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About The daily Nebraskan. ([Lincoln, Neb.) 1901-current | View Entire Issue (Nov. 3, 1993)
Daily Nebraskan Wednesday, Novembers, 1993 Upholstery Continued from Page 9 creations, making what others write off as “Haufenmist” — a German euphemism for feces — into some thing “unbelievably beautiful.” That enthusiasm has worked for him, gain ing him repeat customers and contin uous work for local design firms. Although Nissen carries 13 credit hours at UNL in addition to operating the shop full-time, he said he was happy Mark Anthony Upholstery was up and running. “I’ve itched for the real world since I was 16 years old. I’ve wanted to be right in the middle of things, making money, married with a wife and chil dren. and happy.” More school and an increasing amount of business could mean an even heavier workload for Nissen. But he said he’s determined to make it work. “This is twice as complicated as working for someone else. It’s yours, and it’s your butt in a sling. “I’m 21 and 1 could fall flat on my face and get up again,” he said. “But I’d prefer not to fall on my face.” i PENNY PITCHER NIGHT jm M mmmjm ^ Courtesy of MGM Kate Nelligan stars as Lana in MGM’s comedy spoof, “Fatal Instinct,” directed by Carl Reiner. Fatal Continued from Page 9 Assante is great in this role, which is a far cry from his work in “The Mambo Kings ” But Nelligan, Fenn, and Young bring performances to the screen that exempl ify the term “wood en acting ” Still, it does have its moments, many of which are provided by a multitude of cameos, including Tony Randall, Eartha Kitt, Rosie O’Donnell and Bob Uecker, who provides the color commentary at the movie’s cli mactic trial — one of the movie’s funniest scenes. Also, whenever Lola is on screen, Clarence Clemons appears in the back ground to provide her theme music. He is gone for one scene, but he's replaced by ... someone else. Some one who knows how to handle a horn. It’s not worth paying the full five bucks for, even for the biggest film spoof fans, but it is worth the matinee price. The “economically challenged” moviegoer can only hope it will even tually hit the local discount theater. — Gerry Beltz ■ HUIJ. JAM-1.*11*.PAJiJMjjW ■}). 1 •teheifSA^e^e • H 'M WATS Marketing, a business unit of first Data Corporation, has service representative positions available for incoming freshmen, as well as the more seasoned student. Em ixtri CkratMs eash aitli wr farHine fwitioit Ynl kt don Mm fads weak! ^ Consider these advantages: 4 Casual dress 4 Excellent starting salary plus bonuses 4 Work evenings and weekends only data 4 Paid training classes starting immediately Building 1-D Gateway Center (S.W. corner of Gateway Market.^ shopping center) 2nd floor of the Comhusker Bank. behndacarlislereal Courtesy of EMI Courtesy of Fontana “Rear Belinda Carlisle EMI “Beginning and ending with what we know —surrender emotions—nere we go!” Belinda Carlisle screams on “Windows of the World,” the anthem track on her fifth solo album “Real.” Over the course ofher 15-year career, Carlisle has lead the Go-Gos and has prospered on her own. “Real" brings her raspy, warbling voice to its fullest freedom. “Real” continues Carlisle’s trademark me lodic sounds with undeniable strength and vi branee. She also has thrown in commercially dramatic themes throughout. Carlisle’s vocal freedom seems natural, not forced, and is much more believable than her former solo efforts. Perhaps motherhood, a new record label, and a drug-free lifestyle has added to her con fidence. “Real” opens with ‘Goodbye Day,” which reveals a woman shedding her former life and celebrating her new one. The background vocals and the musical style on “Real” may sound to some like the Go Gos hits “Vacation” and ‘Gur Lips Are Scaled. ” The similarities are probably due to the contributions of former Go-Gos bandmate Char lotte Caffey, who sang backup vocals and co wrote the majority of songs on “Real.” Carlisle’s voice soars in unabashed bliss on every song, and is fun to listen to, until the cliched pop-rock piece “Tell Me” rolls around. Lyrics such as: “Tell me your darkest secret/ show me what you don’t want me to see/Lct me in/I want to know you,” can’t be taken serious ly, even with Carlisle’s powerful singing. It displays some of Carlisle’s most vocally intense and emotional work. The appeal of “Real" is its truthfulness and dreamy vignettes of romance and drama. — Steven Sparling “Audience with the Mind** The House of Love Fontana The House of Love, consistently proving themselves as one of England’s finest bands, has stripped its sound down to produce its new album, “Audience with the Mind.” Traveling backwards on the musical evolu tionary scale, the band has returned to its orig inal three-piece lineup of vocalist/guitarist Guy Chadwick, drummer Pete Evans ami bassist/ vocalist Chris Groothuizen. The result is a renewed focus on the atmo spheric, surreal sound of the band’s early days on Creation records, shying away from the layered orchestration of “Babe Rainbow,” its last album. Still, the band is able to take sounds from different galaxies and make them mesh into a framework of spacey, controlled music that is something like tiptoeing in the daytime. The album’s title track blends acoustic gui tar and the bassy, crooning vocals of Chad w ick. He sings: “My head’s a rocket full of gin but not quite dcad/That’s why I have what some would say is a dangerous mind.” Point taken. Passing the microphone to Groothuizen makes for the biggest surprise, pushing forth “Erosion” and “Hollow”—two songs he wrote and sang — as the best on the album. Other high points are “Call Me,” a pieced together tune that rips in places, and the beau tiful, waltzy plea ot “You’ve Got to Feel.” Chadwick covers well for the lost second guitar, interchanging between full, sometimes scratchy rhythms and spastic solos. Evans takes his turn showing off on “Portrait in Atlanta” and makes percussive use of everything from bon gos to kettle drums. “Audience of the Mind” gives the sound of a seasoned, newly tightened band that never skimps on creativity. — Glenn Antonucci