Forms are now available for University of Nebraska
Lincoln students who wish to EXCLUDE their name
and/or address information from the 1991-92 Student
Directory. This form is for EXCLUSION OF IN
FORMATION ONLY, no changes can be made. The
exclusion forms must be completed in person in the
Office of Public Relations, 208 Administration Building
before September 20, 1991. Proof of registration or
identity is required for completion._
Is This
What's Standing
Between You
And A Graduate
Degree?
4
13. In the figure above, AB is an arc of a circle
with center 0. If arc AB = 5n and CB = 4,
what is the sum of the areas of the shaded
regions?
.1 . *
(A) 25n - 60 (C) 25n - 36 (E) 10071 - 36
(B) 2571 - 48 (D) 10071 - 48
| STANLEY H. KAPLAN
lake Kaplan Or Take Your Chances
GRR Class Begins Sept. 19
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We offer prep courses for the PSAT, SAT, ACT, LSAT,
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Purchase two years of AppleCanf
and Apple will add a third year
absolutely free!
No matter how you slice it, “2+1” adds up to long-term service
protection for your Apple Macintosh personal computer.
That’s because, now through November 15,1991, Apple is
offering FREE a full year of AppleCare—Apple’s extended service
plan—when you purchase two years of AppleCare coverage.
Whether your Macintosh is in or out of warranty, there’s no better
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That’s what makes “2+1” such a valuable offer. You’ll receive
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McLachlan lyrics gloomy, angry
• • • ■ ' .V
“Solace”
Sarah McLachlan
Arista/Nettwerk
You have to wonder if some people
ever smile.
Sarah McLachlan names her latest
effort “Solace,” titling her songs with
such up-beat niceties as ‘The Path Of
Thoms,” “Mercy,” “Lost” and “Black.”
“Solace,” with its loads of win
some lyrics and overwhelming sense
of melancholy, promises to sound even
better on a winter’s night.
This sad LP is McLachlan’s fol
low up to her happier, near-perfect
1988 debut “Touch.”
Apparently, she must have suf
fered some horrible experience. Like
a nasty succession of rug bums. Or
cold sores. Or recurring bouts with
the stomach flu.
Obviously, it was something as
rotten as smelly apples.
“Solace” is beautiful and lofty —
and at times, quite angry. McLachlan
must have had some reason to write
these songs.
Gentle tunes like “Drawn To the
Rhythm” and “The Path of Thoms”
work the best, drawing the fullest
breadth of McLachlan’s vocal range.
“Drawn To the Rhythm” is simple
and clean, with bagpipe bursts of
orchestration layered over a base of
acoustic guitars and carefully stum
bling rhythms. Likewise, “The Path
of Thorns” is delicately drawn out
and breathtaking. Its melodies drift
ing away as you hum along.
“Black” is the most original com
position, and entirely unhummable.
Strings and keyboards wheeze with
the rhythms, creating an eerie and
mesmerizing effect.
On songs like “Into the Fire” and
“Back Dow Man,” McLachlan is struck
with a definite affliction; it’s called
Sinead O’Connor-itis.
The disease is a nagging one and
keeps rearing its ugly head. The
symptoms are obvious — a high
squeaking voice that cracks at inap
propriate times. McLachlan comes
away with her hair intact, but her
yowling gives rise to a definite case
of the O’Connors.
Luckily, the difference is clear.
While O’Connor whines militantly,
McLachlan only weeps.
— Michael Slock
“Living With the Law”
Chris Whitley
Columbia Records
Getting back to roots rock is to
day’s popular trend in music. While
the cesspool of Top 40 radio is filled
with dancey fluff, bands like the Black
Crowes peddle off old Stones riffs
and are crowned as fearless preserva
tionists of basic rock. Not to slam the
Crowes, but if you want to rediscover
roots rock (and still seem hip and
contemporary), then check out Chris
Whitley’s premier effort.
As far as debuts go, this one’s a
winner. His song structure, vocal skills,
lyrical work and, most strikingly, his
slide guitar pul him alongside most of
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Student Health and Accident Insurance
* All enrollees must be signed up by this date or wait until
2nd semester (1/14/92)
The insurance works in conjuction with your Health
Center fees, so it is important to make sure you have paid
your UHC fees as well. Please contact the UHC Business
Office at 472-7435 for fee information or specific insurance
benefit information.
Dependent coverage is also available, 0uartarl
6/24/91-11/24/91
Sami-Annual’ 11/24/91-2/24/92
Annual* 6/24/91-2/24/92 2/24/92-5/24/92
6/24/91-6/24/92 2/24/92-6/24/92 5/24/92-6/24/92
Sludani Only [j 1340.00 rt $178 oo □ $93.00
Sludani 6 Spouaa Q $1293.00 Q $664.00 □ $336 00
Sludani. Spouaa. A Child Q $1715.00 Q $660.00 □ MO M
Sludani 6 Child Q $762.00 D $393 00 Cl $201 30
Each Additional Ch4d_Q $422.00_Q $216 00CJ $106.30
Payments may be made by check, money order, or VISA/
Mastercard. No cash payments please! You can mail them
directly to GM Underwriters, or drop them by the Business
Office University Health Center.
If mailing your premium, you will need to have it post
marked by 9/24/91. Basic benefit information available 24
hours a day by calling 472-7437.
rock’s lifeless veterans. “Living With
the Law” pulls off an amazing feat,
creating 11 songs that at once burst
with modem production and old-home
charm. It can’t be an easy task to
evoke Neville Brothers sound in one
breath and Robert Johnson blues in
the next. Not too many white per
formers can lay claim to that boast,
but Whitley makes it seem obvious.^
The songs comprising “Living”
were recorded deep in the heart of
Louisiana, and the ipystical, musical
aura that has long surrounded that
state drips off every one.
The title track is probably the best
indication of what Whitley is all about.
It’s a simple bass line, intercut with
Whitley’s sparse guitar picking.
Stripped to its essentials, it would
easily fit right in at some Amarillo
poolhall. But the light graces of key
board wash and brushed snare drum
offset the downright soulfulness of
Whitley’s singing, and the effect is
immediately contemporary. It’s a great
track, and every other song fils the
same description, bringing it under
the New Orleans spell.
This record brings to mind other
artists, definitely, but you’d be hard
pressed to find a performer who draws
from influences instead of just aping
them. Albums like these are a wel
come alternative to the many per
formers who think that going back to
broken amps and three loud chords,
or going acoustic for “MTV Un
plugged” (Ah, who can forget those
touching moments when Winger pulled
out the amp cords...) is a way to get
back to their “roots.”
Chris Whitley has upped the ante
on those morons by using modem
technology fused with economical,
practical smarts to produce an evoca
tive collection of songs that take you
nowhere and everywhere, from dusty
bars to rain-drenched alleys, from Ry
Cooder to the Grateful Dead to Robert
Johnson and back again to your front
porch. You won’t think for long be
fore you conclude that no one does
this nearly enough nowadays.
Whitley encompasses the roots of
all American music, draws from them
and jams straight from the soul.
— Paul Winner
y—yt/—yt/—yt
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