0626_JiJ4

JUNE 26, 2012 [ISSUE 4 OF 4] DAILYNEBRASKAN.COM

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DAILY NEBRASKAN

DAILY NEBRASKAN JAZZ IN JUNE TUESDAY, JUNE 26 20122

MeMbership LeveLs q Student $15 q Basic Member $50 q Supporting Member $80 q Contributor $150

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Return this form to the membership table tonight, or mail it to: Sheldon Museum of Art, 12th and R Streets, University of Nebraska, Lincoln, NE 68588-0300

Look around.Kids are playing. Couples are dancing. Families are spending time together. this is what the Sheldon Art Association is about—bringing people together to enjoy the arts. you can be part of our 125-year tradition, and help keep great arts and great events like Jazz in June at the heart of life in Nebraska.

Join the SAA tonight and receive a free Jazz in June poster.

A Legacy of Giving: The Anna and Frank Hall Collectionthrough September 16, 2012

Turning Inside Out: Video Art by Joan Jonas, Nam June Paik, and Jennifer Steinkampthrough September 9, 2012

UPCoMiNg SHoWS The American Mountain BicycleJuly 13–September 30, 2012

Five Decades of Collecting at SheldonAugust 2012–May 2013

Women Call for PeaceSeptember 2012–January 2013

Geometric Unconscious: A Century of Abstractionoctober 2012–January 2013

Friday, July 6, 5–7 p.m.First Friday reception.

Tuesday, July 17, 7 p.m.Screening of Klunkerz: A Film About Mountain Bikes.

Saturday, July 21, Noon–5 p.m.Summer Family Day at Sheldon.

Saturday, July 28Bike tour of the Duncan sculpture garden. Reservations required.

Friday, August 3, 5–7 p.m.First Friday reception and walking tour of downtown Lincoln.

Sheldon is free and open to all.

exhibitions activities20% off all CDs in the Museum Store through Sunday, July 1st.

Sheldon Art Association members receive an additional 10% discount.

We accept N Cards.

Shop Sheldon until 8 p.m. tonight.

For more information about Sheldon or to join our weekly event e-mail list, call 402-472-2461 or visit us online.www.sheldonartmuseum.orgwww.facebook.com/sheldonmuseumtwitter.com/sheldonmuseum

We look forward to seeing you soon.

shopping

Great art.Great Indoors.

Great Jazz.Great outdoors.

3daily nebraskan Jazz in Junetuesday, June 26 2012

Founded in 1901, the Daily Nebraskan is the University of Nebraska–Lincoln’s only independent daily newspaper written, edited and produced entirely by UNL students.

editor-in-chief. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402.472.1766Kevin MosereditoriAL. . . . . . . 402.472.1763MAnAGinG editorKatie NelsondePUtY editorsKatie FennellyRhiannon Root desiGn chiefBea HuffWeBKevin MoserKatie FennellyGenerAL MAnAGerDan Shattil

AdvertisinG. . . . 402.472.2589Penny Billheimer managerMatt Jung student manager

PUBLicAtions BoArd. . . . . . . . . . . . . . . . . . . . . . . . 402.677.0100David Bresel chairman

ProfessionAL Adviser. . . . . . . . . . . . . . . . . . . . . . 402. 473.7248Don Walton

GenerAL inforMAtionThe Daily Nebraskan is published weekly on Mondays during the summer and Monday through Friday during the nine-month academic year, except during finals week. The Daily Nebraskan is published by the UNL Publications Board, 20 Nebraska Union, 1400 R St., Lincoln, NE 68588-0448. The board holds public meetings monthly. Subscriptions are $95 for one year.

joB APPLicAtionsThe Daily Nebraskan accepts job applications year-round for paid positions. To apply, visit the Daily Nebraskan offices, located in the basement of the south side of the Nebraska Union.

check oUtDailyNebraskan.com for access to special features only available online. ©2012 Daily Nebraskan.

jAzz in jUneJazz in June is a special issue produced by the Daily Nebraskan in association with the Sheldon Museum of Art. Look for a new issue each week.

daily nebraskan

At the Daily Nebraskan, we understand the importance of

arts and music. That’s why each year we look forward to working with the Sheldon Museum of Art to bring you our special Jazz in June issues.

Each week during Jazz in June, look for these special issues as a supplement to the great concert you are about to experience.

You can expect to find a profile of the artist playing each week and other great content pertaining to music and the arts. We will also have regular jazz reviews and previews for upcoming films coming at the Mary Riepma Ross Media Arts Center on campus.

Our cover art changes each week, but is always done by our internationally exhibiting, award-winning artist Bea Huff.

In this issue, you can get some background information on Will Donato. In addition, we give you an in-depth review of last week’s concert featuring The UNL Faculty Jazz Ensemble, including photos.

We also take a look at Serendipties Cupcakes, a vendor in the market, with music and film reviews.

So read up, jazz fans. This issue is made specifically for your sensibilities.

