8 - The Michigan Daily - Wednesday, October 27, 1993
Vincent Price, the stage-trained
actor whose gaunt face and voice made
him the perfect villain in such thrill-
ers as "House of Wax," "The Pit and
the Pendulum" and "The Raven,,
died Monday at age 82.
Price died of lung cancer, his per-
sonal assistant, Reg Williams, said
from the actor's home.
A versatile actor who once played
Prince Albeit to Helen Hayes'
"Victoria Regina," Price became
known in his later years as the prince
of menace. He was amused by his
reputation and exploited it by con-
tributing a ghostly voice on Michael
Jackson's hit record, "Thriller." He
also served as the host of the PBS
series "Mystery," presiding in a
musty old mansion.
From the beginning of his film
career in 1938, Price performed in a
wide variety of films, from the sub-
lime ("Laura," "The Ten Command-
ments") to the ridiculous ("Dr.
Goldfoot and the Bikini Machine,"
"Dr. Phibes Rises Again").
His philosophy: "It's awfully easy
to get out of the business. It's not easy
to stay in. I never thought that the
great parts were the only ones you
should do. That's a great mistake,
because there are so many interesting
Price's interests ranged beyond
movies. He wrote several art books
("I Like What I Know," "The
Michelangelo Bible") and wrote
The Boston Musica Viva proves its devotion to contemporary reper-
toire by premiering one new work in every concert. In their Thursday night
concert at Rackham Auditorium, music director and founder, Richard
Pittman, will continue the tradition with the premier "Dead Elvis" by
University composer, Michael Daugherty. Theo Loevendie's "Die
Naachtegaal" (The nightingale) will also be included on the program. In
addition to performances of recent works by living composers, the BMV
will perform one of the greatest works of Igor Stravinsky, "L'histoire du
Soldat," with narration by stage and screen actress, Claire Bloom. The
performance will be held tomorrow night at 8:00 p.m. at Rackham Audi-
torium. Tickets range from $14-$24, $8 student rush tickets are on sale
tomorrow morning at the Union Ticket Office from 9:00 a.m. to 5:00 p.m.,
and at the North Campus Commons next to Little Caesars from 11:30 a.m.
to 2:00 p.m.
No tradition has been more of a staple of Halloween than "The Rocky
,Horror Picture Show." More popular than dumping feces on the Widow
Johnson's front porch or stuffing razor blades in miniature Mr. Goodbars,
this ghoulish cult classic to-end-all has come to represent the epitome of
youthful counter-culturalism. Like Dead Heads, "RHPS" groupies are
among the most loyal, diverse and utterly eccentric weirdoes in America.
Like clockwork, they harness their talents as -transvestites, cannibals and
nymphomaniacs every weekend night at midnight throughout the off-
season - memorizing lines, rehearsing dance steps, yelling witty insults
- until the final decadent celebration, that fabled, licentious gathering:
But for all its accolades and incredible resilience, it's a wonder that the
"film" even got released at all. Based on a quirky British musical stage play,
"RHPS" starred a cast of altogether unknowns: Susan Sarandon, Tim
Curry, Meatloaf -no one had the slightest idea who these motley misfits
were. This was 1975 mind you, and "Bat Out Of Hell" hadn't even been
conceived. What's more, it was a truly horrible film. It was painstakingly
boring and far too weird to attract a mainstream audience. To no one's
surprise, the film's immediate success was minimal. Soon afterwards,
however, "RHPS" got a second chance on the New York midnight circuit.
Slowly, one cuckoo after another started dressing up in drag and buying
The story itself is nothing more than spooky cheese. Young Ohioan
lovers Brad and Janet break down in the backwoods during a rainstorm.
They seek shelter in a nearby mansion owned by the strange transvestite
aristocrat Frank N. Furter. What follows is more silliness -- spooks,
singing, dancing, satire and lots and lots of catchy tunes.
