Image provided by: University of Nebraska-Lincoln Libraries, Lincoln, NE
About The daily Nebraskan. ([Lincoln, Neb.) 1901-current | View Entire Issue (March 25, 1999)
^ ™ "" "l? SsSwItoS1 SHOT^
“REFLECTION TO PAST CENTURIES”
Cabochon Making. Crystals. Cut Qamstones, Dealers, Demonstrations, Displays,
Educational Programs. Faceting, Gem Dig. Gold Panning, Jawalry Makar's Supplias.
Fossils, Jawalry, Kid’s Activities, Lapidary Equipment. Rough Gems, and moral
Saturday, March 27, 1999 9:00 a.m. to 7:00 p.m.
Sunday, March 28, 1999 10:00 a.m. to 5:00 p.m.
Admission is $4.00. Children under 12 - tree with adult.
h This ad is worth $1.00 toward each adult admission in your group.
PERSHING AUDITORIUM. 226 Centennial Mall South. Lincoln. NE
S Lincoln Gem & Mineral Club
20% to 50% off
“Lincoln’s largest selection
of sterling silver jewelry.”
_1323 “0” Street_
Comedy is back...
at The Royal Crove
340 W. Comhusker Hwy. Lincoln. KE 474-2332
1/2 price wells, suds & soft drinks 8:30 * 9:30
Brim in this ad far $2 all Mar charge.
* Valid March 25th anly. t,
|^=... .r .—
When Class is the Last Thing
on Your Mind.
UNL’s Longest Tradition Returns...
The 9-11 p.m. • No Cover!!!
Jk JLM* ■
1436 “0” Street
Sponsored By Citizens For Equal Protection
Bally S on the Capitol Steps
Friday, March 26 - 2PM
Keynote Speaker: Kerry Lobel Executive Director
National Gay and Lesbian Task Force
tabby! Nebraska State Capitol
Thursday, March 25 - 9am-noon
Training & Orientation : 9am - Info desk will have room number
Acti¥lti«S: All week long - go to our website
for complete information or call • 402-398-3027 •
Brochures at. .The Mill • Open Harvest • Way Home Music & Books
“Death By Television”
Forget Los Angeles and forget New
York. Just forget the coasts all together.
Wyoming - that’s where it’s at
Straight out of Marlboro country
comes some of the most exciting three
chord punk the ’90s has had to offer.
For much of this decade the idea of
“exciting three-chord punk” has been
an oxymoron founded on countless
poppy-punk Ramones copycat groups
pawning off shallow vocals, lyrics and
guitar riffs on bubble-gummers with
green hair. With the exception of a few
groups, such as the Queers and the Teen
Idols, three-chord punk rock has been
largely inundated with bands that are,
Hailing from Newcastle, Wyo., the
Lillingtons have taken their place as a
crisp $ 100 bill in a pocket full of chump
change. “Death By Television,” the
group’s first release on Panic Button
Records, is a lesson in finding the beau
ty in simplicity.
Although few of the 14 tunes stray
from the three-chord format, the album
overflows with raw energy and subtle
nuances that keep it colorful and
engrossing all the way through.
Probably the most notable charac
teristic of the group is the voice of singer
Cody Templeman. It seems a lot of
today’s singers either fake a throaty
voice to match the outfit they wear on
MTY or fabricate some nasally whine
or crusty snarl to match their hairdo.
However, the high-pitched nerdy
sincerity of Templeman’s voice comes
across as pure as it would if he were
singing with his mamma in church on
Sunday, and makes every song a sing
Templeman’s infectious style is best
showcased on “Black Hole in my
Mind,” the album’s premier track. His
vocal range is evident as he opens the
song with a low-key narrative and ends
with a desperate wail, all the while
maintaining a smooth tonality.
Lyrically the album is very themat
ic, dealing for the most part with grade
school topics ranging from backstop
ping humanoids and saucermen to X
ray glasses, robots and heroes such as
Phantom Maggot or secret agents code
Despite their superficial overtones,
the lyrics are largely metaphoric. Songs
like “Robots in my Dreams” illustrate
Templeman’s disdain for a 9-to-5
lifestyle and the aforementioned “Black
Hole in my Mind,” which pays homage
to David Bowie’s Ziggy Stardust space
character, describes a loneliness only
someone from Wyoming can know.
Also standing out as a major contri
bution to the album’s uniqueness is
Templeman’s guitar work. His relent
lessly driving riffs are as juicy and
revved up as the back cackle from a ’57
Chevy but maintain a lean and clean
power that doesn’t get bogged down
Many of the leads have a rustic old
country surf sound that creates a hollow
solitude reminiscent of a country wind.
It’s to be expected considering the group
actually lives on a street named Cactus
All in all, the album is a fun ride
from start to finish and is a great repre
sentation of the group’s obvious love of
what they do. With every song it is evi
dent that the band is having fun and
excited to be playing together. There is
an innocent charisma that makes the
group very inviting and “Death By
Television” is a fresh breath of life into
an otherwise dying genre.
