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About The daily Nebraskan. ([Lincoln, Neb.) 1901-current | View Entire Issue (Oct. 6, 1997)
? High energy predicted from Boogie Shoes By Patrick Miner Music Critic Tonight, the Zoo Bar will be full of BS. Boogie Shoes, a Chicago-based quintet, will make their first appear ance in Lincoln since the August release of their second album, “Bust it... bust it... bust it...” The band, which brings a mix of hip-hop, funk and acid-jazz, is kick ing off a new tour with the Lincoln date. Boogie Shoes has toured with such notables as Fishbone, the Urge and Blue Meanies, but this time they’ll bring their funky, high-energy live show out on their own. The quintet is fronted by two vocalists, MCB and Mister D. The latter also plays a mean trombone. AA (pronounced Double A) plays guitar and will occasionally drop a verse of his own. Bassist SG and drummer Monster Matt are some what new and have signed on since the release of the band’s debut “Greatest Hits, Vol. 1.” “Greatest Hits” contains some what tighter and simpler songs than “Bust it,” such as dance-friendly “Loop-De-Loop,” the rudimental hip-hop jam “Represent,” and the . —1 sing-along, “With the Thumb Out.” For the more diverse latest effort, Boogie Shoes rounded up friends from the band Liquid Soul to help them on tracks “Flying Pan,” “Breakdance” and “Hometeam.” The album also contains the stand out song “Otherside,” which features a great smoothed out Section sung by MCB. A collaboration of songs from both albums should be expected from the show, with an emphasis on tracks from the band’s latest effort. A rendi tion of “Power,” a sonjfbff of the “Passin’ Back N Forth” vinyl single, is probable. The niche of the Boogie Shoes, though, is their humor on stage and on disc. Their easy-going attitude, which can be heard on various snip pets from the road on “Bust it,” not only landed them a spot on the Improv stage for the past two HORDE tours, but has developed them a solid fan base in Chicago and beyond. The 21-and-over show begins at 9 p.m. Admission is $3. Photo courtesy of Boogie Shoes THE EVER-ECLECTIC Boogie Shoes bring their Chicago-style mix of hip-hop, funk and acid jazz to the Zoo Bar, 136 N. 14th St., tonight. Film repeats British styles Queen’s forbidden love exploited for all By Bret Schulte Film Critic The British can really only make two kinds of films: parodies about Americans and histories about themselves (where they avoid the topic of America like it’s a personal Vietnam). The latest offering from the school of serene British cinema, “Her Majesty, Mrs. Brown,” heav ily falls in the latter category, with all the weight of Queen Victoria herself. Set in late 19th century Britain, the film is an exploration of the friendship between the grieving widow, Queen Victoria, and her roguish and devoted Scottish ser vant, John Brown. The relation ship threatened to de-legitimize the crown in an era of political upheaval and unbridled British expansion. A M «- 1 , r A \ ~ 4- ] 1 T „ 1 l x ^ 11 j uji vv/ ivu u y j vj 1111 Madden II, “Mrs. Brown” is a typ ical aesthetically pleasing British film - relying on heavy dramatic choreography, stoically grandiose characters and a cinematic sym metry that permeates the film’s style and substance. What the film lacks is pur pose. Released on the heels of the greatest monarchical tragedy in the modern era, “Mrs. Brown” easily j^ould be viewed as another exploitation of the already mortal ly wounded British crown, despite the film’s dedication to historical accuracy. However, it manages to avoid any such accusations by skillfully painting an ultimately inconclu sive portrait of the relationship that caused so much controversy and conjecture before the turn of the century and up to today. Like the film, the cast show cases ostensible excellence, fea ^ turing the veteran Shakespearean actress Judi Densch as Queen I The Facts Title: “Her Majesty, Mrs. Brown" Stars: Judi Densch, Jon Connolly Director: John Madden II Rating: PG (language, brief nudity) Grade: C Five Words: “Mrs. Brown” is noncommittal, predictable. Victoria. Most recently appearing in Kevin Branagh’s top-heavy “Hamlet,” Densch is the perfect choice as the mourning Queen whose general disdain and scorn earns genuine dislike from people both on and off the screen. Densch a owaountu atucss wnu is gincu enough to know how to act royally without acting immaturely. Her dominating presence anchors the film and supplies an epicenter around which fellow lead Scottish actor John Connolly revolves like a violently spinning top. Connolly (which sounds sus piciously like Connery) manages to create a character who is remarkably one-sided, and reduced his role as John Brown to yet another aggressive, sexist and overbearing Scot with a drinking problem (you can draw the rest of the Sean Connery parallels your self). John Brown has been called into the queen’s service after the death of her husband, Prince Albert, by typhoid fever a few weeks before. Since the loss of her. husband, the grieving queen has withdrawn her entire house into a state of near-silence and absolute seclusion. An old person al servant and friend of Prince Albert, Brown arrives at the castle as the caretaker of the queen’s horse. Of course, Brown wins the queen’s favor through his com mon-man charm and dog-like devotion, and along the way he wins her loyalty in return. The majority of the film docu ments the growing relationship between the rough Scottish ser vant and Queen Victoria, who insists on maintaining an estrangement from her subjects and a refusal of public life. This decision leads to gossip and innu endo among the press and mem bers of Parliament who are threat ening to abolish the monarchy altogether. Brown manages to convince his queen to return to her official duties, a decision that ultimately ends their own platonic love affair and results in the disintegration of the man both physically and pro fessionally. oci majesty, mrs. orown, can simply be viewed as an illus tration of the greatest struggle of the royal family - the reconcilia tion of the fairy tale and the tragedy. As the relationship between Queen Victoria and Brown grows into one of increas ing dependency and trust, their platonic love is kept in constant check by her position and the for mality and tradition that created it. The film artfully dodges any serious romantic implication between the two, and the most physical contact on the screen is that of Brown lovingly kissing his queen’s hand. But due to obvious editing, much that isn’t said is alluded to, thus making the story line seem sketchy and inconclu sive. As a result, “Her Majesty, Mrs. Brown” will remain yet another mindless tribute to Britain’s most profitable industry - the exploita tion of the monarchy. Photo courtesy of Dar Williams CRITICALLY ACCLAIMED folk singer and songwriter Dar Williams relays tales of regret and promise on her third album, “End Of The Summer.” Songwriter touches people with honesty By Chris Thomas MusicVritic At the end of summer, talk artist Dar Williams comes to us as a light among the darkness of conventional pop music’s sell out messages. Critical acclaim and minimal exposure provide her with the perfect canvas upon which she can create without fear or inhibition. Williams’ third effort, “End Of The Summer,” follows her honest and true-to-form style, fully utilizing her finely tuned songwriting abilities. As the sub limation of her life experiences and wry storytelling, her album takes on a life of its own by encompassing the listener with tales of regret for lost opportuni ties and promise for the fiiture. The first single, “Are You Out • Please see SUMMER on 14 i