Biography by Stephen Thomas Erlewine
The Sex Pistols may have been the first British punk rock band, but the Clash were the definitive British punk rockers. Where the Pistols were nihilistic, the Clash were fiery and idealistic, charged with righteousness and a leftist political ideology. From the outset, the band was more musically adventurous, expanding its hard rock & roll with reggae, dub, and rockabilly among other roots musics. Furthermore, they were blessed with two exceptional songwriters in Joe Strummer and Mick Jones, each with a distinctive voice and style. The Clash copped heavily from classic outlaw imagery, positioning themselves as rebels with a cause. As a result, they won a passionately devoted following on both sides of the Atlantic. While they became rock & roll heroes in the U.K., second only to the Jam in terms of popularity, it took the Clash several years to break into the American market, and when they finally did in 1982, they imploded several months later. Though the Clash never became the superstars they always threatened to become, they restored passion and protest to rock & roll. For a while, they really did seem like "the only band that mattered."

For a band that constantly sang about revolution and the working class, the Clash had surprisingly traditional roots. Joe Strummer (born John Graham Mellor, August 21, 1952) had spent most of his childhood in boarding school. By the time he was in his early twenties, he had busked on the streets of London and had formed a pub rock band called the 101'ers. Around the same time, Mick Jones (born June 26, 1955) was leading a hard rock group called the London SS. Unlike Strummer, Jones came from a working-class background in Brixton. Throughout his teens, he was fascinated with rock & roll, and he had formed the London SS with the intent of replicating the hard-driving sound of Mott the Hoople and Faces. Jones' childhood friend Paul Simonon (born December 15, 1956) joined the group as a bassist in 1976 after hearing the Sex Pistols; he replaced Tony James, who would later join Generation X and Sigue Sigue Sputnik. At the time, the band also featured drummer Tory Crimes (born Terry Chimes), who had recently replaced Topper Headon (born Nicky Headon, May 30, 1955). After witnessing the Sex Pistols in concert, Joe Strummer decided to break up the 101'ers in early 1976 in order to pursue a new, harder-edged musical direction. He left the band just before their first single, "Keys to Your Heart," was released. Along with fellow 101'er guitarist Keith Levene, Strummer joined the revamped London SS, now renamed the Clash.

The Clash performed its first concert in the summer of 1976, supporting the Sex Pistols in London. Levene left the band shortly afterward. Hiring as their manager Bernard Rhodes, a former business associate of Sex Pistols manager Malcolm McLaren, the Clash set out on the Pistols' notorious Anarchy Tour late in 1976. Though only three concerts were performed on the tour, it nevertheless raised the Clash's profile and the band secured a record contract in February of 1977 with British CBS. Over the course of three weekends, the group recorded their debut album. Once the sessions were completed, Terry Chimes left the group, and Headon came aboard as the band's drummer. In the spring, the Clash's first single, "White Riot," and eponymous debut album were released to great critical acclaim and sales in the U.K., peaking at number 12 on the charts. The American division of CBS decided The Clash wasn't fit for radio play, so it decided to not release the album. The import of the record became the largest-selling import of all time. Shortly after the U.K. release of The Clash, the band set out on the whirlwind White Riot tour supported by the Jam and the Buzzcocks; the tour was highlighted by a date at London's Rainbow Theatre, when the audience tore the seats out of the venue. During the White Riot tour, CBS pulled "Remote Control" off the album as a single, and as a response, the Clash recorded "Complete Control" with reggae icon Lee "Scratch" Perry.

Throughout 1977, Strummer and Jones were in and out of jail for a myriad of minor indiscretions, ranging from vandalism to stealing a pillowcase, while Simonon and Headon were arrested for shooting racing pigeons with an air gun. The Clash's outlaw image was bolstered considerably by such events, but the band also began to branch out into social activism, such as headlining a Rock Against Racism concert. Released in the summer of 1978, the single "(White Man) In Hammersmith Palais" demonstrated the band's growing social consciousness. Shortly after the single peaked at number 32, the Clash began working on their second album with producer Sandy Pearlman, a former member of Blue Öyster Cult. Pearlman gave Give 'Em Enough Rope a clean but powerful sound designed to break the American market. While that didn't happen -- the album peaked at 128 on the U.S. charts in the spring of 1979 -- the record became an enormous hit in Britain, debuting at number two on the charts.

