit of his own soulful voice to spruce it up from the classic version performed by Nat King Cole.

"You can’t get too far away from the traditional sound," Neville said. "If you do, it takes away some of the spirit.

"The secret is to just put your signature on it; put your heart and soul into it to make it yours," he added.

Although Neville has always been admired in the music business, his career did not rise until 1989, with his duet with Linda Ronstadt on the Grammy-winning song "Don’t Know Much."

For years, he was lead vocalist for the New Orleans-based Cajun blues band The Neville Brothers, composed of Aaron and his brothers Charles, Art and Cyril.

The band, which initially gained a following through its rigorous club touring schedule, peaked with its performance of the theme song to the Mel Gibson and Goldie Hawn hit film <I>Bird On A Wire<P>, as well as for the critically-acclaimed release <I>Brother’s Keeper<P>. Subsequent releases also received critics’ praise, but never received the same recognition as <I>Keeper<P>.

Since then, he has won two Grammys and been off on a variety of solo projects. Neville was voted top male singer in the <I>Rolling Stone<P> critics’ poll in 1989 and 1990.

Both Neville fans and Christmas music fans will want to add this album to their collections.






by Andrew Nicolaou

Daily Cougar Staff

Some people would say that country and punk rock are at completely different ends of the musical spectrum. It’s almost a sure bet that Jay Farrar and Jeff Tweedy of Uncle Tupelo would disagree with that assertion.

The band’s latest release, <I>Anodyne<P>, may well be it’s most well balanced album to date. <I>No Depression<P> and <I>Still Feel Gone<P> were frenzied attacks of swirling guitars that betrayed the group’s love for the meager amounts of punk that reached Farrar and Tweedy in the small town of Belleville, Ill.

The next step for the band was the Peter Buck-produced <I>March 16—20, 1992<P>, a record dripping with country-folk tunes, sharp jabs at the United States’ capitalist system, and running over with superb songwriting.

Last year saw Mike Heidorn, the band’s drummer since its inception, leave the group to care for his family. Enter Ken Coomer, formerly of Clockhammer, who toured for a short while with Uncle Tupelo before participating in the new recording.

<I>Anodyne<P> finds Uncle Tupelo seeking a middle ground between the electrified attack of <I>Still Feel Gone<P> and the softer, but by no means less urgent, rallyings of <I>March 16—20, 1992<P>.

In a sense, the band has taken the country edge of their last album to its next logical step. Farrar and Tweedy have said they are currently listening to old country, such as Buck Owens and Merle Haggard. Those influences are readily identifiable throughout most of the band’s major label debut.

Backing musicians like Lloyd Maines, Max Johnston, and John Stirratt provide a pedal steel guitar, a fiddle, a lap steel and a mandolin that add texture and depth to the band’s country inspirations.

For a bunch of guys who used to hang out and listen almost religiously to such groups as the Ramones and The Clash they put Garth Brooks, Brooks and Dunn and all of the other superstars of "new country" to shame. This is the real thing, but chances are that no song from <I>Anodyne<P> will find airplay on a country station.

The Doug Sahm cover, "Give Back the Key to My Heart," may be the finest of the country songs on the record. The band is joined by Sahm himself, and his gravelly voice is a fine complement to the group’s nasally twang.

While "Heart" is perhaps the best of the country songs, the others are certainly no disappointment. "Slate," "Acuff-Rode" and the title track are all very impressive.

Don’t be lulled into thinking that the country-folk thing is all Uncle Tupelo is thinking of these days. The album mirrors the band’s live show in that there is a smattering of fierce electric breakouts and angry acoustic outbreaks.

Tracks such as "The Long Cut," "Chickmauga" and "We’ve Been Had" all show the same intensity that can be found on <I>Still Feel Gone<P>. Part of this is the product of a good decision concerning <I>Anodyne<P>’s production. The entire release was recorded live with a complete absence of overdubs.

The wisdom of this decision is obviously – its electric moments are suitably raw while the acoustic moments never seem underfed.

While <I>Anodyne<P> gives several hints to the direction the band is taking, it also prompts several questions. How did a band proud of its socialist tendencies end up on a major label? How did the band bridge punk rock and country? How did it get so good without people noticing?

The answers really don’t the matter all that much. What does matter is that Uncle Tupelo has managed to make a diverse album that refuses to allow the variety of its music to detract from the whole.






by Rivka Gewirtz

Daily Cougar Staff

UH presented it's sketches for the new music building to the Board of Regents, Facilities Planning and Building Committee.

