Sebastian Matthews will read poems tonight at Guild House. Matthews, a University instructor and staff member for the English department's New England Literature Program, will offer poems about his experiences in New Hampshire. 8:30 p.m. Open mic to follow. 802 Monroe (across from Law Quad). 995-1956. Free admission. UaltatEII~mloafIU. * Breaking Records returns to its regular day with a review of "A+" by Hempstead High. Monday January 25, 1999 5A Ryan takes By Ed Shollnsky Daily Film Editor Ask people what they think about the Golden Globes and you're sure to get multiple answers. Some see it as the bas- tard child of the Oscars, others as a pre- dictor of the Oscars and others will just dismiss them. With last night's Globes viewed in more than 130 countries and snby more than 250 million people, it's ious that these awards can't be ignored. Steven Spielberg walked away with Globes for Best Director and Best Motion Picture Drama for his World War II epic, "Saving Private Ryan." For his body of work, Jack Nicholson was honored with the Cecil B. DeMille Lifetime Achievement Award. A shock came when the Hollywood Foreign Press Association awarded Lynn W grave the Best Supporting Actress d for "Gods and Monsters" over pop- ular favorites such as Kathy Bates ("Primary Colors") and Dame Judi 1999 Golden Globe Winners 2 Best Motion Picture (Musical or Comedy): "Shakespeare in Love" 9 Best Motion Picture (Drama): "Saving Private Ryan" *Best Motion Picture Director: Steven Spielberg, "Saving Private Ryan, X Best Television Comedy Series. "Ally Mc~eal" N Best Television Drama Series: "The Practice" Collage canvassed vast variety of music tastes I AXJ '-I AP Photo Jack Nicholson won the Cecil B. DeMille Lifetime Achievement Golden Globe. Dench ("Shakespeare In Love"). Ed Harris won Best Supporting Actor for "The Truman Show" Adding to the laid back atmosphere of the Globes was Christine Lahti, who pre- sented the award for Best Actress in a TV Comedy (Jenna Elfmann, "Dharma and Greg") and Best Actor in a TV Comedy (Michael J. Fox, "Spin City"), coming out with toilet paper dragging from her shoe, making light of her almost missing out on last year's award for Best Actress in a TV Drama because she was in the bathroom. Keri Russell won the award for Best Actress in a TV Drama for "Felicity," which fit right in with the Globes' history of rewarding TV series that the Emmys usually ignore. In the same vein, Dylan McDermott won Best Actor in a TV Drama for "The Practice." David E. Kelley took home awards for Best TV Series for both Drama and Comedy for "The Practice" and "Ally McBeal." Less surprising was Gwyneth Paltrow taking the trophy for Best Actress in a Motion Picture Comedy or Musical for "Shakespeare in Love." Paltrow was moved to tears as she accepted the award. Michael Caine didn't well up, but said his career was slipping because he had time to be there to receive his award for Best Actor in a Motion Picture Comedy or Musical for "Little Voice." In a complete shocker, Jim Carrey upset critical favorites by winning the Best Actor in a Drama for "The Truman Show" Angelina Jolie and Stanley Tucci were named Best Actress and Actor in a TV Movie, respectively for their work in "Gia" and "Winchell.""From the Earth to the Moon" took honors for Best Miniseries. In the same category, Camryn Manheim, and Fay Dunaway tied as Best Supporting Actresses for "The Practice" and "Gia." Another tie was announced for the men as Best Supporting Actor, which went to Don Cheadle, "The Rat Pack" and Gregory Peck, "Moby Dick." Marc Norman and Tom Stoppard took home the Best Screenplay Award for "Shakespeare In Love," which also won Best Motion Picture Comedy. Burkhard Dallwitz and Philip Glass took home awards for Best Score for "The Truman Show, and "The Prayer" won Best Original Song, from "Quest for Camelot." "Central Station" was announced as Best Foreign Language Film, while Cate Blanchett ("Elizabeth") beat out its star as Best Actress. By Erin Holmes Daily Staff Reporter At center stage, the darkness was penetrated suddenly by stage lights, the quiet broken by a declaration of the Symphony Band's low brass. Before the audience could catch its breath, the lights went out again; a single spot- light highlighted a string quartet and its careful accentu- ated changes of fingers and expression. When their bril- liant performance had ended, another light - this time blue - focused on stage right as Sachal Vasandani, with a voice possessing the lulling quality of Harry Connick Jr., sang the beautiful words of J. Fred Coots in a moving "For All We Know." The concert was simple, yet diverse. With tastes of the new and the old, student musicians and vocal- Collage ists reminded a packed Hill Concert Auditorium why the University's XXII music school has been declared among the best in the nation. Hill Auditorium Collage XXII, featuring every- Jan. 