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THE HIGHEST QU
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Brett Cantin, a Dearborn senior, plots electrical engineering data on a computer in the electro-

* one-day kodachrc
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ple miss the whole college experi-
ence. They have nothing to show
that they've gone to a traditional
college, except that they've gone to
classes."
Shelby takes his Japanese lan-
guage courses in Ann Arbor. He said
he finds his Ann Arbor classes much
more sophisticated, especially in the
lower levels.
"Here students aren't as interested
in the philosophical and hypothetical
as in Ann Arbor. They're looking
for the practical ideas that can help
them in real life.
"Up there (in Ann Arbor) stu-
dents have more of an idea of what
life is really about. Life is not just
work.... The student at Ann Arbor
is willing to say 'what about the
next person' and look at life as a
whole."
Shelby said he considered trans-
ferring to Ann Arbor, as do many
Dearborn students, but he was ad-
vised by Law School counselors in
Ann Arbor to stay because of the
smaller classes that provide a more
personal education.

Taking a different attitude,
Shelby praises Dearborn students for
a "sophistication" different from that
of their Ann Arbor counterparts.
"A lot of students in Ann Arbor
lose touch with reality. Students
here have been going to work.
They've been working for four years.
Recruiters look for that," added
Shelby, who has worked for Ford,
the Wayne County Prosecutors' Of-
fice, and IBM while in school.
Despite many student's the lack
of involvement, there are a few "hot"
issues at Dearborn, yet the issue of
racism is not among them.
"There's going to be racial ten-
sion among some people. But that's
not going to be an issue at the
Dearborn campus," Scharfenberg
said.
Since most students are not on
campus all the time, they are not
exposed to issues of racism as much
as in Ann Arbor, he said. Scharfen-
berg feels that some Ann Arbor stu-
dents come from areas where they
might be isolated from other ethnic
groups.
"I don't like to use the term
'educated in racial harmony', but
maybe we are a little more," he said.

Bernard Sumner, Stephen Morris, Gillian Gilbert, and Peter _ _ _ _ _ _
Hook (clockwise, from top left) of New Order.
aus = = =
New Order fuses past ==n_,X. rn. ET..A
GRN and present for sound DI COY1

M-Th 8am-7pm
F&S 8am-6pm

E
EURIPIDES~

DIAL

A dministrative involvement
in student affairs goes much
further in Dearborn than it does in
Ann Arbor.
Dearborn has had a code of non-
academic conduct since the fall of
1983. Dearborn's code is presently
being revised to integrate issues of
harassment and discrimination, said
Robert Funaro, interim dean of stu-
dent affairs.
When Student Government voted
during its last meeting in January to
deny the Young Socialists Club ad
hoc status as a recognized student
group, Funaro did not hesitate to tell
Student Government he disagreed
with the decision, that he felt was
based on a political difference of
opinion.
Funaro said he will "continue to
verbalize" his opinion and "sit down
and talk with them, to show how
eaders who differ can work differ-
ences out. You don't solve problem
by squelching them."
Dearborn also differs in political
attitude from Ann Arbor.
"It's a very conservative campus.
Very conservative. It's conservative
See Dearborn, Page 19

New Order
Technique
Qwest/Warner Brothers
With Technique, their fifth al-
bum, New Order fuses their pioneer-
ing techno-dance past with the pre-
sent - House music - and arrive
at, well, the present: House music.
Wait! Come back! It's not as bad
as it sounds! This album doesn't re-
ally owe as much to House music as
the lead track, "Fine Time," does.
But then again, "Fine Time" has an
intrinsic relationship to the whole
House subculture. Vocalist/multi-
instrumentalist Bernard Sumner, un-
der the guise of Drugs, stares the
Acid House Nation right in its flo-
rescent psychodummy smiley face
and says, "You're much too young
to be a part of me." Then the vocals
are slowed down, and Drugs
(Bernard) - sounding and acting a
lot like Barry White - starts his
seduction technique, flattering us
listeners with what he likes about
us. "Hey, hey, sophisticated lady!
You know, I've met a lot of crea-
tures, but you've got style, you've
got class, but most of all you've got
love technique," croons Bernard in
slow motion.
House music technology appears
throughout the rest of the album.
For example in "Mr. Disco," which,
like most of the album (surprise!) is
dance oriented, House music occa-
sionally provides some stray sound
affects, placed atop Peter Hook's
easily identifiable bass, Steve Mor-
ris's drums and drum machines, and
Gillian Gilbert's synthesizers which

dominate New Order albums. House
music also gives a music skeleton to
"Round and Round," which sounds
like a 'follow up to New Order's
1987 single "True Faith."
On the other tracks on the album,
New Order does de-emphisize the
House music, and in fact de-empha-
sizes the synthesizers, like they did
on many of the songs on 1986's
Brotherhood. For instance, there's
"Run," which has some guitar parts
that drip that good, old Velvety
feedback sound. There's "Love
Less," with its drum intro copped
from "Love Vigilantes," the first
song on New Order's Low Life
(1985). Then there's "All the Way,"
in which Bernard tells us it's time
New Order was recognized on their
own merit, not on their past as Joy
Division. Paradoxically, it seems the
bass and the airy keyboard interludes
are built upon the Cure's "Just Like
Heaven," which itself seemed like
some underhanded ripoff of Joy Di-
vision's "Love Will Tear Us Apart."
Musical politics aside, New Order
apparently wants us to keep dancing,
but at the same time warns the Less
than Zero Generation against their
hedonistic excesses. The lyrical
theme of "Fine Time" appears later
in the album, on "Vanishing Point."
"Grow up children, don't you suf-
fer/At the hands of one another." By
being so parental and patronizing,
New Order carries just as much per-
ceived earnestness as Lou Reed did
pontificating, "I stopped. You
See New Order, Page 8

1

Tra
Directed I
(Emmy Award-winning s
Mr. De Shields. recent win
ing and visiting Martin Lut
works his creative magic

TAjE

'F

I


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PAGE 18 WEEKEND/FEBRUARY 10,1989

_ WEEKEND/FEBRUARY 10, 1989