A Japanese poster.
Home of the Brave is a Laurie Anderson concert film from 1986 that more people might know about if it hadn’t been out of circulation for the past thirty years. The reason for the unavailability remains a mystery; Anderson announced a DVD release in 2007 but so far nothing has materialised. Whatever the explanation may be, this copy (which appears to be a Laserdisc rip) is better than the VHS transfers that circulate elsewhere.
The concert itself is a 90-minute multimedia stage show built around the songs from Anderson’s second album, Mister Heartbreak. Between the album songs there are quirky, sketch-like interludes together with a reworked version of Language Is A Virus from her United States show, which was later reworked again for a single release. The album transcription extends to the projected visuals which incorporates graphics from Anderson’s design for the album cover, elements which show her to have been an early user of Macintosh computers. The Chicago font which was the default for the original Mac OS is a recurrent presence here, even being used for the title of the film on the posters and the cover of the soundtrack album. Another recurrent presence is William Burroughs, a friend of Anderson’s whose inimitable voice turns up on the last song on Mister Heartbreak, Sharkey’s Night. Burroughs’ first appearance in the film occurs when he and Laurie Anderson waltz across the stage, probably the first and last time that Burroughs was ever persuaded to dance in public.
As for the music, if you’re as familiar as I am with Mister Heartbreak it’s good to see the songs from the album presented in live versions by some of the album’s musicians: Adrian Belew (playing guitar between stints in King Crimson), David Van Tieghem (percussion), and Dolette McDonald (backing vocals). This was Laurie Anderson’s first overtly pop-oriented outing (if you can call something “pop” that features William Burroughs and a song dedicated to Thomas Pynchon), but the stage show is filled with moments that aren’t so different to her earlier performances: solo keyboard spots, textual projections (one of which has her handwritten musings about the title of the show), unusual instruments (the tape-loop violin, body percussion, a keyboard tie), processed voices, and so on. The overall effect is simultaneously weird and playful, with the songs and general activity preventing the show from coming across like a low-key comedy act, the way United States often does. A proper reissue would be preferable but for now this is about the best you can get.
Previously on { feuilleton }
• Going beyond the zero
• Ear to the Ground
