Wednesday, June 16, 1999
The University Daily Kansan
Section B·Page 5
A look at punk history shows music's many sides
By Chris Eckert
Kansan music critic
For as long as punk rock has existed, its definition has been unstable.
What more embolies punk: the exuberance of the Ramones, the attitude of the Sex Pistols or the righteous anger of the Clash? Some combination? Can you be successful and punk? Was rock newspaper New Musical notice liking when it claimed the Kings-
men's Louie Louie was the first punk rock song?
A number of recent releases portrays different perspectives on the essence of punk.
Punk as Rock
Funk as Rock The Ramones were influenced by the Beach Boys, Phil Spector and others — all bubble gum candy rock. The only difference was that they really couldn't play their instruments or
Chris Eckert
sing well enough to achieve that level of music, and they were more dysfunctional, eschewing love and prom for glue sniffing and night clubs.
Electric Frankenstein's How to Make a Monster is certainly part of this lineage the Addams Family branch of the tree.
With a cover by art icon Coop, pictures of B-movie starlet Julie Strain as the Bride in the liner notes, and ghoulish songs like Cut from the Inside, Pretty Deadly and the introductory I Was a Modern Prometheus, Electric Frankenstein gets by on energy and enthusiasm, not showing anything new. They rock enough that you don't really mind
Punk as Underground
Both the early American and British punk scenes were very much an underground youth culture, the sort of thing that was almost guaranteed to garner complaints from your parents about "that trash you call music." In that sense, punk was accompanied, if not replaced in some quarters, by hip hop and later electronic/rave/dance, that amorphous beast the media call electronica and even harder to define than punk.
Jive Electro's compilation Old School vs. New School combines these two underground genres into one compelling album. Giving classic hip hop cuts from the likes of
Commentary
Whodini, Tribe Called Quest, Kool Moe Dee and even DJ Jazzy Jeff and the Fresh Prince to ultra-mod producers like Grooverider, Norman Cook, Bad Boy Bill and the Freestylers makes for a curiously nostalgic and modern album. Most importantly, it rocks, in a hip/h dance sort of way.
Punk as Rebellion
Even if rap and electronica have become the stuff of soft drink and car commercials, they are no less of a commodity than punk. Leading the charge of subsidized anarchy is Blink 182, whose new album Enema of the State is curiously billed as a more mature album in the promotional literature.
There are a couple of songs that don't exceed 100 beats per minute on the punk drumming scale, but with album art of a lascivious nurse and the three youthful, impish band members, tattooed and pierced, smirking in their underwear, what sticks out more are songs like Dysentery Gary.
Blink 182 is one of the headliners for this year's Warped Festival — another nail in the coffin of punk in the eyes of some purists. Sure, maybe Blink 182 is aiming too low, but ultimately they're having a laugh and getting a rise out of people, which is pretty much all the Sex Pistols were out for.
Punk as Folk
There's a theory that punk followed folk as a pervasive, storytelling genre of music — something that anyone could do to expose the hypocrisy of the world. Woody Guthrie had on his acoustic guitar the saying, "This machine kills Fascists." The German record label Digital Hardcore Records continues this tradition.
With 60 Second Wipeout, Digital Hardcore's founders, Atari Teenage Riot, produce another album full of songs like By Any Means Necessary, Your Uniform Does Not Impress Me and Death of a President DIY. The album is a stew of hip hop shouting, punk guitars and punishingly fast drum machine loops. ATR is so angry and loud that they got booed off the stage by a Rage Against the Machine fans. This album follows that formula.
OK, so none of this helped in defining punk. But, if nothing else, it illustrated how many variations can be achieved on a simple theme.
Eckert is a Towaco, N.J. junior in English
By John Ahearn
Kansan contributing writer
Big performances carry weighty film
As the film unfolds, Mamet presents the case of the youngest Winslow child, accused of theft at a military academy, as the Clinton-Lewisky-style scandal of its day: imbued by the public with a moral outrageousness that hyper-
The Winslow Boy is a deceptive title for David Mamet's newest film. Once the dramatic elements are set in motion, the motion picture becomes only marginally interested in the title character. Based on Terence Rattigan's play of the same title (which was itself based on an actual 1910 British trial), this version concerns itself foremost with exploring the emotional consequences of defending a set of beliefs, yet without knowing whether such beliefs are correct or unfounded, and without explicitly defining the emotions that almost certainly arise in such conditions. Mamet has stripped the characters of most outward emotions in order to examine the more complex, intellectual dilemmas inherent in an ordered, class-driven society such as this.
The film takes some time to deliberately establish its context in pre-World War I England, where high-minded manners and great reserve are the order of the day—completely removed from today's culture, ultimately linked only by the tabloid-style nature of the press and the seemingly insatiable public appetite for inane controversy.
