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About The daily Nebraskan. ([Lincoln, Neb.) 1901-current | View Entire Issue (Oct. 8, 1979)
monday, October 8, 1979
ins keeps pace bouncing by mixing old and new
By Michael Wiest
be an institution in transition. Gone ire the
ftavt nf ihm f?iflmrtr nf nivn tHno mnA
uninhibited audience behavior.
The rock concert teems, at least in the Nevertheless, certain held-over mores of
context of Kenny Loggins performance, to this tradition persisted last Thursday night,
Photo by M. Biilingsley
Kenny Loggins, in concert at Omaha's Orpheum Theater Thursday, energized his
audience with songs from his latest album Keep the Fire.
such as hooting and the encore ritual of lit
cigarette lighten, all fascinatingly contrast
ed by the opulent splendor of Omaha's
Orpheum Theatre, and the well-dressed
crowd who paid $9.50 per ticket to stand
in its lobbies and swirl high-priced
champagne around in plastic wine glasses.
Loggins, for his part, gave a tight, pol
ished performance, mixing old and new
material, including several songs from his
new album Keep the Fire. He opened his
act with characteristic energy, and kept up
the pace throughout the show, bouncing
and running across the stage, possessed by
his music, faintly resembling a friendly and
excited Afghan puppy.
He then brought out a stool and an
acoustic guitar, and sat still for some old
favorites, such as 'Pooh Comer," and
"Danny's Song." The audience was
encouraged to sing along.
Several times Loggins stopped suddenly
and the crowd, as though from momen
tum, would finish the line out perfectly,
just like the record, and then act slightly
astonished with themselves, as if realizing
they had just been made to do a trick. That
says something for the amount of air-play
Loggins' music has received.
The warm-up group, Sniff and the
Tears, served the star of the show well, act
ing almost as a foil to Loggins. Their music
had. much to offer inst rumen tally, but
lacked vocal talent. Their style seemed,
half-formed, hovering expectantly some
where between punk and clean rock, this
decade and the last.
Loggins began his show with several
numbers from his recent album Night
watch, along with a well-received ballad
from Keep the Fire.
Later, the band took a short break, and
then the light-effects screen came down
and mist rolled pnto the stage. This set the
r?fyt1Bfm1 atmosphere for the synthesized, techno
BuULJU rock material of Loggins' new album,
featuring imaginative percussion and horn
work bordering on fusion jazz.
The last four numbers of the concert
were encores, which slowed the pace down
considerably, but to the -time interval
necessary for the crowd to begin stomping
and lighting lighters. The state lights were
never raised; no one was really fooled.
The crowd was well! behaved and for
the most part people stayed in their assign
ed scats. All things said it was a good con
cert, sure to please the Kenny Loggins fan,
and even, the casual observer.
'China Night' lends rare exposure to Eastern culture
By Mary Kay Wayman
' "China Night" was a rare and enjoyable exposure to
the great depth of Chinese culture. Members of the UNL
Free China Association shared their colorful, musical cul
ture with a standing-room-only crowd of more than 500
people in the Nebraska Union Friday night.
What the members termed an amateur production was
as rich and varied as costumes modeled in the show.
The evening program and displays in the Union earlier
Friday were part of a celebration of the 68th anniversary
of the founding of Taiwan.
Friday's celebration was the first ever on campus, and
also the first since the United States broke diplomatic ties
with Taiwan last year.
Hie American flag and Taiwanese flag decorated
opposite ends of the stage.
"The relationship between the people of Taiwan
should continue with the American people," said show
manager Ning-Shih Chiu. "We want to promote a better
Kung-Ping Shao said the people of Taiwan are trying to
preserve the original art and culture of China. She said she
doesn't approve of the way the Communist Chinese have
westernized their culture.
THE SHOW Friday night began with a traditional
dance of celebration, the "Lion Dance." Hie large, bright
ly decorated "lion" was teased by a "joker." His smiling
mask signifies that he will "bring you happiness," one
student said. f
The haunting, minor-key music of Oriental string in
struments such as the Ku-Chen, Nan-Hu and P'i-P'a
seemed to transport the ballroom audience to a distant
and ancient place.