This is our last issue for the 2012 Jazz in June season. We’ve enjoyed providing you insight into the growing music and art communities in Nebraska.

Be sure to look for the Daily Nebraskan at all future Jazz in June events.

-Daily Nebraskan Editorial Staff

Page 4- week four Performer Profile: will donato

Page 5- jazz in june week three review: university of nebraska-lincoln faculty jazz ensemble

Page 6- vendor Profile: the cuPcake lady

- album review: snarky PuPPy’s ‘grounduP’- album review: time hammer’s ‘hot nails’

Page 9- film review: ‘hysteria’-album review: bobby womack’s ‘the bravest man in the universe’

Page 10- sheldon art museum exhibit Preview- restaraunt review: maggie’s vegetarian wraPs

Page 11- theater review: flatwater shakesPeare ‘twelfth night’

your tuesdaysJazz upTABLE OF CONTENTS

Welcome to the last week of Jazz in June.

kEviN MoSER | DAiLy NEBRASkANJazz in June attendees wait for the UNL Faculty Jazz Ensemble to begin last Tuesday. The concert drew strong crowds under good weather conditions.

daily nebraskan Jazz in June Tuesday, June 26 20124

season tickets now on sale!Single tickets go on sale August 14th | LIEDCENTER.ORG | 402.472.4747

shatner’sworld

SATuRDAy | January 26

chris bottiThuRSDAy | February 21

chicagoOctober 19–21

terrance simien & the zydeco experience

fRIDAy | February 1

green day’samerican idiot

March 29–30

■ week 4 performer profile: will donato

Joe WadeDaily Nebraskan

The season of jazz is winding down once again and there’s one final show to be enjoyed. Whether music fans partake because of their love for sweet sentimental style or hope to spice things up with the sultry groove of a saxophone, this is one performance that shouldn’t be missed.

On June 26 saxophonist and jazz musician Will Donato is headlining the Jazz in June mu-sic festival. Performing with Donato will be an ensemble of local musicians. “Jazz is not the

only format in which the cream of the crop musicians live, but also a vibe and lifestyle,” said Adam Liebovitz of Innervision Records. “I have never seen people more passionate about a genre of music than jazz and smooth jazz.”

One of the popular features of jazz as a style is the versa-tility of the form the musicians use. Despite songs having structure, sections in the music are left open to allow the per-former to take the music where he or she wants to.

I enjoy the freedom of melo-dy and structure in jazz, Donato

donato | page 7

Will Donoto’s ability to adapt creates strong, memorable performances

courtesy image


Kekeli DawesDaily Nebraskan

If the old adage, “those who can’t do, teach” holds any truth, the talented musicians in the UNL Faculty Jazz Ensemble put on a two-hour clinic for the music fans of Lincoln.

Right outside the very halls and classrooms they teach in, the UNL School of Music faculty members were playing on their stomping grounds. And they sounded more than comfortable.

The ensemble played two loose and relaxed sets despite the restless breeze that ruffled the musicians sheet music during the concert. A few awkward moments did disrupt the flow of the show, but it was back to easy riding from the downbeat on.

And were they on. Saxophonist Paul Haar effortlessly slipped into the tastiest solos, and passed the baton to trumpeter Darryl White who provided a nice contrast to Haar’s slick and smooth licks with bright, funky blasts. Eric Richards held down the low end with expressive and soulful

trombone playing.Richards, the “composer

in residence” at the UNL jazz program, got to flex his composition muscle that afternoon with original

pieces as well as renditions of jazz standards and popular songs like Donny Hathaway’s “For All We Know.” The stylistic range of the selections showcased the finesse of the ensemble’s rhythm section. Held down by bassist Hans Sturm, drummer Chris Varga, guitarist Peter Bouffard and Tom Larson on keys carried the ensemble through complex bossas, heavy swings and tight funk grooves.

Early into the first half of the set, Jackie Allen blew onto the stage. A whirlwind of energy, she took the afternoon show to a new level. She led the faculty ensemble in an excellent rendition of Gerry Rafferty’s “Stuck in the Middle with You.” Her singing was fun and

CONTINUED on page 8

UNL Faculty Jazz Ensemble provides enjoyable performance

A lesson in

Guest vocalist Jackie Allen closes her eyes as she listens to the UNL Faculty Jazz Ensemble lay down some smooth music. photo by Kevin moser | Daily nebrasKan

JAZZ



Think of all the (few) great musical elements one fi nds on the radio today: danceable rhythm, simple but power-ful chord structures, familiar soul and straightforward mu-sical themes. Snarky Puppy, a 21-man jazz ensemble led by bassist Michael League, takes those elements and brings them to life in creative jazz com-positions. The latest album, “GroundUP” takes several styles, like rock, pop, soul and hip-hop, and places them in a new light. “GroundUP” is a great album for any new jazz listener to spin. But don’t think of this as an easy listen.

