age5
The Battalion
Thursday, July 12,1990
HjPtmkers 7Seconds fight positive battle,
^fan indifference at rowdy Houston show
life
ty JOHN RIGHTER
The Battalion Staff
l Camp.
:a ge 1
r Babiei
s (or Oj.
HOUSTON — Forward progress
pears to be the catch phrase for
econds.
The former straight edgers have
rned to the more passive confines
f positive punk, a format that still
markei daims social rights, racial harmony
najor a|and a clean lifestyle as its main objec-
eclub, lives.
late tli( During their Houston stop at
'e must Fitzgerald’s last Tuesday, lead singer
“West: and guitarist Kevin Seconds, bassist
1 handle Steve Youth, drummer Troy Mowatt
rand lead guitarist Chris Carnahan
ks even; took another muscial step forward
o Hanl with their hour-and ten-minute set
ik dance unveiled five upcoming tracks
n danc irom their January-scheduled re-
ase.
By far, the new material stole the
ight. While standbys such as “99
ed Balloons” (yes, the Nena song),
Seven Years” and “Walk Together,
ock Together” received the loudest
pplause, it was new tracks, “Na-
ed,” “Weakness Coming,” “Come,”
Backwards” and “Happy Rain” that
howcased 7Seconds at its strongest.
Judging from the five tracks,
(Seconds is bridging the melodic
itructures of their last three albums
vith an edge more reminiscent of
tiiddle period works such as Walk
Together, Rock Together and New
Wind.
While not approaching the music
ipeed or aggression of early releases
uch as The Crew or Skins, Brains
md Guts, the new numbers cut a
ard, positive edge that has been
ackingon their past three albums.
Likewise, the addition of Chris
arnahan on guitar has been a posi-
ve step forward. Carnahan resem-
les singer Seconds with his vibrant,
:onstant activity onstage.
Together, Carnahan, Seconds
and Youth are a wild, wacky line of
aogoing, thrashing fools that keep
he audience involved and active.
The wackiness, crowd interaction
nd constant motion has trans
formed 7Seconds into one of the
most enjoyable bands to watch.
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Case in point was the group’s stab
at the B-52’s “Roam,” a song that
could emerge as another classic
7Seconds cover like “99 Red Bal
loons.”
When 7Seconds recorded and
E erformed “99 Red Balloons,” most
ardcore fans couldn’t believe they
were serious.
They were.
Disregarding the notion that
hardcore must correlate with nihi
lism and depression, 7Seconds real
ized they had a purpose as positive
straight edgers to emphasize the up
beat and optimistic. “Roam” defi-
“C
Olamming has to be
one of the most retarded
social exercises ever
sustained, and the
suburban jocks have
unwittingly teamed with
the supremist groups to
make it even stupider.”
nitely needs a little work, but the en-
thusiasm and fun was there.
The unfortunate part of 7Sec-
onds’ performance was the usual
crowd b.s. I admit the slamming and
tensions are subsiding, but still, they
exist. Instead of solidarity and har
mony among the audience, the two
main themes of 7Seconds’ work,
there is stupid violence and needless
agitation.
Even anti-pit songs such as “Out
of Touch” and “Seven Years” fail to
drive into the heads of these wanna
be punks and suburban jocks —
looking to vent the repressed anger
of a failed high school sports dream
— that the true straight edge groups
disclaimed slamming and violence
years ago.
Slamming has to be one of the
most retarded social exercises ever
Battalion File Photo
From left to right — Troy Mowat, Steve Youth and Kevin
Seconds are positive punkers with their group /Seconds.
sustained, and the suburban jocks
have unwittingly teamed with the su
premist groups to make it even stu
pider.
For a hardcore lover like myself,
it’s distressing to watch the scene
crumble in the hands of these goons.
Violence is not the complement to
hardcore, its the destruction of it.
That’s why the truly great bands
have left hardcore, and the old ones
no longer have a place to perform.
Hardcore,* especially straight
edge, is a state of mental discipline,
not violence and hatred. When we as
fans realize this, then we too can take
a step forward.
