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September 09, 1985 - Image 7

Resource type:
The Michigan Daily, 1985-09-09

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The Michigan Daily - Monday, September 9, 1985 - Page 7



Stryper - "Together
As One" b/w "Soldiers
Under Command"
A Christian heavy metal band? The,
medium of Satan and seduction
finally brought to some, gulp, good?'
Sure, why not? And so Stryper,
Enigma's latest experiment, emerges,
on their quest for the heavy metal;
holy grail. Their look isn't exactly'
Kiss meets John Paul II, but 777'
replaces the devil's 666 and "Soldiers
under God's Command" takes the,
place of "Knights in Satan's Service."
Oh yeah, and the name? From Isaiah
53:6 (where else?).
There's plenty of novelty here, but
also a, lot of sincerity. The song,
"Together as One" and "Soldiers Un-
der Command" on the 12" maxi-
single are almost humorously,
spiritual; but after your used to
"phrases like "the Good Book"
followed by thundering power chords
and drumlines, the metal here's as
good, if not better, than any.

"Together as One," for example, is.
a guitar ballad, a tad cliche, with very;
Styx-ish high vocals and even a clean
little guitar solo. What would make a
quaint love song is actually a
testament of faith. And in this new
approach, Stryper finds its true im-
Similarly, the fiery flip side,.
"Soldiers Under Command," draws
heavily from existing metal cliche
like the whole quasi-medieval soldier"
bit, but with a fresher and, dare I say,
uplifting approach. The sound is clean
but powerful; no whiny feedback,!
trashy thrash, just a clean, polished
product. An upbeat song, it packs!
plenty of energy, talent, and even a
ripping guitar solo as faith is,
The key to Stryper isn't that their;
sound is so innovative; in fact, it's
pretty stock metal, just a little slicker,
than most. But in their religious ap-
proach there's a sincerity and;
positivism that's just plain:
-Hobey Echlin

(Continued from Page e)
"Who will save the world?" asked
Hinds at one point in the show, and
proceeded to answer with a series of
guitar solos from Victor Yesufu and
Ronald McQueen. The answer was
simple: Nobody can save the world,
but Steel Pulse can sure tryto make
you think about it by entertaining
The band's strong themes were
matched only be their strong and
technologically advanced equip.
ment. Behind Hinds resonant voice;
drummer Steve Nesbitt utilized a
state-of-the-art electronic drum kit;
providing a strong basis for the
band's powerful sound, especially on
the Pulse standard "Steppin' Out."
Similarly, Keyboardist Selwyn
Brown added haunting touches to
"Ku Klux Klan" with a variety of ef-
fects, from ominous bells to thun-
dering chord back-up to provide a
sardonic touch to the biting social
Strong words demand strong-
sounds. Steel Pulse gave both to they
Michigan theater Friday night.


Paul Schrader's new film, 'Michima: A life in Four Parts,' portrays the life of Yukio Mishima, a prominent
figure in post-World War II literature who courted publicity while remaining an enigma to friend and foes
alike. His flair for the dramatic extended to his own carefully staged death by hari-kari with a samurai sword
at the height of his artistic and physical powers. The film is co-produced by Francis Ford Coppola and George
Lucas and opens in the near future.

Harmless splatter

(Continued from Page 6)
excesses. Hell, I've seen carnival
haunted houses that were far more
gruesome than this, and I think the
howling hordes of adolescents and
post-adolescents cheering this film on
are probably as conscious as anyone
as to how awful it is.
Return strikes me as being the
ultimate summation of the whole gore
!movie industry, it recognizes, uncon-
,sciously - because 'Bannon doesn't
impress me as a very intelligent man
that the appeal of this kind of film is
to that most infantile form of
curiousity, the mild sense of
fascination that keeps you probing a
cavity with your tongue, or picking at

an unheeled scab to see the wet wound
There's none of the bullshit ar-
thouse metaphorical glorification of
violence a la Year of the Dragon, nor
any of the redneck
machismo/jingoism mentality behind
what made Rambo so appealing to the
meathead crowd, here. What we have
here are filmmakers that are the
grown up incarnation of the dirty little
kid in your second grade class who
used to pick his nose and fling the con-
tents at everyone else to get attention
by grossing them out. That doesn't
make foravery appealing film, ob-
viously, nor am I in anyway con-
'doning it, because it's a pretty lousy
riovie. But it's also pretty harmless.

The College of Literature, Science, and the Arts is interview-
ing students interested in working for a fundraising phonathon
calling LS&A alumni across the country. The phonathon runs
five nights per week, Sunday through Thursday, September
,29 through November 21. You work two of the five nights
av~fable each week with some opportunity to work addition-
'a1 nights. Hours: 6:30 - 9:30 p.m.
Pay: $4.00 per hour
LS&A Students Preferred
The University of Michigan is an Equal Opportunity,
Affirmative Action Employer

(Psych. 201, Sec. 006)
YEHUDIT NEWMAN 484-0742 OR HILLEL 663-3336

Talent not
glitz marked
.dance show


By Susanne Baum
w HE TINY, RUSTIC sweat-box
atmosphere of the Performance
Network was the scene of hard-core,
no-technical-frills dance Saturday
night, the kind of dance that with ob-
viously hard-earned technique and
seemingly unbounded energy tran-
scends the need for elaborate lights,
scenery, and sound systems. Unprop-
ped up by fancy performing arts
equipment, the dancers went one-on-
one with the audience. The Friday and
Saturday night performances made
up the Sixth Annual September Dan-
ces concert.
Steve Mann and Laurie Crum in
"Realm of the Heart," with
choreography and music by Barbara
Djules Boothe and Daniel Pinkham,
staged a hot, emotional duet with 17th
century-style harpsichord accom-
The choreography was based on
shapes; the dancers continuously
molded and carved space with their
arms, legs, and torsos. Steve Mann,
an extremely precise and technically
strong dancer, made such clear, in-
tensely visual shapes that they
lingered for a moment as if some act
of creation had been performed.
The next piece, a seductive, slinky
solo entitled "Last Call," represented
a dramatic, but nonetheless enter-
taining, change in style. On came hot
red lights and Laurice "Noonie"
Hamp in a hotter slitted red dress.
The jazzy beat of the music, provided
by "Mr. B," a.k.a. Mark Braun, com-
bined with Hamp's seductive hip
movements transported the audience
back to the days of smoke-filled jazz
nightclubs. It was the kind of piece
where you could sit back, sip a drink,
and let the music and dance carry you
Hamp achieved such fluidity that
one movement seemed to melt into
the next. Her performance was one
long continuous movement: Eye-
cah evening's disappointment was
"Remembrance," a simultaneous
performance of dance and readings
from Antoine de Saint-Exupery's The
Little Prince, choreographed and
read by Kathy Gantz Morse. Morse
was lacking in the sensual, indulging
aspects of dance. For instance, when
she danced to a lyrical, sensual piece
by Emerald Web the choreography
was good but Morse did not fully
,A execute the movements. Flowing,


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