page 10
daily nebraskan
friday, february 6, 1981
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Russell-Revival act displaysamazing versatility
By Bill Graf
Ever wondered what happened to Leon Russell?
Leon is alive and well and on the road again. But
unlike road shows of the past, where he'd pack a local
auditorium with excitable tecnages, Leon has teamed
up with a bluegrass band and is playing funky beer halls
and road houses.
Wednesday night at the Lawrence, Kan., Opera House,
the act was tight, the crowd was tighter, and Leon and the
back-up band. The New Grass Revival, played tunes
they wanted. Most of the tunes have never sold records,
but the reason why isn't completely clear.
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Although the show had an overall country flavor,
both Leon and the Revival displayed amazing versatil
ity. At one point they did Paul McCartney's "Yesterday,"
and a moment later it was Bill Monroe's song about his
fiddle-playing uncle called "Uncle Pen."
A moment after that, Leon was center stage wielding
a sunburst Les Paul Guitar and doing "Tight Wire" off
of Canwv, one of his best -selling albums on the Shelter
label.
Although Leon's long grey hair and beard give the
impression that the road has had its effect, his voice still is
as powerful and smooth as ever. His guitar and especially
his piano work, for which he's best known, have not been
tarnished with age.
Leon may be 40-years old and look like he's going on
60, but his musical talents still are growing and well
be hearing from him for several years to come.
Any review of Wenesday's show can't go too far with
out commenting on The New Grass Revival. The stand
outs are Sam Bush on mandolin, fiddle and vocals, and
John Cowan on bass and vocals. Courtney Johnson on
banjo and Curtis Burch on guitar and dobro are nothing
short of musicians' musicians. The Cowan-Bush vocals
fit as one. And the bluegrass world hasn't seen a tenor as
powerful and controlled as Cowan since John Duffy and
the old Ralph Stanley band. Bush's mandolin and fiddle
work is hot, fast and clean-a skill that puts him in high
demand as a studio musician.
As a whole, the band is the most progressive country
band around. They've taken what looks like a traditional
bluegrass band, added amplifiers, which makes the sound
sharp and driving and spliced in electronic gadgetry
that would make the most devoted new waver stop and
take notice.
The lyrics of their original music fit the folk genre
of earlier bluegrass, but reflect modern ideas and moral
ity. The Revival has four albums on the Flying Fish label,
which have supplied Lincoln bluegrass bands with a good
share of their material, but are only available through
special order. Go to the trouble, it's worth it. Or better
yet, catch the Russell-Revival act. You may be surprised
to find that you can also be a bluegrass fan when you
thought such tilings were impossible.
Mr V 1
& X
Daily Nebraskan Photo
Leon Russell and his New Grass Revival Band
performed Wednesday at the Lawrence (Kansas)
Opera House.
Glass Onion now 'more than just cl restaurant
By Sioux Braun
It was "inspired insanity" that urged owner Mark
Vasino to close the doors of the Glass Onion, strip its in
sides, and dress the place all over again.
When the change is finished, the restaurant will be
suited for theater goers as well as the vegetarian, the artist
and wine connoisseurs.
According to Vasino, the chairman of the university
theater department, Rex McGraw, is largely responsible
for the addition of the new theater space at the Glass
Onion.
After the success of a few university repertoire theater
events at the Onion this summer, Vasino says he started
seriously thinking about adding a theater.
"Rex put a bug in my ear. He was very helpful and real
supportive."
Noting his trial and error attempt at sharing his space
with the Lincoln Jazz Society, Vasino admits he simply
likes to use his space for more than just a restaurant.
The new theater is called the Glass Onion Cooperative
Theater incorporated by Mark Vasino, Sharon Grady and
Dave Landis.
Although the university will sponsor some of the pro
ductions at the theater, Vasino says he hopes to supply
dramatic presentations that will "fit a different niche
than the university theater and the Lincoln Community
Playhouse."
The university teaches the craft of theater and the
playhouse concentrates on entertaining, says Vasino.
"We want to explore the dramatic ground between
those two."