Lange shines in video, ‘Men Don’t Leave’
By TODD STONE
Of The Battalion Staff
boto
Men Don’t Leave
Rated PG-13
Release Date — today
“Men Don’t Leave” is the second
U Jessica Lange film appearing on vi
deo this summer. Lange received a
Best Actress nomination for “Music
Box,” released on video in June.
“Men Don’t Leave” is a quality
film that evokes warm-heartea tears
and gentle laughs, and Lange’s per
formance in this film may earn her
another Oscar nomination.
Lange stars as a middle-class
housewife and mother, Beth, whose
husband, John, suddenly dies at
work. John was the central family
figure, provider and role-model.
Now, Beth must be the providing
parent, get the family out of debt
and learn to live without her hus
band.
The film doesn’t have the “eve
rything will be all right in two hours
of film time” feeling. This family
struggles, and strong performances
by the entire cast make the audience
struggle with them.
There is a subtle and reassuring
theme that families working to
gether will survive. Yet, this family
doesn’t always work together, and
there are no guarantees of survival.
Newcomer Chris O’Donnell
shines as the 17-year-old son, Chris,
trying to reach manhood without his
father. Charlie Korsmo (“Dick Tra
cy”) is also effective as the younger
brother who just wants a secure fam
ily again.
Lange is again superb, and I won
der if she will ever be mediocre in a
film. Still, Lange is nearly upstaged
by Joan Cusack, who plays a nausea-
tingly helpful nurse and Chris’ older
love interest.
The pacing of the film is a little
slow, and the ending doesn’t sum up
all the action and developments of
the story. Still, “Men Don’t Leave” is
satisfying. Grade: B
Video Spotlight
Spike Lee’s controversial 1989
film, “Do The Right Thing” is a
challenge to watch.
The film chronicles the events
leading to an outbreak of racial
violence with unflinching hon
esty. The characters are real, por
trayed as neither good nor bad.
Probably the best thing about
“Do The Right Thing” is that it
lays blame equally on everybody,
and this is where the challenge
comes in.
The film dares the audience to
see the racial incident in neutral
terms. Rather than blaming all
the black characters or only the
white characters, “Do The Right
Thing” points the finger at all of
them. If you are open-minded
enough to see the other person’s
point of view, then this film is
definitely worth watching.
“Do The Right Thing” was
nominated for two academy
awards last year for Best Original
Screenplay (Spike Lee) and Best
Supporting Actor (Danny Aiel
lo).Grade: A-
• DON A TKINSON JR.
Internal Affairs
Rated R
Release Date — today
The filmmakers advertised,
‘Trust him... he’s a cop.”
Instead, trust me... it’s a flop.
Despite strong performances by
Richard Gere and Andy Garcia, “In
ternal Affairs” collapses under the
weight of a murky "amT unrealistic
plot.
“Internal” uses the conventional
“good cop-bad cop” plot. In an ef
fort to find a different angle to this
overused story device, the film tries
to shock you with unrealistic
relationships and events.
Gere stars as Dennis Peck, the bad
cop. He is the leader of an entire co
caine network operated by police of
ficers. He trades favors within the
police department to get officers to
ignore his suspicious activities.
Garcia plays Raymond Avilla, the
good cop. Avilla has just joined the
Internal Affairs Division of the po
lice department, and it’s his job to
make sure all police officers have
their halos on straight.
Avilla discovers Peck’s illegal en
terprises and the corruption
throughout the department. How
ever, the moment you want to take
Peck seriously as a villian, screen
writer Henry Bean comes up with a
twist that has you saying, “Come on,
you’ve got to be joking.”
In one scene, Avilla is trying to
capture a person who can reveal
Peck’s crimes. Suddenly, the SWAT
team shows up shooting at everyone,
including Avilla, even after he iden
tifies himself as a police officer.
I just hope there wasn’t some bo-
nehead in the theater thinking,
“Wow, that Peck guy sure can do
what he wants with the police. I’m
shocked.”