Rhythmically, “GroundUP” is accessible. However, that doesn’t mean that the grooves aren’t complex. On “Brent Nails,” even though it rides on a funky 7/8 groove, Snarky Puppy keeps the root common time. Which is a smart move, because the song closes with a nasty rock-fusion refrain. And you’ve

been dancing the entire time.Just when “GroundUP” al-

most begins to sound like your conventional jazz-fusion record, Snarky Puppy breaks out into an alt-rock guitar chorus on the third track, “Minjor.” The myste-rious song is driven by a wailing slide guitar. It’s a solid rock ’n’ roll track through and through. Of course Snarky Puppy rips into a meaty, bluesy soul riff midway through the track, and slips into a neo-soul keyboard-driven inter-lude. It’s still jazz composition.

The great thing about jazz compositions is that they can go anywhere. Musically, one song can range several styles. For example, if you love danc-ing to seductive latin rhythms, Binky is the top track for you. If you like tight, easy-riding funk jives, Binky is the song for you. If you like adult-alternative rock tunes with pleasant and simple melodies, give Binky a try. Or if you love going wild to some buck, staggering, West Coast-style hip hop, you must give Binky a listen.

Though “GroundUP” is a great album to dance to, some

non-jazz listeners may not appreciate the constant fl ip-ping of styles. It does become overwhelming at times; this isn’t background jazz. This album does require attention, so it’s best to listen to when

Serendipities serves up smiles, cupcakes

KEVIN MOSER | DAILY NEBRASKANMelissa Lewis, the face of Serendipities, manages her booth at the Jazz in June market.


The origin of the cupcake as a sweet and delicious treat is a lost history unto itself. How-ever, food historians found rec-ipes tracing it back to at least the 19th century and although the genesis of the cupcake is unclear, the revelation of their delightful decadence has made its way into popular food cul-ture today.

Serendipities, located at 27th and Superior, has been creating edible works of con-fectionary art since October of 2011. As well as serving to the community from their store Serendipities has also been catering events around town; notably the Jazz in June music festival held on Tuesday eve-nings.

“Making cupcakes is such a

great way to spread love and sugar throughout the city of Lincoln,” cupcake maker Me-lissa Lewis said. “I suppose there might be other ways to do that, but I don’t know if they’d be half as much fun because we have a great time providing these confec-tions. Cupcakes make people smile.”

Despite so many wonderful fl avors, one savory and sweet creation stands above the rest in popularity — and yes, it has bacon.

“Our maple bacon cupcake is our top seller,” cupcake maker Loren Reichwaldt said. “We won our award for that one, which we got the idea from Cupcake Wars. The other favorite especially among kids is the vanilla ice cream cupcake because they think it is real ice cream.”

Unlike some other cupcakes

that are available for purchase Serendipities gives each cup-cake that little bit of extra at-tention which makes them unique.

“They are all really good,” Reichwaldt said. “We make them from scratch including the frosting and all the cup-cakes have their own fl avor also we focus on layers and not so much fi llings like other places do.”

Along with the individual attention given to the cup-cakes are the unique individu-als behind the counter as well. Lewis herself has been lov-ingly dubbed The Cupcake Lady.

“Terrie Urtel, the owner, has been referring to me as the Cupcake Lady for a while now, Lewis said. “We have a very small team of very dedicated

Band unleashes creative, funky beats

SNARKY | PAGE 8

GROUNDUPSnarky Puppy

GRADE B+

Time Hammer hits nail on head in fi ve-track album


Local band, Time Hammer, graced the music world with their debut album “Hot Nails,” which was released on June 9. Though the album is only fi ve tracks long, it makes the most of every rock-infused, indie hip-hop beat. The fun rhythmic antics will keep en-dorphins pumping, heads bob-bing and bodies jumping the whole way through. Stylisti-cally, Time Hammer sounds a little reminiscent of bands like Rage Against the Machine but with their own distinct fl a-vor for fl uidity and they don’t resort to industrial rigidness. Although it’s an absolute treat to see Time Hammer live, fans won’t be disappointed by the opportunity to take a part of

that experience home.Press play and the album

kicks in the groove with “The Falls” which opens with a funky distorted bass line and progresses with hard hitting rhymes. It even falls into a brief ‘80s metal-esque bridge. The quirky lyrics are both humorous and thought-pro-voking. Lines such as, “It’s time to dance and forget about your worries, time is irrelevant now so don’t be in a hurry … ” keeps the album upbeat

HOT NAILSTime Hammer

GRADE A

HAMMER | PAGE 7

COURTESY IMAGE

CUPCAKES | PAGE 12


said. “I like that a lot of jazz has what we would refer to as a solo section within the song form that we can create our own melody or improvise and I love the real time interaction among the musicians in this format that allows jazz artist to take the song to many different areas and feels in the course of one song.”

Donato started playing mu-sic at an early age and excelled quickly. Since then he has won awards and performed with several well-known musicians including Al McKay of Earth Wind and Fire, Bruce Conte of Tower of Power and Steve Reid of The Rippingtons.

