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Type 0 thrives on negativity

By GIANLUCA MONTALTI
It has been said that true art comes
from extreme emotions. As Henry
Rollins once said, which movie would
you rather see: "Happy Guy" or
"Psycho Depresso Guy"? Type 0
Negative uses their music to express
their grim outlook on life, which can
be summarized as "No Hope=No
Fear." By weaving their experiences
into thought-provoking, large-scale,
symphonic musical statements, the
band has created a truly amazing style
that goes beyond comparisons.
Their brash reality is seen by most
as pure negativity and often. arbitrary
'outrageousness. Josh, Type 0
Negative's guitarist, has a different
slant on their namesake. "People call
us negative. I call it reality. People
spend a good part of their lives running
'away from reality, us as well. But
musically, we like to tell the truth."
Theirlegacy of honesty dates back
to Carnivore, the band from whence
'they were spawned. Carnivore began
in 1983 as a trio fronted by Pete Steele,
Type 0's singer, bassist and main
songwriter. Their brand of barbarian
thermonuclear hardcore will live on
in the annals of bizzare musical trends.
Much like Gwar, their most likely

comparison, Carnivore dressed up in
fur-covered shoulder pads, hockey
equipment and assorted junk to
physically portray the post-nuclear
environment their music conveyed.
After the demise of Carnivore in
the late '80s, Pete Steele started
Repulsion which later became
Subzero, and finally, Type 0
Negative.
One thing that surely differentiates
the bands is complexity. "We have a
decent amount of Classical influence.
You know, one movement after
another. We like to consider it one
bowel movement after another." With
many of their songs exceeding 10
minutes in length, it takes a patient
audience to soak in the often long-
winded compositions.
The band's newest offering,
"Bloody Kisses," is one of the best
releases of the year. "We had half a
million dollars for the record. This
material calls for a lot of complicated
production." Many of the songs deal
with foiled relationships, but the title
track is an especially poignant suicidal
love song. "It's a basic Romeo and
Juliet kind of story. Everybody,
whether they admit it or not, keeps an
immense intensity aboutrelationships.

Every man and woman has had those
experiences."
When asked about his influences,
Josh offered a brutally honest answer.
"Mostly drugs. Valium, pot, heroin. I
hate music. I don't even like Type O
Negative. I'm in this band because
it's the best thing I can think of to
relieve boredom before death." As
you might guess, he's not the nice
Jewish boy his parents brought him
up to be.
"We're walking meat and when
it's over, it's over. I don't fear death.
I fear what's going to kill me.
Everybody spends a lot of their time
coming to grips with death ... People
are looking for the ultimate justice.
There is none."
What can fans expect from a Type
0 show? "A big headache probably.
Bring your earplugs. We don't do the
really complicated material live. We
don't have 40 guys in the band. We
like to blend some mid-tempo stuff
with some of the slower stuff so people
don't fall asleep too quickly ... It
depends on how slow we decide to
play that night." The band plays a two
Carnivore songs and a balanced mix
of their own songs.
The band recently lost their

0
S

Type 0 Negative promises a show that'll give you a "big headache" and "one bowel movement after another."

drummer, Sal Abruscato. "We killed
him and buried him in the back yard,"
Josh joked. Actually, he'snow in Life
of Agony, with whom Type O
Negative and Stick are currently

touring. Rest assured that the band
won't be concerned with reactions to
their live show this Saturday at
Harpo's. "We just make music for us.
If people like it, great. If people hate

it, great. It doesn't really matter."
TYPE 0 NEGATIVE plays this
Saturday at Harpo's (14238
Harper, Detroit). Call 824-1700 for
ticket information.

