EDITOIl • """ISH!!Il : lEONAIIO A81!J'MSIXIECUTIVE EDlTOIl: IIICHAAO FAM:JNA

ASSOCIA~ l"U8I.ISHEII:CUESU -MONIOVE llNOSfT

AOVIIITI$I NG DlIIEClOll : MiNOT STEVlNSON

AliT D1I1ICTOfI : fllCll f OfJ)

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CONTllIMlTlNG EDITORS:Ett DAlITON . TONY HEl&E~G.1I1AN l.AIAUOl,

C()()I(IE HUEU.I~ . GUNN O·IlRIt:NCOHTfllaUT1NG .,IUTEIlS

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CIIlCULAT IQN DIIlECTOIl : f'Hll 1l'PO STEWA~T

'Il'NTlNG CO NS ULTANT: lANNES KENFIElD

CONSUl..TANT T O TI1E ' UauSH EIl : DANIEL lIST, 1l0 I1DT ION DIAECT OfI : AlA N lUSH

I"IlOHOT IO NS CON SULTANT , DENISWRIG...TI'1IOD UCTtON CONSULTANT , I1ICKoO.EI. TUCKE~

"'CII. v. Nun-<- ) 6

-rr-s AU. TIIUE­,.Sl I'TI I181k. 1981,

EAST VILLAGE E YE SEPTEMBER 03

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••••••••••••11· the citizenry. Aquino apparent lyeither thought he could manage(he wore a bulletproof "CSt forthe occasion). thought he wouldhave rime:' to accomplish somethings before his death . orpreferred manydom at home toa life in exile.

Time Magazine reported onlythe offica l Marcos reginme's ac­COUnt : Ihat witnesses only sawAquino being led from theplane. heard shots fired. anddebarked to find Aquino deadfrom gunshot wounds to thehead. and another body incustodian's clothing. riddledwith bullets. The Marcos regimecouldn' t explain why an assassinmight have- such easy access tothe landing strip. The DefenseMinister suggested that one ofthe "hotheaded young guards"might have heard Man.'OS ravingabout Aquino and taken it intohis own hands to act. (This in­cidenta lly is the same argumentAdolf Eichmann gave in defenseof Hillcf.)

The television camerds cover­ing Aquino's return swerved JUStat the moment before the assas­sination. But there was anotheraccount . one completelv ignored

please turn page

EDITOR'S­NOTE" Law No more"?

Democracy has a naturalbeauty. We agree to disagree:the majority elects a leader. andthen all of us, winners andlosers. voters and non-voters,aduhs and minors. acquiesce totbe rules and close rinks behindour representative. Wherever hegoes. whatever he does. we arebehind him. giving weight to hisdeciso rs . contributing the pro­

-ducts of our labor, and ourblood if necessary. as the law rc­quires. But mose importantly wedeliverOUt acquiescence. ourmoral force.

This is the system. the verycivilized system that . in homageto its beauty we have sought soavidly to export to all the comersof the world. in some lands. par­ticularly those we ruled aspro­rectors. such as the Philippines.we taught it as assiduously as wedid baseball and Chrisrianiry. Soit comes as no surprise thatBengino S. Aquino. th e chiefPhilippin e opposition leader.chose the United States to liveduring his three years of self­exile from his home. where hefeared for his life under the dic­tatorship of Ferdinand Marcos.

. And neither is it surprising thathe decided to return . thoughMarcos personally warned himthat his life was in dangerbecauseof the enemies Aquinobad supposedly acquired amooJ

,

COVER:

".

10 stare the overlooked- to bringsomeone or something to allen­lion that everyone else has runpast or never found . lr's a sin.10

waste.3)This brings us to our host.

the Lower East Side. with whichwe strive for symbiosis. Fortunate­Iy our neighborhood is blessedwith a truly beautiful and diverselife force. helping tbe Eye to be atonce an international and a corn­muniey newspaper. Unfortunately.our pan of town has had morethan its share of tough breaks inirs lon~ history. Always a neigh­borhood in transition. in the pastfew years its historical role as asource of low- and moderate­income housing has come underattack by those who believe one' sborne should be treated as any

. other commodity in a free-marketeconomy-sold to the highestbidder. Of COUDe. circumStanceshave conspired as well, and manymiddle-income newcomers. des­perate for housing. are beingcaught in the crossfire. Th is willhappen whenever a neighborhoodgars from bust to boom. as thisone has. .

The Eye for one, however. doesnot exist to follow the dictates ofthe market. We are of the opin­ion that people's needs are thestarting point for discussion of realestate. and that a landlord 's busi­ness is to provide proper housingat I ~as t as much as it is to managean mvesrrnem.

4) Similarly . our business re­garding this and other pertinent 'topics concerning the neighbor­hood. the cilY and beyond. is totell you what's going on. andwhat people think about it.

Some people don 't think that 'simportant. We do.

Incidentally. when we say "It 'sall true" . please no te that it hasnothing 10 do with the accuracy ofwhar we print. It means that theworld around us is~I, and theeverything existing does so forsome reason . We mean to stressthe acknowledgement of reality intoto as the only hope forundemanding it.

2)This is what PositivistFuturism means in 198; :

We believe you have to put afresh face on-e-sure. any minutethe game may end, the face maycome slipping off amid and un- .seasonable firestorm . but youcould just as will be walking downthe street and get hit by a bus.That is to say. the Eye acknowl­edges deat,,! but stands for life.uncertain as it is. We'd rather ac­cenruate the positive, look forclues, talk to people who havesomething to add-,« new ap­proach. a recently discovered setof facts. a personal fixation newlybrought to fruition. h .nd we like

SEPTEMBER

PUBLISHER'S NOTEThat's rhe way we pUI it in

EVE ·2. June. 1979. Apparentlynot everyone bought rhat issue. aspeople sometimes still ask. " whatis this Eye about . anyway?"

Though we like 10 keep aSphinx-like quality about the Eye,today's marketing environmentdemands instant cognizance ofproducts. or at least the illusion ofsuch. And so. to reinforce ourmyths. let us say:

t )The Eye is the mont hly paperby and about upstarts. We likepeople who make their statementfirst and worry about the conse­quences later. because we preferinformation to packaging. As youmay notice. we re sprucing up theoverall look. But the Eye willalways exist to be read.

L: IItttinl Koslet' 01 Ma~riJ

R: Liquid Sky'S Anne Carlisle ~

Clo1hes b., Paul MonroePholo by Chines Reilty SVLVIA. FALCON

CONTENTS _ ? ~ . . ~oSr~:~:;kl ~ord ________ 4------ .----- 5

. ~---~-'l'---·n Luther King byail/Mullen . . . . . . . . . . . . .---------iii"ws Rememberrng Dr.M8~~ hters 1h .-ilrlnJl:S casllb)'spencer RlI~5er •. - .•• •..• •. .. . •..' •.. • 6New Africa Freedom 19 . . . . . . . . . . . . . . . . . . . 9-15~h bys pence' Rums, y . . . . . . . . . . . . . . . . . . . . . . . . . . . . • • . • . . . . 16 .

F~ . I th"nod.signerSby Sidney Klftg . . . • . . . . . •• . • •• •• • . . . . . . ' , 8ES F nlcn f ocUS one 0 I . . . . . . • . .

FEATUR as I . P Collie' schorr . . . . . . . . . . . . . . . . .. ~ . . . •• . .. . . . . . .Eye Out Fas hIon newS by . lIon b, James Marsha ll . . . . . . . . . . . ' . . . , . 19

, I. tesl lncarna . r . • • • . • • • • • • 21Beast Srran Gregory s I nOprolllS' lnlerVlewed by Rob Urle . . . . . . . . • . . .. . . • • • .... . 32F I Prophe ts on mus ca ' . . '

a s.e . . . edby Winston Robinson . . . . . . . . . • .. • .... . .. . . . . . .. 35Fonzi Thornton intervIeW min R,mlrez Harwood , . . . . . . . . •.. , .

Lady Pink & Jenny Holzer b, L" Y.·u"O'Sk' Int.rvlewed br T.Milchell . . . . . . . • . . . ••....... 36d ' ecror O .

Slava Tsukerman It Ilh Mlndr Stevenson . . . . . . . . . . . . . . . 22D.A. Pennebaker L~Ok lng b'Ck;ekerd~ br Imln Lababedl &others .: ' ~';i~a~ ' " '. " '. '. '. : 26

COLUMNS leetls ~~~~:~~~~~~l~ao~~umalhatdCore : y=~.~:e:h~:~:a/:~I~I: Morra : : :~~~re H n Musical Re spOnse r 8' .... .. . ...... •' - . • . . . .• 29

DIS C Dawta & uma d b J .mas Marshalf . . . . . . . .- Unde rgroun r . ', . . . . . . • • 45Th e Real Amencan . , nair byCookie Mue"er . . . . . . . . . . . . . . . . _ . _ .DoCtor Mueller Brief I IP~ ' lr:mGlenn O'Brien ' _ 24-25Th e sportster- PlarYBa . r . , , .., , . , . 28

DE~AATMENTS Ce nterfold JOhn~eJ[bYhlm:~~d·s~;e;~. e~I~ ·Da 'ton. SYl vi'Falcon .&Car 'o . : : : : : : : : . _ 38r Art b, Edward Rubin. Walter I - . . . . . . • 39

b Mary Allen . . . . . • • • . • • 41Film Films old and new Y _ : .. _ .Pe rforma nce by Jody Obertefde, . . . . 'd' . -~ ~ flizabe lh Royle - . .. . . .. . . • . • , . : •• .... . 42·43

W ·chselbaum. Cia' An tew - ' . 42Books byLehman el Ctawtord & JimMoisan - . . . . ' . . ' .C rtoons byFlick Ford. J.C. & CarloMcCormick. ... , 'S:eferred Listings ediled bySpence, Rumsey

EAST VILLAGE E YE SEPTEMBER 04

Remel1Jbering Dr.KingBy BilL MULI:EN

In many ways Martin Lut her King Jr . wasthe lea st likely 01 the black civil r ightsleaders 01 Ihe 19605 10 lead that historicc rusade. Many were angrier . others moredaring , and all to varying degrees were morecomforta ble, w ith the word Kin g himselflater used to descr ibe th ose tu rbulent years- revo luti on. -

What was to become a mome ntous careerbegan mcoesuv in 1949 wh en Ki ng en teredCrozen Theo logical Seminary to begin whathe called " an intellectu al quest for th eeu mtn auon of so cial evil. " Thoreau.Reinhold Niebuh r an d the apostles wereamong King's Inspiratio ns in tne c rczeoyears . La ter at Boston University as a Ph.D.studen t in philosophy , King immersedhimseU in Waller aaoscneobcscn's " Soc ia lGospel." King became convinced th at " evilis a result 01 an insullicience 0 1 education ,and the eacrsms 0 1 c lass or caste.' At B,U.he nearly married a white cooed, He wasdissuaded at the last moment by fr iend swho perc eived what King d id not: the poten­na tant agonism at that t ime toward a mixed­couple in th e hub. of a Typically rac is tAmer ican ci Ty.

Eventually King came to Gandh i and hisSatyagraha . King devoured ' hat work, th ensix others by the Ind ian leader, while crack­ing the closed text of his ow n tut ure. later,' he Satyagraha 's ten s. ec e 01 passiveresi stance would be adopted by King tneprotest leader , al though he amended stepsn ine and l en Iha t had cal led l o r theestabli shment o f an alternate and lndepen­dent govern ment in the lace of tyrann y,

In 1954 Kin3 gol a cnan ce tcprecuce whato thers had prea ched. Rosa Parks. an elderlyblack Birmingham, Alabama woman on herway to market. refused to ride in the back ofI he bus and was arrest ed , Several hours at­te rweroe the now Reverend King rece ived apho ne ca ll f rom bl ac k Birmi ngham cor­league Fred Shutt leworth. " I need help ,"Shu lt leworth sai d. and King complied. Lesstha n a yea r later , a fter Parks was sue­cesstcuv de fend ed. sc hool segrega lion wasst ruck down in Birmingh am.

King 'S rol e in this im portant vict ory wascrucial and his reput ati on qu ickly spreadamong blacks. who hetped name him pres i­den t of the Southern Christian leadershipConference. In April. 1963 , King wa s back inBir m ingham-thi s l ime in jai l etJphoricand strong in the wake 01 successful non ­vio len t demons trations against local Publ icsetew Commissione r Bull Connor. " Weproved th at we possessed the most tor ­midable weapo n of all - convict ion Il'!al wewer e ri ght ." Kin g wrote as par t o f hi sgreat est si ngle tract . " A Letter From a Bir · ·

mi ngham Ja il ." The le tter shows King 'swri ting and spiri t at the heigh t o f his eto­cuence. and contams the kernel o f hi st ranscenden t " I Have a Dream " speechdelivered tou r months late' in washing ton .D.C. .

In the 20 year s since th at soeecn. tne manto whom violence was as " abhorrent aseati ng another ma n's lI esh ." and who be­li eved. almost blindly , in me " consc ience 01I he grea t major it y ," has a tta ine d nearm yt h ica l st a tus . King,' s m ind and con ­science were one. The hi st ory of human­kind, he fel t , was on an Heg elian roll towardIh e ultimate good I' people would on lyfoll ow a " Irue pac it ism " he defined as " aco urageous co nfrontation 01 evil by thepower 0 1 love."

Po liticall y. King 's agape t rans la ted Intoan astonis hing fa ith in democratic tnsti tu­uon s and a suspicion of ideas and motivesoutside 01 God's natural law s (i.e.. free en­lerpr ise). He ecvocatee b lack voting blocs 'l or change wi thin tne twc-cartv svstem . reolec t ing Mar xist s wHh their " false assump­tions and evil methods" and Malcolm x'sBlack Muslims for thelr " str ange dream 0 1abla ck na tion " and , l or King . regress ive

. hos tili ties .In th e lega cy 0 1 b lack leadership King

st ands far c los er to Boo ker 1. Washin gtooand his philos op hy 01 bla ck probity than to

• W.E.B. DuBois ' "talented tenth" 01 MarcusGarvey 's separat e black nati onali sm . Kingvision wa s urs t and foremost Chris tian. Heenvi sioned a ll the possibilit ies lor th eAmerican bl ack that his 'conscience wouldallow. His personal ta sk wa s to urst tu rnblacks to ward Ihe doorway . then gently givethem the confidence to open il them selves.Kin g fe lt he had par tly succeeded when hefor esaw his dea th si x months belore it camein 1968. During Ih is last period he fough trelen tlessly aga inst our involvemen t in Vie l ­nam. despi te dep ress ion. frustrat ion . fear.and crit ic ism from his pee rs that he'd losthis direc t ion as a civil rlghls leader.

l ong after hi s assa ss ina tion, King 'sspi ri t , as evid enced la st month, is st ill w ithu s. The m assive march on Was h in gl o nreminded us tnat King 's message has beencri t icall y weakened in the Age of Reagan.Accor ding to biogr apher Dav id l ewis. a keymoment came in King's li fe when as a youngphilosopher and strategist he rejected Rein­ho ld N ie buh r ' s not ion that p a ss iveres i s t an ce is an effecti ve strategy forchange only w hen the oppressor sy m ­path izes w ith the nObility o f the oppressed .With his us ual confidence King made thecrucial dec ision that. gi ven the option , whi teAmerica would foot it s portion 01 th e bill forsocial progress. It w ill be th e great iragedy01our lime if society co nti nues 10 refuse.

,

EDITOR'S NOTEceonnced Irom preYlO!JS~

by America 's largest newsweekl y.AJapanese jou rna li st in the.employ of a m ajor news agencyreports seeing one o f the guardsSnoot Aquino point blank . kill ­ing him instantly , Then a vanpulled up. a ITl2.n was tossed OUl

and shot to death . A qu ino'sbody was thrown in the van.several security guards ju m pedin . and the van sped off. In­cidental to these even ts is Presi­dent Reagan's scheduled trip to

. the Philippines to confer wi thPresident M arcos, considered af rie nd and ally of the U n ited.States. Though it is in the prac­tice of nat ions to lower the levelsof dip lomat ic relations i t is

• d isp leased. with or worse. !heWhite House at this writing doesllOl intend to change i~ t ravelp lans,

"It's a tale that h as becomebanal f rom overuse by h istory.Bu t its clarity affords a terrifying- •Iy sim p le application. just as.asim i lar one d id for one of Dr.M oreau 's half-men. half-beastsin the movie.lJland 01the LostSouls. M oreau h ad given crea­t ions the Ten Commarrdinenrst o l ive by, b ut then convinced

one of them to murder some­one. When d iscovered by hisfell ows, who demanded of h im ." W hat is the law ?, " he replied ." I.3w no m ore. "

By actions and acq u iescence.Presiden ts M arcos and Reaganh ave ind icated that to them.murder is as valid a pol itical tool

. as is voting. By this logic. it'sokay (0 murd er Ronald Reagan.

A.nd iI 'S okay to murder Fer­dinand Marcos, " Law no more."

And to fo ll ow this logic. it's adamn good thing it's okay tomurder . because b y ou r politicalsystem , in which we com b ineour m oral force with that of ourleader, winner and loser . voterand nonvoter. adu lt and m inor.we have acquiesced to thismurder . and in a few days wewill be in M an il a. shak ing handsand exchanging the warmest ofwishes with our friend and al lyin the President ial palace.

A cyn ic would point out thatone who wishes 10 put him orherself on an eq ual foot ing withthose in power m ust "vote" inth e same way that they "vote."

O ne com m itted to the sanctityof li fe wou ld insist that theremust be a better way,

Benginc S. Aquino d id .

EAST VILLAGE EYE SEPTEMBER 05

legit imize that press by sayi ng we)'e giventhem an exclusive in terview and lhey mis­represent our answers to say that, " Yeah,we believe we shoul d have killed them " . . ." Yeah, we bel ieve i n rob bing bank s" ­withou t explain ing any background to that.then it sounds like we are murderers. crtmr­oars. terroris ts . etc.. whi ch is tota ll y untrue.It's a difference between reaching peopl eand helping our enemies to reach people.

Bilal Sunni·AIi : When people read what'ssaid in most 01 the press, they're getting thegovernment's view and the governmen l isputting out the image th at we're criminals,terrorists , Ihat we're bank robbers. Theirpurpose is to cnrrananze our movement.

Silvi a Baraldini: Whal's happening in themedia is not an acciden t. For eeamp'e , weknow that in 197a there was a counterinsur­gency confe rence in Puerto RJco by theheads of police of many dillerent co untries,inc luding Canada, the U.S., West German y,Uruguay. and one 01 the major poin ts theydiscussed was how to use the press to rso­late revol utionaries from thei r mass base.We do rely on progressive media that webelieve Is pr incipled enough to prin t wha t wetruly beli eve. l et people draw their own judg·ments and conclusions. The more we cancommunicate abou t what's going on, abo utwhy we're on trial , whey there is a ccn­spiracy on the part of the U.S. governemntagai ns t the New Afr ican ind ependencemovement , that beg ins to create a con­sciousness among peopl e tha t will causethem to ask ques t ions about the situatio n.Part 01 the suppression of thi s cas e has todo with the right 01 New Al rican people toseu.cetermtnancn. the right to struggle,andfrom my perspective . the right of wh ite ant t­imcerteuete 10 support the wag ing of armedstruggle. -

FBI'S WARAli : They're a lot 01 people around the

world who support nat ional liberat ion lorAfricans here In North America and say th.atour righ t to self -determination jnctcc es ln.dependence, la nd and self-governmen t ,right in the Black Belt South. In the FBI'sown Illes the re 's evide nce that lhe U.S.government is at war against the black na­tion for being organi zed for Independence.There 's a cons piracy on the part of thegovernment 10 disrupt any organizalion. anygroup of people that show the promise of be·ing ab le to orga niz e and ga tvin ize t hemasses 01btack people in America towardindependence and self-governmen t. Theyrecogn ize that the Black liberation Atm,.v isIn tact a fighting terce l ighting for people.That's why the government has gone to somuch pains to f ind out where they are. Atthis poi nt they have incarcerated about 17people in this build ing. About 12 are herenow but as part of their investi gat ion theyhave named about 42 peop le a s con­spi rators and cc-ccosnnatc-s. 'rney've gonewithIn our movement and with in organlza·tions that support our movement and namedpeople they feel are key forces In the move­ment, not people they necessarily feel wereinvolved In any viol ent act. They brin gcriminal charges against us in an attemortcput us in prison lor the res t of our lives. Hpeop le have fallen for the media tr ick that 'spart o f the government 's conspiracy. it willbe that much easier for the U.S. governmentto incriminate other people and make thedrag net wide r, not on ly to include our move­ment but to Incl ude every so-cane d Let tmovement.

Cecil Fer'guson: The governemn t is tryingto make it look like we're all pari of the samething . They're attacking everybody who'sever been aff ilia ted with any kind of revofu­tionary organization in the past. Originall y, Iwas arrested lor bank robbery (the Brinksholdup in Inwood. Long Island) but it wasfunn y because when tha t bank robbery hap­pened I was in jail so then the FBI fi nallydropped . I ain ' t a terror ist.

If the u_s. is, fascist -state, then why wastethe t ime and money on this tr ial?

Odlnga: That goes right to the core of thisna t ion . It has a lw ays be en t he. mosthypocrit ical nation that has ever existed. AtIhe same time they were fighting supposed­ly fOf their own lreedom and nati onhood ,

continued PJfIt 29

The quesllon 01 your tecucs has spli t thelett. Even someone on the Eye stafl askedwh y we shoul d give coverage to bankrobb ers .

Sekou Odinga: That's just acceptIng theqove rnment's line, me esteonsnrnenrs cost­ucn. It' s not our tacti cs. it 's our ideOlogicalJlne [mat's spli t them).The right wing . estab·usnmen t preeswru call the ki lling of armedsonnere "murder: ' and if they do rt. -ju sutt­eorencmtctoev-cor war if they-happen to beover in vietnam. 1I's not giving coverage tobank robbers. As we see it: we're soldiersand those who are suppor ting soldiers donot see themselves supporting bank rob .bers or terrorists.

Why did you tum down 60 Minutes?lsn'l anypublicity better th an none, especi, lIy t t\echane. to re.ch millions of viewers?

Odi nga: No. Negative pUblici ty that con­sclouSly distor ts wha t we are about helpsour enemies - by' that I mean the fascistUnll ed States Government - !o mlsrepre·sent our movement. They wou ld not agree toassure us that our answers to their ques·t ions would be accurately represented. If we

Ali , Edwsrd L Joseph, Silvia Bara/dini endll liana Robinson. Five defendan ts werecharged with palticipating in a consp iracythat included bank robbery , Brink s armo redcar holdups, tne escape of Joanne Chesi·mard. leader of the Black Liberation Army,from a New Jersey prison and the killing oftwo cops and two security guards . Robinsoni s charged with help ing two robbers escape.The me n ·are part of the New Afr ica in­dependence movement which wanlS to turnfive states 0' the Old South-what they call" the Blaell be"" -into a tree black nation .AI a bla ck power convention in March 1968,a provisional government was set up. Sincethen. several communit ies have sprung upin Mississipp i and elsewhere as the f irststep towards recognition. Bara ld ini 'belongsto the May 19th Communist organization, awh ite anti·imperiali st .group synpathetic tothe armed s,ruggle to create the homelandin the South. The tr ial las ted 21 weeks in theFederal District Court before the ;ury beganIts deliberat ions..

On Sep tember 3d. Seko u Od inga andSilvia 8ara ld in i were con vic ted of con ­spiracy and raCketeering: each face up to 40years impris onment. Edward L. Joseph andCec il Ferguson were convic ted as ec­cessories and face a possib le 12 1/2 yearseach. Bi/al Sunni-Ali and lIiana Robinsonwere 'ully acquitted. \

Meanwhile '} s ta te trial continues inGoshen. New York invo lving three otherdefendan ts (two lormer members of theWeather Underground) wi th links 10the NewAfrica movemen t. They are charged wit h the198 1 robbery Of an arm ored car in Nanueland ,he slaying of I Na Rockland countycops and a Brinks guard.

The defendants claim they are po litica lprisoners. Od inga call himself a prisoner ofwar. To ge' their side 0; the slory the Eyemet wit h Bilal Sunni·AIi , Cecil Ferguson.Oding a and Sil via Baraldini a' the FederalManha tfan Correctional Cen"ter, where theyare isolated ' rom other prisoners and arenot all owed to go abou l unesco rl ed. Guar~saccompanied me wit h walk ie·talk ies. open·ing steet doors by command ("Door No. 17open"'. When I fina lly reached the visit ors'reception room. a prisoner was mopping the1100r a' the warden 's request. apparently onmy behalf. The water fountain had been ..k icked in , ' hough supposedly to aI/owguards quick inspection for any cont rabandstashed there. My suspense mounted as Iwailed for the prisoners. Every transgres·stan I'd ever perpetrated - all those unpaidpa rking ticke's - flooded my memory. Iwondered if hidden behind the ceiting mlr­tors they had sensors to read minds. I wasput at ease by an att ractive prison guard, asing le woman from Brooklyn who confidedin me that the prisoners tended to treat herwith more respect than some of her tellowguards.

Suddenly behind the steel door at the te rend of the room I heard keys rattling andwalk,ie·talkies crackling. Then one by onethe defendants were led inside. We arrang­ed our chairs and began. (mmediately they' urned the table on me: who was I snd whyshould they tru st me to accurately reportwhat they had to say ? I laid out my creaeo­tials . hoping they 'd be pOlitically correc t.and knowing that the defendan's had turneddown repeated reque sts from 60 Minutes foran in terview.Their strength of will was ob·vious , their ph ysical presence impressive.ss if the ir political co n victions couldemanate from within. Surely, I would notwant 10 wind up on the ir wrong side. But, asNewsday co lumnist Murray Kempton onceobserved to me, " Armed robbery is a terr iblehabit to get into ; do it tong enough andsooner or later someone might gpt killed. "

Celeste·Monlque Lindsey

wou ld overthrow our polit ical system wi ththe same scrupulous legal care as we wouldhave lor less subve rs ive antagonist s. Atwha t point can civil war~said to exis t? Arewe all in dang er of losing our civil rightswhen we allow our government to make ex­ceptions of self-described revolu ti onaries?

Should gove rnmenlal seu-oerenee beheld to the same sta ndards as personal self­defense - in other words , should we de­mand that the Iedeeal government prove Incourt that II feared for its very existence

'before allow ing harrassment 01 extremepolit ical facl ions?Or are all these questionstoo theoretical to relate to the present case,and is the teoeeer governmenl correc t intreating these people as ordinary criminals,as any ctnee bank robber s who operatedt hrou gh a net wo rk of accomplices an~

h iends?Is t here a middle-ground between the

declaration of civil wa r and the absolu terefusal to consid er the mollves of these fn­dividuals? When a woma n pours- gaSOlinearound her sleeping husband's bed (to crteanother recent case), sets him on fire andlater tell s the judge that she did it in sen­defense because she was powerless to ex­tra ct herse lf from a re l a t~nsh ip whIch wasdestruct ive to her, In whrch she was beingabused and mist reated and when the juryf inds her " not guilty." in sucn a legal climateis it relevant 10 consider the ctalrns of thedefe ndants tha t they too are bound In a one­sided relat ionship in which they hold noneof the cards and out of whic h they see noway but th rough vrotencej r brs Is not to coo­done either the shooti ng of policemen or theroasti ng 01 husbands. Ou r inte res t In

~ presenting th is interview is not to win thereader to one side or the other.but to correc ta deficiency in the supply of infor mation onth is issue. to examine what drives people tosuch extreme ecucn s and also to examinewhy such anger exists. a li ll ie farther downMainstreet USA. a lillie past the video ar­cade an d jus t be fore the Indoor tenniscenter.

• By SPENCER RUMSEYNoth ing in our history as a nation has tOIn

this country apart more than slavery and itslegacy of racism. Riots, revolts and civil wafhave rocked our democracy to its roo ts .

Earlier this year, the federsl govelnmentbrough t ra cke teerin g chsrges agains tSekou Odinga, Cec!' Ferguson, Bftal Sunni·

THE

BRINKSDEFENDANTS

Silvl. SIf.ldin i. seko U odln9"

. I Sunni·AII,, . lel1 to right: Sll'

oel.nd.nts IrornFed, sr inkS ca~'son . t MCC,,nd C.cll Ferg,

The " Brinks " case, as II has come to beknown In the media, has once againbrought up quest ions and Issues whic h forthe pas t decade had been lying dormantbeneath the sur fac e of a body-building,crcrssent -eannq soc iety. The idea thatsomewh ere in the mids t of our mostly con .tented country there are people who are soembittered by the treatment they havereached at the hands 01 this maJorll y, socynclal abou t the possibili ty of anything tm­proving for them through the usua l chan­nels of legislation and ad jud ication thatthey feel the necessity of part ing ways withus, of seced ing from our Union both in themora l and the political sense throughviolent uprising, Is an kiea wh ich li rst cameto the allent ion ot most Amet'icans in thelate '60s. As a nation we were shocked and,tor a long l ime , refused . to believe it. Forthose of us who are today in our rnsc-to-tatetw enties, those days.came at a lime in ourlives when our pol itical interest probablylOOk a back seat to the more mundane wor­ries of early teenagehOOd.

Once again we are confronted wit h thesediffi cult Issues - Issues wh ich make usraise questions In our minds about the cor­relat ion between ou r political documentsand our act ions both et home and abroad .

The def endant s In thIs case wan t to locusat tent ion on their motivations rather than onthe narrower qu estIon of murder and robery.The Judge in the case repea tedly refused to

. allow the defendants to addr ess the courton these issues of historical racism aridconucat rrusti auoo. oecrertnq them to be ir·relevant. Instead the federal prosecu tor Int he cased d ec ided 10 t ry th em und erstatu tes origi nall y drafted to deal more er­fectively wilh organized cri me. The Idea 01being prosecuted as cri minals 01 such akind incenses an ese peo ple w ho seethem selves as revolut ionaries in the trecr­non of the Bolsheviks. The argumen ts theyuse are similar to those used by revere­t ionary groups in other democrat ic coun.

.trtes such as Ireland (arguments which, in·cidentally, would be useless In states suchas . Iran or Arge ntina). They want to betreated as prisoners of war, arguing thatthey consider themselves an indepef'ldentsta te within the state, and that people suchas police and securi ty guards are legitimatetargets for their guns since they are armedagenls of l he central power. ..

TheIssue for a democr acy such as ours iswhethe r we are, as a nation of law, ob ligedto treat those persons in our midst who

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smalle r. more sec tari an In These Times tramChicag o (also leeli ng the pin ch) may neverequal tne ci rculat ion of Appeal to Reason,which reached hal l a mi lli on weekly readerswi th lt s crackerbarre! soc iali sm a ra Kansas,making it the mos t success ful of the turn-ct .t he -ce nt ury Ie ttt s t pub li ca ti on s. Th eMasses. t he famou s rao tca t-ut eearvmagazine out o f Greenwich Vi ll age wit h ccn­tr ib utor s l ike John Reed, never reachedmore than 14,000 reade rs.

Truth and Sex

Gett ing Ihe word out to the oeopte c- ao ­ing ' or the matnstream-c-mat's the elusivedream of retus ts today. With that in mind ,Victor Navasky, edi tor 01 the t ta-veer-croNation, a smeu but rnuuenttaruberat week·ly, a pp ea re d in a se ri e s 0 1 nat to na tnewsp aper ads tout ing TV Guide back in1979 . Bost on 's Working Papers has justchanged us name to Mode rn Times and willbe out thi s fa ll wit h a new format and an am­bitious promot ion drive. But it will take amedia mirac le for to to approach tnecnccre­uon of Rolling Slone, which has resorted toce leb rity cheesecake to keep its aud ience.or the National Lampoon. which wou ld fallttat wnnout uts on its covers. That leavesthe men 's magazines to ~a rry on the mu ck·raking tradition 10 reach me broa dest read­ership. Playboy presents a yearly bat ch ofFirst Amendment awards but it stur use s sexto make a sale. And Penthouse's revelationsabou t who kil led JFK get lost in the vaseune.

Awas h w ith m i s in f or ma ti o n. truthbecomes relat ive. A wri ter at Time magazinecan pul his name to an article da telinedBangkok wi th out ever leaving h is a tr ­ccocrucoec off ice on the 26th l loor o f the'nme-t.ue Buil ding. To belie ve the tabloid s.JFK is recuperating at tne Hamptons andMaril yn Monr..oe's hai r has turned gray. Ofcourse, some Amer ica ns swea r Nixon wasframed. Senator Joe McCarthy was a hero.and the New York Times is a " commi e pinkorag:" No doubt they'd agree with FrankHague, mayor 01Jersey City for thirl y years :" You hear abOl,lt constitutional rigms. freespeec h and the free press . Every time I hearthese words I say to myself , 'That man is aRed!' , , , You never hear a real American talklike that.!"

.q tS, IDO ll-IIN KSPERM IS A 000D ID£.A, ­BUT HOW A RE You GOINGTo DisTRIB UTE IT ?

...--..-/... EEEJj[(,0« \ •"",)~,

Economic Warf areTo paraphrase KIssinger'S hero, Prusstan

mi lita ry strat eg ist Kar l von cteusewttz :" Economics is Ihe pract ice 01 po litics byother means." Under Reaganomics. 'socialspen din g has been cu t, environmental pro,grams shortchanged and defense spendinghas skyrocket ed. And the IRS' has gone ontne o ff ens ive to sil ence the largestlelt·wingoubncaucn in th is coun try , Mother Jones.Founded in 1976, the monthly magazine,~

publ ished in san Francisco by the scunoa­lion for Nat ional Progress, is now read byover half a mil lion peopte. Their investlg a·uve aructes have led to the Ford Pinto recau.the Nestle boyco tt and 3000 Oalkon IUDshield lawsu it s. The.lRS launched an auditin 1980. but since Reagan took over, it'sbeen trying to deny rne tas-esempt etetce otthe non-profit magazine , claiming that it'sunrelated to the educa tiona l purpos es 01the foundation, and thus, Mother Jo nesowes 5390.000 in back taxes,

" Genera lly we're not thai paran oid ," saidMother Jones pub lisher Robi n wotene r." but we 're co nvinced tha i it' s politicallymotiva ted ." The Na t iona l Geograp hic.anomer ooncrcut venture, made 523 mill ionin adver ti sin g last year but neither It. norHarper's, Ms. and Smithson ian, are underattack. " The only difference thai we can seeis that we are progressi ve - we challengethe sta tus quo: '

The tate New Yor k City co ngressma nBenjamin Rosenthal, then head 01the com­merce. Consumer an d Monet ary All ai r sSubcomm ittee 0 1the Commillee on Govern ·men t Oper ations. had launched an Invastl­gat ion of the IRS harassment before he diedof cancer earlier this year. In May 19th test t­many betcre the subco mm ittee. S. AtlenWinborne, Assis tan t Commiss ioner of thelAS for tax exempt organiza tions. admittedmat in Mother Jones' case , " Maybe we arecensors. We're not 100% oertect . . . H maynot be cleared up without liligat ion: ' So tarlegal fees have cost Mother Jones over "$125.000. It they have to la ke their case tothe Suprem e Court , it could run anomer$150.000.

