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About The daily Nebraskan. ([Lincoln, Neb.) 1901-current | View Entire Issue (Dec. 4, 1995)
Arts ^Entertainment Monday, December 4, 1995 Page 9 Jeff Randall Finicky college fogy laments days gone by of good o 1’ 80s rock I’m getting old. OK, I know that at the ripe age of 19, I hardly have the right to count myself among the elderly. But I have good reason to do so. You see, I believe that the often mentioned generation gap has settled somewhere just behind me. Now I function as just another one of the crotchety old-timers who la ments the “no-talents” that proliferate in today’s music scene and waxes nos talgic for the “good old days.” Granted, my “good old days” may differ from what most consider to be worthy of nostalgia. For me, those days aren’t too far back. I remember the days when the Pix ies were still together. Now that was a band. Frank Black and the Breeders, as far as I’m concerned, are mere shadows of their former selves. I remember when Michael Stipe had hair, before R.E.M. began to rock out. They used to be such a pleasant ui u\jy a. That’s right, I’ll admit it. I don’t “get” a lot of the music on the radio these days. As far as I’m concerned, those “Lump” boys are in need of a good whoopin’, and that Alanis Morissette, I just don’t see the attrac tion. The most painful part of this expe rience for me is that, up until a year or so ago, I was often known to emphati cally declare that I would not be like my parents— I would accept the music of future generations as openly as I had my own. But here I am, still in the middle of the music of “my generation” and un able to stomach most of it. Sure, I like a few of the newer records. Oasis is a fine band, for ex ample. But that doesn’t change the fact that most of my record purchases in the last year have had “The Nice Price” stickers on their covers—you know, that sticker for pieces of music no one who isn’t living in the past would touch. Dear God, I said it—I’m living in the past. But it’s not all bad, after all. If it weren’t for the proli feration ofoverly nostalgic baby boomers, we wouldn’t have the Beatles or Elvis or even Jefferson Airplane to listen to today, we wouldn’t have “oldies” stations, we wouldn’t have “Solid Gold Satur day Night.” remaps mat is my tunction. It could be that I have been chosen to carry on the legacy of the Pixies, Ned’s Atomic Dustbin and maybe even Dexy’s Midnight Runners. Who am I ladding? I’ll never play a role in the preservation of the late ’80s/early ’90s musical legacy. I’m just an embittered curmudgeon who is attempting to deflect criticism of his closed musical mind with a false pre tense of historical significance. But I still have time and hope. Maybe I’ll turn on the radio right now, turn the dial to the “modem rock” station of my choice and have a listen. Maybe I’ll actually like some of its offerings. / This could be my last chance to salvage my desperate gasps for youth and all its livelihood. This could be it. Hootie and the what? Ewwww. Oh well, back to the drawing board. Randall is a sophomore news-editorial major and a Daily Nebraskan senior re porter. Courtesy of Rysher Entertainment John Travolta and Harry Belafonte share a moment in “White Man’s Burden,” a film in which the racial power balance is reversed. Film fails with mild approach to matter By Jeff Randall Film Critic With “White Man’s Burden,” director/screen writer Desmond Nakano has set up a film premise that has a lot of potential. —-s-He creates a world where MOVie the racial power balance as Rpuipur we know it in America has ncVIBW been reversed — blacks are me diuucm liiajuruy anu whites are the poverty-stricken minority. With this “Twilight Zone” styled situation,Nakano could have made one of this year’s most important films. But in stead, he opted for the mildest ui ajjjji uaciies <uiu me resuu is a n im mai lums oui to be mostly premise with little content to back it. For the most part, the film is filled with role reversal situations of racial inequity that can be seen coming from a mile away. The dialogue of the characters seems to be played more for forced laughter than serious social commentary. John Travolta stars as Louis Pinnock, a hard working factory employee who is hoping for a job promotion that will allow him to support his family. Harry Belafonte also stars as Thaddeus Tho mas, the wealthy businessman who owns the company for which Pinnock works. Thomas catches Pinnock sneaking an inad vertent peek at Mrs. Thomas, who is in a state of undress, and mentions the incident to Pinnock’s supervisor. Pinnock is subsequently fired, solely on the basis of this incident, and is left without a job or any other means to support his family. Later, in a moment of desperation, Pinnock takes Thomas hostage in the hopes of getting his back pay, but instead is forced to hold his former employer for an entire weekend. Travolta makes a welcome break from his current typecast as a slick, gangster character and does a good job of it. His laid-back conversa tional style and his role as underdog seem made for the actor. Belafonte is equally appealing as Thomas, a pri vileged man whose racist tendencies ultimately get him into the most frightening situation of his life. Nakano had the premise and the actors to accomplish something much bigger. But he plays it safe, avoiding even the mildest spark of contro versy with a film that, given the right approach, could have been a virtual powder keg. By the film’s end, it is difficult to determine what Nakano was really trying to accomplish with this film. It seems to be more of a nudging wake-up call for the culturally insensitive than a seriously progressive effort. If you’ve ever read a newspaper or watched television (i.e. O.J.), this film has very little of which to inform. Renovated Elleven relaxing I By Albert Schmid Restaurant Critic When Lincolnites think of the El leven, most of them have images of black lacquer, impec cable service, gourmet food and an incredible view of Lincoln from the 11th floor of the Na tional Bank of Commerce building, 1248 O St. This is something of the past. The El leven closed its doors early this year for an overhaul. Now the El leven, which re-opened Oct. 11, has been split into several private dining rooms and the Galaxy Cafe, which is open Monday thru Friday 7 a.m. to 3 p.m. 7116 Galaxy Cafe has a stel lar name but the food is in every way Midwest ern. This is not to be misinterpreted—the food is good and it has a homey flavor. An example of the daily specials are tater tot casserole, liver and onions and au gratin potatoes with ham. The specials change daily and sell for about $3.50. You can inquire about the specials by calling the NBC “People-Line,” 434-4295. The eatery also features sandwiches, salads, breakfast items, drinks and desserts. I enjoyed the au gratin potatoes with ham. I was also allowed a roll and one side of my choice, peas or corn, for $3.50. I chose the peas. I took a seat near one of the windows facing north. It was a truly wonderful view—as I ate I was able to enjoy watching planes take off from the Lincoln Airport, activities at the UNL City Campus and many other things going on down town. The staff was very friendly and helpful in this cafeteria-style restaurant. The private meeting rooms are available with a separate, equally reasonable menu. The private menu features, among other items, a cobb salad ($6.00), a Caesar salad ($5.75), the “El leven” Club ($5.25) and beef tenderloin with a red wine sauce ($7.75). The private rooms’ names continue the “uni versal” theme of the Galaxy Cafe. The Northstar room, the Mercury room, the Gemini room, the Apollo room and the Discovery room round out the new El leven. The decor includes very comfortable chairs and varied bright colors. Overall, the new El leven is a far cry from the old El leven but the food and atmosphere are still intact. The floor and wall colors lend themselves to a more relaxed atmosphere for eating. Surplus plots throw ‘Train’ off its track By Gerry Beltz Film Critic Sometimes, even the chemistry of Wesley and Woody just doesn’t cut it, and “Money Train” proves just that. Director Joseph Ruben (“The Good Son,” “Dreamscape”) follows too many plotlines at once, devel ops very little of anything be yond his two lead characters, but still manages to entertain here and there with this action flick. John and Charlie (Wesley and Woody, respectively) are two los Angeies transit cops wno are also orotn ers. (Well, foster brothers.) They each take turns being a decoy for subway robbers while the other watches out, ready to See MONEY on 10