Saturday, November 05, 2005

Beastie Boys Concert Flick Filmed By 50 Fans With Digital Cameras

Beastie Boys Concert Flick Filmed By 50 Fans With Digital Cameras

For almost 20 years, the Beastie Boys have been experimenting with ways to fuse a do-it-yourself, punk-rock attitude with hip-hop's arena-sized spirit. Now, in the age of the all-purpose hand-held gadget, leave it to a concertgoer and his cell phone to inspire a document of the group in perhaps its ideal element: live, in New York, filmed by fans from their seats.

"It just seems like so many concert videos and films I see are done in this one style, with the flying boom that kind of swings out over the crowd," said Adam Yauch, a.k.a. MCA — and also a.k.a. Nathaniel Hornblower, the name under which he's directed many of the Beasties' videos and their upcoming concert film, "Awesome: I F---in' Shot That."

"I was looking around on our Web site one time when we were on tour," he continued, "and someone had filmed something on his phone. It looked really cool, just a little clip of the band running on stage at the beginning of the show, maybe 20 seconds long. There was something about the hand-held thing and the rough edge of the way the stuff looked, and I thought it might be interesting to document the show like that, by giving lo-res cameras to the audience."

And so they did. At a sold-out show at New York's Madison Square Garden in October of last year, the Beastie Boys handed 50 Hi-8 video-cameras to fans all over the famed arena — and for one evening, those fans became concert cinematographers.

"It was pretty short notice," Yauch revealed. "It really came down to just few days before the show. We thought we really should do it at the Garden, and we posted on our site's message boards asking people who had tickets if they'd be interested in filming. A bunch of people responded, and we asked them for their seat numbers. We looked at a seating chart and found people who were spread out pretty evenly around the arena — on the floor, in the nosebleed [seats] and whatnot. They had a specific place where they met up before the concert, the cameras were handed out — they left their drivers licenses as collateral — and they shot the show and gave the cameras back. One of the basic guidelines was to shoot the whole time, not to stop the camera, so they'd film throughout, right through to the very end."

Yauch — whose nom de cinema comes from his middle name, Nathaniel, and the fact that he likes the weird way that "Hornblower" sounds — said that the editing and mixing of the film is basically finished, and moviegoers can expect to see it released theatrically sometime in the "late winter, maybe early spring" of 2006.

"THINKFilm is helping us out with all that stuff," he said of the distribution firm that recently secured worldwide rights to the movie.

More pertinently, what does a band do with 50 Hi-8 cameras once they've served their purpose?

"I think we returned them to the store the next day," Yauch said, laughing. "Naughty, naughty."

The Beastie Boys' singles collection, Solid Gold Hits, drops November 8 (see "Beastie Boys Join Hilary, ODB's Ranks With Greatest-Hits LP"); the live "Brass Monkey" video — filmed at the Garden show — is included on the expanded CD/DVD release.

from vh1.com

Friday, November 04, 2005

Baiting the hook

November 4, 2005

http://www.theage.com.au/articles/2005/11/03/1130823332215.html


Spiderbait are back with the help of Black Betty.
Photo: Simon Schluter


Spiderbait has made a career out of songs about everyday things. Patrick Donovan talks to the trio about their Greatest Hits album.

"I went down to the Circle K/Saw Kieran on the way/ bought myself a sausage roll/ cost too much and it was cold" - Circle K, Spiderbait

These are the words to one of Spiderbait's first songs. You could understand if record companies didn't go troppo over their hit-making potential back then. Two of their next two songs Footy (chorus: "I like footy, I like footy, I like footy and kick that footy") and Scenester ("hey look at me I'm a scenester"), wouldn't have started a bidding war.

But those three songs have been included on the Greatest Hits CD of one of Australia's most popular bands, Spiderbait. And the lyrics to those songs go some way to explaining their endearing endurance.

Their songs are about normal people doing normal things - going to the footy, eating sausage rolls. They even covered a song by underrated Goodies music man Bill Oddie (Run).

Their sound is fun, loud and simple, with all of the retro crash-bang of a bowling alley (hence EG's photo shoot at Kingpin). They are armed with two contrasting singers and consistently play well live.

Whitt's heavily distorted fuzz guitar and power metal chords, Janet's funky basslines and teenage girl anthems, and Kram's irreverent mellifluous vocals became the soundtrack for the 1990s Australian teenager.

The band formed in the early 1990s when Kram, Whitt and Janet still lived in Finley, southern NSW. One day, Whitt raced home from school with a truly original punk-metal-country-fusion song called Old Man Sam.

"That tune was just kicking around my boarding house," says Whitt. "It was just a joke, an old folk song that no one knew the origins of. But we grew up with a lot of country music in Finley, on the radio or in people's backyards."

"It's funny, we've played that song all over the world, and wherever we play it, people who have never heard it before are amazed," says Kram. "They say, 'How do you make that work?' It's so out there. It's ridiculous but impressive at the same time."

It was frustrating for young music lovers growing up in the country with no Triple J, but their isolation helped them forge a unique sound.

"The songs in the early days were all over the shop," adds Kram, "because that's the way that we got into music. You had to go to Shepparton to buy CDs, and the radio was a little bit of country, lots of Top 40. It was a major breakthrough to be able to tune into ABC radio so we could tape the songs played on Countdown."

It came as a huge shock when they discovered Melbourne's punk scene in the early 1990s.

"We didn't know who the Saints or the Stooges even were," says Kram. "I remember when I first came to Melbourne, driving past the Tote and seeing the word 'God' painted on the wall and I thought it was a religious gathering ... Our naivete has helped us be more of a unique group, and in the long run it's helped set us apart from everyone else."

The band were so dedicated in the early days that from the tram stop outside their flat on the corner of Burke and Whitehorse roads in Camberwell, they would direct the traffic, load their gear and ride to Chapel Street for rehearsal.

"We didn't think it was unusual at the time, we just thought that's how you got around," says Janet.

"We never expected to make an album, let alone a single," says Kram, who got the highest year 12 score in the state for drumming and singing but eventually decided against music school.

"One of the main reasons I f---ed up at music school was that I wanted to do this. I was playing with all of these amazing musicians at Melbourne Uni but I was being told what to play and what to do. When I jammed with my band, there was something special about it. It wasn't as good musically but it was an indefinable special magic. For me, that is what rock'n'roll is all about - finding that thing that you are and no one else is. That search for individuality is so important, and I think we stumbled on it. For good bands there has to be friendship and something unique about the chemistry."

Spiderbait's fresh, dynamic sound, inspired by local bands the Cosmic Psychos, the Hard-ons and Tumbleweed, got them a deal with Au Go Go Records. They were part of Melbourne's alternative band scene when it was swallowed by the mainstream in the early 1990s. What was that transition like?

"It was great because we were finally offered big money," says Kram. "Anyone from any band would like to be able to make a living out of it, without having to change the way we played music or the way we were. We had been around for years and we felt like we earnt it."

"We were in a pretty unique position in that the labels came sniffing because there were people queueing up to get into our shows," says Janet. "It was a curious time, because there was a frenzy of signings, and people didn't really know what the future held."

They wrote about being the centre of a bidding war in their national hit Buy Me a Pony, which became the first Australian song to top Triple J's Hottest 100 in 1996.

"That song is saying, 'This is what they're going to throw at you'," says Kram. "It's up to you to get what you can out of it by being smart."

"It's funny reading those stories about people from Bardot or Australian Idol complaining, 'I can't believe they exploited me'," says Janet. "What do you think the whole point of the exercise was?"

Over 10 years the band evolved from loading their own gear on the tram to becoming one of Universal's biggest local bands, selling close to a million albums.

But Kram says that the band always maintained control of their operation. "The DIY aspect to our band is crucial. We've made 75 per cent of our own film clips, done all of our own artwork, wrote all of our own songs, we only have a crew of two, and we've had the same manager for 15 years. And everything (royalties etc) is split down the middle - it's not for every band, but that's why we're still here today."

The band had some success in the US, with Shazam! being featured on an episode of Sex and the City and on the trailer for the film Ice Age, and the cover of Leadbelly's Black Betty turning up on Miss Congeniality, Dukes of Hazzard, Without a Paddle and Ghost Rider. But the band weren't prepared to put in the hard yards to crack the US market.