Early in 1979, the Clash began their first American tour, entitled "Pearl Harbor '79." That summer, the band released the U.K.-only EP The Cost of Living, which featured a cover of the Bobby Fuller Four's "I Fought the Law." Following the later summer release of The Clash in America, the group set out on its second U.S. tour, hiring Mickey Gallagher of Ian Dury's Blockheads as a keyboardist. On both of their U.S. tours, the Clash had R&B acts like Bo Diddley, Sam & Dave, Lee Dorsey, and Screamin' Jay Hawkins support them, as well as neo-traditionalist country-rocker Joe Ely and the punk rockabilly band the Cramps. The choice of supporting acts indicated that the Clash were becoming fascinated with older rock & roll and all of its legends. That fascination became the driving force behind their breakthrough double album, London Calling. Produced by Guy Stevens, who formerly worked with Mott the Hoople, London Calling boasted an array of styles, ranging from rockabilly and New Orleans R&B to anthemic hard rock and reggae. Retailing at the price of a single album, the record debuted at number nine on the U.K. charts in late 1979 and climbed to number 27 on the U.S. charts in the spring of 1980.

The Clash successfully toured the U.S., the U.K., and Europe in early 1980, during which time the pseudo-documentary Rude Boy was released in England. During the summer, the band released the Dutch-only, dub-inflected single "Bankrobber," which they recorded with DJ Mikey Dread; by the fall, the British branch of CBS was forced to release the single due to popular demand. Shortly afterward, the band went to New York to begin the tension-filled, self-produced sessions for their follow-up to London Calling. In November, a U.S.-only EP of odds and ends entitled Black Market Clash was released. The following month, the triple-record set Sandinista! appeared in the U.K. and the U.S. The critical reaction to the album was decidedly mixed, with American critics reacting more favorably than their British counterparts. Furthermore, the band's audience in the U.K. was shrinking slightly -- Sandinista! was the first record the group released that sold more copies in the U.S. than the U.K.

After spending much of 1981 touring and resting, the Clash reconvened late in the year to record their fifth album, with producer Glyn Johns, a former engineer/producer for the Rolling Stones, Who, and Led Zeppelin. Headon left the band shortly after the sessions finished; the press statement said he parted with the group due to political differences, but it was later revealed that the split was due to his heavy drug use. The band replaced Headon with their old drummer, Terry Chimes, around the spring release of Combat Rock. The album was the Clash's most commercially successful effort, entering the U.K. charts at number two and climbing into the American Top Ten in early 1983, thanks to the Top Ten hit single "Rock the Casbah." During the fall of 1982, the Clash opened for the Who on their farewell tour. Though the tour helped Combat Rock scale the U.S. charts, the Clash were routinely booed off the stage on every date of the tour.

Although the Clash were at the height of their commercial powers in 1983, the band was beginning fall apart. Chimes was fired in the spring and was replaced by Pete Howard, formerly of Cold Fish. During the summer, the band headlined the U.S. Festival in California; it would be their last major appearance. In September, Joe Strummer and Paul Simonon fired Mick Jones because he "drifted apart from the original idea of the Clash." Jones formed Big Audio Dynamite the following year, while the Clash hired guitarists Vince White and Nick Sheppard to fill his vacancy. Throughout 1984, the band toured America and Europe, testing the new lineup. The revamped Clash finally released their first album, Cut the Crap, in November. The album was greeted with overwhelmingly poor reviews and sales; it would later be disowned by Strummer and Simonon.

