DVD Review: Kid Creole and the Coconuts, Live at Rockpalast1982

Text © Robert Barry Francos/FFanzeen, 2013
Images from the Internet

Kid Creole & the Coconuts: Live at Rockpalast 1982
Directed by Christian Wagner
MIG / WDR, 1982 / 2012
Disc 1: 116 minutes
Disc 2: 125 minutes
MIG-music.de
MVDvisual.com

Y’know, I often complain about how so much of the music related to the Top 10 charts over the past few years is actually theatre, and is essentially the same song with compressed sounds over and over, often using the same dance moves. I mean, Nicki Minaj and Ke$ha are pretty interchangeable, with no aural va va voom.

However, theatre and music (as opposed to musical theater) can work. One prime example is, say, Alice Cooper during his Billion Dollar Babies and Welcome to My Nightmare period of the mid-‘70s. But for sheer entertainment value, it’s hard to top Kid Creole and the Coconuts. Sure, David Johansen tried to step on Creole’s stylistic wave in his Buster Poindexter phase, and while he became more successful thanks to his stints on Saturday Night Live and the infectious “Hot, Hot, Hot,” it was a rip-off of KCatC – albeit a joyous and totally enjoyable one.

With an incredibly large multicultural and pan gender band including three backup singers / dancers called the Coconuts, August Darnell is in control with his zoot-suited character, Kid Creole. The music is mostly Latin based, with a touch of reggae and even a smattering of disco-influenced rhythms and proto hip-hop; there is lots of dancing, movement, storylines, and a whole lot of fun.

While I don’t think it would be fair to say that there is a narrative that goes through all the songs, there certainly is a motif, with each one is acted out using different characters, including the songs led by band co-founder Andy “Coati Mundi” Hernandez.

Many of the songs are humorous, such as “Table Manners,” “Mr. Softee” and “Annie (I’m Not Your Father),” where the Kid tells the titular girl, “If you had my blood / You wouldn’t be so ugly.” This, like most of the material, is a rave up, everyone is pretty drenched in sweat early on, but they never let up. Even with the rare slow numbers, the energy level is high, such as the lovely “Dear Addy,” which shows off the strength of Kid’s singing.

The camera keeps up with the action without doing that MTV-style quick editing that is so annoying (and always has been), which is commendable on many levels; there are also no claustrophobic close-ups of nose-hairs and the like. Plus, considering when this was recorded, the image is incredibly crisp without that dated video fuzz, and the 24-track music is sharp and clean. This is especially true considering this was probably transferred from the PAL format.

This release is actually a double DVD, with each one averaging two hours. That is a whole lot of finger and toe tapping for the viewer. There is lots of interaction between band members, the Kid, and the Coconuts (one of whom includes Darnell’s ex-), who have quite a few costume changes

The first disc is the second recorded show, starting on October 16th, 1982, and lasting into the next day. It’s filmed at the huge German showplace, Grugahalle Essen, in Cologne, part of a Rockpalast-sponsored festival. The enormous crowd, who aren’t seen too often, are obviously into the sound when the camera does focus on them. During the last samba song, “Malaise D’Amour” (translates as “Love Sickness”), the band conga lines through the audience, who joyfully join in… well, those who don’t dance on the stage, that is.

The second disc was recorded a few months earlier, on June 3, 1982, at the much smaller Sartory Halls, also in Cologne (seems to be about the size of Irving Plaza, in NYC). Story goes that this show was so well received, they were invited to play again at the much larger hall of the first disc. Despite the high energy, the sound quality for this show is a bit lacking compared to the first, though the high energy is definitely present and easy to get into the groove; the image is also a bit grainy and occasionally has the blue horizontal lines wavering. However, note that there is something intimate and gratifying about this performance, though the later show may be considered more of a definitive record.

It’s a consistent party over the two discs, with the songs being long, averaging around 6 minutes, though there are a couple that are a few that last well over 12 minutes per. And yet it all goes by so fast because it’s so much fun. This is even good listening with the sound alone. As a sidebar, it’s a joy to cook while it’s on (which I did my second time through).

