29 years ago today, Mark David Chapman shot John Lennon. To this day I can clearly remember waking up for school the next morning, and my mom telling me, "They killed John Lennon."
Although I knew at the time that Lennon's death deeply affected people around the world, I don't know that anyone appreciated how profoundly his music touched those who heard it - even those who perhaps didn't care for him or his message of peace. (I will never forget, some years later, watching with jaw agape as Pat Robertson went on TV to explain why Lennon's "Imagine" was such an "evil" song. He went through all of the lyrics, sharing his twisted interpretation of them, and when he got to the line "Imagine all the people sharing all the world," Robertson cried, "Well, that's Communism!")
Here is a fascinating time capsule I found online - the news of Lennon's death being reported the next day by Walter Cronkite. The voice of trust reporting the loss of the voice of peace:
Today is tenth anniversary of my grandmother's passing. It's hard to believe ten years have come and gone since that day; it seems like only yesterday that we were together.
Roseine Troop was quite a lady. She was an independent working woman and a single mom in a time when neither identity was readily accepted by society. Nan, as my brother and I called her, worked at the Hamilton Watch Factory here in Lancaster (now the site of Clock Towers Apartments) for nearly 40 years until her retirement in 1981.
Born in 1916, she was a child of The Great Depression and so always respected the value of a dollar. While she always wanted the best for her family, she seldom if ever allowed herself extravagances. She watched a tiny black and white TV with no cable for as long as I can remember, and refused any suggestion of buying a color TV or having cable put in until around the time I went to college. Even then, her only concession was the color set. "I don't need cable, I don't really watch that much TV," she'd say, even though the television was on from the time she awoke until the time she went to bed. "I just have it on for company." The car she drove, a 1969 Chevy Nova, had no radio and no air conditioning - a car doesn't need those things to get you from point A to point B. She saw the world in a very utilitarian way.
For every one of her 83 years, she lived her life on her own terms, sometimes frustrating the rest of us. She insisted that she had never had a headache in her life, and that all she needed in her medicine cabinet was aspirin for when she was achy and peppermint for when her stomach was upset. When the doctors told her that she had had a heart attack, she simply chose not to believe them. "How do they know?" she'd ask. "I feel fine!" And if she ever had to wait in a line more than two people long, everyone would hear about it! "Oh, come on!" she'd sigh loudly, tapping her foot impatiently. When she passed, my mom, brother and I chuckled to think that there better not have been a line at Heaven's Gates, or St. Peter would have gotten an earful!
She loved to laugh and sing and play cards and do crossword puzzles (in ink!). She was extremely generous with those she loved, both family and friends; she was, however, a very private person. It was not often that she'd let someone new into her world, but once you were in, you were both genuinely loved and fiercely protected by her. And oh, could she cook! She made the most delicious potato soup, chicken pot pie, and oyster filling (not "stuffing," mind you - filling!), the likes of which I'll never taste again. Even when cooking wasn't involved, she had that special "grandmother's touch": her sandwiches were legendary, piled high with cold cuts, lettuce, onion, tomato. How is it that neither I nor anyone else can replicate her sandwiches, even using the same ingredients?
Ten years on, it's still hard to fathom that she's not here, although in many, many ways she is. She often shows up in dreams I have, singing one of her songs or playing a game of gin rummy with me. That she passed at this time of year adds a certain feeling to how a view the holidays, but it's not a sad feeling; I still laugh out loud thinking of some of her quirks, and I celebrate the life she led.
[All throughout the month of November, all NW4NW entries have been based on requests made by you, dear readers. I want to take a moment to thank all of you who submitted requests. I hope that you were pleased with my efforts. The NW4NW series will resume its regularly once-a-week schedule in December. Although NW4NW All Request Month comes to a conclusion with this post, I am always open to your suggestions and requests for future entries - your feedback is greatly valued!]
The final entry in NW4NW All Request Month comes from an old friend, Dave Demmin. Dave's was the last request I received, but I don't know that I could have chosen a better band to end the month on myself!
The Plasmatics were formed in New York City in 1977 by Yale Art School graduate Rod Swenson and the inimitable and highly confrontational Wendy O. Williams (which actually was her given name: Wendy Orleans Williams). They began auditioning band members for what was initially a conceptual art project that quickly evolved into one of the most controversial bands in any genre, much less the burgeoning Punk Rock scene. By mid-1978, the earliest incarnation of the band, which included guitarist Wes Beech (who, along with Williams, would be the only band members to be there from the beginning to the end of The Plasmatics), were regularly selling out CBGBs with their stunningly antagonistic performances. By 1979, they had amassed so large a following that CBGBs was no longer a large enough venue. In the fall of that year, The Plasmatics sold out the legendary Palladium Theater in NYC, becoming the first band to ever do so at full ticket price. That show was also where Wendy first blew up a car onstage.