"We're not the type of band that could tour for more than a month at a time. We get freaked out," says Kram. "So you trade in a short-term loss for a long-term gain, and we've managed to get a lot of success from strange quarters."

The best-of includes only four songs from the past four years (including new single On My Way and Black Betty), which suggests they reached their creative peak a few years back. Without the phenomenal success of their cover of Black Betty, the compilation may have been their record company's way of getting a few sales out of the band before offloading them. Kram agrees: "Our previous album, Wally Funk, hadn't done that well, and this was the last album on the label. If this album hadn't worked, we may have disappeared, so we really needed something to kickstart it."

"There was actually resistance from our label to release it," says Janet. "But we said, 'No way'."

Spiderbait's second coming has been an inspiration to other established Australian bands.

"A lot of bands have been so happy for us that it has done so well, because we've proved that it's not over for you. You can't be negative," says Kram.

"It's a really good time to be an Australian rock band. For us to be around so long is great, but to still be one of the top bands in the country is even better, because we feel like we are still relevant."

Spiderbait's Greatest Hits is out now through Universal. They play the Forum tomorrow with Neon and the Spazzys.

Misadventures in vinyl

Misadventures in vinyl

http://www.theage.com.au/news/music/misadventures-in-vinyl/2005/11/03/1130823332273.html

By Clem Bastow
Dusk to dawn
November 4, 2005

Far from a world of glamour, a DJ's life can be filled with punter pain, especially when indie fans are involved.

THE life of a rock DJ swirls in a deep pool of misconceptions and hearsay. If you believed the hype, you'd think it was a heady world of snorting powdered bosoms off virgins made of cocaine (though I may have something mixed up here). But just a few annoying punters can quickly turn this world of supposed glamour into a world of pain.

Any DJ, regardless of their genre, will tell you that pesky requests are the name - and the bane - of the game. But there's something about rock/indie nights that seem to suck the whingers out of their holes like salt sucks the life from slugs. In my time spinning discs, I've found that metal and punk gigs bring the nicest fans (but more cigarette smoke), and although indie/pop gigs have cleaner air, fans are among the most bothersome.

At one indie gig, a dude insisted on requesting Black Flag, Sum 41 and, confusingly, Mylo, before announcing that it was "obvious" that I was a) a man and b) didn't know what I was doing. One wolfish local drummer made a point of whining, "Like, when are you going to play some rock'n'roll?" during a Kanye West-sponsored break from a four-hour set of AC/DC, Easybeats, Aerosmith, the Stones, the Nazz and KISS. Another blunt-fringed bird yelled, "Why aren't you playing any

You Am I?" midway through said band's Rumble.

Others are fond of leaving their drinks on the ledge above my record cases and, more worryingly, the large plugs powering the decks, lights and - most terrifying of all - the mirrorball. I now carry a bottle of eye drops and threaten to give splash-happy punters a cocktail to discuss with their drycleaners if they don't keep their drinks off my 12-inch remix of Mel & Kim's Respectable.

Dare to play an eclectic set and you're sure to cause ripples among those who like their dance tracks compartmentalised. Following Haitian disco group Tabou Combo's frenetic Voye Monte with Motorhead's Ace Of Spades always ruffles a few feathers among the indie bores.

Most modern dance-goers are conditioned to a free-ranging playlist, but there are some songs that - impressively - retain their power to bother people.

The Sex Pistols' Anarchy In the UK still sends most people to their seats in worried contemplation, as does Public Enemy's Fight The Power, and Benny Goodman's Sing, Sing, Sing frightens all but the most gallant pop-lockers (except, memorably, Tim Rogers, who danced a jig behind the bar while waving his fedora around).

Other tracks bring unexpected fans out of the woodwork: the notoriously "hard" Blag Dahlia and the Fresh Prince of Darkness of the Dwarves leapt up and down like schoolgirls when Keith Richards' Take It So Hard was spun. And one systems analyst-ish young man proposed marriage following Lee Dorsey's Who's Gonna Help Brother Get Further.

See, it's not all doom and gloom: some punters and some requests, can make your night.

One glam lass, apparently a stripper by trade, requested "her song" so she could practise her moves on the dance floor. The track in question? Thomas Dolby's She Blinded Me With Science.

Friday, October 07, 2005

Nick the writer

October 7, 2005

http://www.theage.com.au/articles/2005/10/06/1128562927418.html



Nick Cave with director John Hillcoat.


Nick Cave has successfully channeled his creative energies onto the big screen - and it was easy, he tells Jim Schembri.

IT TOOK an intense three weeks for Nick Cave to write the screenplay for The Proposition - and there was a very pressing reason for that. "It took me one week to work out how to use the f---ing computer."

Who says Nick Cave can't crack a joke? Revelation One.

Actually, his speed at the PC was motivated by something even more prosaic.

"I didn't think the film would ever get made. Everyone knows there's billions of these f---ing scripts out there and, like, 1 per cent ever gets made, so I was determined not to waste half a year on it. 'All right, there's the script, now onto what I'm put on Earth to do!'"

Nick Cave was put on Earth to make music. At 48, he is best known as the narrow, black-clad singer-songwriter who fronted the Birthday Party in the 1980s and, later, the Bad Seeds, which is still a going concern.

Widely adored as the archetypal Goth singer, many of his songs, such as Where the Wild Roses Grow and Do You Love Me?, are regarded as Goth anthems that speak of Cave's dark, depressing view of a world where there is romance in murder, everything is miserable and the girl often ends up dead.

He hates all that. Revelation Two. Yes, he had a 1996 album called Murder Ballads - he even got Kylie Minogue on board for Roses - but he has done lots of non-Goth stuff as well. As for describing The Proposition as a Gothic western ...

"Well," he says, letting out an exasperated sigh, "it would be unfortunate because of the implications of that particular word - the G-word - which I've spent the last 25 years trying to avoid and live down. To start it all up again would be a pity."

And a tad unfair. The Proposition is certainly brutal, filled as it is with blood, violence, death and flies. But it also has tenderness, love, compassion and, ultimately, a morally positive outlook.

In the sun-scorched outback of 1880s Australia, policeman Captain Stanley (Ray Winstone) cuts a deal with outlaw Charlie Burns (Guy Pearce). Stanley will spare the life of his mentally challenged younger brother Mikey (Richard Wilson) if he tracks down and kills his older brother Arthur (Danny Huston), who was responsible for killing an entire family.

The film's themes of violence, love, moral conflict and redemption are, Cave contends, a more rounded reflection of his artistic endeavours than the dank "Goth" tag would suggest.

deed, hearing Nick Cave speak as a screenwriter shows a side of him that runs so counter to the Nick Cave stereotype you have to remind yourself that he did, in fact, once write a song called Jack the Ripper. For instance, his remarks about Stanley and his wife Martha (Emily Watson) contain a note of genuine affection.

"The film is a heart with many chambers, and one of the main chambers to me is the relationship between Martha and Stanley," he says, drawing on a roll-your-own.

"To me that was pretty much the most exciting stuff to write, their relationship. Without that the film would be very, very different. Ray and Emily brought an enormous amount of tenderness and Ray had such vulnerability and pathos. With him, it was exciting to take a character who, at the start of the film, says 'I will civilise this country' and just slowly dismantle him.

"The redemptive nature of their relationship within a very brutal story and the fact that, at the end, he just wants to save his wife and protect her, I find very moving."

Revelation Three is that The Proposition is little short of brilliant. With only one other screenplay under his belt - the mordant 1988 prison drama Ghosts ... of the Civil Dead - Cave was given a heap of research material by director John Hillcoat. From that he fashioned an original story that instinctively took the conventions of the western - outlaws, isolation, taming the landscape - and refracted them through a uniquely Australian prism.

Though the film was a hugely collaborative effort, Hillcoat says most of what is on the screen was on the pages Cave provided. This includes some breakthrough moments for Australian cinema regarding the portrayal of Aborigines.

More concerned with historical accuracy than liberal sentiment, there is no mollifying political correctness in The Proposition. Aboriginal people are seen as servants, outlaws, murderers and collaborators. There is even black-on-black violence.