22, 1999 thing from Johannes Brahms to Dizzy Gillespie and clearly living up to its name, gave that sense of satis- faction one gets when an ensemble of favorite glossy magazine clippings are pasted on a piece of poster board. The concert, framed by the sounds of the Symphony Band and the Symphony Orchestra's ovation-worthy finale of Maurice Ravel's famous "Bolero," provided enthusiastic and inventive glimpses into the capabilities of the School of Music. An unquestionable highlight of the evening's musical potpourri was a performance by the musical theatre department. A select group of students, clothed in 19th- Century attire - including women carrying parasols and men in top hats - enacted the antics of a portrait-come- to-life as they livened up the pointillist images of George Seurat's famous "A Sunday Afternoon on the Isle of La Grande Jatte." The vocalists drew laughter from the crowd as they sang thoughts from Sondheim's "Sunday in the Park with George" - "I hate these people!" and "You can't even see my profile!" - enforcing the song's title that "It's Hot Up Here." The laughter didn't stop there. The Choir Women and Women's Glee Club brought puzzlement to the audience with their unusual piece "Aglepta." Its beginning of sus- tained humming punctuated with a series of deep and shallow breaths definitely seemed questionable in the musical setting, but quickly gained respect as the women's voices changed to imitate what sounded like high-pitched laughter and whispered syllables. Most admirable was the fact that it was performed in the complete darkness of the auditorium, with the con- ductor using a glowing green baton to direct the women's unique blend of voices. The performances were spectacular - the momentum of the night never slowed as the performers exited and entered the stage. The loud march of the Symphony Band, which con- cluded the first half and marked H. Robert Reynold's return to the Collage Concert podium following last year's leave of absence, was followed in the second half by beautiful and moving selections from the Symphony Orchestra. Led by the energetic Kenneth Kiesler, the group per- formed Gustav Mahler's "Trauermarsch" as it's opening statement and then switched gears from the distinct sounds of trumpet and strings to a gorgeous melody from Edward Elgar's "Enigma Variations." The sounds blended perfectly and were highlighted by the gentle back-and-forth movement of bows on strings, which seemed capable of providing the background music to any major motion picture drama. The most unusual and seemingly ill-fit piece was the piano performance of Ching-Chu Hu, who plucked the strings inside the piano for an improvisational-sounding, confusing and astoundingly brief tune. But this could merely be seen as the one thing in a col- lage that you know somehow must fit in, but have to first learn to like; the rest of the images and the sounds of the night made everything together a nearly flawless magical musical masterpiece - and certainly worthy of massive applause and ovation. 'U' honors Mozart in annual birthday bash Nurullah dazzled crowd at Kerrytown By Jenni Glenn Daily Arts Writer The School of Music is throwing a long-awaited birthday party tonight. The University Chamber Orchestra will perform selections from lfgang Amadeus Mozart's compo- si ions at the annual Mozart Birthday Concert. On Wednesday Mozart turns 243 years old. "It's kind of fun to celebrate a birth- day like this," said Kenneth Kiesler, professor of conducting and director of orchestras for the School of Music. "It's not very often you Mozart get to go to a Birthday birthday for Concert someone who's over 200 years Mozart's quantity of work allows concerts of his music to take different formats. Mozart lived for just 35 years but composed more than 700 pieces. Kiesler, however, noted that "his greatness lay not so much in the num- bers, but in the imagination." In fact, studies have shown that lis- tening to Mozart's music helps stu- dents perform better. "The structure of Mozart and the humanity of it (his music) ... really connects with the way the human brain works," Kiesler said. Mozart's compositions can also be enjoyed on many different levels. "If you're a musician, you tend to analyze it," Kiesler said. "If you're a lay per- son, you're almost better off. You can just let the music wash over you." Due to this universal appeal, Kiesler hopes the turnout from both the community and the University will be large as in previous years. "I just want (the audience) to be imbued with the spirit of Mozart," he said. "I think Mozart just makes you feel more alive." Before the concert, musical theory prof Elwood Derr will give a lecture on the specific pieces in the program. This lecture will be held at 7 p.m. in Auditorium 3 of the Modern Language Building. By Jenny Curren Daily Arts Writer The Kerrytown Concert House