“I started as a child on clari-net, which I loved,” he said. “Got my first saxophone from a family friend in 10th grade and I remember picking it up so fast and in the same year was the leadal to at the University of Colorado Summer Jazz Band in Boulder Colorado; I looked like a baby around all those col-lege guys back then.”

Donato not only fell in love with the style of jazz, as well as the process musicians go through to create such music, but also fell in love with per-forming.

“I was a lead alto player for,

German big band leader, Kurt Golitz,” Donato said. “He was a pretty amazing guy. He emigrated from Germany and wrote all the lead sheets and big band arrangements for theband by ear and memory. His arrangements were very creative and I felt like a kid in a candy store doing shows at 15. I have had so much fun interacting with fans and hope this always comes across in my music.”

His live performances have been recognized by many as engaging and entertaining be-cause of his ability to adapt to the atmosphere of the show.

“Will’s show is really un-like any other,” Leibovitz said. “Will simply knows how to

read any crowd and give them what they want. Whether they want to dance or sit drink and listen, Will can adapt, but more importantly is the way he con-nects with the crowd and en-gages them; a Will Donato show is always a great time.”

Included with his work per-forming on stage is his work in the recording studio. His songs can be heard in several films. “Thelma and Louise,” “The Wedding Planner” and “Under the Boardwalk” just to name a few of the filmshis music has been included in.

“I remember being on Stage with, British band, UB40 at the Universal Amphitheatre in Los Angeles,” Donato said. “Our horn section joined their horn

section and we had about six horns playing their songs. So many trips and shows have been truly wonderful.”

If this article isn’t enough to entice its readers to come to the show then perhaps the sax-man himself can.

“I strongly invite readers of this article to come out and be celebrated by a musician who loves celebrating people with music,” Donato said. “Also, the musicians I am using are from your beautiful city/area and are really talented artists and I really look forward to seeing these musicians, they are all very gifted players. I can’t wait for the Jazz In June show.”

Aside from his Jazz in June performance is his upcoming new album titled “Universal Grooves” which is scheduled to be released this summer. The album will be Donato’s fifth. Also listeners should keep their ears out for his new radio single “GRAND SLAM.”

dailynebraskan.com/a-e

donatofrom page 4

despite the socially tongue-in-cheek message. The song “I’m Gonna Lose My Mind (On My Blog),” which takes its aim on everything that trends, is both socially pointed and humorous.

Overall this album is the result of hard work by a very talented group of individu-als and every nuance flows

together nicely. The heavy drum and bass driven sound may not be for everyone — but for most, Time Hammer is well worth a listen. Check out timehammer.bandcamp.com for upcoming perfor-mances and a chance to get “Hot Nails” for yourself.

dailynebraskan.com/a-e

HaMMERfrom page 6

couRtEsy iMagE

couRtEsy iMagE


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playful, many in the audience sang along. Feeding off the energy, the ensemble took the sticky groove and ran with it.

They rhythm section was more than happy to turn up the excitement. Chris Varga, the newest addition to the UNL Faculty Ensemble, wowed the audience with explosive solos on funk and latin grooves. But Peter Bouffard really stole the

show with one of his gritty electric guitar solos on heavy-rock inspired piece. The loud, “pedal to the metal” solo was a pleasant surprise in the concert by such a smooth jazz collective, and apparently was a humorous surprise to band member Haar, whose eyes widened as he took an involuntary step back when Bouffard ripped his fi rst power chord.

As the afternoon began to give way to night, the Faculty Jazz Ensemble reached full stride, and they closed the concert with style. They chose to close with Van Morrison, a sure-fi re pleaser with tasteful horn licks and lines and beautiful, refl ective lyrics sung by Allen.

After bringing the audience to their feet, the Faculty Ensemble decided not to end

the night in a reserved note. So the group shut the set with a smoky Sturm composition inspired by luxurious rides in a 50s Chevrolet Bel Air and delicious barbeque.

Like after a massive mid-July grill-out, the UNL Faculty Jazz Ensemble left the hometown crowd happily full, but still ready for more.

DAILYNEBRASKAN.COM/A-E

sitting down, walking to class, not reading or doing work. But unlike some jazz albums, “GroundUP” isn’t a chore to listen to. It’s absolutely worth the time. And the switching of styles isn’t a fl exing of compos-ing muscle. It’s not a novelty. It’s musical, and it works.

On paper, “GroundUP” may sound like an unfortunate hodge-podge of several mis-matched styles of music. But Snarky Puppy makes clear that it is all the same language. Of all the music that exists today, it still moves people to dance.


SNARKYFROM PAGE 6

KEVIN MOSER | DAILY NEBRASKANLEFT: Tom Larson plays the keyboard for the UNL Faculty Jazz Ensemble at week three of Jazz in June. TOP RIGHT: Hans Sturm, bassist, concentrates on his part during the UNL Faculty Jazz Ensemble’s performance at Jazz in June. MIDDLE RIGHT: Paul Haar gets ready to lay down some smooth music on the saxophone during Jazz in June. BOTTOM RIGHT: Hans Sturm brings the base-line for the UNL Faculty Jazz Ensemble.