In one remarkable scene, an armed black police tracker, played by veteran David Gulpilil, stands before a line of Aboriginal prisoners in chains and neck-shackles as he translates their words for Stanley. It's one of many unflinching scenes commenting on the oxidising effect colonialism had on the indigenous population that have never been seen before in an Australian film.

It's news to Cave.

"Is it?" he says. "For some strange reason it almost ended up as a political film, which I feel is pretty unintentional on my behalf, but the film feels like we've done a shit on Australia's doorstep and stood back. Do you understand what I mean?"

Yes, though a slightly more accurate phrase would be that it's a wake-up call about the historical portrayal of Aborigines on film.

"I think the reason for a lot of that is I don't live here and I don't actually know how buried this stuff is," Cave muses.

"For me, I just thought everybody knows this stuff! Everybody knows that there were wholesale massacres of the Aboriginals.

"But I was reading the research and I was thinking, 'F-k! I was never told that they actually resisted, that they fought back, that they tried to protect their families.' There were extraordinarily moving accounts in the literature Johnny gave me about this kind of thing, and about the black-on-black violence."

Cave didn't study any screenwriting texts, but watches thousands of movies "indiscriminately", citing The Hunchback of Notre Dame (1939), Cyrano de Bergerac (1950) and The Night of the Hunter (1955) as favourites.

As a narrative songwriter whose songs often feel like short stories set to music, Cave found the process of writing a screenplay immensely liberating.

"It was a very different thing, it's much easier. It's much easier for me to write a film script than it is to write a song because, basically, I've been given the theme on a platter. 'Write an Australian western.' All right, well, you just get a few Aussie characters and they go off and do their shit and everyone dies in the end! (He's making another joke.)

"Writing a song, you're just on your own. The most difficult thing and the most painful thing about writing a song is working out, `What am I going to write about? What's the theme of this song, which doesn't exist in any form?' You're just in a void.

"Whereas a script, you get one idea and you run with it, you live with it and it totally fills your mind. The great thing about a script is that you can just lie in bed at night and think about having these characters do whatever you want. That's really exciting."

The film reflects many of the themes in his music - violence, moral ambiguity, the all-consuming power of love - but he considers it a fuller expression of them.

"In a script you can expand your ideas about things. Song is the opposite. You've got to bury and compress your ideas. I find it, obviously, quite difficult to compress some of my ideas and they do tend to kind of rattle on!"

There are legions of Nick Cave fans around the world - solid, fiercely loyal and all probably wearing black. Will they pore over The Proposition looking for links with his music? "I don't think fans do that," he says. "I think critics do that."

id he bear his fans in mind at all when he wrote the film?

"Uh ... no." He pauses. "I don't bear them in mind any time." He chuckles. "I haven't said that before, but what I mean to say is, I'm not sitting down thinking, 'God, what do they want now?' I'm hoping that people like what I do because they know that I'm not doing that, so the music can develop and go wherever it wants to go."

Though Cave admits he has indulged the image of the aloof musician with an aversion to the media, making The Proposition has pushed him through the looking glass.

"Suddenly, you're drawn into this huge f---ing apparatus of selling the film and promoting it and turning up to festivals and all the sort of stuff that normally I can avoid with music.

"But you can't afford to say 'no' with a film. You've got to get out there and flog the shit out of it because there are so many other films out there and there are vast amounts of money spent on the whole thing. There's a whole different pressure to front up and stand behind it."

He makes his next point emphatically.

"With music you can ... there's a certain..." He pauses, to think.

"In some f---ed up kind of way it's almost beneficial to say, 'F---k off, no, I'm not going to do this interview or not turn up'. Within rock and roll that's kind of accepted and encouraged and applauded. But you can't do that in film, so I'm responsible in some way to be available."

As he nears his half century, Cave feels happy and quips about "avoiding mirrors a little more"

As he heads off for a quick toilet break he adds " this is something else I do more often as I slide into 50."

But he still recoils at the Nick Cave cliche of lore. Suggest, even jokingly, that rather than a western, some of his songs would have had him turning out a noir thriller or a slasher film and he bristles.

"Well, I can't measure how insulting that is," Cave says with a half smile, "because I try to sing and write a breadth of different sorts of songs."

Punching the point, Cave says the 1992 cover version of the classic What a Wonderful World he did with Shane McGowan of the Pogues was a moving rendition from the heart, not a sarcastic snarl from the bile duct.

"I have always loved that song. Shane loved it, we used to get pissed and sing it together as we would walk down the street. We used to trade off verses of it, and then one drunken evening we decided to record it, and there you go. But it's a lovely song."

So, no irony intended?

"No. Heck no. Of course it's a sincere rendition. I don't do insincere renditions of anything. To come back to the film, it is not an ironic film. The entire purpose of this film is to move people. The entire purpose of my songs is to move people, is to benefit people, to make people better, to make people feel better.

"It upsets me when people say that they listen to my music and feel depressed. The thought of that I find really upsetting."

Saturday, October 01, 2005

Pro Bono

October 1, 2005

http://www.theage.com.au/articles/2005/09/29/1127804604972.html



Bono at the GB summit at Gleneagles in July.


U2's lead singer, Bono, turns heads when he is on stage, and off it he turns heads of state onto the problems of the world. James Traub reports.

At 1:45 in the morning one day in July, Bono, the lead singer for U2 and the world's foremost agitator for aid to Africa, was in a van heading back to his hotel in Edinburgh from Murrayfield Stadium; he had just performed in, and expounded at, a concert designed to coincide with the beginning of the summit meeting of the major industrialised nations, held nearby at the Gleneagles resort.

Despite the hour, practically everybody in the van was on a mobile phone. The bodyguard in the front seat was calling the hotel to see if a huge crowd would still be camped outside hoping to catch a glimpse of their world-straddling hero. (Roger that.) Lucy Matthew, the head of the London office of DATA, Bono's policy and advocacy body - the acronym stands for Debt AIDS Trade Africa - was whispering to some contact in the States.

And Bono, who had been conferring 12 hours earlier at Gleneagles with US President George Bush, British Prime Minister Tony Blair and German Chancellor Gerhard Schroeder, was sharing an anxiety attack with a friend. The leaders of the G8, as the group is known, were going to offer far less in aid and trade to developing nations in Africa than the activists had led their followers to expect. Thousands of bright-eyed young recruits to the cause were going to go home in disgust.

Bono, normally the most courteous of men, shouted an obscenity in Matthew's general direction, though the intended target was himself, or perhaps fate. "What's the point of coming back to talk to Chirac?" he said. "It's going to be too late then."

The French president had reached Gleneagles late, and was probably sullen given that Paris had just lost out to London in its bid for the 2012 Olympics. (This was several hours before the terrorist bombings in London.) Bono was leaving later that day for a concert in Berlin and so would be unable to see Chirac until the day after.

The thought was making him desperate: "Lucy, is it too late to call somebody with Chirac?" Matthew gently pointed out that it was, after all, the middle of the night for most people. Bono digested this unwelcome news and then said: "Look, let's call them tomorrow morning and say I'd be happy to meet with him any time he wants."

Bono did not, in fact, talk to the French president until the third and final day of the conference. But by then his despair had lifted. The summit meeting's final communique offered significant pledges on aid and debt relief for Africa, as well as new proposals on education and malaria eradication.

Bono's embrace of the package was treated with a solemnity worthy of a Security Council resolution. When I saw him the day after the summit ended, over tea in the courtyard of the Hotel Plaza Athenee in Paris, he said: "I feel like I've got a right to punch the air."

And so he did. Bono had moved the debate on Africa, as five years ago he moved the debate on debt cancellation. Later he was trying to move the debate set to take place at the United Nations summit meeting, which he said he hoped would consolidate the gains made at Gleneagles, or at least not erode them.

He's a strange sort of entity, this euphoric rock star with the chin stubble and the tinted glasses - a new and heretofore undescribed planet in an emerging galaxy filled with transnational, multinational and subnational bodies.

He's a kind of one-man state who fills his treasury with the global currency of fame. He is also, of course, an emanation of the celebrity culture. But it is Bono's willingness to invest his fame, and to do so with a steady sense of purpose and a tolerance for detail, that has made him the most politically effective figure in the recent history of popular culture.

