University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 1-1985 Wavelength (January 1985) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (January 1985) 51 https://scholarworks.uno.edu/wavelength/51 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. NEW ORLEANS MUSIC MAGAZ, " ISSUE NO. 51 JANUARY • 1985 $1.50 S . s DrPT. IULK RATE US POSTAGE JAH ' · 5 PAID Hew Orleans. LA EARL K.LC~G Perm1t No. 532 UBRf\RYu C0550 EARL K LONG LIBRARY UNIV OF N. O. ACQUISITIONS DEPT N. O. I HNNY T L)e GO 1ST B T GOSP RO P E .NIE • THE C T ES • T 0 S & T ALTER MOUTON, , 0 T & BOUR E (C JU S) • OBER " UNI " 0 KWO • E ·Y AY • PLEASA T JOSE H AL BL ES N GHT) 1 Music Pfogramming M A ~ -----leans, 2120 Canal, New Orleans, LA-70112 WAVELENGTH ISSUE NO. 51 e JANUARY 1985 "I'm not sure, but I'm almost positive, that all music came from New Orleans." Ernie K-Doe, 1979 FEATURES Remembering the Beaconette ...... 14 The Line ........................ 22 An American Mother . ............. 24 1984 Band Guide ................. 27 DEPARTMENTS January News .................. ... 4 It's Music . 8 Radio ........................... 14 New Bands ...................... 13 Rhythmics. 10 January Listings . ................. 3 3 C/assijieds ....................... 37 Last Page .... .................... :JR Cover design by Steve St. Germain. For informa­ tion on purchasing cover art, ca/15041895-2342. MMor, Nauman S. Sc:on. Editor, Connie Atkiii.!On. Mnlor Editor, Bunny ........... orne. Ma,...., Diana Rosenberg. Ty-lllottt, Sandra Alciatore. b Nrwtia. A'-111111 Saln, Jamy Fuge. Dislri... tloto, Gene Scaramuzzo, Joe Ten:D. c-lhton, Mark Bingham, Carlos Boll, Allison Brandin, Ztke l'ltltlttool. Jon Foose, Carol Gniady, Tad Jones, Arthur Nead, Jon Newlin. )lie Oloilr, Diana Rosenberg, Kalamu ya Salaam, Shepard Samuels, Gene Scara­ - Hammond Sc:on, Almost Slim, Keith Twitchell. Nancy Weldon. Le. Wlilr. William 0 . White. WM1ttr11h is published monthly in New Orleans. Telephone (S04) 89S-2342. IIIIIAIIII<riptions, addresschanJ<s to Wuwlenglh, P.O. Box 15667, New Or­ .... LA 10175. Subscription rate is $12 per year. Foreign $20 per year (surface). ,_dlss subscriptions. $28 per year (domestic and Canada). AO airmail rate at • Jill year (oversea5). The entire contents or Wu'"lrnJllh are copyrighted OltiS Wow/rnJih. llldt ltouos are available by writina to Back Issues, P.O. Box IS667, New Otllllo, I.A. 70175. Because or a limited supply, back issues are available ror S4 -. ,_,. allow a few weeks for processing and delivery or orders. New Mlcribas: Please allow up to six w.. ks ror receipt or first issue due to our ...,__,puttrized subscription department. FenipCIISiom<rs may pay by I.M.O. or check drawn on a U.S. bank. Because ll..tlitant bank processing charges, we canno1 accept checks in Canadian illlltloroth<r foreign currency, or checks drawn on a roreian bank. lttliacrlllon must notify us immediately or any chanae of address. If notification lnot no:eived, mapzines sent to incorrect old addresses will not be replaced. u.s. ....omm must include zip code. I?~CtJJ?I) RIJN$ II~ 9 P Mf11/ll. /I AAI~ 1 PAt S£VBIJ fJA-Vs 8(J'(· S&·-mMJ£ • Jl4i[OIU..i!EPIT t./Hli1S -!'~/... 524·94-4-4 December 1984/Wavelength 3 Hard To At two a.m. every Sunday morn­ ing three young men secure them­ selves in the WTUL-FM studios and give New Orleans The Hard­ core Show ... right where it hurts. "Hardcore punk rock music is primarily American music about social/personal strife, by and for younger people ... Hardcore is not some new mutant virus, but rock and roll as it was originally meant to sound - energetic and fast, •• writes Peter Ward in Tulane's Vox Humana. Ward and jock Ivan Bodley are aided by Tom Upton, Chris Brown, and Greg Pryzby in their early morning assault on the airwaves and sensibilities of a RICO sleepy New Orleans. 