Early in 1986, Strummer and Simonon decided to permanently disband the Clash. Several years later, Simonon formed the roots rock band Havana 3 A.M., which released only one album, in 1991; following the record's release, he concentrated on painting. After reuniting with Jones to write songs for Big Audio Dynamite's second album, 1986's No. 10 Upping Street, Strummer drifted between a musical and film career, appearing in Alex Cox's Straight to Hell (1986) and Jim Jarmusch's Mystery Train (1989). He also scored Permanent Record (1988) and Cox's Walker (1987). Strummer released a solo album, Earthquake Weather, in 1989. Shortly afterward, he joined the Pogues as a touring rhythm guitarist and vocalist. By 1991, he had quietly drifted away from the spotlight. For the remainder of the decade, Strummer was quiet, appearing on only one other recording -- Black Grape's 1996 Top Ten hit "England's Irie."

Though Strummer and Simonon were both quiet, and Jones was busy with various incarnations of Big Audio Dynamite, rumors of a Clash reunion continued to circulate throughout the '90s. When "Should I Stay or Should I Go?" appeared in a Levi's television commercial in 1992, the song was re-released in the U.K. by CBS, and it shot to number one, fueling reunion speculation. The rumors appeared again in 1995 and 1996, when the Sex Pistols decided to reunite, but the Clash remained quiet. Live: From Here to Eternity, assembling material recorded between 1978 and 1982, was released in 1999, shortly followed by the documentary film Westway to the World.

Joy Division

From Wikipedia, the free encyclopedia

Background information
Origin Salford, Greater Manchester & Macclesfield, Cheshire, England
Genre(s) Post-punk
Years active 1976–1980
Label(s) Factory Records
Associated
acts New Order
Former members
Ian Curtis (deceased)
Peter Hook
Stephen Morris
Bernard Sumner
Joy Division were an English rock band that formed in 1976 in Salford, Greater Manchester. With their dark, cavernous sound and use of guitars, throbbing bass, and electronics, they pioneered the post-punk sound of the late 1970s. In May 1980 their vocalist, Ian Curtis, committed suicide. In June, 1980, the band released their most popular song entitled Love Will Tear Us Apart. The remaining members reformed as New Order and went on to receive critical and commercial success.

The group achieved only modest success during their career, and released only two official albums, however they have since been acclaimed as one of the most inventive and influential bands of their era. Thom Jurek writes, "They left just a small bit of music and an echo that still rings".[1]

Their name is taken from the World War II historical novel “The House of Dolls,” wherin author Yehiel De-Nur described "Joy Divisions"—separate units within concentration camps where Jewish women were housed for sexual slavery.

Contents [hide]
1 History
1.1 Early years
1.2 Early work as Joy Division
1.3 Unknown Pleasures
1.4 European tour
1.5 Ian Curtis's suicide
1.6 Closer
1.7 The end of Joy Division
2 Legacy
3 Lyrics
4 Equipment
4.1 Synthesisers
4.2 Electric guitar
4.3 Bass guitar
4.4 Drums
4.5 Other equipment
5 Live performances
5.1 Dance
6 Accusations of neo-Nazism
7 Members
7.1 Members
7.2 Other members
8 Discography
8.1 Albums
8.1.1 Compilations
8.1.2 Live albums
8.2 Singles and EPs
8.3 Compilation appearances
8.4 Video
9 Film
9.1 Control
9.2 24 Hour Party People
10 References
11 Sources
12 External links



[edit] History
This section may need to be rewritten.
Reason: to flow better
Please discuss this issue on the talk page.


[edit] Early years
The famous Sex Pistols show at the Manchester Lesser Free Trade Hall on June 4 1976 inspired Bernard Sumner [2] and Peter Hook to form a band with their friend Terry Mason. Sumner bought a guitar, Hook a bass and Mason a drum kit. They placed an advertisement in a Manchester record store, Virgin Records, for a singer and recruited Ian Curtis. Curtis, who knew the others from previous gigs, had also attended the Sex Pistols concert, along with his wife, Deborah.