I first met Bono last January at the World Economic Forum in Davos, Switzerland, a gathering that answers almost perfectly to the conspiracy theory of global domination by a corporate-political-cultural elite. A core function of Davos is to mix different kinds of authority, which makes it the site par excellence of the celebrity prince and the one-man state.

Bill Gates was there, as was George Soros - figures whose global currency, of course, is currency, and who deploy their philanthropy strategically, just as states deploy their aid budgets. Angelina Jolie, roving ambassador for the UN's refugee agency, showed up, too. Bill Clinton came, as did Jeffrey Sachs, the Columbia professor and unofficial economist to the Third World.

When I went to meet Bono at the bar of his hotel, I saw Richard Gere seated at a table with a gorgeous woman in a little fur jacket and a leather cap. Bono, on the other hand, had removed himself to a quiet back room, where he was keeping company with a plump, middle-aged white guy in a suit and tie.

This was Randall Tobias, head of the Bush administration's AIDS program. The administration had just announced that the program was providing antiretroviral drugs to 155,000 Africans with AIDS. Another kind of activist might have said, "That leaves 25 million more to go." But not Bono: he looked his corn-fed interlocutor in the eye and said: "You should know what an incredible difference your work is going to make in their lives." Tobias looked embarrassed. Bono said various wonderful things about President Bush. Tobias beamed.

The glamour event of the following day, indeed of the whole forum, was a symposium on efforts to end poverty in Africa. The guests were Tony Blair and Bill Clinton, presidents Olusegun Obasanjo of Nigeria, and Thabo Mbeki of South Africa, Bill Gates and Bono. The heads of state, leading off, candidly acknowledged the obstacles to development - violent conflict, poor governance, corruption, lack of political will in the donor states and so on.

It was all terribly sombre and Davos. Then Bono was asked what he would like to see changed. "The tone of the debate," he shot back. The celebrity prince was wearing a black T-shirt under a black leather jacket, and he appeared to have shaved the stubble off his jutting, bellicose jaw.

"Here we are," he went on, "reasonable men talking about a reasonable situation.

I walk down the street and people say: `I love what you're doing. Love your cause, Bon'. And I don't think 6000 Africans a day dying from AIDS is a cause; it's an emergency. And 3000 children dying every day of malaria isn't a cause; it's an emergency."

The crowd of CFOs and executive directors, silent until then, burst into applause. Bono had put music to the words; that's one of the things the rock-star activist can domain.com.au.

Bono gave Davos its music; but he also operated in prose. His chief goal was to win commitments, or the possibility of commitments, to be redeemed six months later at Gleneagles. A major item on the agenda for Gleneagles would be cancelling $40 billion of debt that the poorest countries owe to the World Bank, the International Monetary Fund and other multilateral institutions; and in Davos, Bono met John Taylor, an undersecretary of the US Treasury, to try to move the Bush administration's position on the issue.

He huddled with Gordon Brown, Britain's Chancellor of the Exchequer and heir presumptive to the prime ministership, to strategise on financial mechanisms. When the German Chancellor, Gerhard Schroeder, arrived to deliver a speech on aid to Africa as well as on the German economy, he met beforehand with Gates and afterward with Bono.

As soon as the Schroeder meeting ended, I was summoned to the war room in which Bono and his troops were camped. "Schroeder just agreed to 0.7 by 2015," Bono cried. "It's fantastic!" In 2002, the industrialised states had pledged to increase foreign-aid spending to 0.7 per cent of GNP by 2015, but the German economy was tanking, and Schroeder had been loath to lay out a timetable for increased spending. Now, to Bono, he had done just that. Of course, a sceptic might have noted that since Schroeder was unlikely to be in power in 2006, much less 2015, this was not a pledge he would have to honour, but Bono is not a sceptic.

BONO may be a one-man state, but he is not a one-man band. U2 is a rock phenomenon because the Edge, the lead guitarist, the drummer, Larry Mullen jnr, and Adam Clayton, who plays bass, are very talented musicians who share Bono's gift for conjuring a sense of rapture. But the voice of U2 is Bono's voice, which seems to rise out of a great pool of naked yearning.

It takes the form sometimes of an arena-enveloping shout, sometimes of a keening wail and sometimes of a piercing falsetto. The voice, like the stage presence, is easy to spoof, for as a performer, Bono generally does without the irony that he deploys as a bantering citizen.

Bono, who was born Paul Hewson, had more than enough unhappiness and loss growing up to give a sharp edge to that wail, but not too much to kill his sense of delight. He was reared by a Catholic father and a Protestant mother in Dublin's ragged middle class, a smart boy who was playing in international chess tournaments at 12. But when Bono was 14, his beloved mother suddenly died, leaving him with an older brother and a father who, he has said, "would always pour salt - and vinegar - on to the wound".

He was a very angry teenager, but at 16 he and some of his angry, barely middle-class school chums began noodling around on instruments. By the following year, 1977, they were performing in local clubs. Even then there was something fiercely affirmative in their music. U2 had a bond, a benevolent relationship, with the audience.

The band has been together ever since. Even Paul McGuinness, their manager, has been with them from the beginning. This is not only rare in the rock business, it is just about unheard of. U2 is also one of the very few bands in which all revenue is shared equally; Bono and the Edge could have claimed the songwriting revenue but didn't.

Nor do any of them appear to have succumbed to drugs, alcohol or raging ego. Religion played an important role in the band members' lives, if not always in their music; indeed, the band's survival was threatened only when, early on, Bono, the Edge and Larry Mullen jnr thought of leaving to join a Christian fellowship.

Bono remains religious, and not in the cosmic, New Age sense you expect from rock stars. He describes himself as a "meandering Christian", and his four children attend the Church of Ireland, which is Anglican (and thus splits the difference between his mother and father).

In 1997, Bono was approached by Jamie Drummond, then working with a church-sponsored campaign to cancel the debts that the most impoverished nations owed to the industrialised nations. (This was "bilateral debt", owed by one state to another, as opposed to the "multilateral debt" debated at Gleneagles.)

The movement made real headway in England, but was virtually unknown in the US. Bono agreed to spearhead the American debt-relief effort and began by educating himself on the subject. As a superstar, Bono had the advantage of being able to conduct his education at a very high level. Bobby Shriver, a record producer and member of the Kennedy clan, set up meetings for him with James Wolfensohn, who was the head of the World Bank, and with Paul Volcker, David Rockefeller and others of the financial establishment.

Bono travelled to Cambridge, Massachusetts, to meet Jeffrey Sachs, then at Harvard. But he also asked Sachs to find him an academic who opposed debt cancellation, a very peculiar request for a graduate of the school of Rock Agitprop.

By the summer of 1999, Bono was ready to take on Washington. The Clinton administration was already committed to canceling two-thirds or so of the $6 billion that the poorest African countries owed the US, but Bono wanted 100 per cent cancellation - not only because he thought it was right, but also because you can't sing about two-thirds of something. "It has to feel like history," he says. "Incrementalism leaves the audience in a snooze." Shriver arranged for Bono to meet Gene Sperling, President Clinton's chief economic adviser, and Sheryl Sandberg, chief of staff to Lawrence Summers, who had just been named Secretary of the Treasury.

Summers himself was not about to waste precious time meeting a rock star. He did agree, however, to "drop by" while Bono spoke to Sperling. Bono laid out his argument. "He was deeply versed in the substance," Sandberg recalls. "He understood capital markets, debt instruments, who the decision makers were."

SUMMERS tried to give Bono the polite brushoff. "These are complicated issues," Summers told him. "I'll have to take it up with the G7 finance ministers." And now this earnest, impassioned rock star with the accent of a race track tout issued a call to destiny. "You know what," he told Summers, "I've been all over the world, and I've talked to all the major players, and everyone said, `If you get Larry Summers, you can get this done'." It was, Sandberg says, "a really important moment. I think we were all inspired and motivated."

It wasn't Bono's belief in the issue that was so effective; it was his belief in others. One Sunday morning that autumn, Bono called to ask Sperling if he could come to his office in the West Wing. There he put his hand on top of a giant stack of papers Sperling was working through and said: "I bet that most of the things in this pile feel more urgent than debt relief. But I want you to think of one thing: Ten years from now, is there anything you'll feel more proud of than getting debt relief for the poorest countries?"