The two extras, one per disc, are the trailer for the set, and a 10-minute-plus pre-show interview at the Sartory Halls, which is a humorous mix of English and German.

Band:
August “Kid Creole” Darnell: Lead vocals
Adriana Kaegi: Vocals
Cheryl Poirier: Vocals
Taryn Hagey: Vocals
Andy “Coati Mundi” Hernandez: Vibes, flute, vocals
Mark Mazur: Guitar
Miss Carol Colman: Bass
Al Mack: Drums
Bongo Eddie: Percussion
Ken Fradley: Trumpet
Lee Robertson: Trombone
Charles Lagond Sax (disc 1)
Alan Ross: Sax (disc 2)

Disk 1 Set List:
Intro
Turkey Trot
Going Places
I’m a Wonderful Thing, Baby
Mr. Softee
Loving You Made a Fool Out of Me
Ain’t You Heard the News?
Don’t Take My Coconuts
Annie I’m Not Your Daddy
No Fish Today
Que Pasa
Table Manners
Dear Addy
Stool Pigeon
Encore:
Gina Gina
Imitation
Maladie D’Amour

Bonus Disk Set List:
Adnaloy
You Had No Intention
Gina Gina
Mr. Softee
With a Girl Like Mimi
Turkey Trot
Que Pasa
Schweinerei
Any Time is Party Time
Table Manners
I’m a Wonderful Thing, Baby
Ain’t You Heard the News?
In the Jungle
Encore:
Don’t Take My Coconuts
Stool Pigeon
Latin Music
I Am

DVD Review: Gregg Allman Live on Stage: I’m No Angel

Text © Robert Barry Francos/FFanzeen, 2013
Images from the Internet

Gregg Allman Live on Stage: I’m No Angel
Directed by Jim Yockey
Cherry Red Films
52 minutes, 1989 / 2011
Cherryred.co.uk
MVDvisual.com

Southern rock certainly had its heyday, mostly from the very late 1960s via the early works of Texas’s Winter boys¸ Johnny and Edgar (that is until Johnny saw the error of his ways and took a more purist blues route in the early ‘70s) through the early ‘80s.

Along the way, some the stars included Lynyrd Skynyrd, Black Oak Arkansas, ZZ Top, arguably Tom Petty and the Heartbreakers (who were initially lumped in with the punk movement for some gersh-dern reason), and especially the Allman Brothers, led by Gregg and Duane (until the latter up’n died in 1971, though the band kept going for years afterwards).

What these bands and this genre had in common was a heavy reliance on the blues (ironically more of an electric Chicago style with some dirty Delta chops), an absolutely blazing guitar upfront, a singer with a gravelly voice, and for some reason long blonde hair upon the vocalist’s head (often accompanied by facial hair). Sure, there were some more blues purists, such as Stevie Ray Vaughn, but Southern rock was more into some heavy bottom-end rhythm and pyannah (that’s piano), usually electric for this genre.

Even after the metamorphosis of the Allman “Ramblin’ Man” Brothers after Duane’s dreadful death via motorcycle accident at age 24, Gregg kept the band going, but eventually giving it up and forming his own Gregg Allman Band (also known as Gregg Allman and Family, again seeming ironic to me), which is represented here. Recorded at The Cannery in Nashville, in November 1988, it was after their second LP, and just before the collapse of this line-up at the end of that year.

Honestly, I believe that calling this the Gregg Allman Band (GAB) is inaccurate, actually, since most of the heavy lifting is done by ace guitarist, Dan Toler. Sure, Gregg sings away in a sort of distant, almost I’m-somewhere-else mode, Toler works his finger magic, and actually has more solo time in the songs than does Gregg vocals. But the Allman name has the clout, so this is technically his group. While singing in that recognizable relatively minor growl (compared to some other Southern rockers), he tinkles at a two-level keyboard, but even that seems kind in half-hearted compared to the occasions when the other keyboardist, Tim Heding, does his Jerry Lee speed (especially on the finale of the Sonny Boy Williamson cover, “One Way Out”).