Sharon Grady, artistic director for the co-op, says she
wants to have a good relationship with the other groups
around town, "but I want it to be understood that wc are
something different."
The theater will be a sponsoring as well as a producing
organization. Grady says they will produce their own
shows once a month but will continue to sponsor poets,
musicians and other artists from the region.
For example, in April the Magic Theater of Omaha will
present "Objective Love," by Megan Terry. The produc
tion will be supported by a grant from the Nebraska
Committee for the Humanities. A few humanists along
with the playwright and members of the cast will talk
with the audience after the show.
Continued on Page 1 1
Stars turn to gelatin at sight of 'coveted' awards
The past week marked the opening of
the official award grabbing season for the
entertainment industry. The American
Music Awards and the Golden Globe
Awards were both doled out last week
amid much to-do and glitter and froth. As
usual, I don't remember who won what,
and I'm not all that sure that I care.
Ultimately, it doesn't matter anyway
because there are enough awards to go
around now that everybody in Hollywood
can waltz home with something.
dark
But every year I watch the award shows.
It is because of the acceptance speeches.
Actually, "acceptance speech" might be a
misnomer, because it implies a degree of
organization and planning that these ramb
lings lack. The lack of organization is why
I watch and enjoy them.
There is something refreshing about
watching the biggest names in Hollywood
(or New York or Nashville or anywhere)
turn to gelatin at the sight of flashy hard
ware. The same people who can regale
Johnny Carson with extemporaneous tales
of life in the leisure class suddenly find
themselves unable to put together three
consecutive words of English. Take away
the uptown clothing and the big winners
on the award shows would be indistinguish
able from the big winners on "Let's Make a
Deal." They act, in short, the same way we
would act.
The prestige of the award doesn't
matter at all. The people who win Oscars
for Best Use of Orange and Green in the
Background Artwork on a Documentary
can be just as full of articulatory anguish
as the Best Picture, Best Director. Best
Actress, Best Actor crowd.
This can create a problem for the people
in the major categories because the award
shows are geared such that the major cate
gories appear at the end. So the big winners
have to make real grandstand plays to top
all who have gone before them; they have
to cry more, or thank more people, or
dare I think it-rehearse.
(The scene: A studio somewhere in
Hollywood. It is the final dress rehearsal
before the Prestigious and Glorious Enter
tainment Awards for 1981. and all of the
big nominees are rehearsing their accep
tance speeches.)
The director is addressing the stage. On
stage is an actress who is up for the Best
Actress Award.
"Okay. Babs," says the director, "Hal
Holbrook tears open the envelope and says
you are the winner. The music plays and
you come racing to the stage amid thunder
ous applause. You take the award, hug
Hal Holbrook, and with tears in your eyes
you say . . ."
"I can't do this."
The director waves his arms and
grumbles, "No," too softly for her to hear.
" 1 '
"Babs." he says, then takes a breath to
try and gain his composure, "yon can't
go out in front of a national television
audience and say 'I can't do this.' America
is going to be out there expecting you to
turn into living tapioca."
"We will have to disappoint them,
then."
"Babs. what are you saying! The view
ing public will go out of its collective
noodle if you just stand up there and
freeze. Look, we'll compromise. You don't
have to scream and cry, you can give a
little heart-wrenching speech. How about.
'A year ago, a man named Herman Mogul
came to me with an idea for a wonderful
movie.
"No," said Babs firmly.
"Onion Babs. it's a tradition. Every
body that wins cries their face off."
"Then make sure I don't win."
"Whattsat?" countered the direct
cleverly.
or
"Give the award to someone else
don't care whether I win it or ix.i .... t
might as well give it to someone who want
it had enough to go through with all
this schlock. It'll be easy. Tmimhi
sneak into the offices of the independent
accounting firm f Pnce-Wjterlhuisc
where they tabulate the ballots, and th
we. . .
on
of
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in
"Your kind just can't be tolor.ti
Hollywood," said the director softly
"You'd ruin it for everybody." e
naiiea. ana two guys in pinstriped suits
step onto the stage. "Rocko. Knuckles
take this lady for a little drive m the
country, if yOU know what mean "
