OCR Text |
Show Page 6 Wednesday, August 4, 1976 Brown To Take Crash Course in Driving I : r-??r(?T I o " f .a 4 Lowell Brown's streaking Chrysler . "I'm not out there to smash around. I'm out there to win," declares Lowell Brown. Brown was cruising Main Street eariy this week seeking financial suppport for his run at the Heber City Demolition Derby crown. Brown's 1960 Chrysler will be one of approximately 40 cars participating in this automotive madness tonight at the Heber fair grounds. Calling his machine a "streaker" that's "strictly automatic," Brown has geared himself up for what he hopes will be a smashing success in this most delicate of sports. However, he will be pushed to the limit by two other local junkpile jockeys. Veterans Wayne Putnam and Neil Clegg of Park City also are expected to be vieing for Demo Derby honors. As of Monday, Brown had received financial backing from Skyline Realty, Park City Reservations, Main Furniture, Mountain Fishery, Seman's Rental Emporium and the Newspaper. GARN CALLS FOR . RURAL - HOSPITAL BILL Support was announced last week by Senator Jake Garn of a bill designed to ease the burden of Federal regulations on small rural hospitals. Garn said he is joining Senator Paul Laxalt in sponsoring Senate Bill 3661 to amend Title 18 of the Social Security Act to make less stringent the requirements rural hospitals with 50 beds or less must meet in order to qualify for medicare reimbursement. reim-bursement. "Everyone wants safe, clean, well-equipped and well-staffed hospitals," said Senator Garn, "and it is hot the intent of this legislation to in any way weaken Federal standards for health care facilities. But Title 18 regulations are better suited to large urban hospitals with impressive facilities and numerous trained personnel than to small rural ones which lack both facilities and trained staff. This bill seeks only to add additional flexibility to the law in order to make the Federal standards stan-dards better suited to small rural health care facilities." ' MUSIC - MOTES ByJayMeehan UTAH FOUNDATION Baaih Tan Traymn Although Federal and state death taxes originally were levied as a tax against the wealthy, they have become a burdenspme and traumatic experience to the family of modest means. In some . cases, the tax has' forced families to'Sell the "family"' business, the farm or the family homestead in order to . pay the estate tax. There were some of the observations presented by Utah Foundation, the private tax research organization, in their latest analysis of Federal and state death taxes. According to the Foundation, Foun-dation, when the present $60,000 Federal estate , tax exemption was first established in 1942, it excluded ex-cluded all but a handful of very large estates from the tax. Over the past 34 years,'-: however, inflation along with a rising standard of living have combined to -greatly increase the dollar value of most assets, exposing millions of ordinary families to the steeply graduated estate tax. The market value of the family residence alone has put millions of people within the range of the estate tax. Particularly vulnerable to the estate tax are those who own a small business or farm. The report notes that many wage earners who own a home and ,f have ac- " cumulated savings 'an'cfothe'r assets over a lifetime of work are also being affected by the tax. Foundation analysts point out that there is growing recognition of the problem, '. and a number of proposals have been made in recent months to reform the estate tax. More than 200 bills to accomplish this purpose have been introduced in Congress, and the matter now is under consideration by the House Ways and Means Committee. While Congress is con sidering reform of the " Federal estate tax, a number of states have taken steps to reduce the burden on their death tax laws. Thus far in 1976, at least ten states have approved reductions in their inheritance taxes. Earlier this year, the Utah Legislature passed a measure which would have reduced the state's inheritance tax. Although the bill, was overwhelmingly approved by both houses of the Legislature, it was vetoed by the Governor for fiscal reasons after the session had adjourned. . According to - the Foun-datioa, Foun-datioa, report the vetoed legislation would have replaced the existing Utah estate tax with a death tax equal to the maximum credit allowed for Federal estate tax purposes. Federal tax laws provide that a credit against the Federal estate tax due is allowed for all or a portion of the inheritance tax paid under state laws. The maximum credit allowed is equal to 80 percent of the basic Federal estate tax in effect in 1926. If the proposed 1976 revision had been allowed to