The following is a brief list of
weekend events.
Please call the venue for more
information.
CONCERTS:
Duffy's, 14120 St.
Sunday: Lullaby for the Working
Class
Duggans Pub, 440 S. 11th St.
Friday: Lil’ Slim and the Back
Alley Blues Band
Saturday: Owan Match and the
Debtors
First Plymouth, 20th and D streets
Sunday: Western Wind
Knickerbockers, 9010 St. —
Friday: Digital Bitch Shifter,
BeeBee
Saturday: Picknee, The Wonsers
Lied Center, 301N. 12th St.
Friday: The Edlos
Sunday: Junior Youth Orchestra
Royal Grove, 340 W. Comhusker
Highway
Friday: The Phunk Junkeez
Saturday: L.A. Guns
7th street Loft, 512 S. Seventh St
Saturday: Peter Ostroushko
THEATER:
HoweUTheatre, Temple Building,
12th and R streets
Friday and Saturday: “Three
Sisters”
Mary Riepma Ross Film Theater,
12th andR streets
Friday and Saturday: ‘Trick”—_
Sunday: “Late August, Early
September”
McDonald Theatre, Wesleyan, 51st
and Huntington streets
Friday and Saturday: “Romeo and
Juliet”
Mueller Planetarium, Morrill
Hall, 14th and U streets
Friday and Saturday: Nine Inch
Nails
Sunday: ‘N Sync and The
Backstreet Boys
Lincoln Community Playhouse,
25008.56th St.
All weekend: “Arsenic and Old
Lace”
Star City Dinner Theater, Eighth
and Q streets
All weekend: “Pump Boys and
Dinettes”
GALLERIES: —
Gallery 9,1248 Ninth St.
All weekend: Allen Busch, Judy
Greff and Barbara Sullivan
Haydon Gallery, 335 N. Eighth St,
All weekend: works by Marcia
Goldenstein and Tom Riesing
Noyes Art Gallery, 119S. Ninth St.
All weekend: Lois Meysenburg,
Tom Palmerton, Kevin Baker, Gina
Downey, Jerene Kruse, Gretchen
Meyers and Julia Noyes
The Sheldon Memorial Art Gallery,
12th andR streets
All weekend: “Black Image and
Identity,” “Modem Masters,”
Charles Rain’s “Magic Realism,”
“Robert Colescott: Recent
Paintings”
';y.
■ New Internet site offers
wallflowers the chance to
learn to dance.’
By Jason Hardy
Senior staff writer
I pretty much suck at dancing.
Sure, I’ve got some moves that my
friends think are sweet, like the “dig
ger” (you know, you pretend to dig
with an imaginary shovel) and the
“tootsie roll.” I can even do that “come
__on ride the train, aride it up” move,
but when it comes to real
dancing, I’m a schmuck.
Well, I was a ,4
schmuck. /*■
uk, i m sun a
schmuck, just not
quite as much of a
schmuck as I was
yesterday, /
because today, I /
learned how to uj
dance. /
Bustamove/y
Inc., a company ‘
out of Berkeley,
Calif., launched
a Web site Sept.
15 that was
designed to
teach people how
to dance via the
magic of the Internet.
The Web. site, located
a • ’ t
www.bustamove.com,
—focuses on four specific
areas of dance - East Coast Swing,
West Coast Swing, Salsa and wedding
basics, which includes the waltz and
the Foxtrot. Notice the absence of the
Macarena - thank God.
Now, the Web site says you can
learn to dance without a partner, but
take it from me, that’s sort of tough -
and humiliating if anyone happens to
see you.
However, if you’re such a recluse
that you can’t find someone
to dance with you,
(V,
C!
www.bustamove.com has a database
that, after you enter your personal
information, matches you with some
one of similar dance interest who lives
in your area. Then all you have to do is
get the guts to contact them.
Luckily for me, after spending an
awkward morning dancing alone and
bumbling around like Dustin
Hoffman’s character from “Rainman,”
I convinced fellow Daily Nebraskan
writer Emily Pyeatt to be my partner.