It is in this environment that the Winslows have achieved some measure of success—the father (Nigel Hawthorne), a retired bank official who looks over his family with a somewhat jaded eye, awaits the future marriage of his daughter Rebecca Pidgeon) and deals with his oldest son's (Matthew Pidgeon) lack of interest in college at Oxford. He has pinned all of his hopes onto his youngest child (Guy Edwards), a student at the Royal Naval Academy.
Commentary
bolizes its somewhat trivial nature.
We are introduced to the lawyer, Sir Robert Morton (Jeremy Northam in the film's standout performance) who will ultimately defend the boy in an outstanding scene most typical of the Mamet style—staccato question/answer style dialogue, punctuated with doubt and inference. The only thing missing here is the profanity for which Mamet is so infamously known.
The trial grown in infamy, depicted in political cartoons and popular songs as a black-and-white issue, a litmus test of one's patriotism. The media attention and public interest ultimately lead to the case's inclusion as a major debate on no less than the floor of Parliament. But rather than focus on the trial itself, Mamet looks to the trial's effect on the Winslow family, finding telling details not in the facts of the case but in its emotional toll on those closest to young Guy Winslow. Indeed, the film's outcome is presented almost as an afterthought, backing up the film's contention that we cannot change the past, yet must not regret our choices and follow through on our convictions.
Performances are outstanding throughout the cast, but this is Jeremy Northam's film. He brings Morton to egotistical life, showing him to be quite blind in certain matters of importance (women's rights), yet not without his own strong merits. Also of note is the film's beautiful subtle score by Alaric Jans which never sinks to obvious, emotional cues so prevalent in popular cinema today and perfectly fits with the film's emotionally restrained schema.
The Winslow Boy opens Friday at Liberty Hall. Running time is 1 hour and 50 minutes. The film is rated G.
Wrestler's wife files wrongful death suit against KC
The Associated Press
KANSAS CITY, Mo. — The widow of professional wrestler Owen Hart announced Tuesday that her attorneys had filed a wrongful death lawsuit that she hoped would force changes in the wrestling industry.
Martha Hart, on behalf of her children, said she instructed attorneys to sue the World Wrestling Federation, the city and other parties she believes are responsible for the death of her husband last month in a stunt that went wrong at Kemper Arena.
ing the safety of the industry."
The lawsuit filed Tuesday in Jackson County Circuit Court was also on behalf of his parents, Helen and Stu Hart, a pioneer of professional wrestling in Western Canada.
"Owen has died, and there is nothing I can do to bring him back," Mrs. Hart said, fighting back tears at a news conference in Kansas City. "My wish is that his death not be in vain, that his death can be a vehicle for vastly improv-
The lawsuit contends that the device Hart wore the night of the accident was grossly inadequate for the stunt and unable to hold a 230-pound man.
Kansas City attorney Gary Robb said when Hart adjusted his vest on the catwalk, the movement triggered enough pressure to activate the release that plunged him to his death.
The lawsuit seeks damages that are "air and reasonable." Missouri law prohibits naming any specific dollar amount. However, lawyer Edip Palgragh of Calgary said last week he expected the jury to award millions in damages.
Hart — also known as The Blue Blazer — was killed May 23 when he fell from a cable as he was being lowered into the ring during a WWF match at Kemper Arena.
Hart, 34, fell 78 feet when the quick release on his harness opened early. Lawyers said he plunged to the wrestling ring at a speed of 50 mph. The impact ruptured Hart's aorta, causing him to bleed to death.
The lawsuit lists 46 separate counts against 13 defendants. Among the defendants are the companies that manufactured the harness and cable system used in the stunt as well as the individuals who set up the rigging.
Besides the WWF and its parent company, Titan Sports, the lawsuit named WWF chairman Vincent McMahon and the city of Kansas City, the owner and operator of Kemper Arena.
Alan Schmelze, general manager for Kemper Arena, had not seen the lawsuit, but he said: "We are as anxious as the Hart family to find out what happened. We will cooperate in every way."
The World Wrestling Federation declined to comment until it sees the lawsuit.
"We provided the facility. None of our employees or equipment had anything to do with the accident."
Mrs. Hart said she was filing the suit because those responsible for
the wrestler's death should be held accountable and no other wrestler for WWF should be subjected to the same unsafe conditions.
She said she was "outraged and repulsed" to learn that the WWF continued the show after her husband's dead body was removed from the ring before 17,000 spectators. "It demonstrates the mindset of the WWF and Vince McMahon," she said.
Kemper's Schulzelie said the decision to continue the show meant no disrespect for Hart. He said event organizers honestly didn't know if he was dead at that point.