become law, the change would have reduced the combined Federal and state death tax on an estate in Utah to that now imposed by the Federal Government alone. In vetoing the 1976 Inheritance Tax Reform Bill, the Governor emphasized, "I am not vetoing this bill because of the concept. I assured the principal sponsor of the bill that I approved of the approach, and that I believed the enactment of the bill might eventually actually increase the Utah TAX RECEIPTS.... The veto is based soely upon the revenue effects of the bill as applied to the 1976-77 fiscal year." ' Since February, when the veto was made, state revenue collectors in Utah have improved im-proved markedly. Actual general fund and uniform school fund revenues for the 1975-76 fiscal year are $11 million greater than the estimates used by the 1976 Legislature and about $14 million more than the estimates that were used by the "Governor at the time of the veto. The Governor, in vetoing the bill, maintained that the proposed law would have reduced general fund revenues by $2 to 2 '2 million in the 1976-77 fiscal year. Proponents of the legislation, on the other hand, contended that the revision would have had a minimal effect on 1976-77 1976-77 revenues because it usually takes longer than twelve months to settle the taxes on an estate. The following is the second and concluding installment in-stallment of an interview with Roger Bush of Country Gazette conducted July. 3 at Weber State College during the Golden Spike National Old-Time Fiddle Contest and Bluegrass Festival. The first part ap peared in last weeks Music Notes. What did you do after the Kentucky Colonels broke up in 1966? "Oh I just messed around, and, like I say, I'd just gotten married. I worked as a machinist and played banjo in a little dive in L.A. I played a little electric bass and horsed around. Me and Clarence White and our old drummer played dance music as the Kentucky Coloneis for a while. I did a bunch of country songs that I learned at this other place. We played there Friday and Saturday nights for two or three months I guess. I was working in a machine shop and then me and the wife decided to move to Arixona. "We went over to Phoenix and lived there about 'a year. I worked in machine shops and picked guitar for a banjo player. He was a house painter and claimed to be the guy who taught Doug Dillard how to play the banjo. I don't think its true but whenever I men-: tioned Herb, thats his name, to the Dillards, they know . who he is. He was from back there in Missouri. They'd pay Herb and I a lot of money to just sit out in their yards at these private parties, you know in Phoenix i you never go in the house at night, and we'd just pick and sing. I'd sing all the songs I knew and he'd play the banjo. The people would keep bringing us drinks, and they'd always have a spread in there. "We'd do this maybe once a month. We'd go out, tie one on, pick and sing and they'd pay us lots of money. I never did any serious picking; never tired to get into a club or anything. I worked my way up to lead man in the machine shop and thought 'well shoot I'm cuttin a fat hog.' I was just hating every minute of it. And then I got a chance to double my wages by going back to California; so I went back One day I woke up with this sudden burning desire to get back into music. Thats when I met Byron Berline." How did that, happen? . I'm sure future ethnomusicologists will be interested. "Well maybe. I went down to the Icehouse in Pasadena to see the Dillards and Byron was there. He went up to play one with them and he was in the dressing roojn when I went back to say "hi" to everybody. Herb Peterson was playing the banjo for them at that time, late '69 1 guess. Byron was pickin' with Dillard and Clark and one day I got this phone ' call asking if I could go play bass with Byron and Doug. Gene Clark had just quit about a week before and they had this job up in Frisco and could I get off , work and go-up and do it with them. So I did and I just , never went back to work." What name were they playing under? "When Gene Clark left, it became Doug Dillard and the Expedition. The main band was Byron on fiddle, Doug on banjo, me on bass and Billy Ray Leatham on guitar. When it came to an end, we'd sort of been channelling our music a little bit different than a regular old bluegrass band. Byron and I decided, by golly, lets keep it going. That started the Country Gazette. And while we were trying to get it together, we did stints with the Flying Burrito Bros. We actually were the Flying Burrito Bros, in Europe for a couple of years. We did it all! We did all the electric, everything. And we recorded an album over there." I Was Kenny Wertz a part of it