So bring your rice, newspaper and most outlandish costume and get
ready to see the worst movie ever ... yet again. "The Rocky Horror Picture
Show" will be shown at 9:00 Friday, Saturday and Sunday and at 12:00
Friday and Saturday at the State Theater.
Vincent Price died Monday at age 82 after a long and varied career.
about his hobby of cooking ("A Trea-
sury of Great Recipes," "National
Treasury of Cooking"). During the
1960s he served as art-buying con-
sultant for Sears Roebuck, which was
retailing original art.
He was born in St. Louis on May
27,1911, the son of a candy manufac-
turer. His upbringing reflected his
father's wealth: tours of Europe view-
ing great art first-hand and education
at Yale University, where he gradu-
ated in art history and English.
Aiming for a career as an art
teacher, Price enrolled for a master's
at the University of London. Accept-
ing a dare from a friend, he auditioned
for a role in a play, "Chicago" star-
ring John Gielgud, and won it.
He was then cast in "Victoria
Regina," his 6-foot-4 frame and pre-
cise speech fitting him for the role of
the consort prince. Producer Gilbert
Miller heard of the actor's success
and invited him to appear opposite
Hayes in the New York production.
During the 1960s Price appeared
with Boris Karloff, Peter Lorre, Lon
Chaney Jr. and others in a series of
Edgar Allan Poe movies made by
One of his rare later opportunities
as a serious actor came in 1988 with
"The Whales of August," co-star-
ring with Bette Davis, Lillian Gish
and Ann Sothern.
In later years Price appeared in
bathroom-cleanser TV commercials,
as a panel member of "Hollywood
Squares" and as the voice of the vil-
lainous Dr. Ratigan in the animated
Disney feature, "The Great Mouse
Detective." Between film and televi-
sion appearances, he toured in a one-
man show, "Diversion and Delights,"
portraying Oscar Wilde.
Price's marriage to Edith Barrett
ended in divorce in 1948; they had a
son, Vincent Barrett Price. In 1949
the actor married costume designer
Mary Grant. They had a daughter,
Mary, and divorced in 1973. His third
wife was the noted English actress
Coral Browne, who diedin May 1991.
Continued from page 5
Lep's first-ever song, and "From
the Inside," featuring members of Hot-
house Flowers on tin whistle, mando-
lin and grand piano, stand out as de-
partures from the sugarcoated Def
Lep sound of "Hysteria" and are more
experimental in groove and feel. Of
course, the power ballads are also still
here. Two versions of the recent hit
"Two Steps Behind" (one acoustic,
one electric) and two versions of"Miss
You In a Heartbeat" are probably one
too many of each, but then, Def Lep
has never been known for its
minimalism. For the most part, songs
like "Ring of Fire," written with
former producer Mutt Lange, recap-
ture a simplified sound reminiscent
of "Photograph" and "Rock of Ages"
from "Pyromania," arguably the best
work of their career. Thus, for those
who have begun to forget why they
ever liked Def Leppard, this strong,
sometimes surprising walk down
memory lane may serve as the perfect
Shame and a Sin
It takes a man like Robert Cray to
bellow "I hate taxes" and make it
sound convincing. On the Robert Cray
Band's latest release, "Shame and a
Sin," he does just that, turning the
demands of the IRS into occasion for
a rollicking blues stomp. Treading
more familiar blues territory on the
likes of the pained "Leave Well
Enough Alone" and "Passing By,"
Cray lends his distinctive vocals and
sharp guitar work to another ten tracks
of modern blues. While he breaks no
new ground on this release, it is as
solid as folks have come to expect
The flashy Albert Collins steps in
and donates a few riffs toAlbert King's
"You're Gonna Need Me," and the
Miami Horns give excellent support
throughout, but by and large, "Shame
and a Sin" is really Cray's album. He
turns his voice into a brilliant, soulful
instrument on the smooth "Don't
Break This Ring" and takes
songwriting credits for all but two of
the tracks. As always, Cray seems as
comfortable with uptempo pieces
('I'm Just Lucky That Way") as with
slow, burning numbers, such as the
album's closer, "Up and Down,"
which finds Cray deep into the song,
bending each stinging note until it
seems the strings must break from the
if "Shame and a Sin" is not the
surprise that 1986's "Strong
Persuader" was, it is only because
Cray is now an established talent. He
rarely disappoints with his take on the
blues and this record is no exception
to that rule.
