was later reinterpreted by other artists for the covers of I Don't Want to Grow Up (1985), Everything Sucks (1996), "I'm the One" (1997), "When I Get Old" (1997), 'Merican (2004), Cool to Be You (2004), Hypercaffium Spazzinate (2016), and SpazzHazard (2016). Release Milo Goes to College was released through New Alliance Records, an independent record label run by D. Boon and Mike Watt of the San Pedro-based punk band the Minutemen, who were contemporaries of the Descendents. The album sold around one thousand copies locally from its initial pressings. There was no tour to support the album. With Aukerman away at college, the Descendents recruited Ray Cooper as both singer and second guitarist and continued performing locally for a time during 1982 and 1983. They would occasionally perform as a quintet when Aukerman would join them during his return visits to Los Angeles. The band was mostly on hiatus for the next few years while Stevenson played in Black Flag. Guitarist and founding member Frank Navetta quit the band during this time, burning all his musical equipment and moving to Oregon to become a professional fisherman. The Descendents reconvened in 1985, with Cooper on guitar, for the recording of I Don't Want to Grow Up. In 1987 New Alliance was sold to SST Records, who re-released Milo Goes to College on LP, cassette, and compact disc. It was also reissued in 1988 as part of the compilation album Two Things at Once. Reception Milo Goes to College is cited as one of the most significant albums of the early-1980s southern California hardcore punk movement. Steven Blush, author of American Hardcore: A Tribal History, remarked that its "cheeky love songs disguised as hardcore blasts became the most aped formula in rock." In a contemporary review for The Village Voice, critic Robert Christgau wrote: "These fishermen don't kid around about what powers hardcore hyperdrive—not simply an unjust society, but also a battered psyche. When they're feeling bad, any kind of power—money, age, ass-man cool, the possession of a vagina—can set off their anarchic, patricidal, 'homo'-baiting, gynephobic rage. But their bad feelings add poignant weight to the doomed vulnerability of the last four songs, which happen to be their hookiest". Robert Hilburn of the Los Angeles Times called the album "Perfect for the little guy who was ever called a nerd and never got the girl. The chainsaw pop combined with earthy