Clancys and Make
By Joseph Kraus
Somebody said, "Written
hstory is nothing more than the
propaganda of the victor, but the
folk song is the ordinary man's
sory of what happened to him. "
Awd as such, it tells a far truer
ture of a sh
it, the res
ording to Liam, the group
re importance on the struc-
how than on the individual
said that a concert is not,
to move them (the audien-
ve got to change them
And you do that by building
we contrast one song with
r the Clancys are able to do
ult is undeniable: literally
in the audience joins in and
elcome part of the chorus.
ir live albums from the mid
hem alongside Pete Seeger,
nghorne, and a "two hun-
rrent live release, Reunion,
n May, 1984, shows very lit-
anged. Liam claimed little
responsibility for the phenomenon.
"What was happening on stage was
really only incidental to the concert.
People who hadn't seen each other in
16 years were. . . throwing their ar-
ms around each other, weeping."
But the Clancys and Makem are
responsible for what happens at their
concerts. Their ability to share their
feelings of mourning, frolic, and Irish
pride is legendary. With Makem's
rich voice giving brave contrast to the
brothers' harmonies, the group is able
to muster the same feeling of com-
munity between unrelated members
of the audience as ever the same
songs could in provincial Irish pubs.
Liam said the audiences so far have
been of all ages and all heritages. "We
were out in Milwaukee there recen-
tly . . . and out of a whole group of
people in a room . . .I asked 20 of
them, just as a kind of survey, what
their Irish connection was, and they
had none. They were Germans, they
were Polish, they were French, but
they loved the music."
However much the brothers and
Makem share the music with the
world, it remains distinctly Irish. The
characters and folk they sing about
are their friends and neighbors.
Speaking of one song, "Brennan on
the Moor," which tells the story of a
Robin Hood-like outlaw, Liam said,,
"Every time I go to the airport in
Ireland I pass by the place he used to
Although grim political realities are
inexorable from contemporary Irish
culture, Liam doesn't believe it is his
role to act as a political agitator. "Our
job is to entertain people and I think
that no matter what your personal
views may be about the political
scene, your job on stage is not to use it
as a soap-box."
Nevertheless, Liam claims all of the
group members have strong feelings
about Irish unity. Noting that Makem
comes from an area very near Ulster,
which remains a part of the United
Kingdom, he said, "We would love to
see the people of Ireland united. Not
just a political unity, but a unity of
heart ... And through music we
come together. And that's what we
want to foster, not killing each other."
Judging from Reunion and Makem 's
solo appearance at last year's Ann
Arbor folk festival, the group's most
valuable instrument, Makem 's voice,
has aged some. Although the once
to borrow enough tricks from Pete
Seeger to play as vital a role in the
group as ever.
The Clancy Brothers and Tommy
Makem play tonight at 8 p.m. at Hill
Auditorium. Tickets are still
available at the Union. Ireland may
be an ocean away, but the Clancys
and Makem can make that no distan-
ce at all.
The Michigan Daily - Friday, November 1, 1985 -Page 9
-Liam Clancy everybody
E CONCEPT of tradition has feels a we
been virtually lost in the United One of thei
*ttes today. Heroes like Daniel '60s bills ti
Boone and George Washington loom Bruce Lax
over our history while the crafts and dred voice
lifestyles of everyday people go Their cu
unrgmembered. recorded i
11 art as in politics, the Emer- tle has ch
son/Whitman-esque ideal of the
American achieving success by virtue
of his individual strengths has ob-
sgred the older European notion that
.wisdom comes from community.
Irish culture, perhaps more than
L y other European culture, has
sustained that notion with its rich
bdy of folklore and folk songs.
"Aind certainly no group in the last 20
years has been more successful at
sharing those folk songs with the
world than The Clancy Brothers and
.Pat, Tom, and Liam Clancy first
joined with Tommy Makem for a
series of "rent money" concerts in
9 , and 10 years and 40 albums later
"djgbanded while still at their popular
peak. The current reunion tour is, ac-
cording to Liam, "one last whip
around, one last hurrah," and accor-
jpRg to their publicity director
0harles Comer, a "one-time only
fiDrawing upon the same tales and IN
myths that inspired William Butler
YpAts and James Joyce, the group
developed a musical style that was
Ooth immediately accessible and
;'typical Clancy Brother's song is
ugmpo with a catchy and frequently
reeated chorus. With sparing in-
stiumental accompaniment, the four
blend their voices together with
b.sterous and stirring artistry.
ITH THE RELEASE of their third single
"Love in a Vacuum," Boston's 'Til Tueday
wfll be back in the Motor City this Saturday to
pIDg their fruitful debut LP and show their diverse
folowing a dancin' good time.
='he band last played the area as the opening act
fct the ever so soulful Hall and Oates. a role in
which keyboardist/vocalist Joey Pesce said the
bid was very well received. "We were prepared
fot the worst... you know, rotten tomatoes, the
works. But it was great. No boos, just applause."