Destructive visuals were part and parcel of The Plasmatics' live shows: exploding cars, chainsawing guitars in half, taking sledgehammers to walls of television sets, and blowing up amplifiers were regular occurrences, and were actually integral parts of many of their songs. They scared the bejeesus out of the mainstream media, and more and more clubs refused to allow them to perform. In fact, at one point the were banned completely from playing in England, where they were branded as anarchists. Williams would often explain that the message behind the destruction was that these things were just that - things, and things should not be worshiped. We have become too materialistic, but at the end of the show, despite all of the destruction of things, the world goes on.
Williams herself quickly became infamous as much for her onstage attire - or, often, lack thereof - as for her terrifying vocals. Sporting a mohawk and often appearing dressed in little more than a g-string and some strategically-placed duct tape, Williams pushed the boundaries of acceptability. She found herself arrested after a show in Milwaukee for allegedly simulating a sex act on stage with a sledgehammer; two nights later she was arrested in Cleveland for appearing onstage wearing nothing but shaving cream.
Their 1980 debut album, New Hope For The Wretched, remains one of the most jaw-droppingly fantastic Punk Rock albums ever recorded. Whipping along at hyper-speed, the band is remarkably tight and powerful. Songs like "Monkey Suit," "Living Dead," "Sometimes I...," and the first single from the album, "Butcher Baby," stand up remarkably well 30 years later. The only time the band falls apart is intentional: during the middle section of their cover of Bobby Darin's "Dream Lover," each band member was locked in a separate room, unable to hear what the other band members were playing. It's a moment of brilliant hilarity as the otherwise perfectly synced musicians suddenly sound like a roomful of chimpanzees slashing and pounding on tuneless instruments!
By the time their second album, Beyond The Valley Of 1984, was issued a year later, the band had gone through numerous legal battles, defenses of their image, and rotations of band members, and the wear and tear showed. Also, the band's overall sound was moving more towards heavy metal, a transformation that was fully realized with 1982's Coup D'Etat.
Williams released a remarkably good solo album, WOW, in 1984, but the final Plasmatics album, Maggots: The Record, released two years later, was a sad footnote to a once awesome band. Over the next several years Williams would make occasional appearances, but despite the urging of many, a Plasmatics reunion tour never materialized. Sadly, Williams committed suicide in 1998.
Many people hated The Plasmatics in their day, but many more loved them - and continue to do so. That first album remains one of my all-time favorites, and still sees regular airplay in my household. So, my thanks to Dave for this request - a fantastic call, and a great way to bring the month to a close. Our final entry in NW4NW All Request Month is The Plasmatics appearing on the TV show Fridays in January of 1981, performing "Butcher Baby" complete with chainsaw-guitar solo. Enjoy!
[All throughout the month of November, all NW4NW entries are based on requests made by you, dear readers. Because of the amount of requests received, there will often be more than one entry per week during this month - I recommend signing up for email alerts on the left-hand side of the screen so that you don't miss any of the fun!]
Two more requests to fill in what has been a very successful NW4NW All Request Month! Up next comes a request from Jay Marshall, who submitted the only request I received for neither a specific band nor a specific song, but for a record label! Jay suggested any of the 4AD bands, and listed a couple of his favorites. From his list, I chose one of mine.
The 4AD Records label started up in in England in 1980, originally as Axis Records, an offshoot of the successful Beggar's Banquet label. After releasing a handful of singles, they discovered another label was already called Axis, and so changed their name to 4AD Records, from the caption on a poster that label founder Ivo Watts-Russell had seen.
4AD swiftly became one of the top UK indie labels, signing bands like Dead Can Dance, The Wolfgang Press, The The, Dif Juz, and Cocteau Twins. Their signature sound was what you might call goth-light: swirling, ethereal, and melancholy. The label often sent their bands out on packaged tours and developed an almost cult-like following. It wasn't until 1986 that 4AD reached across the pond to sign their first American bands, snatching up The Pixies, who have been covered in this series here, and the band I picked to fill Jay's request, Throwing Muses.