There is absolutely no talking between songs including individual tune introductions (Johnny Winter is great at that, albeit self-depreciating at times) by anyone in the gropj. Most of the tunes are either from the Allman Bros. period, or written for the two GAB releases from the mid-to-late ‘80s. Honestly, the earlier numbers are the one that resonate, and have more of a pure feel. “It’s My Cross to Bear” (written by AB guitarist Dickie Betts), “Don’t Want You No More” (a Spencer Davis Group cover), “Just Before the Bullets Fly” (by Warren Haynes), and “Statesboro’ Blues” (classic by Blind Willie McTell) have a more genuine feel from the band.

Some of the later-recorded numbers, such as the awful “Slip Away” smacks too much of ‘80s gloss and riding the Top-10 attempt wave. Perhaps I’m seeing what I want to see, but Allman seems to bland out even more on these tunes, like his heart just isn’t in them. Another assumption I’m making is that as Gregg Allman went through treatment for substance abuse in the mid-1990s, so he may be a bit absent for other reasons.

I think it’s important to point out that whatever weak link the leader of this group is, overall the sheer power of the rest of the troupe hauls his ass out and makes this a strong entry, whether you’re a fan of the genre or not (I’m admittedly closer to the latter, but respect the workmanship).

Despite being originally shot on video and transferred to digital, the image is pretty good, if a bit grainy, but the sound is pretty sharp, as that is more of what is necessary.

Band:
Gregg Allman: Vocals / keyboard
Dan Toler: Guitar
Bruce Waibel: Bass
Tim Heding: Keyboards
Chaz Trippy: Percussion
David “Frankie” Toler: Drums

Set List:
Don’t Want You No More
It’s My Cross to Bear
Sweet Feeling
Just Before the Bullets Fly
Fear of Falling
Demons
I‘m No Angel
Statesboro’ Blues
Slip Away
One Way Out

DVD Review: David Bowie Under Review – The Calm Before the Storm: 1969-1971

Text © Robert Barry Francos / FFanzeen, 2013
Images from the Internet

David Bowie Under Review – The Calm Before the Storm: 1969-1971
Executive Producer Rob Johnstone
Narrated by Thomas Arnold
Sexy Intellectual
65 minutes, 2012
Chromedreams.co.uk
MVDvisual.com

David Bowie has always been an enigma to me, quite frankly. Sure, I understood what he was doing, and how he latched on to what he wanted – even if it originated with someone else – and made it his own. While I respect that, he has always felt pretty contrived to be, especially from his theatrical Ziggy period onward.

And yet, I have always found his story interesting, and have followed his career somewhat over the years. Now at age 66 with a new recording about to come out, here is a British documentary in the Chrome Dream collection that starts at the very beginning of his rise to superstardom.

Of course, the problem with this DVD is that Bowie’s career has been so carefully documented in every possible medium, there really isn’t too much here that’s pretty common knowledge to a true fan. But as someone who is unaware of the pre-Ziggy career, this is a treasure trove, especially all the interviews which are new, and the clips, many of which are rare.

Bowie (often pronounced as Bow-wee on this) started his public career apparently not as a musician, but as an activist for a bogus group he started for the protection of men with longer hair, back in 1964. This managed to get him his first televised experience, a clip of which is shown.

We follow him through his less-successful folkish-mawkish period, influenced by the likes of Anthony Newley (1999), when he was supposedly inspired by Bob Dylan (I don’t see the root). But as journalist Chris Roberts states in an included interview clip, “He’s always had a good ear for musicians and a good eye for collaborators. He always surrounded himself with useful people.” A special talent indeed, and I mean that with no hint of sarcasm.

After the release of his self-titled album, which bombed when first released, he came up with his break-out song, “Space Oddity,” a true rock gem. Then with the help of the likes of collaborators like guitarist Mick Ronson (d. 1993) he began to evolve through the likes of the LPs The Man Who Sold the World (1970) and Honky Dory (1971), and he became more flamboyant.

