Sexteen February 1989

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In the age of hardcore punk-rock, the aesthetics ofPhish (22), a quintet based in Vermont,bordered on the suicidal. Nonetheless, the band became one of themost significant phenomena of the decade. Phish focused on the live concert,a concept that had been anathema during the 1980s, and rediscovered theguitar solo, the ornate keyboard arrangements, prog-rock tempo shifts,group improvisation and the whole vocabulary of intellectual hippie music,as proven with the lengthy tracks on the cassette Junta (aug 1987/ oct 1988 - 1989).The encyclopedic tour de force of Lawn Boy(may/dec 1989 - sep 1990) focused onmostly-instrumental melodic fantasies that quoted from an endless listofgenres.Guitarist Trey Anastasio inherited Frank Zappa's clownish compositionalstyle, which blended rock, jazz and classical music inpseudo-orchestral fashion, while his cohorts inherited Grateful Dead'sdizzy jamming style, and keyboardist Page McConnell added a strong andelegant jazz accent.Their art of stylistic montage peaked with A Picture Of Nectar(jun/aug 1991 - feb 1992). Its kaleidoscopic suites balanced the melodic center of massand the centrifugal forces of the instrumental parts, while surfingthrough an impressive catalog of styles, juxtaposing kitsch sources(exotica, lounge, easy-listening, doo-wop) and chamber duets or jazzsolos.The smoother and slicker sound of Hoist (oct/nov 1993 - mar 1994) closed the epicphase and opened the commercial one in the lighter vein of the Band,the Doobie Brothers, Little Feat and the Allman Brothers.Phish, the first creative group to be completely indifferent to thepunk aesthetics, had just changed the world.

The Ozric Tentacles (13),\"the\" progressive band of the 1990s (although it began releasingcassettes in the mid 1980s), took Gong's legacy (fusing jazz-rock,hard-rock and acid-rock into an energetic, shining and variegatedsound) and copied Mike Oldfield's invention (collating melodic andstylistic events into elegant fantasies) to produce a synthesis thatsounded both ambitious and natural. Unrelenting rhythms, gurglingsynthesizers, stratospheric guitars and exotic atmospheres permeated Pungent Effulgent( - feb 1989), and the effect was both vibrant and hypnotic. The \"band\" was anopen ensemble, anchored to the pillars of guitarist Ed Wynne,keyboardist Joie Hinton, drummer Merv Pepler, flutist John Egan andpercussionist Paul Hankin. The quantity of ideas and experiments, eachrealized with slick magisterial precision, was overwhelming on Erpland( - jun 1990), an instrumental tour de force recorded by a ten-unit ensemble(including two electronic keyboards, a sampler, four percussionists,flute, bass and guitar) and displaying an almost baroque elegance. TheOzric Tentacles had mastered, at the same time, the melodic ingenuityof classical music, the fluidity of jazz-rock and the drive ofhard-rock. The sound was so cohesive and shimmering as to evokeColosseum's jams. Strangeitude ( 1990 - 1991) blended as many sourcesbut also added dance beats to its gallopping symphonic poems andcolorful festivals of sounds. Far from being improvised, its intricatecollages were clockwork mechanisms. Jurassic Shift ( 1992/ 1993- apr 1993) continued to move towards the taste of the time viaincreasing nods to ambient, cosmic, new-age and ethnic music.

Nicky Skopelitis (2), who hadplayed with Anton Fier, Bill Laswell and Sonny Sharrock, concocted asubtle form of ethnic funk-rock, orchestrated for small multi-nationalensembles, onNext To Nothing ( - 1989) and Ekstasis ( - apr 1993), the latter featuring bassist Jah Wobble and Can's drummer Jaki Liebezeit.

Gary Lucas (1) was instead a veteran of Captain Beefheart's band. The swirling, cyclical structures of Skeleton At The Feast (nov 1989/fall 1990 - oct 1991) overflowed with otherworldly guitar inventions.