This time however, 'Til Tuesday will have cen-
.6 stage for themselves. "It lets us reach people
w o want to see 'Til Tuesday, not Hall and Oates,
a owing us to really come into our own. Now we
Dynamic duo jC
D ? "j
Tommy Makem (third from left) and (left to right) Liam, Tom, and Pat Clancy play Hill Auditorium
tonight on a reunion tour featuring the best in traditional Irish folk music.
flies with commercial ascent
can play for an hour or an hour and a half,
enabling us to do more interesting things like play
some acoustic songs or something like that," said
Pesce, "It can really be our show."
Unlike many bands, 'Til Tuesday spent
relatively little time jamming away in the depths
of obscurity. Soon after the release of their first
LP Voices Carry, the title song became a hit on
both radio and video.
When asked about the velocity of their commer-
cial ascent, Pesce readily admitted that success
has been enjoyable. "But I do think that we
worked hard for it," he said. "We had a lot of con-
fidence in our talent and in the people around us. I
guess you might say that we saw it coming."
The combo's success hasn't been limited to the
U.S. and Canada, Pesce said, adding that the
album and its two singles have been charting
nicely in Japan and Australia where vinyl con-
sumers quickly identified with the band's com-
mercial approach. In Europe, however, things
haven't gone as smoothly, according to Pesce.
As far as the band's sound itself is concerned,
Pesce found it difficult to cite any direct influen
ces. "Everyone has been playing for so long that
it's really hard to say. We play what we'd want to
hear coming off the radio and that's what we
rystal pure voice now sounds at support the
about 140 proof, Makem has managed March of Di e
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UNIVERSITY of MICHIGAN
Bylaw 7.02 of the Board of Regents of the University of
Michigan establishes and governs the University Council. The
University Council supports and shall adhere to Bylaw 7.02.
This is the first Statement of the 1985-86 University Council.
It is based on the work of the 1984-85 Council and the consensus
of the 1985-86 Council. The Council issues this statement both to
inform the University community of the Council's activities and
to solicit advice on those activities as required by Bylaw 7.02(3) (c).
This statement concerns -the Council's authority under Bylaw
7.02(2) (a) to "[f]ormulate proposed regulations of conduct ap-
plying to [students, teaching staff, and administrators]."
The University Council approaches the formulation of rules
governing conduct as follows: First, testimony is heard on
whether specific conduct on campus presents harm or reasonable
threat of harm to a member or members of the University cony-
munity. Second, if the conduct is held to be harmful and thereis
an institutional relationship to the University, the Council assesses
existing measures, including rules, within and outside the Univer-
sity which address that conduct. Third, the Council assesses
whether any new rules governing such conduct are warranted.
Fourth, the Council formulates and proposes such rules.
The Council is developing a set of rules, sanctions and pro-
cedures into which a range of problem behavior may be integrated.
The Council will at all times be careful to balance the rights of
those who might be accused to a fair appraisal and disposition of
their behavior and the University community's right to be
The rules and procedures have two basic levels. There will be
a centralized level for conduct the primary response to which is
best left to a central agency of the University. There will be a de-
centralized level for conduct the primary response to which is best
left to a local level such as the Housing Division.
The Council is devising a set of procedures and guidelines for
rules and the formulation of rules to be followed by units of the
University which will make the primary response to behavior on
local levels. The Council assumes that the guidelines will reflect
current practice, but also desires to formalize and standardize
rules and insure the balance described above. The Council may
either establish or serve as an appeal body for local unit cases.
The Council has not yet identified all those types of conduct
which should be addressed with uniform rules; either on a cen-
(Continued from Page 8)
entered Oberlin College in Ohio in
199 at 27, majoring in piano and
cEiuposition and receiving his
bbelor of Music degree. He studied
wyears, the third at Salzburg,
Austria receiving valuable field ex-
peence in Munich jazz clubs.
; ter graduation in 1962 Cowell
retprned to Toledo,'formed his own
trZj, and came into the sphere of the
veenary Rahsaan Roland Kirk. They
miagain in 1963 when Cowell moved
tQ ew York. He enrolled at our own
University of Michigan in 1965, ear-
ning his Masters in less that two
towell worked with many
luminaries in the Detroit avant-garde
during this period, including trum-
peter Charles Moore, and he played
with, visiting dignitaries such as
Marion Brown and Joseph Jarman.
It was not until his return to New
York in the fall of 1966 (10 years
before David Murray) thathe made
his first recording. He worked with
Max Roach and formed a lasting
iendship with trumpeter Charles
Tolliver with whom Cowell often
In the early '70s Cowell formed the
excellent musician-owned Strata-
East record label and has since
worked with numerous players in-
cluding Bobby Hutcherson, Gary Bar-
tz, and Sonny Rollins. More recently,
Cowell has been adopted as an
honorary brother by one of the great
jazz families, the Heath Brothers.
And now ... a genuine fusion. A
coming together of two great hearts
and minds. Two brilliant players
from two generations of jazz will
meet for the first time Saturday
night at the Ark. The show begins at 8
p.m.; tickets are $7.50. Rumours
suggest that this date may preview an
upcoming recording session.