" It makes me sick," admitted wotener.-we'u lose half a million dollars th is yearbut we'l l make it up with contributions 10 thefoundation." On the bright side. the ir clr­culation contin ues to grow , " We're feelingincredib"l y po wer f u l , " w ctaner s a id ,

C5 " There's been a great amount of suppor tI tram our readers and the pre ss: '~ Thirty years ago the Rosenbergs were ex­~ ecuted in a clima te o f hysteria tuereo by Ihe~ media . Even the New Yorh TImes refu sed 10> carry an ad on their behall despite the holes~ in the government's case. Only The c uer -

dian newsweekly, publi shed in New York bythe Inst itut e lor Independent Social Jcue­nalism. dared 10 print a d issenting view. Theclosest th ing to a nat ional ooo-secratten lef ·ttst newsoaoer. The Guard ian, is sufleringtooav. This summer it suspended weeklypublic ation to cut costs. Yet its fundraisingdr ives have not c losed the gap. so it mayhave 10 conti nue as a bl-w eekly for some/.lime to comb. Thus The Guardian and the:'-

By SPENC ER RUM SEY

1M.,. on IM.,a on "'e.,.Truth Oe'. Loa' ''',,'''' the Une.

Palnlul Postage" It reauv hur ts," sa id pub li s her Pal

Vander Meer , add ing that The Progressiveruns on a " bare bon es budg et. " " Wewcutc nt be making it wi thout the support 01our subscribers : ' The magazine has 12.()(X)subscr ibers out 0 1 it s ci rculation o f 5O,()(X).

Unable to promot e l tse tt like People, Time.Newsweek et . al., The Progressive depend supon direct mail dr ives using maitlng ns ts

. comp iled l rom political organizations andother ma gazines in traces. 0 1 course. thebiggest probl em lor ncn-c rout magazineslike The Progressive is that the pos t o ff icewants to make them pay and pay ,

" What they 're trying to do," explained' Vander Meer , " is bring the nnn-pro flt rates Inline wi1-ti the pro fit s." Four years ago therate was $32'$39 per thousand copies , Nowit' s gone up to $52, But the post office won ' tstop there - it wants to charge $114 perthousand starti ng next year , That will putmore pressure on subsc rib ers. as VanderMeer put it , " Phillip Morr is is never goin g toput an ad in The Progressive," Bur VanderMeer added, " I" s no t ius t the lef t that 's sut­lering. II's ext remel y d ifl icu/t l or anypolitical publication, right or ten." Acco r­

. ding ( 0 her, William Buchley 's Na tionalReview has a S6OO.ooo ceucn.me AmericanSpec ta tor lost $500.000 a cou ple 01 years ina row and even Norman POdhoretz 's ccm.mentary lost $150,000. " We're in the sameboat," she said.

FREE ,SPEECHISN'T .

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T-SHIRTS

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43 E. 7th St. N.Y.C.

EAST VILLAGE EYE SEPTEMBER 06

To mi llions of Americans " Free Speech"means tha t Mike Wallace can say whateverhe wants every Sunday night on CBS. war-

-- lace and his crew 01 60 Minutes men havebecome someol lhe mo st inf luential nwesu­ga t lve journali s ts in America . Thei r sal ariesalone surpass the edi torial budgets o f themost widely read muckrak ing magazines.Mother Jon es and The Progressive.

Unfortunately fo r the First Amendment,t hese corre spondents , all a p pare ntpar"gons of Objecti vity on wh ich ma nyAmerican s rely to tell th em what's wrongand what's ri gh t_with the wor ld are not tm­mune from pressu res to alter the new s tosu it the pol i t ica l vie ws 01 their patrons,hence their recent att empt to paint the Na ­tional Council 0 1 c ncrcnes red lor i rs antt­nuke . pro-peace work . That show. however.d id draw the most crtuce t lett ers the net­work prog ram has ever rece ived. But canyouim agine a muckraker li ke Ida M . Tarbelldenou ncing Standard Oil on prime time TV~ let alone PBS (the " Petro leum Bread ­cas t ing Sys tem " )? Or night ly commentarieson corporate corruption by Lincoln Ste ff ensor Upton Sinc lair? Nol very likel y, cons ider.ing that advertisers pay the bill and networknews depart ment s sti ll have to make a pro­fit. Free speech is an expensive proposition,

For The Progressive, free speech has cos tat leas t $250,000 in legal fees. The magazine(founded 75 years ag o by Wi sconsi n 's" Fight ing Bob" t as oueuel was sued by thegovernment following Ihe 1979 publica t ion01an article on how to build an H·Bomb bas­ed on info rmation found in a public library.The aumcr wanted 10 show the inadequacy0 1 pre sent arm s c a n t ro t ett o rt s anddemons tra te the true nature 01our nuclearper il. The sees. howev er. reacted like Iheproverbial ruler wno kil led the beare r the badnews bu t ig nored the message . Four yearsrater The Progressive is st ill pay ing ott itslegal defense fees though its First Amend·men t righ l s were upheld.

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SUSAN BALCUNASFashion. like art. can be

without boundaries:'simplythe oeeuvc soul meetingwith the hand. Fashion isalso a commercial venture.where the product isdesigned with a multiludeof persons taken into con­sideration. aspeers. criticsand costumers .

Des igners who haveopened shops and studiosin the East Village arebreaking tradit ion-r ~el

down by theindustry ofme .past. Designers such asBill8/ass. HalstonandYves St.Laurent su took the " pro­per" path. Starting at the­bottom of someone etse'sladder. they were trainedbysolid houses of Couture.

teosvs downtowrtdesigners are on tneit own.,And the result is more in­dividuality and less com­promise.

For this issue we chosesix designers who live andwork in downtown Manhat-tan. Their work incor­porales some of the new" looks" tor Fa /I: however.as you will see their mainconcern -is crcating slylesOf If]f)/r pwn, "Eafh d~signer

~"" ~i~ " haire t ·

Produced,and 'j",' "i"",..~style.d by Sid ~8Y King: rassisted by,P. CollierSchorr .

•

,. Q. Favorite color?

A. I don'l realty thinkon theline ofcolor atthe moment. but more towards hues, an at­tributeof color in btack, whiteorbrown. Takeany color and tone them in that manner andI'd probably love 't.Q. What is the point of your work?

A. To ofter a base 01 a styte. Myclothe$: atthemoment areabi sic: 'representation of the ;'"feelingof our time. I leel it' s myjob tocorrieup with the silhouette along with the colorsense and texlures (textures createdanywherefrom a weave toaprint). Those in:gredients alonemake mystatement. the restis up to Ihe weaver. My clients are very­creative people. whoI believe likemyclothes ...­becauseIhey canbe incorporated inlo theirown unique personalities. ~

Q. Favorite designers? ~I .~. ,:.-"" ~ .

A. Thr~u gh every.era there ' s alwa.ys that 7'f ,::O-Yo tt".~·~one deSIgner who s really the dlCta1or . ty~A~~ :)

They're thekingor queen lor a season or so. ,~l':They set tlfat season. They set that pendulum 0;.:

swinging toanew concept. There was CoCo·Chanel, Dior, MaryOuant,'Thierry Mug'er. Y,..viane Westwood . _ '. T~ey ·were the In­novators at present I would have,tosay it 'sstill VivianBWesiwood . She reilty Itt theflre:-- ll::i §H

under a lot 01designers ip london, Japan. '=~>

New York and Paris. Everywhere it happens,:,, """ :t;;sofast. and Iheseothertalents have taken tt~~ .it . ',t:" "';beyond her. •• . "k -, '.il!ll: .

. :;'~ " ~h\: .vQ. Is fashIOn an art·? ;. If rr. ~:' ~:..

A, It is a by-product 01 art ~ · '::?"'~

Q. What are YQur influences? ""\ .%A. Everything's an i n lluen ce . ·There '~ the­

obvious tashtan magazine . other designers.They 're right tnere in frontat your face. Youcan 't he lp but be influenced . You might gotowards it oraway from it. but It's abase tostart with . Then there's the subconscious in­fluences picked up through music, clubs.television. art. the streets and travel . It'smore abstract. l1 's an energy you absorb.

While wool coat handlaced with feather.handprinted by Sleven Hall. Gray woof andsilk coat dress withovercoat. andblack wooloveraffs and canvas boots all available atModern Girls. t69 Thompson SI.. Phone #533· 1022. Shoes from Capezio·s. 171 Mac­Dougal 51.

FOCUSON CLOTHING

DESIGNERS

EAST VILLAGE EYE SEPTEMBER 10

." '---------------

'.

PAUL MONROEQ. What is the point of your work?

A. The lip.D. Favorite designer?

A. Mandse shops In better malls.Q: Is fashion an art?

A. I don'I care what they dowith it just aslong as they buy it.O. Influences generally and now?

A. Fellini. Cunningham. Einstein. ListDo u gl a s e

Paul Monroe's work is availabfe atEinstein '5. Bendel 's. Evanana'5. Breakawayand J. Antonio's.

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JEFF KINTQ. Favorite color?

A. I have no fa vorite color. ! work withall colors .a. What is the point 01 your work?

A. To create elegant. unusual clothingthat' s both unique and yet accessible.

Q. Favorile designers?A. Zandra Rhodes.

Q. Is fas~ion an art?A. No. I don't believe so. Clothing

doesn't last. It' s made to be fun. to beworn out and thrown away. Classics infashion are boring.Q. What are your Influences?

A. I have no major influences. My work•-nas,developed out of the experience of the

t>< ,,~ work' itsell . Betng open ' and flexible . I 'm~7 not outlo con',althe world 01 fashion and it~rhaS nocontrol over ine:'llike my workvery

unique and "" s.nil. '~ ' "" •.. . ~ ~ ~ , " ""

Jeff Kint's handpamted silk dlesses are- av.a'ilab/ein ills-shOP at 1" W. Bway..-...Tops

alSo Dr Jeff Km!. • • ''f;J(ripR nan: flac.l' in Black.- •SII</fI$'li«n Pe/trftJ!l a 05 T_SOI> 51.'PtIilifeM3NI!43· •_, • o • •

EASf VIL LAGEEYE.SEPfEMBfR 12

EASP VillAGE EYE SEPTEMBER 13

EAST VIllAGE fYE SEPTEMBER 14

CREDIT LIST

JEFF KINT- Models Jane and Jude 01" TheAgencY." Hair andmakeupby NanxyTong:PILA RLlMOSNER-Models Elaineand Lisa01 " The Agency. " Hair and makeup byLinda Kamp of One"ofa Kind.

PAUL MONROE-Models Ann and Bettina& Alan. Hair and makeup by Nanxy Tong.

ULIA MORrONFavorjte color?. R' d.What Is the point of your work?, It 's mvventltater ., vorlte designer?la gerfeld .uences generally and now?

ans. their problems and potentials avaifable at: Einstein '5, 34 Ephone #318.9

SUSAN BALCUNAS-Elaine. Charmaineand Lisa 01 " The Agency. " Hair andmakeup by Linda Kamp.of On8 01a Kin .. """PRUDENCE MORIARTY -Mod" s Jill andFetish. Hair and makeup by Nanxy Tong.JULIA MORTON- Models Elaine. andLisa of " The Agency. ,. Hair and makeupfor Lisa by Linda Kamp of One 01 a Kind.Hair and makeup lor Elaine and A/an byNanxy Tong. Jewelry by Paul Monroe.

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•

.PRUDENCEMORIARTY

EAST VILLAGE EYE SEPTEMBER 15

Q. Influences, generally and now?A. I have no idea exactly what an outfit

will look like visually until it is finished . Igo and look at the fabrics . When I see goodfabric , that is what inspires me. I studiedindustrial design and I employ a sort of 2-Dengineering technique. I suppose I'm in­lIuenced by a general mood . I want to por­tray in the clothing like the Italian ,Mafiawidow look or strumpe11e of the month orwhatever .

Linen suits and dresses are all one of akinds and are available at fR' ERA EONEROS 151 AveA between 91h ano IOlh SI.Phone no.9B2-1959.

Jewelry designed by ROMP Lewis.Available'at Patricia Fields.

oubt about It:'Wfnter ts~mote lun. And winter allows lor less~reative license. less shredding. less tearsand no holes. If clothes look like they havebeen run through a bread slicer. then theyhave been-by thedesigner~Few will put aseisser. Ihrough a wool dress. _

-- Ttlough fall fashions are supposed tochange yearly . ' so that one throws outeveiything in the closet and starts··fresh•some things still remain the same. Hats tohave are Patricia Underwood's small brim­• black hilt with a contrasting coloredcN.lssgni@ribbon':" Norma Kamali 's Duckhunting cap: and aleather string head wrap ,""";'Ch,6ltt.'at. Patricia Fields. If o.ne does notttav'.....a lot 01 money for headgear. buy

"'-berets. motorcYt::1e and chau"eur's capsallin black wool. cotton and leather.Menswear for women is still being pu shedin,) he form of ba ggy suits belted and wornwjth suspenders. and layered s weaters.

- vests and blazers. ~~Althlugh thrift store dressing fias been

widely accepted as afashionable alternativeto new clothes , -there Is a whole crop 01" downtown'" designers trying to persuade ..'retro shoppers to stop dressing like thetf-:.,- ·parents. ....

~ _.. - ..1 '0 & I

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~'PrUdent8 MarlarJy and Pilar Umosner ofEA.ERA EROS fON puUagaUItr a ' how 3i

,llIcllx. · ...._taHIiIIt.~ :.,~'",..~i1:!'it. !.~ __, IIIstead they tllU<:h

~~""1:ones. Dresses. " ""-- ~

'. WIlli _arin '-S. forkloric .fa itt .rULara very costumey

• Jdress, M'to-the.walsf slits and te-~anels with a matching cape c'D:l .,:.+;~lat. They have redesigned the waistband: .'accentuating bett~ loops and creating a

'-" -.,Y'"';;pa· per bag waist wJthout having1I1egarmentseveral sizes too biG. The b.est piece is alarge lId'-_ w"rth a black stitchingshoulder tiM which falls just abQ'(e theelbOw. ' . ~ _,,;t'sll nd..."'lgazine . . rid~s it~et' 0(1 - ,

~, "VIsuals. put on ..'. to kick oft -its~~'Islan d Mig " thl no,y. :Giving new l'" - ' iT

meapift telm "fashion show,' ...~ d ale potato chips, .cut white""""11" pallO'and plasticbag set des ign,

. . ha.ada knives. •ndsmaked cigarettes..~. ,",.- Tn dlthes were .almost secondary to the

performance.. _ -. Tilt ,how tlllUl1ld dlslgllt1ly.Jlfane Brm.¥arie....Cavallo. Cristian·Kinth. Julia Cum-

~:iR", K.nsai, 'PJlar limosner. Prudence t:'!"f~ ,

Moriarty, Francesca Sterlacci and Alfredo .,.;.,~,'" Viloria , ~ 'i#" ' ' ;~ '

;. ,;J 'the clothes were -Very nice. The props .:;';;1!~1';and attitudes were' better.. Diane Brill is theone who takes'OId clothes, butchtrs themand then adCfs patent lea1 her to create anurban cowboy goes East'Village look. Kan·sai's the one w,ho designs great costumeswith his name usua&lr visible. which mosteanncf alf6fd to buy, 'and Julia Cumings~oe,s A,apanese-Iike 10ose,-fittlf\9' clothes",.~...

,~•.Jhe'-malorily of outlits were black-Ieathe .~ skirts with slits. capes. baggy -'abo~e-the­

ankle overalls and -assOAed other harmless" l OOk at me, 1'm a downtown star' .. ' ..ensembles. As fOf the rest-usa..,.our im.agination as It was obvious the d~Aers

.... did likewise.Oft t tte runway, Yves St. laurent will be - - ­

tAtie'ducing acigarette. In the samlt veilt~l •.Bill Blass's chocolates . and John Witz's ;.t .car , Y.S.L. is tryi.ng ,1,0aptIOfto I~O'•.What -\\-,want the name-/but have 'no ·use for the

. dress. Just a·guess, but the cigarette will.. probabty be very long and very black. Only ..

long ' Island mothers of ·five will smokethem. ' -

All Photos by lis. Louise Alt ..L'- -'.

,'.

'>. .~~ ~ . ,~;...~ 'il; P. CO~lIER SCHORR ' . \. \~ September has arrived . By now~ost

- everybody is sick to death 01 summerfashions. As awhole. people dressed com­mendably. But August has not been forgot·ten... The month of August produced a lot ofcranky people. and withgood r8asolt ,~Peo­pie were tired of wearing capri pants ....Teeshirts ' weren 't ,tuning 'I! anymort,,-fj@ ,dressing up . lik~laml.6., "'irand· .paren\J got old qUIck. t?-• Ttler,8 ~currld Methlng .af I fashienrebellion. Tbe I,DOk was hl!md. Acrass be­tween JapaneseJay.,t1;g and the easygoingstyle of th.~bag lady/man. invaded thestreets. Collars and sleeves of almost anygarment were surgically removed. Someweat as' far as to slam cab doors on thetail'01 their shirts to attain " natural tear" pat­terns. Headwraps became the rage. Forsome the ~ Iook was dressy, burlap a-la­VoguB•.hbuf others went "casual,""Sparesleeves and collars tied with shoe laces

~ made for very smart wraps . ...But worse things were in the making.

There were some people who chose not tolook like they livedon t~e slreet. Theywerefed up with Bermuda shorts. sandles,overalls and wearing five tank tops at atime. They began to dip into their fall war­d rob ~ . To \them a breeze meant an on­coming snowstorm', which meant cardigansweaters. leather pants and trench coats .

One could easily pick these people out.They were the ones who were nol dancing..nd t.~ It Itkt a 101 " cab• . And whodid these people think they were kiddingThey weren 't having agood time. they were~weating .rAnd was it worth .it? Are the fall

~; <lashions.r" app!aMng?,. ,

, ,

-

•

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EAST VILLAGE fYE SEPTEMBER 18

BRINGING OUT THE BEASTAll 'Photos by Daryl·Ann Saunders

By JAMES MARSHALLAlthough the ~i[oriol stoff of the Eye

believes thot Bryon Gregory is on inlerestir.gcharocter ond one worthy of coverage. wewould like to store beforehand [hot we do notsupport his point of view ond object 10 hisreferences to Charles Monson, Adolf Hi!ler,ond his comment about "im pregnat ing acow." These comments hove not been editedout in order to give a more complete per­sonality profile or a person who is truly "on~ edge. ,. Hopefully the readers of rhe Eyewill not think we ore glamorizing su~h pointsof view ond we hope you will be oble to seethot his position and attitudes ore not ad·mirable. - Eds.

In a world whe re " weird" is com­mon place . Br yan Grego r y . foundingmember of the Cramps. currently leadinga new hand Beast is a true eccentric. oneof those mystencos .c haracte rs like SydBarrar or Roky Erickson that peo ple loveto wonder about. What kind of man isbeh ind that (ace! I hadn 't seen Bryan inover four years prior to the interview buthe seems muc h th e same as always­serious about his career . po lit e . soft ­spoken and slightly confusing. Also prese-nwere t he other members of Beast -An­drella (vocals). Raven (syoth). Jinx (bass)and James (drums) who we re pretty quietand let Bryan do mo st of t~ talking.

Did somebody mention music? Having.rc make comparisons. l 'd say they sou ndlike the Choc o late Watchband, JeffersonAirplane and Siouxsie and the Banshees allon LSD , and all playing together in a windtunnel. They' re much t ighter. louder andwilder than their two singles would leadone to believe . Myself. I can' t wait for thevideo . Jim Marshall

Let's start with your history , YtlUst a r t e d out in a band called SquareBubble?

It was JUSt a garage band. I sang lead andplayed a little guitar . We played a lot ofcovers . It was just kids going crazy .

Then you were a roadie for theStooges? What year was that?

That must have been around ' 66, '67.Th at was when they were the PsychedelicStooges , they didn't do songs. Iggy didn'tsing lyricS, it was just noise and Iggy wouldscream and do acrobatics.

What were you doing betwe en thenand when you came to New York?

I impregnated a co w when I was I7 andgo t marri ed , so I did fact ory work for awhile and played the st raight dad. I did a lo to f t raveling. I played around a little with acouple of my friends as a three piece thatdidn' t r eOllly have a name . I'd JUSt put myguitar to my amp and listen .

We know about th e Cramps , so whathave you been doing between theCramps a nd Beast?

I fe lt Ineeded to re lax fo r a while . Iwe ntthrough a lot o f mental anguish.

How did you first hear the rumorthat y ou w ere d ead? ..

Nick Knox called me and asked if I wasauve.Beast onsf"ge al the F'&pperminlLounge 8112183

So what's this new band all about,what k ind of music do you call it?

I dunno , it ranges . We haven ' t playedthat many shows so we 're still in 'the.garage fo rm in a sense . Wc ' re not puristsin a sen se th at we love on ly American rock' n' roll , we can aU appreciat e all form s ofAmerican and British rock 'n ' roll . We allhave diverse tastes, it ranges from no wmusic to '60s stuff and we respec t eac ho thers ' tastes. We're writing songs so fastnow . at every rehearsal we come up withsomething new .

How did you come up with the nameB east?

We were the Bony Devils for a while.now that ' s ou r publishing company . Justsomething we thoug ht of o ne day- Beast .not The Beast .

. How did you pick San Francisco a s apl ace to live?

When I left the Cramps I we nt th rough 01

ne rvo us condition and I had to gc t awayfrom Ne w York fo r a while because mynerves were frazzled from tour ing, andthere were all these inner t roubles withthe band, and record company troubles,and as it turned out my last sho w was inCaliforn ia. and I stayed there for a while. Itried living in l.A. but '! didn't particularlylike it . I needed to see greenery and se reni ­ty . I was sur prised when the rest of theCramps moved to l.A.. t hey had saidth ey'd never move back to Ca liforniabec ause they didn't want to lose their dirt .I feel like that . I'm 01 real dirt man . It 's likethe paranoia o f coming back here . all thesefriends Iknow getting stabbed, and beat upand stuff.

Do you have any problems walkingaround the s t reets the way you look?

I think I can deal with .ll pretty easily. I fee llike I'm pr o tected . Angels love me .

How d o you fee l about all theseEnglish bands who ripped o ff yourlook a nd got famous? .-

Thank you, Jim. I'm glad so mebody rea­lized that . Sometimes it bothers me that Ihaven't gotten cre dit . I kno w I am theorigin for a lo t of th ings, and I see someband come along and ge t popular and I feellike I'm go ing to look like a copy of them .when it' s the other way around . But Igrew my hair long again, I'm sur e in three.years everyone will hOlVC long hair again. Idon 't know , I' m just looking forsome thing that means something.

How about all the black magic sym­bolism and stuff involved with thebandr

Idon't know if black magic is par t of ourmusic , but there 's spirits in this band .We ' re a spiritual band . it 's net re Ollly black.wh ite or grey .

Well , I don't know a n yt hing a bo ut it,but there 's lo t s of great stories abo utyou ,

I was just studying philosophy for y~rs,

it 's always been a personal inte rest of mine- compar ing different religions and philo­sophies and things. I'm sure they [theCramps} were Olfraid of what I was readingand my habits . I don't t hink I'm that evil.Ask th ese guys. Maybe I am.(No cnescvs onything. )

I don 't know, maybe I am Charles Man­son number two .

Have you ever felt like that?Yeah . I'm Hitler number three, I'm just

(whistlesJ. yeah, I'd like to blow the wholeworld up and start over . I do n't know howmany people think they' re G od . or wishth ey were but if I really could be I'd love.it .Any ideas can spre ad. can breed . like youcan breed a fashion . You can go to theRocky HOffor movie and see peo ple lookingfor a god. If I had total pow_er I'd like tosee 01 revolution happen th at woulddestroy our fathe rs' past .

Hitler?!Well, not Hitler in the sense tha t you're

probably thinking of. More like theBeartes. they were like gcdheads. you .know, " Lo ve, love , love .. ; " What amessage to spread, it was th e most

Seast, ftrom top to bottom' : James, AndreI/a.Jinx, Raw-en , nd Sry,," Grego ry

beautiful message . But I'd like to be able tospread an idea that wou ld co mpletelychange the wo rld. where young peoplewould sa y about polit icians and stuff," They're building bo mbs, and sta rt ingwars and we do n' t wan t tha t stuff ... ..and just get rid of them:

Woul you want to liv e in a Rood¥,brriortype of world?

We ll. it 's very savage and violent. but Isee that future coming up no matter what.I don't wont to se e that-if the lo ve 'gcnera tio n had happened and over thrownthe governmen t and if the who le worldwas like youth killing its fathers-but theycou ldn't destroy Times Square . you can' tget rid of the government-it's just tOObig. But if I can be Hit ler and get itdown- if the whole punk th ing had hap­pened. but they really didn' t do anything.Th ey'd say "fuck the quee n. " but theywo uldn' t go t ea r do wn BuckinghamPalace . Le t ' s kill all the fuckers. and thenlive free and be wild. I don 't know if punksreally want to live free .

What came out of punk and newwave was more rule s a nd regulationsa nd constipation than there ever wasbefore it , These nally coldmechanical attitudes , and reallycold , mechanical music to go with it.

, .~, .

Yeah . it ' s so co nfusing. I was all fordestroying big pop stars and long songs - Ihate that stuff too. I guess there's no wayaround it . I went through tOO many th ingswith the Cramps- it was like destroy . kill.hate . hate. hate . I finally said forget it . it'sallbullshit , like what you l ik~ , laugh at me if'you want. like me if you want to like me .You can' t be worrie d about it-so I'llplease twelve people instead o f 200 .

I heard you were go ing to hate usbecause you're like Lux Interior in thatyou 're such a puris t about rock 'n ' roll .I'm being honest.

I liked it because it was loud a nd w ildand fun to watch . You were a lo t d if­ferent than t he records led me tobelieve .It's trash. in the sense that it 's alwaysready to fall apar t , but it neve r does.

Just the way you look, y ou could bethe new Kiss,

Ihope so , Iwa nt money. Iwant to give itaway . I'd like to buy my daughter 01 housein the co untry before it 0111 goes to hell. Afew years of pea ce is alii want. Iwas Kiss inthe Cramps too . I co uld never be slick orpre-packaged like Kiss, but I th ink we 're avideo band . I really wan t to make videos .

Did you ever think of putting yourface in movies?

I'd love to be in a movie. W hen I firstlef t the Cra mps I tried to break into hor­ror movies in L.A. but Icouldn' t . Now fiveyears late r I co me back to New York andfind out John Waters is interested in me ,That was something I co uldn' t th ink of do­ing when I was in the C ramps. I couldn ' tget up and play with other bands just forfun , I couldn't say I liked the Beane s or theSex ' Ptsccls . I'd have to sit in my hotelroom with my ea r pressed to the speakerto h ea r t hi n gs th a t we re ne w .

How did you decide to cover aChocolate Watchband song as your~only cover?

I just hear -d it on the rad io in l.A. onceand loved t he song. I re Ollly love the lyr iCS.

I could never understand them.What's he say ing?

It took me months to figure them out .

So what's your message to the youthof America?

8eost (or peoc~ .

EASrvllLAGE fYE SEPTEMBER 19

FALSE PROPHETS: "WE'RE NOT...By ROB URIE

The Palse Prophets don't fit in . Wit h a sound some­where between punk a nd hardcore. a nd an image thatis all their ow n, they cha llenge a n audience to figureout just w ha t they a ft' doi ng.

About a month before I d id th is interv iew, I receiveda lette r from the Fa lse Prophets and other band s in­valved with the RO IR tape compilatio n "New Yo rkT ras h." The let ter s ta ted thai the bands had beenripped off by their producer Dave Hahn a nd askedwh at the press was gonna do about it. Neil Cooper ofReachout In ternatio nal Records (R.O.I.R,) says hedea ls mainly wi th producers and tha t it is their rcspo n­sibility to pay the ir ba nds . False Prophets sta ted clea rlytha t neither Cooper nor R.O.I.R. a re to blame . TimSommers (Hahn's ass ista n t o n prod uctio n and thewriter-of the liner not es for the cassette pack age ), wh encontacted by the Eye for a response a bou t these allege­tions. said he feels tha t he also was ta ken adva ntage ofby Hah n a nd wants nothing more to do with him . Hecla ims the o nly money he received wa s for his produc­tion wo rk a nd his a utho r's fee fo r the liner no tes. Hecla ims he was not awa re of the "thi rteen equal shares"aspec t of the contrac t in q uest io n and that at no timedid he sign a co ntrac t either w ith Da ve Hahn o r w ithR.O .I.R . T im told us that he had received very litt leroyal ty money from Hahn and that he is powerless tndo anyt hing abou t it. We have not been able to reachHahn who is alleged to be ou t of town right now .. For the pu rpose of cla rity, the ba nd members who

took pa rt .in th is interv iew have been iden tified as: S:Stepha n Ilelpi. P: Peter Ca mpbell; SW : Steve W ishnia;0: So nna Baril. T hey sing, p lay guita r. bass, a ndd rums respect ively. .

What are False Prophets about? Wha t a re yo ur ambi­lions? Wha t are you try ing to do?P: A mbiti o n is kind of a weird wor k to think abou t. Idon't th ink any of us think s us ourselves as ambitiou s.D: You just wa nt to express something .P : You love music. You grew up with something, Andin o rder fo r it not to turn into a nar coti c becau se yo ulove it so much you sta rt do ing it yourself. You just doevery thing day by day, ma rgin by ma rgin , so ng byso ng.5: We're trying to stay o ut o f the usua l NYC bandcatego ries . No t as a gesture but beca use that's the waywe are. If people say. "Wow, that sounds like Joy D ivi­sion," welf we've had these songs for years. I think"Consistent ba nds ar e the o nly type of bands that are go­ing 10 last half a dozen years or even be looked backupo n or remembe red. You can't go for that k ind ofplaying of a part icular genre of music just to gel peopleto dance or 10 smash themselves into eac h o ther,SW: Obvio usly, all of us wa nt to make a liv ing at ourmusic and q uit ou r day jobs.D: But we don't wa nt to sound plastic .SW: I'd like to be big, bu t I'd rat her make a bi~ impactthan a lo t of money.s: We ge t the messages a nd we sco re them. We don' tmak e music with the idea of how irs goi ng to go over

. on an aud ience.SW: If it doesn 't go ove r, yo u shou ld keep it toyo urself, You make-mu sic because yo u want to com­rnun icate to people. w hether it be an emo tio n, or asound . You ha ve to do it in a wa y that w ill reach peo­pie, even if it's something they don't want to hea r.You've go t to construct it in a way tha t sneaks into theirheads. We don't wan t to preac h to the a lread y co n­verted , And we don 't wa n t to just give the.pe ople wha tthey 've wa nted in the past, o r just what we think theywan t.5 : Like ret reads , A lot o f the very successful New 'rorkbands run o n a retread Itreadmill1 -Ed. JP: A big problem wi th New York bands is "retro."Hardcore is not ret ro . If you listen to the bea t tha t BadBrains, the Circle Jerks [or False Prophets Iare putt ingdow n, it's not re tro. That's wha t I do n't like abo ut theEast Village mu sic scene, I see too ma ny people try ingto recreate the past.S: A lso , they don 't come o ut a nd say exac tly wha t's on.their minds. Th ey don 't cut to the q uick like [lello IBiafra does.P: W ha t "scene" are you ta lking about?5: I guess I'm talking about "art" bands .SW: A lo t of people who a re ta lking a bout being crea ­tive a re just giving the illusion of being creative . Ifyou 're really creative yo u shut up about being so fuck ­ing creat ive a nd just do it ,P: Some of the ba nd s coming out of the SIN club a regood. Ha rdcore is going th ro ugh a difficult period rightnow . We went th rou gh a phase when hardcore was theon ly m usic that had any heart to it. All the so-called"art" ba nds struck me as very co ld and sterile, I haven'tseen too mu ch ba rdcore la tely tha t has really impressedme. ~

SW: The problem with New York is that all the

Fa/56 Prophels

"scenes" are very insular and they all hate each ot her,In eac h one there are good th ings but there's -a lo t ofdogs hlt too . I th ink a lot of hardcore is too insula r. It's

- just f~ding off itself an d craw ling up its ow n ass. O ut­side the East Village there a re a lot of grea t disco bands."Loo king for the Perfect Bea t," "T he Message," a nd"Planet Rock" arc some of the best reco rds of the lastfew yea rs.5 : T he worst is thai no club has a tas te for fo lk music. Idon't jus t mea n acoustic guitars. Rap a nd hardco re a ndreggae a re ways that we ca n be ourselves , It's down toea rth. We don't ha ve to pretend we're the mainstream .The thing with hardcor e is that it works o n too much ofa singula r emotio n, you kn ow - suburban ghetto, ur­ba n ghetto, We ha ve a song ca lled "Menta l Ghetto ."Th ey all o perate on getting ou t just one aggression .P: T im Somme r pUI it well: [groans from band ] har d­core band s o nly look toward o ther ha rdcore bands,whereas punk ba nds looked to o ther sources . In thatsense we're a punk band .SW: Pa rt of tha t is generational, though . People w hoplayed in a punk band in 1977 had th is whole musica l

.history to listen to , W ha t mainst ream rock has com ecut since '77-'78 tha t wasn 't corporateshit?5: Hardcore right now is very much keeping up w iththe Ioneses . You know, "my band ca n play faster thanyour band ," or "my ba nd has more po litics than you rba nd ." Not enough ba nds look to themselves ,P: A great thing about hardco re as opposed to allo ther so-ca lled "rock" is that it is conce rned with today.YVhen I listen to hardcore I feel like I a m listening tomu sic that is being created now , Tha t is very import ant

lISA HAUN

to me. Wh-en I was a little k id , "Sa tisfactio n" rea llytu rned me o n. It spo ke d irectly For w ha t was going onthen . I don't hear mu ch ot her music outside of ha rd­core that is spea king for this particu lar era. But w iththe po litics of hardco re wha t is-being expressed doesn'tcapture . . , the spirit. Th e sp iritua l world does exist.I'll give yo u an exa mp le: In Scand inavia they have aperfect socia list system, Th ey have "good" po litics a ndyet they have a n Incredibly high suicide rate , Ult ima te­ly th is aes thetic of har dcorc. a "political world ," is notthe who le wo rld , The o ther da y there was a march, noto nly in memo ry of Hiroshima , but of the fact that thereare already "advisors" in EI Sa lvador. The mar ch wasma rching in the ho t sun a nd getting rai ned on. Th emarch was a sma ll turno ut and not feeling disgustedabout it. Th e march was ha ving the group leader faintfrom heat exhaus tion three blocks from where we sta rt­ed ou t. We had just a bou t enough.people to jo in handsaround the recruiting center, It was an "illegal protestFo r an illegal wa r," Gig politics ar e sa fe. You don't haveto suffer, yo u don't ha ve to sacrifice, Just sit there a ndlisten 'and say "yeah." .-SW:' A lot o f ba nds a re just wr iting propa ganda set tomusic . Pa rt of the problem is tha t they don't live ou twha t they are say ing; the other th ing is tha t it's just no t

. very we ll expressed . You have ten million band s sing­ing "I love yo u baby" o r "Yo u left me" a nd then yo uha ve Smokey Robinson . who is a much greater poetand songw riter than <thy of them could hope to be . Thesame th ing is true of po litical so ngs . It's go t to be agood song -or wh at yo u're say ing in i,t isn't worth shit.

con f;Quedon page 29

I1

EAST VILLAGE fYE SEPTEMBER 20

KKK KillS

What is your defi nit ion ollerrorl sm?

Odlnga: It is terrorism when black peopl eare held capt ive over here, deni ed decent

• education. decent med ical care, decenthOusin g, decent jobs - decent life. WhenIhey Sl ruggle to get it. they're killed in thestreet, they 're beat UP. and rcceeo up, II'sterror ism when the KKK rides Ihrough blackcommuni ties and shOOts in the air. They aresaying lhat if ypu try to st ruggle, if you try 10be human beings, we will kill you.