Richie Havens' legendary music never ends

By DIRK SCHULZE
While Bob Dylanjokingly referred
to his 1991 tour as the "Neverending
Tour," Richie Havens has actually
been on one. And still is. The
folksinger who ascended to fame in
the 1960s has played every weekend
since 1967 and has no regrets. "It's a
long tour," he admitted in a recent
phone interview, "but it's still fun and
still very much worth it because the

atmosphere at my concerts has not
really changed."
Everywhere he goes, it seems,
crowds love his unique guitar style
and incredible voice. At the 1993 Ann
Arbor Folk Festival, the chants of
"Richie! Richie!" continued long after
he left the stage. At Woodstock, he
held the audience captive for almost
three hours, buying time for the other
performers who had not yet arrived. It


was at that legendary concert that he
improvised a song entitled "Freedom"
that virtually defines his passionate
style as he strummed his guitar with
such fury that it seemed it must burst
from the pressure and rocked to the
rhythm and words he was inventing
on the spot.
Haven's voice is instantly
recognizable. It is husky and deep,
ancient and infinitely soulful, and
speaks directly to the heart, but he
claims that even after so many years
in the business, he does not know how
to play the guitar. He still keeps it
tuned to an open E chord and he beats
out tunes with his gigantic hands
wrapped around the neck, wringing
out the notes to accompany his vocals.
As he performs mostly covers, the
effect it has on the songs can be
amazing, as anyone who caught his
performance of Dylan's "Just Like a
Woman" at 1992's BobFest or heard
his renditions of the Beatles' "Here
Comes the Sun" or Ray Charles'
"Drown In My Own Tears" can attest.
Though his set list may have
changed a bit over the years, the ideas
he presents in his songs remain the
same. "The things we sing about and
talk about are still the same as they
were 30 years ago," he said. "We still
need to address the same issues."
Although Havens himself has
grown older, his audience is not simply
all the people who saw him in the
'60s. College-age kids, he said, are
just as enthusiastic as their parents.
"There is a whole new generation in
discovery and this one is an unplugged
generation. Students are turning to
the music that came before them just
as we turned to John Coltrane and
Miles Davis.
"They are exactly the same as we
were and they're making a helluva
fight to be recognized as who they
are," he said. For example, this
generation is struggling for
recognition is through music. "Rock
'n' roll was the first generational

primal scream. All teenagers make
rock 'n' roll for themselves. We did it
when we were young and now your
generation is."
Havens recognizes that the music
business has changed since he started
performing, but will not accept the
idea that the music itself has changed.
He draws hope from this belief.
"The reasons for songs being
written is still the same. It is a process
of calling out for help and trying to
educate those around you, whether
that be by telling them who you are or
what state the world is in."
Though his recording catalogue is
fairly substantial, Havens is an entity
which demands to be experienced live.
On stage, he is particularly free to
work within his own rhythms and
despite the fact that his strumming
pattern is constantly in flux, he never
loses his place as his voice remains
anchored above the ragged chords,
drifting inside of its own warmth and
magnificence.
Perhaps his best studio work is
"Mixed Bag," which, recorded in
1967, contains versions of "Just Like
a Woman" and "Handsome Johnny"
as well as a mournful rendition of
"San Francisco Bay Blues" and one
of the best tracks Havens has ever put
on tape: "Follow." Several
compilations of his work exist, the
most comprehensive and diverse of
which is "R6sum6: TheBest ofRichie
Havens" on Rhino Records which
leans heavily on "Mixed Bag," throws
in a bit of live material and caps it off
with "Freedom."
Havens is a legend on the folk
circuit and it is certainly not without
reason that he is regarded as such.
However, even Neverending tours
much eventually come to an end and
to miss such an opportunity to hear
him in an element verges on a mortal
sin.
RICHIE HA VENS performs at the
Ark on March 6 at 7:30 and 9:30
p.m. Tickets are $17.50.

