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Harmonica Riff Dancers Skate, Boogie for Fashion Hearsed About 25 Hours, but Not Everyone Could Attend All Founded on Blues by Cheryl Kisling the Meetings, He Added

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Harmonica Riff Dancers Skate, Boogie for Fashion Hearsed About 25 Hours, but Not Everyone Could Attend All Founded on Blues by Cheryl Kisling the Meetings, He Added thursdaynovember 1, 1979 daily nebreskcn Orchesis fundraiser Harmonica riff Dancers skate, boogie for fashion hearsed about 25 hours, but not everyone could attend all founded on blues By Cheryl Kisling the meetings, he added. were Cathy Wheeler, president of Orchesis, said there By Michael Wiest Despite typical first performance troubles, the UNL "unbelievable problems" finding an area to have the dance a fashion show fashion show. group, Orchesis, presented Tuesday When it comes to white harmonica players, two at Harper-Schramm-Smi- th residence halls that was "Because we're amateur not it's first-P- any models, professionals, names are usually mentioned aul Butterfield but natural that merchants aren't as excited about us as thing typical. only and Charlie Musselwhite. The latter played at the Orchesis, a dance and run stu- we are," Wheeler said. "We are ourselves to those group composed of by proving Zoo Bar Monday night. modeled fashions and roller who take us on the offer." . dents, by dancing skating to up Musselwhite's life story reads like a blues ballad, disco music. Businesses in the Atrium were the most cooperative and if this isn't directly responsible for some of the The show was directed and Pat fashions, Wheeler said. Four of the five mer- choreographed by supplying ' harmonica riffs he produces, it at least shows that vice He said he once did a simi- chants were from the Atrium. Williams, group president. he knows firsthand what he sings and plays about. at a One of the main for the fashion show lar show Lincoln country club, but used more dancing purposes creating Musselwhite was born in Mississippi in 1944. in this was to raise money for Orchesis annual spring dance per- production. When he was three years old his family moved to One of the the fashion show was formance. problems directing Tenn., in a dump truck, no less. There in , three of the 15 dancers knew how to disco "This is a real teaches you Memphis, only dance, learning experience. Nothing the late 1950s he learned the blues from black Williams said. like performing in front of people," Wheeler said. veterans such as Furry Lewis and Will Shade. In "For most, this was the first time with this kind of Orchesis might do another fashion show in the spring 1962, at age 18, Musselwhite journeyed up Highway he said. off a fantastic for the and go to local high schools to introduce the group to dance," 'They pulled job 51 to in search of work, not music. first time." potential UNL students, she said. Performing is advertis- Chicago By coincidence, he found himself in the south But Williams had other problems. Two people ing, she said, and the group encourages any students inter- dropped side among legendary blues artists. Soon he out because of illness and one male did not ested in dancing to join. ghetto performer met Joe Williams, who talked him into dropping come back from Florida in time for the show "We are the only dancing group on campus that is en- Big Tuesday the for the blues harp, and after that, Little night. Williams filled in for the missing dancers. tirely run by students. It's nice to able to say and do guitar ' Walter Jacobs and Walter Horton, pioneers In addition, Orchesis had limited rehearsal time. The this," Wheeler said. Shakey of the Chicago blues harp, with whom he served a group meets every Wednesday night, which was the only Orchesis has scheduled two more fashion shows at the sort of apprenticeship. time they practiced the show, Williams said.. Dancers re- - Atrium on Saturday and Sunday afternoon. It was then that the recording career of Charles Douglas Musselwhite III began with the classic album , Stand Back! Her Comes Charley Musselwhite and His Blues Band. In yearssince, Musselwhite has toured the United States, Canada and Europe, has nearly 20 albums to M his credit, rightfully earning a reputation as a legend on the harmonica. In the mid-197- 0s he overcame On drug addiction and a four-yea- r performing slump to ' come back on the road and to publish a book and an album titled The Harmonica According to Charlie Musselwhite. t At the Zoo Bar Monday night, he showed what it has all been about. Staying true to his roots, Musselwhite played good and bad-tim- e blues, back-- , ed up by his band featuring Tom Watson on lead guitar, Johnny Ace on bass and Walter Sliuffles on drums. ; The full sound produced by this minimal band, lacking the usually rhythm guitar, testified to the talent of Musselwhite's musicians. Musselwhite's harmonica playing and vocals sounded as strong and soulful as ever. - : The highlight of theperfoimance was Mussel- white's slow blues instrumental number "Stranger," which spoke powerfully of alienation and hard times.' This was communicated not only by the music, but by the presence of Musselwhite, a man who knows what it feels like. Dance workshop A series of workshops on folk dancing will be spon- sored by the School, of Health, Physical Education and Recreation at UNL Friday and Saturday. The workshops will be directed by Don Allen, assistant director and choreographer for the Brigham Young University International Folk Dancers. The or program, hosted by Dorothy Hughes, assistant pro-fess- of Health, Physical Education and Recreation, will Photo by Mike Sweeney be .at Mabel Lee Hall, Room 119. Friday's session will include square dance, contra dance and line dance. Friday Orchesis dancer Pat Williams (right) twirls an undentified dancer in the group's disco fashion show Tuesday evening. evening, the Appalachian Clog dance will be taught at beginning and intermediate levels. , 'Apocalypse Now' study of human evils and instincts By Pete Schmitz Walter E. Kurtz. to annihilate itself. But the anticlimax also is because of Kurtz is a brilliant of West and a graduate Point, recog- the accidental blundering of Marlon Brando's interpretat- Is reduced real nized humanist as well. His career has been .... Human life to suffering, to hell, only heavily ion of Kurtz. Although Kurtz is to have no purpose in his when two ages, two cultures and religions overlap. A ladened with honors, and he has been channeled by the life by the time we see him, Brando still should have the Classical who had to live in medieval times brass to one a in a man of Age top day acquire powerful position the emanated charismatic appeal that partially was respons- would suffocate miserably fust as a savage does in the military. ible for the awe he inspired among the natives and other midst of our civilization. Now there are times when a But his future is ruined once he learns the supposed renegade soldiers.. whole generation is caught in this way between two ages, secrets of human evil and carries his war methods too far. two modes of life, with the consequence that it loses all Then it is up to Captain Willard to terminate Kurtz's power to understand itself and has no standard, no command with extreme prejudice. C0PP0LA AND co-write- rs no simple acquiescent. Naturally, every one Willard's takes him through the river into John Milius and security, journey t0 d0 11 10 does not feel this equally strongly. A nature such as Cambodia and the 'bowels of the earth. It is a hnni;eiCrr ?tempt myth mat to suffer our ills more than a which the madness and greater understanding among audiences Nietzche's had present nightmare exposes cruelty of about human nature. The in advance. What he had to alone civilized the start Vietnam Wn (and generation go through technocracy (evident at of the journey) things get real thousand suffer and culture. touchy) i, not the subject of fffflm nS and misunderstood, today. primitive h i me(ely a contextual ?TTie Hermann Hesse from his novel Steppenwolf After the adventures of Willard and his four crewmates backdrop for thto on on the P.B.R. boat, the Captain's long-awaite- d confronta- The above passage, although it is not from Heart of tion with Kurtz and what ensues afterward will strike oVn&brt?lnatU.re a?d actionsof people, and Darkness, the main source for Francis Ford Coppola's many as anticlimatic. Part of the reason for this surprising lws".em ' Wntm View h "Pted from ambitious effort Apocalypse Now, succinctly describes lack of intensity at the end is the director's attempt to the dilemma of the film's most intriguing character, Col. portray what he views as the determination of humankind Continued on Page 1 1 X..
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