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September 06, 1973 - Image 66

Resource type:
Text
Publication:
Michigan Daily, 1973-09-06

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Page Eight

THE MICHIGAN DAILY

Thursdav. Seotember 6. 1973

Page Eight THE MICHIGAN DAILY

Thiir utH r ..xSj.it jlf c. i E 1 a

i

BLIND
208 SFIRST AN
A Europeoi
neighb
Enjoy breakfas
in the o
ton.-fri. 9am.-2am

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In

search

of the

best

4N ARBOR
n cafe blues club &
orhood tavern

college concert series

(Continued from Page 3)
cessful but financial disasters.
The next year there was talk of
reviving the festival again, but
no one was capable or willing
to pick up the financial risk, es-
pecially the student organiza-
tions.
However, last year Andrews
teamed up with John Sinclair,
found a financial backer, and to-
gether they formed the Rainbow
Multi-Media Corporation and re-
vised the festival, adding jazz to
the program.
The promoters of the festival
carefully avoided the pitfalls that
had destroyed the others, plan-
ning every aspect not only of the
program but of the comfort and
facilities for the audience, prob-
lems of access to the site, and
so forth.
For example, one large mis-
take which had been made two
years before was that the organ-
izers put up a cyclone fence
around the siteabut did not put
it into the ground. Andrews esti-
mates that at least $10,000 in
revenue was lost from people
crawling in under the fences.
THE BLUES and Jazz Festival
is set up to be an artistic and
cultural event, not a money-
maker for a few people. All prof-
its were to be plowed back into
the community, especially
through the programs of Project
Community, which co-sponsored
the event along with Rainbow
Multi-Media.

Unfortunately, the festival lid
not quite break even last year,
but sales from the album re-
corded at the site may well elimi-
nate the loss.
Again this year the festival is
being planned to the greatest de-
tail, the organizers learning from
last year's mistakes. Each festi-
val "component" staff (such as
the concessions stands, the child
care center and drug help) pre-
pared reports analyzing what

should the programs be good,
but the facilities should make it
pleasurpble for the audience to
enjoy the music.
Andrews makes little effort to
hide his contempt for most com-
mercial promoters of "fly-by-
night" rock festivals, who he
feels treat audience needs with
contempt-and so the crowd finds
one water faucet for 50,000 peo-
ple and all three toilets overflow.
Andrews' attitude carries over

matic of and destructive to so-
ciety in general.
"It's destructive to take out
the movement and force every-
one to sit down," Andrews ex-
plains. "Soon in come the qua-
aludes and it becomes the big
thing to just sit there as down as
possible.
"It's a manifestation of what
is bad in the society, sympto-
matic of and causing this general
destructive apathy."
Andrews is also dismayed by
the continuing growth of the
music business into a big busi-
ness enterprise, with fewer peo-
ple getting more of the money-
the "big star" syndrome.
For example, Andrews points
out that "you can get three
groups today for the price of 20
groups two years ago."
UAC-DAYSTAR has been at
tempting to combat this problem
by bringing in performers who

may not have the hot names at
the moment, but that deserve to
be nresented, even with the ex-
pectation of a monetary 1iss.
UAC-Daystar also is trying to
help local musicians, using them
as backup bands at concarts and
hiring them to play at dances in
the dorms. Andrews points out
that at least 5,000 musicians in
Michigan alone have been forced
out of the business due to the
emphasis on big-name attrac-
tions.
Another Ann Arbor move away
from the big concert has been
the Community Parks Program,
in which local bands play in city
parks on Sunday afternoons dur-
ing the summer months. Not only
does the program give local mu-
sicians an outlet for their talents,
but it also puts the whole music
scene in the city on better
grounds by showing that rock
music doesn't necessarily lead to
"drug orgies and riots."
Several other cities, including
Flint, Jackson and even Lima,
Ohio, have started similar narks
programs, which only proves the
success of the program here.
As Andrews says, "The pro-
gram is always more important
than the problems.'N Which pretty
well sums up the direction the
progressive music scene is head-
ing in Ann Arbor.

r

"People don't realize the difficulties. They
look at the concerts in Detroit, which has the
money and the people, and then they ask
'Why don't we have that here?'
E? ;: s : ;r, ;.a,'"5?:sisi} ::si::{":: i.Y:::: " : ; >:; r: {a:r:": "s:::::S? : ">:: f::::::::::::::r,":": gdv::-:e."n "a:..:

went wrong and what went right.
Using these reports the organ-
izers are making all the improve-
ments they can, down to the
placement of the sandboxes in
the children's area.
THE SITE WILL also be bigger
this year, providing more room
per person, there will be two
giant video s c r e e n s showing
those in back what is happening
way up there on the stage and
the audio will be improved.
All these efforts at perfection
spring from the philosophy that
c o n c e r t s and festivals should
have music as the object, and not
the fast buck, and that not only

to the UAC-Daystar concerts as
well; where the basic philosophy
is that concerts should_ be fun,
and not repressive.
ONE REASON Andrews gives
for Ann Arbor's growing reputa-
tion as a good place to hold con-
certs is that audiences here are
treated with respect. He thinks
that the ability to move freely is
very important,, and dislikes con-
certs where the crowd is told to
"sit there and don't move or
we'll stop the show."
In fact he sees the "sit-down"
concert phenomenon as both de-
structive to music and sympto-

t with the neighborhood birds
utdoor cafe' (in season)

a sat.llam-lam sunnoon-Zamu

Discovering the

I.

campus museums

(Continued from Page 2)
not something only worth seeing
once, but a continuing enterprise
tat almost demands repeat
visits.
The first floor of the museum
has contemporary works of every
conceivable type on display, with
two side rooms filled with art
from the Orient.
THE MAIN attraction of the
museum for many people, how-
ever, is the second floor, where
major temporary exhibitions are
displayed. Such exhibitions, just
to name a few, have included a
collection of works by artists of
the G e r m a n Expressionism
school, a series of moving pho-
tographs by Walker Evans (popu-
larly known for, among other.
achievements, his photo-illustra-
tions of the book Let Us Now
Praise Famous Men), a collec-
tion of patriotic posters urging
Americans on during World War
I, andan exhibition on "The Cult
of Krishna."
Many students see the art mu-
seum only after enrolling in an
History of Art course. But don't
wait until then, just go to look
around and enjoy the fact that

you don't have to write a paper
on what you see.
Kelsey Museum
The Kelsey Museum features
archeology and is the smallest
of those listed here. Located
across the street from Angell
Hall on State St., the exhibits
here deal largely with artifacts
from the civilizations of ancient
Greece, Rome, and Egypt.
Though not as elaborate as the
Natural History museum, Kelsey
offers its visitors a mummy on
loan from the Metropolitan Mu-
seum of Art in New York, the
Egyptian Book of the Dead, a
doll house from Egypt during
the Roman period, and various
examples of ancient arts, crafts,
and building materials.
Accompanying each display are
explanations which offer even the
least - interested viewer insights
into the cultural mores and tra-
ditions of those civilizations and
periods.
Though not 'something that the
average 'student makes use of
every day, University museums
can provide an occasional pleas-
ant afternoon for most anyone.

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AL NALLI
MUSIC

Featuring these
fine names in
musical equipment:
" Marshall
" Fender
* Sunn
* Ovation
" Martin
. Univox

" Wurlitzer
" Conn
" Arp
" Ludwig
* Rogers
" Zickos
* Slingerland
" RMI

AL NALLI

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