FRID A Y
DON CABALLERO It came from Chicago to rock the U Club one more time!
Touch and Go noiseniks once again threaten to shake the foundations of
the Union once more, so whip out that Entree Plus card.
THE CHENILLE SISTERS These travelin' gals come to Ann Arbor to bring
their unique mix of jazz, swing, folk, blues and sharp accessorizing skills
for a four-day stint at the Ark. Thursday, Friday, and Saturday they
appear at 8 p.m., and Sunday they make a special matinee appearance.
Tickets are $15; call 761- 1800 for details. A splendid time for all.
THE HANNIBALS AND Kiss ME SCREAMING At the Pig. Sweet, buddy.
SATU RDAY
WIG Yeah, Wig is pretty darn cool, but the real deal here is supporting
band Cathouse, whose mix of blues and avant-pop is generating quite a
buzz; they have just released their debut, "Falling" on Nocturnal
Records. See 'em at the Majestic at 9 p.m., tickets are $5 at the door.
ANN ARBOR SYMPHONY ORCHESTRA Samuel Wong conducts with New
York City Opera soprano Ann Benson for the "Viva L'Italia" concert,
which boasts pieces from Mendelssohn, Puccini and Verdi. Tickets range
from $22, $18, & $14; doors open at 8 p.m. at the Michigan Theater.
SU N D A Y
COURSE OF EMPIRE AND MACHINES OF LoviNG GRACE These pioneers of
blusie-woogie industrial pop follow in the footsteps of industrial soul
man number one, Trent Reznor of nine inch nails; they also appear at St.
Andrew's Hall at 6 p.m. for just $6.50 show. Call 961-MELT.
JOHN MAYALL AND THE BLUESBREAKERS This historic, slow-burning group
makes a special Detroit appearance with local faves The Chisel Brothers
with Thornetta Davis at the Majestic, 4140 Woodward, Detroit at 7:30.
Tickets are $13.50 and doors opn at 7 pm.
MON DAY
MORPHINE Their innovative use of brass makes them a standout in the
alternative world. At St. Andrew's Hall with Outrageous Cherry
(mmm!). Doors open at 8 pm, 18 and over, and tickets are only $ 9.50.
UNIVERSITY CHOIR Conducted by the great Jerry Blackstone. Hill, 8 p.m.
T U E S D A Y
EAR wHAcKs FUNDRAISER Yes! The rockingest show you will probably ever
hear of. Multimedia mayhem with avant folk-rock band Only a Mother,
the theatrical wizardry of Malcolm Tulip, and the inovative dancing of
Terri Sarris. This benfits the ultracool Performance Network, so
contribute $7 and go to the Performance Network at 8 p.m. already. Call
663-0681 for more information.
CHICAGO SYMPHONY ORCHESTRA Pianist Philip Sabransky is the featured
performer in a show conductd by Kenneth Jean; Beethoven, Grieg and
Respighi are the featured composers. At Hill Auditorium at 8 p.m.;
tickets are $50, $40, $30, $16. There is also a free Philips Educational
Presentation at 7 p.m. in Rackham's East Lecture Room.
WED N E S D A Y
BUND MELON This new, obscure, brilliant combo is playing a low-key
show at the State Theatre with the equally innovative Alice Donut. All
ages are welcome, and this quiet gig starts at 7:30 p.m. Call 961-5450 for
picky details like the ticket price, if the Bee Girl will appear, and where
to stand to avoid singer Shannon Hoon's trajectory.
Die Once again, not, repeat, NOT the beauteous blonde band with the
buzz clip "Believe" (ooh, alliteration). This cool local band has the stage
all to themselves at the Blind Pig; call 996-8555 for more information.

Richie Havens has been pleasing crowds with his folk music since the '60s.
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FOR SP/SU TERMS OR

U I

Graduation:

This is your moment
Ifyou have something to share
with classmates,family, andfriends:
Here is your opportunity

Wanted:
Student Speakers for the 1994
LS&A Spring Commencement
(Fourth annual competition)

Ur

EEEEEEEEUUUIII~uiIIuII~ITLIILLLWEEUEUUU E*EEE.~


v

Fox Village Theatre
Jackson & Maple Village Center
I il

Who:

Open to all LS&A seniors eligible to graduate by
the end of Winter Term 1994.

Now Showing:

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