is one of those venues that remains largely unnoticed by the student population, an assumption confirmed by the fact that Saturday's audience for Shahida Nurullah collectively remembered the release of Charlie Parker's "Bird is Free" record. Though most of us young Shahida Nurullah Kerrytown Jan. 23, 1999 exceptional talents4 whippersnappers may have never owned a record, or possibly never even seen one, it's a shame there was- n't a bigger student turnout at this anything but small- time house. Huddled intimately around the "stage," which consisted of nothing more than an empty patch of floor occupied by the ensemble, the audience felt like guests at a private soire6. A frenetic instrumental opener showcased the of the intense Ann Arborite "I have about a hundred favorite songs," Nurullah confided to the audience in an anecdo- tal tone. "Everything I'm doing tonight is one of my favorite songs," she continued, breaking into a languid, melancholy version of "If You Went Away." Nurullah's impressive range highlighted her buttery-smooth voice that likens her more'to Roberta Flack than to the gravelly croon of Billie Holiday. Her rich alto and polished soprano created a delightful interpretation on a Henry Mancini medley and a version of "Autumn in New York," including previously unrecorded verses. Another fantastic Brazilian number by Jobim preluded the highlight of the evening, a smol- dering interpretation of "Save Your Love For Me," featuring a sensual sax solo. Nurullah 's performance, while virtually flaw- less and impeccably controlled, lacked the kind of belt-it-out improvisation that makes a live show unique. That is, until Nurullah announced, "I have to do a blues.' Blues it was. Roe frolicked on the ivories, Davidson communed with the drums, veins bulged on Keller's forehead and Nozero wailed away on, amazingly enough, the clarinet. And Shahida crooned: "I'm built for comfort/ I ain't built for speed/ I got everything/ All you good men need." Then, we were fulfilled. Courtesy of Kerrytown Concert House Shahlda Nurullah sang at the Kerrytown Concert House on Saturday night. Clad in a glittery gown and door knocker ear- rings, Nurullah made her entrance, initially not quite up to par on a rendition of "Love is the Greatest Show on Earth." But by her second number, Carlos Antonio Jobim's "A Felicidade," she and the band kicked it up to full speed. Nozero traded his saxophone for a flute, an appropriately haunting addition to the lilting Brazilian melody. Hill Auditorium old" Tonight at 8 This concert tradition began seven years ago with Kiesler's r predecessor -_ _ - Gustave Meyer after "Amadeus," the movie and play about Mozart, revived interest in the composer. "If it's possible to say that the greatest composer's popularity increased, it did at that time,"Kiesler said. He has been in charge of this event for four years, and said each one has been different. Tonight's concert features a first half with several of Mozart's vocal pieces. These include three arias from his overture to the "La Clemenza di @o" opera, which pair instrumental and vocal soloists. Students will also perform "TheRibbon Trio;'a comic piece Mozart designed for himself, his wife and a friend, Kiesler said. "The Posthorn Serenade," a multi- movement piece, comprises the sec- ond half. "It's got a lot of variety in it," Kiesler said. Since Mozart wrote most of his serenades for special outdoor nts, this piece is lighter than his 19nphonies. Paul Keller on upright bass and Larry Nozero on sax. Jubilant pianist Rick Roe and drummer George Davidson provided whimsical, skillful interludes. I S Student discounts on eye exams and eyeglasses Great Brands Polo TommyHilfiger Calvin Klein Due to Popular Demand, We Have Opened Two Additional Sections in our Ann Arbor Location for the A pril M CAT. No more waiting lists or trying to bribe a Princeton Review employee to get in. But there is a catch: we have only a couple spaces left! Once these seats are filled, our Ann Arbor MCAT course wilh not accept further enrollments. Course #767- final section Sat. Jan 30 9:OOam-5:OOpm Sun. Jan 31 6:O0pm-10:00pni Wed. Feb 3 6:OOpm-9:00pm Sat. Feb 6 9:00am-1:00pm Sun. Feb7 6:OOpm-10:ym Wed. Feb 10 6:00pm-9:O Sat. Feb 13 9: m Sun. Feb 14 00 1 :OOpm Wed. Feb ] 7 0 Opm-9:00pm Sat.Fe9:00am-1:00pm 6:pm-10:OOpm 24 6:00pm-9:00pm Mon.-MarS 6:OOpm-10:OOpm Wed. Mar 10 6:00pm-9:00pm Sat. Mar 13 9:OOam-s:OOpm Sun. Mar14 6:0pm-10:Oopnm Wed. Mar 17 6:O0pm-9:00pm Course #777- final section Sat. Jan 30 9:Oam-5:OOpm Mon. Feb 1 6:00pm-10:0Opm Thu. Feb 4 6:O0pm-9:00pm Sat. Feb 6 9:00am-1:00pm Mon. Feb8 6:OOpm-10:00 pA*L Thu. Feb 11 6:00pm-9: Sat. Feb 13 9:OOa : Mon.Feb 15 6: pm Thu. Feb 18 } n-9:00pm Sat. Feb 20 a i am-I :00pm MO 6:OOpm-10:OOpm 6:00pm-9:00pm n. Mar 8 6:OOpm-10:OOpm Thu. Mar 11 6:00pm-9:00pm Sat. Mar 13 9:OOam-s:OOpm Mon. Mar 15 6:OOpm-10:OOpm TI.hM1R 6-nn.-Q00 " _ I