then? "Kenny was the first one (of Country Gazette) to do something with the Burrito Bros'., and they liked it so much they got Byron, and they liked that, so much they got me to go out on the road with them. They we went out and recorded the Last of the Red Hot Burritos live album and during that tour is where the whole thing fell apart. Chris Hillman and Al Perkins decided to go with Manassas and Steven Stills, and thats when me, Byron and Kenny became the Burrito Bros, for the European tour." How did you come upon the name Country Gazette? f "Byron or his wife found it someplace. He called me up one day and said 'What do you think of the name Country Gazette?' and I said 'I think its awful, I don't like it at all.' But I got used to it and here we are, still the Country Gazette. It started with me and Byron and Kenny and we would get whoever we' could to play either guitar or banjo, because Kenny plays them both. When we went to Europe we got Alan Munde to go with us and he's ; been in there ever since. Kenny left a few years ago and Roland White came in and took his place. Then a year ago February Byron left, and Dave Ferguson came in on fiddle. When Dave quit at the end of last year, Kenny came back and that's where we're at now: Alan Kenny, Roland and I. Did you consider the differences between CG's first album "Traitor in Our Midst" and the second one "Don't Give Up tour Day Job" to be a musical change of direction? "Well, maybe the direction of the first album was just continued on a little further. When we hear music we like, we sort of let the music carry us into a direction and thats actually what we're doing with pur albums. We had some songs we thought we could do and say something with them, even though they'd been done before." What Is your individual approach to the bass fiddle? "Well, we don't use drums on our records yet. What I try to do with the bass fiddle is to make slaps that will . emphasise what somebody else is doing." How do you view the rest of the group musically? "Alan is such a fantastic banjo player with so much feeling in his playing. I've heard some real hot mandolin players. Sam Bush is one of my favorites, but Roland has a feel and a flow that nobody else plays with. Nobody plays with this thing that just carries one, little phrase into anogher so smoothly like Roland does." . ; , ' , Thats what I liked about Clarence's flat-picking. "But Roland does it even more than Clarence did it. You never hear this "ticky-ticky-ticky" sound like you do with other mandolin players. It's like somebody humming. Thats the best way I can describe it. It's got so much feeling. And Kenny is just as solid as can be -on guitar. He doesn't even try to do a lot of "runs" because we don't want to clutter up what Alan and Roland are doing. Kenny's singing, of course, speaks for itself. Man the harmony parts that he can do." Where are you living now? "For the past two years I've been living in a little town called Parker, Arizona. It's on th6 Colorado , River. Most people get stuck in the place they live because of their vocation? My occupation allows me to' ' J live wherever I want tolas' long a$ I iiri get to Whete f,iw have to be. It's peaceful and quiet and I'm a fisherman from the word go. We love it up' there. My wife drives the school bus and the kids are in school. It's great. We got a lot of friends up there now a little "pinochle" game.every once in a while whem I'm home." Roger Bush, from the Country Boys and Kentucky Colonels to the Flying Burrito Brothers and Country Gazette the legend" Muerasser is still picking and singing and still evolving.: Drawings To Be Held For Big Game Permits The Utah Division of Wildlife Resources will conduct public drawings on Friday, August 6, to choose the lucky hunters who will receive big game hunting permits for antelope, moose, buffalo and bighorn sheep. The drawings will begin at 9 a.m. and will be conducted in the auditorium at the Division's headquarters building, 15 West North Temple, Salt Lake City. . Successful applicants will be notified by mail. Notices will be mailed by Monday, August 9. In addition, a list of successful applicants will be available at all Division offices. ihmOhumuh&m Nicholas J. Nass PARK CITY'S PHOTOGRAPHER . Specializing in Advertising, Brochure, Promotional and Illustrative Work Usina Large and Small Formal Cameras at THE MAIN STREET PHOTOGRAPHER Park City's most Complete Photography Supply & Photo Finishing Shop "Home of the Five Cent Postcard" OPEN DAILY 10-6 (CLOSED MONDAYS) 523 Main Street : ask about darkroom lab rentals MEMBERS OF P.P. OF A., P.M.A. AND P.C.C.C. I 649-9431 CREPES' JV Now TONDUE O pan Tues. thru Sun. -10:30 of nrar JA A. A A A A A A A A A A |