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About The daily Nebraskan. ([Lincoln, Neb.) 1901-current | View Entire Issue (Feb. 16, 1995)
Todd Snider “Songs for the Daily Planet” MCA Records Grade: B Wally Pleasant “Houses of the Holy Moly” Miranda Records Grade: A Tom Snider and Wally Pleasant are both folk-alternative singer songwriters with wide-angle views of rock history. “My Generation (Part 2)” by Snider is an amusing look at the second Woodstock generation growing up in the shadow of the original Woodstock idealists. Snider is content that his genera tion should be proud, even despite slacker attitudes, drum machines and $40 Goodwill clothes. Snider’s inclusion of Madonna’s line “strike a pose, there’s nothing to it” in a discussion about the alternative scene speaks volumes, as does his use of the Who’s line “hope I die before I get old” in a song about twentysomethings in an age of arena-rock dinosaur comebacks. Pleasant jabs the alternative scene as well in his song “Altemateen.” It is written from the viewpoint of an older slacker who gets pulled into the teen counter-culture by a purple-haired beauty. Pleasant sings with mock sincerity about hanging out with the other “mall-temative” kids and holding his beloved the day Kurt Cobain died. Both Snider and Pleasant com pare the music of today to the early ’ 60s folk scene ofBob Dylan. Snider rewrites Dylan’s “Talking New York Blues” as “Talking Seattle „ Blues.” He xhanges the tale of Dylan’s rise to fame in New York - to portray the rise of a non-playing band that leaps into the spotlight by merely being from Seattle. The moral of Snider’s song seems to be the same as “The Emperor’s New Clothes” — people will buy any thing if it’s presented in the right way. Pleasant traces the evolution from Bob Dylan to MTV Buzz Bin in “Song for Bob Dylan.” He shows how artists have been labeled “the next Bob Dylan” for 3 0 years. Pleas ant even slips into self-parody by saying that he wants to be the next Bob Dylan. A lofty goal, but Pleas ant seems to have the raw materi als. Both Snider and Pleasant are witty lyricists who write catchy tunes, but Pleasant has an infec tious quality that Snider lacks. Pleasant is fun to listen to and talks like a close friend who has shared the same experiences as the listener. Snider has some great songs, but his album is inconsis tent and falls apart near the middle. — Jason Gildow Pegboy “Earwig” Quarterstick Records Grade: C+ As punk rock speeds along the musical highway as the current “big thing,” it seems to be bringing a whole lot of previously lesser known bands along with it. Pegboy seems to be one of those bands that is hoping to at least squeeze a little recognition from the public before they and punk crash back down to the depths of the Billboard charts. These guys play your typical, speedy and semi-angry brand of punk rock that is making A & R representatives drool and subur ban America spend. “Earwig” is catchy, there’s no denyingthat, but something seems to be missing. It has the sound but lacks the soul that drove bands like Minor Threat and the Circle Jerks into the hearts of the angry youth of America (ah, the long-lost glory days). With die opening song, “Line Up,” Pegboy cranks out a fast and furious anthem-like tune designed to inspire interest. The ringing guitars, sharp drums and ultra quick bass lead vocalist Larry Damore throughout the song. They even throw in a guitar solo. On this song, as on the rest of the album, Pegboy puts out a brand of music that sounds meticulously crafted despite deliberate under production. The slight echo of the vocals makes this album sound as though it was recorded in a garage (or more realistically, a studio that was designed to sound like a ga rage). Every drum hit, every ring of feedback, every scream sound like they were mathematically calcu lated to fit right into the correct spot. The sense of spontaneity that permeates most punk albums is absent here. It’s just too good. In “Gordo,” the out-of-control guitar noise is quickly restrained into tight chords. Damore rarely screams, and when he does, it seems half-hearted and detached. I guess this is what happens when punk, like any instant art, is overdone. The former music of choice for angry yet ineffectual slackers is now a technical prac tice. It may sound a bit rough and tumble, but it ends up being more slick than it is slack. —Jeff Randall Public invited to view artist Katz’s work From Staff Reports Cima Katz, a professor of art from the University of Kansas, will be vis iting the University ofNebraska-Lin coln today and Friday. Karen Kune, associate professor of art at UNL, said that although she and Katz had talked for a long time about Katz’s work, it took a while for everything to come together. It is important for student artists from the central region of the United States to meet accomplished artists from the same region, Kune said. Katz teaches printmaking at the University of Kansas, and has recently exhibited her lithographs and monoprints at galleries across the na tion. In 1984, she was awarded an NEA/Mid-America Arts Alliance Grant for her drawing and printmaking. Katz’s prints will be available for public viewing Thursday from 3-5 p.m., room 303 Woods Hall. Ai 5 p.m., Katz will give a public lecture on her work at 5 p.m. in Richards Hall, room 225. Kune said that Katz would be in the studio again cm Friday, and volunteer ing students from Kune ’ s classes would attend throughout the day. IN GO THE BALLS, OFF COME THE CLOTHES! STRIP POOL Two luscious lovelies engage in the ultimate “how-to” video! Send $19.95 check or M.O. + $4.50 S & H to: BIMBEAUX VIDEO 13601 Ventura Blvd., Suite 427 Sherman Oaks, CA 91423-3788 Calif, residents add $1.65 tax. Allow 4-6 weeks for delivery. See us on the internet. http://kspace.com Select screening room, e-mail bimbeaux@earthlink.net Camelot Continued from Page 11 years ago for a community theater in Marysville, Kan. “This musical, because of the time period, needs to have a particular style,” she said. “It needs to reflect the magical qualities, because Merlyn transposes himself through time. The whole thing needs to feel like mystery, magic.” The role of King Arthur is another challenging part of the play, Hagemeier said. “He has so many different emo tions,” she said. “He starts out being insecure, yet he’s king. He has to show us how much he’s hurt by the infidelity of his wife. He has to portray many different emotions well.” lliat complexity of character is exactly the reason Kevin Hofeditz, an associate professor of theater arts, dreams of someday playing the role. “His maturity would be challeng ing to play,” Hofeditz said. “He has these great ideals ofhow people should treat one another. He is tom between being king and doing what is right (burning Guenevere at the stake for her infidelity), but that goes against his sense of humanity. “He is conflicted as a person and a king, and that’s a nice challenge for an actor.” Hofeditz would know about theat rical challenges—he has appeared in numerous musicals, including “Sweeney Todd,” “The Pirates of Penzance” and “Cabaret,” among oth ers. Part of the challenge of Arthur’s role is the music, Hofeditz said. The original score, by Lemer and Loewe, includes such popular tunes as “How to Handle a Woman,” “Camelot” and “If Ever I Would Leave You.” ' Along with exciting singing, audi ences can expect an enchanted evening, both Hofeditz and Hagemeier agreed. “People love ‘Camelot,’” Hagemeier said. “People enjoy romance, mystery and magic. You can expect wonderful music, strong singers and actors and a visually stunning show.” ARCHER DANIELS MIDLAND CO. 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