Image provided by: University of Nebraska-Lincoln Libraries, Lincoln, NE
About The daily Nebraskan. ([Lincoln, Neb.) 1901-current | View Entire Issue (Nov. 18, 1998)
with one band
sheds light on
the power of music
By Jeff Randall
When 1 was a kid - say about 12 or 13 years old -
about the only music I would listen to was Beatles
My dad, '60s pop aficionado that he was, had
every Beatles album on vinyl: and 1 used to sit for
hours, listening to “Revolver,” “Rubber Soul,” “Sgt.
Pepper’s Lonely Hearts Club Band,” “Abbey Road”
(“Abbey Road" was the best) and all the rest of those
magnificent works of art.
M 1 yuu LUU1U
Jr say I was obsessed.
But even in my
M young and impres
sionable years, the
years in which my
love affair with the
Beatles was at its
height, I never
the insane fan bit.
You know -
all those old
// films of the
forming in con
cert or for Ed
Sullivan. I just
nied every song. Girls crying and fainting,
boys jumping wildly into the air, parents
I didn’t get it.
Sure, the Beatles were great and all.
The greatest, maybe. But screaming and
swarming and losing one’s mind hardly
seemed an appropriate response.
Well, I’m about a decade older now.
And although I wouldn’t describe my life
to this point as a truly wisdom-inspiring
journey, I have picked up the occasional
nugget here and there.
One of those nuggets is the reasoning
behind the insane music fan.
nor me, tnat reasoning is tne
Most people have never heard of
the Whigs. Or to put it more accurately, most people have
heard the name, but never heard the music.
I hadn't even heard the band s name until 1993, when
I picked up a copy of "Congregation," their third full
length album (1 was intrigued by the cover art, OK?).
It was shortly thereafter that I began to identify with
the insane fan. Because insanity is a perfectly reasonable
word to use when describing my relationship with the
music of the Whigs.
Their albums have become tantamount to spiritual
tomes. Traveling to their concerts has become something
of a pilgrimage. And when 1 listen to their music - their
beautiful, heart-breaking, soul-mining music - I feel as
though there is little else in the world that matters.
II M_I ‘ 1_1 .
vv lit ii i 3ii uai is.
and think about it. 1
like to believe that my
penchant for the
Whigs has stemmed
from my somewhat
tastes. Because of the
era in which 1 was
bom, I have an affini
ty for all thmgs punk.
And because of who I
am, I find nothing
and empowering than
the soul music of the
More than any
other band out there,
the Whigs embrace
both of these art forms
and recycle them into
Roanng guitars and slinky backup singers coexist
peacefully m the music of this band. Dropped references
to Marvin Gaye in lyrics, Barry White in attitude and the
Replacements in sound result in music that - if I had the
talent -1 would want to make.
Sad but true, I have sunk to the level of the scream
ing, crying girl in the front row of Ed Sullivan s audience.
This past week, I went to Chicago to see two Whigs
shows. At the front both nights, I let out high-pitched
squeals and wails that I never thought possible. Before
each show, I would shake in nervous anticipation. After
each show, I would close my eyes and revel in the
moment as though it were some sort of post-coital bliss.
Please see WHIGS on 8
AFGHAN WHIGS FRONTMAN Greg Dulli (left) is compli
mented mid-set by saxophonist Roderick Paulin during a
Whigs show in New Orleans last May.
Absurd plot elements, errors foil Siege
By Cliff Hicks
There's a real discrepancy from
what “The Siege” wanted to be and
what it was.
It had all the potential of making a
good, gripping film about how
America’s freedom is less secure than
we expect, but there's just too much
that gets in the way along the nearly
The plot is simple at the start and
quickly grows complex. After a
Muslim leader is kidnapped by the
U.S. Army, bombings begin through
out New York, and panic rises. A few
bombs later, the American people
decide they have had enough.
Martial law is declared in New
York, and the Army moves in.
Trying to prevent the whole con
flict is Anthony Hubbard (Denzel
Washington), who is the head of the
FBI’s anti-terrorism task force in
New York. Aiding him is Elise Kraft
(Annette Bening), a CIA spook who
just happens to get tangled up in the
whole thing. Running the Army is, of
course. Bruce Willis' character.
Out of the three, both Washington
and Bening put on passable perfor
mances, though how Bruce Willis got
such a high billing is beyond me. He
appears in maybe, if you stretch it,
minutes of the film, thus giving
Steven Seagal’s performance in
“Executive Decision” a run for its
The real star of the show, howev
er, is Tony Shalhoub (you know,
Jeebs from “Men In Black”) who
plays Frank Haddad, Hubbard's part
ner. Shalhoub proves here that he’s
got total control over a dramatic role
on the rare occasions when he gets
them. Even though his Arabic isn’t
the best in the world, his acting is still
What kills the film in the end,
however, is all the glaring mistakes
and oversights, as well as the sheer
absurdity of some of the plot ele
ments. It’s not that the plot itself is
inconceivable. After all the terrorist
attacks, it’s easy to see why the public
reacts in fear and desperation.
This, however, is where the feasi
bility starts to wane. Devereaux
warns the politicians that they don’t
want to declare martial law, and when
they do, they put him in charge, fig
Title: 'The Siege"
Stars: Denzel Washington, Annette
Benning, Tony Shalhoub, Bruce Willis
Director: Edward Zwick
Rating: R (violence, language)
Five Words: Film “sieged” by glaring
uring he will at least be reasonable
with this power. Natch, though, he
He rounds up all the Middle
Eastern-looking men and incarcer
Please see SIEGE on 8
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