"Homicidal Dolls" is the latest
offering from the German duo Arma-
geddon Dildos. It comes complete
with sadistic lyrics, murky themes
and industrial mayhem. Unfortu-
nately, this gimmick-oriented creation
sounds more like the background
music to a Sega Genesis game than a
The lyrics are nightmare provok-
ing. Lines like "Pain / I need your
good head faster / Pain / I want to fuck
and rape your soul" have quite a shock
value, but that's all they have. Also
typical of the album are lines like
"Cold steel penetrates into warm flesh
/ So hard and powerful / So strong the
fight of the bodies / Ifeel the death is
near," ("The Hunter") also cover very
little new ground. It's a wonder that
they put pauses in between the songs
to differentiate them.
Indeed, the image of a smoke filled,
strobe-lit underground club does come
to mind when listening to "Homicidal
Dolls." It is desirable in that respect.
However, there is much more sub-
stantial industrial material available
from groups like Dead Can Dance or
Nitzer Ebb to be explored, and you
don't necessarily have to be under the
influence of some hallucinatory drug
to appreciate their music.
You Hold The Key
If you like easy listening, you
might really like Beth Nielsen
Chapman. Her songs are introspec-
tive yet upbeat, moody without being
melodramatic. The opening songs "I
Don't Know" and "You Hold The
Key," are keyboard-driven soft rock-
ers wherein Chapman, with her
vaguely raspy voice, could almost be
compared to Amy Grant. But
Chapman's never so bland. "In The
Time It Takes," a light mid-tempo
duet with Paul Carrack, steps away
from the typical with a fanfarish saxo-
phone solo. "Dance With Me Slow,"
a jazzy, Broadway type number,
broadens Chapman's sound even fur-
ther. "You Say You Will," on the
other hand, incorporates a bluesy gui-
tar line and recalls the sound of Bonnie
Raitt. Chapman pulls the different
styles together with a background of
synthesizers and an unwavering voice.
Chapman's talent is best displayed
in the ballads of the album. Featuring
the London Chamber Orchestra, "Say
It To Me Now" mesmerizes with its
majestic guitar and piano harmonies.
"Rage On Rage" slows down for a
minimalistic duet between keyboard
and strings to tell the story of an
abusive husband. Chapman's subdued
vocals only emphasize the pain of the
woman she describes. Despite the
heavy topics, though, the overall
sound is light. As both lead and back-
ground singer, Chapman never sacri-
fices the tone of the song for a showy
vocal display. Instead she remains
mellow and lets the songs and emo-
tions speak for themselves. Such
subtlety results in an album that is
both relaxing and thought-provoking
- an overwhelming success.
North From Here
The best way to describe Sen-
tenced and their new release "North
From Here" would be as overblown,
hair-shakin' stinkiness. The band
glad that the lyrics sheet has provided
you with this significant information.
But that's not all! Sentenced inter-.
sperses their speed metal with mood-
setting antics such as sound effects of
wind, snow, sleet and rain. Throw in
a few cellos, a dash of violins, and
Sentenced has served up one big flatu-
lent mess. Yawn.
If you didn't get your tickets for the University's Halloween concert
Sunday night, don't worry, WCBN, 88.3 in Ann Arbor, will be broadcast-
ing the 8:30p.m. show live. O.k.so you may not be able to see the wonderful
costumes everyone will be wearing but all is not lost, a "play-by-play" team
will give clues about what is going on visually. And if you feel left out
because you're not in the crowd, dress up yourself.
CHECK OUT THE LATEST TRENDS IN FASHION DESIGN IN
TOMORROW'S FALL FASHION SUPPLEMENT.
v Ye.'1.+ 1-11 ti 6-. e.