The committee is collecting information to present to the Board of Regents which must approve the overall plan.

The building, which is expected to cost $18 million in total, will be located directly west of the Fine Arts complex. The expected annual operating of the new building is $727,000.

The band program will also move into the new music building, and the current band building will be demolished.

When the new building is constructed, the recently combined sculpture, ceramics and metalsmithing program will move into the space that the Music Department now takes in the Fine Arts building. The 3-D arts building will also be torn down. UH President James Pickering says the money that was used for the upkeep of the other two buildings will help pay the bills in the new music building.

One side of the new building will have an entrance facing Cullen, while another entrance will face the campus plaza. The front entrance will serve people who are attending the 800 seat auditorium that the building will hold. Academic classrooms and practice spaces will be housed on the campus side of the building.

The auditorium, which has a full sized performance stage, will be used for operas, theater productions and other musical shows.

If the Board of Regents approves the plans, bids for construction will be received starting in April 1994. Construction is scheduled to begin May 1994, department move-in will start in December 1995 and full usage of the facility will begin in January 1996.

Associate Director of Art James Gardner said the board is likely to to approve the proposals. He added that they may ask for a few changes.

After the hour-long presentation, the regents made only one complaint. Regent Beth Morian said the color of the bricks the architect planned to use are not light enough. Regents Zinetta Burney and John Moores agreed that the bricks were unattractive.

Gardner said that the bricks are slightly different from the ones used on other campus buildings. He said the regents think the color of the bricks are "a disastrous bore."






by Yonca Poyraz-Dogan

Daily Cougar Staff

The seventh annual U.S. News and World Report survey ranked UH 131 academically out of 204 four-year accredited national research universities and more than 2,500 four-year institutions nationwide.

Student selectivity is one of the five criteria that the magazine used to rank the schools. UH scored 89th in this category.

UH is ranked 172nd for financial resources, 196th for graduation rate, 143rd for faculty resources and alumni satisfaction.

In order to determine student selectivity the magazine used acceptance rates in the fall of 1992, the enrollees’ high-school class standings and either the average or the midpoint combined scores on the Scholastic Aptitude Test or the American College Testing Assessment.

The acceptance rates and the average test scores are misleading for students, said Gerald Osborne, assistant vice president of the Counseling and Testing Service.

SAT/ACT in the 25th-75th percentile scores, (860-1090 at UH) are the best indicators for students to understand both the schools’ requirements and their own standings, he said.

The 25th-75th percentile represents the lowest and the highest scores for 50 percent of the students who were tested, he said.

The estimated midpoint, which is 975 for UH, provides the score in the middle, not the average, he said.

However, average scores contain fluctuations of extreme scores, he said. Osborne also said acceptance rate, which is 60 percent for UH, can vary depending on the admission standards.

Glenn Aumann, senior vice president for Academic Affairs emphasized the concept of the access to education in the United States.

"What if all of the universities in this country cost you $20,000 a year to attend? What if you had to have a grade point average of A minus coming out of the secondary school? How many students in this country would have access to higher education?" he asked.

Aumann said in order to provide educational opportunities to a broader range of people, the country has to have a wide range of institutions.

"We will never aspire to have the admission standards of Rice University. We will not lower our standards. Our admission standards are not much different than that of UT’s or A&M’s," he said.

According to the survey, 86 percent of Rice’s freshmen were in the top 10 percent of their high school classes. SAT/ACT 25-75 percentile is 1257-1471 at Rice, which is ranked 14th nationally.

"The more dollars you have, the more students you can attract with scholarships," said President James Pickering.






by Tanya Eiserer

News Reporter


Sounds of Caribbean, Chinese, and Mexican music reverberate from the the walls of University Center as students mill around tasting foreign dishes.

About 1,500 people came to Wednesday’s International Student

Organization Food Fair. Each semester since the 1970s, the food fair has been a popular campus event.

Walking into the UC, the tantalizing smells of Filipino pancit, Mexican tacos, Korean egg rolls and other international foods filled the air. Crowds of people roamed about from one booth to another trying foods from such places as China, Japan, Barbados and India.

"I think everyone is showing a spirit of cooperation," says Hatim Abu Sineina, president of ISO. "It was a nightmare because at 8 a.m., we decided to bring it in here."

Ten judges, including students and faculty, evaluated the organizations’ booths on their promptness, hospitality, native costume and decoration.

On the upper floor of the UC, the Pakistan Student’s Association, which won first place, built a tent-like structure, where women dressed in silky, embroidered native costumes served food.