Pyeatt claimed to know only how
to boot scoot (which she showed me
-brutal), so she seemed like a pret
I*
ty even match to my nonexistent dance
talent. And so we set out to put
www.bustamove.com to the test.
First things first, let me explain
how this works. Some of the basic
dance moves are available for free with
other more advanced moves available
for$l per move.
I started out simply with the wed
ding package, which includes 12
moves for $10. It starts with the basic
waltz and eventually adds turns before
finally it moves on to the Foxtrot and
its many variations.
After clicking on the wedding
package option, a screen comes up
with a listing of the 12 available
moves, ix siaris wnn ine
waltz-box move, which
Hi is where Pyeatt and I
m started. Once we
clicked on that, it gave
1 us a rundown of the
a basic time signature
f involved and the overall
gist of the dance.
From there, it
showed cartoon
figures (a blue
man and a
V pink
i woman)
Noj^^kdoing
V the
move and a
frame-by-frame exam
ple for further investigation.
It sounded simple,
but we were
both skep
tical, so
we read it
over a
Please see
DANCE on 14
m
Delan Lonowski/DN
artistic W»
■ The movie is a realistic
- view of the struggles faced
by 20- and 30-somethings.
By Shelley Mika
Staff writer
If you love action, don’t see “Late
August, Early September.” You won’t
get any explosions or wads of bullets
flying all over the place.
What you will get is a very realistic
view of “grown-ups” who are still try
ing to grow up.
“Late August, Early September” is
a film about friends and lovers in their
late 20s and early 30s. The characters
deal with commitment, heartbreak and
finding jobs that fit their ideals.
And that’s about it as far as the
action goes.
But there is a lot more going on in
this film than what the surface descrip
tion suggests.
It is one of the very few flicks that
deals with the ever popular “coming
of-age” theme realistically. The movie
features no super-hip kids using catchy
lingo and traipsing around in Doc
Martens like so many other movies in
■ the genre.
Instead, director Olivier Assayas
uses believable characters that get to the
heart of what he is exploring, without
any glitz and glam to sell it.
Besides using believable actors,
Assayas uses other elements to make
die film seem true to life.
All of die scenes were shot on loca
tion, and natural lighting was used for
the most part. Both of these elements
were expertly done. Assayas uses some
beautiful backgrounds, but an equal
number of drab everyday shots are pre
sent as well. The array of settings lends
to the realistic sense Assayas is aiming
for.
Assayas’ use of lighting is amazing
as well. Some scenes were very dark,
but the low lighting didn’t obscure the
emotion conveyed. Instead, it makes the
audience more aware of the light that is
used. Assayas moves the characters and
camera to manipulate the light, and it
communicates what is going on in the
scene. .
In one instance, one of the charac
ters is upset with her boyfriend. We see
her face in the rear view mirror of a cab
with the night lights of the city swirling
around her. Instantly, her frustration,
anger and confusion are understood,
simply by the use of light
The simple and authentic dialogue %
matched the realistic scope of the light- <
ing and settings. But that’s not to say it i
wasn’t interesting. A number of clever r
lines get slipped in, and, while they are <
intriguing, they don’t come off as con- 1
trived.
The most amazing element in “Late ]
August, Early September” was i
Assayas’ ability to convey a huge 1
- amount of insight into characters’ lives 1
in a very small space. Some scows are 1
Film Review
Dm facts
Title: “Late August, Early September”
Director: Oliver Assayas
Stare: Mathieu Amalric, Virginie
Ledoyen, Francois Cluzet and Jeanne
Balibar
Rating: not rated
Grade: A
Five Words: Realistic coming-o-age
film»
mly 20 seconds long, and yet what is
evealed in them could not be left out.
fo do so would have jeopardized the
motional and intellectual depth of the
ilm. „ -
Though slow paced, “Late August,
iarly September” maintains a good
hythm. But action fans beware. This
ilm is not for you. That is, unless you
lave a love for artistic merit and quality
ilm making. If so, this film fits the bill.