SCOTT MCCLURG/DN
JOHN GREGG, producer of the Lincoln-based radio program “Native Sounds - Native Voices,” broadcasts an array
of American Indian music to 30 subscriber stations across the United States.
Native American music showcased
■ The program aims to
bring diversity into the
mainstream through song
and dance.
By Julie Abrahamson
Staff Reporter
If the mention of Native
American music brings tribal beats,
chants, wind instruments and tradi
tion to mind, John Gregg has some
thing to teach you.
As the producer of “Native
Sounds - Native Voices,” a Lincoln
based American Indian music radio
program, Gregg introduces members
of all cultures to American Indian
j
artists creating rock, reggae, folk,
classical, country, hip-hop and blues
music, as well as traditional song.
“The general public doesn’t have
a sense of the whole spectrum of
Native American music,” Gregg
said. “It’s like looking at a shattered
mirror: They can’t see the whole
thing clearly.”
The four-hour daily program,
which premiered Oct. 13, is broad
cast from the studios of the
University Educational Television
building on East Campus.
The show is fed via satellite to 30
member stations of the American
Indian Radio On Satellite partner
ship. Member stations range from
Alaska to New York, although none
is in Nebraska.
Gregg says that because the
nationally syndicated program is a
first, he is optimistic about its audi
ences’ feedback.
“Young generations are much
more open-minded now,
he said. “They have an interest in
world music. If they give it a chance,
they’ll discover there’s amazing stuff
out there.”
Aside from music, “Native
Sounds - Native Voices” offers sto
ries and cultural and historical
excerpts. For instance, a recent seg
ment discussed the significance of
the American Indian Round Dance
and its effect on music.
Gregg said all tribes participated
in the social Round Dance, which
served to connect them. Likewise,
Gregg said he hoped to connect his
audiences with the music and each
other.
Having American Indian music
on the radio is an effective way to
introduce both native and non-native
audiences to the culture, said Fran
Kaye, interim chairwoman of Native
American Studies.
“It’s great,” she said. “I’ve been
listening to ‘Buffalo Soul’ (a John
Gregg program on KZUM, 89.3 FM),
and whether you listen to it or have it
on in the background quietly seeping
into your pores, it’s good for you.”
Matt Jones, a Native American
Studies lecturer, said he felt “Native
Please see MUSIC on 13
«
I think the program will bridge the gap
between modern and traditional music ”
John Gregg
Producer of “Native Sounds -Native Voices”
Production depicts rape
By Liza Holtmeier
Senior Reporter
Explicit acts like rape and
murder are not easily portrayed
onstage. A fine line exists between
effective drama and graphic sensa
tionalism.
So, how does a director go
about staging a play where rape
and murder are two inherent parts
of the conflict?
Michael Rothmayer’s theory is
that an audience’s imagination
will construct more graphic
images than anything a director
could put on stage.
He uses this idea to direct the
play “Minor Demons,” which
opens the University of Nebraska
Lincoln Theatrix season this week.
“Minor Demons,” by Bruce
Graham, depicts the nightmare of
defense attorney Deke Winters.
When Kenny, a local boy, is
accused of raping and murdering a
young girl, Winters must choose
between personal loyalty and pro
fessional duty in defending him.
The play deals with the issues
V ■ • ' ’
-
of justice and loyalty and attempts
to examine all sides of the conflict.
“We, as Americans, have our
own idea of what justice is,”
Rothmayer commented.
“Sometimes that idea is in com
plete contradiction of the law.”
Ben Schicker, who plays
Nicholas in the play, said these
contradictions force the audience
to examine how they view the
American judicial process.
“This play asks a lot of ques
tions,” Schicker said. “Is the (judi
cial) process we have in America
good enough? Also, who do you
support when it comes down to it/
Your friends or public officials?”
Steven Shields, who plays
Deke, said these questions were
best answered by examining the
roles of lawyers in society. He also
notes the parallels existing
between lawyers and actors.
“Lawyers are continuously
asked to do things that - without
putting on a mask - they wouldn’t
be able to do,” Shields said.
“Actors are the same way. When
you’re an actor and things become
too real, you’re crossing over the
line of sanity.”
Because of the play’s violent
nature, the Department of Theatre
Arts & Dance warns that the mate
rial may not be suitable for chil
dren.
To make the violence effective,
Rothmayer said he tried to be more
suggestive when directing the
scene, making it intense without
being brutal.
“It’s graphic without being
graphic,” Shields explained. “It’s
not in your face. I’ve been in plays
where the message is beat into
Please see GRAPHIC on 14
Its graphic
without being
graphic”
Steven Shields
Actor
‘Phi Gam Jam’ hopes
to benefit burn victims
Chris Thomas
Staff Reporter
The healing power of music
soothes Lincoln tonight, literally.
Tonight, Phi Gamma Delta
Fraternity and KGDE, 101.9 FM,
are sponsoring a concert to benefit
Saint Elizabeth Community
Health Center’s burn center. The
“Phi Gam Jam” features regional
rock-blues acts Indigenous,
National B and Baby Jason & The
Spankers.
Hailing from the Marty Indian
Reservation in South Dakota,
Indigenous is comprised of lead
singer and guitarist Mato Nanji,
brother Pte on bass, sister Wanbdi
on drums and Horse on congas.
The band members, who have
played together for about seven
years, are quite unconventional
with a self-taught guitarist and a
habit of playing shows without
any set list.
“We’re just gonna jam,” Mato
said when asked about the group’s
style on stage. “I just jump up,
plug in, and whatever happens,
happens.”
Playing from a repertoire of
more than 50 songs, Indigenous
pulls from its two albums “Awake”
and “Love In A Mist,” in addition
to numerous covers and improvi
sations. Covers of “Third Rock
From The Sun” by Jimi Hendrix
and Stevie Ray Vaughn’s “Pride &
Joy” have become staples to the
band’s shows, as has the original
“I Need You,” from “Mist.”
“(Most of the songs) are about
love, with a few about Indian cul
ture and people,” Mato said. One
such song appears on the compila
tion, “Honor One” and is entitled
“Things We Do.”
With influences ranging from
Carlos Santana to Hendrix and
Vaughn to Buddy Guy, the South
Dakota ensemble plays with a
strong blues base, clearing a path
for the unexpected. i I)
This band is quickly gaining
respect and popularity, having an
Please see JAM on 14