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10-6-1971 1971 Brown and Gold Vol 53 No 3 Oct. 6, 1971

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Page 2 Brown and Gold October 6, 1971 A.D. Mary Talks of People, Music and Life

kind of sacrifice I am not Ed. note- After the concert though you want change, something universal? points for individuals, except you're not necessarily going A. Well, yes you try to find in those places where you're willing to make. last Saturday night the press Q. Is there a chance that you was granted an interview to get it right away. those kind of songs, but allowed to. A group is people We have to Jearn to be a within your own universal. who have decided to live will sing with another group? with Mary Travers. That in­ A. I don't think I'd want to. I terview follows. little more mature. And I You can never have uni­ together, create together, think that we are coming to versality until each person's work together, and make Jove singing with a group but Q.-There seemed to be a that point now. Not with a own universe over-laps. Like something happen together. it's time I look for something else. It's time for me to grow. point where folk music was blind kind of optimism, not (the song) "Blowin' In the You can only do that, not by I might do some acting, the universal thing to do in with the attitude that because Wind." "Blowin' In The necessarily agreeing on maybe a film. I don't know concert. Do you feel that you I care it is going to change, Wind" was a nice good everything but by agreeing to where the edge of my crea­ were an integral part of that but because I care it may feeling. To some it's a disagree and agreeing to tive world is anymore. or has this gone away? change. Maybe I will be a prayer, for some a religious agree and at certain points There's a lot of teaching and A. Musical forms give way part of that, but I will try, I prayer, for some an leaving your ego at home be­ will attempt ... ethinical prayer, or a moral cause you have to do some­ stretching and seeing where to other musical forms, and it my elbows go when I stick keeps on changing all the It is this being committed prayer, but it's a prayer, a thing together. that is so much more fun than wish, a hope, and that's why It's very hard to sing them out - and that's ex­ time. You could say that folk citing! And for those people music is basically optimistic, not being committed. I have it's universal. At the same together, to play together. It to tell you - when I get up on moment, that's what man means everybody has to who really feel sad about it, basically a very honest belief don't feel bad - feel good' in change, in the sense it says the stage, I'm committed to. could be. We don't have to listen. When we got on stage . think the same things; we we had a few problems with a Feel good because we're all happy doing what we want to just have to over-lap some­ few songs. You didn't know it do, we're all doing our own place so that we can move but we did. We couldn't hear together. · each other, so that made thing. everybody very nervous be­ Q. Do you think the world Q. Do you think you were cause I couldn't hear Paul, I has too many people? limited in the group of Peter A. No, we have always had a couldn't hear this and I Paul and Mary? Jot of people. This country couldn't hear that and as soon as we got everything had 30 million American A. I think we limited each together, everything was fine. Indians, right now this other after a certain period of country is supporting 200 But when you can't get time. million. There is obviously everything together, when enough land for us all. What you're really diametrically Q. When do you think this do you mean - too many opposed, you can say to me, started? people per land or per capita? 'This may be irrational or Greed and power is what it whatever it is but I can't do A. You notice it in a Jot of is all about. I think man is a that.' And I'll proceed to say ways. You've got to give up it might be irrational but certain things in order to be Greg Albracht little power hungry. He knows he must control his whatever it is if you can't do responsive, and sometimes "Musical forms give way to other musical forms, environment, but to do that i~don't do it. And so you don't when you give up those also means that he must do it. things, they're not worth very and it keeps on changing all the time." control other men, and the Q. Would you put a plug for much when you gave them Zero Population Growth in up. Five years later they're that this is what I feel now. what I'm doing, and I'm more he becomes involved in that trip, it isn't enough to your songs? going to be worth a Jot more. The reason that folk music having the best time. You can A. I will not use my music in You give up some autonomy have fun ..:.. although it takes control one person, but you was popular in the 60's was that way. If I found a song when you work with a group that we were in a tre­ discipline. have to control five or six or ten and the guys who are that expresses in that senti­ and you give it up sometimes mendously kind of forward That's another problem with ment, in a poetic like before you know what you're feeling, in that the country really good at controlling was going to change. We