A lesson inCONTINUED FROM PAGE 5

JAZZ

9DAILY NEBRASKAN JAZZ IN JUNETUESDAY, JUNE 26 2012

2012Free Outdoor

Concert Series

Thursdays, Noon to 1 p.m.North Entrance of Nebraska Union

June 4 through July 26

Be sure to check out involved.unl.edu

for performer updates!

Contra Dance!When: July 7th and 1st Saturday of each month, from 7:00-10:00pm.Where: Auld Rec Center in Antelope Park, 1650 Memorial Drive.

**Dress in casual attire** -No partner or experience necessary. - Lessons 7:00-7:30 - Students $5Contact: Henry Ferguson @ 970-692-4208

Tom HelbergDaily Nebraskan

Set in the late 19th century, Tanya Wexler’s “Hysteria” provides a quasi-history lesson on the medical treatment of the titular disease.

Mortimer Granville (Hugh Dancy) is a down on his luck doctor and has been fi red from several hospital jobs within the past year. Granville is a be-liever in a new “germ theory” which is beginning to pop up in scientifi c journals, though the old guard won’t have any of it. Granville strives for higher standards of cleanliness, but most of all he just wants to treat sick patients.

Everything changes for

Granville when he meets Dr. Robert Dalrymple (Jonathan Pryce). Dalrymple has a suc-cessful private practice where he only treats women for hys-teria. The diagnosis, which was exclusive to women, included symptoms such as nervousness, insomnia, depression and sexu-al frustration. It was essentially a catch all for bored Victorian housewives.

Hysteria treatment consists of genital massage. Doctors cover the genital area with a privacy curtain and massage until the woman undergoes “paroxysmal convulsions.” Dalrymple offers Granville a job. Granville becomes quite good at the treatment and the practice becomes even more popular. The young doctor

begins to suffer hand cramps from his 9-to-5 massage ses-sions, which in turn leads to the invention of the vibrator.

In addition to the family practice, Granville becomes in-volved with both of Dalrym-ple’s daughters. Emily (Felicity Jones) is the favorite daughter, a proper Victorian girl and a talented musician and scientist in her own right. Conversely, Charlotte (Maggie Gyllenhaal) is proto-feminist fi recracker who runs an East End settle-ment house and has been all but disowned by her father.

“Hysteria” a light and self-aware picture, which works because its tongue is mostly planted in cheek. Much of the humor comes from the place-ment of risqué material within

the civilized and stuffy context of proper English behavior. Re-alistic period detail is appreci-ated in juxtaposition to more contemporary sensibilities to-ward sex and the female body. Also interesting is the place-ment in time where ideas on medicine are rapidly changing.

Dancy is both awkward and charming in the lead role and Gyllenhaal works well as his spunky counterpart. Rupert Everett and Sheridan Smith are also amusing in their smaller parts as a wealthy inventor and a prostitute-turned-maid re-spectively.

There are many instances of characters trapped by anti-quated traditions that mirror issues we face today. However, the plot threatens to derail as

it enters the third act, as it plays out in standard rom-com formula beat for beat. A couple monologues that bluntly repeat the fi lm’s messages don’t help either, but it’s hard to fault the fi lm when it knows how silly it really is.

Overall, “Hysteria” is a quirky period piece that of-fers happy endings for ev-eryone.


HYSTERIAMary Riepma Ross Media Arts CenterDirector: Tanya WexlerStarring: Maggie Gyllenhall, Hugh Dancy

GRADE B+


Bobby Womack is a soul great. One of the living leg-ends of ‘60s and ‘70s soul; a name alongside Gaye and Mayfield, Hayes and Green. But rarely do you see musi-cal legends make modern al-bums that new, younger gen-erations can value. It’s risky. Anyone willing to try must be one of the bravest men alive.

So “The Bravest Man in the Universe” seems like a fi tting title for Womack’s fi rst album in 12 years.

Even after leaving the lime-light in the mid-1980s to re-cover from drug addiction, Womack still released albums to much success. However, his newer music rarely fell upon the ears of newer gen-erations.

Womack’s resurgence into the world of the popu-lar music began when Da-mon Albarn of the Gorillaz asked the soul legend to work on the super-group’s third album,“Plastic Beach.” and Womack’s voice and words

were familiar to an entirely new generation. Albarn and Womack continued to work on the Gorillaz’s follow-up, “The Fall.”

Womack’s work on the two Gorillaz albums were surprising. His voice, song-writing and guitar playing meshed very well with the eclectic sound and style that Albarn had created for the Gorillaz. The chemistry be-tween the two artists worked out so well, Albarn agreed to co-produce Womack’s latest album on the hip British la-bel, XL recordings. Womack is now labelmates with some of today’s most innovative and exciting artists, such as M.I.A, Tyler, The Creator, Adelle and Vampire Week-end. On a new label with a fa-mously unconventional pro-ducer and artist, Womack’s new record wasn’t shaping up to be another “greatest hits” release. This is an en-tirely new direction, and a risky one at that.

