The University Philharmonia Orchestra performs tonight at Hill
Auditorium. Guest conductor Israeli Aharom Harlap will lead the
orchestra as it performs the "Liszt Piano concerto No. 1,"
Dvorak's "New World Symphony" and Harlap's "A Child's World."
The performance takes place at Hill Auditorium beginning at 8
p.m. Admission is free.

Wljt*Ift9zm Jt
LRT

omiorrow in Daily Arts:
Check out a preview of the season premiere of the teenage
soap opera "Dawson's Creek."
Monday
October 6,1998

8


Hootie blows out a good show at State*

By Curtis Zimmermann
Daily Arts Writer
Saturday was a long afternoon for Hootie and the
Blowfish. After playing Farm Aid in Chicago, the band
members immediately got on a plane for a Detroit
where they showed up late to their sold out show at the
State Theater. Anyone who was screaming out for a
refund as the delay kept getting longer was eventually
quieted when the band finally
showed up and delivered a
knock-out performance.
Hootie and Todd Snider opened the show
the Blowfish playing a half hour acoustic set
State Theater, without accompaniment. His
ttot songs sounded like a cross
sat.Oct3, 1998 between Bob Dylan and Jeff
Foxworthy. He sang many
humorous Generation X songs
about sex, drugs and fax
machines. After Snider left the
stage, the crowd of young urban
professionals (J. Crew was defi-
nitely the fashion statement) with
a few college kids began to grow
restless, booing the announcers asking them to please
be patient. It was surprising how old the audience was
at this all-ages show, especially when considering the
amount of air play the group gets on mainstream rock
radio, which usually tends to attract the teenage crowds.

Finally, the band showed up. After apologizing for
being late it opened with the upbeat new track
"Wishing," then followed it up with one of its old stan-
dards "Time." This seemed to be formula for the
evening. Throughout the show it mixed songs from its
new album "Musical Chairs" with the standards from
its first album "Cracked Rear View." What was really
impressive about the band's newer material was how
solid it sounded next to their older stuff. Tracks such as
"Only Lonely," "Bluesy Revolution," and its new hit "I
Will Wait" were received well when played next to
older tracks such as "Let Her Cry," and "Hannah Jane."
Apparently, in the few years since its first album dis-
appeared from the charts, something strange happened
to the band - the band members learned how to play
with a level of intensity that was unheard of in their
early years. Their set mixed elements of hard and soft
rock with bluegrass (complete with mandolin, a banjo,
and even a dobro). They also seemed very intent on
extending their songs, adding another dimension
unheard on the recording but at the same time, staying
true to the original. What best demonstrated this was
when the band rounded out the initial set with "Hold
My Hand" adding a Grateful Dead style funk groove
beat with great piano rifs, giving this often over-played
song a new feel.
While their new twist on the music was impressive,
it was the songs themselves that really carried the night.
Their brand of average-Joe rock had the entire crowd

singing along from the start. Even when they chose to
play some covers like "*nterstate Love Sonu:' and
"Keep Your Hands to Yoursel f" the drunken crow d just
kept waving their beers and singing along in approval.
Following "Hold My Hand," the band took a quick
half-minute break before returning for the first encore.
It was during "Only Want To Be With You", that the
oddest moment of the evening occurred. At a certai
point in the song the band stopped playing and guitaris
Mark Bryan read out two names and asked them to
come up on stage. As the couple got up on stage, the
man got down on his knee's and whipped out a rng.
The girl accepted. The whole scene, while somewhat
ridiculous, was rather amusing. The band then resumed
the song. finishing out the first encore. They came back
again and rolled off a couple of tunes, then closed for
the last time with The Artist formerly known as Prince's
"Raspberry Beret."
Hootie and the Blowfish have come a long wa*
in the four years since the release of its debut
album. The band has survived fame, the sopho-
more slump, and is now back on top of the charts
with "Musical Chairs."
But beyond Hootie and the Blowfish's commer-
cial success, the band's overall musical quality
has greatly improved. With this solid two hour
show the band proved itself as a legitimate rock
group and not just some small time bar band that
got really lucky.

DANA LINNANE/ Daily
Darius Rucker of Hootle and the Blowfish dazzles the crowd at the State.

