Have you ever thought about what goes on behdnd the stage ahd the final product you see when you see a rock concert or go to a place that has music and rausicians working there? I know you don't have to think it about, really, because all you really have to do is pay the üttle money at the door and go in and be entertained, just like you were at home watching TV. All those people are there just to play for you, right, because you paid your little money at the door. Or maybe the people let you in free, so all you have to give is your time and presence, right? It's pretty weird. For three years in Detroit I've tried to present rausic and other art work in a form where the people who hear it and thereby take part in it can become actively involved in the whole scène - helping get it together, publicity9 etc. People who want to can work on any of this, but no one ever seems interested. The televisión term of engagement with what you see and hear seems to be by far the easiest and what would seem to be the most fulfilLing way to get some nnformation. But it's a lot more fun and a lot groo vier if you can take part in the act of something happening as more than just an observor. You can make it happen. If you want to. Think about it. nd you can get out of the tv-studio world that way. toyone who is really into playing music knows that. What I want to get at is what concerts like the Jefferson irplane concert at Ford Mditorium last night are all about. What kind of "entertainment" scebe do we have that makes it only usual that a group like the Mrplane can come all the way from San Francisco, recéis $3500 guaran tee for the trip, just for playing 45 minutes of music? Isn't that weird? Jind the local bands who performed got like $5 a man because the rest of the money goes to the Mrplane add the promoters. The Magie XlgKX Veil Light Comapny got $10 for doing their out-of-sight show. You dig? Jnd the Mrplane gets $3500.00. Isn't that weird? ñmá the people who "own" Ford Mditorium got $1100.00 for permitting music to be played in "their" place for 4 hours. To top it off, if anybody needs money it's the MD-5. ht the lirpLane concert, where they wiped out the whole place with an astound%g set of "Black to Comm, " playing the only really vmique, improvised music on the show (breaking down the 45 record 3-minute limit people who are swept by the whole entertainment industry thing think they have to stayinside), the cat who signed for their equipment long ago carne in and snatched it out from under them because they had mis sed their payments. The guy must be stone deaf. No money in the world wi'LL ever be as valuable as the music they made with that equipment, and anyone with any sense who had the money wou'Ld give it up just to insure that the band can make its music when it needs to. They' re like the restax of us and don't have any money, unlike the rich SF bands, whose people support them when they play so they can keep playing and not have to worry about the money. People in Detroit are so stupid. They have bands and music here that are out of sight and they won't listen to anything except what comes in from the image centers like NY and SF. Im talting about the so-called "hard-core hippies" who always talie about San Francisco and how groovy it is there, and aren't hip that the reason things are so groovy musically there, and fchat had been done there that is really radical, is because the people have created .thqir ■■ own local pantheon of bands, and support them. ' It would be happening ' .Like that here if any of these so-called headsI: had any sense. But they think tts more fun and easier to talk about San Francisco a"LL the j time and how hip it would be to be there. f Jlnyway, now the IC-5, who have been together for three yeaiF, ij and are so powerful and together that people still canH balieve it, den 't have any fucking equipment. How many people are going to stand for it? I Im not. Trans-Love is going to get some equipment for the band this Ij next week however we have to. They have to have it. jnd if people h around here had any sense they would make darm sure that the M3-5 I has enough adequate equipment at all times to carry on as they can. ' They work most of their gigs for free, and even the ones that look like they1 re being paid for (the Grande jobs in the last month), the money went to pay unión dáes so they could play the lirplane concert for $5 a man. ilTl the money went for that, and then their equipment was snatched up. But does the union give a shit? NO. )ill they want is II THE MEY, just üke all the other storap-down Merican businossepen in II the mus ie industry. ff H The thing to remember, children, is that MONEY DOESNt!T HMEi GODTüm THING TO DO WITH MUSIC. Musicians, and all artists i:ho are into it, should be supported by the rest of the people so they can have the music and art when they need it. M5SQDÉÏ ilny other way of , doing it is just s tupid, including especially the current method of doing it. Because you have to have the music or you will die of cáncer 11 ; like your fathers and mothers who listen to Herb ALpert and Frabk Sinatzra 1 and the rest of the death merchants. If you don 't have the music you wlLL die. Try it and see.. The Crusader has been invMved in the business aspects of the industry lately with THE SEE, which will be moved after this weekend . ƒ The owner of the builLding, one G.ABE GLANTZ, who strangely enough aLso owns the Grande ballroom, wants THE MONEY - RIGHT NOW. It aint thera. He also wanted to teil us what bands not to get (because they cost too I mueh) (he says), and do we really need two light machines, and shouLdn't j the door charge be more than $2, and shit like that. But we acen't U7 into THE MONEY at all - no one who 's worked there, except for the !' mpsicians and light show people, has got JWY MONEY at all from their f work. Wefve spent money we don't have trying to make the place work. 1 Ye want to pay the musicians $25 a man straight across the board, which means none of us get any money, but that's only the very first step in f the direction things should be. Jlnd everyone wants to got in free, W because they don't care enough about the place making it to get the ! '7 Í money together to halp keep it going. But it will move, and it'lL keep on, because we have to have it, You do whatever you have to do. The people we'll be dealing with in the new location, the Varsity Theatre f at Six Mile and livemois, which will be made into a ballroom, are stons business people, and they'll make sure the jjlace makes it. We 11 move it out of the neighborhood but no one here gives enough of a damn about it to make any difference anyway. The kids will support it, because they need it. Good luck to you.