Arts & Entertainment
Rolling Stone photos make stop at UNL
By Michael Deeds
Senior Editor
Scientists and political figures are
not the most important personalities
of our generation.
Rock stars, actors, and well, maybe
pRqtfiiPBliy
a few politicians are -- that’s why
they are always getting photographed.
At least Rolling Stone magazine seems
to think so.
“Maxwell House Coffee Presents
Rolling Stone: The Photographs,’’ a
collection of some of the popular icons
of the ’80s, will be displayed from 10
a.m. to 6 p.m. today through Thurs
day in the main lounge of the Ne
braska Union.
The event is being sponsored by
Rolling Slone, Maxwell House Cof
fee and Simon and Schuster, but was
brought to the University of Nebraska
Lincoln by the arts comittec of the
University Program Council, accord
ing to the comittee adviser.
Minarca Gurule said UNL is the
15 th stop for the tour and that the
university’s location was the primary
reason for getting the lour to Lincoln.
“It was luck,’’ she said. “And we
jumped right on it.’’
The exhibition showcases photog
raphers such as Richard Avedon, E.J.
Camp, Deborah Feingold, Hiro, Annie
Licbovitz, Matt Mahurin and Herb
Ritts.
All photographs focus on “pop
-4 4
Its a good opportu
nity for a student
simply because it's
free.
Gurule
UPC committee adviser
-9 9
culture,” Gurule said.
Their subjects include: David
Bowie, Bob Dylan, David Byrne, The
Grateful Dead, Michael Jackson, Mick
Jagger, Madonna, Eddie Murphy, Jack
Nicholson, Yoko Ono, Prince, Bruce
Springsteen and Peter Townshend.
The original photos were taken
from “Rolling Stone: The Photo
graphs,” a book featuring 150 pic
tures from the pages of the magazine.
The portraits encompass a variety of
styles, from the dark and murky like
ness of Tom Waits to the luridly
bright shot of Liberace.
The larger-than-life reproductions
began touring in September and will
finish in March after visiting 25 uni
versities.
This is the first time a collection of
photographs from Rolling Stone has
toured, said Jeff Van Pelt, art chair
man for UPC City Campus.
Van Pelt said he expected about
15,000 students each day to view the
photographs.
“A lot of people have been asking
questions, and we’ve been getting a
lot of calls,” he said. ‘‘Just the loca
tion is a factor — it’s a heavily trav
eled area.”
Gurule said Maxwell House will
provide coffee, and security will pro
tect the photographs, which are worth
about $10,000 each.
She stressed that students should
take advantage of the exhibition.
‘‘It’s a good opportunity for a stu
dent simply because it’s free,” she
said.
Van Pelt agreed, but for another
reason.
‘‘It’s a quality show.”
^ +
MHnnHinHMnnHHH
Peter Murphy court..„ o. B.99.r. b.™,u„
Murphy debuts new sound on ‘Deep’
By Mark Bestul
Staff Reporter
Peter Murphy
“Deep”
Beggars Banquet
Peter Murphy's “Deep” is pro
vocative and full of musical talent.
“Deep” is Murphy’s third solo
album since leaving his former band.
Bauhaus (whose other members
formed Love and Rockets). With
this album, he proves thqt he is as
good a songwriter as ever and an
even better performer.
Murphy is at his best on this
album, largely because of the up
beat music played by his band, The
Hundred Men. The quick, radiant
sound starkly contrasts Murphy’s
eerie vocals.
The music has a quick, almost
cheerful tempo — a new sound for
Murphy. In the past, Murphy’s music
has rung with depression. This new
style, along with Murphy’s low,
dramatic voice, creates a great
sound.
The album starts off with “Deep
Ocean Vast Sea. ’ ’ The song begins
very slowly and sounds much like
The Church. The song then picks
up speed until it reaches a nice,
steady rhythm.
One song that really captures
the attention of the listener is
“Crystal Wrists." This song has
an extremely good quality to it.
Part of the reason for this is the
simplicity of the music. The guitar
See MURPHY on 7
bpeedmetal replaces punK;
D.R.I. still standard-setting
By Bryan Peterson
Staff Reporter
Where have all the mohawks gone?
Seminal thrash band D.R.l. (Dirty
Rotten Imbeciles) played to a mostly
metal audience Sunday night at
Omaha’s Ranch Bowl.
The days of packing 22 punk blasts
onto a seven-inch record are over for
D.R.l., but fans at the Ranch Bowl
cones,','1
rocked for nearly 90 minutes to the
band’s driving speedmetal.