Womack’s recent resurgence was unlikely. His collabora-tion with Albarn was unlikely. The album, conceptually, is unlikely. On paper, it doesn’t

seem to work out. Womack’s rich, gritty, voice, honest and scarred, is the last voice you would imagine that could be placed on a popular album to-day, full of sparse and sheen digital textures. They’re com-plete opposites.

But it links perfectly. This is because of the excellent production of Albarn and XL label director, Richard Rus-sell, who realized the only way to present yesterday’s musical legend to the audi-ence today isn’t to change the artist at all. They made the decision to pull Wom-ack’s words and emotions even further to the forefront. Womack’s voice simply isn’t anything like what listeners today are familiar with. The unrestrained emotion, anger and grief is rare, and new. Albarn and Russell make that contrast even more stark by crafting tasteful and sparse modern landscapes around Womack and his rustic guitar with subtle, sterile synths and looped drums and rhythms.

The key is that Wom-ack remains the same. He doesn’t try to sing anything else, but what he does so

well. He still remains true to his acoustic guitar, because that’s how he crafts his songs. It’s apparent that the singer and his guitar are the root of several tracks on the album, so they aren’t mixed out or tampered with.

The album mostly consists of surprising juxtapositions,

THE BRAVESTMAN IN THEUNIVERSEBobby Womack

GRADE A

WOMACK | PAGE 12

‘Hysteria’ offers quasi-historical adult fun

Womack rocks world of popular music with simple, sincere, groovy songs


Expires 12-31-12

EXHIBITIONS

A LEGACY OF GIVING: THE ANNA & FRANK HALL COLLECTION ▪Through Sept. 16,

2012Anna and Frank Hall were instrumental in establishing the forerunner of today’s Sheldon Art Association. The couple built a private collection that helped form the foundation of Shel-don’s renowned holdings. View highlights from the Halls’ personal collection and acquisitions through their charitable trust, including works by artists such as Deborah Butterfi eld, Willem de Kooning, Marsden Hartley, Robert Henri and Dorothea Lange.

TURNING INSIDE OUT: VIDEO ART BY JOAN JONAS, NAM JUNE PAIK, AND JENNIFER STEINKAMP ▪Through Sept. 9, 2012

This year’s Sheldon biennial invitational exhibition, “Turning Inside Out,” explores the world of video through three seminal works. The pioneering videos Vertical Roll and Global Groove offer a subversive view of the power of television in the 1970s. Stimulating soundtracks, repetitive rhythms and evocative visuals compel viewers to participate. Jennifer Steinkamp’s site-specifi c, computer-generated videos synthesize the real and the virtual, dissolving architectural space into an experience fi lled with color, light and motion.

THE AMERICAN MOUNTAIN BICYCLE ▪ July 13, 2012 - Sept.

30, 2012While mountain biking is a popular pastime for thrill-seekers today, it was relatively unheard of until the mid-1980s. Before then, a few industrious daredevils in

Marin County, California, built custom bikes to zoom around the mountainous terrain where they lived. These visionary individuals combined engineering ingenuity with an artistic eye, using found parts to create durable bicycles that could withstand the bumps and tumbles of downhill racing. This summer, about a dozen of these early mountain bikes, on loan from the Monkey Wrench collection, will be on view in the Sheldon Museum of Art’s Great Hall.

EVENTSFRIDAY, JULY 65–7 p.m.First Friday reception

TUESDAY, JULY 177 p.m.Klunkerz: A Film About Moutain Bikes

SATURDAY, JULY 21Noon–5 p.m.

Summer Family Day art activi-ties, bike decorating, helmet and bike safety checks with Cycle Works, and ice cream from the UNL Dairy Store.

SATURDAY, JULY 28Bike tour of the Duncan sculp-ture garden, limited to 30.

FRIDAY, AUGUST 3First Friday reception and walking tour of downtown Lincoln as Anna and Frank Hall knew it.

SHELDON ART MUSEUM: EXHIBITIONS AND EVENTS Vegetarian cafe caters to all types, even carnivores

Katie FennellyDaily Nebraskan

I ordered meat at a vegetarian restaurant.

I never expected to. I didn’t want to. I didn’t think it was possible, even though I live smack dab in the middle of cattle country.

But I did. I ordered meat at a restaurant that doesn’t serve meat and I don’t feel bad about it.

Before I’m accused of sacri-lege, let me clarify. I ordered a taco salad, which contains “nut meat,” or seasoned chopped walnuts, at Maggie’s Vegetar-ian Cafe. The woman behind the counter claimed the nut meat tasted “just like ground beef.”