Sure. That’s right. Get one cop
with a cocaine ring going, and he can
control an entire police force. No
problem. There isn’t anything
wrong with a far-fetched plot until
the success of the film depends on
taking it seriously.
Further problems with the film in
clude several sexual relationships
among the characters, most of them
involving Peck. Perhaps the
filmmakers wanted to add a twist of
perversion to make up for the po
lice-corruption plot’s snort comings.
It all makes the story seem more of a
farce.
It’s a shame the movie doesn’t
work better. Gere and Garcia are
great with what they are given. Un
fortunately, they aren’t given much.
“Internal Affairs” fails to deliver
as a suspenseful cop-thriller, but if
you need a good laugh, rent this vi
deo and try to take it seriously.
Grade:
Other Releases: Happy Together
— release date, today and Tremors
— release date, Wednesday.
Previewed videos and release
dates are courtesy of 2 Day Video.
7$econds stays positive
with new LP, direction
By JOHN RIGHTER
7Seconds is arguably the most influential and important band from the ’80s hard
core movement.
Fathers of the straight edge scene along with Minor Threat, 7Seconds developed
a fast, powerful doctrine of racial harmony, human rights, peace and compassion.
The optimistic force of their messages were strengthened by their commitment to
a drug and alcohol free life that placed the strength of the individual over the excesses
of the populace.
As the band matured and went through many personnel changes, the core of lead
singer and guitarist Kevin Seconds, bass player (and Seconds’ brother) Steve Youth
and drummer Troy Mowatt realized that something was wrong.
The positive messages of 7Seconds were being lost within the violence and lacial
incidents that occurred at their shows. The band claims the decision that message
take precedence over music was made, and thus the group moved away from the mu
sic speed that attracted the various skinhead and fascist groups.
The decision to move beyond hardcore was solidified in 1986 with the release of
New Wind, one of the most important albums of the decade. The significanc ■ ol
New Wind was the album’s melodic, almost “pop” approach, and its explicit claim
against the violence that had taken over hardcore.
Several years later, 7Seconds has finally carved a new identity as leaders of the
more passive “positive punk” scene (an offshoot of straight edge). With a new guitar
ist (Chris Carnahan), a world tour supporting their most successful release yet, Soul-
force Revolution and a new album on the way, Kevin Seconds is more optimistic
than ever about the future of 7Seconds.
I spoke with Seconds (whose real name is Marvelli) last Tuesday night after th. ir
performance in Houston about the past, present and future of 7Seconds.
I really enjoyed the new material tonight. How far
along are you on the next album, and how is it shaping up so far?
“We’ve finished about 12 or 13 songs that we will be ready to take into the studio
after we get back from Europe (where they will be touring) later this summer I’m
really looking forward to doing the studio work on this next album ’cause the audi
ence response has been so great. It’s been a lot like Soul force Revolution in that re
spect.
“The album itself will be much more charged with a lot more energy showing
through it. It will still be real melodic, but with more of an edge to it, especially vo
cal wise.”
I especially found the song “Naked” interesting. 1 he
title seems kind of deceiving, though.
“Yeah, it’s meant to be that way. It’s a song about stripping away all our mas
The main line is, ‘Get naked. Strip your skin away, strip your skin away. Tt mail
says that you get to a point where you realize there is a great human being undemc
all that bullshit.
“It’s getting to the good stuff in all people, which is a goal of 7Seconds. The t
is kind of deceiving, though. But, I hope that makes people think even harder ah
what the song says. ”
What was it like working on ‘New Wind,’ a rei n
radical album in a lot of ways? What was going through your heads at that time?
“We were just really anxious to move on. We got to a point where all of our
shows felt ... well not right. It was like all these people were saying, ‘Oh well, the
positive band, the positive straight edge and stuff’ But we felt really bunk ’cause
there was so much fighting and shit going on. It was just ridiculous. So when we
started practicing for what turned out to be New Wind, we found ourselves just jam
ming on the most exciting music we’d ever done. It had a lot more melody and was
slowed down a little more.
