Frankenchrist, creatively shocking release
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By Thad Kreisher
Entertainment Editor and
Bret Hodgert
Staff Writer
i i
Dead Kennedys,” the
name is synonymous for
“radical,” and “punk rock.”
Once again, the band from
California has come through
with their latest effort, and
fifth release, Frankenchrist.
“The Dead Kennedys,”
have been around since the
beginning of punk in the mid­
seventies, and are still going
strong. Its members are Jello
Biafra, East Bay Ray, D.H.
Peligro, and Klaus Flouride.
What fame they have acheived
can be attributed to their
“politi-rock” style.
Unlike most rock bands,
“the Dead Kennedys” do not
sing about or glorify sex,
drugs, or rock-n-roll. Rather,
For example, the song,
their music tends to laugh at
all of these, as well as taking a
critical stance on American
political policies, and society.
Headed by vocalist, Jello
Biafra, the Kennedys are one
of the only groups in existance
today that actually sing about
something worth hearing.
The best way to describe the
music from “Frankenchrist”
would be angry and permeated
by black, (very black), humor.
This is especially apparant in
songs like “Chicken Farm,”
and “Stars and Stripes of Cor­
ruption,” Their songs will
often blast the American way
of life, and our system of
social graces. At times, the
“Dead Kennedys” may seem
slightly over critical, even
paranoid. However, they raise
quite a few good points and
touch on subjects that most
people would rather ignore.
“Chicken Farm,” is a rather
graphic peice describing life in
Bombing the silver screen
Thad Kreisher
Entertainment Editor
and
Bret Hodgert
Staff Writer
Most people think of
Hollywood as the major con­
tributors to the development
of the cinematic arts.
However, in the mid-1940’s,
deep in the labs of the
Manhattan Project, scientists
were diligently working to
construct something that
would change the face of
cinema forever: “the Bomb.”
Since then, movies have never
been the same.
The invention of nuclear
weaponry added a totally new
facet to life, which crept over
onto celluloid. This is the con­
cept of total annihilation.
In itself, the knowledge that
the human race, as well as
most of the earth can be wiped
out with the push of a button
is terrifying. This terror opens
up endless possibilities for the
movie industry to exploit.
Drawing on fear is
something that the movie
world has thrived on for years.
What better fear to thrive on
than the ultimate fear, the
destruction of civilization and
mankind.
Let’s face it, though. Aren’t
we all curious about “the
February 4,1986
holocaust?” Droves of people
seeking a glimpse of the effects
of a nuclear conflict flock to
see movies sporting holocaust
themes. “The Day After,” a
graphic TV movie depicting
nuclear conflict and its results,
is a prime example of this
phenomena.
However, the theme that
probably has had the most im­
pact on the movie scene,
atomicly speaking, is the
dreaded “aftermath” theme.
In the aftermath scenario,
society is devastated arid
mankind is plunged into a
dark age of anarchy whilst a
few hardy souls struggle to
resurrect civilization from the
depths of chaos.
The basic plot of most of
these movies is simple and can
be summed up in one word;
survival.
Heros like Mad Max (Mel
Gibson) push Darwin’s “sur­
vival of the fittest” theory to
its ultimate limit. He is
perpetually being thrashed,
shot, beaten, and maimed. He
is subjected to some of the
worst conditions known to
mankind. Yet, he always
manages to somehow survive
and inadvertently aid the
patrons of reconstruction in
the process.
The appeal of such movies
stems from the fantasy aspect
that they all possess: the
thought of a life unaided by
modern material comforts,
wherein survival itself
becomes a day to day struggle
won only through the strength
of one’s own merits. After all,
who wouldn’t want a life of
fast cars, vicious enemies,
triumphant victories, and
beautiful women. It could
even be considered the post­
holocaust American dream.
Films aren’t the only
cinematic products helped out
by the bomb. Documentaries
have also benefited from its in­
vention. In addition to the
countless run-of-the-mill
documentaries produced, the
bomb has managed to leave us
at least one jewel: “The
Atomic Cafe.” Showing the
history of nuclear weapons
and the cold war through a
series of old 40’s and 50’s
government film releases,
“The Atomic Cafe” is a true
innovation in documentaries.
Again, it wouldn’t have been
possible without the aid of Mr.
Bomb.
Life may someday be
obliterated by the bomb, but
in the years of its existence, it
has left us with some great
“B-movies.”
ar
a Cambodian death camp, and
the plight of Cambodian
refugees in America. Nothing
is sacred to the “ Dead Ken­
nedys ,” no topic is closed,
and every facet of life is open
to criticism. In short, they pre­
sent their veiws in their music,
and don’t care what anyone
else thinks about it.
The music itself is very dif­
ferent from that of the normal
punk genre. It is very original
and creative, not just a wall of
sound and chords mashed
together. Lyrically, the “Dead
Kennedys” put forth a quality
product. Their songs will
make you laugh. They’ll excite
you, and most importantly,
they will make you think.
“The Dead Kennedys” look
at things in a very different
light and after hearing the
album, you too may find
yourself taking a second look
at things.
'Chapter IF comedy
breeds compassion
By Amber Marvin
Copy Editor
Neil Simon is known for his
succession of hit plays, films
and television shows. He never
seems to disappoint his au­
diences with his fabulous wit
and ability to tell things the
way they are.
In “Chapter Two,” Simon
depicts the terrors and joys of
letting someone new enter a
person’s life. At the same time
he shows how difficult it is to
let go of one’s past. The craft­
smanship is intuitive rather
than classic, yet there is a mix­
ture of fun and compassion
that raises it from farce to
comedy.
The four characters in the
Lake Oswego Community
Theatre’s version of “Chapter
Two” are George (Bryan Hut-
trell), Jennie (Sue Ellen
Christensen), Leo (Andrew
Edwards), and Faye (Jeanne
B. Richards).
George is a writer of spy
novels who has recently gotten
back from spending con­
siderable time in Europe
mourning his wife’s death. He
still seems to be in a state of
shock as the first scene opens.
Jennie has recently divorced
her husband, an ex-football
player, in Mexico. She wants
to concentrate on putting the
pieces of her life back
together. Jennie and her friend
Faye are both actresses.
Faye got a part as a sym­
phony cellist in a soap opera.
She adds a touch of celebrated
extravagance to the play when
she decides to have an affair
with Leo.
Leo is George’s younger
brother and very concerned
about his state of mind. Leo
thinks George needs to date
again to help him get over his
grief. Leo leaves Jennie’s
phone number under George’s
phone and prompts him to call
her.
George does end up calling
Jennie, but by mistake. The
conversation seems to spark
an interest and they agree to
meet. Shortly thereafter they
fall in love and get married.
There are some very
touching scenes on how
George and Jennie deal with
their feelings on commitment,
both having been hurt before.
The Lake Oswego Com­
munity Theatre’s production
of “Chapter Two” is directed
by Kept Phillips of KMJK
radio. The play will run
through the month of
February and more informa­
tion can be obtained by calling
the theater at 635-3901.
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