dally nebraskan
page If
thursday, October 11, 1979
Pickers . .
Continued from Page 10
Mike went on to say, "After a month or two we started
to play amateur nights at Earl's. Back then we were fairly
unstable, It was fun to play, with other amateurs because
nobody was very critical."
That summer the Pickers entered the band competition
at the Brownsville Bluegrass Festival. TK'ey didn't win or
come in second, but it helped them find paying jobs, Avey
said.
"A few months after Brownsville Zlerke left the band
and we got our first fiddle player Tim Murphy," John
said.
"Murphy kept us pretty traditional," Avey said. "When
he was in the band we played mostly Bill Monroe tunes,
Stanley Brothers tunes, and traditional fiddle tunes."
"HOWEVER," AVEY SAID, that Tim got the band
booked in Omaha and "Once we were playing in Omaha
we started to get booked regularly."
"It was a. real nice place when we first started to play
there," flelronymus said. "But, after a while the bikers
took over the place. It got so bad that the owner required
that you check your knife at the door and pick it up on
your way out. Then one night this guy threw a knife at
someone. It missed its intended victim and flew right by
my head and stuck in the wall behind me. Needless to say
that was the list time we played there."
In the summer of 1975 the Sandy Creek Pickers had
better luck at the bluegrass festivals. In August, they won
the band competition at the Rocky Mountain Bluegrass
Festival and a week later they won the same honors as
well as "Best Overall Show" award at the Brownsville
Bluegrass Festival, Mike said.
"Winning at the Rocky Mountain Festival was quite a
thrill. Bill Monroe, who is the father of bluegrass music,
presented the award to us. We were then joined by the
winning fiddler. While we played 'Sally Ooodin,' Monroe
did the Kentucky Back-Step on stage," he said.
SHORTLY THEREAFTER, the Pickers put out their
first and only album on their own "Sod-Buster" label.
Titled 'The Sandy Creek Pickers " it contains several
traditional bluegrass tunes.
In 1977, Murphy left the band to try his luck In
Nashville, John explained. "We played four man for a
while. But a few months later, Gary Howe, formerly of
the Bluegrass Crusade and The Midwest Ramblers, started
to play fiddle with us."
"As soon as Murphy left we broke away from doing
only traditional tunes " Helronymus added.
Last spring Howe left the band to join a swing band in
Oklahoma. Since then the Pickers have played four man,
Avey said .
"Wft'ri" hannv with the sniinri " he said. "I doubt We'll
:et another fiddler player, unless we find someone we all
like."
John added, "What we do now can't really be called
true bluegrass. We do a Stones tune, we do a tune by The
Grateful Dead. We do some swing, some newgrass and
some bluegrass, all in a bluegrass style."
He added, "You might call it a mixed bag of grass."
8
Starting Over9
Continued from Page 10
Before the movie takes a turn for the
worse, he gives the tnosV sensitive perfor
mance of his cdreer. It is easy for almost
anyone td identify with him as he looks
sardonically Into the faces of his brother
and sistef-in-law,whd tell him witlvall pop
psychology certainty that ending his
marriage arid looking for a new job and
another place to live cart be "a very excit
ing learriing experience."
Phil's relatives, like his ex-wife, brilliant
ly represent the irtcteaslng number of
people who are becoming mere products of
the "leatii td cope with i new life" syti:
drorte.
While listening td Bergen's three songs
(which were written forher role by Marviri
Hamlisch), one cannot help but feel embar
rassed fdf the pedple who were mindlessly
drawh Into the wasteland of inane pseitdo
feminism, which, in reality, has rtothing to
do with the goals set forth by dedicated
feminists.
But halfway through the story, the
' mdvie staftJtto disintegrates the director
and writer abandon sharp sociaj commen
tary for popular romance.
AFTER THE DIVORCE is finalized,
Phil meets a nursery school teacher named
Marilyn. Jill Clayburgh plays the part with
all the inane neurosis that became the
t- -iark for Lucille Ball's television
e audience is expected to laugh at
hu lyn when she is hostile to Phil (before
she knows him) when he abruptly
approaches her on the street at night on
their way to a blind dinner date.
