8 - The Michigan Daily -- Tuesday, November 15, 1994
REGISTRAR'S BULLETIN BOARD
Registration Schedule - TOUCH-TONE or IN PERSON
November 16, 17, 18 8:00a.m.-5:00p.m.
Nov. 21 thru Dec. 9 8:00a.m.-5:00p.m.
(except weekends and Nov. 23-25)
Registration by appointment for Graduate
and Professional students
Registration by appointment for
undergraduate students
The exact appointment time and registration location will be printed on the Student Verifica-
tion Form. Students will be asked to register according to the following priority group
sequence:
Group I
Group II
Group III
Group IV
Group V
Group VI
Group VII
100+ credits
85-99 credits
70-84 credits
55-69 credits
40-54 credits
25-39 credits
0-24 credits
Group I will register first followed by the
remaining groups. Registration times are
assigned randomly within each group.
Seal's live show is drained of life.
By MARK CARLSON improved by the time he reached his third song, "New-
The beautiful vocal stylings of Seal are an amazing born Friend," a more upbeat song also from his latest
thing. Unfortunately, they weren't enough to pull his live album.
show into greatness last Saturday evening at the State The fact that Seal's songs are not easily translated into
Theater. Many things contributed to the lack of excite- a five-piece band format became clear on the next song,
ment at the show. including poor sound mixing, a lack- "Kiss From A Rose." This is a song that has been de-
luster band, bad arrangements and an aging, yuppie scribed as "love made audible," and the live arrangement
crowd. involved some sort of slow, driving dance-beat. It simply
The show did not fit the song. Of course, Seal's vocals were stron4
C -N=ER started off well as ever, but this could not overcome the music.
with some excel- The next song, "Deep Water," hinted at the more
Seal lent R&B vocals personal, acoustic style that Seal does best, but that was
from the talented it. Although he is a great guitarist, not once did he strap on
State Theater Des' ree, but a guitar and play. The absence of some great acoustic-
November 12. 1994 then, unlike Seal, based songs, such as "Fast Changes" and "Whirlpool" as
she didn't have well as the absence of any simpler, acoustic arrangements
anything to live of normally electronically-processed songs really hurt
up to. Her tender singing lies somewhere between Toni the performance.
Braxton and Sade, and she was a perfect match to open The band and the arrangements did work well on some
for Seal on his current US tour. of the tunes, such as the groove-laden "Dream In Meta-*
By the time Seal took the stage, most of the crowd had phors" and the classic "Crazy." The latter even featured
filed in, and a strange crowd it was indeed. Probably due a funky break that the band jammed on. Make no mistake,
to the fact that Seal gets more airplay on VH-1 than on these were good musicians, it's just that no five-piece
MTV (an unfortunate marketing mistake), the crowd band could actually duplicate the sound of Seal's records.
consisted mostly of people between the age of 25 and 35: The mistake was that they did try to duplicate them,
they seemed to be more concerned with getting their next instead of coming up with fresh new ideas.
drink from the bar than actually getting into the show. After about an hour of performing, Seal left the stage,
There was some excitement as Seal took the stage, coming back for a nice, two-song encore. He began the
but it died quickly as he started the set with the very encore with a very good rendition of the beautiful "If I
mellow "I'm Alive" from his new album. It was here that Could" (the song that Joni Mitchell sings with him on the
the poor sound mix first became apparent, as no clear new album) and then pumped it up one last time with the
lines from any of the instruments could be distinguished soulful "Future Love Paradise." It was basically a good
and the vocals sank into the music. ending to a concert that overall, could have used more
The sound mixing and the excitement level both energy.
HOUSES OF THE DAMNED: LED ZEP MEETS THE AVANT GARDE
North Campus: 153 Chrysler Center for all students enrolled in Architecture and Urban
Planning, Art, Engineering, Music (including Rackham students enrolled in these units). If
alternate appointment permits are needed, students must go to 153 Chrysler.
Central Campus: Room 17 Angell Hall for everyone else. If alternate appointment permits
are needed, students must go to the Registrar's Windows in the LSA Lobby.
Remember, You Must Have These Materials in Order to Register in Person:
- Student Verification Form - this form will indicate the time and place to register
- Student Picture ID card
- Election Work Sheet
- Override Forms - if course/section has an entry restriction
Students having a FINANCIAL HOLD CREDIT will not be permitted to register.
PLEASE NOTE: In accordance with Regents' policy, students who register and subse-
quently withdraw (drop all of their classes) after the beginning of the term will be respon-
sible for the registration and disenrollment fees. This assessment will be made regardless of
whether or not you attend classes.
FOR COMPLETE REGISTRATION INSTRUCTION, SEE THE TIME SCHEDULE
TOUCH-TONE CRISP
TOUCH-TONE CRISP is an easy, new way to register by using a touch-tone telephone.
Consult the time schedule for detailed instructions. You cannot register through TOUCH-
TONE CRISP or through regular CRISP until your appointment time. You cannot register
through TOUCH-TONE CRISP or through CRISP if you have a financial hold or an aca-
demic hold.