Just before their first gig on May 29, 1977 supporting the Buzzcocks and Penetration at the Electric Circus, the band renamed themselves Warsaw, even though they appeared on the bill as Stiff Kittens (suggested by Richard Boon and Pete Shelley of the Buzzcocks). (The name change to Warsaw was purportedly inspired by the David Bowie track "Warszawa", found on his 1977 album Low and not inspired by the Polish city of the same name). Five weeks and half a dozen gigs later, Warsaw replaced Mason with punk drummer Steve Brotherdale from another band called Panik. On July 18 1977, they recorded five crude punk songs that became The Warsaw Demo. Having recorded the demo, the band fired Brotherdale. Driving home from the studio, they pulled over and asked Brotherdale to check on a "flat tyre". When he got out of the car, they sped off. Brotherdale later tried to get Curtis to join Panik, but Curtis declined. The band put out an advertisement in a music shop window for a replacement drummer and hired respondent Stephen Morris. The band chose Morris because Curtis recalled him from his school days. Morris had attended the same school two years below Curtis. Unlike the band's previous drummers, Morris clicked well with the other members. His metronome-like drumming owed more to krautrock than the aggressiveness of punk.


[edit] Early work as Joy Division
Warsaw renamed themselves Joy Division in late 1977 in order to avoid confusion with the London punk band Warsaw Pakt, borrowing their new name from the prostitution wing of a concentration camp from the 1955 book The House of Dolls. "No Love Lost," an early Joy Division/Warsaw track, contains a lyrical reference to Yehiel De-Nur's book:

"...Through the wire screen, the eyes of those standing outside looked in at her as into the cage of some rare creature in a zoo.
In the hand of one of the assistants she saw the same instrument which they had that morning inserted deep into her body.
She shuddered instinctively.
No life at all in the house of dolls.
No love lost..."
The band's signature style began to take shape in late 1977. Sessions recorded in December 1977 were a departure from the sound of The Warsaw Demo. The group played their first gig as Joy Division on January 25, 1978. Regular gigs in the north of England throughout early 1978 provided the band with enough material and experience to record a debut album. However, after the producer added synthesizers to several tracks, the band scrapped the record. The album leaked as a bootleg recording called Warsaw in 1982 and has been re-pressed and re-released several times[3] since then. Rob Gretton became the band's manager in May 1978. Over the next twenty years, he contributed much to Joy Division and to New Order.

In the summer of 1978, the band debuted on vinyl with one Warsaw track on a compilation album entitled Short Circuit - Live At The Electric Circus which was recorded live on October 2, 1977. In June 1978, Joy Division released their December 1977 sessions as a 7" EP under the title An Ideal for Living. They remastered and re-released An Ideal for Living as a 12" in late 1978. On September 20, 1978, they performed on the local TV news show Granada Reports; then in December 1978, they appeared on the compilation double 7" EP A Factory Sample, contributing two tracks recorded a few months earlier. This EP sold out within a couple of months and was the first release to document the haunting and atmospheric sound they had been developing since that past summer. Early 1979 saw the band gain more publicity. Curtis appeared on the front cover of the New Musical Express and they recorded a radio session in January (aired on BBC Radio 1 on February 14 by John Peel). On March 4, they supported The Cure at the Marquee Club, a major venue in London.


[edit] Unknown Pleasures
In April 1979, the band began recording their debut album Unknown Pleasures. The record was bleaker and darker in tone than most of its contemporaries, featuring Hook's bass as the lead melodic instrument, drums treated with digital delay, Sumner's jagged guitar style and Curtis's baritone vocals that have been likened to Jim Morrison and Iggy Pop. Producer Martin Hannett contributed significantly to the final sound. (Coincidentally, a non-album track, "Digital" was the first song the band recorded with Hannett as producer as well as the last song the group performed live before Curtis' death). Whereas most punk rock bands had been extroverted and aggressive, Joy Division were more introverted and personal. Despite their insularity, however, their music could be very aggressive and chaotic. The album cover, designed by Peter Saville based on a graph of 100 consecutive pulses from the pulsar CP 1919, is regarded as a classic of minimalist design. The image represents the final life of a dying star.

Unknown Pleasures was released in June while Joy Division were recording five songs for Piccadilly Radio.