'TUL hardcore personnel (1 tor): Tom Upton, The Hardcore Show is the radio Peter Ward, Ivan Bodley (and skateboard). equivalent of riding a turbine­ powered go-cart (or skateboard, individual station, and the station In these troubled FM times of in for fun. That is why you should as the hosts would choose) through is responsible for defining just who watered-down, stamped-out, pre­ listen to it , and listening to it won't the CBD at rush hour. Most of the its audience is," states Bodley with packaged European techno hits, be quite as difficult when the show songs are about one minute long a wry smile, "and they don't moni­ The Hardcore Show stands as a returns in late January, moved up and contain at least one four-letter tor college stations much anymore." patriotic local bastion of the indi­ to the II p.m. slot on Saturday expletive, seldom deleted. "The He watches an Angry Samoans vidualism of American youth night. Like Ivan says: "Do you FCC leaves the broadcasting of ob­ record segue from "Homosexual" through militant music, with an want New Wave or do you want scenities to the discretion of the into "Hitler's Cock." occasional dash of nihilism thrown the truth?" - rico Bruce On The Loose: The Storyville Jazz Hall played host to a party fo Bruce Springsteen after his Baton Rouge performance. The Boss seemed more relaxed the next night at the Absinthe Ba; listening, undisturbed, I to Mason Ruffner's set later helping Ruffner to load his equipment. 4 Wavelength/January 1985 like Rottweiler, sung "Do You Saddle Sore Wanna Dance" and "Single Girl" like her life depended on it. By all accounts there should've Afterwards Davis recalled the been more people out at Sheila's to time he once lived in New Orleans: enjoy Blood On The Saddle's elec­ "I lived here for six weeks, long trifying performance on December enough to see a lot of things and 5, but that didn't stop the West get a feel for the place. I played Coast quartet from shaking the bluegrass down on Bourbon Street rafters for a set or two of punki­ with a guy named Jeep, had these fied country: teeth, this great huge smile. We Greg Davis proved once and for made $30 the first hour we played! all that bluegrass guitar can be I finally had to quit it though, played through a Marshall ampli­ 'cause even though we split the fier. Ron Botelho slapped his money 50-50, Jeep was the star, he upright bass with fingers wrapped was the whole show. What a great in duct tape and drummer Herman banjo player! He's the one who Senac moved through a variety of showed me how to play dobro, he percussive styles with the greatest showed me licks that I'm still using of ease. Ms. Annette Zilinskas, today." who makes Barbara Mandrell look -rico Cajun heritage. Combining his Dickie Landry experience as horn section leader On Extended Time of the legendary Swing Kings with his integral involvement with the Richard Landry is a well­ gestation of what has become the respected composer, a crucial "downtown" New York art scene, influence on the work of Phillip Landry is as unique a figure as Glass and a saxophone player you'll find in american music. whose work has graced recent Concerning his quad delay records by Talking Heads and system Landry says, "The delay David Van Tiegem. He was a gives you extended time. You can member of Laurie Anderson's hear what you've done and band on her recent tour. On consider the next move." Landry January 5 he brings his solo quad is a playing composer as opposed delay saxophone to the CAC for a to a pencil composer. He claims to concert of music that is to the sax­ play better than he writes so he ophone what Robert Fripp's does things like videotape the keys Frippertronics is to the guitar. during a performance as a "record" Landry is from Cecilia, Louisi­ of the piece. Whatever his tech­ ana, a small town near Lafayette niques may be, his musi.: is a joy to Ron "Duct Tape" Botelho of Blood On The Saddle. on the edge of the Atchafalaya hear. Don't miss it! Basin. His musical roots reflect his -Mark Bingham Around the McPonogh House • • • No, that's not the new members of the Lady B.J. Fan Club up there on stage with the local songstress, but if there were such an organiza­ tion these kids might be the first to join. The Lady was joined on December 2 by Walter Payton, Ramsey McLean, and a host of other performers who donated their services to help raise funds forMcDonogh 15 Public School, located in the French Quarter. Local promoter Charlie Bering, whose daughter attends the school, offered his services to help coordi­ nate the event, and the New Story­ ville Jazz Hall donated a percen­ tage of their bar receipts. The whole day turned out to be quite a success for parents, kids and teachers. Over the din of the packed crowd, I overheard this · summary of the experience: "This is great, just fantastic. All the teachers get to sit around in a club and get loaded, and all their kids get to run around and yell: 'Lookit Ms.