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November 01, 1999 - Image 8

Resource type:
The Michigan Daily, 1999-11-01

Disclaimer: Computer generated plain text may have errors. Read more about this.

8A The Michigan Daily - Monday, November 1, 1999

By Evan Hansen
For the Daily
Breasts. Stage diving. Gallons of
Faygo. Hundreds of sweat soaked fans in
black and white clown makeup. A frat
party gone terribly awry? Not exactly.
This past weekend, the Insane Clown
Posse's sixth annual Hallowicked show
returned to Detroit for three days of sold
out fun at the Majestic Theater.
After decent, guitar driven sets by the
Chicago quintet
The Pimps and
ICP's protege
band, Twiztid, the
Clown clowns finally
Posse took the stage to
deafening audi-
Majestic Theater ence chants of
Oct. 29, 1999 "ICP!" As singer
Violent J gave a
dark, ominous
introduction, the
stage lights began
to illuminate the
grotesque stage
decorations. The
lights soon gave
one bright flash and ICP immediately
went into arguably their most popular
spng, "Chicken Huntin"
Hundreds of screaming fans, known
as juggalos, erupted into a giant mosh pit
With everyone trying to push that much
closer to the stage.
The evening was filled with many of

Bloody GWAR saves
world from toilet in show

By Ian Dyament
For the Daily
Fire! Arson! Mass Destruction!
And that was just outside. On the
most notoriously evil night of the
year those lovable hugable scumdogs
of the universe collectively known as
GWAR disobeyed curfew laws,
broke fire codes and showcased the
sickest display of talent since Leann
Rimes. Packed with blood, guts and
destruction GWAR opened for the
legendary punk band The Misfits
Saturday night at Harpo's for their
annual Halloween Party.
After countless glam metal videos
and numerous "Harpo's Halloween
Contests" for tickets to the upcoming

Violent J and Shaggy 2 Dope will be back in Detroit in December.

ICP's most well known songs permeated
by odd events that can only be seen care
of these wicked clowns. In the duo's sec-
ond number, a stage-diving fan dared to
physically harass one of the Faygo-
spraying stage hands. Later in ICP's set,
a few dozen girls were allowed to dance
on stage to the hilarious "Lil' Somethin
Somethin." Most of them immediately
flashed the audibly appreciative audi-
Some things never change, however.
For years, ICP has been known to douse
the audience in Faygo, the Detroit-based
pop known for a multitude of tasty fla-
vors. Hallowicked was no exception.
Hundreds of warm 2-liter bottles were
squirted, punted, thrown, shaken and
poured on the crazed audience, who
expected no less. The group even man-
aged to reach the far back of the theater
with squirt guns full of pop. Eventually,
10 gallon tubs were dumped upon the
audience, leaving the primarily teenaged
male audience completely soaked.
Included in the set were virtually all of

their most recognizable songs, including
"Fuck The World," a hit mocking virtu-
ally every establishment one could think
of. In a fairly humorous moment, ICP
asked everyone to raise their cigarette
lighters while they ran through "Another
Love Song," a song about dismembering
a cheating girlfriend.
This concert also featured a few
surprise treats for ICP's hometown
juggalos, including the release of two
limited edition albums, "Psychopathic
Rydas" and "Psychopathics From
Outer Space." The clowns' managers
announced that their next tour would
be called "The Wicked Clowns From
Outer Space Tour," a tour that will be
visiting Detroit in December, coincid-
ing with several other ICP related
events in what will be called the "Four
Days of Freshness."
After playing more than a dozen
songs from virtually all of their
albums, Violent J asked "all the real
juggalos" to join him and Shaggy 2
Dope on stage as they performed their
final act of the night, "Pass Me By"
Well over a hundred fans crowded the
stage as ICP slipped out of the build-
ing unnoticed. For the second time in
three months, the Insane Clown Posse
put on an unbelievably entertaining,
wild concert in their hometown.

Oct. 30, 1999

Overkill concert,
GWAR hit the
stage 40 minutes
after a violent set
by openers
Murphys Law.
Covered head to
toe in latex,
vocalist Oderous
Urungus, gui-
tarists Balsac the
Jaws of Death,
F l a t t u s
M a x i m u s,
bassist Beafcake
the Mighty,

pieces of the broken tablet GWAR
used intergalactic guide Scroda
Moon to help.
"Scroda uses the power of his
inter-dimensional portal potty to
bring forth the different pieces of the
tablet," said Hunter Jackson, found-
ing member of GWAR and human
form of Scroda. "Each tablet has a
guardian like the undead corpse of
Elvis Presley or Marilyn Manson and
GWAR has to kill them to recover
the pieces."
The actual portal potty is a foul
mouthed toilet with a Brooklyn
accent that loves when GWAR
plunges it. But all went wrong when
Slymenstra flushed her used sanitary
napkin down the potty causing it to
spew out the master of the universe.
After an intense bloody battle with
the master, GWAR finished victori-
ous ending the show with gallons of
GWAR played various songs from
records spanning their 12 year
career. Crowd favorites like
"Salaminizer" and "Maggots," off of
their breakthrough album
"Scumdogs of the Universe," whirled
the crowd through a fit of rage
almost as violent as GWAR peeling
the skin off of shock rocker Marilyn
Manson and jumping rope with
Elvis' intestines. Most of the materi-
al showcased in their hour long set
was taken from their recent release
"We Kill Everything."
"Baby Raper," "Jiggle the Handle"
and "Tune from da Moon" highlight-
ed GWAR's talent for sick lyrics and
heavy riffs. "I think this record (We
Kill Everything) is our best record
since 'Scumdogs' and the fans'
response has been great." Jackson
said .
In addition to the on-stage may-
hem they perform nightly on stages
all across America, GWAR has set
their sights on a more recognizable