They performed on Granada TV again in July, made their only nationwide TV appearance in September on BBC2, supported the Buzzcocks in a 24-venue UK tour during October and November, and performed on Peel's show again in December. Despite the fact that Unknown Pleasures was selling well and receiving good reviews from the music press, all was not well. Diagnosed with epilepsy in January 1979, Curtis' illness worsened during 1979 and would often have tonic-clonic seizures on stage that resulted in convulsions, or absence seizures that would cause brief trance-like pauses.


[edit] European tour
Music samples:
"She's Lost Control" (file info) — play in browser (beta)
Sample of "She's Lost Control" from Unknown Pleasures
Problems listening to the file? See media help.
"Love Will Tear Us Apart" (file info) — play in browser (beta)
Sample of "Love Will Tear Us Apart" from Substance
Problems listening to the file? See media help.
"24 Hours" (file info) — play in browser (beta)
Sample of "24 Hours" from Closer
Problems listening to the file? See media help.
Joy Division had one European gig at Les Bains Douches on December 18th 1979, from which a popular live recording was taken. Their official tour started on January 11th 1980 at Paradiso in Amsterdam. They played 10 gigs in Europe, their last being on January 21st 1980 at Kant Kino, Berlin.


[edit] Ian Curtis's suicide
On May 18, 1980, the evening before Joy Division were to embark on their first American tour, Curtis returned to his home and convinced his wife, Deborah, to spend the evening at her parents' house. Curtis watched the Werner Herzog film Stroszek on television, then listened to the Iggy Pop album The Idiot and wrote a letter to his estranged wife. He then hanged himself in the kitchen. Deborah found him the following morning.

The exact reasons for his suicide have never fully been explained. However there are two factors which are thought to have affected his state of mind strongly. The first was his epilepsy, he was suffering worsening seizures and the band regularly had to cancel concerts to allow him sufficient time to recover. Some of the seizures occurred on stage during concerts. Curtis also attempted suicide several months before his death by overdosing on the medicine prescribed to control his epilepsy. The second factor affecting him was his marriage break down. He had engaged in an extra marital affair with a young Belgian woman called Annik Honoré, whom he met in Europe in late 1979. And his wife Deborah had filed for divorce.[4].


[edit] Closer
In July 1980 the band's second album, Closer, was released to overwhelmingly positive reviews. It charted, peaking at number 6 on the British album chart. Sales of Unknown Pleasures were also robust. Recording of the album began in late March 1980 and was complete before Curtis's death. It was produced by Martin Hannett. As with the early Warsaw/Joy Division track "No Love Lost" the band again featured a song with a literary reference. The opening track on Closer, "Atrocity Exhibition," shares its title with the novel The Atrocity Exhibition by J. G. Ballard.


[edit] The end of Joy Division
In the summer of 1980, "Love Will Tear Us Apart" hit number 13 on the British singles chart, their biggest commercial success to date. In June 1980, Hook, Morris and Sumner entered Graveyard Studios with fellow Factory act Kevin Hewick for a session, produced by Martin Hannett. The track was called 'Haystack'. It was not released as a single by Factory, but was later released on a Kevin Hewick compilation. Factory Records head Tony Wilson reportedly suggested to the band that Hewick replace Curtis as vocalist in the group. [5]

The members of Joy Division had made a pact that, should any member leave the group the remaining members would abandon the name "Joy Division" and all material associated with it. The remaining members held true to this commitment, and Joy Division was officially disbanded. The band was reborn as a three piece called New Order, later recruiting Morris' girlfriend Gillian Gilbert to round out the group on keyboards. Initially, the band was mum as to whether the name referred to the 'new order' of the band, or if it was a reference to Nazi Germany as was the name Joy Division. Alternating between guitar-drum-bass and electronic styles, the band's music reached and inspired a variety of listeners. New Order is often cited as one of the leading synthpop and dance music groups of their era, yet their use of traditional rock instruments such as guitars and live drums has reached a level of influence comparable with their landmark electronic works.


