The daily Nebraskan. ([Lincoln, Neb.) 1901-current, March 25, 1999, Page 12, Image 12
^ ™ "" "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 Annual Jewelry Sale Entire Stock 20% to 50% off “Lincoln’s largest selection of sterling silver jewelry.” /MOTTC/KD _1323 “0” Street_ ■5f=---— Comedy is back... at The Royal Crove 340 W. Comhusker Hwy. Lincoln. KE 474-2332 FREE Munchies Doors 8:30 Show 9:30 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... $.25 Draws Every Thursday! The 9-11 p.m. • No Cover!!! Jk JLM* ■ cc , I 1436 “0” Street _j 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 • www.geocities.com/~cfep Brochures at. .The Mill • Open Harvest • Way Home Music & Books 1 i \- fe The Lillingtons “Death By Television” Panic Button Grade: A 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, well, boring. Until now. 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 along. 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 named Peabrain. 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 with distortion. 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 Drive. 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. -Jason Hardy ‘True Crime’ is a true success By Sam McKewon Senior editor “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 material. 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 Film Review The Facts Title: True Crime’ Stan: Clint Eastwood, Isaiah Washington, James Woods Director: Clint Eastwood Rating: R (adult language, violence) Grade: B Five Words: True Crime* strong until ending what was established earlier in the film. 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 trivances. 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 a reporter. The casting is strong all-around, especially Woods, who gets the laughs, and Leary, who, strangely enough, fits the role of the tight but shiftless editor. 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 pace. Director returns for show 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 dance. The company plans to open with “Let x=X.” This light, funny piece looks at the conformity and diversity Dance Dm Facts 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 dance in relationships and mathematical equations. 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 death. 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,” Cauthom said.