|hntertainment
B-movies
star in first
film festival
■ The first annual film festival
welcomes student submissions of
all feature and short genres.
^ By Jeff Randall
Senior staff writer
Multimillion-dollar budgets are now common
place in the film industry, but some film purists long
for the good old days.
And some of those people are doing their best to
make other people feel the same way.
Salt City Home Video and B-Movie Theater are
sponsoring the first annual B-Movie Film Festival,
and students across the country have been invited to
make submissions. All genres are welcome, and the
movies can be either features or shorts.
Awards will be handed out for Best Picture, Best
Actor, Best Actress, Best Director and other cate
gories, and all entries will be screened for the possi
bility of home video release.
“The B-movie is an art form that we would like
to see prolonged and maintained,” said Phil Hall, a
representative for Salt City Home Video, “and what
better way to keep
- these films alive
than by encour
... A B-movie* is aging youngpeo
pie to make more
any film that of them?”
The idea of a
manages to b -movie has
. 7 . been culturally
provide artistic ... defined by direc
j j j tors such as
value that exceeds Roger Corman,
. j j j ,, who has directed
itS lOW budget. or produced more
than 50 titles,
rHIL HALL including
Salt City home video “Captain Nuke
representative and the Bomber
Boys*’ and
“Angel of
Destruction.” But Hall said B-movies cannot be lim
ited to single genres such as science fiction or youth
rebellion.
“You look at the true definition, and a B-movie
is any film that manages to provide artistic or enter
tainment value that exceeds its low budget,” he said.
Although popular opinion may state that low
budgets equals low quality, Hall said, that isn’t
always true.
“If you look at a movie like ‘Touch of Evil,’
which is a definite B-movie and a definite classic,
and compare it with a big-budget film like
‘Armageddon,’ which one do you think more people
have appreciated?” Hall said.
“Big bucks may mean better special effects and
a slicker look, but good acting, writing and directing
Please see B-MOVIES on 14
Mike Warren/DN
THE KEYBOARD and saxophone cases of jazz musicians John Carlini and Bill Wimmer waif for their return as famous photos of past jazz
musicians don the walls of the Hayden Art Gallery. The exhibit features photos from living photographers whose pictures of jazz reach
from the 1930s to today. Courtesy Photo
TAKEN BY WILLIAM P. GOTTLIEB, this famous photo of Louis Armstrong appears at this month’s Haydon Art Gallery exhibit featuring the pho
I tographers who have captured the original American art form on film.
Hay don gallery shows off ‘all that jazz’ in photos
By Liza Holtmeier
Senior staff writer
On one wall, Duke Ellington plays the
piano in a pool of hazy light.
On another, Ornette Coleman pauses in
beatific peace after finishing a saxophone
solo.
And in a picture by the door, Billie Holiday
wails away.
In the works exhibited at the Haydon
Gallery this month, the idols of jazz have been
captured on stage, behind the scenes and up
close and personal.
Until Feb. 27, the Haydon Gallery, 335 N.
Eighth St., will feature a collection of jazz
photographs by some of the world’s greatest
jazz photographers.
“These are the people who saw the most
important things in jazz,” said Turner
M c u e h e e, ✓ ✓- me paparazzi s cameras.
the Hastings •• Guy Le Querrec
College pro- Forty years from now, we 'll exposes the absolute bore
fessor who j j j dom of life on the road in
organized the /00£ af these artists the way bi;, Picturf of DlFy
exhibit. ^ Gillespie asleep on a bus.
“Forty years look at the mUSidanS in Even jazz’s humor can be
from now, seen in Le Querrec’s pic
we’ll look at the pictures.” ture of portly Charles
these artists r Mingus and his mammoth
the way we TURNER McGEHEE bass’ . f. ...
oo at the exhibit organizer , ^ mos impor an y,
musicians in 6 the photographs reveal the
the pictures.” artists’ love for all that is
The exhibit uncovers the multifarious cul- jazz,
ture of the jazz world. “All of us are doing this because we love
Herman Leonard catches jazz s sultry cool
in his picture of Dexter Gordon’s face rising
out of a swirling cloud of cigarette smoke.
The cult of celebrity is depicted in Patrick
Hinely’s picture of Don Cherry surrounded by
the music, explained Hinely. It s a music that
speaks to the human condition. It’s music,
Please see JAZZ on 14
‘Lord of the Dance,’ sans Flatley, high-steps into Omaha
By Liza Holtmeier
Senior staff writer
He calls himself the Lord of the
Dance. %
And upon seeing Michael Flatley’s
self-righteous strut and greased-up
chest, who would deny it?
But local audiences won’t have a
chance to see the diva of Irish step
dancing in the flesh.
When Flatley’s “Lord of the
Dance” comes to Omaha tonight, the
show will be minus the garish star and
his flaming feet.
Flatley is too busy tearing apart the
European countryside with his rapid
fire feet. As much man (or lord) as he
may be, Flatley can only dance with
one troupe at a time. For now, he ffol
ics through Europe, much to the dis
may of many adoring Americans.
His two domestic companies, it
seems, are left to fend for themselves.
And so far, they’re gaining rave
reviews. .
Audiences can’t get enough of the
flailing toe-tapping and almost mili
taristic showmanship “Lord of the
Dance” offers. The troupes regularly
perform to sell-out crowds six times a
week. Video sales of the performances
have topped 2.5 million copies. And
studios thatieach Irish dance stepping
are riding high on the fallout of
Flatley’s success.
However, would-be audience
members should not confuse “Lord of
die Dance” with “Riverdance,” anoth
er Irish step-dancing show touring the
nation and featured on PBS.
%
It would be an easy thing to do.
Both feature the wild athleticism of
Irish-step dancing. Both capitalize on
Celtic music and themes. They both
featured dance diva Michael Flatley at
one time or another.
But “Lord of the Dance” pro
claims to have a number of differ
ences.
First, it forgoes the more tradition
al moves of “Riverdance.” Forget
dancers who appear paralyzed from
the waist up. Think flamenco meets
Irish jig, instead.
“Lord of the Dance” also takes the
plotless, thematic dancing of
“Riverdance,” and ties its vigorous
Steps together with a narrative. This
narrative uses the basic form of good
against evil, complete with temptress
es, dark lords and goddesses.
Dance
TIm Facts
What: “Lord of the Dance*
Where: Music Hall, 1804 Capital Avenue,
Omaha
When: 7:30 p.m. tonight and tomorrow
Cost: $55 and $45, call (402) 475-1212
The Sldnny: Michael Hatley’s dance troupe
performs Irish step dancing without Michael
Flatley
The show’s title character, the Lord
of the Dance, leads the narrative, This
part was formerly played by self-pro
claimed dance lord Flatley.
In fact, one could even argue that
the original production was meant to
show off Flatley’s oiled-up chest just
as much as the Irish stepdancing.
The production in Omaha tonight
retains both the spectacle and the sex
appeal of the original production.
Flatley’s role as lord will be danced
by one of the many 20-somethings in
the cast.
While the cast’s youthfulness is an
inherent part of its sexual energy, it
also serves as a testament to the physi
cal stamina the show requires. Who
else but a lively 20-year-old could
stand the two hour tour de force of
Irish jigging six nights a week?
And though Flatley won’t appear
tonight, fans can still see him in all his
glory. They can check out his glisten
ing pecs - and skimpy speedo - on
line at the Lord of the Dance Web site
at http://www.lordoftheclance.com.