[edit] Legacy
The band, and especially Ian Curtis, has been an inspiration for a number of bands and musicians that include U2, The Smashing Pumpkins, Manic Street Preachers, Interpol, Trent Reznor (who, as Nine Inch Nails, covered "Dead Souls" for the soundtrack of the movie The Crow), Robert Smith of The Cure, and Red Hot Chili Peppers guitarist John Frusciante. The continuing importance of Joy Division was shown at the turn of the millennium when John Peel asked his listeners to vote for the all-time Festive 50. At number one was the haunting "Atmosphere," while "Love Will Tear Us Apart" sat at number three. Three more songs from the band sat on the list. The ending solo from "New Dawn Fades," as performed by Moby, was featured in the 1995 film Heat as Al Pacino chases down Robert De Niro. In 1999, a New Jersey band named Thursday recorded a song called "Ian Curtis" that included Joy Division song titles, such as Isolation, Heart & Soul and Twenty Four Hours, as lyrics. In 2005, Joy Division were inducted along with New Order into the UK Music Hall of Fame.


[edit] Lyrics
The band were described in the press at the time as "doom laden". This was due in part to the often dark lyrics written by Ian Curtis. Death, sadness, anger, bitterness or loss were recurrent themes. For example the 1979 song "Shadowplay" includes the line "In the shadowplay, acting out your own death, knowing no more". Ian Curtis denied the band were doom laden in a 1980 recorded interview. He said "people have been saying 'oh yeah, it's all about death and doom...' but we're not...none of the songs are...I think it's a heavy metal thing, that..."[6]. The biography of Joy Division at Billboard describe the lyrics as "isolated, tortured."[7]


[edit] Equipment

[edit] Synthesisers
Joy Division often experimented with different sounds, especially once in collaboration with Martin Hannett. Within the band it was said that Sumner was the driving force behind new instrumental ideas and he instigated the use of synthesizers in Joy Division's music. Synthesizers became common in the latter part of the band's career, featuring prominently in the songs "Isolation," "Decades" and "The Eternal" from the Closer album, as well as "Atmosphere" and "Something Must Break." Ironically the band had been unhappy with their 1978 scrapped RCA album recordings because the producer had used synthesizers.

Synthesizers at the time were notoriously prone to overheating and going out of tune. Joy Division's ARP String Machine and Powertran Transcendent were no exceptions, as the synthesizer on the live version of "Decades" featured on the "Still" compilation testifies.

An out-take from the Closer sessions, "As You Said" (sometimes called "Incubation 2") subsequently released on the FAC28 flexi-disk and on the CD box set Heart And Soul, is entirely electronic in its sound, and is one of only two Joy Division songs that doesn't include any vocals, the other track being "Incubation". In a 2005 Q magazine article the members of New Order claimed that Joy Division would have become an electronic band had Ian Curtis not died.


[edit] Electric guitar
Bernard Sumner was the group's lead guitarist. He played the Shergold Custom Masquerader and a Gibson SG Standard primarily. During the Warsaw days Sumner used a cheap SG copy, upgrading to a genuine Gibson after the success of Unknown Pleasures. He also played the synthesizers. For this reason on some live tracks Ian Curtis took over basic guitar duties. "I Remember Nothing," "Heart and Soul," "Atmosphere," "Love Will Tear Us Apart" and "Incubation" all featured Curtis playing the electric guitar live. Although a competent but not a skilled guitarist, Curtis' playing enhanced the band's sound at live gigs. It is unlikely that Curtis played guitar on studio recordings although this remains a possibility because no official word ever came from the band. Footage exists of Curtis playing Sumner's Shergold Custom Masquerader and Vox Phantom Mark VI guitar (often mistakenly attributed as being a Teardrop, Guitar Organ or ordinary Phantom).[citation needed]


[edit] Bass guitar
Peter Hook chose to play his bass guitar more like a lead guitar on many tracks. Hook started to use a Shergold Marathon six stringed bass guitar on the Closer album, which allowed for a scale of higher notes to be played. He continued to use the Marathon with New Order, as well as a conventional Yamaha BB1200 four-stringed bass. His original bass, a Hondo Rickenbacker copy, was damaged after an altercation during a gig in Manchester in September 1979. Some reports state that this bass was destroyed during this altercation, but the bass survived enough to be used on the band's January 1980 European Tour. Hook also performed backing vocals for the group and was the 'other voice' on the song "Interzone." On the tracks "Atrocity Exhibition" and "Sound of Music," Hook and Sumner swapped instruments so that Hook was playing electric guitar and Sumner bass guitar.


