business.
For some performers and music valsable lessons and posed impor cant questions. It has anderlined in ibe first place, that ideas and realities of corruption and exploit влов шедіся всу го саиваь пр:
It has also heiped to dispel any doubts we may have had about the culturally destructive nature of a systent under which music is made tre Group. for a passive market rather than in sudiesce or community. It has, in short, confirmed the need to make the musicians" cratt and radical musicians, which is beginning to Bastersea Arts Centre In south music business. West London.
MFS came together towards the end of last year. Ooe starting point Cinema inthe West End. The film We've got our own song -howi and afierwards, Parker played saxaphone improv sations. The subject of the was a masic festival pur on b radical Swedish performers Stockbolm as E punter to banalities of the 1975 Eurovision Song Contest, staged in the city that year.
A series of meetings followed. invobing performers COCHINE broad spectrum of styles — folk, rock, improvising, eiectronic and DO YOU regard popular music as having some kind of renaissance" and their varlous spin-off phenomena remain racismi, no realistic aftempt was first and foramost a lucrative sector of the entertainment many shades in berween. Politicalmos points left of Among them were Henry Cow Red Brass, •Elevatu:
Liberation Music, Frankie Armiof The London Musicians Collestive as well as musiciabs Trom a number of theatre groups such as Belt and Braces, Sidewalk and the Womens* Thea A lestival seemed a good idea • dynamic relationship with a real for a number of reasons. First, it would provide a forum in which pepple with very different notions would also bring diverse perform-