Ali: Terrorism 10 me is when the FBI canhave you under almost ze-ncu r cesevauonand know execnvwnere you are but c laimyou were someplace else and cause 200 FBIagents and SWAT learns and four tanks and1wo heli copters 10 come down wher e yourwile and children are sleeping, which is ex­ecuv what happe ned In my case.They ctatm­eo Ihey were Iry lng to capture me wh~n allthe whi le Ihey knew I wasn 't there . Becausethey knew my child ren were there, they

. bought special small plastic nan dcutt s.They we re prepa red to be ha ndcuff ingchildren and chain ing ch ildren and draggingthem through Ihe streets.

We've broughl oul on the stand the exts­ren ee 0 1special FB I occx s c-sc-caued" Black Radical Photo Albums " where theyhad pic tures 01 people who were in Ihemovement. II onl y has to do wit h your pollti­cal atttnauco. i t doesn 't have any thing to ocwit h any arrest record or no t. Eyewitries$es .to vio lent Instan ces are asked to pick someblack rad icals ou t 01 this pic ture book toconvic t. In my case where I'm specif icallycharged (with a Brin ks robbery In the BronxIn the SprIng 01 '811. tliey had one person ,Tyrone Rison,who had slated tha i I was at aparlicular place at a particular time. By thel ime he was on the stand . he had conlIlclingstories abou t where I was . He even changedhis story white he was on the stand. He saidhe knew me because he met me at a bookparty and he saw me on television play ingsaxo phone and l lute Iwith Gil Scott -Heron].Then he testif ied he saw me holding a guita rcase with an M·16 inside wh ile he was 70feet away shoo.ting a Brinks guard who wasalready lying onwn.! was supposed to be hisbackup man.

00 you play gUllar?Ali: No. (Everyone laughs.}

In the pr.ess Tyrone Rison has been reportedas a leader. If his testimony Is so fraughtwith cOflt radic tory inlormation, then why Isthe government rel ying Ofl him to bo lsterlheir case?

Odi nga: He never lead any 01us. Maybe hewas the leader of ecme cr in,i nal ac tiv itybecau se I heard him sit up there and sayhe'd robbed til ls and robbed that but hewasn't a leader of the New Ah ican In­dependence movement ,

Baraldini : The government says TyroneRison was a leader because he was their keywi tness. Otherwise. how would he haveknown the plans and every thln-g else? Theyhad 10 give credi bili ty to the role he had topl ay in ttr ts t ri a l. Wh en Sekou c-ess­exam ined him: it became clear thai II hewel e a leader. then he had little unde-s tanc­ing 01wha lthe goals and the pol itical aims01 the movement are. He was a hanger-on,and yOU cou ld say the same th ink abou ttheir o ther star wit ness. Peter Middleton(Kamau Bayer). who used peop le so Ihat hecould live ollihem lor his own survival andadvancement.

Why' is the government relying on RIson Ifhis testi mony is fraught wi th cont radictoryinformation? '

Odlnga: Because he is saying what thegovernment wants him 10 say. I don' t bel ievehe wa s always a police Informer. He was arobber along with his wife and he did know

conlmuedon-page 44

under the gurse o f criminal ac ts. l ook whathappened to the members of Ihe Black Pan­ther Party when Ihey were framed oncr iminal charges. Their only cr ime was be­ing a member of the party.

MILITARY ACTS

Odinga: In the contex t o f our struggle lornat iona l liberation and self-determinationwe have decided that one 01 the methodstnat must be used to gain our freed om isarmed struggle. That' s how nations comeabout. The United States used it to gain thelrfr eedom fr o m Brl lai n. The captu re 0 1enem ies' guns and other resources is alegit ima te mili tary ac t Each and everyoneof the people who were kill ed in the NyaCkaction were armed soldiers . They were notciv il ians who accidentall y got caught in Iheli ne 01 lire. The se were armed screjerade fe nding est ab li shm ent resources. th egovernment's prot ec ted resou rces. Thesame governmenf thai had robbed. kid·napped. and murdered African peoplethr oughout the h istory 01New Afri can peo­ple in this cou ntry.

BRINKS,

BIG EVENTS

She D.mon.D.ughter of Fr."k.n. tel"

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ASearch for Som'e....=--==iIQ '...CD-I=­I»=10

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!W1g on all of Lut her's records and was ap­pearing in concert with him. Robert hadseen me do that and he had come to thePalladium and seen me with C hic And Iwas hei ll~ft'lltlj red in the C hic show. singinga SOIlS{ they had written for me. He wasreal impressed with that . He wanted 10

know whether I was collabo rating - withanyone . I was really ope n . He said , " It 'stime for you to dq your record. You startedout as a soloist and you're working oneverybody' s stu ff an d you've given somuch to everyone else. You should ' haveyour own situation." So w.e started listen ­inl't to my mater ial and started writinl'{some mater ial together . And we decided....'C were .':'oin g to produce my first albumfor RCA.

,

~,

By WINSTON ROBINSON C "JR"

A ProdUlIof Harlnn 'sJ ohnson How in,Jf Pro­juts, Form' 7'Iwm (on 's Mr/y singing txperimu!NJJ.an in a church: thoir. A/ liT artmding ColumbiaUnivf1'sily jor twoyears he UHTlI on tofront hiso~n hand, "Fonsi, " as lrod Jin.J:tr, 77It:Y wertsoon doinIt back-up oocals Jar Melba Moore,('.andi Stalon, and, aJtn joi"i",/?~hi&, II JarHoward .Iolm.fon ( "So Fint ") , Lutiur Von­dross, Amha Fran/din, Chnyl Ly nn, The Rit­chie Family, Changt, St.rpha"it Milts, j. w(f.t

Band, Roxy M usic f11Id many nlh"s.Whm Fam i 's album, The Leader, was re­

hosed tar/i" thisvear itfeatuTtd onall-starlincu./Jnf musicians: Bernard Edwards and N il,Rod,e.m from Chi,; bassistMarcus M illtT (until((ulIlfy IxlSJ player f or tht Milts Davi.r hand);fonnl'r M% wn sasion .ttuitarist Dnmis Ciiffry,sirl./ter Luthtr Vandmss, andstarprodua r Kashif(wnn'sproduced E/!elyn King, Haward} ohnson,GtfI~tte Benson, and his own records),

A major contnhutor In (h, JOImd of conten­porary Mlf't pop. Fonsi 's schedul, of recordin.E:sessions kLrp.l' him a vt")' husy Tnll n . I" MW«rISW10rlS in Ii cool air-conditionedolfict I J!.Oi'him to1,1/me his I!fc rtory on Imeof th, ho(/I!sf do:'Ps ojthesummer,

You 've been working with Rox y Music?Since last year. I did thc jr last album.

Did you sing with them at Radio City?I did rhc whole Un ited States tou r.

HQw was that ?.. It was great! I was doing that and doinga promot ional tour lo r my own record atthe same time.

How did you fit th at into yoursched ule?

The Koxy schedulc wa~ main ly at nig'ht.Du ring: t ll(~ day I was free. So somet imesI'd gel to the next t'ity early and runaround with the RCA promotion peop,le.It was like a double schedule.

How did you ~et started singing?I always san~ In chun:h as a youngster. I

always led songs in the choir, that type ofSlUff. And I wa~ in a lot of school musiralsand plays. I came through ~h()()1 wilh a lotof that. I really thou ghl I wanted to go onand bt~COlne an actor. BUI at any rate, dur­ing-my leenage years I was in jlnd out of alot of vocal grou ps. Lu ther Vandms.~ and I!{fCW lip IOgether an d we sang in and out oja few ~rou p!i together. We u~d to dotalent shows. Finally we Wl"reworking: witha grou p working: out of the ApoUo, arn-iew railed " Listen My BrOlher." It wasmanag:ed by Peter Lon g of the Apollo . Hefinally went on to work with QuincyJ ones

"' ,1:

,

••' "

Productions and a few Celebrity TennisTou rnaments. At an y rate, we were in thisworkshop: Lu ther . m yself, Carlos Alomar(Bowie's lead gui tarist) and Robin Cl ark(another prom inent session singer in thecity). W e were a com mentary on the blackidentity thing. You know, we'r, }OUtl.t: andMv* fMd 110 one can SlOp us. II was all positivemusic. When I went on to Columbia Idecide d I wanted 10have an act of my own.So I put together it group called "Fonzi. 'It was me and IWOY0tl'g ladies .

We started doing a 101 of d uhs aroundthe city. And I was still wnrking a jobeveryday, so I wasn' t really able 10 mak emy g'roup a full-time thing I sta rted 10look atthat . The opportunity to do back­up work ...rartcd coming up , Ii/ It back-upwork. I was steered towards Cand i Statonby Carl H all, one of the prom inent hack­up s;nw:rs of the time. Slaton needed back·up singe rs to do roadwork . So we lour edthe Easte rn seaboa rd, the Northeast , andwe went 10 Engla nd wuh L1w Srylisrics.T hen we d id a tour with Melba Moore .The lirst stud io album I ever sanKon W;lS aCa ndi Staton album . II had some tunesiikc " W hen You Wake Up Tomorrow"and " Why Not Rock?" and u.few thin gstha t were really popu lar that summer.From there, people started railing memorcJrequently to do sessions. Fro m Keitt:M idler 10 .. . boy. j ust Sf! many people .Finally I f{ot a call frorq Bernard Edwardsof C hic. T hey wCTe llooking for some

. singers to supplement the C hic sou nd .whjch-inirially was a studio sound . I knewNile already. So I went down and sangwith them and I took M ichelle Co bbs withme. Webecam e part of C hic. I bet:ame Ihemale vocalist for that sound .

Wha~ wa s yo u r first recording withthem ?

T'he first record I sang on was " GoodT imes." And from Ih(:re on I sang on allthe ret'Ords . Toured with them , did theconcert s. I stayed with them for a long timeand , in fael , fhey produ ced a rel'ord for mewhich we'd been trying to pedd le for a lon,l:l'time. It never really got off. II was a really,really~ record .

After working with so many " name s"in the business, how'd you finally endup collaborating with Robert Wright(RCA 's b lack music A&R vice .presi­de:nt)?

Abou t a year before I did my album ,Roben Wright called me up to do a vocalarrangemenl and a back-up :'>ession for'.'Pleasure," a group he was produ cing. Ihad been working for Luther IVandros.'1I..1

EAST VillAGE fYE

Is this . good time in the bu.ineu forblack music?

I think it 's a good lime for black mu sicbecause black people are stretching out in­to other things. R&B mu sic has become soimitated and dilu ted by the presence ofother peo ple that it' s .

A part of Amnia:Jn cult ure , not just blm:1ccu lture"

Exactly right !- We have to move on toother thing'S, and that'swhy Prin ce is sucha force now. That 's-why M ichaclJacksouis such a force. Because this is black musicand R&B mu sic. involving other clements.Nobody can tell me we're getting rock 'n'roll from the white people when you look atLittle Richard and C huck Berry. And youlook at Tina Turner and people like that,

f h I YOII know? We've ellju st started to includeI see so many 0 the same names w enlook at albu m cove r credits . Is th ere a element s that were always there . I thinkkind of " fam ily" feeling between you thai the key 10 black mu sic is abo ut bccom ­and many of the people you work with ? inK " Modern Peop le." This is modem

Absolutely! Beca use the thinK is, you times. My album: Til, u ll/frr, the way Ilook on it, is not because I'm a pu nked outwor k with certain people becau se you fik

to work with them . You know that besides kind ofguy , that 's not it . This is die 80 ' s sog'cuing' thejob done, besides people bein g why can ' t you make whateve r statementthe best for the job , you ' re gon na !(Hin and you want to all a black man?have a really good time. You 're fam iliar I never though t of you as being "punk­with these people and they're fr iends of ed out" from the dover, I just thought ,you rs. And you know how you work " Boy , this gu y 's real macho ."together. (lAughter) T hat' s so funny , so funny-

yeah. I j ust want 10 do a very modern ap-And that makes your work easier. I d

preach to whatever o .Yeah , it really docs. It makes it very en-, joyablc. I find that when I 'm cont racting'a Sure. Any artist wi!h any ~ind of.v ision

session I'll generally call people I like to has to market not Ju st their mUSIC, butwork with. I sing'with M ichelle [Cobbs] on every aspect of th emselves. I also loveevcrything , - th,at song ? n the album you co-wrote

. With Dennis Coffee ..She' s your main lady. O h. "Perfect Lover."

M ain , main , lady. Yeah , that 's exactly 'l1 h I"'"k d h it t rt d If. Sh ' . I d I ' . h lea . , let e way I s a e o ,

TIt. , e

h' (Amy Im"'dn Ph" 'IIY BaI',mg Wtt W ith the whistlinlo:" A friend of mine

awat a gee an I Ip . au, too . R be W ' h' . 0 n . rig I . . .

I really liked H(Uh-oh) There Goes My Was he na1!y whistling?~,eart : ' f~om your an~um, I u.nde.r r;land Yeah . It .foullrlrlike a synthesizer, bUI it' sIt ~ go~ng to be re leas,~ as a sm gle now. this guy . He's really inncdiblc. He does aI hke It bettcr than Beverly (the first 101 of jingles.sin~le rt:lease from TheLwda) . . . ,

, - . - h Is thert: anyone you haven t wo rkedI thmk that what sometimes ap pcns . h 'd I"k k " h '

' h I fi ' 1 ' h h d WIth t at you I e to wor Wit .WIt I Ie Irst slOg CIS t al t e recor com- I'd I'e. k " h S '. I rd'· h Su re . It>e fO wor WIt tevle

pan\' ('hnoses a slOg e aceo 109 to w at W d I 'd l k . h A hf, d dIhey think they ca~ market . in itially, I . on cr, Oll( to wor Wit s or anthink they wanted to market me as a black Simpson.art ist who was g:oi ng 10 cross over. It's real- How would a young singer go aboutI)' a com mentary on wha t shape the brt:aking into the .bus~~ess thue days?businC.'ss is in . Like the problem that These days? I thmk It s abouf the ({Im­Michad J ackson and Prince had R'et ting on pany you keep more than an ything else. IfMTV . And .Ihe fan that MTV is j ust you ' ~c~ a si n.~r, then you ought to knowopc nin.,:, up 10 some of us. It 's the same other singers , other mu sicians. Musicia~s

ching abo ut us shar ing the top len positions are the people to know .becau se lhey WI llon the blat:k charts with white arl i.~ts . We finally R'et called (or slud lO work, Soknow·can ' t really share the top ten on Ihe hot ing musicians who know Ihat you sing.100. Somet i me;~ thaI network is imponant .

F

•Power Corr. uption and LiesNew OrderFaclof'( LP ,

Okay, okay, okay, We're impressed already. Youmoving , mood y, brilliant bright legends , You moy&outside Ihe bright lights and dowdy opportunism 01tnat monster rock and roll business. you are cleanstraight arrows to the heart or the new pop listeners.Ready 10 wipe the slate clean, to tantalize us withglimpses 01thebeauly ot darkness, u's just apily thatI fall asleep hallway through Movemenl , and, can

' barely bare tohear 70% 01Power CorruptionandLies.Dr aslhe lateMr. Costellooncesaid: " Thethrill isherebUI it won't lasl long/ You better haveyour fun beloreit moves along." Moving right along

Beauty and Sadn essThe Smitheree nsLitfy Ricky EP

Andy Schwartz hassomething10 dowilh the Smilh­ereens- manages mem.! guess, He's picked himsella winne r. Pat OiNizio has a star-scnqwriter potentialstenci lled all over him, The uue track isn't as good asSmithereens thinks it is but it Isnt bademer. " MuchToo Much" is inspired rockabilly: " Some Other Guy"clangs and caners ~Ievelly in a Merseybeats/earlyWho manner. and, the rear winner here, " Tracey'sWorld," is a PsIs Sounds sensibility fixedto a garagerock pop band. Add 10 that AlanBetrllCk 's typical lean ,tough . clean, charlsmatlc production. and you have alIaM than l be knockin' you lIat onveur ass within a year,

Bold 8S Bras sBodineWEA LP

Despite lheawlullyrics and worse vocals Bodine aresolast they warranta unre more Ihan theusual casualdismissal. I said a little. .

The Golden Palaminos could be thought of asskronk, but it they are theyareskronk's coming01 ageas a serious musical genre. Light yeats ahead of lastyear's Bands 0/ Loisaida compilation, my GlHI . lightyears ahead of Arto's own late great DNA. Mainlybecause Ihe golden boys structure fheir noise sorigorousty - like jazz , they improvise along a pre­decided start and close. like classical the eueert asmusic) is in theoverall sound, I haven't seen lhem livebut I' m netsurprised, Not whenyou'vegot Anton ner .Bill Laswell. Fred Frilh, and (what?!! Jamaaladeentacuma working alongside Mr. l. II youwanl toknowwha.! No Wave Is all aboul and you don' t want10 blowyour money, buy it.

t:.. , '

Rant 'II' Rare with th e Stray Cat sEMI America LP

t don't wantto luck SlimJim'sgirltriend. Don' l wantto listen to the SlIay Cats. And I might want to knowwhy mentor neve Edmunds is still l UCking wilh uresehacks. onlyaner In/ormationI couldn'l tareless . Rock­abilly? The Stray Cats couldn't lick Jerry Lee l ewis'boots . JerryLeecouldblowthem oU stageonastreicheron me way to the"hospital alter a massive coronary.

Real Min ...The MinKAshland LP

Nowthe Minxhavethatextra somewhat. Asurpriseafler the cover (two women photographed from theneck to the knee l is horrid, The songshaveaminimal·rsue. arty-underground sensibility not a million milesaway 110m YPants: lessesetenc. tess unusual, nenerbass, equal rhythms, The lyr ic s are-naturally­poems. The second surprise is mat they're goodpoems quite able to stand alone: " Watching me pic.ture on my TV/ sialic disturbance breaks up thescreen/ lying on tne bed with the headphones on fwaiting lor you now it won 'l be long." You canoitentell the worth 01 a group lIy their covers: onReal Minxthey lit themelodic " BaM 01Gold" oli ginally intu theconcept. The two women - Elena Sciaky and carenl oebel - do all the writing, it's all first class. Andmat's ali i knowabout the Minx. Incidentally, lor Ihistan that's enough. This Month 's Pick,

The Ptayli sl :

" Surprise Me" - Altered Images (Epic irnpcrt ]" I 'm So E.c ited" Irom SoExciled! - Poinler Sisters

(Planet)New. York Now! - Daniel Pence (CeliulOidf DAO)" In I Big Counlry" 'rom Tht! Crossing-Big Country

(Phonogram)The Bil/it! Holiday Story vets. 1 Ihru 3fCBSIAn/hology - Smokey Robinson afld the Miracles"

IMotownl" A Gam ble Eitf)er Way" Irom Burlap " Salin- Dolly

Patten fRCAI .Side A 01 Low-David Bowie (RCA) IGre6n River and Willy andthe PrxJr Boys - Creedence I

Clearwater Revival (Fanlasy impor1i" BabV, We Better Try to Get II Toqeiher' : -from LII

the Music Play -Ba~ry While (20th-Cenluryl

Punch rhe ClockElvis Costello and the AttractionsColumbia LP

Punch the Clock is an honendous mess , Easi ly theworst lincluding A/mosl Blue} l P he has ever put hisname to, and themajor disappointment 01the year. Hehadthe songs. Fromthealbumproper, " l et Them,A1l13111 : ' " The Greatesl Thing" which wedidn·t know.and " Shipbuilding" (notas goodas Wyatr s-bulgood e no~gh l . " Pills and Soap" (not as gOIHl as theImposters), and " Everyday I Writethe Book" (all rightbut nothing special). Ofl the album he could havecalled on " Heathen Town" and a marvelous cover 01" Nighttime" trcmthe 12"' single. and " Parly Party,"" Impe'rial Bedroom" which came cut as a 4S, Heeeesnt use 'em, and sothesecond sideisawjlShout.

. Has he lorgotten how to write a melody? WOlse, oncrap like -reve Weni Mad" ane · 'T.K.O. (BoxingDay)" he's lorgotten how to write a song. These areunsongs just Ihe way Synchronicity is nnee with un­songs . Subversive? Oon'l ma ke me laugh. Clever?SeU·pitying, apologetic, nean-cn.sreeve mumne­jumtm. An aberralion? Number one in England but Idoubt Ihe Yanks will buy il tor an instant. I hope he'dees ma ke ale t 01 money - the obvious aim-Ihen-maybe he' ll drop that baslard Clive (anger and getback to work.

AlbumJoan JeltMeA LP

/ Love Rock andRoll mighl have sold millions. but itwasn't a greal musical leap lorward lor Ms. Jell .Album is certainly about moving (it' s also about ex­cellence within a certain sound), bot ii isn" sellingenough.. Oh . she's still the snotty tough gal rock androller , ii 's stililhe gliller·pop anthems, crushingguitarand scream and shout. yet Jell seems somewhatperplexed, Her success has pushed her Into recen­sreeranens 01the musicheirarchy and her positioninit. And though you might counter that that's what-aae Repulation" was about. now she does give adamn. On Album she's a pied piper who loves herau­dience enough to care enough how they follow .her.Anyway. " Everyday People" is 'he eertect Jettsong.Ihemelodiesalwayscatchyou intheend , and Joanieisone0' the linCfeasinglyj rare popstars whOis lilerallyenergized by herintegrity, Proolthat btoody liardworkcan pay oil,

FascinationHuman Leagu eVirgin 12"

u's nOI Motown . II 's not very excil ing, II doesn' lsound pleasant. II isn't catchy. 11 doesn't move me .

Scanda'Columbia EP

MTVland would consider Scandal new rock, I thinkthey sound like speedy Pal Benatar . you know, Miss­ing Persons-BerUn land: al1d a synth , hurryIhe pace ,piCk a pretty lace , Now it you want to learn how10usea prelty lace clock Pretty P1lison. And " good bye 10you " 10 Ms. Smith.

The Golden Palomin osCelluloid /DAD LP

' By IMAN LABA BEDILire in BerlinAu PairsA.K.A. Imporl

n appeals 10 be Iheendultne Au Pairs- along withMalariaandRaincoats the last confrontational leminislpop group . It'd be II shame. only they onlV had " In­convenience" and Playing With II Different Ser inthem. as this patneuc . lolally irrelevant live samplerproves . I blame Reagan.

Fantast icWham U.K.

. Columbia LPIf Wham are what Brit teenyboppers want 10 wet

their knickersover mnre power to them. Courseit isn'tuertect Black-synthesized-while teenage rebellion.but il Isn't bad . Both " Wham Rap (Enjoy What YouOal " and " Bad Boyf' are adequate rousers. and" Nolhing l ooks the Same in lhe Ught" ' is positivelysoullul. .

...Around the BendLove TractorDB LP

They speak! A"er their beautilul eponymous in;strumantat debul lP I was more than ready to acceptthem wordless. And 10 be straight. whal vocals mereare add uue to the,lIuid. rather arty li n aPeenes way)sound Love Tractor have pe/leded on Around IheBend. But atlea st it helps make them leal contenderstetne (overlatedl R.E,M. newmoodcrown. Or .the on·Iy,real reason to gel excited about atnens GAare stillthe only real reason 10 get excited about Athens GA."Fhis Mon rh 's Pick,

Candy Gi "New EditionSlreet Wise LP

New Elfilion.aren't Jackson 5 not.only because theydon't have a Michael Ironting, net.even because theydon' l writetheir own songs, Theyaree'ttne Jackson 5because the songs they Ifo sing are overwhelminglymediocre and because they aren' t assteeped in enter,tainment or hall ascaring asthe Jackson S. Actually,the only thing they presently havein common with thatseminal band is age (1S, 14, 14. l S). Toearly tocountthem oul but rve got theleeling somebodysomewherehas made a bad miscalculation.

UI'S fACIIUI MUSICEAST VfllAGE E YE SEPTEMBER 22

Kinks' oliginal.The tunes IromIhesoundtrack are excellent: " Don't

Need Your Lavin' Anymore " is a direct c~p IromtheKinks' enenceeenr 01 " Milk Cow Blues" (Which. I 'assume . is why their version 01 " Milk Cow glues ."presented here went unreleasedI: " Sill in· HereSlanding" is taken Irom tne Yardbirds' " Nan Aleatue ' (of courseineY·Birds 1101it IromElmore James.who gol it Irom Roberl Johnson-you can' l keep a,!load rill downl . Bolh wild. primilive slult. The enurepackage sounds so good. fierceand alive. i1 shouldberequired listening. When some revisionlsl mstertanreowrltesthe hislory b1 60's rock 'n' roll. tnese guys willgel lwochapterswhere Ihecrappy Frisco soundbandswill gel barely'! toornete.

The Slandells were what you'd call the cutntessen­tial60's plink success story, They had been arollndlor years. cutting singles lor various labels, ptaying

- dives on Sunset ·Sll ip. occasionally appearing on TV("T he Munslers." among others). In movies (GelYourself aCollegtJ Girl ). basically geUing nowherefast ,until hooking up wilh , youllg hot shot p r od u'~er (EddCobbI.. scoring one monsler hit single j "DirlYWater" ). a lew minor hits, recordingsix atbums, thenlading away Inlo oblivion. The Besl of Ihe S/andellsculls 14 tunes from their mree best LPs on Tower in­cluding tne immortal " Sometimes Good Guys Oon ·tWear While" (currently in theCramps' reperloirel . Iheteering " Try U·· (their Ihird lP claimed Ihis tune wasbanned across America, allhough the Ohio Expresshada hil bV covering il a fewmonthslater), and etnerllreal tunes like the pounding " Barr\Cuda." " Mr.Nobody." and a version 01 Don and the Goodlimes'" little Sally Tease." '"

01 the 14 tunes here, tnere are eighl punk rockclassics . The olher six tunes are good enough li1Iermalerial (there's noreal c1 inkersl. bUI l 'd,like 10 haveseen " Rial on sunset Strip." lheir theme song.lromthemovie, aswellas some ettheir ere-Tower 45s like" Zebra in tne Kitchen" to make this almosl as mind·bogglingasIheCWBalbum. Still. it's worth yourcashasthe best stuff here is Iruly raving,

Theclassic 60's punk bands areas impnrtant 10 thehel italle ol,ock"n ' roll as Robert Johnson and Muddywaters. and tnese two lP s 3Ie close to yaur bestintroductions.

By BRIAN LISTON & JENNIFER McAFFEE

The Man Whose Head ExpandedThe FallRl1ugh Trade 7"

With clockwork recilations and lick-lock pinging,poelry meels music in a flawless lIow-thal Is thislatest " am Ihe ever·political. ever·satil ical Fall lads_Mark E. Smith's atonal mechanicat vocal style is per'leclly suited to this song' aboul being led up withmachines. The lyrics ire surreal lwe shall nol givethem away here-haU lhe lun is discovering Ihem toryoursell l . bul not psychedelic-they don' t evoke im·ages. they are the images. The music is instantly ap,peal ing, but not one bil compromising . II is relreshinlJ.whal wilh so many innovative bands like Ihe Clash.New Older and the Cure. lurning oul self·consciouSdiscomixes. to hear a Iruly Ol iginal pop sonll, Mypicktor lhe summer.

The B-side. " l udd Ganll ." is a wacky. convolutedmlxlure· of sounds, one momenl satisfying. lhe neddi s t~r bin g . I' m not sure whatllle message is. but nomatler - " l udd Gang ." subtitled ,.Malure White Gim·mick. Choir·elte 01 Oealh," is a great novelty song.Le!'s see. it sounds like- a parly in a lactory

Deffoit goes10 Berlin. Cap!. Beelhe"t playsIheBeatles

EAST VIL LAGE E" SEPTEMBER 23

HexbreaKerFleshlones/.R,S. LP

Hev now! Gel up. gel your hands logether, your feeldown, leI's hear it for these guys. whal a grea l showIhis record Is! The Fleshlones have always been lhemosl lun band 10see. They enjoy themselves a wholelot. and " Hexbreaker" caplures Ihe spirit 01 Ihelr liveshow , I'm reminded of body paint. fringed mini·dresses. 01 basemenl parties and high school hops.This atbum coutd eyen beIhe soundlrack for anearlyRuss Meyers movie. with go·go dancers in cages andportrayals 01the seedy sideot lile. " We·tl liI in bufwedon't like it. " say the band. sojust let go, havea wild

' lime tonight. see you al work tomorr ow," Hexbreaker" is a guaranteed blasl any old time ,

FiredancesKilling, JokefG LP

Aller the recent disappointmenl when Killing Jokecleaned up Iheir vocals. and beal lheir beal to death .Ihis lP is quile positive and shows them promisinga!lain, I' veatways lelt thattheir lirst album . theslull ofwhichanthems are made. wasimpossibleto tallowup.The intermedialeWhal's This For and Revf!lafions lPsmight have been hailed aswonderful had Iheynol hadto liveup10 the likesol "War Dance ." " BllHldsporl, ,." Change," and "Requlflm·." While I slill miss thathoarse, insane vocal passion 01 Jaz Coleman, theguitar slil l clamors distorled and constant.

There are some signs Ihallhey're trying 10 grow.withcatchw fl!Wbreaks and Slflprises- andI'm Irank·Iy glad they haven 'l abandoned the two uniquelealures that have madeKillingJokeInslantly recogm·zable-theheavy lhumpingrhythms behind rebellioussnarling guitar whips . warning: Tna monds side 01the r«ord Is n_otlftlarlyas8l cilingasthe!irs!. but ifsconvenient to have all the good stu" i,n 0111 p/Iet.

;

Sb . 1 ,~~t h\ ~iJ(":, , , 1,._HANO I' ROCKS

Self Destrucl/on BluesHanoi RocksJohanna (import)

BaCK To Mystery CityHanoi RocksLick Records (import)

Although Ihey've been around for a While. I'd neverheard ot Hanoi Rocks unlil a lew weeks ago when aIriend showed me th, cover 01 their first lP . Self·Deslruction Blues. I immediately telt in ieve with mebeautil ul blondeon tne sleeve. lislening 10thealbum,I was conlused by Ihe obviously male vocals and Iaskedmy Iriendwho thelead singer was. He inlormedme it was theblonde. MyGod! Theseareall guys! I telllike Rav Davies must've when he wrole " l ola," Yes.lead singer Mike Monroe hasone01the prettiest lacesin l ock and run todayand Hanoi Rocks ex ude that sub­versiveenergy tnat's always been ahal/mark 01vitalityin rock music ,

Hanoi Rocks hail Irom Finland where their urstalbum , Sell Deslruction Blues. was released on IheJohannalabel. The mix is abit weak-Monroe's vocalsare not uplront enough-bu l that is the only objeclionhere. Imagewise , Hanoi Rocks owes a 101 to the NewYork Dolls. but it would bewrong lo dismiss themasamere copy. The songs [written by lead gUitarist AndvMcCoy) present an innocenl and exhuberanl ueca­eenee (if there issuchathingl which. il anything. sur·passes whatlhe Dolls were abou!. In lheinlerplay otthe instruments and Ihe halmonies, they are muchmore sophisticaled ,,!at the Dollswerealacomparalivepoint in lheir 'development. Moslollhelitles speak lorIhemselves, " l ove's an Inlection," " Kill City Kills."" Beer andaCigareUe.· ' " ProblemChild ," " Despera,dos" and lhe title Irack"giveafair indicalion 01whereIhey're coming Irom....Oead by X·mas" is a threat 10

really ruin an unfaithful girl's holiday. And " CareAvenue" recounts theadventuresofa male hustler (onIhe slleels of Helslnki?l - which. I' m led to betieveIsaylobiographical. The music is roullh and raunchy and"niles from an obvious l;.huck Berry rilt (Illey pull itotll on " I Wanl You : ' and solid lead guitar playingthroughout. to Ihe use 01 handclaps as percussion(recalling'Phil Speclor). 10 the use01Monloe's sax asa leadinslrument bnsomecuts. NoneatIhis is new, 01course. but it' s certainly retreshing these days.

The music . which Is perceivedbv some 10 be heavymelal, owes much more tothe glill er/glam rock at theearly '705 lhan 10 HM And iI's appropriate Ihal lhesecon{l l Pwas produced bylherhylhmsection 01pel 'haps Ihe most quintessential gtam'lock band ollhemall. Molt Ihe Hoople. On Back To Mystery Cily, DaleGrill in (a.k,a. Bull inl and Overend Walts clean upmost ol -the luzziness tllal marred Selt·DeslruclirJ/1Blues. On Ihe olher hand . Ihe songwriling doesn' lseem as powerful as onthe debut. The recommenda·lion is10buyboth and synthesizethem in yourmind'sear . There is a third LP. which I haven:1 heard yeLHopelully it combines the strengths ollhe lirsl lwo.

. ' - Richard Fantina

B~ JAMES 'MARSHA l L

The Best of ' he Chaco/al e WatchbandThe Best of the Stande"sRhino

Okay . lwo besl of pac kages courtesy of Rhino-. Records (pioneerinll l he 60's reissue markel with ex-cellenl sets Irom Ihe Barbarians. Ihe Bobby FullerFour. Turtles. Crosslires. and olhersl . .

The Chocolale Watchband lie one ot those bandsthaI sels the moulhs 0160's garage.punk lans Irolh·

) ng. Their lPs and 45s have been bOOtlegged variouslimes . Ihe Cheslerfield Kings covered four ot theirtunes, and in some households Ihe re·running oflheflick Rial onSunset Slrip (in which theCWBdoes Iwotunesl is heralded assomethingakinto Ihemillenium.. And with good reason. At their best. they took thebasic snol-nose Slones poslure and pushed it inlo athrObbing. snarlingshriek. completewilh howls. feed·back, chimes and othereltects. Theseguys practicallygave psychedelic a good name.

Thel! li rsl two lPs werespotty. filled out with ses­sion musiciiins plaving stupid raga scales (see sideoneof Inner Myslique.which. according10band mem­btIrs wasn't even Ihe Chocolate Walchband. and theirIhird l P. OneSlI P BeYOlld. which is fairly worthless.

But what you have here is just about lhe very beslculled Irom Iheir non·lP 45s, tWII Irom the Riol 1111Sunset Strip sound'lrack, and one unreleased tUM." Let' s Talk About Girls" is known Irom theNuggetslPandis aclassic in anyone's book, " Are You GonnaBe There," " Sweet Young Thing," and " MislyLane " areaboul assavageasany60's bandever got.They takeDylan'ss.ntimental " Baby Blue" andturn itinto, primal scream. Hly Davits ' " I'mNotUkeEvery·body Else" fakes., quantum leap in energy Irom the

Tidal Waye(Unicorn 9510}

In which lhe BrOOklyn loaslers Bobby Culture.Brimstone and Fir e . ~ lo u i$ Rankin and Nicodemusmake 'l heir stand, Backed by members 01 Monyaka,thetunesare steady and lunny, especially thesherill 'scry. " Holy Toledo. John! l ook whal we lound here,Twenty pounds 01sensi." Trading all vocals in com­binations. thealbum has,more personality Ihan manyOJ records.

"Tones(I-TOiles}

Featuring Iheoldie ' 'Walk On By" donein JII moody.smoky barroom slyle with soothing vocals and solidrhythm. The I·Tones. tram Cam bridge, Mass " areJoined bVTVrone Downie (Wailers) onthe !lip. " GiveUs the Strength." Worth seeking tOf those melklwmomt!nl s.