When Bono left, Sperling called a Treasury official and said that he wanted to insert something on debt relief into a speech Clinton was about to give at the World Bank. He and Summers got a few minutes in the presidential limo. Clinton instantly agreed to call for 100 per cent cancellation of the debts owed to the US by 33 impoverished countries.

But it wasn't enough just to pierce the hearts of guilty ex-liberals, for there was still the Republican-controlled Congress to attend to. In late 1999, Bono arranged to meet John Kasich, a wild-man rock-fan conservative from Ohio who was chairman of the House of Representatives budget committee.

Kasich might not have been the most obvious candidate for the job; one of his obsessions was getting rid of foreign aid, most of which he considered, he says, "a joke". But Kasich says he was impressed by the force of Bono's argument. The congressman was also a Christian, and Bono spoke of biblical injunctions to succor the poor and downtrodden. Kasich enlisted. And this became a pattern: Bono was able to dislodge conservatives from their isolationist or free-market reflexes by reaching them as Christians.

During this period, Bono flew to Washington eight times, meeting not only legislators but also their aides - even though U2 was then in the last stages of recording a new album. In late October 2000, Congress appropriated the additional $435 million needed for 100 per cent debt relief.

Why Africa? Why not, say, global warming? Part of the answer is happenstance: Africa is what Bono got swept up into. But Africa, or so Bono feels, needs what only a certain kind of world figure can give - a call to conscience, an appeal to the imagination, a melody or a lyric you won't forget.

The cause of ending extreme poverty in Africa speaks to Bono's prophetic impulse. Rock music, for him, is a form of advocacy, but advocacy is also a form of rock music.

God knows Africa could use a song or two. The reason that debt relief required such an excruciating effort is that foreign aid has virtually no constituency.

Not only conservatives such as Kasich but also Clinton administration "neoliberals" argued that aid was powerless, perhaps even harmful, in the face of corruption, civil conflict, weak governance, self-defeating economic policies.

Whatever its merits, the neoliberal argument began to seem morally unsustainable as much of Africa retrogressed throughout the '90s. Was the West to offer nothing more than pious advice about free markets and small government while whole portions of the globe slid into misery?

Did all African countries suffer from bad values, bad governance and bad policies? Liberal economists and activists formulated an alternative argument: a combination of "natural" factors - poor soil, high incidence of infectious disease, lack of access to ports - along with disadvantageous trade conditions and wrong-headed neoliberal policies had gotten many countries stuck in what Sachs called "the poverty trap".

They could not escape, without outside help.

Bono passionately embraced this expansive view of the obligations of the industrialised world, and of the possibilities of Africa. In 2001, he went to Bill Gates and others to finance an organisation that would lobby for action on Africa. DATA has offices in London, Los Angeles and Washington, but it was plain from the outset that the real challenge lay in Washington, both because historically the US spent so small a fraction of its budget on aid - one-tenth of 1 per cent of GNP as of 2000 - and because the incoming Bush administration believed so single-mindedly in free-market solutions to problems of development.

At the G8 summit in Genoa in 2001, Bono managed to wangle a meeting with Condoleezza Rice, who was then the president's national security adviser. Rice was surprised to learn that Bono took the hard-headed view that "there's a responsibility for the recipient" as well as for the donor, and after the meeting with her, the policy works at what would become DATA produced a proposal for a two-pronged strategy to "reward success" in six to nine well-governed countries and to keep others from "falling back".

The proposal might have gone nowhere, but then 9/11 changed all contexts, including development assistance. Aid became a national-security issue (if a marginal one), for it was clear that fragile states could not be allowed to become failed states. The administration vowed to put real money behind the Millennium Challenge Account, as the program came to be called.

By the third year of operation, it was to be dispensing $5 billion. But the administration wanted something from Bono in return - his imprimatur. The idea seems laughable but Bono had enormous credibility in an area where the administration had virtually none. Bono had bargaining power, and he now used it.

He told Rice that he would appear with Bush at an event promoting the president's development-assistance program if Bush would also commit to "a historic AIDS initiative". The day before the planned appearance, in March, Bono learnt that the president would not do so. In an uncharacteristic act of confrontation, he called Rice and said he was pulling out of the joint appearance.

Rice was very unhappy. She recalls telling him: "Bono, this president cares about AIDS, too, and let me tell you that he is going to figure out something dramatic to do about AIDS. You're going to have to trust us."

Bono accepted her pledge, but the Millennium Challenge Account, announced with such fanfare, sank to the bottom of the administration's priority list. Only in early 2004, two years from the announcement, did the president sign the law creating it. Congress appropriated only $1.3 billion for the first year and $1.5 billion for the second.

This year President Bush asked for $3 billion rather than the $5 billion he had promised. Many of Bono's own allies have lost what little patience they had. Jeffrey Sachs calls the operation of the MCA "a disgrace". When I asked Sachs if he thought that Bono should stop cultivating the president and start denouncing him, he said, "Even aside from him saying it publicly, I'd just like him to say it to himself."

The leader who deserves the greatest credit for placing Africa at the top of the world's agenda, or at least near it, is the British Prime Minister, Tony Blair. It was Blair, who, at the urging of Bob Geldof, impanelled the Commission for Africa, whose report, released earlier this year, painstakingly laid out the case for an enormous increase in aid to Africa.

Blair seems to believe what the Bush administration only says, for he uses the same ringing tones to talk about the West's responsibility to Africa that he does to discuss the war on terrorism. But Blair also knows that his crusade enjoys broad political support. And for this he has Bono and Geldof, among others, to thank. Justin Forsyth, Blair's special adviser on development, credits Bono with making Africa an urgent issue in Britain.

The Gleneagles momentum began building in the northern spring. In May, European Union development ministers pledged to double global aid from $60 billion to $120 billion by 2010.

The following month, Paul Wolfowitz, the hawkish former Pentagon official who had just left the administration to become head of the World Bank, embraced the 0.7 per cent target. The Americans and the British had worked out their differences on multilateral debt relief. But the Bush administration remained a conspicuous holdout.

ON DAY one of the summit, Bono, Geldof and key aides went by helicopter to Gleneagles from their Edinburgh hotel. Bono spoke with Schroeder and Blair about the issues that were still up in the air - financing mechanisms and trade reform. He met Bush. He finally met Chirac and Kofi Annan. During the afternoon of the third and final day, he started seeing leaks of the communique, which was drawing ever closer to his own agenda. He remembers thinking, "Oh, my God, this is really happening."

The "movement" did not, in general, share Bono's enthusiasm. Activists bitterly complained that the communique included no real progress on trade, no expansion of debt relief to additional countries, no movement by the Bush administration towards 0.7 per cent. But when I saw Bono the next day in Paris, he was ebullient.

The heads of state had promised that by 2010 they would increase aid to Africa by $25 billion a year, and aid worldwide by $50 billion a year.They had extended debt relief to Nigeria, a goal activists had long sought. They had added to President Bush's commitment on malaria, so that the number of victims should be reduced by 85 per cent by 2010. They had vowed to ensure that all children had free access to school by 2015.

Bono left Gleneagles to meet the band in Paris. That night, before a sellout crowd of 80,000 in the Stade de France, he read a text, in French - a language he does not speak - listing the brave commitments of President Chirac, a figure few in the audience were likely to admire.

The next morning, as motorcycle cops were leading Bono's van on a slalom ride through the Paris traffic, he turned to me and said, "Guess who called this morning to say he had seen the reviews?"

"I don't know. Blair?"

"No."

"Clinton?"

"No. Think what country we're in."

"Chirac?"

"Yeah. A lot of his people were at the concert last night. He said that he had heard about what I had said. He wants to work with us very closely."

No doubt he meant it. But then along came the grande vacance, and a few days after returning to Paris, Chirac was stricken with a mysterious illness that confined him to the hospital. It appeared that Chirac would not attend the United Nations summit meeting; nor could Chancellor Schroeder, who was facing the fight of his political life in an election this weekend. Things went from bad to worse.

By the first week in September, Bono's friends in the Bush administration seemed fully prepared, even eager, to scuttle the long and windy statement on development prepared for the summit meeting. The White House prepared an edited draft that proposed to eliminate practically every pledge made by donor countries - even the very words "Millennium Development Goals".