The tone started changing when Bowie opened for Tyrannosaurus Rex, and started adopting more of Marc Bolan’s proto-Glam style. Friendship turned into jealousy as Bowie’s career began to eclipse Bolan’s, though they stayed friendlimies for the rest of the latter’s short life (d. 1977). The birth of Ziggy Stardust’s androgyny started to click in Britain. Apparently, star-maker and producer John Peel (who is shown here in a 2004 interview, shortly before his death that same year) never really forgave Bowie for his alleged treatment of Bolan, and states so explicitly.

And where did that fashion style originate? Mostly from a of a cast of New York-based performers that showed up to act in a gender-ambiguously play called Pork, namely Cherry Vanilla (the woman who single-handedly helped introduce and break Bowie to the American audiences), the lovely Wayne (now Jayne) County, and publicity maven / photographer Leee Black Childers. Personally, I think these three should have been interviewed on this film because David Bowie may never have become David Bowie if it weren’t for this amazing trio (testify, Jimi L!). Luckily, they are at least given credit by one of the journalists who are part of the commentary.

That kind of style “borrowing” and eclipsing would not historically end there with Bowie. One needs just look at Boy George’s appropriation of bands like Hayzee Fantayzee. But I digress…

The other half of from what was Ziggy Stardust formed was the Andy Warhol Factory group, where Bowie is stated here as essentially saying that he wanted ‘“the mind of Lou Reed and the body of Iggy Pop. Ziggy Stardust was Bowie’s attempt to be that." Leee Childer’s once told one of FFanzeen’s writers in the 1980s that Bowie’s genius is knowing what to steal, and when. Very subtly, this DVD agrees.

There is a gaggle of journalists interviewed here mostly stating opinions, such as David Stubbs, Andrew Mueller, and Paolo Hewitt. As always, what fascinates me more are the people who are more intimately involved, like collaborators from the early years like Keith Christmas and Bob Solly. Shame they couldn’t get Angie Bowie, she certainly would have joyously livened up the volume on the DVD.

As always, there’s lots and lots of rare clips, both video and sound, from the entire period under discussion, including interviews with Bowie, of some of his influences (like Bolan and Donovan), and even a snippet of a telly advertisement in which he participated before his rise. Of course, all of these clips are short and incomplete; otherwise this would be five hours long.

In Chrome Dream fashion, this is a well-released and solidly-put together. It also feels a bit more even than some of the earlier histories, in that some interviewed are actually critical of the man at the center, rather than merely full of hyperbole (though some of that is here, too).

Now that I have finished this enjoyable history, I’m going to watch an alternative version with Velvet Goldmine.

DVD Review: The Point (Harry Nilsson / Ringo Starr)

 

Text © Robert Barry Francos/FFanzeen, 2013
Images from the Internet

The Point: The Definitive Collector’s Edition
Directed and animated by Fred Wolf
MVD Visual
74 min, 1971 / 2012
MVDvisual.com

The 1970s was a key point in cinema animation, with works by Ralph Bakshi (Fritz the Cat, Wizards), Martin Rosen (Watership Down) and Ralph Lafoux (Fantastic Planet. At the same time, weekly television cartoons went from 24 frames per second to 18 (e.g., The Jackson 5ive, Nanny and the Professor).

Undeterred by the growing maturity of the medium, The Point, drawn by Fred Wolf, was bravely released into the world and shown on ABC television as the first animated “Move of the Week” in 1971. Using simple line drawings that looked an Alka-Seltzer commercial from the ‘60s (which had been drawn by RO Blechman), it went out to touch a wide-reaching audience for various reasons.

But first, this message: Narrating the story-within-a-story is Ringo Starr, as the dad who reads the story to his young son, who is more into watching television (“my shows”) than books (sound familiar?). Starr’s easily recognizable voice rambles along, up and down tones in a slight sing-song manner that he’s known for, which is, of course, endearing Note, however, the original airing on television used Dustin Hoffman’s voice, and Ringo was added for the video release years later The songs that accompany the story is by Starr’s cohort and real-life close friend, Harry Nilsson (d. 1994), known for the likes of “Without You” and “Everybody’s Talkin’”. One from the film, “Me and My Arrow,” even became a somewhat hit. Nilsson also wrote and pitched the story idea. And in typical post-Beatles music-related animation, there is a bit of a psychedelic feel to the colors and flow. I wouldn’t go as far as to call it derivative as much as influenced.

