pagolO daily nebraskan , monday January 14, 1980
Newp
asta shop to open for spaghetti nuts
By Lyle George
Spaghetti connoisseurs rejoice! Lincoln
will soon be the home 'of a new restaurant,
which will feature spaghetti on its menu.
No longer will pilgrimages to the Old
Market in Omaha be necessary to dine on
Spaghetti Works dishes. According ' to
manager Greg Welch, a new Spaghetti
Works is scheduled to open in February at
228 N. 12 St. in the lower level of the'
Eagle Building.-
The menu will be the same as the
Spaghetti Works in Omaha. Featured, of
course, will be spaghetti with an outstand
ing assortment of sauces to choose fromi
Welch said that all you can eat is a standard
practice when you order spaghetti. Also on
the menu is a nice selection of sandwiches
and desserts. :
Welch said everything is made from
scratch, adding that the Spaghetti Works
has a consulting chef on the staff who
helps in a continual attempt to improve
their recipes.
, Oenologists (wine experts), will have
cause for jubilation. Welch mentioned the
mmw
' wom ...
Spaghetti Works wine list will feature
35-40 wines, making it one of the largest
selections available in Lincoln. Special
promotions, featuring wine by the glass,
will give customers the opportunity to try
a large number of different wines without
the expense of buying a whole bottle.
. Interesting decor featured
Aesthetically, the Spaghetti Works
promises to please. Welch said an industrial
motif will dominate the decor. Instead of
hiding pipes and vent ducts in the ceiling,
the restaurant will emphasize them with
bright paint. The large amount of booth
seating is intended to help create an
enhanced level of coziness for diners. There
will be enough seating for 150 and a party
room will handle up to 70 . customers.
The hand-carved oak bar used to be part
of, the Pottawattamie county court house.
A 1924 Chevy one-ton truck functions as a
salad bar. An armored door with gunports
and peepholes guards the wine cellar and
manager's office. -
Welch said the Spaghetti Works will be
open for supper from 5:30 p.m,-l 1 p jn. on
weeknights and from 5 p.m.-12 a.mT on
Friday and Saturday nights. They also will
be open for lunch from 11:30 ajrt.-2 pjn.
Monday through Saturday.
The new Spaghetti Works was set up to
attract a wide variety of customers, Welch
said . He said he thought families might
constitute a large portion of the
restaurant's clientele.
Bizarre plot portrays different Tarzan in Farmer book
By Scott Kleager
It arrived in the mail from somewhere in the east, with
a flier saying that Playboy Press had, atter ten years ot its
being out of print due to censorship, finally put it to
print. Its title is A Feast Unknown and its author is Philip
Jose Farmer. On the cover his last name is twice the size
of the printed title. .
o o o
K PGUC3D
a It came to be reviewed because, as any fantasy, reader
will admit, Farmer is a wonderful writer and has
previously triumphed with his Riverworld Series. He also
is a Hugo Award winner, but not for this book.
A Feast Unknown will sell at the counters and be read
bv droves of Farmer's fans simply. because his name is on
it. The title on the cover is a subtitle ot his name, which
dominates the front, and rightfully so, because the novel
is trash. One finds it hard to believe that Philip Jose
Farmer even wrote it..
Bizarre events
There are plot tendencies, though, that seem to ,
indicate that he did indeed write A Feast Unknown. For
instance: the characters and events that shape the plot are
bizarre like only Farmer can make them. The novel is
written through the eyes of the real Tarzan, not the
fictionalized hero of Edgar Rice Burroughs, but the real
man-killing, liver-eating tree-swinger himself. .
. Farmer's Tarzan is immortal and, because the novel is
set in 1968, is seventy years old.
Also typically Farmer is the fact that whenever Tarzan
kills anyone or anything that represents an actual threat,
he becomes sexually aroused and after his inevitable
victory becomes sexually satisfied. Whenever he kills just
for food this "aberration", as he calls it, doesn't occur.
Tarzan has problems '
A Apart from" looking twenty and being seventy, and
other than really "enjoying" the kill, Tarzan is just a
regular guy. He worries about his strange sexual thrills, he
questions whether he will be able to defeat those who
oppose him.