And then Hurricane Katrina scrambled everything. When Bono called from his house on the Riviera in early September, he said: "I have to be sensitive about putting my hand in America's pocket at a time like this." He would, he said, be keeping a low profile in New York.

It has been a frantic time, this year of Africa. The other members of the band love the cause but they fret that Bono's hobby is eclipsing his day job. "The band has survived," Adam Clayton told me, "but there's been a price in terms of relationships."

Bono has promised to let the world spin on its own axis for a while. But it can't be left alone for long; there's so much proselytising still to do. Bono's next target is the American people: he expects to have an army of 10 million activists signed up for the One Campaign by 2008.

He believes - he knows - that the American people would demand action on Africa if only someone would tell them the facts. "Middle America," he said to me one day. "Don't get me started. I love it."

- New York Times Magazine

Friday, September 30, 2005

A clone again, naturally

By Dave Simpson
September 30, 2005

http://www.theage.com.au/articles/2005/09/29/1127804596701.html



The real deal: Coldplay's Chis Martin.
Photo: Supplied

SO FAR, 2005 has been an exceptional year for Coldplay, with their album X&Y achieving 29 number-ones around the world. But it's also been a very good 12 months for bands who sound like them. Keane have gone from the back rooms of pubs to shifting 4.5 million albums.

Coldplay soundalikes Athlete (who used to sound like Steely Dan and were nowhere near as successful) have sold half a million copies of their Coldplay-lite album Tourist.

Keane and Athlete are what might be called surrogate bands, who sound and sometimes look similar to another, already much more successful, group. A surrogate band is signed by a label seeking a copy of something with a proven market. Right now there are so many it can seem as if we're approaching a doomsday scenario in which everyone is remaking the same handful of similar-sounding records.

There are numerous morose, David Gray-type songwriters (Damien Rice, Johnathan Rice, James Blunt, Tom Baxter). There are the spiky, shambolic Libertines-type bands (the Rakes, new Virgin signings Kooks, the Others, the Cazals).

Hordes of bands owe a bigger-than-healthy debt to Franz Ferdinand, including the Brakes, the Editors, VHS or Beta, the Departure and We Are Scientists. Much of the time, Razorlight are an eerie facsimile of the Strokes.

Other spinoffs include the bands being signed because they sound a lot like the Killers, as well as the boy bands because they're from the same management stable as a McFly or Busted.

''Sometimes I think the industry wants - and perhaps financially needs - a situation where a massive audience are buying exactly the same records," says Paul Weighell, a former A&R man.

"If they do want it, it's working. According to Amazon's "People who bought this also bought . . ." facility, records by Coldplay, Keane, Athlete and Snow Patrol sell to the same people."

Usually someone at a label will say, 'Have you seen how high X are in the charts? We need our own X!'" Weighell explains.

He signed the Levellers in the 1990s and watched as labels snapped up Levellerssounding groups.

"Old-timers used to say we didn't do this in the 1960s and early 1970s, but that's rubbish," says Weighell.

"They signed a slew of progressive bands, for example, because they knew there was a market who wanted 30-minute opuses about salads, surgery and brains!"

There's nothing new about replication - it's been going on in pop since Cliff Richard curled his lip like Elvis or the Beatles spawned the Monkees. The difference is degree. As the music market has got smaller, the cost of launching a new act (marketing, styling, videos, production) has soared. So labels play it safer more often by signing identikit acts with a supposedly proven market. It's a risky business and some in the industry are warning against a meltdown.

"A band like Franz Ferdinand are very interesting," says Andy Ross, Blur's Food Records boss in the 1990s, "but a band influenced by Franz Ferdinand are obviously going to be less interesting, and diminishing returns set in until you reach a point where pop music is over."

The strategy can also backfire.

Spiky metal types Feeder became the latest combo to undergo the Coldplay makeover, but their reception at the recent Download Festival suggested they have alienated their core audience. If cloning pop is selling like beans, it seems there are only so many varieties the market will sustain.

Generally a surrogate works best when the original is not around. Keane and Athlete profited when Coldplay were slaving away on X&Y. The Alarm - who Joe Strummer once derided as "a pale imitation of a shadow of the Clash" - had a few hits when their mentors had imploded.

A problem is that too many copies of something can damage the original. There was a time when every second band sounded like Oasis. Embrace used to be an Oasis surrogate to the point of adopting similar bravado during interviews.

They prospered as the Gallaghers' distinctiveness and creativity wavered. Eventually, both became passe. Embrace now sound like Coldplay: their recent return was on the back of a song written by Chris Martin, who himself was once considered too heavily influenced by Jeff Buckley, who in turn was a surrogate of his father, 1960s singer Tim Buckley.

"Sometimes it does feel like the whole industry is eating itself," says Ross.

It could be just another sign of the times, in the same way that fashion designers are now used to seeing their work copied on the high street. But pop culture is supposed to be above this.

Given that the music industry today is dominated by four multinational conglomerates, it's not surprising that much of their output comes down to the preferences of people at the top.

One major-label A&R man who prefers not to be named has noticed his bosses' obsessions with their own notions of "taste". He believes majors are run by people who don't actually like rock'n'roll.

"They'll happily say that Sting or the Police are their favourite acts," he whispers.

"So someone like Chris Martin comes along, who writes intelligent songs with a bit of a political leaning, and they consider that to be 'quality'. So it becomes 'What we do at this company is provide quality', and the next thing they've signed a band who sound like Coldplay and it becomes this dreadful conveyor belt."

To an extent, record companies will always respond to what's around. If kids like the Libertines, for instance, the chances are they'll pick up a guitar and sound like the Libertines, especially given that their ramshackle sound is easier for young musicians to appropriate.

What Ross finds disturbing is the "altogether higher level of cynicism a band would need to transform themselves into something as musically sophisticated as Coldplay".

At the heart of it is pop's obsession with genres. Weighell notices how we no longer ask people "What artists do you like?" but "What sort of music do you like?"

A&R men still seem particularly preoccupied with pop's trends and scenes. In the 1990s, for example, it seemed like you just had to come from Manchester to get a record deal. One story had it that entire A&R departments were sent to the Rainy City and told not to come back without one of its bands.

"That story may sound apocryphal but I was there (as Factory Records' publicist) and it did actually happen," laughs Jeff Barrett, head of Heavenly Recordings, whose latest signings are the Magic Numbers.

"They came up in coaches and signed those bands!" That's 808 State, Inspiral Carpets, My Jealous God, Mock Turtles, Northside, Intastella, the High, World of Twist, Rig and Paris Angels. Remember them all?

Probably not, because usually by the time the "next wave" or "clone" band have got their album out, the scene has moved on.

"I don't know if the industry ever learns," says Ross, who knows of at least two A&R scouts permanently camped out trying to find a Futureheads.

When Barrett came across something fresher in outsize hippyish folk-duo Magic Numbers, other A&R men asked him: "Are you sure?" "They thought they were 'out of time'," he says.

The nub is that surrogates can and do develop. Grunge queen Alanis Morissette was once a talentshow- entering disco diva. Even David Bowie started off as a derided surrogate of cabaret singer Anthony Newley. Perhaps a climate of homogeneity will provoke more wayward talents into doing something different. And when they do, the industry can cope - EMI handled Radiohead's metamorphosis from indie rockers to experimental electronic boffins with Kid A.

But perhaps the most intriguing question is whether an act could be really wily - get signed as a clone and use that platform to create something that's their own. It may have happened already. Few will remember that Blur were originally signed as a baggy band.

Their first records in 1990 and '91 had the much-copied indie-dance groove; Damon Albarn probably wouldn't broadcast this now, but he had a bowl cut and was less cool than the Mock Turtles.

But almost immediately Blur reinvented themselves from psychedelic popsters to Parklife Britpoppers to angular experimentalists - and Albarn's still doing it with the multimedia Gorillaz.

"Damon's a very intelligent character," says Ross. "I certainly wouldn't bet against him having planned it all along."

These days, Albarn even has his own almost-surrogate in the Blurish Kaiser Chiefs. Not bad for someone who began pop life as a copy of Ian Brown.

- The Guardian

Friday, September 16, 2005

Paid-up punks

September 16, 2005

http://www.theage.com.au/articles/2005/09/15/1126377383560.html


Original punks the Clash.
Photo: AP



Sponsorship deals, credit card endorsements, apathy and MTV. Punk ain't what it used to be, writes Michael Dwyer.