Hear Me NowBerbera PaIge(Epiphany)

All original lunes backed byanall·slarsession crewheadedbyChinna Smith and(eaturingFamily Mai'r andCarllon Barrett on drums and bass. The sound of therecord is Ihesound ollhfl Wailers, bUbblingunder Bar-_bara's soulful voice. With some exposure, this recordcould becomebigwith Ihosewholind toasting and dubmusic boring. A perfecterou DVtr record .

- David Johnt on

l appZapp III .,.Warner Bro&, LP

The preblem wilh Zapp is that Ihey have only onebasic groove. This shouldn' t keep anyone from enjOy·ing Ihal groove . however: heavy svnth·bass. an evenheavier bass dr~m mix, scralchy rhythm guitar andRogerTroutman's synthesized vocals. Much Isownedto George Clinton and James Brown as lar as funkIradiUen is concerned,• From song to song, Side One SillieS . "Heartbreak­

er," '" Can Make You Dance" (iilru dv climbing thesingtes ' chart) and " Play Some Blues" (which isn't

-bluesv al alii are,altslale·ol· lhe·arl 'lunk, SideTwo 01·lerssome versatility. " Spend MyWholfl Life" is asoillunk ballad: " We Need the Buck" (Ihe best song onthe album) puts us back in thehard lunk groove: per­cussten and background vocals on this cut are ex­cellent. The album closes with the jazzy instrumental"rut-rut." which is preny bul nol distinctive .

The only rea' complainl l haveis that there are onlysix songs on Ihislull.priced lP,

Wind ChymesPrelty Gi rls , EverywhereRCA LP. Acareful blend 01gospel andsoul crafled tocentem-

• porary tastes by producer larr y Graham. Sweet vocalharmonizing combined wilh a lauch01 acappella sing.ing on " Pteny Girls. Everywhere," the album's titletrack. suggesl to us what a Iluly talenled group 01singers can accomplish, Wind Chymes sometimessound like an updated version 01 Ihe now detunctGlaham Central Slation: though here thevocals are ofoverriding imparlance. In addition 10 producing. la rryGraham assisls in songwliti ng. keyboards and back­qround vocals . " Slank: ' writlen by Graham. is therecord's Showpiece tunk tune . " Sland Up and ShoutAbout l ove" startsoIl asaprelly ballad but leaps lull·speed into a break·neck tunk gloove . horns burstingin ecslalic Irenzv. In ShOft. Wind Chymes are IIle moslpromising band I' ve heard so lar Ihis year. Theybrealhe newlile intoone 01bl.k music's mosllradi ·tionat lorms -Gospel.

AEIOU Some limes YEbn·Oznflek/ra Records 12"

The music is thoroughly enjoyable new wave dancemusic. The lyrics. however. insult theinlelligence ol asecond·grader. You decide, '

RossDian a RossRCA LP

AlIice albumwhichIries hard to pleaseawideaUdi­ence. The lesult 01 which is material thaI is good bulmerely, The record starls oul with lhe uptempo" That' s How You Starl Over..·· Ihe type 01 song alwhich Dianancells, " l ove Will Make II RighI" is an.other side ot Diana : here her suUrV voice isat ilS sex­iesl: Bul we don'l gel another tasle 01 thaI excellenceuntil " Pieces of tce," " l et' s Go Up" is a smooth, so·phisticaled ballad. and " Girls," which closes the al·bum. areIheonly songson sidetwowor th lislenlng10 .Theproblem is lewof Ihe songsare memorable. As oneof lhe'world's linesl pop singers. Diana shoutd havelillie dilficulty tinding bell er material 10 record. Sheshould jusl look harderlor songs thaI aren'l sebland,

1

By WINSTON C, ROBINSON , JR.Skyy

• SkyyllghtSalsoul LP

Chock lull 01 ebullient dance-pup tunes. SkyyligM isan excellent lecording sustained by verve and sexyhumor. " Bad 80y." " Hey GirL " " Show Me theWay ," " She' S Gone " and " Married Man " allshowcase a contident sexual personality held in cneckby determined partners who know only too well whal

• lheV want and emect Irom a relalionship. ProducerRandy Muller usesa variety 01 production slVles to gethis poinlacross . SkVY have earned themselvesaplacein my hearl. a home on mv turnlable and made lhisreviewer a'Ian far all seasens. '

Show PeopleMarl Wil sonLondon/Decca LP

Mari was busy promoting this pop gem al lhe NewMusic Seminar two monlhs back, II seemed obviousthen Ihat her hairdo (fhe B·52s are llaltops in com· .parisonl precluded any great falenl. I didn't evenbolher 10 tfack down a promo copy althe lime. SinceIhen, I' ve heard the album on someone else' s turn·tableand liked it somuchthaf I wenlauf and boughl it.

The album is pure Hghfhearled. silly pop- welt or·cheSlrated, perfectlysungandveryCleverlypackaged.Thelvrit sdealwilh all fhe stereolypic leenage girl pre,occupations, Now that Blondie is gone. we could useanother pop idol01thelemaleperSUU lonand Mari Wit­son withherglamorpussimage, herteenybopper prob­lems . and her sweet. crysta1tine and very un·sexualvoice isa goodcandidate lor thevacant throne. She's a"movie star" whoisn·t reallybeautiful and who wor·ries oul loud about problemswith boys- hence she'sunthreateningto potential fans - a friendly fantasy.

Side One is stronger than SideTwo. AllMsl all thesongs are greal - all five are sing·along candidalesalmost at lirst hearlng:."Just What I Always wanted"with great '50s type backup vocals: " The End ollheAllair" makes the bitter sweet - highly recommendedfor crying onesetl 10 sleep by. and " Ecslasy." adanceable showcase for Mari's sopu no.

Thebut slull onSideTwois " (BewareJBoyfriend"a song aboul the usual-but wllh some nice and veryunus ual brass solos. And " Oottor love: ' which hassilly lyrics.

This album isgoodenoughtodopenancelor thetactthaI this upslart is obviously trying 10 cash in on the~er popular " Motown'girls' groups" sound-checkoulherstage flame . and t~e t'ct thata grown womanisaeting likeI glrl- ,nd asfar IS I'm concerned . tnat'snot nothing.

" PuW n' on the Ritz " bl w "Ul'ing In MyDream World"

TacoRCA 12"

INing Berlinisso~eone my grandmo1herusedtolike.Not being particularly londof nostalgia. I'd never heari:lIhis song until Taco's version caughl my ear on fheradio a monlh ago or so. Theelectronic intrumenlationgives anappropriately cool teeling 10 the nonchalancesuggested by Ihe lyrics. The honky tonk piano soundsare greal and the rhylhm has been adjusted so that anew generation can dance up a ska storm fa lhis one .

The flip side is glHld faa-showcases Taco's voicebener. He manages to be,coy without being camp . andwith lyricssuch as " You'remy Garbo . I 'm valentino,,.Ihat's quile a trick-so 10 speak .

-

By CEL ESTE·MO NtQUE LINDSEY

•

MORI RIKIRDS

"Erery Breath You Ta ke" bl w "Elfer}' BeatYou Hear "

Oti s UgetlEmergenty 12 " .

KTUdidn't play the Police version olll1ls songal alluntil weeks alter Itleyhad been playing thisone regu­larly-an odd case 01 acover version being released atthe same time as the original. (Sting did wrile lt.]

uaens version is rawer- bluesier. funkier. Hisvoice has a raspy tatseue Qualily which lits Ihe lyricsneuer than Sling'ssmeetner style. Desperate lntensl­tV· a sweellsour fee ling enhanced by a glllld brasssecte n. Interesting dub llflecls 100.

By all means buy tnePoliceversion. bul gel lhisoneby any means! '.-

Augu sl 6th . Reunion on the Pier: Willie Col·on wilh specia l guests Hect or t .avce andYom o Taro .

coron and Lavoe mel in 1966, 8 young

trombone play er from the Bronx and asinge r from Puerto Rico. rnen coneooratro ncreated a new sound in salsa. and theymade each o ther famous. Aller eig ht yearsof hil s they had reached adul thood : theypursued separa te paths. Now in their rnto­thirt ies. they are as celebrated for wha t theyhave done apa rt as they are for their work asa team.

This reun ion had more than nostalgic sig·outc ence-,u was a measuremen t Of their tn­o tvtduar g row th . So me Ih in gs' hav en ' tchanged: Hector Lavoe still exci tes crowdsto a frenzy: Willie Colon is st ill a pioneer.Alter making his name with one of the best­loved si ngers in salsa. he has become hisown vocalist. He sings in a laconic. low-keysty te. supported by a tr io of girts who givehis music a ceo-woo flavo r.

The performance styles of these two .su­perstarsIs so different that one cann ot Ima­gine them together. Then it happens-theyreunite. joined by the master 0 1 the cus tro.verne Taro. History recreates itself. Sudden­Iy one canno t imagine how th ey eve rsepara ted.

Their new al bum: Vigilante . on Fan iaRecords .

August 9th-Cell a Cruz Receives Cila ti onhom Mayor Koch

Salsa by Off icial orocramauon. r ne mayormakes a brief speech. then awards CeliaCruz with a cit ation. He disappears. TitoPuente stri kes UP his band . and Cel ia.backed by Machito and Sanntcs Colon.s ings. Her vo ice. r tcn as mocha . has amagic al effe ct: crowds 01off ice workers ao­pear in Cit y Park. tempora rily liberated from.evervoav ex istence. They dan ce to themusic. Johnny Pacheco partners Celia In atorrid mambo. Time is suspended. The ot­t tci at event has become a cetebratlon.

August 20th-Che o Felic iano at ClubBroadway .

The place is packed. ThroughOut the clubthere is an exquisi te sense of ant icip at ion.'c nec Fel ici ano. who has .nc t been heresince April, is going to sing.

Finall y the announcemen t is made. Thedance fl oor is c leared lor him.. the musicbegins and he co mes out to greet the audt­ence. He walks to tne center ot the room andstarts to sing-there is a co llective sig h ofcontentment. No one moves. The crowd issubmissive. they belong to him. He ascendsto the stage. "Baile . " he urges. " Go aheadand dance."

The band Is unrehearsed. their horns are '"TI f lat. No one hears, or cares. Chao's voiceD permea tes the room. and is absorbed like~. rain on parched land.< Backstage afte r his perfo rmance. people~ embrace and congratulate him. He smokesr- a cigarette with the nervous happiness of a

bridegroom.• New album; Pro /undo, on Vava Record s.

SALSAJOURNALBy OITA SULLIVAN

Climat e is revo luti onary. Summer healand humid it y are weapons 01class war. cr!v­ing the chic and test ucn abre cut or tne ci ty. . . Manhattan becomes a tropical rsrano.B y da y tne parks a re possessed .reverberating wi th the thud of congas. AInigh t peop le dance on rooftops and street·corners. nig htc lub s overf low with music.salsa is in season.

EAST VILLAGE p E SEPTEMBER. 26

C.,I. Cruz .n~ Tifo Puen'. wl~h Mayor Koch

Veruschlr" as Gabriele d'Annuna o (in Clar" S,' A~ignon Festi~a '

THESMITHEREENS:

< THOSE GUYS WITH~

2COWBOY HATS .

ztc. a tavcr ite 01 Mussolini. known as adebauched woma n-con sumer and fascist.

Noted german filmmaker Ulrike Ottinger(Freak Orla ndo) conceived her f irst theatercrcoucuoo at Je llinek 's request. The stagemach inery wa s elabo ra te . Olli nger pam­st aking ly recrea ted steae sets t ypi ca l ofIta lian Futurism. an apt symbolic evocation0 1 d 'Annunzio's cul tura l ba ck gr ound , ARock y HOffor sensi bili ty a lso is pervasive.as when the ca st sudd enly breaks. in to Songand dan ce numbers. And Ott inger ouoc tu­ated the sce nic st ructu re with roc k son gs byLou Reed. T. Rex. and the Doll s.

Model and sex symbol Verusc l'1ka vonl ehnd orf playi ng the macho d'Annunzlcwas a superb touch 01sarcasm.Veruschka 'sccmcrex fac ile movements and vocal exaq­gerat ions gave reatnv to Jetnneks excres ­sfoms ttc charlcat ure o f d' Annunzio . The en­l ire cas I pl ayed out me Futuri st ic ill usionperfec tly,

Ot her i tem s 01 in te res t mrs year atAvignon included new dances by CarolynCarson and pina Bausch, a Fassbinder pl ay.a serialist chamber opera played in a ment alward. unconventional renderings of Cal ­de ron. Sch ill er ,Cervantes and Shakespeare.not to mention two weeks ot ~va nt"9a rde

music concerts and over a hundJed rooeceo­den t ly produced plays in addition to the 01­ucte! forty. Avignon may be the richest.most di verse theater festi val in the world.

EAST VILLAGEfYE SEPTEMBER 27

MUSIC

~

':' By TODD ABRAMSON

"> Even before hearing The Smithereens you:; haxe to g ive them a 101 of c redit. it l orz nothing else than perseveran ce. Try ing to

eke ou t a living playing rock ' I" roll isn' t toohot a suggeslion anywhere in the counlryunfortu nately , and espec ia lly in a tass- than-

- 'iwinging suburban N.J. " scene." But The.... Smit hereens have managed to play tog ether~ l or over five years now . and illhey are not~ e~act ly th r iving com mer cial ly, at reest theyr have con li nued to improve as a band duringZ their tenure in the Garden Sta te.~

,.:... No doubt one o f the strongest elementsiii ,hOld ing the band Intac t has been (he ir tn - .'; nate sen se of humor and craving lor tun ...,., Besides being an avowed While Castle ao-

diet (see Kicks 1t3'l, drummer ma n Dennise- " Spike" Diken also runs Prim e Shirts , pro­~ bab ly the only reten shirl ery in me wor ld;z,; where a Hal Blaine T·shirl can be purcnasec. :i 'Bassist Mike Mesaros once actuall y appl ied

10 the commissioner 0 1 the World WrestlingFederation tor the opportuni ty to become afu ture Baron Mikel Sicluna. on ly to be to ld to

' '' fatt en up." Jim Babjak (gui tar) -presi desover a N.J. record shop dubbed Flamin 'Groo vies , cer tainly a co mmerci al kiss 01death . An d if a ll that weren ·t enough,singerfgu itarist Pat OiN izio has home recor·d ing s of his phone conversat ions with theinimitable Joe Frank lin,

Wh ile th is sense 0 1 l uI' has yet to full yt ranslate il sell to vinyL a l isten to bothSmit hereens ' waxlngs will certainly show upthe marked improveme nl o f the pasl lewyears. Wh ile Ihe gro up's pri vately presseddebu t 1980 EPwas recorded unde r decidedlyprimitive cond ihon s, it's stilt n9t hard to pickup how lhe son gwril ing abili ty of DiNiziohas blossomed with t ime, A quick perusal 01the orig inal titles present on Gir ls AboutTown (O:Tone 150) will ind ic ate a cer la in , uh ,one·di mensionali ty: alon g wi th lhe ti tl e cu,lthere 's " Ga l Me a Gir l" and " Girls Are likeThat. " It' s 1'01 that the record is bad by anymeans. it jus l took energetic live perfo r·ma nce s o l lhe songs to convince me of their

. Sl reng th . The s landoY t cu i is a sol id render·ing o f the Beach Boys ' " Girl Don 't Tell Me: '

The Sm ithereens ' new release . Beau 1vanrJ Sadness (liltle Rick y 03). does benefitg reatly from Alan Belrock 's production . butthe songs t,hemselves are also a leap-for·ward. The featured and standout title cutdisplays te xtures and mood similar to" Never to be FOfgo tten" by the Bobby FullerFour. no small compliment. Songs like thisshowcase a large par t o lthe band 's charm .which is the abiliiy to perlorm original s Iha t .

cOfl/tnuedoll P:lge44

Smi thereens

AusHian pla yr ight Elf riede Jellinek wro te0 1his new pla y Clara S.t " Toportra y Ihe com·plex relations between a ma le-dom inatedcul ture, sexuality. power. and exploitation,lneeded 10 lind a constrell ation of ell emplarycharact ers symboli.zing the pro totypes 0 1allthese me cha nisms ." Jell inek c hose tocreate an imaginary dialectic between ClaraSChumann, who sacrificed her own ca reer

. as a pianist and composer to her famoushusband , and it alian poet Ga briele d 'Annun·

Mlkey Smith

"

uautv . G abd e ll e Bar t ol omei was t hesoprano . A second actress pla y ing Elsasleeps tossi ng and turn ing at trcotstace meenti re time. Gabri elle , the cream-sen 01 ourheroine. dressed in a I lowing wh ite gown,moves tl'1rough an eerily-lit no man 's land ofinfinite hospital cor ridors lead ing to promi s­ing blue horizons. Nurse s and doctor s gropeabout wi th sca lpels in a chilling staccatodance as Gabr ielle sc reams and tries to l indherse lf . l l'1en si ts calmly crying . From t im e 10ti me. knight Lohengrin wanders by scternn­ly :obliviOuS.IO the fr igl'1tenlng drama ,. Pier Luig i Pier' Alii created the stage land­

sca pe. Pier' Alli'set is so liQuid that we asspec tators never manage 10 sec urely loc atecuesfves in it. At front float s an amorphous

, ma ss of billowinQ white pillow s and a mas-sive trl anqutar bed. A parl ition fill s Ihe pro­sc enium. from which ha s been cui a staqe­sized oval opening lik e an eye. Through It.beh ind a scr im, medre am unfolds. The par­tmcn punches a vacuu m bet ween tne dreamac tion and the theater . If we 're present Inthe scene behind ttt e eye. we ultlrnately teettest an d wnnou t boundar ies In the larger

fa ther of the Rasta fari Movement .EmperorHaile SIll assl. l. Highli gh ts inc luded films.workShOPS. dance theatre. photography ex­h ib it . li ve band s and s peci a l guestMutabaruka ,

. MI CYANN BELIEVE ITMarcus . . . Malco lm . .. Mart in ...Martey . . ,Mikey .. , Mi . .. Mi Cyan Bel ieve It . Michael" Mikey" Smith a cause chamption of the op ­pressed and the crspcseec was mu rdered atthe hands a t foe s o f social prog ress onAugust 17th in Kl1lsum , Jamaica . His wordso ff end ed th'ose weavers 0 1 the sick fabrictha t has come to exi st in tha i society , fn­stead 0 1he lp ing to build ing the rouncauco.the b lood y hired hands loo sened those verystones and Ilung them at him until he wa ssil ent. Soon and very soon they will tug at astone underf oot and drop to endless depthsalong wltnthetr paymasters.

" 'Me mba Mi ke y " a tr ibu t e c o m :rnernoratlnq Michael Smith's cultural con tr t­buttons will be held at Tl'1e Studio Stop 130Wesl 20th St reet. Friday September 9th at9:00 u.rn. Guidance ,STEPPIN' SOLDI ERWater ration ta thr ee hours a dayGwine tek a lang lang t ime befor eMikey 's blood wash 'wayKeep steppin ' soldier. keep steppin'Me wonder if dem murderers cou ld readFor they would know his worksexoressec the ir needsKeep ste pp in ' soldier, keep steppin 'Even de bible say itand dem throw de stones said wayWhat an offensive sinKeep stepptn' sold ier. keep steppin'Mikey did tau from a ma ngo treeand him leg did shortfrom him fool to h im kneeKeep stepping' soldier. keep stecom''Roun' de wor ld ' him see te trodtalkin' 'bout li ngs and t imes .not riddles and rhymes .Keep sreccrn' so ldier, keep steccto'Life on de rrontttn a can be deadlyMikey was always thereand him nevah l imp in his pos it ion to defendTell me. where you stand?

1983 MALI KA LEE WHiT NEY (8131/83)

HUMANMUSICALRESPONSEFRENCH FUTURIST SHOCK

This summer's 371h annual theater lesti­vali n Avlg non , Francel ealuredseveral of lhekinds of produ clions New York' s new wave 'wou ld droo l over, especially in the area a tmusi c-theater. Avlgnon is no t an avant-gard elestiva l: bu l IOOay 's establishment Euro·

\ pean lheater incorpOrates immen sely moremodernism and posl ·modernism than we dohere. Except lor the not able effort of BAM 'sNellt Wave, we seldom see la rge·scale lreak­oYt thealer event s in New York . When the yappear. irs like an oasis in the desert.

I doYb t there's an opera company.in the50 states wh ich WOUld tou ch lohengrin.wh ich the Avignon fest iva l impOrted from LaScala in Mil an . Forget Wagner. This is Sleep­ing Beau ty 's nigh tma re or Ali ce irretrievablylos t . Salvatore SCiarrino's mus ic is a re­assuring repetitive melod y. a lull abye. inmar ked conlr ast with the solo vocal ro le 01Elsa, wh ose two-hour elemenlal gu ts pil lranges fro m infant hunger to fru stra ted sex·

By LOUIS MORRA

DISCDAWTA

Give thanks for th is new lease on life.mus ica l li fe. that is. and the heartbeat root srock regg ae . Firs l a lil lie re view of thesounds 01 the summer season . Ac tua ll y. itwas the qu ietes t in recent memory with lessthan us ual live in concert" performan ces .Peter l osh and Dennis Brow n were at thePier. l ash is charting on the strength 01 hisinfectious renott tc n of the Chuc k Berryclassic " Johnny B. Goode" from his albumeouneo MaMa Africa (EMI). Walking downthe street the other day I couldn't believe my

' ears when I heard a dee jay back announcethe hi! single and give ,the station eye d.(kay teeyou j. Some teenagers were li steningand I asked to conf irm if lt was actually therad io or a tape. 01 course you and I knowhow much prime l ime is devotee \0 reggaemu sic here.idc n't we? Go deh Peter. DennisBrow n's lates t The Prophet Rides Again(Sinbad) hasn 't grabbed me at au. II you reat­ly wa nt 10 ride a good riddim check out ThePromised Land wit h the Brit ish based groupAswad an d horn s ap lenty. The Melod yMakers. the offsPf lng 01800 Marley aresaidt o be in ked 10 A&f.A. A nothe r youngJamaican voice, Junior (not Li ttle anymore)Tucker has his lirst album release. Take aMessage (Geffe n) produced by Aay ParkerJr . It's a soy dJpop b id lor a wider audiencewit h only undercu rren ts ot reggae. IsraelVibration turned in an unparalleled pertor­man ce et tne Uhuru Sasa Snu fe in Brooklyn.even though they were nOI with the best ofbands. Eddy Grant gave a leather li ght andlater changed to wh ile sensuous swa yin g ofhis st ructure on stage at The Ritz recen t lythat bridged a lot at musical wa te rs . liisKiller on the Rampage (is selli ng welt wi th alot of promotional push rrom the totes atCBS). 01'1 how we were looking forward 10seeing Prince U nco ln Thompson per form onthese shores (it wo uld nave.ceeo a f irst ) aspart of the Brook lyn '83 ce lebration butt itgo l can celled due to red tape that slicks inrne wrong pl aces I guess.

Fredd ie McGregor and Suga r Minot! werein t op term ' at Th e' Bea con fo r a 'PreSunsplash show, Freddie is enjoying themost pOpula rity he has since he star ted inthe business wh ich Ithink wa s wh en he wassil( mont hs old. 'that 's right. Sir Coxoneused to go right to the nursery.grab them ollthe nipple and repla ce it with a micr ophone.ccn recucnery sweet Sugar Mi nott has beenmash ing it over in Brtt-out and u -ruc t andg iving the fo lks on the tock the nicest earcandy they've ever lasted. INe owe a lot tothe Zoo Yawk based loc al reggae ba ndsespe c ial l y MOj a N ya . Ka la bash , andMon yaka lor keeping thi ngs going during _tnts dry spell. Firstl y for their sup por t ollarydsharing t l'1e bill with some of lhe arti sts whocame to town, These months bave'seen theirown mu s ical development sparkle and glOWwnbtnes ton tnatr uture supe rs are made 0 1.Kalabash's (Kalabash) Betrayed is a mark 01

.scuo mu sical d irection and Monya ka 's(Easy Stree t) " Go Deh Yaka" has everybodylearning how to spell so they can be su re ofcas h re g is ter j ingaHng when cu stomersdel init el y know what to ask for . 'Tlme Crucialfor Maj . Nya so get it y ·all . What 's tobe , .. Max Romeo scheduled to appear atthai clu b (one mention per co lumn) youknow the pl ace witl'1 the big bouncer s and noyour name is not on the guest lis t. Got achance 10 reason with Max and he says its anew ball game and he'll determin e the run­nin's (I'm paraphrasin g) o f cour se. Our con·versation was indigenous tongue and therenot enough s"pac e here for a gl ossary .Anyway his cou nt ena nce read ide and withthe turn toward old ies bu l gOodies, I'd sayhe's due for ano lher spin. Golla prips oft hepacka ging 0 1 the latest Th ird World album(CBS) and il is bee·yoo·lee·fu l. From Japar)I 'm told. I don' l know if the assembly l ine onthis side will put il out that way . Can t vou chlor the mus ic al content jus ' yet. I' ll soo n giveit a l'1earing.

II it were not for Jon athan Blunk andRichard over at WFMU - 91.1 FM Sundays9:00 a.m . to 11:45 a.m. (Uppsala College. E,Orange, N,J,) my reggae ear wou ld l'1avecompletely curled up and gon e in side. Theyplay de best when I say de best I mean debest Reggae on radio anywhere. The reasonthe show is so good is because they aint t ry·ing to be superjocks they just pla y supermusic. Tune In.

Plll xus Internati onal Centllr for Interna­t iona l Resourclls and Black Nil e Prod uc­tions collaborated to present one of theyea rs most mean ingfu l cuUural evenl's." Breakdow.n. Babyfon . Breakdown" a th reeday mult i·media Aeggaelest wa s held Ju ly22.July 24,to at Plexus. 516West 25th Stree tin New York . 10 celebra te the birthdate of the

EAST VILLAGE fYE SEPTEMBER 28 .

By JAMES MARSHAll

Ani ma l Cracke rs - In thei r pri me I canremember Ihe Animals being grungier. dir­t ier. ug l ier and less soct env redeeming IhanIhe lear ly ) ROl li ng Stones a nd I heir fi rst lewl P's. Their 1963 live record ing In The Beginn·ing is perhaps the best Brit ish R&B slop everserved up . so 1go t cr env hOI under tne coua rlor this retest Animal s' reunion (Ihe las t onein '77 crodcc eo a decen t LP: Before We WereSo Rud1ey Int errupted.

The l ive origi nal Animals (Eri c Burden.Alan Price. Chas Chandler, Hilt on Valen ti neand John Stee le) have indeed reun ited. bul lgolla admit t had a bet ter l ime a t Ihe pressconference than I did at me show',

The band has been augmented by li veplayers who just need lessly muddle up Ihesound: the ir new songs were instantly lor ­getlab le and the med ley 01 " Ir s My trte "" Don'l Bring Me Down " sounded like theyrelearned it 011 of a David Jc nansan record.onme oostuve side. Eric looks and soundsgreat. is as mindless as ever onstage and hispockmarks are f inall y gone. I haven't heardthe new l Pyet ,bu t the 45 is awi ul- loook lorIhe aforementioned live lP (on Wand) ln­st eed .

Breaking Up Is Hard To Do ... But- KidCongo Powers is no longer wtt h tne Cramps,no replacement yet annou nced, I can't tellyou why just yet. The Gun Club 1t3 (JellPierce. Pal Monison, Dee Pop, and JimDuckworth ) are al so gone. Mayb e theorig inal Gun Club wilt reform. dBs and Wallof Vooodoo are also calling it quits, '

Meen while, Back In The Crypt-t ha ven'theard a '60's punk compilation since Peb·bles vot. 5 that hits as hard as Back Fro mThe Grave ICrypt)-with 16 ult ra -prlmi t jve1966 garage rockers. Inc luded is the eerie" NighI 01 the Phantom " by Larry and theetceoc tes (the Chesterf ield Kings open the i,sets with it). the Swam p Rats' raving version01 the Sontcs : " Psycho:' the One WayStreet 's " J ack Ih e Ripper ," t he AlarmClock's " No Reason 10 Complain ." whichhas the most monstrous beat this side 01tneHoneycombs. tne Rats, who sou nd evengru ngier th an the gamed (and overrat ed)Churchm ice. as well as stcu by the Pabs.Mal ibus. and others. There's also a bonuscut. unc redited on the cover or label-irsthe l yres doi ng " The Wjt ch.:· Back From Ttl ea-e ve also deserves some kind 01award lorcover art and l iner notes (the cover is by Dr,Death 0 1 Psycho comix fame). If you ca n'tlind a co py try sending $1 1.00 to Crypt aec-:?rdS, Box 9 151. Morristown. NJ 07960,t l ukewarm Shot-Although I've been play'10g il on and all for two months now , I,golla' dmil . l ouis iana biuesrnan Lonnie Brooks'new one. Ho /sh ot (Alligalor). is a real let­down at ter his superb debut Bayou Lighl·nmg (Alli gator). It sounds pret ty forced. andthe marertat is fairly med iocre . Still. I rove hisvoice and he's a great quitar player-ca lch~ im live sometime or Cui your teem on mel irst atburn,

Never To Be Forgotten- Greg Shaw 01Bomp RecordS/Mag lame has purchased tenhours 01 unreleased Bobby Fuller takes in ­clUdi ng unreleased live and stucrocuts .ear­ly singles. demos, radi o spots etc. 10 berelea sed over the nelt. t lew years in leninstal lments, The lirs l o f which is out nowvia Rhino records: The Bobby Fu lle r Tapeswhich Inc ludes some tru e gems. especiall ythe wild li ve rendit ion of " Wine Wine Win e."Also inc luded is an incredib le book let tun 0 1.rare pho tos. Info rmation and memorabilia.Also 01interest is a BObby FUII~r Four oac k­age out on Ihe Germa n tm e label whi ch rn­-cfuoes someodd cuts and rare stereo mixes,

LA. Speaks-From Greenway Recordsco mes a two record set o f spoken word per­formances from various sect ors 01 the cur­l ural side o f l os Angles- Voices 0' theAng les. Inc lud ed is t he greal CharlesBukowski (only poet worth a pee) reading" Jam" (look for his two alb ums-Poems &Insults and Buk owski Read s His Poetry Ifyoo really want to yow l), Richard Mell zef s" Wed nesday' s lor Batotes." readings byDave Alvin (01 the Blasters), Phasl Phreddie,Charles Dukow ski (Black Flag). cnrte 0 ,(Flesheaters) and many ot hers,68culS In all .My personal favor ite IS Kim Fowley 's uve­min ute rant which is funnier Ihan any 01 hisrecords.

rtl. LYles

Boss·Town Sound- The l yres have beenaround for years, endearing themselves torock 'n' ron tens for Iheir hybrid o f the '60'sNor th wes ! so und (m~c h ine gun drum s,pump ing org an. " l ouie l ouie" guitar riff sand sc reaming vocals) combi ned wi th MonoMan's unique vision tso unique I coorco'tpossibly exp la in it l bultheir la test 45 rpm " lRealty Wan l You RighI Now" blw " Help YouAnn" (Ace of Hearts) is the first time they'vereally caught that sou nd on wax. A guilarwith th e reverb pushed past the max imu mlevel leads rne attack , and Paul Murp hy'samazing drum work plushes the thing a1OO9at a tot ally bizarre intensit y. No doubt aboutit - my tavc rue sing le o f the year.

Hanky Tonk Burnin'- AI a ! ime when coun-,Iry music is probably al its lowes t ebb ever{Ihe last George Jones and Jerry l ee Lewis '"lP's were almost unfathomabty poor}. twonew packages tn at arrived in my rnailbox viaRounder records are like a cold shower altertwo weeks in the saddle. The urs r. l el tyFrizzell's Lelly Goes' to Nas hville rounds up13 cu ts from his earnest days in the co unlrycapitol and make a nice companion to twoearl ier Rounder sets ' and Epic 's " historicedi t ion" lP ot las t year, Most of tne tnes arenew to me, my favorit e being " Ho w FarDown Can I GoT Lelly stands wi th HankWilliams. Jerry l ee and George Jones ascne c rtnecreetes t of all country singers andtt's a crying shame his music isn ' t be tt erknown.

Speaking 01 old prune lace. the othercou nlry record hogging turntable time at myhouse is George Jones' Burn the HonkyTonk Down (Rounder) which compiles thebest of his MusicOf sides (1965-71). namelythose without Papa Daley's pa tently cheesyback ing Iracks. Every one 01 the 13 tr ackshere is f ine, fi ne stut t . bu t the real killer lorme is Ihe chill ing rendition 01 l eon Payne's" The Self ishness in Man." A 'vol ume two issaid to be in the works. now UA ought 10 reoIssue 'heir George Jones side in a decentpackage.

Bac k & Jumpln ' - The De l-Lord s (whosedrummer is named Frank Funaro: he wantsyou to know that ) are back in from (heirSpringfield , Missouri tr ip with tapes 0 1 theirLou Whitney (Mor·EIS)prod uc ed demo tapesand singi ng praises 0 1Red's cheeseburge rsand gro und beans. Many congrats to stnaer­gui tarist Scali " Top Ten" Kempner who wasrecentty mar ried in SI. l ou is.

Eatin ' Flesh- Ever notice how some bandssta rt all with a la irly inlerest ing idea andsound, get a lill1e atten t ion then rap idl ybecome grandiose whores? Case in point­th e s tesneat e rs wh ose new l P Hard toFollow (Upsett er) leaves me cold. Prob lems- they aspire 10 a Mot orhead-type soundwit hout Mot orhead's chops and si nge r­songwriter Chris D. seems 10 bel ieve autbecrap written about him being a "poet" (thePatti Smi th syndrome) and has gott en rtc tcu­toustv verb ose. Sale high po in t: an oddreading of AI Green's " Rhymes" which sus­tains interest for at leas t a few ustentnas.

Real Americen Underground PlaylistSeptember 83:

Back From The Grave /Cryp t)Dion " Drip Drop" lColumbia) .Meddoll Brot hers & Rose Ole Pals of vester-

da y (Piccadi ll y)Chocolate Wetchband Bes r Of (RhinalBo Diddley "Oeacktn ' Up" (Chess)Emie K·Qoe "1'alnl It The Truth (Minu l )Coaste rs Wha t Is The Secrel Of Your sec-

cess ? (Mr. R&B). -rm A Hog For YouBaby" (Atco)." Down In Mexico" (Atco)

Mert y Wild e Wild Rocker (Phillips) .~l yres " Help You Ann" (Ace of Hearts)Champi on J ack Dupree " To ng ue Tied

Blues" (King), "Bad Whiskey & WildWomen (l enox)

BRIEF TIPS FROM ITALY,

AS

By COOK IE MUELLER

On e n ight in Capr i (.jO minutes 0'1Hydrofo il f rom wh ere I li ve) on {he dancefloo r of Numero Due. my ident ity as theQuest ionable doct or was discovered. Imme­dia tely I was as ked. "What is this Herpes ,we've heard so much about?"

II really daw ned on me then that thesepeople were rea lly heal thy. I answered, " InAme ric a. Herpes Is passe ," The I told himthat he should rela x bu t get himself so meBrewer's Yeast just lor preven tive measuresbecause one never knows when it could hi tCapri.

So the real cure what tor whateve r ails 'IOuis a long s lay in Italy . perhaps right here inPositano where u-s shoc kingly beaut iful andthe food is straigh t lrom the vine and the Tyr.rhentan Sea is so mineral rich that breathingdeeply Quts ore into the blood. Also. onedoesn 't have to terce ones elf to do the dailyexercise routine, because to get anywhere,lor instance totne beecn or tot nebars . thereare these labyrinths of steps up and downthe cuus so calf. thighand bundevelopmentis unavoidable. No wonder there are nocellulite problems here.