After she gets to know Phil and has sex
Marilyn is also characterized as childish
with him the first time, she is made to look
silly as she reproaches him for leaving her
in the middle of the hlght.
for not Wanting pictures taken of her while
showering and fot being angry wheri Phil
refers to her while on the phone with his
ex-wife as "just a friend."
Whert Marilyn breaks off with Phil, she
is won back and convinced to move in with
him after he submerges her three times in a
pool of water in a dunking booth at the
school carnival that she had invited him to
before they broke tip.
THINGS GO Well for the couple until
Jessie decides site wants Phil back.
Although she does not fetch him back right
away with her see-through blouse and rie'w
song "Better Than Ever," Phil eventually
decides to dump Marilyn for his earlier
love.
. Following a symmetrically executed
roil-in-tlie-hay that is accompanied by
another of Jessie's sdrigs, and a.trit) to the
grocery , store,, wherf hil responds itidig
'nahtly to tJifyiriiJ i'cfrtiiH brand df Boffeef
the briefly reconciled twosome decides
that Marilyn is really the right one for Phil.
tint when he goes back to her, he finds
that she's going out with a basketball play
er. She tells hint never to see her again. But
he gets her in the end anyway and, unfor
tunately, that seems to be what the movie
was really concerned, about.
THE FILM IS definitely not up to par
with Pakula's other works, such as Klute,
Hie Sterile Cuckoo, All The President's
Men, and 'Comes aHorsemdn. Those works
had a better blending of tones, Which this
movies lacks, given its promising theme
that disintegrates into sit-com romance, the
stark cinematography of lngmar Bergman's
frequent collaborator' Sven Nykvist and the
bubblegum score throughout the picture.
But if there is one quality this latest filni
shares with the others, it . is the director's
ambivalent attitude towards strong female
characters whose initial display of lnde
)endence ends in submission to the male
ead's wishes. Thus, we saw Liza Minnelli's
soyfriend Walking her to the bus to go
lOrtte Updrt his advice in The Sterile
Cuckod. In Klute, Jatte Fonda's Bree ends
up finding security in cohabitation with
the hero detective who saves her life. And
in Fonda's other movie for Pakula, she
again pays the price of her individualism in
order to live with a man who seems to
offer more happiness than living alone
would.
By now, I know that my comments
about sexism in movies seem redundant,
but that is because the film industry con
sistently offers audiences a view of men
and women that is redundant, and sadly,
Starting Over, is not an exception.
ioupil
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5:30-7.30-9:30
Monty Python's
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c
The American Film Classics Series
presents
starring Grace Kelly
and Ray fTlilland
THURSDAY, OCT 11
7:00 & 9:00 pm
UNL Students 31.50
General Public 32.00
Sheldon Film Theatre
u
CITY
mmtm riee:::::3
11V J01! C3
all I
nwt xk v
"Johnson, bng involved with gospel end
r&b bands, has embraced the blues in his
middle years, swiftly rising to become one
Of the premier guitarist-vocalists In the city.
With his falsetto Wails and liquid string at
tack, he fs clearly indebted to B.B. King,
yet his style remains distinctively Individ
ual. Vocals and guitar ring With feeling on
the B.B. -tsh Tour Turn To Cry' and the
Ann PeebletAlbart Kind hit 'Breaking Up
Somebody's Home', but his reworking of
the John Lee Hooker classic Serves Me
flight TO Suffer Is smasterpiece, a com
plete transfiguration of the orioinal that
echoes In the mind long after the music
stops."
-DOWNBEAT, April 5, 1979
Hn IIS EH!A1
CUTIS D
at 11 -13, at tb Zc3 bt?
"Jimmy Johnson, brother of soul singer
Syi Johnson, is a thoroughly modern
bhiesman with a gospelish voice and a
harmonically sophisticated single-string
guitar style that's sometimes reminiscent
of Otis Rush. These men (Jimmy John
son and toft hand Frank) represent the
extremes of modem Chicago Blues, and
both are simply devastating.'' .
- -ROLLING STONE. May 31, 1979
133 N. M-h
u