‘True Crime’ is
a true success
By Sam McKewon
“True Crime” is a long, slow bum
of a thriller. And its producer, director
and star, Clint Eastwood, makes every
one of his movies that way. No tricks.
Occasionally, Eastwood lingers a
little too long on a scene, but in an age
of film where very few movies spend
enough time in a scene, “True Crime,”
based on a novel by Andrew Klavan, is
a welcome change. And until a
thrown-together, contrived ending,
Eastwood does just about everything
right, acting and directing.
In the movie, Eastwood is Steve
Everett, a reporter at the Oakland
Tribune who’s as skilled as they come,
but womanizing and drinking have
left him a man not to be trusted, not
even by himself.
By way of accident, Everett is
assigned a story by his editor, Bob
Findley (Denis Leary) that could sal
vage his career. It’s a interview with
death-row inmate Frank Beachum
(Isaiah Washington) who will die that
night for killing a pregnant conve
nience store clerk.
It’s supposed to be a human inter
est piece, but Everett doesn’t think
Beachum did the deed. And so Everett
goes about trying to clear Beachum’s
name. He’s got a day to do it
To Eastwood’s credit, he doesn’t
hurry the setup of the film. He lingers
on newsroom conversations, the best
of which come between Everett and
editor Alan Munn (James Woods).
Eastwood intercuts these scenes
with Beachum at the prison with his
family on the final day. Washington,
in a balanced but emotional perfor
mance, gives Beachum soul, and his
goodbye to his daughter is moving
There’s other complicating factors
for Everett beyond his lack of time.
His disintegrating marriage, a serious
conflict with Leary’s character and
lying witnesses all contribute to
Everett’s growing uncertainty that he
can still pull off the big story.
And just about the time when it
looks like Everett might be right,
despite Beachum’s possible inno
cence, the truth about the inmate’s role
in the crime comes to light. And in
comes in such a quick, “a-ha!” fashion
that it threatens to wreck much of
Title: True Crime’
Stan: Clint Eastwood, Isaiah Washington,
Director: Clint Eastwood
Rating: R (adult language, violence)
Five Words: True Crime* strong until ending
what was established earlier in the
There’s dropped characters, a stu
pid car chase, and little to no resolu
tion to Everett’s problems earlier in the
film, despite the final scene of the
movie being months later.
Eastwood’s had this problem
before. He had it in “Absolute Power,”
when a reasonable beginning was
destroyed by a hack-job and ending.
He had it in “Midnight in the Garden
of Good and Evil” which was more or
less dead on arrival.
“True Crime” deserved better. But
there’s enough earlier development to
make us care about whether Beachum
lives or dies that we can overlook con
But only if Eastwood had sus
tained the tension throughout the film,
because it’s strong. His performance,
the best since “In the Line of Fire,”
creates a character that, despite basic
decency, has many, many flaws.
“True Crime” provides an inter
esting contrast, too. Everett is trying to
save the life of a man he doesn’t know
while ignoring his wife and daughter
and committing an unforgivable act
against Findley. Such can be the life of
The casting is strong all-around,
especially Woods, who gets the
laughs, and Leary, who, strangely
enough, fits the role of the tight but
Best is Washington (“Out of
Sight”), who nails what is essentially a
second lead role. It wouldn’t be sur
prising if Eastwood actually added
scenes in the editing room based on
the strength of that performance.
And Eastwood deserves credit for
letting those performances develop.
For most of the movie, he directs with
out flaw. It got away from him at the
end, but “True Crime” still stands as a
powerful drama and good change of
DANCE from page 11
change the company, Cauthom said.
But despite the personnel changes,
the company’s concert tonight contin
ues its tradition of quirky, off-the-wall
The company plans to open with
“Let x=X.” This light, funny piece
looks at the conformity and diversity
What: Tenth Street Danceworks
Where: Wagon Train, 504 S. Seventh St.
When: 7:30 p.m. tonight
Cost: $10 general admission, $5 students
The Skinny: Dance company returns to
Lincoln for eclectic evening of modem
in relationships and mathematical
The company will also perform
“This Is for You” choreographed by
assistant artistic director Kevin
Schroder. Danced to music by big
band musician Charles Mingus, the
piece plays with choreographic forms
and the figure eight
“To me, (the piece) feels like a
massage,” Cauthom said. “It’s as if you
work through every single muscle.”
In contrast to the quirky “This is
for You,” the company will perform “If
Love Could Die.” Adams choreo
graphed this piece in tribute to a friend
who died of cancer. Danced to music
by Francois Couperin, it explores the
process of accepting a loved one’s
The dancers will also perform
Adams’ “Lockjaw,” a whimsical, ath
letic piece inspired by stories the UNL
dancers told her about their childhood.
Finally, the dancers will present
“Abandoned Summer” and “Walking
on the Edge of the World.”
After their week in Lincoln, the
company will return to Arizona, while
Adams returns to Iowa. Members
aren’t sure what the company’s next
step will be.
“I thinkTenth Street is just going to
continue to evolve as time goes by,”
Powered by Open ONI