Thursday, February 16, 1C34
Daily Ncbraskan
Relaxing rub .brings kneaded peace
beiaom nave I Deen more self-indulgent I had a
professional massage.
It was everything I had expected. Afterward my
back was relaxed. Every trace of tension Was gone I
could turn my head almost 180 degrees, and I felt
better than when I walked into the place. I was
relaxed, at peace.
For a half hour my back, shoulders and neck were
stretched, lightly pummekd, rubbed and kneaded.
At first I tried to keep track of the masseur's manip
ulations, but my mind drifted as I sank deeper into
relaxation.
t
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Gin
Weloch
The masseur, Glenn Pflum, works out of hi3
apartment at 1201 E St., and at the YWCA at 1432 N
St. He trained rs a masseur first at the Soma School
of Masses in Oakland, Calif., then at the School of
Massage Therapy at Boulder, Colo., one of three
accredited massa schools in the nation.
Pflum practices three types of massage: Swedish,
Shiatsu and Neo-Reichian.
I had the Swedish massage. Pflum said Swedish
massages often are seen in movies and popular cul
ture. The masseur uses oil and long and short
strokes to knead the muscles. Shiatsu is an Oriental
form of massage using pressure points, stretching
and breathing techniques. Neo-Reichian is a combi
nation of the two.
Pflum became involved in massage when he was a
graduate student in counseling at UNL Friends
introduced him to movement awareness, dance
therapy and massage. Alter he had a few massages,1
Pifum said, he became "more interested in bodies."
Although Pflum has a PhD, in educational psy
chology from UNL, he prefers to make a living giving
massages as many as six a day.
"After giving a massage to a person he'll have
better circulation, relaxed muscles, peace of mind,"
he said. "You're not always that sure about counsel
ing. You can take months and still not be sure you've
helped."
He said his greatest satisfaction is knowing the
person he has massaged feels the way he feels after a
massage; "relaxed, centered, peacefuL"
Massage doesn't have a set medicinal purpose, but
it can soothe an aching back after shoveling snow,
help ease muscular spasms, muscle tension and
headaches, Pflum said. One of his clients says it
helps lower hi3 blood pressure.
The clientele he serves cuts across all social
brackets, Pflum said, from children to people in the
70s and 80s, both men and women. Many are friends
of friends who hear about Pflum by the grapevine,
other know of him from the YWCA
Pflum said massage can help educate a person
about hi3 or her body. After years of typing or doing
nothing, muscles tighten. A massage can teach a
person what relaxed muscles feel like.
If a person spends a lot of time taking care of
others, having a massage allows one to be taken care
off by someone else for a while.
Pflum is licensed to massage by the state of
Nebraska. His in-home "clinic" consists of a small
room with a massage table and a tape deck playing
quiet music.
It's clean, pleasant and affordable.
Pflum charges $9 for a partial massage, what I
had, which includes neck, back and shoulders, or
legs and feet, or any other partial combination. A
full body massage takes an hour and costs $ 1 6.
Copeland 's solo entices imagination
By Peter Palermo
Stewart Copeland, the extraordinarily talented
percussionist from The Police, has created one of
the most imaginative and enticing albums of the
year. His soundtrack for the quirky but interesting
film Runtblqflsh is fascinating.
!' , . t. , (i v .
' Records
rumble
All but one of the Rumbkjish soundtrack's (A&M)
selections are instrumental. The only voice to
appear on the record is that of former Wall of Voo
doo ("Mexican Radio") member, Stan Ridgeway. His
unusual voice complements Copeland's equally
unusual compositions.
The rest of the LP is a study in percussion. Cope
land's creations have so much texture and the
drumming is so intricate that it is impossible to soak
in all the elements it involves. No matter how many
times one hears the record, new instruments, noises
and rhythms are found upon each listening.
Most of the cuts are closely-related, melodically.
This enables the songs to convey a sense of charac
ter and mood. Using recurring themes, Copeland
communicates the emotions or actions of the scene
in the film for which the music was written, as in the
barely restrained tension in "Biff Get Stomped by
Rusy James" or the unruffled and composed cool of
Tulsa Tango".
Copeland plays 12 different instruments, com
prising the majority of the musical work on the
album. He does, however, bring in a few studio musi
cians who do fine work in adding to Copeland's
entire scheme of things.
Continued cn P3 12
Sweep bed
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