To register through TOUCH-TONE CRISP, be sure to have the following items before calling:
- touch-tone telephone
- Winter Time Schedule of Classes (detailed instructions available)
- student number (social security number)
- personal security number (to be selected the first time you use TOUCH-TONE)
- completed election worksheet with alternatives (use CrispInfo to obtain open sections)
CALL: on campus: 8-1881 *local off campus: 998-1881
*outside local calling area: 313-998-1881
REGISTRATION TRANSACTIONS AVAILABLE THROUGH TOUCH-TONE: INITIAL
REGISTRATION for classes, ADD a course, DROP a course, SWAP a course, MODIFY a
course, WAITLIST a course, DISENROLL for all courses prior to the first day of classes.
DROP/ADD for Winter 1995 will be available through TOUCH-TONE from your appoint-
ment time through January 25th (except holidays and scheduled maintenance).
OVERRIDES: if you need to obtain an override for a class you have two options:
1. contact the department, obtain an electronic override, access touch-tone and
process an add
2. obtain a paper override which you must bring to one of the CRISP sites.
Registration and drop/add are available at the following times:
TOUCH-TONE CRISP: 7:00 a.m.-12:00 p.m. midnight
seven days/week
TOUCH-TONE HELP: 8:00 a.m.-5:00 p.m.
Monday-Friday
9
0
kg
In Person CRISP:
17 Angell Hall
153 Chrysler Center (Nov 16-Dec 9; Jan 3-25)
8:00 a.m. - 5:00 p.m.
Monday - Friday
While at first glance the combination of diva Diamanda Galas and former Led Zeppelin bassist John Paul Jones is
just plain frightening, it works to hellacious, awe-inspiring effect on their record "The Sporting Life." Galas weds her
homicidal (no, really) blues to Jones' rumbling, inventive bass lines and it's a marriage made in hell. The single "Do
You Take This Man" reveals a blade-wielding Galas howling "Husband, with this knife I do you adore," while tracks
like "Tony," "Baby's Insane" and a cover of "At the Dark End of the Street" shove the record deep into the realm of
netherworldly blues.
Galas reigns over "The Sporting Life" with her huge, fierce growl, which on the psychotic "You're Mine" resembles
nothing so much as a fax connection. Yeah, baby's insane, but you don't want to miss this one. Diamanda Galas
and John Paul Jones take over the Michigan Theater tonight at 7:30 p.m. Tickets are $25, $20 and $15 in advance,
through Ticketmaster. Call 645-6666 for more information.
- Jennifer Buckley
ASSISTANCE: call 763-5174 or go to the Service Windows, Office of the Registrar, LSA
Lobby
WOLVERINE ACCESS
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Information Available:
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Things to Do:
in Ann Arbor
at the University
Restaurants
Local Weather
Sebadoh
Bakesale
SubPop
Midway through "Magnet's Coil,"
the third track on Sebadoh's latest
album, vocalist / guitarist Lou Barlow
admits why he writes the songs he
does: "It feels good just to bitch about
it." Those familiar with Barlow's style
will recognize the truth in this state-
ment. He writes with unflinching hon-
esty, refusing to dress his songs in any
pretentious poetic clothing. Over the
course of Sebadoh's long and varied
history - from the acoustic tapes he
made while still a member of Dino-
saur Jr. to the sprawling sonic mix of
"Sebadoh III" and from the band's
slot on the second stage of
Lollapalooza in 1993 to the recent
departure of founding member and
noise freak Eric Gaffney - Barlow's
songs have chronicled the ups and
downs of his life with heartwrenching
perfection.
"Bakesale" finds the new lineup
RnI) n rr, a nd nron Ic'Ttc' n
"Rebound" and "Skull," some of the
catchiest hooks he has ever written.
Even without Gaffney's noisy wan-
derings, or perhaps because of their
absence, "Bakesale" does not fail to
easily meet the high standards set by
Sebadoh's earlier work.
- Dirk Schulze
Various Artists
Speed Limit 140 BPM
Presents: Law of the Jungle
Moonshine Records
Being hailed as "the first indig-
enous Black music of England,"
Jungle is an emerging and important
musical form. British hardcore techno,
once the stomping ground of a highly
white audience, is turning over a new
leaf, and appealing to all audiences.
Often times criticized for taking itself
too seriously, British hardcore has
been in need of a sense of humor, and
Jungle provides just that.
Even though songs like Shy FX/
Gunsmoke's "Original Gangsta" are
self-reflexive, and funny, the hardcore
Ian Brennan
Paperboy
Toy Gun Murder Records
Once again, Ian Brennan capti-
vates the cold reality of life through
his haunting lyrics and mix of folk
and alternative music, with his sixth
release, "Paperboy." Brennan sings
in his deep, whispering voice about
all the social ills imaginable, from'
homelessness to murder. His lyrics
hit hard, full of pain and loss, while
contrasting with the soothing vocals
and melodies.
On the first tracc, "Running
Shoes," we encounter Brennan's tale
of a boy killed for his tennis shoes. He
ends the song with a thought from the
dead boy about his hero with the
memorable line, "Like Mike, I wanto
to be like Mike." During the song,
"Speak to Me," the urging and emo-
tion in Brennan's voice shines through
as he begs a three year-old who was
born premature and hasn't spoken to
speak to him. The songs aren't totally
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