Stepsisters Kristin Hersh and Tanya Donnelly had formed the band five years earlier when they were in high school in Newport, RI, and had even managed to self-release an EP in 1984. With the name-value of the 4AD label behind them, though, Throwing Muses quickly became darlings of college radio. Their sound was a little more jagged than the typical 4AD band to that point in time, and their melodies and arrangements tended toward the unorthodox. Singing songs about alienation, distress and psychosis, Throwing Muses found an audience who adored them.
1989's Hunkpapa album saw the band hit their apex, with the single "Dizzy" reaching the Top Ten on Billboard's Modern Rock charts; they maintained that momentum through 1991's The Real Ramona, which contained their finest moment, "Not Too Soon." Tanya Donnelly was swiftly becoming the "star" of the band. Her adorable alterna-chick image was played up by the media; that image coupled with her poppier melodic tendencies made her of the early 1990s' alternative music scene's icons. Having already begun to do some side-project work (including joining Pixies' guitarist Kim Deal in The Breeders), Donnelly split from Throwing Muses after 1991. Eventually, she would form her own band, Belly, who had a minor hit in 1994, "Feed The Tree."
Kristen Hersh and the rest of Throwing Muses soldiered on through three more albums before calling it a day in 1996, but with Donnelly gone it wasn't the same. Occasional reunion shows popped up now and again, becoming more frequent in 2000-2001. Donnelly even appeared onstage with the band at one point, and in 2003 a new self-titled Throwing Muses album appeared. Donnelly was not officially part of the band, but did provide some backing vocals on the LP. Nothing more has been heard from the band since then.
Thank you, Jay, for your request! I hope you will enjoy my pick for this NW4NW entry, Throwing Muses' clip for "Not Too Soon" (with Tanya Donnelly on vocals).
[All throughout the month of November, all NW4NW entries are based on requests made by you, dear readers. Because of the amount of requests received, there will often be more than one entry per week during this month - I recommend signing up for email alerts on the left-hand side of the screen so that you don't miss any of the fun!]
NW4NW All Request Month heads into the last weekend of the month with a final flurry of three requests, the first of which comes from Luke Bunting.
There are certain bands that seem to come to everybody's mind when you mention New Wave, bands who even the most casual mainstream listener associates with the term. Some people immediately think of The B-52's while others immediately start mimicking Gary Numan's "Cars." But everyone's short list of New Wave bands includes the world's favorite Spudboys from Akron Ohio!
Clad in matching yellow radiation suits, matching red flowerpot hats, or matching Ken-doll plastic hairpieces, Devo has epitomized New Wave for most people since they first achieved national notoriety cranking out their spastic rendition of "(I Can't Get No) Satisfaction" on Saturday Night Live in 1978. Within two years they would be bringing De-Evolution to the masses via their worldwide hit, "Whip It."
Sadly, most people only remember Devo for those two songs (plus "Jocko Homo," which most folks don't know by title - they just remember the chorus of "Are we not men?/We are Devo/Are we not men?/D-E-V-O"), and in mainstream history they have been relegated to novelty-band status. Even though they never again hit the charts, Devo recorded several excellent albums, as well as a few toward the end of the 1980's that might have been better left unreleased. After taking a hiatus following the Smooth Noodle Maps LP in 1990, Devo reunited a few years back to tour. They have even begun recording again, with their first album of new material in two decades, Fresh, set for a 2010 release.
Devo's influence on contemporaries and on those who came after can hardly be overstated: they helped to pioneer the music video, especially the long video format, via their 1974 production In the Beginning Was the End: The Truth About De-Evolution; they staked out early synthesizer territory from the start and continued to use electronic instruments in new ways throughout their career; they have been the direct impetus for two sequel bands: Dev2.0, an all-kid band; and DEVA, a female-fronted take on the Spudboys' music. Not a bad run for a band of art-school geeks who have been going since 1973, always looking and sounding quite unlike anyone else.
In his request, Luke wrote, "Devo will always be the new wave kings for me." You're not alone in that, Luke - we're ALL Devo! Here they are as the current entry in NW4NW All Request Month performing "Secret Agent Man" from The Truth About De-Evolution (try to ignore the goofy kid intro-ing the clip):
I am continually thankful for my Family and Friends, and the love, support, and friendship you all bring. Whether we get to talk daily or whether we rarely communicate outside of the occasional email, whether you are part of my Family, or I know you through Visions Marketing Services, online, or wherever, know that you and yours are in my thoughts this Thanksgiving. If you are traveling this weekend, please be safe. May your Thanksgiving be a happy one indeed!
[All throughout the month of November, all NW4NW entries are based on requests made by you, dear readers. Because of the amount of requests received, there will often be more than one entry per week during this month - I recommend signing up for email alerts on the left-hand side of the screen so that you don't miss any of the fun!]