form of entertainment, professional
wrestling. Jackson's latest aspiration
is a a slot on a Monday Night Raw.
"One way the fans can help
GWAR is to contact WWF, ECW and
WCW and tell them to put GWAR in
the ring and ask to show them on
television." This idea started out
when VHI did a segment on GWAR
for their hit show "Where are they
now?" The show featured footage of
Technodestructo (Jackson) fighting
Oderous at a local event in Cleveland
last year. Most of the bloody battle.
that takes place on stage are choreo--
graphed like most wrestling match-
For fans that want to be closer to
GWAR action than viewing their
slaughter in concert Demonblade
games have just released the official
GWAR miniatures role playing
game. Called ".Rumble in
Antarctica" now every GWAR fan
can play with their favorite scumdc
in the comfort of their own home.
"The object of the game is GWAR is
fighting amongst itself in Antarctica
and their using their slaves as sol-
diers." Jackson explains "We wanted
to make a GWAR miniatures game
for a long time but we were waiting
for a company with an existing repu-
tation to distribute it.
In addition to the GWAR board
game GWAR will be auctioning off
old props and costumes on the inteW
net. "Were gonna have to move our
shop to a different location so we
have to get rid of some of our crap."
Instead of keeping it in the closet
Jackson says "Latex has a tendency to
decay and we can't use it in shows any-
more so were offering it to our fans."
Devils night might have earned a
bad reputation for the city of Detroit,
but GWAR proved that killing mo
sters and flushing giant toilets is
better than running around setting

drummer Jizmak and a handful of
slaves including the fire breathing
Slymenstra Hymen and Scroda
Moon elevated shock rock to a new
level with a "metal" opera of the end
of the world.
The show began with two explor-
ers on an expedition in Antarctica
who find an ancient tablet with a
prophecy of destruction if broken.
GWAR emerged on stage; decapitat-
ed the explorers and broke the tablet
before the first song was finished.
The pieces were sucked into various
dimensions of the universe leaving
GWAR to find them. To recover the

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Daily Arts
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Production of
'Little Shop' falters, ,

t.._. -

In pertorn
By Neshe Sarkozy
Daily Arts Writer
This past weekend's production of
"The Little Shop of Horrors" direct-
ed by LSA junior Mike Mosallam
didn't perform up to the famous
musical's potential.
Originally a black and white film
from the '60s, directed by famed B-
movie cult king Roger Corman, "The
Little Shop of Horrors" eventually
became a well-known musical on
"Little Shop"'s music was written
by Alan Menken with lyrics by
Howard Ashman. In both the black
and white film version and the

Broadway musical, the ending takes1
a drastically diffe'rent turn.
In this particular student produc -
tion, it is more similar to the filt*
than it is to the musical. This ratl F
dark comedy takes place on Ski -
Row, a very poverty-stricken neig4t-
borhood. The main charactq
Seymour is just a youth working at
plant store. When Seymour find"
himself catering to the carnivorous,.
plant Audrey I and its blood-thirst
wishes, he realizes that something
drastic must be done.
Knowing beforehand that "Thtc
Little Shop of Horrors" is ridd0- 7
with slapstick humor and sh*
cheesy songs still didn't change the
fact that this production was annoy--
ingly hard to sit though.
LSA junior Peter Katona, as

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1.35, 4 20, 7 00, 9:45
11:20,1:25, 3:25, 5:25, 7:25, 9:20
11:50, 2:10, 4:35, 7:10, 9:40
11:30,1:55, 4:25, 6:55, 9:25
O BATS (PG-13)
1:40, 3:40, 5:40, 7:45, 9:50
1:00, 3:00, 5:05, 7:15, 9:20
11:45, 2:05, 4:30, 6:55, 9:25
12:30, 5:00, 7:20
OBODY SHOTS (R) 2:45, 9:40
1:20, 3:20, 5:25, 7:35, 9:35
1:30, 3:30, 5:35, 7:40, 9:45
1:30, 3:30, 5:30, 7:25, 9:10
11:30, 2:00, 4:30, 7:05, 9:35
12:40, 3:00, 5:20, 7:40,9:50
12:00, 2:20, 4:40, 7:05, 9:15
12:20, 2:40, 4:55, 7:15, 9:30

Seymour, was the
Little Shop
of Horrors
Media Union
Oct. 29-31, 1999
Mall controls a u
raspy voice, andu

M o s 11 a 1
saving grace iL,
Mosallam s.
show. As, this
weekend's per
formance was
Katona's first
on-stage appdo
ance, he did _a
splendid job.
His vocals and
acting were both
Audrey ,
played by
Rebecca Mall,
also -displayed
her talents well.
unigue, somewt,
using these to

she played her part convincingly.
But the other vocalists in the pro-
duction seemed to be lacking in
some aspects. Often times, much of
the singing sounded either flat or out
of key, particularly when the three
women sang together on stage.
The choreography in this "Little
Shop" was created by Ariel Hurwitz.
The various numbers moved v Y
smoothly, providing a great asse R
this production.
Along with lead actor Katona,
"The Little Shop of Horrors,"
served as Mosallam's first time at
both the director's chair and as the
musical's producer. Mosallam made
- tha+ a ll f tho members of the





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