Americans. They've got a big people go right to the top and "Blowing In The Wind," then bringing to it, or what you were all in Jove with the problem with the wqrd dis­ control the whole thing. I I would say it. But the worst have to bring to it. It's like a Kennedys, and we had all of cipline. They think it's porno­ don't know what makes thing in the world is to do marriage. When you first get those good vibs and we were graphic. But there is no free­ people do it but it is dumb and propoganda songs. In the married, certain things are going to straighten out civil dom without it. I hate to unhealthy and we should first place they're usually _important and certain things rights and we were really sound like a square but I figure out some better way to going to pull the whole thing really couldn't sing like that live. We 're getting down to together. unless I learned the parts, the finish line now where we .- And then we had three and if I learned to control my must come to grips with that. assasinations. That is what voice, and learned to deal Q. Are you thinking of makes a cynic out of anyone. with certain other factors in moving to Vail permanently? And what kind of music did music. A. Basically, moving to the we have after the assasina­ Q. You have said that you country doesn't really solve tions? Acid rock- an almost are looking for new ways to the problem. I want my anarchistic kind of music. express yourself. Do you children to understand the Now we're beginning to mea·n through other peoples' evils of the city. Also though, swing back out, with. the words or something that I want my children to Jove James Taylor's and Carole might strike you personally? nature and so we go to the King's, which I think is a Will the new expression be country and we Jove nature. healthy sign. I thing we're optimistic or what? Q. What was the situation turning away from drugs, A. Some people need to say, with Peter, Paul and Mary? we're saying "I want to feel", "I don't know why the world A. Well, we just retired . . "I want to respond", "I don't is so terrible, but God must We're going to do an album want to be so numb.'' know," Well, that's not my together I think, but we're not Q. So if you could name conviction. I don't know why going to perform any more. It "Feel good because we're all happy another point in time when the world is so terrible but was an amiably settled doi1g what we wa1t to do." Peter, Paul, and Mary could I'm not going to dwell on that decision. All we had to say have been successful, maybe fact. was, 'Hey, ten years is a long terrible. I mean just terrible. are not important ... then, Jo today would be that day? Man is never going to be time for anybody to be The moment you get back to and behold, you find out that A. Today? No, no, I don't perfect. I say we need to find together creatively, and specifics- people don't want those things which you think so. I don't think the kind some way to make him maybe it's time to grow.' to hear about specifics in art thought weren't important better. We all get the feeling of optimism that we began Q. Do you find it strange that or we would still be painting are important. with is the kind of optimism that man is not right in the you remained together as absolutely realistic pictures. Q. Is there more to you on that we are dealing with now. head, but there are a lot of long as you did without going Photography would be stage now than there was to people who are crippled, who through the problems that I think that we know now that the most important art form the gal in the middle? you can Jose and you can have problems, yet manage most groups are going in the world if people wanted to function. And there is no through today? survive losing. to see things just as they look. A. I think so. I feel terrific. reason why man can't func­ A. We went through those A lot of people don't under­ Q. Don't you feel that even I'm so excited and scared to tion too. He has to look at his problems. We just didn't nail stand that one can go out and though people enjoy your solo death half the time- it's just fight the good fight and Jose shortcomings and say, 'Well, each other in the papers album, enjoy Paul's solo great. and get up and fight again. I've got an ingrown pain in about it. It was our problem, album, that a Jot of them are my toenail or I'm a little Americans have an attitude, not your problem. We didn't distraught in that they would Q. I didn't know what to crazy in the head and some­ fight on stage about it. We and I must be critical about rather have an aluum by the expect. it, that because they want, times I get violent and I've had a thing to fight about in group? they should get. Things don't got to deal with it. But to ex­ the dressing room, but not on A. Well, that's their A. I know, most people happen like that; you have to plain it all away by saying the stage. business. I don't mean that in don't. In fact, . I've gotten go out there and fight and that man is just basically evil When you solve your an unkind way, but we have three notes that I've never when the system knocks you is acopout. . problems you solve them like all grown up and I cannot live gotten before. I now can Q. So. what you really have down you have to get back up adults, not like babies. A