Punk. It may be the most adaptable four-letter word in the modern musician's vocabulary. Between the Clash's Know Your Rights and Blink 182's Show Us Your Boobies lies the broadest pigeonhole known to rock'n'roll.

It's universally accepted that Iggy Pop's scarred chest smeared with peanut butter was punk.

The Ramones' 90-second garage rock nuggets were punk.

The Sex Pistols swearing on television was punk.

The Dead Kennedys' California Uber Alles was punk.

But fast forward to modern Swedish 'punks' Millencolin - they have a skate sponsorship deal. And Canada's Simple Plan offer a personalised Mastercard offer.

We're either talking about a radical post-modern redefinition of the term here, or a flagrant perversion of punk ideology. But one thing hasn't changed. To the old guard, it's incredibly offensive.

"When you look around today, it's like punk never happened," bemoans Don Letts, maker of Punk: Attitude, the allegedly "definitive" documentary out on DVD next week.

"Not only have people forgotten, they don't care.

"Back in my day you could blame The Man," says the London dub DJ and influential associate of The Clash.

"Now there's complicit guilt, because kids don't want much. They just want their 15 minutes of fame. They're playing up to the cult of celebrity.

"If you wanna be on MTV and be in the Top 40 then you're not gonna be allowed to be that radical. It's become increasingly difficult to be radical within the format of music.."

If punk is ''the fight against complacency," as fellow film-maker Jim Jarmusch declares early in Letts's film, Simple Plan's Jeff Stinco strikes a contentious pose from his laid-back position in Montreal.

"I gotta tell you, it's an awesome day here," he gloats.

"I spent my whole day just chilling on the main street, drinking beer and watching the girls. It's great."

A multi-platinum major label concern, Simple Plan is one of the most successful "punk-pop" bands of recent years.

Like practically every band labelled punk in the last 35 years, Stinco doesn't identify himself as such. It's not his fault that the first link when you Google 'Simple Plan Punk' is 'Punk rock music artists - corporate entertainment bookings.'

"I think punk is an era in rock'n'roll,'' he says.

''I'm not even sure it's a genre. We're not making any statements, not even fashion statements - like the Sex Pistols were.''


New punks Millencolin.
Photo:Supplied

''I mean, I have respect for them and the Clash but they weren't my early influences. The bands that got me were bands like Face to Face, Lagwagon, No Use For a Name, Strung Out" - all sound-alike hardcore skateboard enthusiasts that cranked up amps in sunny California in the '80s.

"As a teenager I was pretty rebellious. I needed some kind of outlet for my anger and my frustration and those bands seemed to express those feelings in very easy-to-understand words and straight-to-the-point music. The simplicity and the intensity of it was fascinating to me."

In that respect, Simple Plan picked up on much the same energy that the Ramones or the Pistols ignited in a previous generation.

And in purely sonic terms, the thread hasn't changed much from '60s trailblazers the Stooges to Millencolin - who could be described as generic Swedish skate rockers. They return to their core Australian market for the umpteenth time next week.

What's changed is the tapestry of music as a whole. Since Nirvana made punk synonymous with mainstream rock, the subversion potential of a snotty-nosed, electrified squall has become virtually zero.

To Millencolin guitarist Erik Ohlsson, who also designs the artwork for the band's independent releases, punk is a question of personal control, rather than sound or intent.

"Punk rock, for me, has always been about doing it yourself," he says. "Be aware and be creative. For me it's a really personal, positive thing. You're not following the rest of the stereotype, being who you should be. You follow your own path."

Reminded that Millencolin's "own path" is now identical to the mainstream youth culture superhighway as seen in Coca-Cola ads, Ohlsson can only offer a sheepish chuckle and "hope that everyone is doing it for the right reason."

In his band's case, that reason was creating a soundtrack to their skateboarding exploits. Hardly the "death or glory" minefield that the Clash's Joe Strummer spent his life negotiating.

"We are political personally, but we don't involve that in our music," Ohlsson says. "I think in this time, it's really important to bring out a positive vibe and entertain people. A lot of our lyrics are political in a personal way: growing up issues, relationship issues, which are really important too."

It's a pretty safe mission statement. In fact, for a band that prides itself on operating outside the corporate music sphere, it's plain lame. Asked how he thinks Millencolin's outlook might differ from a major label rock dinosaur like Bon Jovi, Ohlsson doesn't even sound insulted.

"We never had a manager, we grew up from the underground, being in control of everything," he says.

"I don't know how Bon Jovi felt when they started a band but I think those guys had a goal to be rock stars and get tons of girls and they have never been the issues for us. Well, of course it's great getting girls," he concedes, "but it's not the focus."

Don Letts understands the fundamental lack of ambition he perceives in the modern punk.

"Counter cultural movements are fuelled and informed by the social, economic and political climate of the times," he notes.

"And I guess the youth of the west don't want for too much. But sometimes you gotta get really ill before you know you need a cure. And look around, man. We're really sick."

That fact has not been completely hijacked by the punk-pop gravy train that's made Simple Plan and their ilk so comfortable. Detroit punk agitators the Suicide Machines mount their first tour of Australia next month, albeit on a much smaller scale.

Given the temper of the times, guitarist Dan Lukacinsky is appalled that so few of his contemporaries share their blatant tone of political dissent.

"Punk rock has been too safe for a long time," he says. "Great bands like Anti-Flag have been banging away forever but it's like people just didn't wanna hear it. People who work normal jobs look at music as an outlet to have a good time. They think really hard at their jobs, they don't wanna do that with music. And that's the whole problem in the US right now: ignorance and complacency."

Don't bother looking for the Suicide Machines' latest album, War Profiteering is Killing Us All, on the Billboard or ARIA charts.

Song titles such as Capitalist Suicide, All Systems Fail and 17% 18 to 25 (about the low youth voter turnout at the last US election) are plainly less commercially viable than the navel-gazing cliches favoured by Simple Plan.

Lukacinsky lays much of the blame for youth apathy at the door of MTV.

"If you have a captive audience of young people like they do, they have a responsibility to tell the truth about certain things. They have Rock the Vote (young voter registration campaign), but it's all a bunch of garbage when you see how empty and meaningless their programming is."

Lukacinsky stops short of dissing MTV pawns such as Simple Plan.

"They're friends of ours," he chuckles, "and I know they didn't get into this to get rich."

He does, however, acknowledge a certain ideological contradiction in Suicide Machines' website link to their skatewear sponsors.

There's no such concession from Jeff Stinco, who talks with equal enthusiasm about his band's involvement with the Make Poverty History campaign and the new Simple Plan cash card.

Dude, it's totally a Mastercard with the band's picture on it.

"It's a concept that allows young people to get used to using a credit card," Stinco explains.

"Their parents fill them up with money and hopefully it teaches them how to spend wisely. The coolest thing is people get to have their favourite band on their card. It's personalised, so it's another way for them to express their identity."

But, says Don Letts: "When we got into music, it was an anti-establishment thing. Now people are getting into music to be part of the establishment. The pop culture of that time broke down social, class and race barriers. It was very instrumental in making our world a better place. In a certain section of UK society, music has been a galvanising force. It has that potential. I think people have forgotten that.

"But I am an optimist," he says.

"You can't stop this thing. I think we've got to look to places that haven't been saturated with satellite dishes and haven't had MTV rammed down their throats for 25 years. Maybe places like Iraq? Like Orson Welles said, if you wanna make a truly original film, don't watch movies."

Teenage memories

By Andrew Murfett
Dusk to dawn
September 16, 2005

http://www.theage.com.au/articles/2005/09/15/1126377383590.html

Good pop music evokes memories of 'making out' and teen angst, writes Andrew Murfett.

THE best pop music isn't always disposable.

My all-time favourites are typically songs I associate with either a person I care for, a booze-soaked memory, a missed opportunity, a moment of triumph or, at the absolute extreme, a moment that's helped shape me.

A great record is like a virtual photo album. I can put it on and be instantly transported back not only to the time and place but also the feelings and emotions.

For example, the Smashing Pumpkins' Mellon Collie and the Infinite Sadness is my first trip to Queensland, a time of loneliness and my old friend Georgie.