She was wrong but I can’t necessarily blame her — the woman who helped me was vegetarian herself, so how could I expect her to know that beef has a richer, fuller fl avor? But she was spot on about one thing, the texture. And, when mixed with taco seasonings, the nutty fl avor wasn’t too over-powering.

The nut meat was served atop a bed of fresh lettuce, fresh tomatoes and cheese (I had the option to add vegan cheese for $1.)

The salad itself was disap-pointing; I could have made the same thing (though probably

minus the nut meat) at home. Its saving grace was a fresh, creamy avocado dressing. When I say fresh, I mean fresh. The dressing was made while my salad was being put togeth-er. It had a light taste and had a smooth, creamy texture, which was delightful.

But Maggie’s isn’t known for its taco salads. It’s known for its wraps.

So, feeling like I robbed myself of the full Maggie’s experience (Let’s face it, I did), I went back a second time. This time, I opted for the recommended avocado wrap. Fact: I don’t like avo-cados. Well, I didn’t before I ate at Maggie’s. Besides the fresh avocado, it had a mix of cheddar, smoked provolone and mozzarella cheeses mixed with sun-flower seeds, fresh lettuce,

fresh tomato and fresh onion. It was smothered in an herb honey mustard that added a perfect kick to the wrap. The wrap has a rich, complex taste between the smokiness of the prolovone, the sharp-ness of the cheddar and the gooey mozzerella.

Both times I went to Mag-gie’s, the staff was incredibly friendly and knowledgeable about the ingredients they used in their kitchen.

Since owner Maggie Pleskac started the restaurant in 2000, Maggie’s has done its best to incorporate locally grown, or-ganic ingredients. And that effort shows. In both meals, everything tasted incredibly fresh. Pictures of local growers adorn the walls of this charm-ing cafe.

It’s that attention to detail and commitment to the com-munity (and that delicious avocado wrap) that warrants another visit.

Nestled on the northern edge of the bustling Haymarket at 311 N. 8 St., Maggie’s offers a menu that caters to vegetarians, vegans, the gluten-free and even people like me that really, really like meat.


MAGGIE’SVEGETARIANCAFE311 N. 8 St.

GRADE B

11DAILY NEBRASKAN JAZZ IN JUNETUESDAY, JUNE 26 2012

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Katie NelsonDaily Nebraskan

After having its opening night delayed due to cast changes and rain, Flatwater Shake-speare was more than ready to open their version of “Twelfth Night” on Friday evening. A small audience gathered in the Lincoln Community Founda-tion Garden, their attention split between the stage and the clouds gathering overhead. But it didn’t take too long for audience members to forget the looming clouds as the plot thickened.

“Twelfth Night” is one of Shakespeare’s most twisted comedies. Twins Viola and Se-bastian wash up on the shores of Illyria after a shipwreck, each believing the other to be dead. Viola disguises herself as a boy, Cesario, and begins working for Duke Orsino, who is in love with Lady Olivia. She becomes the duke’s favor-ite and is sent to woo Olivia on Orsino’s behalf. However, Viola has begun to fall in love with the duke, herself, and Ol-ivia falls in love with Cesario (Viola). Sebastian then enters Illyria and marries Olivia, who mistakes him for his twin sister

in disguise, Cesario. There are also a multitude of characters, including Maria, Sir Toby and a fool, that sprinkle tricks and humor into the show.

Director Bob Hall used “al-ley staging,” which means the audience is set up on both sides of the show’s stage. The stag-ing style allows all audience members to have a different and more-complete view. How-ever, that combined with an open-air setting, minimal set and technical pieces made this play a challenge for its actors. They made the most of their stage and acted to all sides of the audience as much as they did to each other.

Melissa Lewis (Maria) is fi lling the part for the weekend and was on script throughout the show. Surprisingly, this had very little effect on her perfor-mance and, save for one scene, was hardly noticeable. While the story is already entertaining, the actors made the script come alive. They used original Shake-spearian verse, but no lines were lost on the audience. Overexag-geration of actions and facial expressions from all characters allowed audience members to laugh along as the plot became increasingly twisted.

While the love stories are

the main storylines, the most enjoyable characters in the show were not falling in love; they were messing with the people who were. Andy Dille-hay (Feste, the Clown) played a hell of a fool. Between his sharp line delivery, rainbow-dyed hair and several sung solos, he had the characters as well as the audience eating out of the palm of his hand. Tom Crew (Sir Toby Belch), Clay Stevens (Sir Andrew Augecheek) and Mike Lee (Fabian) made a comedic trio. Whether giving spot-on drunk-en lines (in verse, no doubt) or plotting to challenge Ce-sario to a duel, the chemistry

between the characters was unmistakable.

Hall set the show in the ‘20s, making it more relatable despite the use of original verse. Howev-er, this was also the show’s weak-ness. Not all costumes matched the ‘20s theme as well as they could have, which confused the time period. In addition, the min-imalist set was necessary for the show, but did not add in any way to the time period theme.

It’s no wonder this tour was named the “Artistic Event of the Year” last summer. Hall and cast have done it again. This play is a must see if permitted by Mother Nature.