"I like to represent Pakistan. People have a pretty big misconception of us. I want to show them what Pakistan is really all about," says Henna Mumtaz, a pre-law freshman, said.

The Indian Student’s Association took second place. The students had set up an elaborate representation of a Indian wedding. A bride, dressed in traditional garb, waited for the groom to arrive.

"Thread is tied around the bride and groom, and they walk around the fire seven times. This means they are now married," Vaishali Mawar, a senior marketing major, says. ISA plans to donate the proceeds from the fair to the victims of the recent earthquake in India.

The Muslim Student’s Association won third place. Their table was decorated with the dome of a mosque and with the five pillars of Islam.

"Our purpose is to explain to non-Muslims what our religion is based on. We are selling food, but it is also an invitation for non-Muslims to learn about us," says Amad Shaikh, the group’s general secretary.

About half the food is prepared by students, and the rest is donated by local ethnic restaurants, says Seneina.

The sights and sounds of the food fest almost seem to place the campus in some faraway place where peddlers stand on a busy street corner hawking their food wares to passers-by.






by Adam King

Daily Cougar Staff

From head coach Kim Helton’s perspective, things are definitely not looking up for the Cougars.

After working out the team Wednesday at the Astrodome because of inclement weather, Helton returned to his office shaking his head from side to side.

It might have been because starting fullback Tommy Guy twisted his left ankle during practice and is questionable for Saturday’s game against Southern Methodist.

That’s not good news for Houston, which has already lost running back Lamar Smith for the season with a dislocated shoulder. TiAndre Sanders, the original fullback, was moved to running back. And with Guy apparently out of the lineup, 5-11, 232-pound sophomore Bobby Rodriguez steps into the starting fullback role for the first time this season.

The good news is receivers Daniel Adams and Sherman Smith should return healthy in time to face SMU, which bolsters a sadly depleted receiving corps.

The unfortunate news is that with the loss of Guy and Smith, the transformation of Houston’s offense to a two-back, pro-style set from John Jenkins’ run-and-shoot, which Helton desperately wants, will be delayed.

"We went to two-back because we thought TiAndre and Lamar were two of our better players," Helton said. "Now that we have Daniel Adams and Sherman back, we have to look at the four-wideout set again.

"We’ll go out there and practice it tomorrow. At some point, you have to bite the bullet and say this is what we have to do."

Another area of concern – and a rapidly expanding part of the injury list – is the defensive backfield. Right corners Alfred Young and John H. Brown are listed as doubtful. Left corner Dedrick Mathis could see some action Saturday but will most likely be limited.

"If we lose a defensive back, it’s going to be very difficult," Helton said. "We’ll have to play zone and hope (the SMU quarterback) misses a throw. We certainly have some limitations right now."






by Kevin Patton

Daily Cougar Staff

Students will soon have an opportunity to learn more about the practical aspects of the law.

On Oct. 23 and Oct. 30, UH law professors and Houston attorneys will teach public law classes free of charge. Titled The People's Law School, the sessions will provide a basic legal education to the general public in both Spanish and English.

"The purpose of The People's Law School is not to teach the law on an academic level, but to provide a great deal of basic knowledge so that people will know what to do when confronted with problems involving the law," said Richard Alderman, founder of the People's Law School.

Thirty-five lawyers and 50 UH law students are scheduled to teach and organize the event. The Harris County district attorney, the U.S. federal attorney, six judges and six UH law professors are among those teaching the classes.

Each student can choose to attend sessions from three of nine categories, ranging from criminal law to insurance law. Each session will consist of three 45-minute periods.

"I don't know of any program that has done anything of this magnitude," said Alderman.

Alderman said he is considering enlarging the class sizes from 300 to 350 in order to encompass the large demand for classes. The first week the

class was announced, there were over 1,000 requests for applications. The original 600 places have been filled.

"I hope this will be used as a model. It is somewhat unique. Through my contacts it was easy to set up," said Alderman who appears regularly on Channel 13 to give general law advice.

The People's Law School is a joint effort of the UH Law Center's community outreach, the Houston Bar Association, KTRK Channel 13, and KXLN Channel 45.






by Manuel Esparza

Daily Cougar Staff

There's still that buzz. Emitting more noise than early Jesus And Mary Chain, Medicine is back with their shattering sound on<I>The Buried Life<P> .

Refining the art of feedback, Brad Laner and gang take the approach that noise is good. Again the opening strains of the disc seem to be a swarm of bees, but this time it takes only a few seconds to get to music rather than minutes as it does on the debut disc.