“We never meant for people to take it like we were trying to become a pop band,
some kind of U2 clone. Or that we were turning our backs on hardcore. It wa . just
something that we had to do for ourselves. The time had come to move on and ‘New
Wind’ was that first step.”
What are your feelings about the straight edge
movement nowadays? Are you proud it’s being carried on by the groups in New
York and elsewhere, or do you feel its time has come and gone?
“I’m all for the cool, honest energy, but I’m really kind of uncertain about what
straight edge really is. I’m still straight edge, ’cause I don’t drink, indulge in drugs
and I’m not a racist or whatever. But I’ve never completely excepted it as a
movement.
“I like the fact that it was and still is a good influence on people. But when it
started becoming where people were telling each other what to do and coming off
really self righteously ... I couldn’t deal with that.
“I saw my friends turning into these little, mini Hitlers. Friends that were really
educated and in school would get a few people supporting their band and they would
start to get all in your face about what they believe. I started to look at myself and
say, ‘Man, is this what I’m doing? ’Cause it was the last thing I wanted to do.”
I know this is an old question, but what are your
feelings about the violence that still perpetuates at your shows? VSeconds seemed
to send a pretty strong message with ‘New Wind’ and ‘Seven Years.’ Has there
been any change?
“For a while there, we were getting physically ill by the violence. Here we were
singing songs about how people should love and treat each other, and people were
just going completely off on one another on the dance floor. It was just insane. 1 can
understand the kids wanting to have fun, but this was really getting pretty sick and
stupid.
“You know, Ian (MacKaye of Fugazi) is great at controlling an audience, and
people will listen to him. I suppose people would listen to me, but I’ve sort of re
frained against speaking out. It’s been a real tough struggle for me, ’cause I hate the
violence.
“I’ve had people ask me, ‘Why do you let the Nazis come to your shows.’ 1 an
swer by saying, ‘’Cause I’m the kind of person who doesn’t believe in censoring any
body.’ If they come to our shows, and as long as they don’t start f—in’ people up ,..
I don’t like it, I hate it and I hate what they are saying, but I also believe they have a
right to come in and do it.
“These other people say, ‘That’s bullshit. You’re not sticking to what you believe
in.’ But I strive to understand and accept all people for what they are, no matter how
f—ed up it may be and to not censor anyone. I just pray that the Nazis learn some
thing positive from our shows. That’s my goal.”
Impressionistic “Goo” uncovers latest
gem for industrial rockers Sonic Youth
By JOHN RIGHTER
Of The Battalion Staff
Garfield’s summer comedy special starts today
with headline attractions Shock, Richardson
Comedians Ron Shock and Gary
Bun Richardson will appear at a spe
cial Thursday Night Live at Gar
field’s that begins today and contin
ues on Friday and Saturday.
The comedy special is sponsored
by the Brazos County Democratic
Party and the Aggie Democrats with
assistance from The Comedy
Workshop and Garfields.
The comedy special is a rare op
portunity for Bryan-College Station
comedy fans to see two comics who
are close to stardom.
Shock, a veteran headline come-
l dian from Houston and one of the
■ original members of the Texas Out-
more law Comics, will perform at Friday
; nter and Saturday’s shows.
One of the best story tellers
I around, Shock tells tales of his nu-
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business man, consultant and theol
ogy student.
Richardson, who will be a fea
tured performer on Rick Dee’s late-
night TV show, “Into The Night,”
will perform with Shock and also ap
pear tonight.
Using his popular “Good Ole
Boy” approach to comedy, Richard
son has won a large audience in the
southwest.
Both Shock and Richardson are
expected to perform a one hour rou
tine during each show.
Thea Vidale, “Houston’s Choco
late Kiss,” was originally scheduled
to perform with Shock, but has
canceled because of a previous com
mitment.
Comedians Dan Merriman and
Mike Sterner will perform with
Richardson during this evening’s
performance.
In case all of the national and re
gional comedians has you craving
home town comedy, local comedian
and A&M student Jason Porter will
return to College Station for perfor
mances on Friday and Saturday.