The story told is about a little boy, Oblio, and his dog Arrow, who live in a land where everything and everyone has a triangular shape, or a point (for people, it’s at the top of their heads, possibly inspiring the Coneheads. And yet, no one’s pointy-headed life has any point Yes, the double meaning is purposeful in the story, especially when Oblio is born with a round head (like us). Nearly everyone else in the story is also The Simpsons-ish orange (perhaps Snooki?), though occasionally to make a point, some are other colors, such as a crooked politician being purple. Yes, it is very Yellow Submarine in that way, with the meanie being a darker hue of blue.

Due to the machinations of said politico, inspired by his bully of a son who is Oblio’s school mate, Oblio and Arrow are cast away into the “Pointless Forest.” There he meets a serious of people or creatures, some having some kind of trinity about them. First there is a slimy character with three heads who consistently points out that all those who Oblio meets in the forest is pointless, to which he disagrees. Then there’s three obese women bouncing around like beachballs (reminding me more of a post-blueberry Violet Beauregarde). Among others, there is a fashion industry manufacturer tree waiting to bring out the next season’s line (“Careful! Leaves don’t on trees, y’know!”) and an obviously African-American Rock man (“Dig?”) that has a rear-view mirror touch of Semitic and Black-hep stereotyping, among many others.

Oblio is voiced by 10-year-old Mike Lookinland, who is better known to that generation as the youngest boy Brady, Bobby. Other voices include animation stalwarts Paul Frees (who narrated many films and cartoons, as well as playing both John Lennon and George Harrison in the Beatles cartoon; d 1986), Lenny Weinrib (he voiced both Scrappy-Doo and H.R. Hufnstuf, among so many others; d. 2006), and voice-queen Joan Gerber (d. 2011); also child actor Buddy Foster (who played Mike Jones on both the Andy Griffith Show and Mayberry RFD; he’s also Jody’s older brother).

But the most important voice, however, is Nilsson’s as he croons the Greek-chorus songs that weave throughout the story. This can almost be seen as a happier version of The Little Prince meets Alice in Wonderland, where the child has many exciting and sometimes dangerous adventures on his way to find truth, meaning, and yes, the point of life. Then there is the consistent looking for the positive in everything like Candide.

And what happens when round-headed outcast Oblio returns to the pointed land? Well, that is the – err – point, isn’t it…

This really is a charming story and well told. It will appeal to children with the art and music, and there is enough double entendres that will keep the adults interested. And those Nilsson songs. Even with a few major hits, it is true that he was underrated for his voice and writing. This film, as a Nilsson legacy, is something to be treasured, even though it has become a bit dated over the years in some of its categorized characters. The story, however, remains true, and that’s what matters in the end.

The extra is a 27-minute documentary broken into four parts: “Who is Harry Nilsson?”, “Pitching The Point,” “Making The Point,” and “Legacy of The Point.” It’s consistently interesting, about how Nilsson brought the film to fruition. Some of the oral history is presented by the likes of director/animator Fred Wolf, Mickey Dolenz of the Monkees, Terry Gilliam who animated Monty Python’s Flying Circus, John Lennon’s consort May Pang, and Harry’s last wife, Una and adult kids Annie and Beau. Shame they couldn’t get Lookinland to discuss his role.

DVD Review: Ike & Tina: On the Road 1971-72

Text © Robert Barry Francos/FFanzeen, 2013
Images from the Internet

Ike & Tina: On the Road 1971-72
Directed by Nadya Beck and Bob Gruen
Carnage and Rouge Productions
81 minutes, 2012
CarnageandRouge.com 
MVDvisual.com

Looking through the rear view mirror, Ike (d. 2007) and Tina Turner get lost in the legend of Ike’s abuse and Tina’s later “What’s Love Got to Do With It” period. Both are fact, but so is that Ike was one of the currently under-heralded originators of rock’n’roll, Tina was a fireball of energy and a strong songwriter, and together they brought some raucous R&B into the mainstream. They were a powerhouse as a multiple award-winning couple in the music field of the 1960s and ‘70s.

