Page 14-Tuesday, October 16, 1979-The Michigan Daily
Check oul
By ALISON DONAHUE video, which allows'
Man wins out over machine; your ts as they happen, fa
level of skill in using communicative typewriter.
equipment reaches new heights. After The LSA Media C
much practicing, you finally crank out in the basement of
term papers in 60 wpm, dxpiue the- six, offers all these
sticky "K" on your Smith-Corona. more to interested
Congratulations. But if your expressive faculty. To borrow e
capabilities are always limited to a an authorization forn
stack of neatly double-spaced white Media Center) sig
pages, perhaps it's time to expand. member and proof t
Why not present your ideas in a slide to operate the mach
show with two projectors whose pic- don't worry if you'r
tures dissolve from one to the next in Center offers trainin
synchronization and are accompanied equipment, so you g
by a taped narration? Or maybe put comfortable with it1
your concept on celluloid in a super and produce.
8mm movie. Still another medium is A MORE extensi
the Media Center
The Michigan Daily-Tuesda
Co ffeeho use opens mikesi
you to record even-
ar away from your
enter, tucked away
Angell Hall, room
e media tools and
LSA students and
quipment you need
m (available at the
ned by a faculty
hat you know how
ine you want. But
e a beginner. The
g sessions on all its
et a chance to feel.
before you go out
ve compilation of
their resources is available 'at the
Media Center. So that you'll have an
idea of what they have to offer, here's a
skeletal list: Besides the equipment
mentioned earlier, you can use film
projectors, audio tape recorders, video
and film editors, a video special effects
generator, and basic lighting equip-
ment. The Media Center also has a
rather make-shift but serviceable
studio space.
Most of the center's equipment is old,
and since it is the one resource center
for all of LSA, much abused. But it does
the job. There are other places on cam-
pus which have advanced production
equipment, such as Michigan Media
and the medical and dental schools. But
T his spice c5nt or I ty the pub uI r
"Maybe;
g o
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they don't let the inexperienced student
near their expensive, delicate
machines.
The Communications Department
also has good equipment, but in order to
get access to it you have to take specific
classes. The Media Center offers hands-
on experience to many, so its equip-
ment suffers a little wear and tear. But
even the best cared-for machines are
not without bugs, and Media Center
personnel are trained to help you
trouble-shoot technical problems.
While learning to use most Media
Center equipment is not difficult, many
students aren't sure how to go about
conceiving their project in media-
related terms. For example, what's the
best way to set up an interview for
video taping? Or, how does one main-
tain continuity when editing a film? The
Media Center staff serves to consult
those who need advice on how to put
productions together and they welcome
appointments.
THE MEDIA CENTER also doubles
as a showcase for new forms of produc-
tion equipment. Last year a group of
video artists from Chicago brought
their image processors and other
esoteric machines here and demon-
strated the equipment's capabilities.
Media Center manager Julie Kofke
hopes these special presentations will
continue.
KOFKE SAYS that times have
changed since the center's early days
seven years ago, when it catered only to
faculty. Now half of the users are
students. Back then, rooms didn't have
much more than a few slide and film
projectors. But as faculty members
became more enthusiastic about term
paper alternatives for students, the
demand for access to media tools in-
creased. LSA Academics increased its
funding through the years, bringing the
center closer to meeting that demand.
Last year alone, Media Center equip-
ment was signed out 4,000 times, and
this year that figure is increasing.
A group of students including Tom
Bray and Steve Danowski used Media
Center equipment to produce a video,
tape on what students think of LSA.
This tape is used by the LSA ad-
ministration as a regular part of their
orientation program for new students.
Beth Ann de Stigter and Alex Sergay,
both students, are now producing a
weekly cable TV show with Media Cen-
ter equipment.
Give the Media Center a try, and let
your Smith-Corona collect a little dust
while you discover a world beyond the
printed page.
J
(Continued from Page 6)
climbed up onto the mantle over the
fireplace and was shouting down at
them. It was very, very weird. We've
never seen him again."
Linda says she's never had a perfor-
mer too embarrassed to continue his or
her act, though forgotten lyrics,
cracked voices, snapped strings, and
second starts are common and accep-
ted happenings. Nor has she ever had
someone who refused to relinquish the
stage after three songs, though she says
she'd simply go up front and insist that
the act stop were this to happen.
'WE ALSO HAVE performers who
will come to the hoot nights just to wat-
ch for several years, and then one night
they'll show up with an instrument.
These peole have been practicing, and a
lot of times they are some of your better
acts."
