Pago 8
Daily Ncbraskan
Tuesday, January 24, 1934
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By Ilntfcy Glenn
On the outside, Lincoln may look like
an ordinary city. But the success of
Dirt Cheap Records and Gilts is proof
of just the opposite. A mainstay in the
city's downtown at 217 N. 11 St., Dirt
Cheap has provided the community
with a diverse selection of music and
gifts to match its wide variety of inter
ests. Started 13 years ago by Linda and
Terry Moore, (now divorced), this uni
que business has been so successful
that two years ago a second Dirt Cheap
store opened in East Park Plaza, at
66th and 0 streets. Part-owner of the
east Lincoln store, Linda Moore be
lieves the city has plenty of distinguish
ing characteristics which make it stand
from the crowd.
"Lincoln is not an average Midwest
ern town," Linda said, "We should
recognize what we have."
John McCallum, the new owner of
Dirt Cheap downtown, will also attest
to the fact that the Lincoln community
is far from average.
"I've run record stores in four differ
ent states and this is the most diverse
market I Ve been in," McCallum said. "A
jazz listener comes into Dirt Cheap
and is used to coming in and getting
some very unusual records or tapes."
Wldeniir-j selection
McCallum said he had been aware of
Dirt Cheap's presence as a leading
record store and came to Lincoln to
take over the downtown store in Nov
ember 1983.
Although the downtown and east
Lincoln locations will remain separate
from one another, McCallum and Linda
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Terry Moore (left) end Linda liocre (rit) vdth Dirt Chez? dowr-toTm
OTvner John UcCcllun.
will continue to work closely together"
to offer the wide assortment of mer
chandise customers have come to ex
pect. Those who frequent the downtown
Dirt Cheap have probably already notic
ed the addition of new wave clothing.
McCallum noted that previously, peo
ple didn't have an adequate selection
from which to choose. The clothing
complements the popular gift items.
"Different kinds of music come from
different kinds of lifestyles," said Mc
Callum, "s(j it's not strange to sell non
music items in a record store."
Tlie Moores opened the doors of Dirt
Cheap in 1970 on a shoestring budget.
The business arose from their desire to
give customers music that wasn't avail
able in most record stores.
Both admit they didn't intend to
make a lot of money, but were non
etheless pleased with the popularity of
the store.
Over the years, Dirt Cheap wa3 home
for consignment sales of art, the first
food co-op in Lincoln, a head shop and
other business off-shoots. The Moores
say their record shop has changed over
the years, but still remains in the basic
form they intended.
, Music was important to the Moores
and to their friends, so they knew it
was important to many others in the
area. "Dirt Cheap has always been a
reflection of Linda and myself, and the
people who work here," Terry said.
Although the philosophy of Dirt
Cheap remains unchanged, Linda ad
mits there's a completely new set of
circumstances to be considered.
"Back then we didn't have to know
the things we do now. We were sue-"
cessful and thing3 continued to grow.
Now everything's very different. We
have very fierce competition in town."
Both stores are ready to meet the
challenge and music buyers can look
forward to very aggressive pricing
measures applied to record sales.
Both McCallum and the Moores hope
to keep Dirt Cheap, as their ads claim,
"more than a record store."
Murder mystery is mcisierpiece
fly Christopher Durboch
In these days of big budget bloodbaths like Scar
face, it's more than refreshing to see a grisly murder
mystery dealt with tastefully, a task only the Master
of Suspense could accomplish.
Rear Window is one of five Alfred Hitchcock
movies being re-released this year. The movie is sur
rounded by a Hitchcockian aura inspired by the
Classic Hitchcock
Rtar window, directed by Alfred Hitchcock; screenplay by John Michael
Hayes; produced by Alfred Hitchcock; a Paramount release. At the Dundee
Theatre, 50th and Dodge streets in Omaha. Rated PQ.
L.B. Jeffries James Stewart
Lisa Fremont Grace Kelly
Lars Thonwald Raymond Burr
Stella Thelma Ritter
I
Film
Review
director's 20-year-old mandate that the film, origi
nally viewed in 1954, should not be seen again until
after his death.