If noise is good then more noise is better.

Static, much like guano, is useless, but when properly treated it can create fertile ground. By unburdening themselves from the popular views on 'alternative' music and current thinking in industrial music, Medicine is approaching music from a different angle.

The discord is not displayed as a gimmick nor used as diversion to hide lack of talent. It is integrated as one would integrate drums or keyboards. Technological minimalists, the band uses a wide variety of tools, from untuned radios to toads to make the wonderful sounds without digital effects.

After the tsunami of feedback washes out, the second most striking feature of Medicine's sound is Beth Thompson's voice. Sweet and measured, it almost doesn't fit in with the rest of the music. But with subsequent listenings, it becomes apparent that her voice is perfect for what the band wants to achieve. The real improvement is that she is now audible over the instruments.

With all these sounds battling to be heard over the entire album, the best cut is "Something Goes Wrong," the one where everything is subdued. Everything is understated, from the slow beat to the static ridden leads. It is one of those slightly melancholy ditties that grabs attention like a man crying in his beer. Amazingly, Medicine flirts with pop on this tune. Thompson and Laner's duet is the perfect touch.

On the pure noise front, "I Hear" is a treat (or torture). Thompson's mournful singing barely contains the monster wailing on the guitar that is bent on trying to swallow her. Rising and falling in seemingly random patterns are various instruments that take turns producing sounds that are very close to music.

Segues often consist of one song rear-ending the next and no song is complete unless there is some fuzz in it. There are two instrumentals which might be just experiments on microphone sensitivity. Unfortunately these drag down the very original work on the rest of the album.

On the debut<I>Shot Forth Self Living<P>, Medicine put out some very shocking and fresh material. The band continues to explore that vast and underused venue of sounds that don't require microprocessors in <I>Buried Life<P>.

The departure of bassist, Eddie Ruscha goes unnoticed. Replacing him is the mysterious He Goak, who was reportedly deported after the recording.

It doesn't really matter who plays with the band, especially when there are so many guest musicians, as long as Medicine keeps putting out music that is well ahead of the pack.






Ivana Segvic

Daily Cougar Staff


Stormy relationships may lead to more than broken hearts.

Many times the pain can be more severe, showing itself in forms of bruises, blood and death. Some women fear the end of the work day, knowing that soon their husband or boyfriend will be home.

Living in that world of fear is a fact of life for many women.

Battering of women is the most under-reported crime in America – as indicated by Federal Bureau of Investigation Uniform Crime Reports.

A battering incident occurs every 15 seconds. Men commit 98 percent of known battering assaults. In 1989, the FBI reported more than 4,000 women are killed each year by their batterers. Many thousands more are physically, verbally or mentally abused.

Houston Police Department statistics indicate of the 72 female homicide victims (in Houston) in 1992, 22 were killed by their husband or boyfriend – three were killed by another family member. In that same year, the Women’s Center hotline received more than 30,000 calls.

Battery can lead to a woman’s isolation, low self-esteem, depression, an increase in alcohol or drug abuse, emotional problems, illness, pain and injuries, permanent physical damage … or death. The effects of battering lead to social problems too. It is the cycle of violence that increases crime, legal, police, medical and counseling costs, and decreases the quality of life.

Caryn Ross, the education coordinator at the Houston Area Women’s Center, says a woman should consider anything that hurts her physically or emotionally as abuse. Ross says women stay in abusive relationships for many reasons. "They are afraid to get out because of threats that they, their children or their relatives will be hunted down and killed. Another reason is they are in a relationship and they may really love the person. That person can be loving and sweet an promise to never do it again. They cling on to this," she says.

Women may also be dependent on the batterer and, therefore, stay for economic and practical reasons, Ross says. "If they have children, they may not be able to support them and afford day care. If their partner provides for them, they are afraid to put him in jail. Even if they work, they may not have access to their own funds. They just hope for a change," she says.

Many women wonder why some men abuse. "There are multi-faceted reasons. Men are raised to believe that they are in the position of power and privilege. Many times they believe this justifies the abuse. These attitudes prevail in our society. It is in our society that men have more power than women. When they believe that their position is challenged, they have to demonstrate their power and therefore, the abusive behavior," Ross says.

Women being abused have many places to turn to. Going to a shelter is one option. "They can also go to a friend or family member the abuser does not know about," she says. The most important step is the first one – to tell someone.

Free services in the community can easily be located. Houston has a variety of shelters, counseling centers and rape crisis offices to aid the abused …

and the brokenhearted.

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