November 17, 2005
Colorado stringman Drew Emmitt has appeared in the valley in various contexts – picking in acoustic and electric versions of his Drew Emmitt Band, jamming as a member of the eclectic Leftover Salmon. This time, through, Saturday, Nov. 26, at Belly Up, it’s the Drew Emmitt Band, but with a twist. Emmitt, who shines on guitar, fiddle and mandolin, will be joined by two additional high-profile Colorado players, guitarist Billy Nershi and bassist Keith Moseley, both of String Cheese Incident. Rounding out the quartet is Nashville banjoist Chris Pandolfi. The format for the night is all acoustic, a prospect that thrills Nershi, who doesn’t get to satisfy his unplugged cravings often with his regular band. Expect tunes from Emmitt’s recent acoustic album “Across the Bridge,” plus songs by Nershi and Moseley, bluegrass standards and a few oddities. Expect also a good, relaxed time: None of the String Cheesers has played an Aspen club date since the band’s first Aspen Incident in the mid-’90s.
George Clooney continues his graceful, unexpected rise from TV pretty-boy to cinema heavyweight with “Good Night, and Good Luck.” After proving his big-screen bona fides in 1998’s “Out of Sight,” he showed his artistic tendencies with the gritty war film “Three Kings.” In “Oh Brother, Where Art Thou?” and “Intolerable Cruelty,” both by the Coen brothers, Clooney arrived as a comic near-genius. “Confessions of a Dangerous Mind,” his directorial debut, was ambitious but spotty, but “Good Night, and Good Luck” has generated much Oscar buzz. The story of newsman Edward R. Murrow’s crusade against McCarthyism is not only a portrayal of democracy in action, whose themes are as relevant now as in the ’50s. “Good Night, and Good Luck” also touches personal territory for Clooney, the son of a Cincinnati broadcast journalist and a one-time TV newsman himself.
Ferenc Berko was one of the most significant photographers of the mid-20th century, with an eye for the abstract form in both nature and industrial society. But the Hungarian-born Berko was also a great documenter of Aspen, having made Aspen his home from the time he was invited to shoot the 1949 Goethe Bicentennial until his death in 2000. “A Selection of Ferenc Berko’s Aspen Photographs, 1948-1953” focuses on this latter facet of Berko. But the exhibit – featuring 24 images selected by Mirte Mallory, Berko’s granddaughter and the keeper of his photographic estate, and printed by Woody Creeker George Stranahan – also sheds light on the constant artistry of Berko’s vision. The exhibit shows at the new Stranahan Photography Gallery in the newly named Woody Creek Community Center (formerly the Woody Creek Store) into January.