What the Siglins like to emphasize
are those special performers who make
the nights sparkle with the eclectic
beauties of folk and pop music. Ex-Ann
Arborites like Martha Burns, Craig
Johnson, and Deede Palazzola all broke
in their acts at the hoot nights, and old
favorites like Dick Siegel and Jay
Steilstra " make regular appearances
just to meet old friends and swap songs
and stories.
Since the professional entertainers
who headline the Ark each weekend
take their room and board inside the
coffeeshouse, occasionally they too are
pressed into service at the hoots. "Once
Melvina Reynolds, Patrick Sky, Liam
O'Flynn, Utah Phillips and Ramblin'
Jack Elliot were all here, and I told
them that since they ate with us, they
could just get up there and play," says
Linda. "It was fantastic."
ONCE IN A WHILE, of course, an act
will hit the hoot night stage that is so
good that the Siglins immediately pull
out the contract papers. '"Kate
McGarrigle (Warner Brothers' recor-
ding artist and author of "Heart Like A
Wheel" and "The Work Song") and
Roma Baran picked up a hitchhiker
who told them about the hoot night in
Ann Arbor. They stopped in and ab-
solutely stunned the audience," recalls
David. "That was in December, and we
hired them to do a weekend in May.
"They only knew three songs then,
and they worked solidly until May to
learn enough songs for a weekend. They
got an encore-which was very rare in
those days-and couldn't do it. They'd
played absolutely everything they
knew."
Other noted Ark featured performers
who started at hoots include Paul
Geremia and Pat and Victoria Garvey.
For the most part though, performers
'are just regular folks, let's-go-easies
and fair-tomiddlers, who enjoy the.
stage but can't or don't want to get
themselves booked into bars and night-
clubs.
TIM CONNOR, WHO led off the hoot
night several weeks ago accompanying
himself on the guitar for a trio of soft.
folk songs, has been coming to hoots
irregularly since 1971 when he was a
student at Ann Arbor Pioneer High
School. His first time, he and a friend
spent six weeks practicing their three
songs.
Tim (first names only at the hoot
night, says Linda), 25, has played semi-
professionally at bars and small clubs,
though he says he gets his worst case of,
nerves when he plays to Ark audiences.
"They're very sophisticated here," he
says, "But I've never seen them be
anything but polite. In bars, most of the
audience doesn't listen, and if they do,
they usually don't know enough about
music to know if it's any good or not."
Starting the evening, Connor played to
only about 15 people-most of them
musicians waiting their turn to per-
form-but as the evening went on,
perhaps 30 or more musicians and spec-
tators wandered in.
BRIAN WAS ONE of these. A taxi
driver from Ann Arbor, Brian played
popular tunes from artists like Eric
Clapton and Dan Fogelberg while
jamming on his guitar. He performs at
the hoot nights in order to polish his solo
act after having played with a group.
"This is totally different," he said
backstage putting his instrument away.
"In a group you're hidden, but here it's
right up front.
"A single act must be kind of like
hyptnotism in terms of controlling an
audience. Everything you do comes
back on you: If I'm nervous, I'm going
to make an audience nervous.'
Brian is working on his stage per-
sonality, and it helps him to stick
around and watch the other musicians.
"It's sort of like a mirror image for me
to watch others," he says. "See how a
new person apologizes right away for
not-being very good, and pick that up.
It's not good to make excuses. Con-
fidence is one of the biggest obstacles
we all have to overcome. It's hard. It's
a one-on-one sort of thing with an
audience. This is great experience."
EXPERIENCE IS a big reason why
Roger Treet plays his fiddle for hoot
nights. A 22-year-old Vermont native
who saws mostly at the Scottish and
Irish tunes, Roger can almost always
be found down at the Farmer's Market
on Saturday mornings playing old-time
string band music with his
outrageously talented friends. He has
become a more and more frequent con-
tributor to the fun at hoot nights in
recent months.
"It's great to play in front of other,
people," he says simply. "I like to ex-
pose them to my type of music, and, at
the same time, listening to the others
who come in broadens my perspective.
I've heard a variety of folk music from
other lands I might never have
bothered to listen to."
David and Linda probably pay the
least attention of anyone at the Ark to
what's happening on stage. Through the
years they've heard almost all there is
to hear in folk music, so they hang out
in the kitchen, keep one ear on a remote
speaker, listen to the baseball game,
talk to friends, and read the paper.
WHILE MICHELLE, a clear-voiced
balladeer who works at Olga's when
she's not practicing, is belting out a
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