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February 13, 1987 - Image 21

Resource type:
The Michigan Daily, 1987-02-13
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I like heavy metal (and I'm not Satan)
I NEVER LISTENED TO heavy are intellectually brilliant. And they
metal in high school. I avoided made me feel like an intellectual
metal because the people who didn't and artistic slug.
were scary. So, after The Protagoras, where
They all had dirty blond hair and LOG I E does one go? In my case, I went to
acne: they spent too much time see AC/DC. Artistry, while present
using their mouths for bong hits, to a degree, was not the issue.
and too little time speaking. When Entertainment was. The music was
they did speak, invariably they said fashion-conscious, and hipper than deafening. The lyrics were clever
" r things like, "People say Coda is a they were. I'm a little smarter. I without being brilliant. And Angus
rip-off because it's all outtakes and still wear goofy stuff. I'm a little Young's metronome-like head-
shit, but they're forgetting that bit hipper, I suppose. But the big banging was a nearly hypnotic
these are Led Zeppelin outtakes. difference, in my case, is the change visual treat. Heavy metal is not
The album is kick, if you ask me." in my attitudes toward rock's big appreciated in the same sense that a
Of course, no one had asked. throbbing dinosaur. wine-and-cheese party with the
Back in Grand Rapids Led Zeppelin I'm only a minor-league head- Philosophy department might be -
was considered a fairly overt banger, but I have done battle on it is felt, experienced. Metal is as
strategem by Satan to convert the main floors in front of several big as it can be. Big lights, big
innocent teenagers from Christi- of the current giants, including explosions, big drum kits, big
INTERVIEW anity to seething, dog-mutilating Motorhead, Judas Priest, and Van loud, big, BIG, BIG!
blood-worshippers. The backwards Halen. My record collection sports Subtlety gets boring after a
masking flap hit the City of many AC/DC records, some while. Man cannot live on caviar
Churches pretty hard, so teenagers Aerosmith, some Zeppelin, some alone. Every so often, you've got
knew that if they liked "Stairway to Van Halen, and best of all, the to have a Big Mac.
Heaven" they were in fact "special leather edition" of Heavy metal seeks primarily to
subliminally reacting to a reversal Motorhead's No Remorse. I like entertain, and though I'm perfectly
of "my sweet Satan," and that they Ratt more than I should, and willing to be educated and edified
Detroit jazz percussionist says racism were a good thirty miles down the Twisted Sister, too. ninety percent of the time, I cherish
, highway to hell. Every time I I think it's all Plato's fault. my mindless times. After a month
has stifled the greatest American art form listened to metal on the radio, I Plato's writings contain brilliant of trying to be sophisticated, clean-
couldn't help feeling, well, dirty. thoughts, and they're brilliantly living, and civilized, it's time to
Freshman year changes people. presented. The dialogues are often spend a few hours thrusting pointed
Detroit native Roy Brooks is one of modern jazz's finest drummers. Born They become smarter, more as well written and as funny as they See LOGIE, Page 11
in 1938, Brooks big break came at the age of 21 when pianist Horace
Silver hired him; subsequently he freelanced in New York and worked
with jazz giants like Wes Montgomery, Pharoah Sanders, Dexter Gordon,
and Charles Mingus, playing in virtually every jazz style. In 1973, OFF THE WALL PRINT FROM THE PAST
Brooks formed a band called The Artistic Truth, and became involved in
experimental orchestrated drumming. After returning to Detroit in1975, I'M SICK OF GRAFFITI WRITTEN '
he founded the Aboriginal Percussion Choir. He continues to play with BY NAIVE, CONSERVATIVE, LIT -
both groups. Brooks and The Artistic Truth will be appearing tomorrow TLE RICH BRATS WHO DON'T
night at 8:00 at Ypsilanti's Depot Town as part of WEMU's Winter Jazz KNOW A FUCKING THING ABOUT s_
Series. Brooks spoke recently with Daily staffer Alan Paul. REAL LIFE.
Daily: You were in New York for a long time, 16 years. Why did you i.e. life away from mommy and
come back to Detroit? daddy and the U of M.!
Brooks: Well, because guys like John Coltrane and Kenny Dorham and (in reply)
Lee Harvey aren't there. They were there when I was there and it was a and mommy and daddy's money
whole different New York. My inspiration for being there really (in reply)>
diminished. And I was having another child and I wanted a... better living Who are you to say what "real life"y
condition. So I decided to come back. is for anyone but you? Too many
D: It's interesting that there really is a tremendous amount of musical liberals or radicals are actually
talent from Detroit... facists.
B: Oh yeah... blues, jazz, soul, rock and roll. All of them. (in reply)a
D: Why do you think that is? FROM THE MOUTHS OF BABES... _
B: Detroit was at one time strictly a factory town. You had people that -Graduate Library
migrated here from the south that took on a different kind of bag. So
their music came with them and it changed and evolved here because the Oh boy, look at us. All (fools)
pace was different, probably faster. These people longed for different with our heads bowed to out books' May 26, 1962: students left their books behind to attend a University
musics like the blues. Jazz is out of the blues. It's an extension of the bindings - wasting our time and Symphony and Varsity Bands evening concert on the Diag.
blues, as is rock in a different direction. potential energy. Trap the smart and
D: You worked with a lot of the jazz greats. Who really stands out? force them to study instead of
B: All of them, all of them do. Horace Silver, Yuseef Lateef, Wes letting them form mass movements
Montgomery, Charles Mingus. He was really a lot of fun, really while their young minds are still THE DAILY ALMANAC
extravagant. There's so many of them. I'm with Max Roach. We've been and especially idealistic and strong.
together since 1970. Let them get drunk on the 20 years ago - February 13, ficials at the Canadian border, where
D: When you played with these people, is that how you developed your weekends; it'll maintain the status 1967: A capacity crowd filled Hill he attempted to pass a taped speech
own style? Picking up one thing here, another there? quo. We are so maleable! Auditorium to hear ex-Harvard over the border to a group of Uni -
B: Right. Exactly. I've had that opportunity alot. I don't have to really -Undergraduate Library professor Timothy Leary advise versity of Toronto students who
try to be different. (Laughs.) It's just natural. them to "turn on, tune in, and drop were fresh from a "psychadellic
D: You call Art Blakey your musical father. Can you explain that? MEL FARR SUPERSTAR! out." weekend."
B: My father on the drums. Because he calls me his son. He put me on (in reply) "We forget that we were meant Leary broadcast from "the station
the drums at the Bluebird when I was 19 years old. He said, 'This guy Whoever wrote this was obviously to live in the Garden of Eden," he within his body" - WDNA - and
Roy Brooks can play the drums. Go on up there and play.' And I played. bored, or simply another sad victim said. "We must wake up." told the audience: "Each of you go
He let me play. He got off the drums and let me play. He still does that. of the media. Leary's visit came minutes after home and turn on Mom and Dad.
See INTERVIEW, Page 11 -Graduate Library he was detained by immigration of - Don't use words -just do it."



