Check out the Sundance Film Festival entry "l." The film returns
to the Michigan for two more days running tonight and tomorrow.
The film is the story of a man who wants to find a pattern that
orders human existence. In his attempt to crack the stock market
code, he enters into a search for God. "I" begins at 9 p.m.

ftfiftwtwmjDaw
L40,n '"Mr
xxx V

Check out Breaking Records featuring reviews of new CDs
from Soul Coughing and Less than Jake.
Monday
October 5, 1998


MUSIC AT ITS MOST BEAUTIFUL


Stipe
A
By Brian Cohen
Draily Music Editor
On stage at Hill Auditorium stage at
3:45 p.m. Friday afternoon, a beaming;
Michael Stipe tip-toed up behind his
close friend and gently tapped her on 1:
the shoulder.
2Patti Smith turned around, 4
screamed and threw her arms around .
him, as both had just arrived in Ann }
Arbor to sound check for the
evening's benefit performance for
Jewel Heart in memory of Allen
Ginsberg.
It was a reunion that quickly set the
tone for what was to become one of
the most moving events in Ann
Arbor's rich cultural diary.
Fresh from a three-day publicity R.E.
conference in Los Angeles, Stipe benE
was a late addi-
tion to the ben- lic.'
efit line-up, thyc
which also fea- itsel

Emotions prevail

r
..'
, '
..«


at Ginsberg tribute

STEPHEN GERTZ/Daily
M.'s Michael Stipe and composer Philip Glass perform at Hill Auditorium this past Friday as part of the Jewel Heart

By Stephen Gertz
Daily Arts Writer
It rocked. It rolled. It tugged at the
heartstrings and it dazzled the intel-
lect. Yep, the show this past Friday at
Hill Auditorium was truly something
to behold as three larger-than-life
musical veterans - Patti Smith,
Philip Glass and Michael Stipe -
gave a rare impromptu collaborative
performance in the memory of late
poet Allen Ginsberg and for the ben-
efit of local Tibetan Buddhist organi-
zation Jewel Heart.
The audience in the packed audi-
torium consisted of several genera-
tions of bespectacled tweed and
turtleneck-donning intellectual
types, as well as the usual Ann Arbor
barrage of college students. An air of
sophistication loomed in the room,
and, unlike the average "rock con-
cert" crowd, attendees chose to
(gasp) sit in their seats throughout
most of the show.
To the delight of the audience,
Patti Smithdtook the stage at approx-
imately 8:30 p.m. and, in front of an
enormous 30-square-foot fantasti-
cally colored tapestry loaded with
clever patterns and Buddhist iconog-
raphy, read an introductory poem
"Song," whose original author was
tributee Allen Ginsberg.
This was directly followed by the
emergence of Phillip Glass who,
assisted only by a large grand piano,
opened the show with "The Scream,"
a track originally penned for a play
of the same name. That song flowed
smoothly into "The Opening," as
both numbers sparkled with lilting
melodies and finely showcased
Glass' prodigious minimalistic
approach to classical music.
Upon the conclusion of Glass'
first set, Stipe, acoustic guitar in
hand, made his appearance. Suffice
it to say, the crowd was sufficiently
enthusiastic. Stipe played one song
himself - a refrain from a new
R.E.M. tune called "I'm Not Over
You." He was then greeted by Patti

Gelek Rimpoche,
Jewel Heart
Benefit

the founder aid
spiritual leader
of Jewel Heart.
Rimpoche spoke
briefly of his
dealings with
Jewel Heart, his

Smith guitarist Tony Shanahan, who
assisted him on three songs --
R.E.M. tracks "New Test Leper" and
"E-Bow the Letter" - and a beauti.,
fully delicate version of Sinead
O'Connor's "The Last Day of Out
Acquaintance." Shanahan then tral-
ed spots with Phillip Glass, who leYit
his talents to another new R.E.
song, "At My Most Beautiful." 'W
performance of that song, which
Glass and Stipe rehearsed only once
right before the show, easily distin-
guished itself as one of the night's
most tremendous moments.
Philip Glass then went into anoth-
er richly textured classical solo set
that, exceeding the 15-minute mark,
blended several songs into one mag-
num opus of serpentine harmonies
and moving refrains.
Marking the halfway point in te
show, Smith re-emerged to introduce

Michael
Stipe
Hill Auditorium
Oct. 2. 1998
Il

tured Patti
Smith and
acclaimed com-
poser Philip
Glass.
Stipe's sense

of humor
spilled over
from sound-
check and trick-
led through
much of Friday
night's show. Appearing without his
fellow R.E.M. band members,
Stipe - primarily known for his
lyrical prowess - walked on stage
with nothing but an acoustic, guitar
strapped around his neck and deliv-
ered an ultra-rare solo performance
of the brand new song "I'm Not
Over You" for the first time in pub-

