The king of the indie jungle Check out lo-fi superstars Pedro the Lion at the Blind Pig. Velour 100 opens the show. 10 p.m. $7. Dtj 3 1 J 1 9 n & it me chigandaily.com /arts Stones,'Shelter' produce satisfaction By Lyle Henretty Daily Arts Writer The problem every great documentary film- maker must live with is that his or her work is so wildly up for diverse interpretation. Even a film as skillful and enjoyable as the Maysles brothers and Charlotte Zwerin's "Gimme Shelter" will live or die by what each viewer takes from it. While this could be said for any number of movies, the content of this film will elicit, by its very nature, directors points out to Stones front man Mick Jagger, had a gun. The Angels were violent from the beginning, beating and threatening the largely peaceful hip- pie audience needlessly. One of the bikers actual- ly injured a member of Jefferson Airplane, who had played for the crowed earlier in the day. Airplane's Grace Slick and Keith Richards and a strong response Gimme Shelter Grade: A At the Michigan Theater from the viewer. Whether you see the movie as pro-hippie, anti-hippie, pro-Hells Angels, anti-Hells Angels, or for or against the so-called "establishment" depends on what exactly you bring to it. The filmmakers, who set out to make a simple concert film about The Rolling Stones 1969 American tour serendipitously stumbled onto something much more important. They were on hand for the Stones' free- concert at Altamont Speedway in Northern California. One of the con- Jagger seem angrier at their own "security" than they are worried about the fans. But the man did have a gun, and the Angels were there to keep back the crowds. Was the killing justified? Was a group of 300,000 drugged out (very, very drugged out) concertgoers just an accident waiting to hap- pen? It is easy to find answers in the film, but not, necessarily, easy to agree on what these answers are. The film is inner-cut with footage of the Stones watching the concert (and the subsequent vio- lence) after the fact. The directors wisely allow the camera to linger on the faces of the band members and you really get a feel of their inner pain and conflict over what had occurred. Drummer Charlie Watts appears especially pained, though he says virtually nothing. These scenes, especially, transcend the concert film for- mat, and allow the viewer to decide whether they are watching the aftermath of a tragic event or a major turning point in the fall of civilized society. Ultimately, though, one's enjoyment will stem from their enjoyment of the music. The Stones are in fine form, tearing through classics such as "Brown Sugar," "Satisfaction" and an eerily appropriate "Sympathy for the Devil." Other bands along for the ride are the before-mentioned Jefferson Airplane, and an interlude with Ike and Tina Turner. Watching Turner nearly rape a micro- phone alone is worth the price of admission. Even The Grateful Dead show up in an amusing cameo. The film's 30th anniversary re-release comes with a souped-up soundtrack, so the music itself sounds better than ever. While this film is not for everyone, those that enjoy documentaries, love the Rolling Stones or simply dig Keith Richard in leop- ard skin pants should check out this fine film. Courtesy of! Shouldn't we be hopping into a boxcar about right now? No, we're waiting for Godot. WaEin for Godot' searches for the~ ic meanin..g i diymi cert promoters decided to save money by hiring the notorious Hell's Angels biker gang to oversee security. The result was several scuffles between the Angels and the some 300,000 fans that came from as far as New York to see their favorite band. Four people died - one was stabbed right in front of the camera, in full view of the stage, by one of the Hell's Angels. The slain man, as one of the Courtesy of Criterio The famous faces-in-aface poster for "Gimme Shelter." Flaming Lips get freaky on Friday the 13th By Andrew Seifter Fr the Daily in a concert that can best be dgscribed as wacky and unforgettable, th Flaming Lips brought their eccen- The Flaming Lips The Majestic Oct. 13, 2000 phre" at the show, tric concept rock to the Majestic Theater on Friday the 13th. Despite the date of the show, the pe r fo r m a n c e shared more in common with a New Year's Eve celebration than a Halloween bash. B a s s i s t Michael Ivins had promised a "carnival atmos- and the band cer- bunny and bear costumes pranced through the audience, singer Wayne Coyne resembled a mad scientist as he sang passionately into a camera zoomed in on his head while wearing a yellow raincoat. That was only the beginning of the fun. The opening song, "Race for the Prize," the first track off of 1999's critically acclaimed The Soft Bulletin, immediately set the mood for the night. Coyne furiously hammered a giant gong throughout the show, and it-was at no time more exciting than in this opening number. Ivins had spoken prior to the show of the power of songs to "emotionally touch" the audience, and this effect was achieved as Coyne sang of two competing scientists who are "just human, with wives and children." A second heart-lifting experience was the performance of "The Spark that Bled. " The song first featured Coyne's forehead dripping with fake blood as he sang of being shot by the "softest bullet," but it finished with the singer and his audience raising Wayne Coyne resembled a mad scientist as he sang passionately into a camera zoomed in on his head while wearing a yellow raincoat. their hands in glory as they bellowed, "I stood up and I said, 'Yeah!' "A Spoonful Weighs a Ton" soon followed, with the opening footage from the "Teletubbies" TV show pro- viding the background for what seemed to resemble a wedding party. Coyne later explained the inspiration for "The Spiderbite Song," which stemmed from near-death experiences bandmates Ivins and Steven Drozd had had with a spider bite and a bouncing tire, respectively. "Feeling Yourself Disintegrate" featured guest vocals by a lizard puppet on Coyne's hand. Then came the band's biggest hit of their 17 year career. Ivins states that success isn't "the natural state," and that "when it works, it's weird." "She Don't Use Jelly" has surely taught the band that success comes and goes, and that it's important to "keep an even keel about the whole thing." However, resisting the belief of other non-commercial bands that it's wrong to play their one hit song, the Flaming Lips instead made their biggest commercial hit into one of the night's greatest moments. Introducing it as "the song Beavis and Butthead and MTV's 'Alternative Nation' shared with the world," the band amazingly made the performance of the 1994 "alterna- tive" hit resemble a giant birthday party, just as they had hoped. Before the show, Ivins had stated the band's goals of getting the "audi- ence clapping and yelling," as well as leaving them "emotionally touched." This show was truly unique in its ability to do both. tainly remained true to their word by constantly throwing balloons and confetti into the crowd throughout the show. As fans dressed in full-body Consider the University of Michigan for graduate studies In education Attend a meeting for prospective graduate students Saturday, Oct. 28, 9 a.m. - 3 p.m. School of Education Building 610 East University Avenue Educational Studies Programs: Curriculum Development (M.A.) Early Childhood Education (M.A., Ph.D.) Educational Administration and Policy (Ph.D.) Educational Foundations and Policy (Ph.D.) Educational Foundations, Administration, Policy, and Research Methods (M.A.) Educational Technology (M.A., M.S., Ph.D.) Literacy and English Education (M.A.) Literacy, Language, and Culture (Ph.D.) Mathematics Education (M.A., M.S., Ph.D.) Science Education (M.A., M.S., Ph.D.) Master of Arts with Certification (M.A.) Social Studies Education (M.A.) Special Education (Ph.D.) Teacher Education (Ph.D.) Center for the Study of Higher and Pntsenndarv Education Proarams: DAILY ARTS RIDES THE SNAKE. THE ANCIENT SNAKE. 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