Page 6--Tuesday, October 24, 1978-The Michigan Daily
Panhandling for country sounds
The Michigan Daily-Tuesday
A few tips on shooting stars
By SUE WARNER
In Texas, we are told, everything is
big. Indeed, the tall tales of rodeo
cowboys, oil magnates, and, more
recently, cheerleaders, seem to get
bigger and better as they generate out
to the "other" states. Texas has
become a state of mind, and the rest of
us would like to be a part of it all.
Even the eyes of sophisticated Ann
Arbor are upon Texas.
IN THIS OFTEN pretentious town
which cherishes its jazz and classical
music, a seemingly uncivilized
adoration of country music has begun
to flourish - especially among Univer-
sity students. Although hardly a
majority, clusters of students are
tuning in the Texas sounds of country
and western's "new wave" duo: Willie
Nelson and Waylon Jennings.
"It's wild and wooly," says Matt
Marquardt, explaining his devotion to
Willie Nelson's music. "It's just
Texas."
Native Texan Marquardt briefly tried
living in Michigan last year, leading a
personal crusade in his West Quad hall
to enlighten his hallmates of the at-
tributes of, say, Jerry Jeff Walker's
version of "Up Against the Wall Red-
neck Mother." He claims to have won
over many converts, but admits his
roommates "couldn't stand it."
MARQUARDT, whose favorite song
is "Rodeo-deo-deo cowboy," has since
transferred to the University of Texas,
where he is a member of the Rodeo
Club.
But even though Marquardt is gone,
there are others in Ann Arbor who
carry the torch, among them Mark
Thomas, Music Director for WNRS, a
local country station.
"Basically, students want to get down
to grass roots," says Thomas. "A coun-
try band is your friend and my friend.
They're not as aloof as a big rock
band."
But make no mistake - there is a big
difference between the traditional,
Nashville country music, and the
"outlaw" sound of Willie Nelson and
Waylon Jennings. Thomas describes
their music as "progressive country",
a sound that transcends the twang of
Conway Twitty, adds a bit of rock, and
consequently appeals to a wider
audience. This audience is made up
primarily of college-age listeners.
NELSON'S care to remain outside
the country establishment and his un-
predictability have held special appeal
for young followers. He writes wistful
songs of sometimes frightening power,
and delivers them with a wonderful
reedy soft-spokenness.
Although his compositions are not as
well known as Nelson's, Jennings has
long been a forceful singer, and one of
country music's most enigmatic per-
sonalities.
Alone and apart, these two (and
others, like Jerry Jeff Walker and Joe
Ely) have mounted an assault on the
growing pretentiousness of the Nash-
ville-dominated country music
See TEXAS, Page 16
'.
By ANDY FREEBERG
Photographing concerts is not as easy as one might
think, but with a few precautions and a little practice
one can come away with sterling photographs. With a
camera in hand, the initial impulse at a concert is to
start snapping right away. Don't. Sit back, relax, and
watch the performance. Check the lighting-is there
enough? Should you push the film? Get familiar with
all the angles. Observe the performers and note their
best and most characteristic movements.
Choosing film, however, is the first order of
business. If you'll be shooting in black and white
you'll want to use Tri-X 400 film. If the lighting is dim
push the Tri-X up to 1600, develop it in Acufine, and
you can still obtain satisfying results.
IF USING COLOR film, find out what sort of
lighting is going to be used. In. most situations
Ektachrome 160 tungsten film is the choice, because
onstage lighting is almost exlusively tungsten. Some
of the larger theaters do use powerful spotlights,
though, which necessitate the use of Ektachrome
Daylight 200 or the new 400. All the Ektachrome films
can be pushed one stop without sacrificing much
clarity.
Then, there is the matter of what equipment to
bring. A good light meter is absolutely essential. A
hand-held spot meter, which can read right off of a
subject, is most desirable, but the majority of
through-the-lens meters will do the job provided
they're used correctly. Concert lighting is so
contrasty that a reader will be fooled by the dark
background.
See A FEW, Page 18
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