Porter is the opening performer for
Thursday Night Live during the fall
and spring semesters.
Tickets for tonight’s show are $7
in advance and $8 at the door. Show
time is 9 p.m. Tickets are sold at
Garfield’s
There will be two shows on Friday
and Saturday night. Showtimes each
night are at eight and 10. Tickets for
each show are $10. Persons must be
21 or older to attend. For more in
formation about Thursday Night
Live, call Garfield’s at 693-1736.
• TODD STONE
The long awaited major-label re
lease from one of the ’80s most im
portant and influential bands, “Goo”
is the album that should raise New
York’s Sonic Youth to a commercial
plane in line with the group’s over
whelming critical acceptance.
Although more accessible than
any previous release, “Goo” is still all
Sonic Youth, chocked with layers of
texture, i.e. feedback, guitar grunge
and tape loops.
The album weaves its nonsensical,
sometimes absurd lyrics in a
crisscross of humor and psychedelic
depression. From “Cinderella’s Big
Score” and “My Friend Goo” to
“Mary-Christ” and “Tunic,” Sonic
Youth creates the perfect paradox: a
distressing and downcast aura of
“white noise” set to “Goo”’s camp-
filled lyrics.
Even the first single, “Kool
Thing,” is a tongue-in-cheek spoiler
that teams bassist Kim Gordon with
Public Enemy’s Chuck D. in a bizarre
tandem for female liberation “from
male, white, corporate oppression.”
Gordon speils and twirls her frag
mented lines in sultry, slutty fashion,
while D. grunts and groans to
ground out the song’s shock sexual-
ity.
“Kool thing sitting with the kitty,”
Gordon pouts, “now you know you
sure are looking pretty. Like a lover,
not a dancer. Sit boy, take a little
chance here. I don’t wanna. I don’t
think so.”
Likewise, on “Tunic,” a song
about the experience of death,
Gordon coyly mutters about her
impressions of Earth from Heaven
and about her new group with Janis
Joplin, Dennis Wilson and Elvis.
The lyrics are little more than in
teresting, but the depressing feel
crafted from the Sonic’s death dirge
of slow-rocking guitars and distor
tion mixed with Gordon’s sultry de
livery, turns “Tunic” into a keenly
descriptive and disturbing song.
Side one is rounded out with the
heavy, ethereal “Mote.” “Mote” is
the album’s strongest track, channel
ing guitarist Lee Ranaldo’s voice
through a modulator: “Now I have
drawn a mote inside my eye. And I
can see you breathing as before. I
am Ellis, a vacuum child. And I can’t
stand to reason at your door.”
What few shots Sonic Youth takes
at accessibility on side one are forsa
ken on side two, a side as unconven
tional as any for Sonic Youth. The
assistance of outside contributors J.
Mascis of Dinosaur Jr. and Don
Fleming of the Velvet Monkeys help
purge the Sonics from any thoughts
of major-label sell out.
Sound walls of tape loops, distoi
tion and grunge fill side two, with
the industrial bangings of “Mildred
Pierce,” and the “white noise” effects
of “Scooter and Jinx” being espe
cially interesting.
Sonic Youth is meant for the
imagination, for dream time. They
are impressionism for the ’90s.
“Goo”’s lyrics are urban-guerilla
nursery rhymes that exist only to
showcase the distinctive vocal tech
niques of Gordon, Ranaldo and gui
tarist Thurston Moore. The lyrics
aren’t really good, but they are capti
vating and fall perfectly in line with
the album’s musical aura.
It’s the Sonic’s structural arrange
ments and musical wizadry that sets
“Goo” and all Sonic Youth efforts
apart.
The music is evocative, compel
ling and hip. 21st Century coffee
house muzak that will someday
make you long for the ’90s like “Sgt.
Pepper’s” has our parents crying
again for the ’60s.
Trust me, buy croo”, go home
and set it on the mantle next to
Fugazi’s Repeater and Public Ene
my’s Fear Of A Black Planet as the
first trophy’s of an already impres
sive new decade of music.