[edit] Drums
Stephen Morris used an extensive drum kit to allow a great range of rolls, rhythm shifts and beats. Morris was an active drummer, especially on the tracks "She's Lost Control" and "Transmission" where the insistent beat fueled Curtis' gyrations. Morris also used Simmonds and Synare electronic drumpads and a BOSS DR-55 drum machine on the songs "Insight," "She's Lost Control," "Isolation," and "Decades", in combination with conventional drums to broaden the tonal palette.


[edit] Other equipment
The melodica was an instrument used by Joy Division during a few recordings. It was used predominately on "In a Lonely Place," which only exists as a rehearsal recording that can be heard on the "Heart and Soul" box set. It was used briefly on the song "Decades". New Order used the melodica a number of times and were said to have "inherited" it from Curtis, who purchased one after hearing it used by dub-reggae artist Augustus Pablo.


[edit] Live performances
The usual scene at a Joy Division gig was Curtis in the middle at the front, Sumner to his right, Hook to his left and Morris with his drum kit at the back. After experimenting with strobe lighting the band played under white low level lights, without variation, due to Curtis's epilepsy.

Curtis usually held onto the microphone stand for most of a song, only leaving it to dance. He sometimes walked off stage after he had finished his vocals, leaving the rest of the band to finish without him. Curtis rarely spoke to the audience at gigs apart from the occasional "thank you" at the end of a song. At the Preston Warehouse gig in 1980 Curtis was unusually talkative in order to keep the audience informed of the equipment failure the band suffered part way through the set. This gig has since been issued on a CD and culminates in an intense version of "She's Lost Control" despite the equipment failures.

On April 8, Curtis was pulled out of hospital to play a gig at the Derby Hall in Bury. At the urging of Factory Records founder Tony Wilson, Joy Division's set began with Alan Hempstall of Crispy Ambulance and Simon Topping of A Certain Ratio filling in on vocals for Curtis, who was initially too ill to perform. However, members of the audience protested, turning the gig into a riot in which Hook, Gretton, and other crew members fought with angry onlookers. [8]


[edit] Dance
Curtis had a unique dance which he performed regularly. He rotated his arms very quickly back and forth in front of him as though fighting with a large wheel or attempting to swim. It is sometimes referred to as an 'epileptic dance' because the movements resemble someone having an epileptic fit.


[edit] Accusations of neo-Nazism
The band's name, along with Sumner reverting to his father's surname Albrecht, and the imagery used on early releases, garnered the band criticism for their perceived insensitivity. Accusations of neo-Nazism, a charge the group denied, dogged them for the remainder of the band's career. These accusations resurfaced after Joy Division ended and reformed as New Order, a name sometimes interpreted as a reference to Adolf Hitler's speeches promising "the new order of the Third Reich". The band later stated they got the name from a newspaper article on the new society the Khmer Rouge had envisaged for Cambodia and that a variety of other names had been considered, some more frivilous than others. Gillian Gilbert said in a television interview she simply considered it to mean the new order within the band as they moved on from Joy Division.