FLATWATERSHAKESPEARETwelfth Night

GRADE A

Shakespeare troupe produces quality show

KEVIN MOSER | DAILY NEBRASKANLEFT: Tom Crew hugs Clay Stevens during the fi rst act of “Twelfth Night.” RIGHT: Nathan Weiss clutches Michael De La Rosa’s chest during a scene in Flatwater Shakespeare’s production of “Twelfth Night.”


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but there are moments when the two worlds merge; when the music truly sounds fresh and new. “If There Wasn’t Something Else” is one of those songs. It’s simple, powerful, and most of all, it grooves.

There aren’t many misses. “Love is Gon-na Lift You Up” comes close. Albarn got caught up in favorite groove of his, and Russell mis-placed a few samples and loops. The song seems to go nowhere forever. On the next track, “Nothin’ Can Save Ya,” Fatoumata Diawara offers beautiful vocals, but can’t walk the impossible stylistic line Womack strides with ease on this album.

But the few misses are outshone by the bril-liant moments. “Please Forgive My Heart” is an excellent track that

showcases Albarn’s un-mistakable production and Womack’s powerful and honest songwriting. Even the guest appear-ance by Lana Del Rey isn’t drab, as her voice often is.

“The Bravest Man in the Universe” is a perfect example of how legendary musicians can still make new music for all genera-tions to enjoy. It follows another brilliant album, “I’m New Here”, by the late great Gil Scott-Heron, who is also a part of the British label XL and is fea-tured on Womack’s album.

This is a very exciting moment in the career of a legend, who has had a sud-den, unexpected surge of lifeblood rushed through his veins. “Bravest Man” is an exceptional album, and it is a must-listen for any Womack fan. New and old.


WOMACKFROM PAGE 9

workers at the shop and getting to work and thrive in such a cre-ative environment is something we’re incredibly grateful for.”

Adding to the persona of the Cupcake Lady, Urtel aside from creating cupcakes has a few other ideas of her own.

“Terrie has also come up with some ‘costume’ ideas for the Cupcake Lady that may, or may not, have involved a gigantic lampshade,” Lewis said. “The great thing about Terrie is that she is a dreamer, a dreamer of awesome cupcakes, and if she keeps making amazing cup-cakes from scratch...no boxes, no mixes and no buckets of ad-ditive fi lled frosting; I will joy-fully wear a lampshade for her.”

Although Serendipities is still in its first year the cre-ator is a seasoned restaurateur who is simply following her dream.

“My husband went to Af-ghanistan and said that I should do one of my dreams while he was gone,” Urtel

said. “This is the world head-quarters for Serendipities and we are set up for it go any-where and be franchised.”

The cupcake shop does themes as well offing a fun take on celebrations with their confections for any situation. With nearly 20 flavors al-ready, there is plenty to expe-rience. But if you want to be among the cupcake aficionado elite, you have to be a mem-ber.

“We already have 17 every-day fl avors in the shop,” Lewis said. “People call in the morn-ing to reserve cupcakes so we don’t run out of their favorite, but we’re usually having fun with new fl avors, as well. We had a special 6 pack of totally unique fl avors for Father’s Day, and some our wonder-fully loyal customers who are a part of our Cupcake of the Month Club got to try them fi rst.”

Serendipities employees also offered their expertise to

University of Nebraska-Lincoln students. During a student in-volvement event Urtel dem-onstrated cupcake recipes to attendees. Participants were al-lowed to take the cupcakes and the recipes home with them.

“We did the cupcake camp in April,” Urtel said. “I taught them how to make red velvet cupcakes, it was exciting and fun, we practiced it the fi rst time while I demonstrated it and then they did it by them-selves.”

More visibly this last month Serendipities trailer has been in attendance at the Jazz in June festival catering to the sweet tooth of music lovers.

“I love Jazz in June,” Lewis said. “I’ve been a long time attendee and a total foodie there — too and now, I get to provide some of the great food people will find.”

The Cupcake Lady is no stranger to music or the Lincoln music scene either. Lewis is the lead singer in local band The

Dubious Brothers & Sister Red.“My dad raised me on the

rock ’n’ roll of the 50’s & 60’s, Lewis said. “We actually had a jukebox in our basement, and I immersed myself in jazz as a teen listening to Ella Fitzgerald; also I’m a singer and was lucky enough to appear with the Lin-coln Jazz Ensemble during their 2010 Christmas concert.”

If the way to someone’s heart is through the stomach then a delicious cupcake is a good start and the individuals at Serendipi-ties have certainly found their niche.

“Selling used cars might be a good time,” Lewis said. “But watching people smile their faces off when they see the cupcake trailer, or describing the perfection of a chocolate cake filled with peanut butter fudge smothered with choco-late ganache, and topped off with a delectable peanut but-ter frosting is really where I’d rather be.”

DAILYNEBRASKAN.COM

CUPCAKESFROM PAGE 6

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