When the projectors roll, however, such monkey
business takes a back seat to what can only be called
art
The story is simple a photojournalist confined
to a wheelchair by a broken leg witnesses what he
thinks is the aftermath of a murder, then battles
police disbelief and the murderer's rage.
Jimmy Stewart is L.B. Jeffries, the photojournal
ist, and is brilliant in spite of sagging pectoral mus
cles. Jeffries is an intense person irked by his semi
imprisonment and worried about his relationship
with Lisa Fremont, played by Grace Kelly. Stewart
exudes the tension of a man used to hopping about
the globe photographing exotic people and places
who is stuck watching neighbors from the rear win
dow of his tiny apartment.
Kelly's Lisa is simply the most alluring bit of cellu
loid ever developed. Lisa is a New York model for
whom the word beautiful doesn't quite suffice. She
pursues Jeffries' affections in a variety of high
fashion garb and with lobster dinners. She finally
wins him over, however, by scaling a fire escape and
lifting some crucial evidence from the murderer's
apartment.
Jeffries, who stews over the difference in his and
Lisa's lifestyles, deserves to get his other leg broken
for even thinking about repelling her advances.
Raymond Burr, our pal Ironside, strays to the
wrong side of the law for a change as Lars Thorwald,
the murderer. We see him mainly through Jeffries'
window, doing strange things in and around his own
apartment. Thorwald commits several almost un
mentionable crimes during the film, of which we
witness only one. He saws his wife into pieces small
enough to fit into his salesman's sample case, he
breaks a little puppy's neck and he tries to strangle
Jimmy Stewart. The last of these is the one we see.
The entire movie is set in a low-rent New York
brick apartment complex in midsummer. L.B. Jeff
ries is surrounded by fellow apartment dwellers
with two exceptions, essentially alone.
"
That group includes Thorwald, whose marriage
literally falls apart quite early on, Miss Lonely Hearts
(Jeffries' name for her), a lovelorn woman fast
approaching old maid status, a ballerina surrounded
by men who don't love her, a rotund sculptress and a
constantly drunk songwriter.
By the end of the movie, however, the songwriter's
piano has saved Miss Lonely Hearts from suicide,
the ballerina is married to a short soldier and the
rotund sculptress has completed a psuedo-artwork.
. Ail that is secondary to the film's murder and
romance. Suspense surrounds Lisa and Jeffries'
efforts to nail Thorwald before he "flies the coop
andor repeats his deadly dance with another
partner. Tinges of irony highlight the union between
Lisa and Jeffries, which was facilitated, however
indirectly, by the dismembering of Mrs. Thorwald.
Hitchcock tell3 the story of a grisly crime in all its
hideousness without actually putting the murder
on film. The .Master of Suspense displays in Rear
Window a mastery of subtlety as well, a quality sadly
lacking in many modern murder mysteries.
'Rear Window will play through the end of Janu
ary at the Dundee Theatre, 50th and Dods streets
in Omaha. Four more Hitchcock films are scheduled
for re-release this year." Well let you know if they
make it to Lincoln, the Amazing City of Edibla Dirt.
...
NsSreika ET"
Ken Howard ttzra la the Iceslly produced '
Pudd'nhead Vilson vfhica v.iil be eeea to-
Television - - ' ..
Ken Howard stars in the American Playhouse
adaptation of Mark Twain's Pudd'nhead Wilson (9
p.m., Channel 12). The 00-minute adaptation was
written by Phillip Reis The program was produc
ed by the Nebraska ETV network and marks the first
time on NETV production has been seen on Armri
can Playhouse.
X-aWk JL 1 Jfc
From Lawrence Kan., comes the reggae-influenced
band Caribe. The group will be putting in an
appearance tonight at the Zoo Bar 138 N. 14th St
There's a $2.50 cover charge.
Pius X, 6000 A St., will present a jaz concert,
featuring trumpeter John Talvin. There is a $1
admission charge. t