Likewise, Bob Gruen (and then spouse Nadya Beck) is recognized as a photographer of the early New York punk scene starting with the New York Dolls and going through his involvement/participation in the Sex Pistols tour of the United States in 1978. But, as with Ike and Tina, Bob’s career is also more than that, as his films have shown.

The last grouping of his and Nadya’s I saw was the Dolls’ Lookin’ Fine on Television [HERE], and now comes a collection of their filming of Ike and Tina shot on what appears to be early B&W video (reel-to-reel?), evidenced by the thick horizontal lines that show up on the occasion. There are also some color sequences that appear to be Super 8 or grainy 16mm. Thankfully, none of that detracts from what is happening at any time.

Actually, the title “On the Road” is only partially true. Yes, we open on I & T in the back of a car friendly arguing about a time past when Ike left Tina on the side of a road somewhere, but that’s the only hint of what would make the focal point of her autobio. After an in concert of the magnificent Greenwich-Barry “River Deep, Mountain High,” we are in a house (never explained whose) watching what could be any suburban couple and family on any weekend, which makes it historically interesting (for the first viewing, anyway).

After a taping of Carson (Johnny, not Daly), both musically and interview (wonder how this production got the rights), and a practice and recording session in the studio with the Ikettes, we do follow them on the road.

As great and many as the musical scenes are, they are equaled by the shots backstage as they banter and fool around, do promotion interviews and appearances, and just interact and practice with the rest of the revue.

One of the many successful aspects of this collection is that it shows that while Tina, Ike, and crew fall into a specific genre of R&B with the likes of James Brown and Joe Tex, they could also be working equally hard on the blues (“I Smell Trouble”, “A Love Like Yours [Don’t Come Knockin’ Every Day]” for example). And then there is the pre-Donna Summers/Andrea True sexy “I Smell Trouble” that is accompanied by a razor sharp Ike on guitar.

We also get to see some of the revue as themselves, sans the titular couple, as they practice, horseplay, and we get to see the Ikettes on stage by themselves performing a couple of numbers.

There are a couple of directorial self-indulgences (hey, even Hitchcock did it) that are forgivable, making this collection of performances – both partial and complete – an enjoyable viewing. And in what is a nice touch, we finish as we start, with Tina and Ike in the back seat of the car, but this time they are harmonizing as Ike strums an acoustic.

The extra is a long slideshow of Gruen’s photos of the tour that is totally enjoyable. There is also a thick booklet included with a lot of the images and text (dated 2012) by Bob Gruen that explains how the whole adventure began and impressions on the road.

Track List:
River Deep, Mountain High
Pick Me Up (Take Me Where Your Home Is)
Oh Devil
Gulf Coast Blues
Shake a Tail Feather
There Was a Time
Heard It Through the Grapevine
Respect
A Love Like Yours (Don’t Come Knockin’ Every Day)
Under the Weather
I’ve Been Loving You Too Long
Walking the Dog
You’ve Got to Get That Feeling
Try a Little Tenderness
Proud Mary
I Smell Trouble
Shine
Instrumental Theme Song
I Want to Take You Higher

The War on "Happy Holidays"

Text © Robert Barry Francos, 2012
Images from the Internet, which can be made larger by clicking on them 

As with many places in the Western Hemisphere, here in Saskatoon there is currently a debate on flashing bus signs, which alternate every couple of seconds between the destination and “Merry Christmas.” Someone is currently bringing the City to the Human Rights Commission, stating that this is discriminatory, and exclusive. He is being lambasted in much of the media and has even had threats to his life. Some are saying he is part of the War on Christmas.