Another thing I couldn' t help noticing isthat everyonearound seems to be downright

euc nouc and lheydo it au without drugs. Inthe s tates. to qet this high one would have tos nort so mething. Here I believe it' s thetomatoes,

obvrousiv. any lette rs I write here wouldbe fakes. so ins tead I've committed tomemory some cooverseno os about healththat I've had at the tabte over Cos lti/a a liaFiorentina Qr Sca loppine alia Marsala orPntto Mis/o or some other dish ,

Someone asked .me why Ame rican salways eat the eereobefore the maincourse.Ireally don't knowhow this bad habit startedbut I think perhaps it had some thing to dowilh American impatience. There:s this bl­zarre need to do something with the mouthand hands. Irs totall y incorrect to eat thesalad lirs t- Imean for hea lth reasons - thishas nothing to do with manne rs . Thehydrochloric acids st art to work on the firstthing you put into your stomach and rawsa lads are ottttcu tt. to digest so the ac idss tart on this Hem. and then when the maincourse comes down the chute it can putrefy.thus making gas. The sa me lhing happenswhenyou chewgum. Thenvorocntcrtc acidsare triggered by the ac t 0 1chewing, 9ul thenthere's noth ing to dige st . th us making

, '.

fAST VILLAGE fYE SEPTEMBER 29'

stomach acto. So chew gum only after a'meal. Peppermint. by the way, is a great aidto digestion.'

I noticed that people here don't generallyoverindulge in alcohol but theydodrinkwineall day. Only a few of Ihese people havemoved Into stronger stull and one 0 1 themas ked me a very strange question aboutsomething he heard somewhere about alco­hol being a desexer. He meant it mereuv.Well, irs true tha t alcoho l weakens theadrena l and thyroid glands and also theliver. When the liver becomes exhausted Itmay not be able to tunv inactivate hormonesof the opposite sex:So. for instance, when awoman drinks a lot (now res t assured thaiI'm mere ly relaving informa tion, f rea llycon't believe this particular theory) the liverisn't able to detoxify the male hormones inher body and a new sex begins to emerge: aneuter sex. II sounds a bil far flung to me buteven if it is true.what's wrong with a little an.drogeny?

Stay well. don' t worry about being sick.Eat some tomatoes.

'Love,Doctor Mueller

FALSE PROPHETS continued from page fg

s: Some of thesepeople don't live with real danger.Th ey do n't ha ve to wa lk down Ave nue B, At the show sthey go out of their way to create danger. The kind ofdanger they think will justify w ha t they have to com­plain a bo ut. I'm no t sayi ng anybod y's cooler causethey live in the middle of a goddamned wa r zone, I'mjust saying that the feeling of urgency, that thin gs areclosing in a round you, is a litt le bit more da y-to-daythan a n occasiona l sca re that yo u get from the mediamight be,Wh.at do yo u have to sa y about the New ){)rk Trashto",,? .SW : We signed a contract for it but we d idn't get acopy of the cont ract. Dave Hahn probabl y tore it upbecause it was dam ning evidence. It 1the co ntrac tJsa idtha t each of the eleven ban ds a nd Dave Hah n and TimSomm ers would get one sha re each, so the mpneywoul d be split up into thir teen equ al sha res . R.G .I.R,(Reach O ut Int ernational Records ] gave Dave Hahn athousan d dollars, they gave Timmy So mmers five hu n­dred dolla rs . Da ve Hahn a nd Tim Sommers gave a fewof the ban ds fifty-dol lars each.O l, Th is has nothi ng to do w ith Neil Co ope r o rR,O.I.R. T hey ga ve the mo ney to Dave Ha hn and T imSommers, Dave Hah n and Tim Sommers ripped us off.SW: T he roya lties were split unevenly la o , DaveHahn a nd Tim Sommers go t the royalties and ga ve o n­ly half of the mo ney to the ba nds.S: It's like rolling a slave fo r his week ly paycheck. Therea son certai n hea vy-du ty crit ics don't like someelemen ts of hardcore for being un rehearsed and raw is'cause there's no t eno ugh time o r mo ney to rehea rse.P: Just o ne thing I wa nt to say about gett ing ripped offis that a lot o f peo ple's a tt itude was "Gee, that 's toobad; well, there 's.not h ing you can do about it. " I do n'tbelieve people should be fatalistic a bou t rlpoffs. be­cause ripoffs a re the most blunt nega tive po litica l ac­tio n there is. You talk a lo t of abst ractio ns ab out w hatis going on three thousand miles aw ay, which is impor-

tant. but the relationsh ips arou nd yo u a re alsovery im­po rta nt. I th ink it's more than just th is persona l moneyma tter w ith Dave Hahn: he ripped off a who le sceneand the scene respo nded, "T ha t's life. " How can yo uchange an yt hing if yo u ha ve that a tt itude?5: It's impotence from the sta rt.

'Wha t do you think of New York audiences?P:. Better than Boston aud iences. New York audi encesare very cool in that Mcl.uhan-esque sense , ,5: . Th ey never want to admit tha t they 're not und er.sta nding what 's go ing o n onstage.P: Exactly, I a lways look at a n aud ience to see w hatthey're thi nk ing, I look at their eyes. and lots of t tmes lcan tell tha t they do n 't rea lly like what is going on.5: Th ey 're best at the SIN club beca use at the SIN clubthey're fina lly mixing all a udiences , People who listento only "a rt" or "no ise" ar e sta rting to listen to ha rdcoreand they come up with some strange compliments. o rcomments abou t wha t yo u a re doing , Peo ple a re reallytry ing to have a good attitude about a ll kinds of musicand that is w hy they sho uld keep up with the mixedbills.

,.Better Copies

The Source Unitd.33i East 9th St.NY, NY 10003(B~T lit &I 2nd AVE)

Who are your influences?P: It's all personal.SW: I like a lmost everyt hing except for muzak, .P: I like muzak . I like a go od elevat or tune every oncein a w hile, ...0: I like music tha t mot ivates yo u, tha t yo u can fee l. Ieven like po lka music,5: Did yo u ever hear the rhythm of subway ca rs? Iwrot e a lo t o f the early songs to the beat of the subwaytrains.SW: If yo u lived in Brooklyn Heights yo u'd wri te a llof these really short songs. a nd if yo u moved toBright o n Beach all of the songs wou ld be eigh t minuteslong ,

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dies her highlyprofitable exercise program10 women. mem are pummeled with thehomoerotic. Stallone-Travolta ideal andtold . if you want to " stay alive." get theeto a Nautilus center. When will museumslearn that the best art is always universaland that politics is politics?

The En Foco exhibition consisted largelyof black and while photos 01 HispanicAmericans. and though honest in its ap­proach, most of the photojou rnalistic im­ages were predictable, II could easily havebeen about Italian teenagers from Queensor any other ethn ic group- which ispe rhaps the point. 'The show included pic­tures 01a ptaster-ot-paris Jesus being car­ried through the streets . the Puert,o RicanDay Parade, a 1941 series of Puer10 Ricanshopkeepers and tenant farmers . anddeserted villages and cemeteries :

The exhibition was intended to portraythe idea that faith is slipping us by whilewe rapidly get caught up in " theaccelera­tion 01mediocrity and consumer culture.,.but it wasobscured bycommonplacesemi­ment except in one or two memorable in­stances. One pictu re portrayed what at firstglanceappeared 10 be acounty fair, bu t oncloser inspection revealed a mob. swollenwith bewilderment and anger, about to turna frolicsome ou ting into a " day of thelocust." This photo, by JoseAntonio vez­Quez. appears to be a warning as well asamessage.

The show opened and closed with twotrendy blow-ups mat could have been sentover from last year 's Frida Kahlo/ TinaMcdoW (two more communists) retrospec­tive from the Grey Gallery. One showed awoman standing in a field with a full.honest. hardworking, weatherbeaten face :Ihe other a curvaceous nude beautifullydraped in a sheet and lit like a Voguefashion layout. While both picturesrenected on the sensations of life. theyevoked elementsof life's passing and sym­bolically let us look towards death. A chill·ing prospect.

Jose Anton io Vazquez: " Unl itled"

By EDWARD RUBtN

Two concurrent shows al Ihe NewMuseum. curated by two collaborativegroups- Ihe Heresies Collective. publisner01 the leminist art journal Heresies. and Enroco. a Bronx-based la lino visual artsorganization-was fraught with socialisticovertones. Sometimes t think the world has-tumed on its axis and that I now live inRussia, I see so much art with Com­munistic overtones. But I just keep remin­ding myse lf that President Eisenhower's

'best friend was . Marshall Zhukov, Hem­ingway wrote for Pravda, Picasso was amember at the Communist party, and Vani­ty Fair published a novella in its very firstissue byGabriel Garcia Marquez . who is sofar left that he is not even allowed into thecountry. In any case. these twolett-leaninqshows contained very little identifiable artand a whole lot of political propaganda.

Despite this, the exhibilion was cramm­ed lull of provocative works. The Heresiesgroup chose to use their space the way theCh inese post their daity newspapers: onthe wall. forcing the viewer to circulatearound the room 's perimeter to read theexhibits. The effect was instructive if notartistic. Only one of the ten or so installa­tions was signed by its creator whichraises the question of whether this showwas a collective statement or a cominglingof free expression.

Each installation (a woman's completewardrobe, a mock kitchen with an ironandironing board . a collage of Hollywoodmovie-star phOIOS, a board game called" Mobility." and an altarpiece prominentlydisplaying the Virgin Mary, all with writtentexts) referred to the woman's position inasociety as dictated by the male-dominatedmores of politics, economics. religion andIhe media , As might be expected in such apolemical context, the show didn't indicatethat many men also feel like victims of thesame systems thaI Heresies blames themfor. For example. while Jane Fonda pee-

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GRACIE MANSION GALLERY337 E'- 10th St. NYC 10009

212-477- 7331

ROB JONESPIER 34 NYC

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EAST ViLlAGE E YE SEPTEMBER 30

EAST VILLAGE fYE SEPTEMBER 31,

P.S.l

Aovanceo photography crtncrsm has an­alyzed tne pecu liar mechanisms at workwhen documentary. SOCial realist photog·raphy is put on view in art museums-a set01 readings thaI have uneven applicationherebut are worth recapping. ParaphrasingAllan Sekula 's ' 'On the Invention of Photo­graphic Meaning" In the May. ' 75 Arl­forum: pictures of this kmd send twoseparate messages-ll an assertion oflegal fact. an empirically grounded report.and 21 an assertion ot .spintual rhetoric. amspensatlco 01 dignity. The first reading ISof the photojournalislic evidence: but alsoimplied is a humanist. empathetic " dignilyof the oppressed ." This last serves. par­ticularly in an esthetic-display context. tocommend the photographer 's " eve."perhaps the " genius 01 his v i~ion . : · elf.ac­ing of the specific social aQ;(l mstoncattorce s thaI actually produced thephotograph. According to Sekula. the ap­propriation of photography lor liberalpolitical ends grants theoppressed abogus-subjecmooc" when such status can besecured on ly from within. on their ownterms.

Sekula was speaking. of course. of the"great" documentary phOtographers whohave been cla imed by the real art marketand its inslilutions- akind ofcultu ral grandtheft that somehow doesn' t occur here. Buleven NoRio. asan " alternativespace" withlinks 10 the avan t garde . still providespolitical images-calls-to-act ion- wilh. acontemplative art context that is largely rr­relevant .

This happens with almost all so-called.'POlitical art. " I think Smith tries 10 avoidtrus " problem" with t ns photog raphs bydisplaYing them in a brazenly artless way­a bunch ot mem sloppily stuck toqether togive a comoosue view. stuck right to thewall. no lrames or anythmq. This device isboth arty and artless . and thus equivocal.

The kindof IdeologIcally focusedartanal­ysis that is being imitated here has alsoshown a bureaucratic tendency to imposecritical Imperatives on artistic pracnce fromabove(ct. Stalinism. and therocattatter-dayZhdanovitesl. and I'm not going to do mathere. Instead I repeal myoriginal advice ­the same given by the artist: take action.

SEPTEMBER 25 - NOVEMBER 20, 1983.GALLERY HOURS: THURSDAY - SUNDAY 12~ PM

The Institute for Art ond Urban Resources

46~1 21st Street, Long Island City, Queens

212 - 784 - 2084

"EXPRESSIONS: New Art from Germany"

Architecture, Fashion, FUm,

Performance, Photography, Video

and 14 Special Projects

By WALTER WINSHIElDIn my first submission I wrote: Recent

news 01mad-dog Reagan 's further esca la­tion01hiswar crimes against Central Ameri­can people gives this show ofpaintings andphotographic assemblages a dislurbinglyurgent topica lity. Largely depicting Guate­malan refugee camps in Mexico . theseworks capture simply the human dignily­amid-tragedy thatresultsfromcurrent U.S.State terrorism. Can themass murderers InWashington possibly be stopped?" Readersare urged to take action .

Nothing has happened since to changethis cpimcn. 01 course. but last rncntn theparagraph was cut because. I suspect. itwas conveniently short. so this timearoundI'm qoing tomake it longer. I had written sobriefly in the urst place because I remem­bered some remark Marcuse' had madeabout turningamoment of political decisroninto an object 01contemplative enjoyment.and I wanted to read this work as havingnothing 10 do with art and everything withpnotojoumahsrn.

OPENING: SUNDAY, Sept 251-6 PM

represented. there are also enough un­known quantitiestomakethetota lityunpre­dictable .

By subway: Nor RR to 59th Street stop inBrooklyn . Walk three blocks toward FirstAvenue and the wafer. The main gate is at58th Street and Fi rst Avenue. By car' Takethe Brook lyn Queens Expressway to theGowaaus Expresswayheading for Staten Is­land and the verrazanc Bridge. Exit at 39thStreet and go straight until First Avenue.Make a lett on First Avenue and continuestraight until you enter themain gate01theBrOOklyn Army Termin• . Inlo: 782-6628.

Continuing In a military vein : Strike upthe band . herecomestheFirst New York ArtParade. September 27at6p.m. on 5th Ave­nue between 104th and n nd streets. Per­chance an opportunity lor New York'snear­ly 100.000 artists to publiclVdisplay theirwork amidst fellowship and conviviality.perchance a call to don cap and bells andplay the 1001(en regimented massel oetoreOueen Met and King Googie . Whal say you.fo lk ? Forward March or No ThanxJack-the choice is ours. Should one wishto join. one must make one's way throughinsultingly worded Registration Informa­tion. sign the Participat ion Agreementstatingthat work can be withdrawn lromtheparade at thediscretion ofthe Projecl Direc­tor. that all publicity must be approved bvthe Art Parade. that the sponsor (lowerManhattan Cultural Council) disclaimsresponsibili ty and granting rights ofreproduction to same . then fill out the Pro­oosai Form. complele with description.sketchor photoinorde(.1o be eventually fur­nished with a Permit enabling one to Crossthe Police Barricades and Participate. Yip­peel Further information can be obtainedtrom Mary Elizabeth Pend! at 876·8232 ..Last but in no way least. the woman who

brought you a symphony for50percussion­ists has authored 10 Grand. a concert for880 keys to be presented at Uncoln Cen terNorth Plaza on Tuesday. September 13at8p.m. Ten pianists. tetchinqlyattlred in key­board-screened running suits aro -accom- .pamed by laser-light display. will deliverthemselves 01an eclectic melange- Mus­sorgskyesque to Lapland and backagain-on 10big Baldwins under thedirec­tion 01 composer l dire ctor We ndyChambers and co-conductor Anur Geisel.Free. Raindate: September 14 .

And for those who prefer their eventsmicro. Public Image Gallery presents the" Boat Show ." September 10. 1-4 p.m.Makea boat and noat it at the Central ParkPond. S.E. corner of the park-materialswill be provided lor children-Donation 52adults. sac; kids. Registration 12 noon.Raindate September 11. tnfo: 675-7196.

By ERIC DARTON

Like bright leaves eddying in autumnalgusts. the tallbringswithit ahost01 grandi­ose and very public art events. Foremost inscaleand ambition is theTerminalNew YorkShow. an exposition at work by over threehundred contemporary visual arfists-e- andlOO-plus performanceartists-whichopensSaturd ay . September 24 and wil l runthrough Sunday. October 30 atthe former

_Brooklyn Army Terminal. now the Harbor­side Industrial Center.

Scenically located with views ofOur ladyand the Manhatlan skyline. the show willoccupy 125.00001 thecomplex 's s-mnncnsquare teel and will serve the worlhy dualpurposes 01 focusing attention on an indus­trial area in need 01 redevelopment and . toheely quote Director Barbara Gary 01 AAAArt: " create an event of the .magnitude ofthe Armory Show."

The site of the exhibitioQis in itself quitean artwork. Designed in 1919 by CassGilbert. the Terminal is theFortressofSup­ply to the same architec t's WoolworthCathedral of Commerce-stripped downGothic. as adroit and graceful a work ofhorizontal mass as the Wootworth is of ver­tical thrust. The complex of piers . rampsand an enormous auxiliary building is con­nected via aenat walkways to the mainstructure. situated perpendicular to thepiers and split down Ihe center by a hugeskylit atrium. enclosing railroad tracks andflanked on enter side by seven noors ofcavernous warehouse. serviced in its dayby banks of elevators and a huge rollingsuspended crane that hoisted cargos ontoobliquely tiered cantilevered balconies.

The construction is exceptiona l- rein­forced concrete. steel and glass wifh mys­terious angled doorways-part Caligari.part Ell sworth Kelly. part Hanging Gardens01Babylon. The site is uniquely suited to itscurrent purpose. for imprinted on this

~d i sp l ay of military/ industrial power is theunique and subtle stamp of 'he architect' sesthetic.

L.arge sections of the space are beingdevoted to specific themes or grou ps: Banthe Bomb (a traveling show organized byAND). Preparing For War. Aesthetics otWar. Polymorphic Phenomenon. In DreamsBegin Responsibilities. Heresies. Scud.Architecture. Photography, an Artist'sStore. No Se No cabaret ere. etc.

Terminal New York brings us tull circlefrom Real Estate throughthevarious Monu­mentals. It has been part ly curated, partlyinvitational. II is boundtobe interesting. loralthough there a~e many well-knownartists

CONPITION(PJREVIEWS~~' --

EAST VILLAGE E" SEPTEMBER 32 TRUEWESTWaher Winshield

The American West is. among themost po- itent symbols for U.S. patriotic identity: our •(moslly masculine)Eden. sneo:expansion . .freedom anddiscovery. anempty (sic) wild­ernessconquered and civilized byman with l;his bare hands. etc. Repeatedly articulatedin movies and other fictional narrativeforms. the Wild West is now 100- metaphor- no facts, no',guaranleed reality: a syn­drome similar to the way the Vietnam war isincreasingly defined in the pop imagination 11

between poles of Apocalypse Now and TheDeer Hunter..

Intothis factual void has poured all man­ner Ql cultural embellishment . Somethingcloser to the truth, lor one. a's the SUbjectsof the massive genocide upon which theU.S. nation was founded became topic ofsympathetic treatment - think of some ofour cinematic Indians, including Paul zNew~~n , Charle sBronson, ~urt l ancaster . ~

Dustin Hoffman . The American branch of Ric" Prol I Piezo Elect Ie ' " Wild W I Show"the Amazon clan,lor another-apologies to a r s esBelle Starr and Annie Oakley , And the . A few works took noteof the rncdern-day

. ounaw/cutcast as hero. the individualist imperialism that seems to draw spiritualand loner whose ethics flex with necessity. sustenance lrom these old myths of U.S. '"If figure whose presence in American expansion and civilizin~ ma rc~ : ·.amongculture is hardly limit,ed to westerns. themare David Wojnarowlcz's.palOt,lOg Of.a

Perhaps the clotted variety of possible blindtolded. green Reagan With a nuke 10readings of the Wild West theme explains hishand. and Keiko.Bonk 'sembracin,g c~u-the general absence of any sermonizi ng in pieon aWestern pamted desert dotted Withtheshow at Piezo ElectricinAugust .arelec- satellite disks .tlonsharedbyalmost all 52 artistswho took Among other favorites of minewere Ellenpart. The artists. most of whomlive on the · Blrkenblltt's very small painting 0.1 apony'slower East Side, also passed up thechance headwithl iveroses .apparently acitation01todraw parallels between theunsavory as- theclassic '50s themeof ayoung girl's 19vepects of the neighborhood and the savage lor her horse (ct. National Velvet) . insteadelements oltheold West - they get no argu- of a masculine reading 01 the Wild Westmentafor that fromthisquarter. In fact. the theme. but why tnat littlepainted red crossonly locally derived work was an humorous on the norse 's neck? Is it shot dead? I alsocolor photo by Doug Milford. showing a note in thenostalg~cvei n . NinaKU.ss'sco~·worker chest-deep in a manhole during the ical Hcwdy-Docdyish cowboy. With banlO\repaving of Clinton Street-wearing a beat - gun . and cactus. and Suzee Kendulak·s.up. straw stetson. small sculpture 01 Mr. Potato Head as

What was evident I think was the large cowboy. which seems to say (and I agree)amount of " expressionistic" painting. that all cowboys are in large part potato-most of it quiteaccomplished. towhich the heads.western theme was largely incidental. since Other artists whose names appear in mythe personal. lyrical. individualist aspects notes included Step he~ l ack, Richardof the mode are more generally understan - Hambleton , Michael Keane , Ken Bortman,oaoie. Notable in this respect were works Russell Sharon, Pierre Cuvelier , Richardby Rick Prol , Tim Ouch and l uis Frangella, Hollman and Rodney Greenblat. who willall qooo-sizeo paintings that couldn 't be 'have to wail for next time fOT fairer jour-better. . . nalistic treatment. Finally. oen 01 the few

Much of thework also.suggested thepart photographs in the show is Tom Warren'sthe Wild West myth played in theencunura - Marlboro man with a black eyepatch cor -tion of our defenseless little prepubescent laged on . inanice over-determined render-selves. and as such was a manifestation of ing of the by-now-transparent advertisingcultura l nostalgia . a turning inward to reo' logo or masculinity - the eveoarcn being acover the childish meanings of youthful symbolic castration . a sign 01 weaknesscowboy fantasies . A small . nicely handled that is turned around to stand forpainting by Tess Timoney. obviously taken machismo. placed on the chamsrnokinqfrom old family snapshots. shows two sub' cowboy (remember those final photos ofurban boys playing cowboy: the painting John Wayne?) . We can expect. I suppose.places the Wild West in childhood memory, to credit Phili p Morris for the finalnecessarily innocent. and represents a demyslification ofcowboy machismo..as itsdesiretocleanse our pol!uleq myths of their Marlboro manisdestined tobecome the im-cullural and social toxins so that they may age not of strength but of the inability tofunction as they originallydid :as.ritualsand breathe .games ofbravery. excitement. imagination.etc. Da~ld WOjnarowlcz AI Pfezo El«;trlc's "WIld Wesl Show",

Holzer with Co".bor.r;~e War"combining a provocative statement with ahaunting image. However. alongside thestatement. "If you are considered uselessno one will feed you ." Pink painted awoman looking out at the viewer . The imageand the words didn't connect as lightlyas inthe other two.ca nvases mentioned above.Sometimes they hitit and sometimes not. Atleast -they are making an honest attempt .

Some people's voices give them away.Jenny's is likethis. It has adecidedly East ­ern. educated intonation . the kind youmight assoctatewith a college entranceex­aminer. I asked her where she went toschool and she ran offa Jist 01about sevendifferent colleges inclUding Duke, RhodeIsland School of Design. and the WhitneyIndependent Study Program. The idea lortruisms. her first series of one-uners.sprang fromatypical student dilemma: howtocircumventone's reading list. " Someonegave me a book- list and some of the bookswere okay. ' , Jennysaid . :'andthensame ofthe books were just fllcking impossibl.e toread.., She bt;gan tocondense each book 's'main idea into one sentence and. inspiredby the rock/ art posters whichwere prolificin the late '70's. posted the fruitsofher in-tellectual labor on the streets. "

Theresponse both in the art worldand inthe street has been positive. These past twoyears Jenny has been included in a myriadof gallery and museum shows.

What makes'her art work? Uncovering agem like. "When someone beats you with aflashlight you make the light shine in alldirections" underneath atrash lid can leadyou onto the path 01 enlightenment. or atteast provide you wilh a good answer toapop quiZ in English lit. In either case Jen:nys purpose has been accomplished . Youread thepa ssage. evaluate itsmessage andget on with your life. " Youmeanthat 's it." Iasked her. " just read the message? '.'" That' s it." Jenny replied . It seemed toosimple. Thenagain. insecond grade I nevergot the right answer to " who's buried inGrant's Tomb?" We talked further abouther usually being Included in shows withBarbara Kruger . Jenny told me that curatorsallen lump people together whose worksuperficially looks alike: She denied anyspecial connection with Kru ger. Jenny Ylldme about her old days as an abstractpainter. " Do.you draw an __more?" I asked." Not unless it' s absolutely necessary,-;she answered. Jenny also' doesn't writeanything longer than a paragraph and hasno plans to publish a novel or essay. butmighl be interested in compos ing a raptune . " So. you just write these littlemessages. put them up. people read themand you're a success? " I said. " That' sabou t it." Jenny replied. There was littleelse lell to say and tlett -

lady Pink is our onlyestablished femalegraffiti master: She isaflower who grew upamid concrete blocks-. lady Pink is en­dowed with all the charms of an Equadorianjungle princess. a lovely lace .afull maneofwaist-length black hair , an imagination thattransforms trees into playmates. and anagile body that can run switlly through amulti-colored forest. When at age eightPink's family moved away .from Equadorand, landed in the Sout h Bronx, sherecreated scenes of her beloved jungle onsubway cars and handball courts. Tigers.flowers. monsters and jungle women con­stitutethemainbody of Pink'swork .: ' I justwant to add a little beauty, a little color toNew York, " sne said firmly. -

By YAS MIN RAMIREZ HARWOODWhile I'm sitting in Susanne 's apart­

ment. David drops by. He is an attractiveman in his late twenties. carryi ng a camerainone hand and aportfolioin the other. Heisdistressed DaVId showed tus work 10 adealer. who in turn showed It to somebuyers. The buyers were interested un-tilthey learned he wasn 't ablack kid from the 'South Bronx. but a trained ite mate artistwith eight years of schooling behind him.No sale. It struck meas funny that suddenlythe South Bronx is chic.

What istheSouthBronxmystique?Juice.Fashion. Rap. B·Boys. Double Dutch Girls.Sex. Graffiti. In the art- scene it equalsdollars. One smart fellow named Ken Rolli nspicked upon this trend and signs hiswork .Ken Rollins and 15 kids from the SouthBronx. thus ensuring successful sales . AI­

'-though technicallycalled conaboratlon. thisis really the act 01 a' toy writing overanother's piece . It is lame by association. A

. coupleof days later. I learned that lady Pinkand Jenny Holzer were collaborating. Jtsounded too trendy to be believed . Anotherwasp attempting to suck off the SouthBronx's juice. I thought. I was wrong: Pink

- and Jenny are tackling serious issues on.canvas that move outside of fashion andfad.

l ady Pink and Jenny Holzer met throughStephen Eins of Fashion Moda. At the time.Jenny was looking.towork with another le-

, male and was drawn to Pink because "sheis asmart cookie ." Apart from being of thesame sex . Pink and Jenny share inan out­law 's late. Every time Pink paints a train orJenny places her silver stickers aroundtown . a felony rap for pubtic defacementcould follow . Bothrisk it because there isnogreater rush than seeing abeautitully paint­ed train go by or watching anunsuspectingperson step into a phone booth bearing amessage like. " With all the holes in youalready , there isnoreason to define theout­side environment as alien.,.

So far, Jenny and Pink have worked onfour canvases together. They are currentlybeing exhibited in t endon . Jenny showedme slides ofher two favorites. Thefirst onewas inspired by the murder of a closefriend. It read. "Some men think womenare expendable. they fuck them. kill themand throw them away li ke candywrappers." The words run down the sidesof tnecanvasandnexttothemPinkpainteda sultry-eyed woman -starlnq out at theviewer. The second one read . " Tear ductsseem to be grief provisions. " Across a seaOf skulls. Pink painted it in memory of afellow graffiti artist who died. " He dealthuman skulls to voodoo people," she said.solemnly. . .. There is no doubt that Pink andJenny's

work !ooks good together, but it falls shortof sublime . This is primarily due tothe factthat their work is best seen at a quickglance. It strives for the type of effect asubliminal message implanted inacommer­cial has: it works lnto the psyche SUbtly.Jenny's work in particular suffers ona sta­tionary surface . In the past. she combattedthis problem by pUlli ng her sayings on a

' mechanical signboard that runs them byquickly. so even when the viewer is sta­tionary. theworos are not. On a piece 01ca nvas traditionally meant for gazing andintr ospecti on, the words lose theirsponstaneity. Pink 's work shows promise,the skull painting strikes a good balan~e ,...

HOLZER&

PINK

EAST VILLAGE fYE SEPTEMBER 33

Rounding out " Hot: Part I" are worksbyMartin Boyle and Claudia DeMonte. MartinBoyle 's 3-D painted constructions 01 steelandmasonite are of apredictable pop.sensi­bility, One example speaks for all: DadCooks consists of a bust Of a WASPy-look­ing man in a business suit . and a Waringblender mounted on a striped pole. Wellthat' s nothing to get upset about. but thenagain.... As a lapsed Catholic. I preferCatholic guill. Claudia De Monte's smallpulp figure constructionsareautobiograph­ical , depicting the er nst in various aspectsof her persona. Her major opus is TheEcstasy of St. Claudia . She has made anelaborate shrine of several small panelscentered around some parable which.shamefully, t have forgotten . De Monte's iiI­tle construct ions and her child-like sculpt­ing remind one 01 Play-Douqh. Now thishumble material is set toahigher goat-thespiritual. That's right. get it all out 01 yoursystem.

Group showsunconnected bytheme seemalways tosutter more acutely from compari­sons: there is always one artist on top. al­ways work thai looks good cofnpared to itsneighbor, and always one do~ Fortu nately

lor Gracie Mansion . these characteristicswait to appear in " Hot: Part I''':The onlywork that looked good was MichaelRoman's. He was represented by fwoseries . each having two paintings. Bothseries, Two Lovers and Todas lasCalaverasfeature cats andskeletonsin Hell : ormaybeit's the palette. predominately red spraypaint. tooss las Calaveras shows a·Cerberus, surrounded by small panels ofskeletons and cats. The figures are boldstenctlfcrms. Roman's work is clean. sim­ple and powerlul. Falling in the category ofrelatively goodare Bill Multer's larger-than­lile acrylic paintings 01 freaks. His imagesareblown up Irom small photographs. Theyseem very familiar: his technique is fine.Douglas AMeli makes these unfathomablewooden constructions. They look like totempoles made of crates and decorated withhieroglyphs and pictures from product ad­vertisements . They have names like TheThe InvisibleHand; I think it represents thekitchen sink approach to creativity.

Moving from bad to worse. there is thework of Brian Clark. which can oAly be de­scribed as silly. Clark is concerned withbodily secretions and must have a castra ­tion complex 01 giant proportions. I de­spised the titles: Did You Make Poop Today.The Monster Are My Manhood. and havenothing butcontempt forthe work : too cute.Speaking 01 contempt. I feel my ideologicalblinders (decided ly feminist in orientation)slappin9 lmo place when I look upon Davidsandlin s misogynistic drawings. One 01­tennq. WifeGoing Down the Sfairs. has thewords " WifeGoing Down" onone side and" theStairs" on the other. Duh. we gel it. IItesiures a rake-en on Ducnamp's Nude De­scending Staircase. in which the figure is awoman who explains that she is not thewife . but the husband 's tantasy. Never hasMarcel been so shabbily Heated. In FirstDoubts/First Affairs the imageisdivided in­to two panels. On the lett. a husband andwife lieIn bed :'he dreams. " She's fuckingeveryone . " Predictably. she dreams ," Love, Money. Happiness. House." Natu­rally he is driven into the arms of anotherwoman (the other side 01 the drawing).Sandlin'swork leaturesthumbnail sketchesof de Kooning-like ladies (anolher warpedview of women, I jest) and Mondrian grids.These please no one so much as the artist

point. (Remember. it doesn't have 10 stand and those viewers with ivst enough artfor anything :) history background to leel smug about their

Th ierry Cheverney uses a soptusucated ability to idenlify the masters 10 whomvariation of comic book illustration in his Sandfin lips his hal. Sandlin's not a badpaintings. Medusa fuses the historic with drattsrnan. toobad his work is so offensive.an appreciation01 pop culture. It depicts the Like the profound. the truly awful rarelyill-fated sailing ship of Detacroix's Raft of occurs In art. Caroline Goe? 's (I under­the Medusa at the moment 01its destruc- stand the ?) work Ialts into this latter care­ticn. Thepaintingisdecorated withaborder gory. To use the term amateurish is to un-01 bones. anice touch. Themesof violence, cerstate the obvious. .terrorism. and life-and-death conflict are " Hot" would have been a commendablethe subjects of Joanne Freeman's oil slick group ellort if it hadbeen comprised ofPart Idrawinqs. Me or You pits twofigures . male only . With the exception of Michael Romanand female. againsteach other. Colors. red and. alright. Bill Mutter. I'd say Gracieand blue. continue the opposltton. Arrows Mansion 's '82- '83 season was eleven daysIndicating diffenng directions add a certain too long. u's lmportant 10nave.galleries likedynamism. The drawings are divided into Gracie Mansion which exhibit work that isupper and lower panels and although slightly unorthodox in subject mailer. SomeFreeman used repeated stencil images. of the people mentioned in this review faUtheir edges are blurred. lendinga pleasing ' inlo that category and areverygood at whafpainterly and expressionistic quality to her lhey do. However, a littleintolerance goes adesperate scenes. long way . .

By SYLVIA FALCONA summer art show is a nice idea : when to believe that a painting depicting a naked

most ga lleries and events are-grinding to a woman wrapped around the bell y 01 ahorsestandstill. a summer opening provides an and entitled Au/umn Leaves is devoid 01.activity-starved pubHc with a cheap night mean ing. Guiltyof fhe Same Brea/h featuresoul. Lack 01alternative does not . however. a reindeer prancing through an off-white.guaranteegratefulacceptance. GracieMan- .1void. In each of the lower corners a head .slon's group show in two insta llments ! bearing a resemblance 10 the oersoomca-(" Part I." July 19- 30: " Part 11. " Au gust l ion ofthewinds. gasps forair. Thesepaint-2-12) represented work by twelve artists ings are compelling . Oltersen creates athegallery had wanted to include in its too- privatemythologyandpresents images 01ashort regular season; judging from someof considerably surreal quality. His techniquethe work exhibited. notably in "H ot: Part isvery sure andgives credibili tytohis naiveII." mereis good reason to limit the regular fiquration. Who cares what il stands lor? Inseason. . a related vein, I was told by John Lorinser

" Hot: Part I" was adecent group show: thai his images were self-explanatory. rmthe sixartistsexhibited looked good togeth- sorry. but thepoint of anuntitled workcan -erand while theirworkwas fairly standard , sistingofa life-sizegray-paper-pulp ladderit was generally stronq and Iheimagery was covered with oocktau toothpicks doesn'tap'pealing. Michael Ottersen 's enigmatic seem terribly obvious. By comparison ,paintings. heavy with symbolism. are en- Lcrinsers Shy Boy and Shy Girl , twograygrossing-despite his statement mat his ' pu lp wall figures whose heads are cocktailchoiceof imagery is arbitraryr I find it hard toothpick cush ions . are brutally to the

HOTS 1~B~·~MICHAEL ROMAN ' TOOAS LAS CALAVERAS

EAST VILLAGE fYE SEPTEMBEc'R~3~4~"1ec~~::...... feet environment lor Vaijghn's celestial

monoliths .Anonymous Productions followed their

night at Danceterta with one at Umbol ounge wh ich included a fine photo showby Lynn Grabowski. who has been photo­graphing some 01 Pyramid's finest per'

By CARLO McCORMICk lormers and tran svestites lor over a yearnow.