Opening band Nasty Savage drove
from Florida just for the chance to
open for one-time label mates D.R.l.
Nasty Savage played mostly standard
speedmetal and was marred by blunted,
gruff vocals.
Anyone opening for D.R.l. faces
an incredible challenge because D.R.l.
has a deserved reputation as one of
the fastest, hardest bands around. Nasty
Savage played a solid set, but the
audience belonged to D.R.l.
The whirling, writhing thrash pit
doubled in size when D.R.l. took the
stage and launched into “I Don’t Need
Society” from their earliest days.
Perennial talk of the band selling
out to the speedmetal scene was si
lenced with the first song and forgot
ten with the second.
Despite the hefty door price (S10.75)
and S14 t-shirts « both unheard of in
local punkdom - D.R.l. gave a show
worth waiting for.
The band was tight and played
song after song of the grinding, roar
ing sound that has propelled it to the
top of the speedmetal scene.
The no-stagc-diving policy of the
Ranch Bowl led to problems right
away. Security people tried to grab
those who came onstage and throw
them out.
After several people were ejected,
the security folks settled down some
what. What could they do when D.R.I.
vocalist Kurt Brecht dived into the pit
himself and was passed around above
the heads of the cheering crowd?
D.R.I. made much better use of the
small stage area than did Nasty Sav
age, with band members thrashing
about on every inch of the stage and
several yards of cumulative hair fill
ing the air.
Old songs like “Violent Pacifica
tion” — “We’ll force you to be nice
to each other.’ were delivered along
with newer material from the “Thrash
Zone” album such as “Abduction,”
which just had been Filmed as a video
for MTV.
Nasty Savage had opened with a
typical specdmctal set, the kind of
sound which may sell a few records
and get a crowd interested in the show
without exploring any new musical
territory.
One song, “Stabbed in the Back,"
was introduced by a brief statement
about prejudice, but few other words
could be heard.
The vocalist spent more time drink
ing than singing, while the rest of
Nasty Savage gave a non-stop aural
assault, pounding ears and preparing
the way for D.R.I.
D.R.I. finished the show with its
standard-setting, specdmctal sound,
the result of a gradual transition from
thrash to specdmctal. The transition
has combined the best of both styles
and sounds, as good live as it is on
vinyl.
Giants pump out danceable, intelligent music
By Julie Naughton
Senior Reporter
They Might Be Giants
“Flood”
Flektra Records
They might be brilliant.
John Flansburgh and John Linncll,
the two New Yorkers who make up
They Might Be Giants, have created a
second album full of completely origi
nal music. “Flood” joins the group’s
first full-length release, “Lincoln,”
as a notable album of progressive
music.
The cover photo, a classic picture
by the late Life photographer Marga
ret Bourke-White, makes it one of the
greatest album covers to come along
in years. The songs arc just as bril
liant.
“Flood” features 19 songs in a
variety of musical genres. Everything
from power pop to jazz to hard rock to
country has a place on the album.
The album features diverse instru
mentation. Flansburgh and Linnell
fool around with trombones, violins,
drums, guitars and keyboards and run
most of it through synthesizers. The
men have become masters at creating
original lyrics and melodies — a rarity
these days.
The album opens with a lyrical
celebration to itself in “Theme from
Flood:”
“Why is the world in love again/
Why arc we marching hand in hand/
Why arc the ocean levels rising up/
It’s a brand new record for 1990/They
Might Be Giants’ brand new album/
Flood.”
Violins, harps and a chorus of
angelic voices proclaim that this is
the group’s latest effort.
Like, wow. Deep.
There’s something for everyone
on this album.
“Birdhouse in My Soul,” perhaps
the album’s catchiest tunc, is an up
beat love song. How can you resist
lyrics such as this: “I’m your only
fricnd/I’m not your only friend/But
I’m a little glowing friend/But I am .
. ..” The melody is light and addic
tive. It made me just want to get up
and skip around.
Also fun is “Istanbul, Not Con
stantinople,” a song aboutgeographi
cal awareness. The song points out
that change is inevitable, that even
New York was once known by a dif
ferent name - New Amsterdam, for
the curious. The tune is very catchy.
Another notable, and considera
bly more somber cut, is “Road Movie
to Berlin,” a song about Nazi war
crimes. This is deep, similar to a song
one might expect from R.E.M. The
Giants sing of the dangers of people
mindlessly following one person with
out making their own decisions.
This album promotes racial aware -
See GIANTS on 7
THEY MIGHT BE GIANTS FLOOD
I_~_I
Courtesy of Elektra Records