Mixing demented novelty tunes and goofy instrumental workouts,San Francisco's Primus (13) seemed to emulateFrank Zappa's versatile and iconoclastic irreverence.Frizzle Fry (dec 1989 - feb 1990) was typical of their capricious art: like anamusement park, it was a combination ofrollercoaster rides, comedy shows, relaxing strolls and childish games.The changes in speed, mood and fashion were as abrupt as virtuoso,thanks to the inventions of bassist Les Claypool (one of the all-timegreats), to the quirkiness of former Possessed guitarist Larry Lalonde, andto the monumental support of drummer Tim Alexander.King Crimson-ian instrumental convolution was offset by funny lyrics and aself-demystifying attitude.The intellectual puzzles became popular songs onSailing The Seas Of Cheese (jan 1991 - may 1991) and Pork Soda ( - apr 1993),when the fusion of heavy-metal, funk, jazz and music-hall reached an almostmechanical efficiency. The trio's sonic exploration inTales From The Punchbowl (nov 1994/mar 1995 - may 1995) was more adventurous, but alsohighlighted the limits of the pop format.

Seattle-based multi-instrumentalist Amy Denio (2) led and collaborated with a number of bizarre jazz-rock projects in the vein of the Canterbury school, notably the Tone Dogs (1), whose Ankety Low Day ( 1989 - may 1990) was a quirky flight of the imagination,and Degenerate Art Ensemble, thatstraddled the line between jazz, classical and rock.Tongues (spr/sum 1993 - oct 1993) set forth her ambitious program of deconstructionof world folk music, that can evoke Pere Ubu's abstract sonatas foraccordion and synthesizer as well as Dario Fo's onomatopoeic theater.This led to a string of albums, culminating in The Danubians( - sep 2000), that were dominated by Denio's bizarre phonetic wordplay and byher spirited accordion playing. With these works she proved to be adevil of a composer, of an arranger, of a performer, and of aconductor.

Zazen (formed by four veterans) added Easternovertones to the style of Yes and Genesis on Mystery School ( 1989 - 1991).One of the founders, Joaquin Lievano (1), did even better on his solo Ecologie (1996).

For a variety of societal reasons, female sexual abuse is likely toremain unnoticed. Some researchers have found that the incidence ofsexual contact with boys by women is much more prevalent than iscontended in the clinical literature (Condy, Templer Brown & Veaco,1987). Despite society's increasing concern about sexual assault, theremay be several reasons for the under-reporting of female sexual abuse ofboth child and adult victims. Traditionally, society has heldpreconceptions of women as non-violent nurturers. Women in general, andmothers mopre specifically, have more freedom than men to touch children(Marvasti, 1986). Therefore, a man may be mpre easily perceived asabusive when touching a child than when a woman touches a child in asimilar manner (Plummer, 1981). Further, sexual offences perpetrated bywomen are often incestuous in nature and children may be reluctant toreport sexual contact with a parent on whom they are dependent (Groth,1979). Health care workers are often unable to detect mother-childincest as mothers often accompany their children to the doctor's office.This may serve as a barrier to detecting sexual abuse of the child(Elliott & Peterson, 1993). The medical profession is only reluctantlybecoming sensitive to the fact that females can, in fact, beperpetrators of sexual abuse (Wilkins, 1990; Krug, 1989).

For a variety of societal reasons, female sexual abuse is likely to remain unnoticed. Some researchers have found that the incidence of sexual contact with boys by women is much Read More ..evalent than is contended in the clinical literature (Condy, Templer Brown & Veaco, 1987). Despite society's increasing concern about sexual assault, there may be several reasons for the under-reporting of female sexual abuse of both child and adult victims. Traditionally, society has held preconceptions of women as non-violent nurturers. Women in general, and mothers Read More ..ecifically, have Read More ..eedom than men to touch children (Marvasti, 1986). Therefore, a man may be Read More ..sily perceived as abusive when touching a child than when a woman touches a child in a similar manner (Plummer, 1981). Further, sexual offences perpetrated by women are often incestuous in nature and children may be reluctant to report sexual contact with a parent on whom they are dependent (Groth, 1979). Health care workers are often unable to detect mother-child incest as mothers often accompany their children to the doctor's office. This may serve as a barrier to detecting sexual abuse of the child (Elliott & Peterson, 1993). The medical profession is only reluctantly becoming sensitive to the fact that females can, in fact, be perpetrators of sexual abuse (Wilkins, 1990; Krug, 1989). 59ce067264

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