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And this is probably the one time we all want to experience the bigness of it.

I think I’ll get a kick out of doing it, to experience for the first and maybe the last time what it’s like to be, you know, Led Zeppelin or something. Cheshire: Speaking of the last time, Michael, you said last night during the show, “I guess we’ll be back here at some point.” Does that mean R.

[pauses] I don’t know – that focus and concentration is something that hasn’t quite come yet. Cheshire: Last night was the smallest place you’ve played? If we tried to do a club date it would wind up like the thing we did in London [at the Borderline, in 1991], where people were scalping tickets for upward of seven or eight hundred dollars, which is ridiculous. Some of those notes I’m hitting are very hard to hit, and I have to move in order to hit ‘em.

Cheshire: Well, their being close enough to do that. It was, like, 30,000 people in an outdoor place, and the crush at the front was so extreme that people were having to be thrown – having fainted or become exhausted or just wanting to get out of the crowd – in the pit in front of the stage. The people who wind up getting in are not the fans, and the people who don’t get in who are fans are left out, and it doesn’t seem fair. Which we’re not supposed to say, but, you know, that certainly plays into it. But I don’t want to do shriek, so I’ve kind of adopted some Elvis Presley moves, some Neil Diamond moves, and some had Vegas moves.

An explosive version of “What’s the Frequency, Kenneth?

” opens the show, kicking the audience into a screaming, barely contained frenzy.

We’re not even meeting the demand in a lot of cities we’re going to, because we don’t like to play stadiums. Buck: I don’t consider any market more important than another, but nobody would go to Australia at the end of a tour. One guy complained about feedback – not vocal feedback, guitar feedback. If you want pristine versions of the old hits exactly the way we used to do them, with real stage repartee – “Hello, Cleveland” – and a mega light show with flashing things and stuff, you’re going to the wrong show. wanting to communicate but not knowing what you say to 10,000 people that doesn’t sound stupid. Stipe: On this tour I wanted to just stand stock-still and sing. I just intersperse those when I feel like I don’t know what to do. I think it said a lot about American society and culture that nobody could understand or accept our reasons for not touring.

Cheshire: Was starting the tour in the Far East something you all wanted to do? It took me – with my kids and the nannies and my wife and the luggage – thirty-six hours to get to Australia. Stipe: You’d be an idiot to start a tour in London or Los Angeles. I don’t think anybody in Perth is any less worthy of a good show than anybody in New York. Stipe: Most of the people who wrote those reviews were nimrods. I like to think I’m not reacting or responding to those points unless I feel the same way, but we talked about some of them: for example, my seeming aloofness on stage – which is more a kind of embarrassment than anything else – and my not knowing what to say between songs . [1983] you completely slowed down and basically stood at the microphone and sang. I wanted to pull a Leonard Cohen and be a singer and not a performer. Cheshire: You were off the road for five years between tours. You always hear, “What about money and your career and success?

So they get Zelda some noodles to play with, and she was waving them around and shrieking and she threw them over her shoulder and they landed on the woman behind us. Buck: The last time we went out we were successful, but we weren’t at the level we’re at now.

Now before you run off to Home Depot to buy cable and meat hooks (do they sell meat hooks at Home Depot?

), you should be aware that siphoning electricity is not only illegal, it’s also insanely dangerous.

The vanquished security men and even the hall’s manager, who momentarily threatened to stop the show to restore order, are eventually seen bobbing happily amid the crowd.

The pandemonium seems to inspire the band, which responds with a raucous, electrifying performance.

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