An eight-man chorus sang folk songs demonstrating the
widely differing Chinese dialects. Women dressed in ori
ginal peasant costumes danced a Taiwan aboriginal folk
dance. Bells attached to their costumes jingled as they
moved gracefully about the stage.
The audience sat quietly as male students demonstrat
ed the varying forms of Kung-Fu, a Chinese martial art.
The quick, sharp movements of one form, like an
eagle attacking its prey," contrasted with the slower, con
trolled movements of another. No matter the speed, the
actions of these forms of combat took great muscle ten
sion and were done with the precision of a ballet
; Tie audience responded warmly with applause for all
the acts, and especially for musician Lieu Chee-Min. Lieu,
a former member of the Taiwan National Orchestra, per
formed a similar show last year as a member of the Youth
Goodwill Mission of the Republic of China.
HIS SEVENTEEN years of training were evident as his
fingers flew across stringed instruments and flutes, draw
ing out bittersweet melodies.
Costumes for the show were borrowed from the North
American Affairs Coordination Center in Chicago, the
former Taiwan consulate.
Lieu said he believes that "music is universal." He said
he has tried to convince people through his music that
Western and Eastern music can combine.
A show of Chinese costumes from historical times to
the present was choreographed to introduce historical
figures to the audience. Long, brocade gowns shown in
the stage lights as students moved through dance-like
A veil of pearls covered the face of an emperor of 1 122
B.C. A general's wife, renowned for her intelligence and
skill ip battle, wore traditional Chinese war dress, com
plete with metal tunic.
The "Shadow Show," a common form of entertain
ment in Asia, left costume and almost everything else to
the audience's imagination. Students acted out a silent
comedy behind a curtain, with only their shadows visible.
The audience laughed as the "All-Cosmos Doctor"
operated with giant scissors and hammer. The quack doc
tor puffed his pipe as his patients left in worse condition
than they arrived.
"The culture is still in us, a part of us," Kung-Ping
Shao said. The students performing Friday night gave evi
dence of how closely they value and enjoy that culture.
Ax penetrates music and audience
By Penelope Smith
Emmanuel Ax said concentration was the most
important thing an audience could bring to his perfor
mance. "With classical music, the audience must have
a certain will to concentrate and absorb. It demands
active participation, it is not background music but the
central thing-it is all there is.
His brilliant piano concert Friday night demanded
this absorption and it was freely given by an audience
spellbound by his virtuosity.
Ax played to a capacity crowd at Kimball Recital
Hafl where some audience members were seated on the
stage. The Lincoln audience was appreciative and atten
tive, illustrating once again its support for the arts.
Ax played a Haydn sonata in C minor, Schumann's
"Fantasiestucke Opus 12 (Fantasy Pieces),' a Mozart
rondo; and Beethoven's Sonata in F minor. Opus 57
'("Apassionata"). His repertoire represents what Ax
call j the range of sound in himself.
'Though you are completely a mouthpiece for the
composer, everything you do reflects your own per-sonality-from
the way you bounce a tennis ball to
playing the piano, it is an inescapably fundamental
part of your personality. You do not consciously
decide to do things when you play," Ax said.
Ax's range of feeling and command is evident in his
performance of Beethoven. These performances leave
behind the fluid lightness of his treatment of
Schumann or Haydn and become power statement. He
possesses a forcefulness, dept of personality and
virtuosity that does the composer justice .
Ax received a standing ovation and gave two encore
pertormances before the audience would allow him to
leave. The level of absorption was so intense that the
final silence came as a shock; th closing chords had
fully disappeared before the audience realized that the
pieces had ended.
Ax, at 29, is a pianist of international acclaim. He
won the First Rubenstein International Rano Competi
tion in 1974 and numerous other prizes and awards in
various other competitions around the world.
His records of Dvorak and Beethoven are considered
by critics to be some of the best recordings of recent
years. Ax is also interested in modem and contempor
ary works for the piano though he says it is basically a
I9th century instrument, and intends to perform
pieces by contemporary American composers in New
York in the near future.
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