You Am I's Hourly, Daily sums up my first year out of high school and my first serious girlfriend.

The first Australian song I ever heard on US radio was the Church's Under The Milky Way and every time I hear the track, I instantly recall driving through the Florida Keys that muggy afternoon.

Similarly, anything by Pearl Jam harks back to high school, Carlton Colds and PJ super milds.

While I never drink Coldies these days and I've given up the smokes, I still love Pearl Jam.

Actually, when I hear Spin The Black Circle, I'm reminded of an old mate drunkenly explaining the meaning of the track between swigs of our shared hipflask one night at Richmond station.

Which brings me to the maligned and unfashionable Counting Crows. After a dire day at the office recently, I searched my CD shelf for an album of melancholic nostalgia and came across August and Everything After.

My teenage years were as angst-ridden as any and August ... was always a temporary panacea.

While I was never a Mr Jones sorta guy, at moments Round Here and the at-the-time profound Raining in Baltimore felt both insightful and cathartic.

Listening to the album again for the first time in years, I still knew every word.

I thought of how I used to hang at a schoolmate's place, sipping coffee and smoking cigarettes after school listening to August .... Indeed, when they announced their first Australian tour in '93, we ditched school for the morning to line up for tickets.

The shows were eventually cancelled and I didn't see them play until four years later in Miami.

I've listened to August ... a couple more times since. Each time, besides the feelings it evokes - I want to call in sick to work, take up smoking again and head to the beach on a cold day - I still hear great pop songs.

Which brings me to the first night I ever heard Jeff Buckley. I was about to travel overseas for the first time and a few friends gathered at my parents' house to toast my farewell.

Over the night, despite the boozy tone of the evening, the track Last Goodbye must have been played at least three or four times.

Each time, I silently noted the track's glorious guitar intro, the melody and Jeff Buckley's gorgeously anguished vocals.

The night lingered on, and the last two standing were myself and a friend who, it happens, I had a crush on.

We took a drive and as that balmy summer night turned into day, ended up at a beach, talked candidly and, being teenagers, made out.

We were both in burgeoning relationships at the time and, although we talked intermittently for a few months later, things were never the same and I haven't seen her for almost 10 years.

Although I have since come to know and love the album Grace (especially Hallelujah), every time I hear Last Goodbye I think of that person, that night, our last goodbye.

Tuesday, September 13, 2005

Vancouver's Red Hot Indie Music Scene

It's incredibly diverse, and grabbing wide attention.

By Elaine Corden
September 13, 2005

http://thetyee.ca/Entertainment/2005/09/13/VanIndieScene/


Vancouver's indie supergroup, The New Pornographers. Photo: Steven Dewall

Your mom loves Coldplay. She does. And so does everyone else's mom. Even if you liked them before, your mom's adoration of their milquetoast melodies had kind of ruined it for you, hasn't it? Ditto U2, ditto White Stripes. You can't listen to them now without thinking of your matriarch, or of that annoying man at the office, or the million other folk who insist on keeping the minivan radio tuned on "mass consumption." And so you have to move on. Because if you hear X & Y one more time, you're personally going to hunt Coldplay's plaintive singer down and beat him with a James Taylor album.

You're tired of bands being rammed down your throat. You are a pop culture refugee. Well, sit down next to me. Enter the world of independent music.

With due respect to the all-conquering pop-song, the advantages of exploring independent music are obvious: songs you love are less likely to become jingles for Sunny D., you are not feeding the media beast that is AOL Time Warner, and yes, you can walk a little taller knowing that your record collection is unique, unlike your neighbor's. It takes a little more effort to find the diamonds amidst so much coal, but in the end, it's worth the effort.

Laid back explosion

While every town has its local gems, Vancouver's indie music scene is red-hot right now, so you really need look no further than your own province as a starting point. In fact, had you traveled down to Victory Square, on the edge of Gastown, this past Labour Day, you would have found a veritable treasure chest of independent, local acts: all playing a beautifully utopian outdoor concert, not in the name of profit (the event was free), but rather for the sheer love of making noise.

With seven acts on hand (Fond of Tigers, The Christa Min, The Book of Lists, Calamalka, Ladyhawk, P:ano and the buzzier-than-buzz Pink Mountaintops), you'd have been hard-pressed to come away with something you didn't like. In fact, the line-up was exemplary of why taste-making music press, such as Pitchforkmedia.com, NME, and Spin have taken an interest in our fair city lately.

Take Black Mountain. Drawing huge interest in the UK and Stateside, the Vancouver-based group has just returned from a jaunt opening up for (wait for it) Coldplay, a feat that, considering the uber-popularity of that group, was of no small importance. Ramshackle and defiantly retro, Black Mountain (whose membership forms no small part of the aforementioned Pink Mountaintops) are making '60s-styled, druggy guitar rock that's the toast of the global indie rock community.

Coastal talent pool

Likewise, The New Pornographers and specifically chief songwriter Carl Newman, have been drawing over-the-top praise in the international music media, with American rag Blender naming Newman to their "Hot 100" list of worldwide music visionaries. One listen of Pornographer's witty, harmony-laden new album, Twin Cinema, will tell you why. While the album traverses the well-worn territory of love and relationships, it's done in such a fresh, clever way that you'll find yourself immediately hooked.

Add to that jerky post-punkers Hot Hot Heat, a once-indie, now-signed-to-Warner outfit who is playing the likes of Glastonbury and David Letterman. And The Organ, an all-female group whose melancholy, Smiths-esque 80's revivalism is capturing critics' hearts. And a host of other up-and-comers making their mark beyond our borders, and all together, you have something akin to the Seattle explosion of the 1990s or the Hives-led Swedish garage rock phenom at the start of this century.

The chief difference, (the difference, one hopes, which will not leave us in the same time-has-not-passed-since-Soundgarden's-"Spoon Man" state as the still-grungified Seattle) is the incredible diversity of our flourishing talent.

Diverse rock


The acts on hand at the Victory Square Block Party, for example, while all "rock" bands, could trace their respective influences to groups as varied as Roxy Music: the spacey-sounding Book of Lists, who also draw heavily on the canon of psychedelic prophet Syd Barrett (listen to Book of Lists' single "Through Stained Glass"), to Canned Heat. And Pink Mountaintops, basically a sexed-up version of Black Mountain who mix songs about "Sweet 69" with romantic, existential boy/girl duets (listen to Pink Mountaintops' single "Leslie").

Furthermore, while it's our pop and rock outfits drawing the most attention right now, other genres, such as jazz, hip-hop and electronica also boast some extraordinary talent. For example, hip-hop fans should check out the rabbitting, quickfire delivery of socially-conscious local Birdapres if they don't believe visceral rap could come from laid-back Vancity. (Listen to Birdapres' single "Broke Beat")

Perhaps this is the upside of the Vancouver's whorish courtship of "global city" status. It may be that we have to endure the occasional unnecessary stadium or Cadillac transit project to keep talented artists in town. In the past, we've hemorrhaged talent to cities like Montreal and Toronto, but now it seems that we're finally interesting enough for artist to remain here.

Wade in

If you're a newcomer to this strange and exciting world, it may be daunting to wade in to the torrent of creativity in the city right now. It is still, despite the talent boon, a crapshoot to wander into a nightclub or music venue not knowing any of the artists. Any of the bands mentioned above are a sure bet.

When you get to their shows, saddle up to the nearest hipster-with-a-beard and ask them who their favourite local act is. You'll be amazed at the variety of answers, and the liveliness of opinions on the matter. We've finally outgrown the days when we were famous for grow-ops and Bryan Adams, and have become a world-recognized epicentre for visionary music. If you're brave enough to explore the scene, you may just end up handing that Coldplay album over to your mother for good. Trust me. You won't need it where you're going.


Elaine Corden is a Vancouver writer, editor and living room dancer.


Music downloads (Click on the links below to listen):

"Through Stained Glass" by Book of Lists at http://newmusiccanada.com/genres/artist.cfm?Band_Id=15290

"Leslie" by Pink Mountaintops at http://newmusiccanada.com/genres/artist.cfm?Band_Id=13283

"Broke Beat" by Birdapres at http://newmusiccanada.com/genres/artist.cfm?Band_Id=15302