Robb said after a performer is lowered from the catwalk with a nylon绳 by a rigger, the performer is supposed to pull a metal ring to activate a release cord attached to his vest.
The hook was designed for rigging sails on sailboats, and a ring leading to the release cord was attached to Hart's body with duct tape. Robb said.
The lawsuit says WWF failed to provide a safety net, safety harness, backup cables, and safety locks and that its agents failed to warn Hart of the lack of safeguards.
his vest just moments before the fall. Applying that minimal amount of pressure was enough to trigger the release mechanism, Robb said, explaining that it takes only six pounds of pull tension.
He said Hart was seen adjusting
The Harts allege that the city of Kansas City and its Kemper Arena failed to ensure Hart's safety in an inherently dangerous stunt.
Mrs. Hart; Owen Hart's brother, Bret Hart; and their parents, said they will have no further comment while the case is in court.
Investigators in Kansas City are conducting a criminal investigation into Hart's death that is unrelated to the civil suit.
Under Missouri law, the possible charge could be involuntary manslaughter due to recklessness. The charge carries a maximum prison sentence of seven years.
By Jennifer Roush Kansan columnist
dear old Dad.
This week's trip through cyberspace focuses on the guy most of us would like to forget at times, but none of us could ever live without
Jennifer Roush
So don't forget to take a little time this Sunday to call your dad (or
He taught you how to ride a bike, how to throw a punch, how to ask a girl out without looking like a ring-tailed doofus and how to turn down a boy without being cruel.
send him e-mail) and tell him what he means to you. And always be nice to your dad. Remember, he brought you into this world and he can take you out!
www.123greetings.com
This is one of the best sites on the World Wide Web for free, electronic greeting cards. Point your browser here to send your dad an online Father's Day card. The site also contains cards for nearly every special occasion, from birthdays to bar mitzvahs.
www.fathersworld.com
This site is part of a Web ring of related sites featuring fathers. It has information of every imaginable kind for dads everywhere. The humor columns are hysterically funny — "Max Finds His Thing" should not be missed! If you ever wondered what kinds of things your dad was thinking while he stayed up late waiting for you on prom night, some of the columns here, written by real dads, will give you some insight.
http://deardad.infospace.com
This site, called DearDad.com,
has a great collection of links to
other father-related Web sites. It
also has some of the history of
Father's Day and is a great place
to find gifts that aren't as cheesy as
some of your standard electronic
cards.
www.mindspring.net/community
/featurepics/father
This is the Mindspring Father's Day Feature Page. It contains the standard links to the history of the holiday and to greeting card sites. But it also lets you send an e-tie to your dad! You can also vote in the bad tie contest. Send your dad a tall, frosty one with a link to a virtual beer site. For those with real cash to spend, there are links to gift sites from around the world.
www.aristotle.net/fathersday
www.aristotle.net/fathersday
This site, with a nifty, retro-'50s
design, has fatherly links to post-
cards and gifts on the Internet. You
can read tributes to other dads and
create your own. There's also a
Father Trivia game, but you'll need
the free Shockwave plug-in to play it.
Academic Computing Services presents:
FREE COMPUTER TRAINING for the KU Community
Week of June 23-26,1999
All ACS classes are FREE to KU students, staff, and faculty and don't require registration UNLESS otherwise noted. Register as a classroom@ukarsedu or B64-0484. Some classes are $75 for non-KU as noted. The complete ACS class schedule is at www.coukarsedu.edu/training on in Driver's Ed for the Information Superhighway available at the Computer Center. Training questions to training@ukarsedu or B64-0484.
Access: Reports—Learn to create reports using Access Report Wizard and Design View. Prerequisite: Access: Queries or equi
ental skills. Requires registration for all and fee for non-University. Wed., June 23, 9 a.m.-noon/ CC PC Lab, Room 202A
Computer Center
Access: Reports—Learn to create reports using Access Report Wizard and Design View. Prerequisite: Access: Queries or equi-
ent skills. Requires registration for all and fee for non-University. Thurs., June 24, 1-4 p.m./ CC PC Lab, Room 202A
Computer Center
SPSS: Intermediate—Learn advanced data and file manipulation in SPSS. Prerequisite: SPSS Introduction (or equivalent skills). Requires registration for all and fee for non University. Fri., June 25, 1:30-4:30 p.m./ Computer Center Auditorium
PowerPoint: Intermediate — Explore some advanced features including charts and graphics, drawing tools, and action buttons. Prerequisite: PowerPoint: Introduction or equivalent skills. Requires registration for all and fee for non University. Sat.
June 26, 9 a.m.-noon/ CCPC Lab, Room 2024 Computer Center
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