"1
Stip'
the
up ti
Le
leng
line
feel
smas
to b
anol
"Dit
ing
Oct.
"I
was
good
A
guita
the
shou

efit concert in memory of poet Allen Ginsberg,
Not only was such a sight wor- worried
of a triple-take, but the song for the a
f was even more priceless. "No, I
kinda just put it together," that's not
e admitted in an interview after This
show, "and I just felt like filling sneak-pr
time." before i
ess than a minute-and-a-half in 1983, on
th, the sad ditty featuring the "Late Ni
"I feel great, I lied to save your the guys
ings/ truth can be your head that time
shed through the ceiling," is set That son
be included in a medley with now qui
ther new song called band's ea
minished" on R.E.M.'s upcom- the band
release "Up," due out on brand ne
27. "The W,
've been playing (guitar) since I MTV Vi
12, but I've never been very a year be
d," Stipe admitted. R.E.M.'s
And seeing that he contributes a In Hi-Fi.
ar solo - an R.E.M. first - on Stipe
"Up" track "Why Not Smile," contribu
ld R.E.M. guitarist Peter Buck be fit as d

about Stipe's renewed affinity
coustic?
he knows how bad I am, so
t a problem," he laughed.
isn't the first time Stipe has
eviewed new material live
ts actual release. Back in
R.E.M.'s first appearance on
ght With David Letterman,"
showcased a song which, at
e, was too new to be named.
g was "So. Central Rain," a
ntessential example of the
arly sound. Twelve years later,
d again teased listeners with
w material when it performed
ake Up Bomb" on the 1995
ideo Music Awards more than
fore the song was released on
last album "New Adventures
seemed content to make his
tion to Friday night's bene-
iverse and spontaneous as

possible, and the surprise didn't
end with his show-opening perfor-
mance. Patti Smith's bassist Tony
Shanahan took over guitar duties
for strummy duets of "New
Adventures" tracks "New Test
Leper" and "E-Bow the Letter,"
which sandwiched a cover of
Sinead O'Connor's "The Last Day
of Our Acquaintance." Shanahan
and Stipe had performed the song
together at a VH-1 benefit concert
two years ago, and Stipe thought
Friday night was a great opportuni-
ty to do it again. Clearly one of the
evening's highlights, Stipe belted
out the song's gorgeous melody in
his trademark tenor, bringing the
many R.E.M. fans in the audience
to a roaring cheer.
Philip Glass sat himself down at
the piano to unveil another brand
new song with Michael called "At
See STIPE, Page 9A

7

/
real music.
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scheduled for
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0CAKE 14kei e tO
A l.7O Arorn;h ve) Sbb.(W O2Za

UNDERGRAD PRESENTATION
edgE DUCK Widex
f djohnson
pledge
- -
I ntimate OFF f
MONDAY, OCTOBER 5, 1998
4:30 - 6:30 pm
Location: Paton 1018 Attire: Casual
1999-200ft
Residence
Staff
Selection
Information Meetings
These meetings are an excellent opportw* to eam
about the residence staff positions and i:.4pcatIon
process. Application materials will be ava i*-

Hill Auditorium history as
Oct. 1.1998 Tibetan nati e
and refugee, aiid
his friendship
with Ginsberg.
Rimpoche
exited, giving
way to Smith,
who then intrb-
duced the win-
ner of the "Allen Ginsberg Memorial
Poetry Contest," an event Jewel
Heart had run prior to the show. $
winner, Ann Arbor resident Diane
Pinkley, read her "Lines for William
Matthews," a Sylvia Plath-esque
rune, to the audience.
It was time, then, for Patti and her
band to give new meaning to the
term "rock the house." Entering with
Smith were longtime bandmates gui-
tarist Lenny Kaye, who is also a
notable writer and producer, dr
mer Jay Dee Doherty and bas t
Tony Shanahan. Also on stage was
Oliver Ray, a young guitar virtuoso
. with whom Smith had collaborated
on the soundtrack for the film "Dead
Man Walking."
The group opened with a mesmer*
izing cut, during which Smith
repeated the lines "we shall live
again" while helping out with the
guitar work. "I'm So Lonely I Could
Cry," by Hank Williams, was gi
its best reworking since El
famous rendition.
Several classic Smith tunes were
rocked out in cathartic and blazing
fashion, recalling her early punk
days. The songs illustrated the bridge
that Smith gaps in the empowered-
and-poetic, yet-slightly- tortured-
woman category between Janis
Joplin and Courtney Love. N il
Young's classic anthem "Keep
Rockin' In The Free World" was
hammered out successfully and pre-
pared the audience for the show's
See TRIBUTE, Page 9A

Thursday,
October 1, 1998
6:00p.m. - 8:00p.m.
Auditorium 3
Modern Language
Building
Sunday,

Qualifications
Candidates for all positions must...
...have a 2.50GPA or
departmental good standing
at the time of application,
...have completed 48 undergraduate

Sunday, October 18
on U of M's Campus T