September is here and once.aqain. from Another well received show al Umbosene to 57th Street. galleries will open lounge was Ed ward Brezinski's paintingwith lanlare and a lillie cheap white wine. exhibit. His work promises to be a great in-With so many socialites l locking to open- . vestment: owners of livedilleren! galleriesings 10 be seen and soak upa few glasses bought prints from Brezinski's limited edi-of champagne before dinner. it is no won- tion series of Nancy Reagan. Speaking ofder that some clubs are taking their cues Edward Brezinski. to get thestory straighl.from the an world. As receptions become what he said in regard to his throwing aentertainment. socan theentertainment in- ..glass of wine in the lace of sere art queendustry of N.Y. become new patrons of the Annina Nosei was. "l've alWays wanted toarts. Among the best attended 01 any of throw a drink in the face of someonelhese parties are always Victor and influential in the capitalist art scam."Jeanette's Anonymous Productions. Their least successful of these current art-recent event on the root 01 Danceteria was and-drinking combinations has been art atundoubtedly one of their greater sue- the East Village's new Sobc-styte bar.

.cesses. As well as the evening's entertain- Beulah l and. The only interest the Keithment there was: art by KenMiratsuka, who Haring show mighl .have had for anyonehas chiseled into the sidewalks infront at was the opoortun lty to see the creativeStorefront Gallery, limbo l ounge, and life energy which enlivened Club 57 grow "Old.Cafe: paintings by Richard Hoffman. who The answer to why Haring has sloppedis responsible for the beaulilul painted sets growing artistically is undoubtedly a Wholeused in Titus Andronicus at the Pyramid: other story, but as he continually churnsan amazing Day-Blo installation 01 spider- out art which merely resembles itself withwebs by Deb 0 Raw C. Wh ich no one could less humor, energy and conviction, it iskeep their hands olf : and the evening's hard not to be disappointed and shaken indramati c conclusion was Pierre faith. More interesting fare was Kennylema rche's gigantic artist-operated Scharf' s show. A mixtureof his own worksmarionette , and some of other artists in his collection,

later in August. the root of Danceteria it was worth the trip to see old pieces byfeatured twoevenings ot tnree-cimensionat him, Tucker Davis and John Sex, amonglight projections by Jeff Vaughn, The others.night. equ ipped with tine weather. ccnun- This month 's Art Martyr Award goes touous music provided by a myriad of some Tcheng Hsieh and linda Montano. Tchengof downtown's more innovative per - recently finished his last piece . which in-formers , a full moon, and Ihe perennial voived staying ou tside for one year . NOW,·magnificent view of Manhaltan, was a per- for the greater glory of art. h~ and linda

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Montano shall stay tied together .for oneyear , bl!t never touch , Any future nomina­tions may be sent to the East ·Village Eye .attn. Art Manyr Awards.

But because some 01 us can't wa it umtl astrew opens to see it. I've been lookingaround a bit to see what this fall has instore for us, Curiosity may un me cat buthere 's September's previews.

Garry BridgewDod (New Mat GaUery,508 E. 12th St.) Bridgewoocfs art defIescategorical description. Eor each creativeimpulse his art embodies , there Iscounterelement in contrasl ot--eQoal import.calculated yet casuar'ffiieuectuat yet emo­tional. scientific yet childishly simple.Paintings and computer drawings with avl­sion.

David Finn (Salvatore Ala, 13 W. 20thSt.) In perceiving David Finn's sculpturesil is dilli cult to avoid the cliches as he soskillfully does. His human terms are con­structed l rom the trash of the urbanwastelands he creates them in, However,they don't indulgently dwell on the decayot ine city or man 's plight. The works aresensual. positive and undeniably human. IIwill be differenl seeing them transplantedfrom their usual location in an abandonedbuilding in the South Bronx to Ala's cleangallery,

Richard Hambleton (Civilian Warfare ,625 E. 111h & Piezo Electric, 29 ClintonSI.) All those who think they have a firmgrasp on Hambleton's an through hiSblack street ligures alone are wrong . Thisshow will prove to many Ihe ceptn 01Hambleton 's creativity. The tremendousellort with which he has covered the citywith his " shadows" translates in thestudio into very labor-intensive palnt inqs.Whal Hambleton will unveil this fall is.though a logical progression from hisprevious work . dramaHcally painterly andcontains much to be dealt with,

SEEN,

Luis Fringe", (Hal Bromm) Tribeca ).Sensitive huge-scale p.9:intings 01 bodyparts. Beyonc;lacademlc studies, they arepo..werfully and sensually rendered. Subtlystylized, their disQuieling relation to thepicture trame is dramatically tactile andwell comrcueo. A vibrant breath ollile intothe Hal Bromm Gallery as it sheds its lastremnants of 70's Minirnalism.

Robert Parker (Storefront Gallery, 151Prince SI.). Robert Parker's work fits inwell With Storefront's conceptof a mixture01 Art and Architecture. Di rectly address­ing themselves to the universal aspects ofour existence, 'Parker' s sculptures are an­chored in his own curious synthesis ofEuclidian geometry and deeply-fellmystical spiritualism. The rough materials01 metal. bone and rope, are all boundtogether by an overall concept that has astrong appeal both visually and emotional­Iy .

The Eye wishes a lasl recovery to Masa.one of the East Village's most promisingyoung arnsrs . who was brutally beaten upand mugged on Avenue B recently.

For all those art winos savvy enough tobuy the Eye on its urst day on the stands,let if be public knowledge that ton ight.September j th. there are no less than l iveopenings at; Harm Bourkard . Serra DiFelice. Civilian Wartare" Piezo Electric andABC NO RIO . As lor the rest of the monthyou can all fend lor yourselves , I'm havingenough trouble maintaining a modicum 01dignity as I claw my way to the wine andcheese.

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BARRY

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BRIDGWOOD

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BIG ART ISSUE:OCTOBER '83

ADVERTISERS' DEADLINE:W EDNESDAY. SEPT. 21

INFORMATION: 777-6U57 '

LIQUID SLAVAYeah, I cannot tell if I would like it there.

Movies are a very expensive type of art , Theterrible paradox is that if you want your filmto be seen, it should be expensive . If youmake a low budget film , you have no chanceto distribl,Jte it. ~ .

And as far as reasons of quality-makingliquid Sky- I never made so many com­pro mises for budget considerations. Eve ryshot I had to compromise something in _order to make it ch~ap.

What kind of car will you drive whenyou succeed in Hollywood?

My greatest problem with Hollywood is Idon 't drive at all. I'm taking lesso ns but I'mso bad with it .- Some people do n't think Ishould do it , it's too dangerous. My favorit escene in movies is in Annie Hall, and WoodyAllen's coming to l os .Angeles and cannotdrive his car . I see it, all the time as mydestiny .

What's your next film?I'm working on a co uple of pro jects .

Thematically. will they continue alongthe same lines?

No , absolutely no t. First of all , any idea ofa director's role is to make absolutely dif­ferent films . I realty don 't consider liquidSkya Ne w Wave fi lm. People always put you insome category . It 's a film that shows N ewWave people but h's no t a New Wave film.Maybe it's better to compare it to Jaws thanto \tlrtex.

Somebody said this fi lm is like anthropo­logical research fo r me. It wasa complimen t ,because that's exacuy what I wanted. You

-can say the same about Brecht' s plays andGodard's fil ms. It belongs to a Brechtantradition which makes people think and no tfee l. You can feel; there can be strong emo­tions , But'it should not be ~motion~1 iden­tification with berces-

You were able to maintain academicdetachment throughout?

It 's always complicated . Even Brech thimself , he never managed to be absolutelynon-emotional. So liquidSky is a pretty com­plicated film . It has eleme nts in which I co uldnot be de tached from heroes. .

It has real peo ple in real situations, and alot of them played themse lves. And thereare a lo t of emotions involved.

Is it somehow unfair fOf' you to be de­tached white Anne Carlisle e!Cpose$her life to the study?

No •. we never had these kinds of pro b­lems. I don 't think" my at titude was thatmuch different from Anne's-at the same .time involved and de tached .

How has little Odessa reacted to liquidSky?

They didn't co me . We had an ad in aRussian-language newspaper, but they are sofar away , there is no way for them to re­ceive it .

Did you ever intend to stay in Israel?Yes. I love the co untry, but , well, it's too

small a country for a film industry .

What about anti-Semitism? Did youexper ience it personally in Moscow?

Oh. yeah, I experien ced a lo t as a child. Intile ' 40s and .50s it was at its height. I wasbeaten by the o the r children. 'The govern­men t used it-just like the Germans-be­cause it's a good way to please people . Also.in Moscow at that time , if you wore a littledifferent clothes you could be bea ten in thest reet .

How about the film scene in Moscow?I left Russia more than ten years ago . I

hear fantast ic th ings, I heard from a girl whowas in Russia some months ago that there are

' a lo t o f punks in the stree t . It 's very difficultto imagine that hapPening. So I don't kno w.

How about collaborating with yourwife? Have you done that for long?

Yes, we met when she was my assistant di­rector, But I don 't want to tell you she's as­sisting me . If you take the history of liquidSky it' s quite the opposite. Because she and

10 Anne started to write a scr ipt-not this one .• j:P Then it came to my mind to make UquidSky,' I~ which incorporated a lot o f ideas which were, j,. in t his prev ious script .

zZ Will any of your coming films include~ Anne .Car lisJe?

, z Yeah, it's possible. But I can tell you this,i~ . practicallyall of the new projects have nom­,OS ing to do with New Wave , and have a lot to

do wit h moral problem s.

•

Slal'a Tsulcerman

.important subjects there is film_history . O neof the things which shook me most of allwhen I QJTle to New York- I came to seeclasses of film history at N YU, and no onefrom film school was t he re . Students fromfilm school need to know ' only one thing:how to put film into camera . That 's impossi­ble in Moscow. I used tetsee four. five, sixfilms a day. Not only film-history of paint­ing, breratu re .c- sc import ant in Moscowfilm school. And I think the best directors inAmerica today are people who know thesethings.

Who are they?Well. I mean, I'm not judging quality. I'm

just speaking about the most productive andknown names-Coppola o r Scorcese orl ucas - all o f them know very good filmhisto ry and are very educated in all the arts .

Is there any irony to the fact that Eis­enstein-the foremost figure of Sovietsocialist cinema-made his principlecontribution in the a rea of cinematicform?

I think all the Russian artists had' the sameproblem - -those who didn' t leave Russia.Most o f them felt like mo re or less they sup­

.porred the Soviet government. Many wereon the left ..And t hen it all changed in Stalin'stime, !tid it was a great jtagedy for them,You can say about all of them that their im­pact was only fo rmal. But , well, it 's difficultto say what 's a fo rma l impact. Ivan the Terri­blewas maybe the most serious film from asocial point of vie w ever do ne .

Do you find in the West today an al- .most religious devotion to form, a nd amistrust of soc ial cont ent in art?

I think this conce nt ration on fo rm is politi­cal 'in itse lf. 'Fo r example, how can you saythat Ne w Wave is not pclltical! ,

Do you ever spy on aud iences to see ifthey're Iaugfling in the wrong places?

Yes. Espec ially New York audiences. No ,they don 't laugh in all th e wrong places .' It 'snatural-people laugh through all the horrormovies , and it's by the way very American.When I first came to America I was a littlesurpr ised by this laughter reaction at all themos t tragic o r horrifying so rts of films. Butnow I think I've become the same :

How was Liquid Sky financed?Private capital. There is an executive pro­

ducer.

Are you interested in going to. Hollywood?

By T. MITCHELL

Stava Tsukerman's first (tl" feature liquidSky ;s pocking the~rly, and for themomentthot's enough to keep !hemirdlful Soviet emigresmiling. He lives in trye heartof EI Catorce . and/ found his doorway obstrtKred bya street mer­chant's bright blue vinyl valise. negotiated myway to the massive steel-plated door, and waswelcomed into a spacious retreat of ext>osedbrick ond neon sculpture. '" am not a NewY\bve director," he told me, and in heartilyidiosyncratic English v.oent on to articulate a sur­prisingly wholesome attirude for the director ofwhat must be considered the season's mostribald meditation upon uftra-decodence.

Are youl surprised by the success ofUquid Skyf

I don't think so.

For an i~dependent it's gotten pretty.good distribution.

According to tradition , t here are fourteenmarkets -that's a typical art film.

Seeing the film, I would concludeyou' r e quite fascinated with ultra­decadence.

I wouldn't say I'm fascinated with deca­dence . I didn't choose this subi'ect becauseI'm fascinated with decadence. Because dec ­adence is part of 'socie t y - especially NewWave from my point of view - it's a verygood mirror o f the problems of the wholesocie t y. Maybe that's why the subject is sointeresting.

The film treats agreat many SQCial ta­boos in a very brutal way-could itever be accepted by a mainstreamaudience? .

Well, maybe middle-America is differentfrom the rest of the world. but Ido n't thinkso . I think shocking films that are advertisedas shoc ~ing fi lms make a lo t of money. DolceVita was forbidden by: the Vatican, and itmade a lo t of money because o f that .

What do they stress in film school inMoscow?

It's pretty different tha n the Ame ricansyste m. There is on ly o ne film school in at! ofRussia. Each departmen t teaches only oneprofession. It can happen once in a' while.that a director of photography willbecome adirector , but it never could be permitted fora director to take the camera .

Ano ther thing is that one of the most

, EAST VILLAGE pE SEPTEMBER 36 ',

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I ' h th ree you' ve e ve r seen -Chino/st , bUI it ' sWhen you look at th e II ~ s' I be.au t if'u l looki ng . so s t ra ng e a ndthou sand years ago . they were aw fu

h b ' I B marvelou s look ing , tha t YQu' re reall y in-high. at who knows w at csua (·O SI . utyo u n eve r wo rry about th e slaves : Iri gucd by this goo fy story abou t these

. h hi . I peopl e Hying ,10 be M aoi st C h ines esome how they get lost In I c tsto rrca Com mu nis ts . Then the next one he shot ,process. I'd have hated to have been aslave , bUI you alwa ys assum e you' re not. it was su pposed to be in sync, bUI you

hard ly ever sec a mou th moving . He sho tI think that what masquerades as realityit as a per-sun would who had some kindnow is as imp rob able now as what mas- .o f eye p roble m , a nd co u ld n ' t lookquer ad ed as reali ty twenty yea rs ago. I

T throu ...., h a camera , m inimal pictures tha tdon ' t think that 's changed much . 0 ~

wit, I thin k the Amer ican family was you can't iden tify .He gave-i t to us as a presen t. and wesome thing which everyone was pretep- h

h . ' .. ran it at Lincoln Center . Everybody sow'di ng 10 be realit y , even a t 1 e rr very 11\'rima te mom ents. That to me is q uasi. ed u p . At one po int , J ean Luc had said,

In your films , man y t imes , there will " " Now, what you do is Some body standsrealit y.b e darkn e ss. You.'11 b e r u n n i n g But I think the con cept of reality is up at the be gi nning a nd says, 'T his isthrough a d ark p assageway -and still in ter esti ng . II ' s like leit ers . You IwO reels lon g , we 'll sho w ei ther reelthere's this tension - are you go ing 10 l b " I first , it doesn't matter whic h -onc , andhardly' expect etters to e ncnon .turn off the camera , or wh_at? mean , everybody wr ite s their own br and then yo u can v0t.-e on wh~ther you want

Ri ght. The process is even tua ll y to get of fiction but it's got enou gh holes in it so to see rbe second reel ' ." Eve ry bodv v,

. caught up in the life process ra the r than r: h d thought th is was reall y funny, ha ha ha .you ca n llgure out w at you nee 10 I'!

the picturing process. I almost iJ1ways know. Biography , aotobiographv, col. ~I ' II tell you , by the seco nd hal f, peoplestan off with a zoo m lens, which is a lens lections of leuers , they' re fam asnc . T hat were tearing out the seals. We got suedwhi~h let s you gel far awa y . It ' s like hav- 10 me is the d irection I 'd like 10 have my by- Lin coln Center fo r about 525 ,000ing a-lon g stick, you can poke the sq u ir- because people wrecked the place , they

h b d h ' films go . .... drei thr ou g the ars, an e can I get at were so enr age .you. You gel perfect pictures. And in the Do you st ill run your own distribution The question that I always want to ask

d.tvou mn id I I .ystem? , h "en , _you pu on a very WI e an g e ens, . Yes, we dis tri bute ou~ own film a.vNot , _peop le who were involved in t e SIX·and ' you get close, and you tak e you r h t ' 1 0m ch ties is, what happened to th e revolu-cha nces. You may mi ss everything, you ~ m an y o r er-s now . I S O U , , ,

have' no idea of what's going -on . You alt ho ugh we try to help other film' : hoWn, II di d I pu, T h ' 'h'mak er s. We' have a foreign re p rhat we I p, .~ " IboYouG"ode dJ~I. at s w

dad'don ', 'even pu t a find e r- on the camera, . d ' I I . . J ~l S a u r. ar was persua e

" I Y " hoot d se n peop e to . - n so me Inst an ces. ..... . hyou re.50 c ose . ou re just s 00 10 9 an God ard ave us a cou Ie o f films thai he that 11 was gomg I~ happ,cn 10 a mo nt orhol din g and spra yin g photog raphy Qut · . d g 'l' h' P 1', two . H e kept say mg, ' Are you ready?'ahead of you. . wan te us 0 ave . ..:It Are vou readv?" I like i F" re you rea y . t was I e In ranee,1/1969, F~d Wiseman said that h e I AM? :., he just assumed that some body had lith h t di ' I " , I Yeah ,' l PM and a no ther on e ca lled Un the fuse and that 'he dissidents w-,e go't oug oeumen ar-ies were especla - , '"11 .. '"

Iy n ecessary because the world was' .Film Comme.Une Autrt , which is just the ing 10 rise u p a nd slowly tak e ove r theh .. , k l d id ' world ' s mosfunw atchabl e film . , rl ', whole U ,S , I thin k everybod y jus waye 'a n gm g so qUJC y , an peop e nee - '" ..

ed to grasp on to what ever reality they , why is it unwatchable ? 1': over ra ted Ihe possib ility thaI American . •~could gel. Do_you think that need ex· Because he was deciding to go agai nst stude nts presenled in leqllS of, a hardist s to the same exten t now , or that the pop ular eSlheli~s at ihe time. Every.body core revolution . In Fra nce , they do it allworld is changing as quickly? had .pu t Godard ·into this plac,e ~here h~ the time , it ' s standa rd'. They' re tou gh as

J .thin k Ihal pe9ple get tr ap ped into could dO,no wrong . All the intellectu als nails , as tou gh as the m ps. But here , 'thethe ir en lhusiasms, over and over an d lhou ght he was just the darlingest litlle student s were no match for the kin d ofove r aga in . Whelher there is evolut ion, thing thal ever ca me alo ng, and it was· power be fore them . A"nd they 're neverwhe lher we get a littl e smarte r each 'time, drivin g him nut s. So he decided that the ' go ing 10 separate from Ihe syst /W m'. Theor whet her nothing ' s changed in five pro b lem was that he had a ll th ese 'syslem offers th em too mu ch i01:he end .thou sand years , J.really dOfl't know . wonderful ·cameramen . I don 't know if O h , God , it always brings Ih~m around .

..~.

LOOKING BACK"--'- rWITH D.A ~ PENNEBAKER :::: · :: : : ~,: ,

An Interview b y MINDY STEV'ENSON

In ihe thirtyy ears since D.A . Pn 1llebakn ma,dehis f irst f ilm (Dayb reak Exp ress, with ascore hy Duke Ellington), he has consistentlymanaeed tof ind himJtij in the right placeat Iherit:ht time. Early in his career, he worked withRichard Leacock, Alhert Maystles, and Robert

. Drau for Tim;" Inc';, ccoering events ran/fingfrom Jant f"(/ndq's (disastrous) Broadwaydebut to the Robert Kennedy/ George Wallacedesl.Efration confrontation. With Leacock, htmodified tht fil m camera to half it's wtightand invented crystal sync (with' Buloea­watches) ushtring in a wholt genna/ion of so'called cinema ooite. Sinct then the subjects·of.his film s have included: Tingut/y's seij"destrue,ting sculpturr at·MoMA, the debate at.Town Hall f latli-n'ng Norman Mailn- vs. the[eminist vanguard, the Mont;Tey Pop Festival, 'T im Leary 's wtdding,-:a pre'hust Del.orean,RFK, the last Zi.f[f{Y Stardust concert, andDylan's 1965 tour oj Britain, to nome.onty afew.. He's worked with Norman Mailer andj ean' Luc Godard. .:.

fen nebalur has left us with sruh imagts as:a stoned and incredulous Mama Cass mouth- .ing " Wow " aft" J anis j oplin 's Montney" Ball and Chain, " Dylan fl ashcarding thewords oj "Su b/manean Homesick Blues, "alld an enraptured & wiefan signing back thewords. 10 " Moon A,ee Day dream, ': amongothen in the pop colltctive unconscious. Don ' t.Look Back, thr Dy lan Ji lm, and ZiggyStard ust are dIU (over-dIU) for release thisJail.FollolI;!ing is a conMTJ"ation with the man who.h~ /Men called " King of the Concert Film. "

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tt::? .:, : .·c.•••.•.... .••

EAST VILLAGE EYE SEPTEMBER 37

in fact it ' s not . It ' s J oe Fannworker whomight in fact be a ra pist and a sodomistan d everything else. And to throw himup on a pedestal j ust because it mak esyour film a lill ie nobler , is real ly crazy ,and I do n' t go along with jt ,

What was it like working with No r­m an Mailer?· I read -t h is one st oryabout how h e ch ewed o ff Rip T orn ' sea r .

DARYl -ANN$oIti.INoeR$

No , yo u know what he was pretendingto be? He ge ts in to th is un iform, and hewalks into this schoo l o f sonte of the hip ­DeSI kids in Brown svill e . It was anAmerican colonel ' s uniform. with thestr ipes and everythin g . 'And he said (highf alseuo) " I' m a wo man?" and th ey allwen t " W ha ?" . They j um ped out of thei rscats. You kriow who he was represen ­ting? The woman who 's the head of thecity counc il.

Carol Bellam y?C aro l Bellam y! Is o ne of the people in

the movie ! Carol Bellam y is one of the\' act resses in the mov ie . She was working

t-. as a lawyer at the time with this law firm ,.. a nd Godard got it into his mind that he

wa nted her' to play rhe pa rt of a W allStree l lawyer-type . He interviews herand belit tles her . Actually I think sheco mes off ok, but he makes her loo k .likean idio t , you know. She says, " I was inthe You th Corps" . and " J·.believe thatbusiness is the best cure for people". butanyway, back to the c1assroo lTt. here wehave Rip T orn , with a WOll1 <1 l\.'s vo ice .pre te ndi ng 10 be Carol Bellamy d ressedup as a colonel! And -the kids all got itr igtll away.This was the fi n t narrative film yo u

had any th ing to do wi th?. It ' s not real ly na rrativ e. Nobody k~new

what a nyo ne was goinf{ to say . Rip didhave lines. but they don 't make an ysense . Godard wanted the sound to bebad , b ut he kept saying "Make thesou nd bad " and 1kept say ing. " No . no .we ca n always make it bad lat er" .

Th is was hi s reactio n to the ad u la t ion?No . this was be fore that . Wel l, maybe

he was going that route . He figured that ,by using us. that we we~ really a coupleof sla p-happy film makers . an d we were~oi ng to mess it up eno ugh . But we weretrying to mak e it pret ty for him . We'war ned 10 make it loo k like One or Two11Jin.t s or Chinoisr, And he kept say ing... No no no . this is not wha t I want atall " . The thing about Godard that ' sha rd to comprehe nd jx that he doesn't actlike a filmmake r. He doesn 't seem toknow what he's doin g . I mean he decid·ed wha t went in or out but he didn 'tkno w how the camera.. worked . and wewere the filmmakers who fucking m adethei r own cameras. He was o ne o f myfavori te filmmakers , so I 'm ha vin g aprob lem try ing to figu re out what it istnat he does no w.

One th ing I ·get from many o f Y9u rfilm . is a k ind of persi stence throu ghth e d arkness into the li gh t. It ' s the ac­tivity that goes with yo u r camera, andaha with y ou r su bjects, ,

I feel;hat stro ngly my self. I ihink theha rd est thing in th e wo rld mu st be

. wr iting a novel , and peo ple who ha ven 'twriuen one just don 't know how hard itis . It ' s go ing over some terrible hardmou nta in . and once you come down youare a d iffere nt person . You always knowyou co uld do that. You always know tha tyOll ea n go off and privately invent yourlife for yoursel f. People do it all the time,and it ' s the greatest thing we ha ve tolearn .

That was a piece of film that when itha ppe ned it was a consu mmate and ex ­t rao rd inary p iece o f sel f di recti o n .That ' s where theater and film and allact in g- I think is go ing , in the com ingyears - actors di recti ng themselves.

obody u nderstands this as well as Ri pT orn . If) this case. Norman was bu syco ngre tu lari ng hi m se lf o n fin ish in gM aidstone, H e h ad a b ig lu nch toceleb rate this ou t on Gardi ner' s Isla nd. 1sailed out there . ' don 't know why I hada camer a or film or loade d magaz.ines.And Norman thought the movie wasover with . that ' s why the par ty. and sud ­deoly R ipjumps on No rman . he ru ns upto him and sta rts hin ing hi m (In the headwtth a hammer . 1 happened to film that.I had no reaso n to be film ing or evenloo kin g, but 1 was .

And in the end , the worst th ing Nor­man could say was " I' m not going to usean y of it , I 'm not going to use you rfootage , you dumb sh it!" Ri p and No r­man had a very delicate moment in theirrelatio nship .

Finally when M ailer got over it , hereali zed that that was his film , I said ,"No rman , there ' s nothing else in thatfilm that you could n't duplicat e on atable top . But that ' s real. " H e looked atit and said " You ' re r igh t. " So the wholeend or the movie is that ro ll of film . It ' spracti call y intact.

I re ad somewhere else that Rip T ornpl ayed a part in / PM where he goe s in­to a classroom of black kid s and prete ndsto be Tom Hayden .

.let me decide. But 1 was there for a ve rysha ri pe r iod . We d idn ' t ha vea lot oft ime .

Also , when I talked 10 David ... Davidis a very mu ch more .. . Dylan didn' tbo the r to cultivate a front parlor conver­sar io n . II d idn't interest him m uchbecause he likes to be among his ow nfriends and ta lk his own sho rtha nd. Ifpeople talked to him ou tside of that hewas j us t go ing to rip 'em. fool arc und 'with them . Bowie , on the 'o ther hand ,had developed a lot of different people.He developed a bu siness' pe rso n , hedeveloped -a-friendl y pe rson that wouldwan t to know how your co ld was. al l thatyou knew d idn 't real ly in terest him . thatwas just parlor talk . And the problemwith that is that when you film someonelike that it comes off as kind of va gue . It ,isn 't reall y insigh t. T o get Insight into ·lDa vid you'd hav e to ~e l a sit ua tio n \where you spen t a 101 of in timate iime ,with him over a pe riod of time an d th is !)just wasn' t going to be the case . I'Wh~t was the story wi th wh y the 'fil mwas h eld up for '0 long?

Well. aga in . we d id it as a te st fo r thisvideodisk. I pe rsuaded David to let usmak e a 35 10m blowup. We had that sit­ting a round bu t with the mix tha t we'ddone earl ier a t RCA . David never likedth at m ix , whet her it was psych ologicalbeca use he was busting up his marriageat the time , or whether in fact his lit tleears could hear things that my cars can ' t.which I' m sure is the case . But anyway .he ne ver really wa nted to distribute it. Sofina lly 1 said " Listen , David . we oughtto release it. it's uazy not to . l fi t's a m ixprobl em . why d on 't wejusr remix it?"And out of the blue I gOt a call fro m himone d ay say ing. " OK, I 'm co ming toNew York in IWO weeks, I 'U mix it withyou then" . So two years ago we spen tthree weeks down at the H it Factory a ndwe remixed the film un til it was just what

.he want ed . And I must say rhat wha t hed id musically was to me extraord inarylightning. "At this point Pennebaka takes meout toanotherroom:whert: a still of Boioie wilh a cigault'­danglingfrom his mouth is han,[fing next to theby now classic picturt of Dy lan from Don'tLoo k Back in an almost identical pOlt.

That was sho t in a mirror. He wasn 'teven look ing at me . And then he lookedat me for a few minu tes . That ' s almos tthe o pening sho r of the film . That' s themost photographic pictu re I'll ever takeof him . Photography was something myfather d id. and that was don e b y peo ple Il ike , w eston , St ieg li lz , lo n g ago .Pho toraphy is not a heav y life producin gforce in our t ime s any mo re , for meanywa y . '

There are so m any moving p ictu resthat st ills seem arc h aic?

I thi nk stills arc reall y a different con­ceptual thin g. I think that what Susansays is r ight - they are in timati on s ofdeath , because everything'is stopped . Amovie is a n int imation o f life because itappe ars to keep moving. So actuall y Iheyha ve an o p posi t e e ffec t on m ephys iologically. I 'm certai nly not try ingto take pictures as suc h , I' m IiImin g _what ' s go ing on , the life force .

You never see m to m ak e a ny ove r tjudgments in yo u films, .Iike even tothe exte n t of cros s cutting in a tell in gway . Why?

I do n ' t feel th~ necessity of insrructi ng "eve ryone , o r even of haviog all the infor­mation there . Once in a while somet hingcomes ou t of it. Barbara Kep ple's film ,despite the fact that it ' s the kind uf filmthat I ' m the most wary of. was a tre men­do us fil m, and reall y worked for me.Because you ' re not altogether sure thatthe coal miners are the good people andthe owners are the bad people . Now shemight ta ke umbrage at th at , but 1 ha vemy own feelin gs about it based on what Isaw, that it doesn 't generalize and makeall the workers good and all the ownersbad . And becau se these film s ge ne ralizethe picture becomes a picture . of allworkers , an d you can ' t help yoursel ffrom say ing, ••Ah , th at 's workers" when

So the revolutio n never really had anyposs jbi liries as far as 1co uld see . But in JPM Godard was try ing to make rhispec uliar sort o f IiIm about the revolu­t ion . And even all hewas makingh , youcould see it coming apa rt. h ' s a goofyfilm bu t I love it. I made it beca use I hadto salvage if . We had a contract wit hPBL to do this film with Godard, and hekind of left it in my hands.

Wh y d id he leave it ?He IOSI interest in it . it wasn't how he

quite wanted it . I had to , tu rn oversomethin g) so I had to fin ish il.l-fe hadoutlin e..sdjust what he wanted . He wan ted10 shoot a series of st raight len -minuterolls. an d we'd just put them togeth er,and th at would be the film . Weil,-abo uthalf way through , it d idn' t work an ymore . a t lea st in film form . at least withwha t we 'd got, and so I started cha ng ingit arou nd. By th e end it ' s made mu chmore in the style th at I'm comfortablewith . The end -ing is a bui ld ing across thestreet from ou r hotel co ming down . Id idn ' t realize the shot wo uld' com e outthe way it did, becau se it was cook ing thethe Arril1ex for five or six mo nths . Everyday the su n wou ld sweep across the sky. 1thought in the film the bu ildin g wou ldcome down mech anicall y , that it wouldj ust di sappear, bu t instead there was th issweep of sun light, like a sto rm : wiping itaway . W hat you get is actua lly a veryorg anic sense o f it . of a building be ingremoved , in a com pletely organic way .And you get a funn y sense of the wholeidea of revoluti on . o f the build ing com­ing down . I love the effect that the shothas in the film. I think Godard hates it.I' m not sure what anyone else th inks of.ir.

When y ou've covered pe ople likeDa vid Bowie an d Bob Dyl an , d id yo ucov er them because of their music orb ecau se o f the fact that tltey ' re aphenomenon of the ti me?

Dylan , it int erested me'that he usedmu sic as a form of poe try . I was in ·rerested in him as a poet . Bowie - RC Aasked me to do that . I d idn 't say Bowie'sthe guy. 1 hardly knew who he was.What hap pened out of it was, that when'we looked at what we 'd filmed , I realizedtha t it wa s so me in credible openi ngflower . What RC A had o rigin al ly'p lann­ed it to be was a test. videod isk. T his was.i"n the ea r ly' da ys of videod isks. I had noreal int erest in videod isks so I keptpushing to see a featu re film made out ofil. because [ thQught it wass. But theoriginal concept was, Dav id had decidedthat he wanted me to do the film . Hemade that decision .

He did?In a sense. Even as Dylan had - Dylan

and his mana ger had decided that theywanted ..me to go along be fore 1 even.rhoughr what to do about it.

Why do you think that Bowie didn 'twan t you to cover him bac,kstagc inthe lame way that·Dylan d id ?

Well , he d idn' t se t ;ah yth in g . Hedidn't say do th i, or do that . H e kind of

•walked away more fascinatedwith the viewfrom the bridge. Thepedestrian commuters....nad the real spirit of transition: the city­scapeis nomere hare. Bebe Millerisagreatinventor, butinvention without intention willnot break convention . Not to me n-:fion-soul?

Atitscrux. Bebe 's soul iswarm and alive.open to impulse. But calculated spectacledoesn 't leave enough room lor that trans­fere nce of soul, of energy, 01 an integratedfeeling formovement 10 emerge. One cannotsee the whole picture from a control booth.

LAMAMA E.T_C. IN ASSOCIATION WITHTHE SHAlIKO COMPAN Y PRESENT

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masculine assertive punch caters to th:e- - - .......::;Roe~::--mass audiences ' loveof show. Thewomen INHoLiAN:::D-~"appear tough bOy downplaying the intuitivein favor 01 commanding control in execu­tion. But is this smile-studded or fierce­looking molion a genuine invitation to thedance? Theaudience ateit up. clapping likemad at the end. -

Underlying this tasclnaticn with master­ful craft and circus energized stunts is anagitat ion: a burning lor energy, adesire lordesire. But a desire for a desire is notenough in and of itself. It on ly reveals theemptiness of all this activity. a facade ofenergy. So many tantalizing moments andinterconnectingHny volts 01 electricity, yel l..........~~~~~..,

ctscovered, Often acentral figure forms thefocal lorce: a woman in black twitches upthe wall, makiJlg you wonder is she theex­terminator or the cockroach? The rest lookon curiously , scampering across the stage.just a hair behind her. We never know thesourceof herneurosis. Everyone sits downand another woman enters. slops short.arms held back as if meeting an obstacle.The seated performers gasp her surprise,aahing and oooing to the rest of hersolo.

there' s a lot 01 " flash dancing."technical precision merged with fluidity .That 's impressive on a certain level.M i~hael Jackson (wow) karatekicks (wow)followed by smooth ronde de jambes , Thislineage- derivingfrom classical tomodernto post modern dance-has a pop appeal:

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PERFORMANCEEAST VILLAGE EYE SEPTEMBER 38

Walking back over the Brooklyn Bridgeintothe fight box ofManhattan."thepowerofdetailed kinetic energy was overwhelming.Some kindof city-high drug . Passersby onthe bridgegreet you with smiles. like fellowhikers on a mountain uan. I galla thinkingabou t being inawomb01infectivevilality­what~e experience daily-andthepossibil­ity of passing that along via performance.