Gayle Fedele, who authors the always entertaining snapshot-of-life blog mom 3 crazy girls, has been a very good friend since our days as undergrads at the University of Richmond, where we became "big brother" and "little sister" to one another through my fraternity, KA. One of Gayle's most endearing qualities is her sometimes dry but often mischievous sense of humor, which is apparent in the exchange we had on Facebook regarding her *ahem* request:
As you can see by my closing admonition, I knew immediately that I would have to figure a way to appropriately respond to this request. I determined there to be only three possible ways to do so:
1. Do a completely straight NW4NW entry, completely ignoring the fact that neither band she asked for have anything remotely to do with New Wave or Punk. Now - confession time - I could do that for ABBA because I actually do like some of their songs: "S.O.S." is one of the catchiest songs ever written. Also, Agnetha and Frida's tendency towards miniskirts is a major plus for the band in my book. But, there is no way I could bring myself to write about Air Supply without tasting bile. Their wimpy soft-rock is, to me, the very antithesis of what music should be. I also imagined the backlash from other readers if I were to write a straightforward post about either band, and quickly decided this was not going to be an option.
2. Write up what appeared to be a straightforward NW4NW entry, but was actually a "rickroll." Don't ask me why, but I always thought the whole rickrolling meme was funny - you expect one thing, but instead get this awful, cheesy '80s video of one of the more insipid songs ever written, and hilarity ensues. But, rickrolling had its moment in the sun and is now kind of passé. If this were 2007, maybe I'd go with this option; since it's almost 2010, I voted against it.
3. Find appropriate cover versions of each band's songs to post, thereby filling Gayle's request while maintaining the integrity of the NW4NW series. Aha! Here was my out of this jam! I knew that there were plenty of excellent covers of ABBA tunes, but I didn't know if I'd be able to find any for Air Supply. As luck would have it, I did find an exceedingly rare Air Supply cover!
So, for my little sister, Gayle, I present the newest entries in NW4NW All Request Month: First, psychedelic power-pop punks Redd Kross covering ABBA's "Dancing Queen;" and then, very rare footage of Blondie performing Air Supply's "All Out of Love!" Hope you enjoy these, Gayle, and thanks for your request!
[All throughout the month of November, all NW4NW entries are based on requests made by you, dear readers. Because of the amount of requests received, there will often be more than one entry per week during this month - I recommend signing up for email alerts on the left-hand side of the screen so that you don't miss any of the fun!]
NW4NW All Request Month continues with our first "repeat performance." When Tom Quinn submitted his request for The Plastics, I replied that it was a fantastic choice! So good of a choice, in fact, that I had already done an entry on them - in fact, they were the very first entry in the series! So, I gave Tom the choice - either he could pick another band, or we'd make them not only the first band covered in the series, but also the first band repeated in the series.
"Go ahead and replay the Plastics." Tom wrote. "They are worthy."
Indeed they are, Tom. Indeed they are! No need to rewrite background info - you can read the original post here, or check out their MySpace page . Instead, here's a variety of Plastics clips to enjoy, including "Copy," "Good," and "Peace":
Now then, didn't they make you smile? Thanks, Tom, for a great request!
(By the way, Tom makes some music himself, as one half of The Mud Pie Sun. Check out their site and their music, especially their cover of X-Ray Spex's classic "Germ Free Adolescents" - great stuff!)
[All throughout the month of November, all NW4NW entries are based on requests made by you, dear readers. Because of the amount of requests received, there will often be more than one entry per week during this month - I recommend signing up for email alerts on the left-hand side of the screen so that you don't miss any of the fun!]
NW4NW All Request Month has hit the halfway mark! My thanks again to all of you who have contributed - many great choices already posted, and many more to come before we're done! We kick off the second half with a request from Jay Sweeney, who asked for what is, to this point, the most recent band to make the NW4NW series.
A fresh blast of musical ideas came out of Boston in the mid-1980s via Charles Thompson IV's band. Along with his University of Massachusetts Amherst roommate, Joey Santiago, Charles began writing songs and creating a band who would become one of the most influential acts on the blossoming college rock/indie scene of the late '80s and early '90s. Charles changed his name to Black Francis, and he and Joey posted an ad looking to hire a bass player who enjoyed both Peter, Paul & Mary and Hüsker Dü. Exactly one person responded to the ad, and even though Kim Deal showed up without a bass guitar (and had never played one before), she was in the band. The addition of drummer David Lovering completed the group, who initially called themselves Pixies in Panoply.
