Daily Nebraskan Thursday, November 4,1993
Callahan tradition continues
at new bar, Mary’s Place
Spider Robinson
“The Callahan Touch”
Ace Science Fiction
Callahan’s Crosstime Saloon, the
Irish Bar that was the setting for five
previous books, was destroyed by a
tactical nuke in 1986. The regulars
— among them a talking dog, a vam
pire, and other assorted characters of
various repute—fled with their lives.
But owner Mike Callahan fled in a
time machine.
Two years later, Callahan’s assis
tant bartender opens his own saloon,
Mary’s Place. It’s not a copy of
Callahan’s, since that would be im
possible and a desecration to the
memory, but it has the same regu
lars. On the first night, the bar con
James Mehsling/DN
tinues the Callahan tradition of weird,
improbable occurrences.
The first visitor enters by flying
through the door, minus pants. The
next guest threatens to commit sui
cide, because he believes he is the
scientist who gave humanity the
AIDS virus. Next comes a cluricaunc,
a leprechaun-like creature that con
sumes all the alcohol in a particular
spot, and grants those who can catch
it three wishes.
Veteran science fiction writer Spi
der Robinson creates an incredibly
homey atmosphere at Mary’s Place.
One doesn’t have to be an Irishman
steeped in the legend and lore of the
old sod, but it certainly helps you to
appreciate the work. One warning,
though: If you’re averse to puns —
really horrible ones — then I suggest
you skip this book because Robinson
continues another Callahan tradition.
—Sam Kepfield
1994 BSN
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25
courtesy American Recordings
Seattle
“Seattle ... The Dark Side”
Various Artists
American Recordings/Rhyme
Cartel
The album “Seattle... The Dark
Side” is everything one could want
musically out of Seattle — with
out the grunge.
The history of rap has been
plagued by low-cost, low-talent
compilations. In the last few years
the market seemed to have died;
and except for the occasional
soundtrack, compilations were a
thing of the past.
But with “Dark Side,” Sir Mix
A-Lot practically reinvents the
medium, using his own label,
Rhyme Cartel, and a group of fine
artists.
By letting the artists use their
own producers, Mix-A-Lot allowed
them to attain higher creative lev
els, without the single-vision of a
central figure.
Of course, the hard-core funk
shows up — this is still the West
Coast — in two songs by E-Dawg
g —EBunmwmm —
and Filthy Rich. “Drop Top” is the
total, top-down cruising jam, while
“Little Locs” kicks flavor of grow
ing up in Seatown.
Next, the R&B section boasts
3rd Level in two songs — “Show
You” and “Don’t Play Me.” This
Washington-state chorus croons as
well as any other group out these
days.
Probably the most moving track
is Jazz Lee Alston’s “Love... Nev
er That.” Alston reads poetry based
on her sister’s brutal death by an
abusive lover over chilling back
grounds. The effect is powerful.
Here, Sir Mix-A-Lot puts to
gether a first-class compilation
without compromising anyone’s
style or wasting any talent. We’ve
all seen the grunge, but this is Se
attle’s dark side.
—Greg Schick
Altapalooza
“Alapalooza”
“Weird AT Yankovic
Scotti Bros.
“Weird Al” Yankovic is back,
and he’s on the attack.
The king of rock-n-roll parody
is back with his 11th release,
“Alapalooza.”
Yankovic started his career 14
years ago with his revamped ver
sion of the Knack’s “My Sharona,”
titled “My Bologna.”
After an on-air performance of
his Queen parody, “Another One
Rides The Bus,” on the “Dr.
Demento Radio Show,” he became
solidly embedded in musical his
tory. His name would become syn
onymous with musical parodies.
Yankovic’s fans should be
pleased with his latest work, which
includes songs parodying popular
musical icons Billy Ray Cyrus,
Queen and Aerosmith. He also does
parodies of the Flintstones, talk
shows and Steven Spielberg’s
megahit, “Jurassic Park.”
Other hilarious tracks include
“Talk Soup,” a theme song about
the E! Television series, “Young,
Dumb & Ugly,” which describes
how to be a quiet rebel in today’s
society, and “Harvey The Wonder
Hamster,” a 21 -second parade-like
tune praising a hamster.
Unfortunately, some of
Yankovic’s other original tracks,
such as “Waffle King” and “She
Never Told Me She Was A Mime,”
fall flat and do nothing for the
listener.
Still, his better songs are spread
throughout the disc — culminat
ing with “Bohemian Polka”—
making the entire work enjoyable.
— Gerry Bettz
UPC
Continued from Page 9 •
and effort into something, and then
not have concerts go over as well as
we would like.”
In the case of Midnight Oil, Doyle
said he thought the lack of ticket
sales was partly due to students
“roadtripping” to see the band per
form in Kansas City. That’s counter
productive to booking bands in Lin
coln, he said.
“If you want them here at home,
you have to go to them here,” he
said.
Doyle said next time around UPC
might create a “road-trip map” that
people could follow but still end up
in Lincoln.
Despifc poor dck^ sales. Doyle
said the concert showed Lincoln was
an actual market for music and that
the city had potential to become a
major concert market.
“We have to show promoters that
UNL is a viable place to bring con
certs.”
But the only way to do that, he
said, is to do well with the next con
certs that come to campus.
Doyle said the next big project for
UPC was the Rod Stewart concert.
Stewart is scheduled to perform at
the Bob Devaney Center Dec. 1. Tick
ets are on sale now.
While getting Midnight Oil to per
form in Lincoln was a big step ahead
for UNL, the Rod Stewart show was
a major coup, Doyle said. People heed
to take advantage of the opportunity.
The Stewart concert needs to be a
sell-out show if UPC is going to con
tinue to bring major acts, he said. As
of Tuesday, ticket sales were ap
proaching the half-way mark.
“If this goes well, you’ll be seeing
a lot more, Doyle said. “This is the
one that puts us back on the map.”
And if students continue this am
bivalence about rock concert events?
“Well,” Doyle said, “we’ll still
get country.”
I- 178 Pregnancy
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