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Show i The Daily Utah Chronicle - Friday, October 18, 1991 Page Six Mm A big noise brings down the house really figured out whether the man, who occupied the stage was during the next song, that or if brother Flav's actually was just a tag name of friendship, but I guess that's what PE was trying to say: It Johnson Chronicle Music Critic By KimBerly It was supposed to be the loudest show of the year to pass through this city, or any city, for that matter. Wednesday, Oct. 16, doesn't really matter. After PE's set, Anthrax seemed brought forth a triple bill consisting of Primus, that stomping San Francisco Public Enemy, a especially considering that their show was virtually the same as the last time they blasted band, the through this town, with last most June's Clash of the Titans Tour. They opened their set with "NFL outspoken and perhaps the most articulate of all rap bands, and Anthrax, for a touch of all-orock 'n' metal roll. Did it work? I think so. All three bands, plus opening act Young Black (Nice Fuckin' Life)," which, ut allowed Teenagers, despite or perhaps as a result of, the title, roused the crowd into action. During "Indians," singer Joe Belladonna donned a headdress and committed some sort of tribal dance. Following in the theme of "Time," and adding that rebellious streak hiding within us all to bubble to the surface, if only for a couple of hours. In fact, the concert became so pervasively loud that even some appropriate Halloween atmosphere, the stage was an adorned with a giant stone clock, with skeleton hands and skulls where the numbers should be. most the concertgoers retired to the of die-har- d Still, Anthrax simmered where restrooms to stuff their ears with toilet paper, thus neglecting the Public Enemy had boiled. Until the last song. of commandment great disdaining youth, "If it's too All through the evening, security had circled and perched loud, you're too old." like vultures. The reserved seats The Young Black Teenagers left the stage after a remarkably short set and Primus stormed on, were bolted together, so that would have to throw a whole row if they chair-throwe- rs with their characteristic bass tweaks and growls, delivered with inimitable style by Les Claypool. Fresh from their cameo this summer in Bill and Ted's Bogus Journey, and with three successful Salt Lake stops behind them, Primus seemed more than happy to entertain. Mixing classics (can you use "classic" when discussing a two-albu- m like "Mr. band?) Knowitall" with centerpieces g from their new album, the often-scathin- Sailing the Seas of Cheese. Although Primus was in prime cartoonish form, with Claypool careening his little bass all over the stage, they, too, played for only a short while, before yielding the stage to Public Enemy. Public Enemy was faced with the task of playing to a mostly white crowd, the majority of whom had, from all indications, little bit anticlimactic, ( : decided to throw at all. All this e concert paranoia since last winter's ACDC tragedy does nothing to promote that feeling of freedom that comes when fx : The men called Primus, Tim Alexander, Larry, Lalonde and Les Claypool. All found guilty of contributing to the liberation of fun in SLC. Anthrax. Undaunted, they simply performed their best, converting the large audience and to come see overshadowing all other acts that evening. With his characteristic and swagger insoucience, frontmen Flavor Flav and Chuck D traded rhymes and poses, attacking political injustice and all that is wrong with the world along the way. The only problem was that the echo of yelling vocalists sometimes drowned out the musical foundation in the cavernous venue. The crowd was slow to warm, up for the rappers, but with persistence, Public Enemy was able to make headway. They successfully conveyed their message of peace and universal respect through songs like "Burn Hollywood Burn," "Fight the Power," and the cynical "Welcome to the Terrordome," and also performed songs from the shattering new album, Apocalypse '91, quite well. They exuded the kind of militant pacifism one might have expected from Martin Luther King Jr. During "Can't Do Nuttin' For Ya, Man," Chuck D launched an extended diatribe aimed at President Bush and his policies, which elicited a loud cheer from those in attendance (although you couldn't actually hear the cheering; everyone just looked really noisy). Public Enemy developed an increasing rapport with the audience, because, it seemed, they were willing to deviate from the playlist and have a little fun. At one point, Flavor Flav brought a man onstage claiming, "This is my brother. He's a basketball coach at the College of Eastern Utah." I never everyone is "moshing." But when Anthrax struck the opening chords of "Bring the Noise," and were joined onstage by Young Black Teenagers, Primus, and Public Enemy, the crowd could no longer be contained, and rushed the stage, flattening several rows of chairs in their frenzy. The small army of artists on the stage all contributed to this anthem, on Claypool including accordion, and provided what was undoubtedly the highlight of the evening. Decent bands, good music, and a chance to rock. The sold-ou- t certainly got their money's worth, even if their crowd collective ears were bleeding. Good Sex and drugs? By Andrew Wade Chronicle Film Critic Sex, Drugs, Rock & Roll Avenue Pictures Directed by John McNaughton Produced by Frederick Zollo Starring Eric Bogosian What has 10 parts, one actor and a social conscience? Sex, Drugs, Rock 6- Roll, the new film starring Eric Bogosian. Bogosian begins his one man show with a precise imitation of a reformed, rehabilitated, and drug free English rocker. In this - monologue the character is making an imaginary appearance on a talk show. He recounts his life with comments like, "... some of the best times of my life were on drugs..." while at the same time advising kids who may look up to him to "stay off drugs." The character is not meant to be any particular rock star, although several come to mind, but is instead an amalgam of all superstars who supposedly go through personal changes while proudly announcing them to the world. The other characters in Bogosian's repertoire comprise a list of even more familiar people. From subway beggar to entertainment lawyer, each one poignantly reveals a significant shortcoming in our society and Wy-'S- its mores. ;; ' - Spanning all classes from the dregs to the affluent, some funny and some not, but all are adroitly performed by Bogosian. Familiar to audiences by his first film, Talk Radio, he is a master monologist. It is filmed by John McNaughton, director of Henry: Portrait of a Serial Killer, in a way that allows us to participate in the show as if we are sitting in the live theatre experiencing the event first hand. With limited props, McNaughton is working in the theater of the mind. And very successfully. These modern day caricatures q that Bogosian has created are witty, vulgar and excruciatingly honest. Sex, Drugs, Rock & Roll does what only the best satire can do, elicit laughter while at Vi r U!1. r"mn limn me umc moist mane ua UUU&. aaiiio Eric Bogosian is many men in his one man show and on the silver screen in the film ' "Sex Drues O ' nJVULK1. a KU11. n.11 99 & |