Soon enough, the name was shortened to The Pixies, and before long Francis' choppy, shrieking, aggressive music and Deal's poppier-yet-still-askew melodies were gaining a lot of interest. An initial salvo of three records between 1987 and 1989, Come On Pilgrim, Surfer Rosa, and Doolittle, traced the bands ascension to underground icon status. Juxtaposing loud-and-scratchy with soft-and-gentle years before Nirvana smelled the teen spirit, their sound was startling different from just about everyone else making records at the time. Indeed, Kurt Cobain cited The Pixies as a strong influence on Nirvana's sound; it's hard to imagine much of the 1990s grunge/alternative sound existing without the first three Pixies' records having been recorded.
The Pixies continued on into the '90s themselves, but the working relationship between Francis and Deal soured quickly. Both began exploring side projects: Black Francis underwent another name change, becoming Frank Black and releasing some excellent solo records; Kim Deal formed The Breeders with her sister Kelley Deal and Tanya Donnelly of The Throwing Muses and recorded some fantastic material. But they frankly just didn't like each other very much, and the fractures showed on subsequent Pixies records. In 1993, Francis dissolved the band.
Because their rabid fan base demanded it, The Pixies reunited around 2005 and played intermittently over the next two or three years before splintering again, having not recorded any new material.
Jay's specific request was for one of The Pixies finest songs, the wonderful "Where Is My Mind?" from the must-have Surfer Rosa album. Not only a great song, "Where Is My Mind?" is also an excellent representation of the The Pixies basic sound: electric and acoustic guitars clashing in a scratchy melody, Black Francis howling out alienated image-heavy lyrics, Kim Deal keeping whole thing from careening off into an atonal mess. And so, I present it here as the current NW4NW All Request Month entry. Thank you for this pick, Jay - good choice!
[All throughout the month of November, all NW4NW entries will be based on requests made by you, dear readers. Because of the amount of requests coming in, there will often be more than one entry per week during this month - I recommend signing up for email alerts on the left-hand side of the screen so that you don't miss any of the fun! If you wish to make a request, you may do so either in the comments section of this post, or on Twitter by tweeting your request to @berutt. Don't be shy - tell me what band you want to see featured!]
Had to smile when I read Patrick Foltz's request, if only because it brought to mind one of the greatest stage names for any band member ever: Fee Waybill (who will forever, in my mind, be battling it out for the "Greatest Name" crown with the keyboard player from The Producers, Wayne Famous.)
It was in 1969 that John Waldo Waybill changed his name to Fee and began assembling a troupe of musicians/performers to create the band that would become The Tubes. With as much focus on their stage show as there was on their music, The Tubes took a little bit from Alice Cooper, a little bit from the emerging UK Glam scene, a little bit from the New York city underground, and created something that was always interesting if somewhat uneven in quality. Over the years since their debut album was released in 1975, The Tubes have hit some incredible highs, but have also bottomed out more than once with crap that should probably have been left in recording studio waste basket.
Still, when they were on the mark, few bands could touch them. Their first splash was the epic six-and-a-half minute single from their self-titled debut album, "White Punks On Dope." A searing parody of the mid-70s rich suburban rock-n-roll kid, it's an awesome record for its time - one of the last gasps of clever rock and roll before the disco malaise set in.
Over the second half of the 1970s, The Tubes released three more studio albums, a live album, and a thoroughly unnecessary "best of" - unnecessarily because beyond "White Punks On Dope" and 1979's stab at radio acceptance, "Prime Time," the rest of their output ranged from poor to mediocre.
By 1981 they found a new record label (Capitol), and had tapped into the New Wave market. They released The Completion Backward Principle, which contains their finest moments: "Sushi Girl" and "Talk To Ya Later" remain staples of New Wave retrospective compilations to this day, and with good reason - both are great songs filled with witty lyrics and classic pop hooks. The album also saw the first Tubes visit to the American Top 40, with the ballad "Don't Want To Wait Anymore" reaching #35.
Two years later The Tubes would have their biggest hit, 1983's "She's A Beauty," which cracked the American Top Ten. Reverting more to their '70s foundation, but with a clear '80s sound, the song guaranteed The Tubes a permanent slot on classic rock formatted radio playlists for eternity. A follow-up album bombed miserably, and The Tubes called it a day.
Patrick specifically asked for the "She's A Beauty" video, and so I am happy to provide it here as the current entry in NW4NW All Request Month - thank you for your request! I'm also including the video for the wonderful "Talk To Ya Later," my favorite Tubes song by far:
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