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INEMA/
IntemationaC Series
Presents
aw*’**’’"
Mr— kr . ' 1
4 -"V . I : - : :;v-i rTNx, jf* ^ r.r
The White (Sheik
Tuesday, October 31
7:30 PM
Rudder Theatre
Tickets are available at the MSC Box Office for $2.50.
Aggie Cinema Movie Information Hotline -- 847-8478.
The International Series is underwritten by a grant from
MSC Jordan Institute for International Awareness.
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Page 4
The Battalion
Tuesday, October 31, i
AM/PM Clinics
• Minor Emergencies
• General Medical Care
• Weight Reduction Program
10% Student Discount with I.D. Card
R.E.M. entertaining with old, new tune
Lead singer ~
throws barbs
at A&M, Bush
By John Righter
Of The Battalion Staff
MT laying in front of a three-
quarters full G. Rollie White Col
iseum, “America’s Best Band,”
showed Sunday night that while they
may not deserve that title, they cer
tainly are one of the most entertain
ing and unique stage bands around.
Alternating between rapid-fire
mania and slow, whistful harmonies,
R.E.M. threw the old, the new, the
borrowed and the not-yet-released
into a 20-song set that lasted for two
hours and 10 minutes. Hitting the
stage at 9 p.m., after an incredible
set by opening act Pylon, lead singer
Michael Stipe and crew immediately
got the audience dancing with the
Green hit, “Stand,” punctuated by
Stipe’s hokey jumps and arm twirls,
reminiscent of the song’s dim-witted
video.
“The One I Love” followed, rid
ding the band from the burden of
carrying the popular but cumber
some singles through their set. With
the trash put out, the band focused
on a strong, albeit eccentric (some
times erratic) set that picked well
from the past and highlighted a
heavy selection from Life’s Rich Pag
eant, Document and last year’s
Green.
Culling material from their earlier
work, the band performed a secure
yet strong version of the Reckoning
single “I’m Sorry (So. Central
Rain),” a notable absence from the
past two tours. After the song, the
group departed, leaving a campy but
quite humorous film to welcome the
audience and play up all the prover
bial, yet inconsequential gimmicks of
rock acts (“Are you ready to rock n
roll,” “What a big place this is,” “It’s
so good to be back in [fill in your
town]").
The film strip was actually quite
representative of the whole show. A
year and a half on the road has
transfixed R.E.M. into a tight, metic
ulous outfit that somehow still man
ages to come off as overwhelmingly
wacky and spontaneous. But don’t
be fooled, the spontaneity and wack
iness are as much a planned part of
their show as fire spitting and blood
drooling were in the old KISS per
formances.
Stipe is especially well choreo-
graphed. More precise and visible
than during the Work Tour, he has
developed from a queer stage
Photo by Kathy Harem
R.E.M vocalist Michael Stipe provided an enigmatic, yet entertaining show.
enigma to a top notch, crowd-collar
ing frontman. Sporting a new look
— mohawk-style hair with a long po
nytail in back, and a sharp pastel suit
with baseball cap and heavy eyeliner
— Stipe successfully alternated from
emotionless and removed to ad
amant and spastic, constantly con
fusing the audience while still capti
vating them. One minute it’s
Menacing Mike, cold, stark and ma
chine-like. The next minute it’s
Howdy Doody Mike, a campy, ador
able, yet quite queer version of Stipe
While endorsing a student refer
endum involving the MSC expan
sion, Stipe remarked, “You get shot
for walking on the grass here, you
should be able to save a couple of
trees.”
Dedicating the song to Exxon
Corporation, R.E.M. performed a
much angrier version of “Insi
de/Out,” heightened by Stipe’s use
of a bullhorn and his cold, tight-
fisted delivery, which had a pecu
liarly fascist effect. (I could not stop
thinking of the “In the Flesh” scene
6t
You get shot for walking on the grass here, you
should be able to save a couple of trees.”
— Michael Stipe,
on the MSC expansion plan
that gets the high school girls all hot
and steamy.
Stipe, after verbally ignoring the
audience to this point, began an en
vironmental and social tirade on less
conscientious entities, fragmenting
attacks on Exxon (twice), President
Bush and A&M throughout the set.
An appeal toward support for
Greenpeace and the Environmental
Defense Fund was also made, as was
a condemnation of the Texas A&M
Board of Regents for not allowing
more student involvement in the
MSC expansion controversy.
from Pink Floyd’s The Wall.)
A few songs later. Stipe intro
duced “Orange Crush,” the first sin
gle off of Green by singing “Be all
that you can be ... in the army,” and
danced in military fashion through
, the satirical “Exhuming McCarthy.”
Unlike R.E.M.’s previous appear
ance, though, Stipe was unharassed
for his critical views, which was good
since the only time he is understand
able is when he’s making a social
statement.
The band, backed by a large
screen that usually added little, if
R.E.M. From left: Mike Mills, Bill Berry, Peter Buck and Michael Stipe
anything to their songs, selective):
mixed in unintroduced, net
material in the early portion of tb
set, then threw in interesting coven
in the second half, mostly duringtln
eight-song, 40-minute encore, Tele
vision’s “See No Evil,” Syd Barret
“Dark Globe,” and the Velvet Uiv
derground classic “After Hours,
which closed the set, followed in tb
R.E.M. tradition of performiiii
obscure, usually paeanic tributes tt
the band’s numerous influence
The Barret number was especial
good, featuring bassist Mike M
and Stipe alone' performing an
most a capella version that was
markably faithful to the original.
A stripped-down version o:
“These Days” (a social and politic;
song “written just for you”), lb
haunting “King of Birds” and “Gooc
Advice,” from the albumFaWeswcrt
other standouts that chronicled tk
growth in R.E.M.’s material.
The group appeared much
relaxed than on the Work Torn
their first tour headlining majont
nues. Guitarist Peter Buck is as cot
sistent as ever, using his patentK
stoops and leg kicks throughout tb
set, and Mills and drummer
Berry provide strong support Ik
still allows Stipe to remain the bant):
focal point. A fifth band membei
Michael Wholsapple, previously ol
the group DB’s, helped outongm-
tars, bass and keyboards.
By combining the craziness of eat
Her tours with an increasing em
phasis on social responsibility ami
large-scale production, the band ha
succeeded in hurdling their one
jor criticism — a weak live im
Stipe has dropped his dogmas anil
turned into a first rate entertainc:
who continually steals the show. Hi
is as unpredictable as any perforate
today, and the band is smart enougl
to leave him to his own devices. Ntt
to say the others can’t have fun (f#
instance, Berry had a quite amusitij
moment with the bullhorn), but t
would be hard to upstage the irre
pressible Stipe.
The unfortunate part of the night
was the poor turnout that only re
inforced the notion that A&M can't
support a major rock act. Becauseol
this, the support stigma will only
grow, which means A&M should he
prepared for more country and less
if any, rock shows in the future.
In addition, hopefully the Univer
sity will work on the supports of G
Rollie White so that the crews can
hang the sound equipment up on the
rafters instead of stacking them on
the floor. As it is, if you’re not on the
floor then you’re receiving a muted,
quite distorted sound that reallv
sucks.
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