This is where the Farmer we all know exits and the
Farmer we don't know enters.' , .
In his attempt to make Tarzan comical (and one must
assume that making a character so psychologically normal
in such aberrant physical situations is a comic attempt)
Fajmer is so bizarre and explicit that Tarzan comes off as
a sick human being. "
' An obvious connection between violence and sex and
how they are supposedly connected is embodied in the
character of Tarzan. He is supposed to be representative
ot poor, old humankind, torn between right and wronp;
constantly fighting his body with his mind. We are nudged
by the author, and not so gently, as he whispers in our
.,.,. ttir... r 1 . r a:.
cais. ncy, ice surry luruus guy.
Continued on page 1 1
TV, radio sp
ots are investment of time9creativity, money
By Colleen Tittel
The crew at Smeloff Television Pro
ductions was grouped around a videoscreen
last week, viewing for the first time the
edited version of a commercial shot in
Omaha days before.
s
. A mafia chieftain holding a pizza was
giving the hard sell while three blond danc
ing girls waved cartons of Coke in the
background.
Talk turned to camera angles and equip
ment, and it became obvious that, behind
the scenes, someone takes those close-ups
of chopped onions very seriously.
in creating a commercial message for a
product or service, the television pro
ducer's motto is "make it look good.' The
radio producer's motto is "make it sound
good." And the advertising agency's job is
to provide a framework of ideas within
which a producer tries to make it look or
sound good.
Toil and talent
AH of this is done by combining toil,
talent, time and money to trigger in the
consumer's brain the precise cue that will
send the name, address and tuneful slogan
of a product or service along the crinkum
crankum road to Long Term Memory.
At a teleproduction studio, like
Smeloff s, preparation of a television com
mercial is often a cooperative effort be
tween the production crew and the client's
advertising agency, according to Smeloff,
producer Jackie Gordon Beavers.
The director-cameraman works around
an agency-created "story board," pages of
copy illustrated by rough sketches of
screen images. The ideas are the agency's.
The - technical headaches attached to
putting the ideas into an exact 30-second
spot are the production house's.
"We are not necessarily on the line for
the creative output," said Beavers. "We.
are on the line for productive quality."
Productive quality cannot always be
achieved during banker's hours either. The
pizza commercial was videotaped well after
closing time on location in the restaurant.
..:-.. ' , - r:". '
; -Taping : ' : . ;; - .
Four crew members were on hand for
the taping, including the cameraman
director, a production assistant ("grip"),
and two engineers, Beavers said.
Even when all taping has been complex
sd without a hitch, much of the work lies
ahead-editing.
' The cameraman-director and an adver-
:- Using agency representative sit in with the
editor. The process can take several hours.
: Then the videotape is "dubbed" or re
produced on two-inch tape suitable for
television airing and is sent to a television
station, either directly or through the
advertising agency.
Sometimes a commercial is produced by
the television station itself.
In a studio at KOLN-TV, a model
parades men's coats before two $75,000
cameras while cameramen and floor crew
motion under countless floodlights.
In another room, watching from behind
a glass pane, are the copy writer, electrical
engineer ("switcher"), audio man, director
and shader, who adjusts the visual image to
variations in color and light.
Minimum cost
According to KOLN production mana-
ger Bob Furman, minimum cost to an ad
vertising client. would be $50 for 15 min
utes of studio work, with a maximum $250
for 3-4 hours of work. Commercials in
larger cities on a larger scale can cost a
client as much as $15,000the said."
Special techniques like "fold-outs,"
which make the screen image look like
, pages of a book folding open, or "squeeze
rooms, wnicn shrink the image suddenly
to a small square in the corner of the
screen, can cost as much as $80-90,000,
Furman said.
p Sometimes at KOLN, and more often in
Smeloff productions, the audio portion of
a commercial is created in a separate sound
studio that works jointly with the produc
tion house.
W.W, Sound Studio, which has cooper
ated with Smeloffs on several television
projects, is more commonly commissioned '
!?.,r?dio sPts according to producer
Mike Roberts.
This often includes writing jingles or
putting a company's slogan to music, he
said.
Continued on page 1 1