In Bebe Miller's new work. Gotham. per­formed in the cavernous anchorage of theBrooklyn Bridge (sponsored by CreativeTime). one senses her attempt tolure usin­to the passage and transference 01people.Miller's dancers are strong and stylized.Scraping thespacewith stamping phrases.tight torsos, loose-limbedarmgesturesandslippery partnering. coy relationships are·formed and strategically placed on the lIoormap. The musicians (Hearn Gadbois. GlenVelex and Mike Vargas) hoverabove in the

. batcony perc10

laling percussion andassortedkeyboard concoctions. Patternsofphrases- turn. stamp. slide. hit the floortwice -are developed and repeaiedthroughout. accumulating crcecr eastnq thenumber 01 dancers. With 16 dancers. nocombinationisever the same. Add two. takeqway one. add six-(what do you have?}.OCcasionally Hle space clears and we are1 ~f1 withasolofigure gathering upremnants01 patterns intheair. twisting languorously.attempting to reach an inner understandingotwhat all this motor sluff is about. Point topoint-many points .. . then pointless. •

Some sections coa lesce into lreezeframes. magnifying how transitions were

EAST Vil LAGE EYE SEPTEMBER 39

Pal Joe y in 1957). The men in Gentlemen arepresented as (alternately ) l ilthy (rich). taltoads, ho llow lead ing man types with what 'swhI ppe d up as scrup le s. ' and nerds . Ishou ldn't get up set by II all . especially since

EJghth Si reet Playhouse from se pt. 2 1hru 7Is presenting the uncut version of Wi lliamPeter Blally 's Twink le, Twinkle. Killer Kane(1980) . a/k /a Th e Ninth Configuration.Twinkle reta ins its pos t as the midnight tareat (he Eigh th St reel on \'\4ednesdays . Fromsept 8 1hru 11. Eighth Str eet present s an ex ­elusive. a ll i ndependent~ Third Annual~m­

en 's International Fi lm Festival . And. sta rt­ing Sept. 12 is the much-debated master­piecels li nker Barry Lyndon (1975). directorStanley Kubrick's foray into the romantic .ThaI's an open run on Lyndon .

Film Foru m on watt St . two blocks north 01Canal at 6th Ave. presents thru sept. 13 ,Robert Fowler' s Below ' he Belt (1980). " sug·ge sted by " Rosalyn Drexler's novel ToSmithereens. Music by Jerry Field ing. It's asemi<locumen lary of life on the road wit h atemete wrestling troupe.

From sept. 14-27 Film Forum present sFrit z lang's Tiger of Eschnapur (1958) andIMian Tomb (1959). German with Englishsub titles. This two-part work is supposed tobe a forerunner to Raiders of the Lost Ark(1981), and I can' t think of a better recom ­mendaucn for the film than Ihe L.egion 01Decency having condemned it when fi rstreleased in tne U.S. ..

From sept. 28 Ihru Oct. 4 Film Forumpresents Fri tz Lang : HOllywood and Ger·many . a series of double bills: Sept. 28. 29,Dr. Mabuse: Der Spieler and The B;g Heal :Sept. 30 and Oct. 1. M and You Only Live ­Onc e; Oct. 2. Metropolis and Scarlet Street;Oct. 3 and 4. Spies and Furies .I've been let In on a li ttle-known Hollywoodsecret _ the whol e thi ng was act uall y writ ­len by Gore Vidal and performed by TabHunter and Bob Hope In drag . There. Now Ifeel better . •

that wh isks us along where it' s mov ing, andmakes us cozy when it lingers on lovers Az­navour and the cat-use Marie Dubois.

Bleecker Street drops th e sword f ight ingand reope ns da ily repertory schedullng. Onsept. 14. a double bill with Wilder's TheSeven .Year Itch (1955 ); there 's HowardHawks' amaZingly slow moving sex farceGentlemen Prefer Blondes(l g53), pi ll ingMar ilyn Monroe against Jane Russell In thesecond most vulgar di sp lay 01 horse f leshlor those who buy it (second only to the ces t­Ing of poo r. aging Rita Haywort h cocosueKim Novak as they competed for Frank ie In

woman who. we also judge half ·jOk lngly byher marriage to the sacrs m-tacec chairmano f the board , must kno w the abuses of l ifeon a personal level.

Allen has always dem onstrated a criticalfa sci nat ion wit h psychiatry . bu t here hedefinite ly pegs ·it as a vehicle 10 survi.vaLAlter Zelig . 1have been reaffirmed in my love- not of Allen. nor o f people. but o f film.

BIM ekat' Sireet Cinema. Sept . 11·12. s ran­cots Trufl au t 's Sho ot the Piano Player(1962). Trufl aut goes very New wave. threeyears aller Godard 's Brea th less , whichstructurally and sty lis t ically he's ap ing here.The ma in spi ritu al advisor on the projecttho ugh. as with Bre athle ss. Is Jac k l.warner. Piano Player . about an ivory ban gerwho yearns to. and can, play Mende lssohn.but must return to the saloon s because o fhis unplanned involvement with the under­world. is a utne bit of Anatole litvak's Cityfor Conquest (1940) and a little b il of Raou'lWal s h 's H ig h Sierra (194 1). Truffa utmatches t.t tvaks horniness for th e fastt rack . and meets walsh's longing for the rna ­soctesnc nice ties of rura l despa ir.

Trulfaul al most errs in his choice 01Charles Aznavour in the Jean-Paul Betmon ­do role . but the pic ture as a whole is soweightless. such a fun . imi tat ive Ih rowawayto begin with. that pulling the Clu Gulager ofFrance in the lead seems nbt suc h an un ­forgiveab le move.

found and phon ied foolage. True, the tech­nrcuee-sccerteuve -c-wcuic probably be ti r­ing with jokes and a story line by anyoneless brilliant than Allen .

Above all , Ihe theme of lelig is healing. Isee Allen as having lived a long , painful pa rtof his life in a New York Jewish agon y thathe 's transla ted into a ti ckli sh an gst. IIseems he's left beh ind the heavy neurosis ofh is Louise Lasser period , where. as in Star·dus t Memories (1980). he looked at thingsdesired as th rough a Ihick pane of transtu­cent g lass; he's been through his glrllboy Inthe plas t ic bubble slage with Ms. Keaton:and . su rprise. found his heali ng with a

• • , ' .'" , .- . " '• •• ••• I , ' - •. •.•~•. ; ••••,. ' , ' ', ', " . • • , •. · ,· •••· , . ,1•••• /. ,• .• •• .•; ,.,• .•.' .. t t • • •

, I

FILMS OLD AND NEWBy MARY ALLEN

Woody Allen has found love, and he givesus a. piece of II in his new film. Zelig . At Iheheart 01 Ih ls film is love - a subject he'salways examined. always wllh the samedistance. the same qual ity of not quit etouching it. not quite knowing II. but herehavi flg found it allast .1can't uc ure cc t Ulhedistanced feeling leNg gives off can b,e at -:Ir ibuted to-Atten's sense of privacy or 10 tusexperience of life as one experiences lifethrough turn . as somelhlng ad jacent. notreall y tnere. but there nevert heless . There"has bee n rnuc f made of l elig being a one­tri ck movie. an edillng coup of rere-rsb

"Thlma Hill perl ormlng In "R.~.'a tlons" from Rememberi ng Thelma. a film byKat". S.ndl.r, . t r". Worn.n ·s Int.tnatJonal Film Fas tl"a '

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Hel . 10 G.t My Baby Out of JailLouise ShiversRandom House, 136pp., $ 11.95

l oui se Shiver's expe rtise as a short stotywri ter s tands her in good stead with her f ltstnovel . Hele to Get My Bab y Ou r of JaIl . Aspare narrati ve plot and a Quickly developed .set of charac ters combine with extract di­narity beautiful wr it ing in th is story 01 pas ­sion and sen-ctscoverv. Shiver's por trait of awoman emerging \rom the repression of ahu sb an d a nd l ove r to even tual ee u ­awaren ess wou ld not be remarkable but forthe fact that th is takes pla ce in 1934. betorethe broad -based popular women 's move­ment. and in the tobacco coun try of NorthCarolina where women are trad iti on all ygiven over 10 the duties 01 wife and mother-.no t personal streng lh.

The story unl olds as ROxy awakens troma somn ambulist-s marriage o f wak ing. Ieee ­ing. di aperi ng and c leaning to a pas sionateallair with a dri ft er who comes to belp ou t onher husband's l arm. ROllYis naive: her smallwo rld is def ined by the uncreum-uocreckit chen , the cur ing shed and her tatner'shouse . Images recur here with rhy thmic sen­suali ty: the smell . fee l and taste 01 tobacco(in Ihe fie lds. in c lo th ing . in her lover 'sl ingers). the color red (the lire in the curingshed. her lover's hair. a holiday dress). AsRoxy and Jack are drawn toge ther . the Im­agery bec omes even lusher. our narratorhaU-oelighted. half in awe of her new-touecsensuality .

T he prog ress ion o f t h i s des perateromance Is inevitable. Quietl y written teteevery th ing Roxy sees and th inks. The paceIs slow. sta lking; the ir secret meetings irn­possib ly obvious. Ar tl essl y. Roxy revea lsher innocence and foreshadows tra gedy:" Neither one of us had any idea what Iheother's thoughts were. It always seemed sostr ange to me tha t one person could neverknow wh at another one reall y thought ." and001 didn't th ink abou t the rest 01 my li fe. Id idn ' t care . I had to have him."

The turning poi nt is reached when RoxyI inds hersell , alter a chain 01events, minusboth a husband and a lover. " I was herealone. and I had 10 figure thi s out my self ."she decides. and then realizes. " I had neversaid no to anybody about anything in mylif e." Once ROxy say s no and begins 10figure herself out. the grim situation bright•.ens. " When I f irst started to leel a Ii t ll estrength co me to me. it was so small. so ti nyit was just barely there. It was li ttle as 'atobacco seed . ..That leeling was in me, andeven though It was smal l. it was thrObbingli ke a Iitl le voice sayi ng to me: 'I'm worthsomething.' ..

The book 's tiUe has become a metaphorfor Roxy's release from prison-no t her hus·band 's, her lover'sor anybod y else 's .but herown . Here to Get My Baby Out 01 Jail is astory small in scope but with the precision01 a perfectly cu t jewel. The honesty andsimplicity whjch make Sh iver 's prosesparkle m ay these d ays seem u n·sophisticated, yet I suspect that this is hall01 its charm.

EAST VILLAGE E'E SEPTEMBER 41

for comprehensive read ing ." one can bypass the tact tha t the book

tries at the same lime to be serio us. cyn ica land humorous, one might be ab le to skImIhrough it withou t 100 much pa in.Of cour se.tnts is a lot to ask 01 a reader.

Readers who might bene fi t from Sex Tips101Girls fall into two categories . The book isa perfec t s toc k ing s tu t ter for rece ntlydivor ced wome n from Iow a and teenageboys.

Recentl y divorced wome n hom Iowa havebeen out of rne game lor some time. andmigh t like 10 know tha i the rules havechanged. There is even a chapter called"Sex and me Sing le Parent " which notesthat jus l because one ha s a whmey kidaround w'hOdoes not uxe stranqers in Mom·my 's bed .does not mean that Mommy has 10rema in celibate lor the rest of motnernooo .

Though the book doesn 't have pictures. itshOuld sti ll go over Quite well wil h y9un gbo.ys. A boy will learn about someone erse'sorgasm olher than his own. He w ill readabout birth co ntrol. and be con fronte<l withthe fact Ihat everylhtng goes bern ways . Hewill also learn 10 annrecrate his g irl fr Iendwhen he realizes that she has to read 205pages in order 10 dea l with him. Al ter ateenage girl reads the 205 pages: she Juslmay dec ide 10 tcr oet the who!!! Ihing andsettle for wa tching -ovnastv " --.

CLAI ANDREWS

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Sell Tips l or GirlsBy Cynthia HelmelSimon & Schu ster. 205 pp" 57.95 ...

Cynthia Helm et. Village "'ice co lumnis t"a nd a utho r o f Sell' Tip s l o r Gir ls . I ssomething o f a sex connoisseur. In her f irstbOOk. she shares her uncontested versionwisdom with the f inesse o f a cab driver.

Readers 01Ms. Henne r's guide to gellingla id will learn tha t group sex can lake placebetween ..two men with a girl " or " five men.a girl . a sheep. a German shepherd and ac h ic ken." depending of . c o u rs e o ngeograph ic locale. She suggests a basi cknowledge of lootball for novice fl irters, andas for lin gerie, It should not be 01the orangehue. She will teach one how to fa ll in loveand what song s to lis ten 10 when it's allover.

Sell' Tips for Girls (and transvest ite s try ingto perfect the act) is like one 01 those sell·help-oo-it -yourseller books, the kind sold atsuper market s or over the pho ne when one ishaving sex. Alt er reading the bOOk, man ywill ask , should I take this serio us ly? Can Itake the advice 01a woman who has conver·sa tio ns wllh he r d iaphragm and the npublishes them? Wh ile some sections areapp licable to real lile, others are rid iculousfil let.

Cynthia is Fran Lebowitz. Or. Ruth andMar il yn Chambers all wrapped up in one ,which In itself is reasoo enough lor accl aim.This combinaUon might be Quite amusing atthe dinner tab le, bul does not always make

no te theme (and a not overly gracefuLthough compet ent . prose style) . il even afract ion of his Impressive indictment is to becredit ed. then Zionism in ' he Age 01 Die·' alols is an invaluable document. Talk 01government and med ia gangin g up on Israelto the con trary. Zionism as an Importantpol itica l oeverccrnenr of tne 20th centuryhas a long way 10 go towa rd oenw suuce­tton. St rip ped 01 its messian ic trappings.Zionism become s no more or less tha n core­eyed st rategy of land acquisition. s ecor­ding ly. il may be unreasonable to expect itsfunct ionaries to have behaved any bet ter orworse than. say. Stalln, who arsc attemptedto cut a strange bed fellow 's deal with Hill er.with equa lly catas trophic result s.

As for con temporary rereveoce . we havethe more recent soect ecre of ex-Revisionist­Irgu nist Menachem Begin blitz ing his wayin to lebanon In Il rm alliance with nati veFalang lsts (named atter Franco 's Span ishFascists). Here indeed is one unbroken ceo­tinuum in the hls tol Yo f Zion ism.

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ab lest in bod y and mind over c rbers.To Zionists, dead European Jews were

e1t her an embarra ssment (whO needed aJewish homeland lor SO many corp ses?)or aboo n (w ha t better pri ce for that veryhome land than Jewish blood ?). Ha'avara­l ik e dea l s with the Nazis In oc cupi edEastern Europe were attempted, often tod isas t rous euec t . Th El 'C a.se o f Rezs oKasztner. a Hungarian Zioni st who co t­taoore teo with Germa ns in exchange forsafe passage to Swi tzer land lor himself andhis fr iends . resurfaced as a furious scandalin 1950's Israel.

Iron ica ll y. it is the Revisionists. among authe Zionist groupings. that emerge from thisabysma l epoc h wi th any hinJ of ·nobility. Ja ­bot tnsky's band ot renegades, excommuni·eaten from th e t abor-ocmroetec w crto ztco­tat Organization , was the on ly fact ion that,l or all its rurtattcn with Fasc ism, mounted.fi rst . a susta ined an t i-Naz i bcyccu cam­pa ign and , later. a strenuous rescue dr ive.thoug h Brenner begrUdges it full credit lorits undeviating Palest ine blind spo t.

The most Obvious rebuttal to Brenner 'sargument. th at lill ie could have been doneto save Hol ocaust vict ims trom; the tm­placable Nazi kill ers. is squarely counteredby none ot her than Nacn um Goldmann . apresident 01 the Worl d Zion ist Organization." I do not doubt ," he wrote in 1963, " thatthousands of Jews could have been savedby more ac t ive and vigor0.9.S reac tion on thepart 01the democratic.governm ents. But .. .the ma in responsibility rest s on us bec ausewe did not go beyond rout ine petitions andrequests. and because the Jewish com­munit ies d id not have the coura ge and dar ­ing to exert pressure on the democ raticgovernments by drasti c mean s and to tercethem 10 take drastic measure s."

Brenner 's cri ti cs will also say- and herethey will be rig ht - t hat wh ile Zioni stes tab l i shmen tar ians may have backedaway from a very necessary figh t. many In·di vidual Zionists gutsily gave the ir lives Inthe war against Fascism. ttlough the authordoes give at leas t a passing honorable men·t i on to War saw martyr Mordecha lAnie lew icz and paratrooper co mmandoHannah Senesh (who figures In 'part in theKaszlner affair). And he underplays dissen·sion within the ranks of the Zionist organiza·tions themselves.

It' s also safe to say that th is Institutionalfailure of nerve fall s across the board, takingin non·Zionist as well as Zionist Jews (thoughradical group s lik e the Socialist Bund makefrequent excep tions) and, of cou rse , virtuallyevery important Gentile leader. And canZion ist leaders be l airly faulted for fleeingEurope wi th their literal lives In preference toa last stand that woul~ have been Inevitablydoomed, as ever} Brenner. relentless pro­secutor. admits?

Vet, granting the author's unsh aded , one -

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Z;ONISTS &'t!E'S."... "'-.'-,Zionis m In lh . Ag. 01 Dlcl. tolsLenni BrennerLawrence Hiff & Co. $8.95

By LEHM AN WElCHSELBAUM

This will be an eas y boo~ to hate or , evenmore likely. dismi ss out o f hand . It is gr imlymonoman iaca l in pus hing ne th es is, i tunb l i nk ing ly a t tac ks o ne 01 the mostremarkab ly resil ient sacred COws 01 ourl ime. and. perhaps worst at alt, the authorappears to be a Trot skyite.

But if the public eye c loses to Lenni Bren­ner's Zionism in Ihe Age of Dic lalors. thatwitt be too bad, because it is an urgen t book.II argues per suasively that the int ernationalZion ist estab lishment of World War II, fatal­Iy obs essed wilh its drive lor a Jewishhomeland in Palestine to the exc lusion o fvirtually all else, fail ed to rncome subst an­ti ve et ten to rescue European Jews t tomHil ler ' s Fin a l So lu t ion an d . worse. onseveral occasions actua lly moved to col­labo rate with the Fascis t death mach ine.Zionism , Brenner pleads . has been very badlor the Jew s.

Much o f Brenner's poin t has been made '. etsewnere. by fell ow Jews I rom e ntt-zto nte t

cnasid tm 10 Ben (The Front Page) Hech t,though th is is probably the fir st tim e Ihat somuch documentation on the subject hasbeen brought between two covers. The trou ­ble. for Bre nner. starts wit h r neocc re Herzl,the.19th century Fattier of Zion ism himself ,who was conv inced that anu.semtttsmcouldn't ever be beaten, so it didn' t pay totry. The upshot was that Zionists. in Faus ­tian bargains, worked to ha rness the fury ofJew-hat red to thei r own ends . tho ughwrtnou t much success. After all , " Jews backto Palest ine ! " was the . one slogan bothZioni st s and aou-semnee shared (much. lorexam ple , li ke the c lY " Back 10 Africa "vented by black Garve yite s and «tanners inth is country). " To be a good Zion ist onemust be somewhat of an enu-semrte.' thesechampions o f the " new Jew" liked to say.

IneVitably, desp ite the importance of lellSoc ia lists and k ibbutznik visionari es in themovement , the Zion ist leader sh ip corn ror­tably adopted conserva tive. even reac­tionary colors. " The s truggle which is nowbeg inning betwee n t h e Zi oni st a ndBol shevik Jews," wrote Winston Churchill in1920. " is li llie less than a struggle lor thesoul of the Jewish peop le."

With a 'perfect ly straight face many es­teemed Jews, like Joachim Prinz and evenMa rt in Bubel, ex to lled the pr incip le ofJew ish recret pu rity and " a commun ity 01blood" in curious echoes 01 Mein Kamp lThe World Zioni st Organization not only op:posed an an ti-Nazi boycott , but struck adea l wit h Germany known as the He'a veratransferring Jewrenassete from the Reich toPale stine. an arrangement tnat badly splitthe WZO 's own rank s.

The process that Brenner unm inc inglyca ll s Zion ism's "Naztt tcat lcn " took somebizarre turns. In 1935 n oebbere struck aco mmemo rative meda l d i sp laying t heswas ti ka on one side and the Star of Davidon the ether . The Haganah, the Zion istcetense arm, spied on CommunIst s lor theNazis. Polit ical capos like Georg Karesklall owed themselves to be used by the Ger­mans to tighten the ir control over the nativeJewish community.

The right wing of the Zionist movement ,the Revision ist s, made many sympathet icnoises about Mu ssol in i 's Italy (thOugh theirleader , Vlad im ir Ja bo linsky, never gotca ug ht h imself express tnq an over tlyFasc ist se ntiment ) and even underwentna val training in cwnaveccb te. The SternGang . a paramili tary group that broke awayfrom the Revisionist Irgun. tried to forge alink with the Nazis against the British, hatedcOlon1zers 01 Palesti ne. as late as 1941,claiming that its organization was " c loselyrelated to t he totalitarian movements ofEurope in it s Ideology and struc ture." Forcent er-to-Ieft Labor Zionists. the movement" became a tough.m inded utop ia whichhetped the image 01 the Jew, biJt d id no t at ­tempt 10 sol ve any 01 the prOblems 01 theJewish masses in Europe."

With the outbreak of World War II, theFinal So lullon 10 the Jewish Problembecame mass murder, and urgency turnedto insane desperation .·But U.S. Jewis h (in.eluding Zioni st) leadership tailed not only toli ght restr icti ve Immigration Quotas, bu t totake advant age 01 Quotas leg i timat ely. ....lI.ble. lit was over th is uncom fortablequestion thai the recent Goldberg Commis­~ blew apart .) Not even emlgratiOf'l toPatnUne was 10be unrest ri cted , accordingto many fervent Zion"ist advocates. Rather ,"the cruel criteria of Zionism" favoled the

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\J'r lW to Sill Dupp225 Laf4yelte

N.YC. 10012 "'The first Jetterwa s kll\d ofstrange .

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\oJeekend .Betsy Pltz

BILL DUPP

fAST VillAGE fYE SEPTEMBER 44

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certa in peop le. I had met him . He did somecommunity work for the Republic of NewAfri ca , I'm told.

LIES TO REMEMBERCecil Ferguson: That' s where I cam e into

coniact with Tyrone Aison.We worked in thecommunity, on drugs and housing. It hadnoth ing to do wit h armed robbery.

Odinga: It appea rs that at the snoot 1981,his wife and him and others were involved ina bank robbery in a lillie town in Georgia.Since he was from up here and had had rete- .tionship s with different peop le from up here,they put a lot of pressure on him down thereto coo pera te, him and his wife . He had acouple of young children and they went tohim and told him that his daughter had beenmilested by a young man , someone kin tohim, a half-brot her or something. while hiskids were staying with his mother. Theysaid, " If you coo perate,we'u gO'easy on you.We'll let your wife go now . We'll put you inthe protective custody program, give you anew name and YOU'll be set up however youwant." And for his own selfish reasons heopted to cooperate. Why he got ca ught inso many l ies is because they gave the manmore lies th an he cou ld possib ly rememberin the year they had to prepare him. Or hemade up a rid iculous number of lies to makethem think he in fact could h~Ip them .Whenhe was In the court room, it was not very dif ,f icu lt to br ing out that he was telling lies.

When they were Iry ing to get me in thistrial down here -I was in the state case inRockland _ the U.S, Dist ric t Att orney JohnMarlin went up there and testified tha t theyhad info rmation that I was not involved withthe actual robbery up there .'They ten theyhad a better chance of convict ing me onth eir cons pir acy c harges. Conspiracycharges are kind of vague, They don't haveto specifica lly say, "vou did this ." If theycan just prove that we knew each other andtalked to each other ahead of t ime , or it Iknew one person who knew someone elsewho knew someone else , that's conspiracyas far as they 're concerned. It 's noth ing newfor them trying to neut ralize me and lhework I've tr ied to do toward New Africanliber at ion. They had been consciously tryin gto frame me or knock me down sin ce theNew Vork 21 conspi racy case [tne BlackPanther 21 case over a decade ago )- [say­Ing1 that I was in a plot to blow up theBo t anical Gardens and a ll t he ot herrid icul ous charges they put forward.

Now th at tke prosecutio n has rested , howdo you feel the jury wlll react ?

Odi nga; I reall y can 't say. I would hopethat people would be honest with them­selves and the rest ol l he world and give anhonest decision of not gullly. I'd like tobeli eve that ther e ' s e noug h ho nestAmerican s lell and that we lucked upOn alltwelve of them. There' s no way you could ee .foll owing thi s case and not find reasonabledoobt. But I' m not very confident that willhappen given the nature of the case: all ihehysterIa around it , Ihe anonymous jury, mak·ing them feel that we are part of a terr()(lstnetwork and that II 's between us and thembecause the y are part of the Americ."government. They are Americans whobelieve in the ir government.-·

cent residency at the Court Tavern In NewBrunswick, New Jersey resulted in a numberof fantastic high energy shows. The bandbenef ited from the atm osphere and tarn­bunctlous aud ience in this dingy bar muchIn the way the Fleshtones benefited fromthe small Club 57. Besides their more har­moniou s numbers, th e band also drovethr ou gh such hard-edged sele ct ion s as" Come See Me" by the Prett y Things and theCount Five's " Prelly Big Mout h: '

In New Vork CUy the group has mainly ap­peared at Kenny's Castaw ays, althoughthere have been a few appearances at theBottom line and Folk City as well . At thelast Folk Cilydate,legendary composerJper­former Otis Blackwell , whom the Smither­eens have been backing up on nat ional tou r,joined the b,and on stage lor fou r energeticversi ons of his most loved songs . Unfortu­nately, during thelr appearance In the Musiclor Dozens series, Babjak was forced 10playwith a reconverted 12-strin9 wil h less tha neeneuctat results. Despite this, lhe band re­ceived a rave for the evenl/1g from TrouserPress, Whi le thai hardiy represents a majorbreakthfough, until they gel more dales atvaryi ng loc al venues their tandem will mostlikely only be increased through suc h pressas well as college radio airp lay ol t l\e new EP

continued from p 27go right 'to both the feet and heart, ·whichhas come to be con sidered a lost art of late.Along wit h the vocal rendit ion of " Beautyand Sadness," there is also an extended In­etru menter mix which brings out even morelayers of sound. .

Another strong favorite on the 12" EP is" Some Other Guy." AlthOu gh a DiNizl0origin al, the song does call to mind theMersey R&B classic of the same name. as IIpac ks the same concise punch , dr ivensteadily along by con tagious percussion,This Is no accident, as the band draws uponnot only the British Beat era lor inllueoceand inspiration, but also on the A&B heroesthat infl uenced that generat ion of bands.

This rawer R&B edge emerges more in TheSmithereens' live show than on disc. A re-

Smithereens

con 'f from p. 32

Not many have been appreciative. TheMTAhas toughened its stance against graf·utt by whitewashing trains. increasing thenumber of dogs in theyardsand putting uprazor wire everywhere. This war with theMTA is nothing, however, compared withthe graffiti wars writers arewaging againsteach other. Taggingover another person 'spiece has become standard practice in thesubways. Pink reasons this is becauseyounger writers can establish tame andpower quIckly by tagging over a master­piece instead 01 creatingtheir own. Regret­tably. her pieces have fallen victim. A cou­pleofmonths ago. acanvas shedidinAllenBilaud's gallery was lagged over. In thepast. lady Pink has beaten up other writerslor this dishonor , tho~gh she nowacknowledges this course 01 action is futite ,Nof to mention thaI. at 18 . one 's fight ingdays are numbered .

Pink possesses the Iwo weapons bestknown todefeat any combatant. intelligenceand self- confidence. She rema ins un­deterred by these attacks against her work .She consented 10 hook up with Jenny be­cause " Jenny's work is strong . You can'tput it down or cross it out. " Through herassociation with Jenny, she sees her workmoving in a more political direction. Sheshowed me a picture 01a painting she didcommemorating the meeting between cneGuevara and Fidel Castro. " I get communistat times ." Pink explained .

During the course of the conversation.l ady Pink told me she was a rebel . It is thekind of statement you hear and dismiss,After all. isn 't everybody? On playing backthe tapes and hearing Pink speak wlth.lullconviction about creating pretty flowermurals. I realized how rebellious her state­ments are. Words like pretty and beautifulare not said much in a serious discussionabout art. You can talk like that aboutClemente: butwhen you attachthosewordstowork being done by awoman. you mightas well condemn her to aone-person showat Sears. Jenny Holzer and la dy. Pink'swork rejects this attitude. Their collabora­tion is a curious mixture of ghetto culture,flower power and the Harva rd read ing list.Itsexistenceattests to the tact that the idea01feminist/feminineart isexpanding to the'point where two suchdivergent women canappear on one canvas.

Pink alsodidamural on thelocal handballcourt which read , " Pollution, Prejudice.Corruption, War This is a Man's World."The gentlemen in the neighborhood weregiving her strange looks so Pink laterreplaced it with a less controversialflowered taq. We talked at length about thecurrent art scene. Pink expressed disillu­sionment with the gossip and broken pro­mises that aboudn in it. " The gallery menput you down even before they see yourwork because you're a woman. They thinkyou wanttofuck your way up. That 'snotlorme." she said, Pink stays away lrom theparties, preferring 10 paint or read . She ispreparing nersen for the third world war," It' s coming at the end 01this decade. Istudy the writings 01 Nostradamus. Hepredicted the city 01 mountains will bedestroyed first: that 'sNew York. Allthat willbe left are the tunnels and people wilt learnabout our society by thegralfiti on thewallsas in Pompei and ancient Egypt ianhierog lyphics."

Holzer/Pink

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RTSTEREAST VILLAGE EYE SEPTEMBER 45

By GLENN O'BRIEN

MUll leIM.I'

an INSTALLATION• PERFORMMCE

Giant Corpo ration is a closet Q_lt'apsbh"A KtlfXl qu arterback is quilt' expensive . Ifyou have great ('\'ery t h in~ else, the-theory seems In be. you don ' t real ly needa wcal quarterback . But ....,oul<l n' t it beuire . Even a "cry good o ne. Hey. IlIIw"bout that Strock KUY' No , 100 cXlx'n­sive. I ran live ..... irh Brun ner . He's quitean overachieve r and he 's a lea rn playt'r.Ht." s j ust not a gre at al hld l' .

I know one ,l{l'eat one Ihat nobodyreali;o:cs is still grt:at and tlw rcfon' is stillVt·ry cheap. H is narllt.'.is .Jnc Gi lliam andhe s.its on tht, I.x.'nch for tht: worsl team inthe U.S.F .L. H e OIlt'e heat oul T erryBrculshaw and as the first black Q Rleadthe N FL unt il ht.' OCt'am l' the lea !o{Ut:.s lirstplayer with a publ icized dru5{ r mb lt:Ill.·Joe d eant..'d up 'his ael and ha'i spenlyc.'a rs fighting- his way OOt·k into /he~rame. When he f;0t a slKII 10 play for theFcck rals be<"ause Ihei r starte r was hurt helooked good despite the wlll SI line in probaIl. H e ' s cool. mobile and has abazooka ann .

- Except fOT the Lion 's Big: DaddyLipsl"Omb , the All Pro mean mothe r whoOD'd on dope in lhe off seaso n in the .'60's .

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dividuals - I' m talkin g the M iami flip"pen - beat 'em every tirne. Oon Shula('Ould read WaI! Michaels' mind like anopen playlx lOk . You'll see , th is is theyear .

As for the Giants . .....ellthis will be rheyeaI': IlAT H train Supcrbowl in Tampa.E.·u·cP/ fo r one thin!-( - the G iant s dOIl '1

.have R icha rd Todd , Pa t Ryan or KellnyO ' Brien. T he C ianl s now haveeverything else. A dream defense. A lin co lTem ive line . Tight ends tha t look like,tighl ('nds. Rob C arpente r signed on thedOlled line . Bult:h Wool folk who I lhinki ~ a be lle r back than anyo ne bUI I~

him self knows. Exct'lIt:nt r<Xlkies andspet'ia l teams. All tht:y need is a quarter­back. nol three of them.

I pred ict Phil S ims a in' t it . St'OuBru nner isn ' t it but hl" 5 a~ it a., they 'vegot. I sort of like Ruded~ bUI I don' tthink he has a eham.-e with the Giants .Bru nn er may not be a great athle te butthe KUY is cool. Sims may be a greatathlete bUI he ain 'l {'Ool on the field of01T. I couldn' t believe they d idn 'l drafl aquart erbaek in the last QB-rich draft. It:an ' t believe- they wtm't trade for one,but t thi nk I undt:n..ta nd . I think the

Modell. There is only one way the In­dians will ever win a championship; fireowner Gabt: Paul . Borh of these menhave ma naged fO screw up their teamsfllr many yea rs .

I'm achi nK to mot for the Ind ians butI just can ' t. No t unt il the day that 50.000fans in Cleveland Stadium . maybe on acombi ned Beer Day and Hat Day spotCabe Paul up in hill l o~e box and .somebod y says: " U I'S f(e t him !" Theteam isn't Ih'l l far awa y from being col­o rful ami ex~c i t in~. T hey've got AndreThornton don' t they. and T oby H ar rah ,and Gorman Thomas . I even like MikeHargrove. the most irrita ting ba tter inbaseball. tht, J;Uy that plays with hisWo vt.'S fur a full m inu te before evcrypin-h . He might ht., irri tating but he ' sthrcal t"ning to be m lorfu l. He heife rwatrh ou t or they'll trade him In theMels for Dave Kingman .

MEANWHILE NEAR LAGUARDIATIle Mcrs. mea n.....hile . a re threatening

10 rurn into a bascbajl tea.n . someday.No :t year the C ubs m;~y find themselvesfin i shin~ hLSI. Maybe even this year! TheMe ts now have a first baseman and athird basem an and a r-ente r fielder , withseveral other a lhlctCII threatening tobecome baseball players. Daryl!S!rdwbcrry , the grea t Mets hope for tht'fu ture. may strike out even more thanKingm an bUI he ' s hini ng "about .030 or 'so IX'Her than the man nohtKly wants,and he looks like he mighl hit a lot ofhome rum. ( Like as lIlan y as KOI\~ andmaybe for an a ve rage ove r .250 .)Everyone is still hatin~ George FOsler butthe ma n hits home ru ns, knocks 'em in.hits above the team average anti hasgreat sideburns. Met fans a re p.o .'dbeca use h~s hitl i n~ like he did for theRed. . Do "Met fans ever stop 10 thinkabout wha t it' s like 10 hit in the- landingapproach area of LaGuardia a irport , in apark wirh a foul terri tory the size orBryant Park? The Mels, nli till' { ers.sho uld be lht· team Ihinki ng about mov ­ing out of Shea .

THE WARM JETS

This wil1lx the yt:ar. O f m urse that 'swhat I said last year and lhe yea r before ,hu t Ihis yea r , well, th is is th~ yea r.

Last yea r they were semi-awesome.Th is yea r they have 10 be awesomc.What is reall)' alllazinj.{ ;s how dt:ep the.lets are . T he Su b-Sal'k ExchanKc, lhe .KUys that sit for Lyons. Salaam . Klcckoand Gastineau are one of the best deren­."l ive lines in the ·'ea"ruc. Every offensiveback on the team is a Ihrea t. And nowIhey have a roach! And an O'Brien!