There's p1
By Rebecca Chung
face a seemingly insurmountable
problem: their tastes often exceed
their budgets. Even album or CD
collections come to about $15 per
horizon-broadening experience (cas-
sette tapes, which like to complain
in their old age, do not lend them -
selves to posterity).
Then there are ticket prices, an
especially painful subject.
But there is reason to take heart.
Except for the opera lovers (who, at
$50 a recording, have already lost
all sense of proportion), there is a
way to ameliorate the latter dep -
rivation, if not the former. The
University - yes, the same place
that brings you aesthetic oddities
like the UGLi and the football team
- is trying to make amends, and it
deserves an 'A' for more than effort.
The most notable University
concert purveyor is, of course, the
University Musical Society. They
offer the finest concerts of any
organization in the state and have
an impressive international repu -
tation as well.
UMS's outgoing director, Gail
Rector, wishes that students would
take their musical education as
seriously as their academics.
"Do they feel that their education
is indeed a 'higher education?' " he
said. "We give a standard of musical
excellence and performance by the
things that we bring here, because
it's a world standard - artists from
all over the world. And if they can
experience this in their four years in
school here, they willtake away
from their experience in the Uni -
versity something that is especially
"I keep hearing that students
can't afford concerts, yet the
theatres are very popular, and they
charge as much as our rush tickets
- $5 each for one of the finest
concerts in the world.
208 S. First, Ann Arbor 996-8555
This Week at The Blind Pig:
and the ODD SOX
Drink Specials Every

Lenty to hear, and much of it'


"When you list or enroll into a
course, you pay quite a price for a
course you are taught," he con -
tinued. "If the student would regard
this is a concert course, and
volunteer themselves, on their own
initiative, to say, spend a hundred
dollars... they're going to get as
much from that as'they would from
a classroom."
For those whose budgets are
ailing, there are two relatively
unpublicized yet surprisingly satis -
factory alternatives. The first is the
home-grown talent of the School of
Music. Over 100 faculty members
and 800 students work to put on
some 350 performances annually.
There is usually something
happening every night (call the
School of Music for a schedule, or
dial the 24-hour Music Line at 763-
4726), and almost everything is
free. Even better - the bigger the
audience, the better the per -
formances, according to Music
Director Gustav Meier.
"I'm happy, of course, that
whenever our ensembles perform,
whether it's the band or the
orchestra or the choir, that we have
a real appreciative audience," he
said. "It's tremedously encouraging
for the students. And they do play
better with an audience. It makes
them a little bit uncomfortable,
perhaps -'My God, I didn't expect
that somebody would show up!
Maybe I should have practiced
more' - right? But there they are

on stage, with their instrument, and
with an an audience out there, and
they have to deliver."
When planning a concert
program, Meier selects pieces
according to his students' needs and
preferences. But he does not think
that should detract from the
audience's enjoyment.
"I don't really think too much of
the audience" he said. "I think
mainly of the diet for the students,
which is varied. Basically, the
programs are shaped by them... so
that they can have different styles,
different composers, different
centuries, different approaches and
techniques of the composers - that
all is covered within one year.
"I try each concert to come up
with a combination of works which
also make it bearable during the
rehearsal time - you can't do all
16th century works in one concert."
Last, but determinedly not least,
is the Arts at Midday series, held on
Thursdays at 12:15 in the Pendelton
Room of the Union with no charge
for admission, as well as on the
first Tuesday evening of every
month (admission charged). Arts at
Midday has a more varied program,
which has included ethnic and
interpretative dance, a shamisen
player, a percussion ensemble,
poetry readings, faculty perfor -
mances, and many students from
the School of Music.
"The recompense to the student
performers, since it is not a paid

situation - and yet I'd like to
emphasize that way over half the
people are really young pro -
fessionals - (is that) many are
already playing in the Flint Sym
phony or the Toledo Symphony,'
said coordinator Shirley Smith
"We've something of a smal
bureau of reference. For instance
the Prism saxophone quintet, whici
developed out of the School o
Music, started in the Pendelton
Room. A lot of groups did. Peopl
call back, and they ask, 'We have a

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