This, of course, is ludicrous. There is no war on Christmas. No one is trying to stop Christmas, but rather also include their own beliefs and holidays into the equation. But the cultural hegemony, as it has been for over a thousand years, is that “my belief is more important than your belief.” Recently, my city counsellor (equivalent to an assemblyperson) stated to me, “Merry Christmas is no longer exclusive to Christianity. The Christmas Season and the greeting ‘Merry Christmas’ have come to mean different things to different people. The celebration/season is as diverse as the cultural composition of our community.” His response to the debate was to say, in a public sphere, “Merry Christmas Everybody.”

Really? Christmas is no longer exclusive to Jesus? Well, let’s look at the word. Christmas = Christ + Mas, or celebration. A celebration of Christ. I found his remark highly insulting. Just what did he mean by everybody? It certainly does not include me, or at least three others I know of his constituency (one Jewish, one semi-Buddhist, one atheist). When I questioned him about this (on Facebook), part of his response was “The Christmas Season and the greeting ‘Merry Christmas’ have come to mean different things to different people. The celebration/season is as diverse as the cultural composition of our community.” Yes, he is correct, to the Christians it means “woo-hoo” but for most of us who are not of the belief, it can also mean oppression. However, for the way he meant it, Bzzzzzz wrong. Just because Christianity is the majority does not make it right.

The year-end season is filled with holidays of a legion of faiths. Those who are not Christian (i.e., not "of Christ"), be it Jewish (Hanukah), Muslim (Ramadan, Eid al-Fitr, Malkh), African/African-American/-Canadian (Kwanzaa), Buddhist (Diwali), Sikh (Gurpurab) Hindi (Diwali, Festival of Lights, Holi, Festival of Colors, and Janmaashtmi), Wiccan or other goddess-based faiths (Yule, solstice), followers of Zarathustra (Zoroastria) and others (and I'm not even going into the beliefs of agnostics or atheists), Christmas can be an assault rather than a pleasure. It is telling us (and yes, I'm aware I am speaking for others) that we are not part of the Saskatoon culture, or wherever else this situation is occurring.

Currently, I work for an organization that helps new arrivals look for jobs and prepare for their new life. Most of those I meet are either non-Christian Asian, or Muslim. With the new flood of immigrants coming to the West, the conservative officials currently in office are feeling the pressure of some older constituents who fear the change, or the narrow minds of the “me-or-them” younger voters, and use their own beliefs to shore up the current condition. But that status quo is shifting, and changing fast. Alienating the new arrivals (something conservatives seem to thrive on, using that fear of change) was done to the Irish in the 1880, the Jews in the early 20th Century, the Italians after that, and so on. Now it’s anyone who does not fit into the paradigm set up by the majority in charge.

I’ve heard it said, “Canada [or the United States] is based on Christianity” or “the teachings of Jesus Christ.” Uh, no, it’s not. For example, let’s look at the last 500 years or so: Jews have been around since the beginning of the New World, and essentially made up most of Columbus’ crew (who were taken from the prisons, during the Spanish Inquisition). Most of the American Revolution was funded by Jews in New York and Boston. Much of the infrastructure of the west was built by non-Christian Chinese laborers. Multi-cultures built North America. But if you want to look back, it was First Nations, Inuit, Aztecs and Mayans (among other indigenous groups) that were here way before any Christian settlers found their way to the New World, each with their own beliefs that were just as valid to them as those who settled on their land.

I have no problem with a citizen wishing me a "Merry Christmas.” It’s a nice sentiment, no doubt. However, when it is stated by a elected government representative in an official capacity, or is on government or common land, I cringe at it. It no longer feels like a government representing me when the insistence is on something that does not include me. I become the "other," which is the first step toward persecution. Underrated comic Bobcat Goldthwait once became upset with an audience member who gave him the Arsenio Hall “woop-woop,” stating it is only one short step between “woop-woop” and “sieg heil.” While this may be a stretch, I understand what he meant, and to me in is echoed in the “Merry Christmas” chant by a governing body.