The -queat ion 00 every J el fan 's tnindis. as usual. will Richard deliver in thed utr h. My quess says yes . I do n't thinkhe ' s f(O ing to throw to the wrong jer.;eysan ymon: . The !(UY has a point to provean d he ' s St?ing to prove it . What hurthim last year was the J ets' b ffensivepredictability. ThaI's why a team rom­posed of sign ifican tly less talen led in-

7 :

I 've just come 10 the conclusion thatthe New York Yankees have Ihc bestKanna in base ball.

Gco !"RC Steinbrenne r operates quite alot like a j esuir. or IheJcsuil s.I RUessyou'd say. because you neve r really dealw ith one J esuit . when )'011 deal with oneyou deal with all of them. •

When Ri lly Mart in . who wears a gold('fUSS above Inc NY on his cap . sa id hewas an gry 1'M,:causc he ~ot thc headlineswhcn the Pope should have had them.well. I thnught tha t was a real ly saintlyI h ill f{ to say . (711f Naos was trying: lCI getBilly Fi red while the Pope was in Poland. )Billy' s words were like a pu nch that senta mou th y Ilt'avywcighl corporanon reel­ing, "Have n't you gO! mo re importantthin",rs to write about besides me !{Cllingthe axe?"

Peo ple today rO~l that the saintswere a bit differem from the stereotypesapplied to them . Man y of t hem wen:social drinkers and the y !{Ot into ceca­siona l ba r fi~lll . espec ially whe n provok­ed . like if somebod y railed J esus a fairyor something . You hit him . You don 'tkill him : but you show him that SQ('ietyr-anno r exist withou t a bouom line in therespc.'c! depnrn nc nr.

If y()u~ re Wling: 10 go to war over deeds10 tht, H oly Land for 30 years or so youcan a t least ge t some respect at the cor­ner- ba r . You don 't like stlInebod Y'ssat-re-d row bu t you don't fuck with itunl ess it fucks with you . Fair enough.

THE HOMELAND CRIES OUT

GOD MUST WEAR PINSTRIPES

Like ma ny other resident s of theLower East Side I grew up in C leveland ,O hio . It ' s a great place 10 be from . l iena km l':: time ago. back .....hen Cleveland'war.. a ~real sports town . It still is a greatsport s to wn in that it is a city of fans,and ve ry special fans lhey are. They 10\"'e

football , theylove baseball and lhey 100'ebasketball . They must kr.·c lh(."Sc Kalnesbecause they co ntinue to mot for team sthat wo uld exaspera te all but the mostdevoted optimists.

W hen I was a kid in Cleveland th ill~

were different ..The Brown s were one ofthe mOSl exeitinH tea,.ms in the hislOry ofpm foolball . T he Ind ians never made theSt'ri es in tho~ yea rs . but lh(:y wereu.sua lly in tht: race , and evt:n when tht:yw!;"n'n't the y managed 10 be cxeitinH.T haI "roes to show you just how old Iam. T he Bro wns and the Indians havebeen bori ng and non -con tenders foryea rs and tht: Cavaliers , the NBA fran ­chise, is the worst lea rn in the history ofpro b -ball .

Now an d then the Browns thre alen torist: above mediocrity, 'bul nolxldy inC leo.'eJand ever th inks that Ihis will be theBro wn ' s yea r . It 's always next year .They are still building . They ' ve beenbuildi lll':: longer than an y team in thelea~e. There an:: only two ways theBro wn . will eve r win a cham pionsh ip ­mo ve to the U.S.F .I,.. o r fire owner Art

EAST VIL LAGE fYE SEPTEMBER 46

Art o n the 8e.ath. JohannaBoy ce . K&thl een Ufdon,Pe~ Coyne ldanc:ef". ar·chitect. 'ItsuaI ..rost ) tobbont~ .

Batltt)' Parte O1y lMldflll . Glot~

18. ChamMn~W~5l Su o6:) 0 p.",: (571·2206)

Surnrner " eaae FilmFestin l at Medtar EYe" Col·~ Auditorium, II SO C¥ToIISt. (bel . Rocer'5 & Nostr¥ldAves .) Brook tyn. Noon to fnid.nit~ . Featurinl The Jbdtr They .Come.~ Bob Harle., concert~. (282-988 1. • 61.9(61).Red T,.. Hquine pr~sents

100- pur~ poetry ~t ABC NO1'10. 156 Ri¥inlton St..25. -l697

Oven:omi"l • Obstacle Part ­2: Walll nser tion, and instaUa·tion by Hecki Schmidt.Winiamsbur.c Brida:e Promcnadt.) p.m. (768-1208)Humphrey Bo, art in The Treowreof lilt~ro IMdrt anc:l Key l or, o.lWO tl~ssic;s d,r~tte<l by johnHuston , al Thea lr~ 80. 80 St.Marks (254-7-400)

WED. SEPT. 7Jenn ife r CoI ussy andMarte8Arudl a t the Spuke;uy.107 M~tOoulaJ St. (5'18-'1670).Alv in Ailey RepertoryEnsemble openir!c the fal~~ o f the ~r'Iide DanceFestival. the cOlTlpIfIy p".sentwortt s from iu popula' repel'_

tory "nd new work, in !iC"'e~

diffel'"ent prOZ~. Theater o fthe Riverside Church . I 10th $c. .& Riverside~ thol Sept. 18(86+ 2929) " ."South of the Mountain,"rneb-tory "Of')' 01 a m0un­

tain~"'$ dre.."." anddespaln by Ron Short of~ Theater . ac:tl ..imed, roup from WhlteburJ. Klen­tuc k)"s Appahhop arts com·munlty. At DWT,ll9 W.19th St. N .Y. pt'emlere.' "p .m. Wed. ttlru Fri. un ti l~t. 24. sa. (9204-0077).Richard HamtMlton' , ~owopens Ie , ie'l.o Electric, 29C~nto" St. ~ I O p.,!!. 505·6204),Also opening ae C ivi lian W. ,..fare. n6 E. 11th St.Wish You'd Been Here,"Post car d Size An by art ist stuckin N.Y.C . all w mme" It ABCNO RIO . 156 Ri...ington St.thru ~pt . 17.

THURS. SEPT. 8" Fto and Ma ll," new pby byTob y Armour and directed byAiI«n P;Ul lo ff. abou t "arane!·lTI01her', p1ebtKes. It Thute rlor the New City. 161 2nd Ave,lhr\I x pt . I I. S" . (25. -1109\james Ca,My in City for Con­qUkl "nd Tu l " t ThutN 10,80 St. MJrt" Pl. 25...7-400.......,. Bridtewoocl sho....~ II Ne w Math GaI~.

508 E. 12th St ., thru Oc t . 2nd.

IJtobert H~ Nkholullerpry • Eia Troyano.nShow and T~.n '<Mth R. BrentH~bne ·&hlmu. Stor~fronl

~. 51 Prtnc.~ St. • ll -5795.. 8:)0 p.m. f",~ .

his, " new music.. by ChM\nChoSl!t . wtth 25 mWc'"number1. Jnd 16 tUl rnemberJ "tThutei' for the New City.162 2nd A¥~ . 115.·II (9 ) .

Sec:ood Anni¥etUrf of I~ Co­'*' "I T~ Spe"k~JS., . live rnusitan.::h"d~o~_ Fr~~ . 107 HacDou!aJ 159B-9670}

FRI. SEPT. 9P~e ~ec;"" NYPr~perlonNnc:es by .10 Canon.p1aywritht V'd rxomar fromT~at DTW. 2 19 W.

19th Sr., ~t II p.rn . Ihru Sat.andSun. at 8 p.m. S6 until Sept .15. (92+OO77.l.Tnbut~ to J.imJit~ dub poet$Ioned 10 death: nl"1ernberMikey ' Smnh . al The StudioStop. IlO w. 20th St. S6 do::wuo­tion . (807. 1511). Mi C)'OIltI

~ II . 1982 inw"~ljOOJI hitalburTl. Clumpion o f truth.

Phoebe Lepre, j.J.n pi"ni$tand ¥ocalist ~Xt~. pl~.,s

en.: Fifth A¥enue .. 9:30a.m.·2 :oo " .m.. Also Sat . Sept .I.Queen Ida • The BonT e mps Zydec;o Ib.net. Blues &Fr~nc;h Ciljun music; . f olk Cit.,.D OW . lrd 5t. 9 & 12 p.m.Ihrough Sept . 10. (Al ...8H9)

".Knife Dance at LimboLoun,e . ))9 E. 10th 5t..7~562 1 at midnight .William Powell in 5/lodow o(the Thin Io1on ind The Thin Moo

. (;on Home. wilh Myna Lo., IIThntre 10. .. St . Harks(1S4-7400). Thru sat.The Fleshtones ~nd The Del­Lords i t Peppermint lou",e.100 5th A.¥~ . 1989-14 571

SAT. SEPT. 10Mee t Robert Loren Fhtmi"landTnI!Yor Von Eedon.t~ntor and art ist respecti'Iely of .O.C.' s ne.... smash hit comic;,"Thrill~ r.· ' "t St. H~rics Comill.Shoppe . II St. M~""'s. I 105p.m. (598-9. l 9)You Suc k plays The Of'Ie . mid­night . 257 W . 29th . 695-.516.Setf: A Se lf ImportantH InkaJ. Theatef" rOf" the Ntwa ty pr~senu politic'" weelUlell~r . 2 p.m. CentrJI P"ricatthe Bandshd. Fre~ f254-1109).Othw Views: nc....l;andsc;apesby April Gomkk. o.ananHannah. H.nc fnnent,Komaf'1: .....1amkI. 'ThomasLa-.on, H Khael "Oft, E~ward "UKha. COrea Smith.MKhMI Zwack. ()pftWl&r~upt;on; 5·8 p.m. Exhibitionthroup Oct. 8. Semaphon!GelIery, 0462 Wnc BW3r(228-7990)

SUN . SEPT. II

MON. SEPT.12CloStir W OIChed Trains, Cz~ch

classic~n~t,nlltr ind The Shopon Main Street anoth~r well­known Cz~ch n1m at Theatre80 , 80 5t . M~rks . (25. ·7-400)

TUES. SEPT. I]Bett e Davis in The GrteIt l ie ~ndThe Privofe LWts of flizobflh ondEnei al Theatre 10, eo St."-ies (25+1.~ Waldron Q"lnlet , Jan atThe VJIlqe Vanruarcl, 178Sev~nth Ave, 9:)0 & II :l OthruSept. 18. $7.50 (255--40)7)

TMr LM 8y Nifht. di[Kt~d byNichollS Rloy. o.as NewAswmbl)' l'hAu,r , ]50 E.10th St. 8 p.m. SI.SO .­Oprn Poe try Ru din! V'd ..f~atlWe<I poe t Dan Shot at uteCafe . lOch SI. & A¥~ . B

WED. SEPT. 14K~. dir«t~ by God­fr~y R~gio with music by PhilipGlass. 57th St. P'lart--. 110W. 57th St.rife' 0( EJchnopw/lndian Tombdirected b)' Friu lanJ.~ ofhis b in works. ~t~ withrmn-eatinl li,Cf'S. n.rtfVess mar<I­

phs and precious emenkb. Fitmf orum . 57 Watts St. (. ] 1-1590).U . Thru 9m

WED. SEPT. 14!Jotk t iftJlmonl Uhuro f~atUl'"in!

Gerald Little at T hePyramld. 101 A.¥~ . A. at mid­nite. (. 20- IS90j

Ronald Ru g ¥! ~t1in! in TheVoic~ o( lilt Turtle (One for lilt800Il"nd Judy Girbnd in TheClock "t T heatre eo. 80 St.~s (25. -1400\

THURS. SEPT. ISOaudeue Colbert in TOtO'KIland Jlnot C_td Moon. tom·ediesm~ in the ' ) Os atThn tre 10. 80 51- Marks.(25+7. (0)

Gore Guette prnentsOoItpter o( Fronke'lltefn ~t TheDiye, 257 W . 29th SI.(695·. 516)" Show and Tel " with QrtsNip Out "t Storefron tGal Mry. 51 Print~ St.(. ] 1-5795. 8:l 0 p.m. free

Il:ik Little "nd Pe ter Hi"';"1at S.I .N . C1" b. 272 E. l rd 51.~it~. (228-83-4. )Eot T~..OI RiJw it the UmboLoun' lI! . )]9 E. lOch St.. 75·5621.

FRI. SEPT. 16B"sh T e tras retum 10 thoePeppermint lounce, 100 5thA¥e. (989.1457)

The Phoebe Leger~ G~mt Sho...." I WOW Cafe . )lO E. 11th 51.Ihru Sal .

Grand r~ning of Conro BillIt Dancelerl.. with TonyHeiber , 's O n The Town Or·chestra. 30 W. 2 lsi St .Hitchcock Ihrillers, Fortiln Cor·rtJpond~ntlnd .$oboleur atThea tre 10, 80 St . Marlts. thruSat. (25.-7.00\The Mlcrosc:opk Septet , ¥~r­

""ti l~ se¥en·man ~nd whosest rl~ ranges from calyp50. ungoand ""J"" 10 dill~nd . bebop indclassical. FoUl City. 130 W . )rd5t . 9 & J'I'\idrlit~ . (At. -SoH 9) SSStNt!t Movies: independen tfilm$. urtoons,liv~ music ett . "IVK~nt lot . • th St. bel. Aves. C& D. Con uibution.

SAT. SEPT. 17Our Oa"""t .,.·, Wedel""malles music: at P-wermint~e. I OO Sch Ave.

(989-7.57).

III joe T_ , best~at Folk City. 130 w. kd St.(Al.4-8+49) sa.Two shows.

Seff: A Sew Import:antH InkaJ. Politial Wfl'1 theatreprnented br Theater for theNew City at CHAAAS. East9th St.~ Ave. C. f rfl'(25... 1109)

Joe LAwis "t ABC NO RIO,156 Rim rcon St. 8 p.m. S• .125+) 697)

SUN . SEPT. 18Art on the Beach. A ¥cxal per.formance by Shelly Hirsch incoUabontion with ¥isual artislPe~ Coyne and archit«tHatTl e t B&laran. Cf-eativeTime The Banery Park Cit.,landfoll . Chambers & W~st St.Gite 18. 6:)0 p.m. (571-22061

".Se lf: A Self ImportantH uskal. Political 5lrfl't dle~tr~prnented by T he a ter for theNew C ity "t Wa.shinr:ton5qtw"~ Park it 2 p.m. Free(25"'1109)Busby Bertee MY's Zief(JtIdGrlu Theatre 10. 80 5t . Martu_(2S4-7<fOO\

MON. SEPT. 19FnI!nth film Classics:Cotuau's 8Ioodof 0 PottPitrr~ Pr~¥~rt's l 'Af(dTe £ItOcrnI le ScIc: , and jean ViIO'S Zero(or Conducl. ~t T heatre 10. 80St. M,,""'s, (254-7. 00)Yosika Ch"rna • nTh~ Schoolof H~rd Knocks" presents " ANi~1 i t I~ Millioni ire' s Club"on four consecut,ve Mondays .Att~ Pyramid. 101 Ave. A at10 p,m. (.20·15901

·Paimings of NY's demimonde o rth~ '2Otby G"y PeM du BoI,vxl or the ....or kin, tla~s o r th~

Low~r Eisc Side by John Sloanacdown town branch or theWhitney, 26 Wall Sc. f ree .11·] p.m. Ihru Ott. 28(. 31-1620)

TUES. SEPT. 20The Shadows ~t Folk City.DO W . )rd 5t. (A.L4.8+i9). Sf.MJurit e Bej"rt ', e allet 20t hCentury from Brussels, maklnliu firsl appe"rinc;~ in N~ .... Yorksinc:~ 1979. Thr~~ pro! rams in­dudt Eros Thanatos (l _ &Oeoth); u n rpts rrom LA $acredu Prlntemps,~ andJ"liet, Heln Kampf. TheOrqonfIy. Botero~ Welnnur d" Aile," . Tues.-Sat . Sept .11).30. City Center Theatre.I I I w . 55th St. (2046-8989).slo-n o.Open poelry r~adin! & f~"turtd

poe t Paul~ at Ute:Cale . 10th St. & A¥~ B.

WED. SEPT. 21e-...,.,...., Cl>oml>e.­BalMt of Caracas, wortr.s fromreperlOf')" & a !'ltW wortr. atTheatre of the fUverNdeChur<:h. IlOth St. & Rivef1ide.8 p.m. Abo F ri-~. Sept . 2l-14(8M- 2929) S6.

THRUS. SEPT. 22Btl tliilsh fOf" the publk~clon ofThe TrOl4ef P(eIS Guidr 10 NewW_ . ~"mless musk and hip~nu:rliilinment at the Pepper­m int Lo un , e . 100 5th A¥~ .

(989·14 57). •

Rik Little " t No se No. • 2Rivi"llon St. Midnipi show.(228· 8] -4-4) .

FRI. SEPT. 13The Teddy Boys relr~ad tunesat P~ppermint Lounp. 1005th "'¥~ . {989-H 5n

Staae Combat at UmboLou n, e . l19 E. 10th St.(. 75-5621).1 0 p.m. thrlI 912.Knife Danee "t Life Caf~ .

10th 51. & A¥~ . BJoe)' Miserabte and theWorms U I~ SpeD:e asy. 107 'Mac;Dou!il St. . S5 (598--9670).

SAT. SEPT. 24Edw ard IBrn insk i print showat Limbo Lounp, ]-]9 E. 10thSt . • 75·562 1.Terry G&rthwaite. BobbieLou ise Hawkins anc:l ll:osaI ieSorr~ls lune ful trio triomph~nl

al Folk City. Il OW . 3rd St.(AL.-8449) S7.

Pr~p;ari"f for War: br&~st ~""

hibicion under one roof sinu1911 Ann ory Show. ftaturing.90 artists like VitO Actoot i.Chris Burden and mOf"~ , Open­ing noon 10 6 p.m. ~t Brootdyn~y Terminal, 581hSc. &Fir$! A¥e.. Bklrn (929-6688..75-58]1) through Oct.]O

SUN. SEPT.2SArt on the lBeach ftaturin!Shelly Hinch, HarrietSalaran and PetVt Coyne.6;)0 p.m. (57 1-2206) S5. Bat­Il:ry P~"'" Cit y Landfill. Gate 18.Chambers & Wesl SIS.Anony mows ProekKdom Par­t y ....fT~nya R"nsom. Pierf.~lemarl~ and a show of art brGln~ry owners and cunton.oConro lli l! ~t Daneeteri.. 30W. 21 St .

MON . SEPT. 26Openior of Luis Frw1pIIa "tUmbo lounp, ))9 W. 10thSt., . 75·56 21uSthooI of I·b rd Knocks"Pyramid, 101 Alit . A1420- IS9O) See Mon. Sept . 19

TUES. SEPT. 27Open Poetry Ru din! ll¥ithf~itl.n'd poe t Bob Libertef!f.II Ufe care. A¥~ . B & 10th St.

Anonyn'lOl.J1 Produc;tiom

presen ts Ilamad Oiniz"'''~tPyramid, 10 f A¥~ A.. 20-1590.

EAST VILLAGE fYE SEPTEMBER 47

·1

- 2I -Peltl AllOt", Rosy', Ruz. B'ue,The 8 ', . VIZ, '112- TheV... In Pix

.30-King Sunn, Me. Psut Morris..,. HlleRodgIf.. WOOSI.. Gfoup

• 3t - AotIII't M, ppIIt'-Pe.~onTwins. Shlllin Pyr,mids. SleUi F..I",,1.Mr• • M,• . &'I'ViII~ Eye

- 32_ W, ...w Qllel to "-'aI,Hic..agwr , VIolMI F_. Jecll" Curti..F,ubktdll'. DInnfs HoppII'

· . 33-AfMfk:,n Muslc=AlIA V....Blllt..-.. Fhtnlt • RIa, Sly 51_. Afrill.IsI,m. Will.. COton. EIIl)'! EJc1lelbe!9II'.S1ume by City H.I!. O,n" Elhb1f9.StmUII DaI. ny. Melel Hurttnt

• 34 Summit" F1cIIon, Sireet PMdlers, Sur1Pvnkl. Mewing H• • rt., JohnflYOyneIr,OlOfgl. B.nd" RIMtoII, Hict Logan,Sum-..r

• 35-Euf)'lllm lc" Ann " egnu",". TheV..r In Sculplurl. Jelly e . en a.nll.z, F,edF, ll h . Krl, ll.n HoUm.n

iCLAsSiFiEoADlI DROP-OFFIMAIL FORM II Use thi s to order a classif ied from any of three IJ loc ations.in the downtown area: II East Sida Books, 11 SI. Mart<s Place I.• Sohozat, 307 Wast Broadway

I Todd 's Copy Shop, 238 Mott Street •

I ' II « •

I ~ wi I, .. . II ; ~ i ~

I :; li' ; ~ ~ I~ "' . ~ W ' (I) IU) :!_ .. wu;o

I ~ ~ ~ ; "'00-8.I ' ''' '' ~ =........ =e-c Q:::i(l) ~ II

~ 2::-1 ... . ,-< " . - W Z I

1 :1 OC;;>It) ~,... 1-°"- IIi ~cozi

I ~ IH & II ~ ~ ~ II ~ r. ~ II . ~ . . I

~ ~ u _E M... ~ lilt C5 .111> ~

I... ... .5 t~ <_I'l _ ~ I.... .::!. L ...

I of ; ~ -1" I~ ...... .

l O U . f "'! I... :.:i: ...o: .!of ",- ; •

I ~ =: i""" .: Vi Iu ...... ~

I ! §§ is =~ II ~ ! ~ i f s II ~ ~~ s ~ g I• i.; 55 3 ~ : II " ! l · ·i ~; 1 ~ ~ i EJII J: ::1::1 II.i c , cu.. t:L 1._-------------

• 211- Bllty kSoI , Johfl W,I.." SlI terHency. b . lp King. Grlcl. M, nslon. Vo..Klein. ReIHl Cortl}o. Sling

· 20-0..,1d 1Iyme , Bob ...,.." Punk In8erMn,JKIl~, PoIend, Got. FItmI

-21~ 01 IN SOIIoHe... Soft Cell • .'Geng of FOUl".~. MoYiH, Gotdtin.........·22-DJ .'tike hmbl'~'. Kl itty Aet ...b~ AndImIn. LIfWlY K, ,.- 23-Uu S1iwe. The W, r In Leb , non .PLO Inl........ The Qun CSub. W,yne W.nglSoid Oull

o24_HiM HI9If!, Rlcftt fd Hell. GeneOelober & CtIII"e- 2S_ Eae.pe Fronl BelnII . Kn-r ROlJVI.Pe 0. 801. Melle Met

. 21-K-'ttt Hering. PsrcMdelic Furs.Fhtmmalu... Hlfpn, F,II F..hlonl

· 21-Helmul Nl wton. Voodoo/Oene.Troupe M.ll i ndet H.,oIn. ,", II TWOlSoId Oul)

SPACEFOR RENT

- -'C·" FULLYE Ot.MPPfOREHEARSAl SPACE

. ..II.lIlI moI'Ilhtrfhourty, momlng .~....!!!-_ .. Ce ll 4",.".'~S"",-__R_ 10 ,.hll'lI-mulle . lhe.,...CSItIc• • Plano , drum••mp. • Ic. ... Ihe......hbortlood. ClI' lor ItIlo.. tICl ..te..$33-' 7" .

RENT RE HEARSA L O RP ERFO RMAN CE SPACE AT

-1-01""; GI.nn O·BrfIft. Iktet'I T.....MlfnII X, CMny V8nlI1i. Tlltt &; Snoolty,

..........--t-aght-EY..:I S9Y, CtItrtlIt ANIm,Lama ArIdIf1on. SuIM Spr'd....,•~ Unitt, Big"" Go,..,.",.

-'o-W. &; F.......:JoM c-.. Our HIttIf.JoI " KIng" Ctrneco. W. ~ SpIngCloINng

.,.......,... IIIuIM.n.AnI,"", Show. [)Ie..

tltors. SIItI, HefbII'1 Huneke, s.-.tF....

-t7-Ronnle SpK1or, Jeny LIe LIwt8.1t1O: The V_ In DNth. twII'I .......The Au PWI

-1 t-n. CIIItI. EJ SII\t.ctor. Brian Eno.n. 86oodI, Brian Jorws, Y Ptnb., 11»~ 01 w..-m CMMndott

-1t-o.w &; SId FIiIt'Ilon. JoIn JIlt,.........~The .....

.,,--N1w •UIIcI ...,.: IIInhItlIn Pro- •t-eY L.-. of life CIrt:tlnIJ'It , ..............SMtItw, Irttng SIettrMf, Sw6nglng '- ....· U-P\ri: 1lIIgIdne, ctwt8 Bu.-n. Slut­e-r Ann.US ApI. W_ Sc:IYoeIIt',MIchIeI Obiowttz. RIykttt

· 1S-51. & Video: er.mp. . Snutly T....limn~ snow, CIII CIII V-.nt., ",_ay Su..,.~ Update.hcky Johnttlon. Club Video. ....... .....

- 14-Fail Fnilion. PatrIcII FIltlcI, 8ttMyJohnaon. A8C No Rio GlIItry, CMttHHenrIFord . Oetnac~ fUtIontI eonv.n­lion , AotkIIs,~ RlcllmM, UrblnVerba. Ttrvtt Vidlo

- l S-FOf"IlgneN InYMe .... Yon:FnlblndIr. FaII't'on 1lIodI. Rudotl P!ltppIt• .E$t 0tAlI. lOdIMTIhlImlll. J-eek QuIll.P. III' Mo.nlg a Ann ......... Funehen ',........

Classifieds are now. .

utterly FREE (1st fiveIInes),and they'll befree for the rest of thisyear. Just fill in thehandy form to yourright.

GOOD HEALTHMEDIC A L CE NTE RComplel. mecliul lllH. 133 Mulberry$1. In' '' f1 111. dlf,". lo lollil l.cNtoprtclOf._~.I.

3~.a210

I(II~ YOUf bon• • I, . lllhi el .h.Mldlc.I ·Ct.troprecUc Clnll' . Soho­un.. I1I'Y. 133 MulberTy SI.".. oflO..nd Sl. Cell 21'·0500 by . pp' .RI.~bM ..I " .

Compulor Rlport lrom d• •• bl ni< Of!1. ln l Her,. . leeI I . Sefid 110 to:F.C.R.• TO Or-'ch ....... Rm. 2tS.N Y II NY 10011

FOR S~I,.E

- 3 SUlcUs, I&IIbou MtMs. AdMn PlMpIII.WPIX',JenlI~. Meguint.1Iofungo. TIM L' l!otalIy

-4-U:lunte~ RoMwon~.TIIlIy Brown. DMd~, Us --.....-·S-Slum JowNt by Ak:Nn:l Hell, lJ'*W...,..Huyottc-. (SokI Out)

-~ SptciIIl ,1....aetft I. SCotte.H6dl Zodlec. Erie~. Jotwt HIIlpem.Joy R.... ..wIt om.. E""'- DtAMon6o

- 7-Ant SpecW12~. DwldMc:o.r-tt, .......... RMI E-...Show, OP ser-. fIhys~~. C. KotIIIoter', U.

·1--1..,.. WhIt. . ..... C1_. _llieCum.. Food s.etIon

- 2 'b lllfHIo StIow , CI'IMteh Chrorne. In­~,F....... Lemon PInup. J .AhMm', CM1WIgI;. s--r Fahlon

Th. H.I.n R.ol. w Anll·Huh An·lhologJ II comIflQ 10 IIlIo 51. ..."'.lloollIl.... The ......., ""'- Anll·...... AnIh%gJ t. comlng 10 Ihe $C. ,... eoou,-. The KelItI ""'­AnfI.H~. Antholoft.

HEALrtt~ _ROCK AERO BICSW/AN GEl FRYE

0._ 011pCIUnIh 10~ IOUtI6s.Ce ll _ IOf ItIlo. TTN760 2·10 p.....O!ou"!d_e_n~ p,i" '1 !.~ .O~._ .!.!I.HER PES ADVICE C ENTER

334 ·821 0l,"medl.l. P" ,ONltzoclCI .. ·

,....,..."--! -....wI """".. .. , ....., • • • , It. . ..... y _ K_ '11 .100 .... . lt12) n~!O.~ .

FINE CUSTOM FURNITUREHMdwoocls. 10fftlicI. --. pIIinl'llred• . P.reon.I . Il.nl lofl. F.....11....1... Mill FII...W Wood-~':.T1;1:Q4

NEITHER/NOR NEW YOR K ,Ii ~ I~ I ndlftl . m.M "... gltI..., 8tId . 'fIlIdl. ~I... 543Yt Eo II h St. N_Yortl lOllOt

$OHO-A"I..' , Lo ll. 1100 .q . ft .12'r' c l Norttl4om oq»Ol_.....tty F. kltcMn • bIIltI. LotI..... _ "7ll.Ollll ·ClInton_lIS .... It. IoI't. 10lh n-.Y\ftra. 12' ceMlfIt. 101dwl .... bIIltl._......."'15*30'._1)50' loft. High n-.I( lldoeIt • bIIlh. SIOf• . le lU'ldry."30,000

WI ' St. -lMfIo 2-.-, ' '''' lM1tIHnl.... , pt. ,I3D.OOlI

WAHTEOI Large \ott ~, In ItMDown1own ,tu. No~ 10 rou 10»I I your \ott Of ,pl.wlltlva.

CREAT'VE LEASlHG COHCEPTS4311»1

- . ,- --- - -HQUSING MAGS

$200 REWARD FOR 1 BDRM ritE GItOOYE-ASSOcU.TES.~500

NE W AOE "" lIu ll•• , In ul 12:OR LOFT ASAP. S4()(). Mod• •n cu•. Ru l tlldl, Rod l,,'

_ ~O. E.YILL 643·9219 "-1ft'Ods.Tommy eo,-. flnM-.s.ml"...,., iOo<II for,... In AjJI on V.l...' • • M.k*m McLM"" & &Ie.1t­Olnton Sf: 's,.... a illt '--'. l l .50lfom1 57 S<./11ollo: S1. /2ll:

. . p"" mo. U . NYC 10002s.c. Depol '! leQUlftd. fema le pt.. • _ _ _ _ _ _

I...,. C.ll 112.7'I5t lor _ . Ionlo . Rud 0 1011, Pkturn,~ fin! CoI '-<;.- • - - - - - - n __ • lion of HII S/fowiu'. pCNIlry. hll••FOR REHT_~t1 'till..LI. lof! copy '--. Publk.hed by "'" l ....'I~ .pl• • _'0h ll kllCMn • TKh Pr . . ... Aw, lI ltbl••t Ea.t SkItbe "" 0...., COI'IdItIoft. 8 0 0 II • .$1 1. OK 11600 mo. ::.:,:,::,:c=~=~===~FOR SAlE-St. M PI.e• . Apa rt ·"*I' buttdl", F,Ofll SALE, 10 "fill.• 2.1_. 11. S,ooo. Cnh- S55.000.

CG-OI" COHOO_ IIlIIM, fOil SALEVIL.....GE-R...W SPA'CIE, 2ODO MI. " .Full 11_01Loft Bull dlng ln 1lle Hu rtof Orwnwlcll VI.... OrNt !or --.W'ho Wlnt to c,.... thelr own U­Worlt.~.. •. . .. ."30.000CASM'

-DOWtfTOWN-IeIow Cln,l St ._I500 &q . It. loft' p,M:" ll' ctIU..,.. "'.11 IIll dleft &bdI. 0...101'. ....... .... $132,5Oll

~

SERVICE,.. ..,~~c;;.,;...... ~.lenltM ' T oUtO ' Y ViDeO a DITl1tO"'100...... Oft .ta~.., \fo~·1~

equlplMnl lor__c1II1 artiet

~I.. VI.... ,"eel. dnfcq ....el,o ,,,lIeble ,I ..I,. ," ,ty low

~ prien. F« Info{IMtIofteeM 1&1-3201Of 712·151S.y;"-;.. ,~iit~lMiidlOOll lng lo, I,,' p Iflp' O,"ol.,I••'"* tftI(l. r ... cn,ltft .....~encI Clift l'lefp rou bulId etld ... r­public """ee.~', taiL Lu 4J3.31oS3~·t ._ .~ _

....... }'OIll'~ I 11orc hlfOp"CUc hu llh c Cell21f.OSl1l1.-- .. _-~-----~ -

Gflduele el \lCllltlllfl CommunIc elloftArts itIl _ tlld 1tI , II I_It of I ii,"atICl \'Ideo Pfoduetlon. P.., not e ,"ull .Cel! Joh!' _R~,~!on . 12 .5' 11

TALENTNEEDED

EJ.hibi l~-E,;IVlll,i. -e" I'; , i..mocIel, IOf c...II... III1"" ptloI AllIype, . *(lI" 1010. Cfll" In nche.lor phOIO• . Phon. pl>olo 10 Pel..~.!t._' ~4.2!ld~!!: ~~ '!.y~ ~y~

Voi c e s Wa n te d to r Te rm l., , 1NY Show

b.prnll _el piece IOf 100 ¥Ole"~.!I ~~": ~~~~!,~~L

W ANT E D: S u pe, .a F il m smade b y women to r o ut-ot ·t o wn showing . Some SS.Call 673·7564 or 777·6157(~ay s) . AS_k_ Jor_M I!1~Y '

_PERJO~ALAra ItI... . n J I flU.h ' UJ ' 0'"ocUlliltyI WI 1tI ItM EI.I v-"'age.. lre . rnert.tId UfIIIrIIIIfltiou,1 H-. • • 11. 22 yr. old 9lrIWOIIkl llh 10.... JOlL Wrlle: MI•• B_ P.O. eosb&trfC 1011S....~t-;~~.•~...."''',llIonoed n Sept.rnber........ .....".n.McGonIg...

...... It... '-D. HY. NY 11ll103

. .... Our III l lclc,t F.cllllJ • .., 0' , . .C HARAS INC.

...U ,.hll,..1 . p. c... 1 5 pl' hou•.New ...... mlll' "','o,m.~c. Sp.c• • •310·...1 l udllo, lum wllh • pre -

East Village Ey~'s_ Ium •••••• • tICl rn" o l . TIf·" " • • c.b. ..1 " yl. 'hn'er , ••

- ...Itebl. IOf book ing• • For ltItor1l'l"Ilon Of! ....".blUlJ . tId rl l. .. Cllis."."

BIG ART ISSUE: MISC. -The Amork.~ PoIlcerel Co. II Ioolr.Intlorcruy ])ho..... CtI i llM- 3llT3 I", e",

OCTOBER '83poin!rnIIftl.

HEY WEIRDOS !I' m t he b i g g est CO MIC

- BOOK freak o n earth & my

Advertisers' Deadline:home! I'm mainly interested

- In HOR RO R COMICS eepe-c ially from the urty ' SOs . I'll

WEDNESDAY, SEPT. 21buy ANY comics you have tosell. ANY YEAR ANY CON DI·Tl O N! .1 a lso dro ol everunde rgrou nd s which I' ll a lsob uy a ny o f. Call a nytime a n d

For more information, please call: . leav e m e s s a g e.. Ho w l e625-2047

• .T.K.O EXTERMIHATlHG co.

777-&157 I(fIOCllOu l You, R..clll .F... E~~\:I• . Will l.m Atro'fO... . An__ .1 .....Ie. : 475-5210

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