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August 02, 1999 - Image 12

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Publication:
Michigan Daily Summer Weekly, 1999-08-02

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12 - The Michigan Daily - Monday, August 2, 1999-
%aters 'In te lesh'1,b. '

By Ryan Malkin every few minutes from lava lamp
Daily Arts Writer style flowing, to scenes from the
Certain performers need to be seen movie Waters did with his old band-
as many times as mates, Pink Floyd, "The Wall," to
possible because tripped out images of giant cars and
you never know giant men.
which concert is But it was Waters' voice that stole
Roger going to be his the show; it was just as powerful and
Waters last. Bob Dylan, clear as on any album. The speakers
Eric Clapton, blasted his vocals out in perfect clar-
Pine Knob B r u c e ity - "Pigs on the Wing" and
July 25,1999 Springsteen and "Dogs" before moving on from the
/ Roger Waters all "Animals" album to "Wish You Were
fall into this cat- Here."
egory. As soon as the lines "welcome my
Last Sunday son, welcome to the machine."
evening brightly were uttered, the audience stood up
colored lights and cheered.
shone across the With the audience already in a
stage giving an frenzy Waters grabbed a white
almost holy feeling to the Water's acoustic guitar and played the notes
concert. Pink Floyd fans knows like the back
Meanwhile, the backdrop changed of their hands. The intro to "Wish
You Were Here" cut through the
crowd like a knife. The 35,000 fans
Wanted sang along and clapped so loud that
at times they even drowned out
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and continued in order as the album
"Dark Side of the Moon," culminat-
ing in "Money."
At this point Waters received his
third standing ovation.
Once he completed "Dark Side Of
The Moon" Waters went into his solo
release "Amused To Death."
Waters cranked out from his bass
guitar the chords to "What God
Wants," "Perfect Sense Parts I & II"
and finished off after playing nearly
the whole album with the title track,
"Amused to Death."
As the smoke clouds rose from the
audience and the flicking of lighters
was more prominent, the audience
was ready for another hit.
Waters knew what the fans wanted
and began the bass line to "Another
Brick In The Wall" - perhaps his
most famous song - from "The
Wall," his reunion album with Pink
Floyd.
The crowd flew into frenzy,
screaming the chorus at the top of
their lungs.
The powerful Water's lyrics "we
don't need no education, we don't
need no thought control ... teacher
leave those kids alone," reverberated
through the air and through the
minds of the audience as they stum-
bled to their cars after the lights went
up and this living legend exited the
stage.
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The boys from 'N Sync strut their stuff for the (really) young ladies on Saturday.
Gi*rls go 'N Sane

By Curtis Zimmermann
Daily Arts Writer
There appeared to be more securi-
ty for the 'N Sync show at the
Pontiac Silverdome on Saturday
night than at
last weekend's
Woodstock fes-
,N Sync tival. This is
extremely iron-
Pontiac ic since the only
Silverdome damage this
July 31, 1999 audience of
adolescent girls
inflicted was
hearing loss.
The sheer vol-
ume of 50,000-
plus girls
screaming their
brains out was
enough to shatter even the toughest
of ear drums.
The band's entrance was rather
bizarre. A comic book super villain
came on the screen and told the audi-
ence how he had taken them hostage
and that there would be no concert.
With the "Mission: Impossible"
theme glaring images of the group
were downloaded on the screen. The
film then cut to the boys in a heli-
copter desperate to break into the sta-
dium. Apparently the only way in
was through the roof (no, I'm not
making this up). Finally, in midst of
pyrotechnic glory, they descended
from the top of the stage in harnesses
dressed like Devo in gray space suits.
Greeting them was a sea of glow

sticks and an deafening roar so hi
pitched dogs must have been howli
for miles.
To make up for the fact that they
only have one album and the crowd
wasn't old enough to have had high
school U.S. History, a rather lengthy
lesson was given on the music and cul-
ture of the last four decades.
For the '60s there was a video mon-
tage that included Woodstock (the orn
inal one), Martin Luther King, Jr.
various other standard '60s images.
The group returned to the stage in
sujts with instruments which they actu-
ally played and did "That Thing You
Do" -- a song that was written for a
'60s period film of the same name in
the '90s.
For the '70s it was a medley of
Jackson Five tunes - and they had
the clothes, the Afros and the trade-
mark J5 dance moves to go with it.
For the '80s they dressed like Id
Johnson and did "Celebration."
Although the whole thing was rather
odd, it was a good way to kill time till
they played their hits.
The one thing that was impressive
about the show was the dance routines.
Anything their music lacks was made
up for with an impressively choreo-
graphed show that had them bounding
and sprinting all over the stage. It e
also good to see even in the '
pelvic gyrations still make young girls
go wild; the King would've been
proud.
Although it was somewhat ironic
that Jordan Knight, formerly of '80s
boy band New Kids on the Block,
opened the show, he could act as a
good mentor for 'N Sync. It should
give them a glimpse into the future
and what could happen when their
15 minutes comes to an e
Knight's bland set of cheesy R
tunes generated a decent response
but nothing to compare his NKOTB
days.
The boys did appear rather hum-
bled especially since they kept
bringing out their personal video
cameras to capture the moment,
which to their credit they did hold.
At least when the inevitable back-
lash occurs and the young g ,
favorite love song changes from
"God Must Have Spent A Little
More Time On You" to Nine Inch
Nails' "Closer" these guys will be
somewhat prepared.

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