The solution to this is a simple Happy Holidays or Season's Greetings. Keep Christmas in your heart. Just don't use it as a stake into mine, and others that are not of Christian belief. Saying Happy Holidays is not a War on Christmas, it is a cry asking for equality, for inclusion into the cultural milieu. Besides, it’s not like there aren’t many other reminders of Christmas. For example, people have nativity scenes and both beautiful and occasionally garish lights (and many ugly large blow-up thingies) on their property, stores are filled with Christmas music and signs, the light poles lining the street are filled with Christmas icons (Santa, angels, and the like), and the Salvation Army’s presence is overwhelming. Having a State-stated “Happy Holiday” is not going to change people’s beliefs, nor make a dent in the nearly omnipresence of Christmas ambiance. Season’s Greetings is more of a way of saying “Welcome one and all.” I will remember this intolerance come election time, and I am going to assume so will many of the new large numbers of immigrates.

Merry Christmas is just part of the majority’s colonialism at the forefront. “You Shall Have No Other Gods Before Me” is taken from a non-Christian book, the Old Testament, and yet has been coopted to proselytize and dominate others. So, how is changing the signs on city property to Happy Holidays from Merry Christmas a War on Christmas, when it is all-pervading nearly everywhere else?

DVD Review: The Jesus Lizard: Club

Text © Robert Barry Francos/FFanzeen, 2013

Images from the Internet

 

The Jesus Lizard: Club
Directed by Matthew Robison
74 minutes, 2009 / 2011
MVDvisual.com

Let’s get the technical stuff outta the way first: this show was taped on the first stop of the Jesus Lizard’s reunion tour on Bastille Day, 2009, at the large and packed Exit/In Club, in Nashville, TN. The circuit was the first time the band had played together in a decade.  Now, let’s tawk.

If they had formed ten years earlier than 1987, they may have been labeled as No Wave, but because they got to share a split 7” with Nirvana, and recorded with Steve Albini in Chicago, they were more known as “Alternative.” Their sound is full of dissonant notes, repetition, and singer David Yow’s yowling (please tell me I’m not the first one to do that combination of words). After their song was included in the film cult film Clerks (1994), they signed briefly with Capitol Records.

The Jesus Lizard was known for being bellicose in the post-punk days, when bands were becoming more sedate after the rush of hardcore aggression. While they would never reach the levels of, say, GG Allin for assaulting their audience, they were still the real deal. One might compare them in intensity to, oh, possibly down-under’s Rose Tattoo, though their sounds are incredibly different.

The audience for this show is definitely up on JL, as they applaud as soon as the first notes of the song are played. Always good for when recording a show for posterity. For me, I never had the opportunity to see them live, so this gives a front row center view. Strangely, I don’t see much slamming, even with Yow’s occasional stagediving and crowd surfing (with his being chubby, sweaty and shirtless, I wouldn’t want to be the one hoisting him).  Bouncers keep the stage clear for anyone joining in on the diving.

Watching the band hammer away, it is clear to see that they know their chops, with the sounds coming out actually being quite complex, just being overlaid together to clashing and crashing.  As for the vocals, well Yow is musically rambunctious, occasionally reminding me of outsider singer the Legendary Stardust Cowboy. Don’t expect to make out too many of the lyrics. Or hardly any. And perhaps I shouldn’t mention his passing resemblance to Peter Tork…

The sound is quite crisp, and probably giving a better picture of the band’s true flavor. In fact, probably better than the Albini sessions where Yow was barely heard over the din. This puts him where he belongs, front and center.

If you were a fan of the band in their heyday, this will certainly not disappoint, and in fact, bring some relatively clarity to what you were imagining in your head about the group.

Track Listing
Puss

Seasick
Boilermaker
Gladiator
Destroy Before Reading
Mouthbreather
Blue Shot
Glamorous
Killer McHann
One Evening
Then Comes Dudley
Chrome
Nub
Blockbuster
Monkey Trick
7 vs. 8
Thumbscrews
Fly on the Wall
My Own Urine
Dancing Naked Ladies
Bloody Mary
Wheelchair Epidemic



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