my life, my creative life, for reach high C and I never to find in your expression .is group is not out there to score and fight some more. Even a lot of other people. That could reach that before. l'' • Page 3 I !:' Brown and Gold October 6, 1971 A.D. Concert Critique with Clarence Johnsen Before going to see Mary "Blowin' In The Wind.. Mary Travers in concert, I suppose ments to please the audience. Travers never once changed her Looking as if she would have that I had the same presupposi· style in the presentation of her tions and anticipations that most been a popular adolescent on an music. Not once did she lose her early American·wagon train, she Qther people would have. During enthusiasm, her intimate rapport the last ten years (as one-third of attacked every song with a with the audience, or her obvious gently and honest enthusiasm Peter, Paul, and Mary) she had feeling that every song she sang come to represent the that made the crowd believe that was her most favorite song. With she was enjoying performing popularized female folksinger, an alto voice that could make and now that she was on her own even more than they enjoyed her most speaker systems run for performance. Energy which has I could expect only the finest in their lives, Mary sang songs that been refined to its purest point musical quality and profes­ obviously meant a great deal to was the key to her successful pre· sionalism in performance. My her and (judging by the standing sentation. She enjoyed each and high expectations were well-con­ ovation) to the audience as well. every member of the crowd, she firmed and I ended up seeing one They were songs that concerned had pride and complete of the finest concerts that I have society, but unlike so many ever attended. confidence in her well-polished others of this type, they were back-up band, and she appeared songs of an optimistic outlook on to be completely wrapped-up in It would be extremely difficult the future. In the two hours given to critique this concert in the the work she was doing. to her, she sang of love and If you missed Mary Travers in manner in which a review is hatred for other people, the usually done (song by song analy· concert this time, try to see one simple beauty of children and of her performances if you ever sis, high points and low points of flowers, and of boa constrictors the concert, etc.) In Mary's per· again get the chance. If you did and jet planes. see the concert, you will under­ formance, I saw ev~ry song as To me, the real beauty of the being the same; as if an un­ stand my saying that experience, concert was watching Mary energy, optimism, and pure broken two-hour panorama of Travers as an audience-pleasing music had been spread out before enjoyment of singing have made performer who didn't have to Mary Travers one of the finest me. From Paul Simon's "Song scream into the microphone or for the Asking" to the favorite artists in the world of today·s burn or smash musical instru· music.

MARY TRAVERS CONCERT PROFIT AND LOSS STATEMENT

REVENUE: Cash Receipts: Pre-sale Tickets (I) 4388.03 Door ~ Total Cash Receipts 5748.03 - r- Total Cash Receivables (I) 1441.12 Other Cash Income 55.00 TOTAL REVENUE BEFORE EXPENSES $7214.15 EXPENSES: Mary Travers 5000.00 Together Productions 500.00 Radio (2) 840.00 Newspapers (2) 375.00 Protection 238.00 Lights 145. 00 Sound 200.00 Intercom 28.50 Amplifier Rental 50.00 Piano Rental 150.00 Ticket Printing 101.00 Miscellaneous Expenses (3) 71.00 TOTAL EXPENSES 7698.50 PROFIT (LOSS) FROM OPERATIONS ($484.35) Footnotes: Contest (1) Total presale ticket receipts are derived from total gross outlet receipts less a 2% handling charge paid to the outlet. As announced in the (2) This is a budgeted amount. Invoice pendm~ w1ll be less. . Brown and Gold of (3) Includes costs of transportation, professwnal courtesy Items, and other minor expenses incurred. . . 22, 1971, September the We feel that this statement fairly represents the fmanc1al resul~s Regis College Student at this time of the appearance of Miss Mary Travers at Reg1s Senate, in conjunction College, October2, 1971. with the Travers Concert, D.R. Hurley is sponsoring a free record Jack Keane giveaway. Only those hol?­ ing tickets purchased m the bookstore are eligible for this drawing. The ten BROWN & GOLD numbers have been The Brown and Gold is published bi-weekly during the school chosen. The holders of year as the oHicial Regis College student newspaper: Editorial these ticket stubs should opinion expressed in this paper does not necessanly reflect present them at the that of the administration, faculty, or student body. Student Senate Office, second floor Student Cen­ Kevin T. O'Connor ...... Editor ter. They will receive a Ted Posselius ...... Assistant Editor copy of Mary Traver's Dan Lippe ...... Assistant Editor latest Warner Brothers al­ Pat Cronin ...... News Editor bum. Michael Hanagan ...... Political E~itor The winning numbers Rita Francis, Joe Vendegnia ...... Feature Edators are: Dave Meiners, Rick Nikkel ...... Circulation and Sports 1796, 1803, 1829, 1931, 2055, Jack Turek, Jim Gri:Wer ...... Business Managers 1832, 2011, 1776, 1949, and Joan Teague, Kit Biches, Ginny Roberts-Copy, proofs and heads 1971. Page 4 Brown and Gold October 6, 1971 A.D. .,"