Paltrow aims for perfection

Former 'U' football
player relates story

By Matthew Barrett
and Aaron Rich
Daily Arts Writers
For eons, people have searched for ways to
commit the perfect murder. Some have tried
slingshots, some have used thermonuclear war-
heads and some have used scissors. In "A Perfect
Murder," Mike Douglas schemes to flawlessly
polish off his wife, played by
Gwyneth Paltrow, in this.
modern remake off
Hitchcock's "Dial M For
New On Murder." Let us hope that
Video ThiS Gus Van Sant's "Psycho"
Week won't be this bad.
Te gusta espanol? If so,
wander into David Mamet's
maze of mystery, "The
Spanish Prisoner." In this sly thriller, Steve
Martin plays a shady businessman trying to
acquire "the process" from Campbell Scott.
Perhaps the mysterious process contains the

secret to catching punts (Michigan football, take
note). The characters here are corrupt enough to
stab a brother in the back or sneak into two
movies while only paying for one.
Taking away the Best Foreign Film Oscar this
past year is "Character." We would like to thank
the Academy for picking at least one good movie
for Best Picture (foreign or domestic). This
Dutch import tells the story of a young boy
haunted by his father's power. Son, fight the
power.
And for the second week in a row, Heather
Graham the glorious rears her beautiful face in
video stores across the universe.
"Lost In Space," the substandard remake of the
television program of the '60s, also stars William
"Buffalo Bill" Hurt as John Robinson and Mimi
Rogers as the much-beloved Mrs. Robinson.
Rounding out the cast are prime-time stars Matt
LeBlanc - in his first non-monkey movie - and
Lacey Chabert as sister Robinson. As always,
Graham steals the show and our hearts.

Courtesy of Warner Bros.
Michael Douglas steals a kiss from Gwenyth Paltrow.

Ulman opera opens week-long celebration

By Jeff Druchniak
For the Daily
All this week, the University is play-
ing host to a series of events to cele-
brate the centennial of the 1898 birth
of composer Viktor Ullmann. Saturday
night, the undertaking began with a

The Emperor
of Atlantis
McIntosh Theater
Sat. Oct. 3.1998

performance of
Ullmann's one-
act chamber
opera, "Der
Kaiser von
Atlantis" ("The
Emperor of
A t I a n t i s").
Ullmann's may
be an unfamiliar
name to music
aficionados in
this area, but he
is one of the most
well-known
modern com-

to the arresting story of Ullmann's life.
Although his compositions received
considerable acclaim early in his
career, he is now considered to have
produced his greatest work only after
he and his family, who were Czech
Jews, were deported to the Nazi con-
centration camp at Terezin. This was
the ghetto where the Nazis imprisoned
many Jewish artists, intellectuals and
others, considered, in the interest of
public relations, too well-known to
murder.
Ullmann's final work was "Der
Kaiser von Atlantis." At a dress
rehearsal for the work, the inmates
nearly rioted at Ullmann's poetic rep-
resentation of their fate. In reprisal,
Ullmann and his family, along with the
cast of the opera, were executed days
later at Auschwitz.
The opera received a concert perfor-
mance Saturday night. (It was present-
ed without costumes or staging.) The
formally dressed cast sat on stage in
front of the orchestra and rose to the
microphones in turn to perform their
parts. The audience was obliged to fol-

low the action of the play in their pro-
grams, which contained suggested
stage directions as well as a translation
of the German libretto.
Conductor Bradley Bloom's ensem-
ble, like the cast, was composed of a
combination of students and profes-
sional musicians from the area. Robert
Gardner, a visiting artist who sang the
leading role of the Kaiser, was the lone
exception; his experience was evident
among the rest of the cast. He sang the
difficult role of the isolated and
deranged Emperor with psychological
engagement and a flexible baritone
that flirted with both tenor and bass
qualities.
The score employs a disparate vari-
ety of styles to portray an absurdist and
agonized world that is clearly meant to
parallel the Third Reich during the
Holocaust. In the story, Death himself
abdicates from his duties in frustration
with the depths life has reached, send-
ing the Kaiser's regime into even more
chaos.
Ullmann's mixture of atonal disso-
nance with sentimental melodies, lush

arrangements with sparse military
cadences, and seemingly everything in
between, was impressively conveyed
by the orchestra to mirror the fractured
existence experienced by the ghetto
inmates. The Michigan students who
participated in the ensemble included
baritone Matthew Carroll as Death,
tenor Nicholas Phan as Harlequin, and
tenor Michael Ryan as the Soldier. All
were well-acquainted with the chal-
lenging German text, but the standout
of the cast was soprano Julia
Broxholm as the Bubikopf, or Girl
Soldier. With her pure voice and char-
acterization, Broxholm beautifully
realized the intended role of the Girl
Soldier, which is to provide a glimmer
of hope for the hidden beauty of
human nature amidst the gloom.
Broxholm stole the show despite a rel-
atively small part.
The Ullmann Centennial is the
brainchild of Ullmann expert and
enthusiast Siglind Bruhn. It concludes
this week with a vocal recital tomor-
row at 8 p.m. in the School of Music's
Recital Hall.

