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February 03, 1995 - Image 8

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Publication:
The Michigan Daily, 1995-02-03

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%4O'.'~,. records this weekend C~.is Ann.. Arbor..'s. 5fl 3j MeSca i 0
celebrating the release f their debut album at Dexter BowlN-Bar (2830
tr dnDxr) m.atray.WSecond, 89X's Greg Ginipper
will be playing Massive Attacks new record, Protection" at the Shelter Page 8
In Detroit Saturday; door& open at 10 p.m. Make it to both, Iftyou (. Fday
February 3, 1995

FutureDance leaps over heads

101

By uz Shaw
Daily Weekend Editor
An evening that was expected to be
chock-fullof cyber-technic wonderment
turned out to be a fantastic display of
computer wizardry, choreographic ex-
cellence ... and stretched-to-the-limits
abstraction. "FutureDance 1935-2035"
debuted last night to an appreciative
FutureDance
1935-2035
Power Center for the
Performing Arts
February 2, 1995
crowd, although many of the works had
rmuch of the audience diving for their
programs for explanations as soon as
lights came up.
The production started of with the
reworked versionof MarthaGraham's
"Panorama," abreathtaking piece with
35 women running about the stage, all
dressed alike and making identical
movements. The piece seemed as if it
were flowing about the stage, con-
stantly expanding and contracting as
the entire group acted as one body.
The sounds of marching and the
blood-red costumes left one wonder-

ing what kind of social commentary
Graham was making at the time of the
choreography, but the meaning was
left to the audience to decide.
The second piece, "Stale Green
Traffic Light," by visiting choreogra-
pher Alan Good, was opened with the
computer operator and a huge-
screened computer (which was on the
back wall of the stage) opening up
various files which commenced the
beginnings of life in the dance itself.
The dancers, all dressed in various
street outfits, fluttered, spun and
pranced all over the stage, in no par-
ticular pattern and in no way match-
ing the random beats and clangs of the
background music. Although a bit
dizzying in both its length and its
reason, Good and the dancers pro-
duced an applaudable piece that de-
fied the norms of dance.
Choreographer Jessica Fogel's
piece, "Save Changes Before Quit-
ting," used common computer terms
to shape the different images and
movements represented in the piece.
The first dancer to enter was wearing
a big red boot, as if to "boot" up the
program. This piece also used the big
computer screen to relay ideas and
images to the audience while the danc-
ers moved below. This time a
screensaver that broke the image on

the screen into various geometric
pieces was, played out both on the
screen, and as it seemed, on the stage.
This extremely exhausting dance gave
one the feeling of being amongst the
inner-workings of a computer as the
dancers scattered from place to place
jumping, pouncing, biting (or, per-
haps byting) and barking.
"Wintercount" presented a much
softer dance than the two that pre-
ceded it, and gave somewhat of a
break from the computer theme. The
FUIREDANCE:
1935-2035
Where:Power Center
Tickets: $16, $12,,$6
students at the League Ticket
Office
When: Tonight and Saturday at
8 p.m. Sunday at2 p.m. Call
764-0450,
dance took you back to an earlier time
in history. Janet Lilly, the choreogra-
pher of the piece, had the dancers
dressed in country-style dresses, over-
alls and plaid shirts. It even started
with the call of a square dance. As the
dance progressed, the sense of an
approaching storm was easily antici-
pated by the sounds of whipping wind

Apparently dancers in the year 2035 like ripping off "Star Trek." Too bad Jean-Luc Picard wasn't there.

and the spinning turmoil of the danc-
ers. The piece appeared simple, but
had much more complex undertones,
some of which didn't even occur to
you until the very end.
The final dance, Peter Sparling's
"The Pursuit of Happiness," was a
fantastically exaggerated future piece.
All of the dancers were, as Sparling
said, "... decked out a la Star Trek,"

and portraying students who were try-
ing to dance in zero gravity. The back-
drop had a large, oval viewfinder that
looked like something straight off the
Enterprise. Through this portal the
students could see the outer space
surrounding their "space station" and
any images that their instructor, actor
Malcolm Tulip, chose to project to
them. The dance moves themselves

were mostly based on how move-
ments would look in space, forming
many chains with the dancers weav-
ing themselves in and out of each
others arms and grasps.
The entire concert was a worthy
effort, though much of it seemed to be*
so far on the abstract side that it made
the dancers seem like little more than
random characterson acomputer screen.

Messin' you up witcha Monster Voodoo Machine

By Kirk Miller
Daily Books Editor
Life is tough when you have to
kick the crap out of your fans.