Elwood Reid
If I Don't Six
Doubleday
It is a familiar scene: An overflow-
ing stadium of rambunctious college
students, Go Blue! signs swaying in
the breeze, and the familiar Michigan
fight song permeating the air. The
adrenaline starts pumping in the fans
as the revered players begin their stam-
pede onto the field.
But, for a moment, imagine not
being the fan but, rather, the anxious
player running onto the field. Imagine
the butterflies squirming as the pres-
sure slowly mounts. In his new novel,
"If I Don't Six, former college foot-
ball player Elwood Reid gives the
inside story of a Big Ten player. Reid's
honest portrayal leaves little to the
imagination.
Reid's story is one of blood, pain
and glory. It takes the reader into the
huddle in a candid account about the
true nature of college football. Reid
recalls the hazy line between excite-
ment and horror that defines the life
of an athlete in a big-time Division
One program. Starting from the
untold drama of the recruitment
process, Reid lays out the science of
entering the world of the "student-
athlete."
In any Big-Ten football program,
such as that of the storied Wolverine
tradition, football is not just a game,
and the participants are- not merely
athletes. Their every action will
define the nature of thousands of sup-
porting fans and, therefore, must be ;
neurotically planned and rehearsed.
The result of this fanaticism is the
unbelievable preparation and fulfill-
ment of the existence Elwood Reid ;
lays out in vivid, and sometimes
painful detail.
Reid's main character, Elwood
Riley, is the device the author uses to'
bring the readers inside college foot-
ball. Riley, a working class kid from
Cleveland, seizes the opportunity of
not repeating his father's factory-
working destiny, and accepts a schol-

arship to the University of Michigan.
He is six foot six, 275 pounds and
unlike most other players on the team,
gets more excited by philosophy thar
football. It does not take Riley long to
realize the severity of his new rank,
both socially and physically. By the
end of his first day of practice, Riley
understands he is no longer an individ-
ual, but part of a huge winning
machine. If any part of the machine
fails, all must pay.
While there is no mystery or
cliffhanger to Reid's story, the truth is
enough to sustain the reader's interest
The intriguing tale will bring the fan to
the edge of his stadium seat. Reid's
informal style of writing and his abun-
dant use of dialogue reveal the nature
of the characters. His realistic conver-
sations convey the player's forced
interaction with the teammates they
loathe and the distance they feel from
the one's they love.
Surprisingly, Reid manages to bring
at least a poetic ring to the violeno
realm of Division One football. While
Reid's account might not achieve a
high status among literary gurus, it
will certainly broaden their horizons.
By creating a main character that is
quite atypical, a jock who loves read-
ing philosophy, Reid is able to include
many inspiring quotes. One such quote
from Marcus Aurelius' "Meditations"
inspires Riley to make some difficult
life-altering decisions. Aurelius
writes, "Attend to the matter which i*
before thee, whether it is opinion or
act or word."
Reid's "If I Don't Six" is a tale all
Big Ten students should read. It will
assuredly change the way Michigan
fans now look at their treasured
Wolverine football players. Although
the fans might be disgusted with what
goes on behind the scenes, they will
definitely have a heightened respect for
all of their favorite players who live
through the pain-and pressure, never to
"six." In the competitive land of Big
Ten, it is truly survival of the fittest.
- Corinne Schneider
Elwood Reid will be reading from "If
I Don't Six " tonight at Borders begin-
ning at 7:30 p.m.

posers in German-speaking countries;
in fact, "Der Kaiser von Atlantis" is
today the most-performed 20th-
Century opera in Germany.
This renown is certainly due in part


1999-2000,
Residence
Staff
Selection
Information Meetings
These meetings are an excellent opportunity to leam
about the residence staff positions and the application
process. Application materials will be available:

MMM9

l

t

I I

, 0- ' Radi
System

0

Thursday,
October 1, 1998
6:00p.m. - 8:00p.m.
Auditorium 3
Modern Language
Building
Sunday,
October 4, 1998

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

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ZS will be on campus recruiting:

Business Information Sciences
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