"I hate having to resort to vio-
lence," Monster Voodoo Machine
lead singer Adam Sewell explained
over the phone. "Just because some

punk rock kids don't understand if
you tell a band to 'fuck off,' they will
hit you."
Eight months into their various
tours and MVM has started to be-
come an industrial band worth not-
MONST ER VOODO01
MACHINE
Where:St. Andrews Hall
Tickets: Sold out
Doors open at 9 p.m.
ing. Their first full-length major label
release, "Suffersystem" has gained
several strong reviews with it's groovy
industrial metal vibe, tempered with
little bits of hip-hop, hardcore and
techno. The first single, "Bastard Is
As Bastard Does" (apparently no
Gump reference implied) has a gang
Biohazard style chorus, while "De-
fense Mechanism" is virtual techno.
It's the CD that the Revolting Cocks
haven't made and Front Line Assem-
bly only wishes they could, not en-
tirely original but interesting enough
in its range of styles and sounds to
stand up to repeated listens. Just don't
call it industrial.
"On our first record there is indus-
trial, southern rock, hardcore stuff, no

rules," Sewell said. "I don't think of
us as industrial. We're not trying to be
anything we're not. We don't dress in
black and come out in Skinny Puppy
t-shirts and scream about vivisection."
All six members of the band started
out in the city of Toronto, not neces-
sarily the home of angry, abrasive
sounds. Instead of street rage, Sewell
and his band mates had to deal with a
different kind of angerrelated to grow-
ing up peacefully.
"Toronto has the appearance of
being a mellow city," he admitted.
"But it's really got a more-assholes-
per-capita than any city I've ever been
to. In Canada everyone's so looked
after, and the music scene is just a
bunch of spoiled upper class kids who
ruined things for other people."
Part of the problem in the music
scene comes from a conservative club
atmosphere up north.
"For heavier, underground bands it
sucks," Sewell said. "If you're playing
commercial glam rock you can do
really well and make lots of money
and people are behind you. There are
clubs that will let us play, which I'll
always be thankful for, but there isn't
the same support."
As MVM tours well into the year
they might see their popularity grow
slowly but surely. Already "Defense
Mechanism" has been a heavily added
See VOODOO, page 9

Robocop Versus the
Termintor
Virgin Games
Detroit is such a wonderful city.
It's filled with so many opportuni-
ties, and that's why it's always cho-
sen for movies such as "The Crow"
and "RoboCop," and now as the
stage for a humanoid war in the new
video game "RoboCop Verses The
Terminator."
Detroit is run down and burning
(in the game, of course), and
RoboCop has to blow a few thou-
sand people away in order to save
the world, and Detroit too, from the
evil OCP corporate empire once
again.
There is a story behind this game,
something about sending Termina-
tors and robots from the future into
the past to try and kill people, or
something, but that isn't important.
This is a good old-fashioned killing
and destruction game, and killing is
what RoboCop does -- and does it
well, he does.
And what better place for killing
than Detroit? As RoboCop, players
walk through the streets of Detroit
blowing away the evil OCP army,
with blood and splat sound effects
galore! In this traditional shoot-'em-
up game, RoboCop is supposed to
free the human hostages being held
captive, and destroy everything else
he can.
With a slew of explosive guns to
find along the streets, RoboCop con-
tinues level by level, doing what
else, but killing people, along with

Monster Voodoo Machine drive us crazy with that boogie-oogle-oogle.
KUUMBA & UM Major Events/Div. of Student Affairs Present

robotic dogs, endoskeletons, and of
course, Terminators. Quite disap-
pointingly though, the Terminators0
are no match for Robo, and there
aren't too many difficult battles with
them in the game, dominated by
RoboCop.
Not to worry. There are a num-
ber of other evil bastards that await
you in this veritable hell on Earth.
ED-409, the big mutha from the
first "RoboCop" flick, is a fun foe,
and puts up a good fight along with
the majority of the other bad asses.O
However, some of the robots are
extremely difficult to beat, and maIy
actually be impossible without us-
ing special invincibility codes. This
does make the game impossible to
finish in just a few hours, unlike
many other similar death and de-
struction games.
"RoboCop Versus The Termina-
tor" has excellent graphics and*
sound effects, and is much closer to
the original arcade "RoboCop" than
an earlier sub-par version from
Nintendo. It is one of the better of
this type of game, and is full of
exciting and bloody scenes.
"RoboCop" offers hours of fin
and bloody killing, and is just what
most people look for in an action
game. Plus, hey, there's probablya
smaller chance of being killed play-
ing Sega than there is going to De-
troit, right?
(Hints: To enhance the Sega Gea-
esis game to the original version
that was originally rejected because
of (more) extreme violence, type in
CBABBABBCBBCCBBCBCA
CCAAABBBACA while the game
is paused, and it will be restored to
the first version with extra blood, 1
more screams, big-busted women,
and some other fun additions. To
give RoboCop 54 lives, pause the
game, and type in CCAABB
CCAABB.)
-Brian A. Gnatt
.DAILY.ART$S*
..E MN0~E
R ULEIII..

FR ANCIs BE BEY

WEDNESDAY,

FEBRUARY 15,

EN SE M B L E
RACKHAM AUDITORIUM
"Combined the best elements
of the world of music and
literature"
The Washington Post
"The course of his career
conforms to the ideal of the
Renaissance man, one who is
fluent in several Arts"
"A virtuoso guitarist."
International Herald Tribune
"He's an original: a composer/
performer who turns every-
thing he has heard, African
and Alien, into something
entirely individual."

Let us
ship your
male parts!
(oh yeah, and everything else too!)

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