One reference to Nazism exists within Joy Division lyrics. Rudolf Hess's prisoner of war number is used in the song 'Warsaw'. On a later live album, the band's guitarist Bernard Sumner can be heard saying, "You all forgot Rudolf Hess", before the song At A Later Date.[citation needed]


[edit] Members

[edit] Members
Ian Curtis – lead vocals, guitar
Bernard Sumner – guitar, keyboards,
Peter Hook – bass guitar, vocals
Stephen Morris – drums, percussion

[edit] Other members
Terry Mason – drums (mid-1976 to May 1977)
Tony Tabac – drums (May to June 1977)
Steve Brotherdale – drums (June to August 1977)

[edit] Discography

[edit] Albums
Unknown Pleasures (1979)
Closer (1980)

[edit] Compilations
Still (1981) - collection of rare recordings along with their final concert performance
The Peel Sessions (LP, Strange Fruit SFRLP 211, 1986, 1987) - the band's two Peel Sessions combined on one album
Substance (1988) - singles compilation
Warsaw (1994) - very early recordings
Permanent (London 828624, 1995) - compilation; reached #16 on the UK album charts
Heart & Soul (1997) - 4 CD set of complete works
Joy Division The Complete BBC Recordings (CD, Strange Fruit SFRSCD094, 2000) - contains the two Peel Sessions, two songs from their 'Something Else' BBC TV appearance and an interview.

[edit] Live albums
Preston Warehouse (Factory FACD 2.60) - recorded February 28, 1980
Les Bains Douches (Factory FACD 2.61) - recorded December 18, 1979
Fractured (Factory FACD 2.61z) - box set combining Preston Warehouse and Les Bains Douches in special packaging
Re - Fractured (2004, limited release) - box set combining Preston Warehouse and Les Bains Douches, together with a third disc containing recordings from a concert in Amsterdam, and a poster and t-shirt sporting the word 'Refractured', all contained in a special box

[edit] Singles and EPs
An Ideal for Living (UK, Enigma PSS139, 1978)
"Transmission" (UK, Factory FAC 13, 1979)
Licht und Blindheit (France, SS33002, 1980)
"Komakino" (UK, Factory FAC 28, 1980)
"Love Will Tear Us Apart" (UK, Factory FAC 23, 1980)
"Atmosphere/She's Lost Control" (UK/US, Factory FACUS 2, 1980)
The First Peel Session (UK, Strange Fruit SFPS013, 1986)
The Second Peel Session (UK, Strange Fruit SFPS033, 1987)
"Atmosphere" (UK, Factory FAC 213, 1988)
"Love Will Tear Us Apart" (UK, London UK YOJ 1, 1995)

[edit] Compilation appearances
Short Circuit: Live at the Electric Circus (10" LP, Virgin VCL 5003, June 1978) — "At a Later Date"
A Factory Sample (2×7", Factory FAC 2, January 1979) — "Digital," "Glass"
Earcom 2: Contradiction (12"EP, Fast Product FAST 9B, October 1979) — "Autosuggestion," "From Safety to Where...?"
Left of the Dial: Dispatches from the '80s Underground (Rhino, 2004)
There are also a tremendous number of bootleg recordings, both live and studio.[9]


[edit] Video
Here Are All The Young Men (UK, Factory FACT 37, 1982). Live recordings of some of their gigs. Low quality, available on DVD.
Joy Division: Under Review Region 2 DVD only available Oct.31 2006. A documentary including interviews with the remaining former band members charting the band's history.

[edit] Film

[edit] Control
Main article: Control (2007 film)
In 2007 a new film Control, directed by Anton Corbijn was released. The film depicts Curtis' life and uses the Deborah Curtis biography as a basis, although the plot has been broadened to cover areas of Ian's life that Deborah was not privy. Other people close to Ian were consulted for the film, including Tony Wilson, and of course the band, who scored the film using the Joy Division name. Control had its international premiere on the first night of Director's Fortnight at the 2007 Cannes Film Festival (May 17, 2007; the twenty-seventh anniversary of Ian Curtis' final night alive). Curtis is played by 24 Hour Party People star Sam Riley, who played Mark E. Smith, while his wife Deborah is portrayed by Samantha Morton, and Alexandria Maria Lara plays Annik Honoré. The members of New Order attended the premiere. In 2007 the Belgian indie magazine Side-Line published an interview online with Annik Honoré originally made in 2005 in which she tells for the first time about her view on the upcoming film.[10]


[edit] 24 Hour Party People
Main article: 24 Hour Party People
Much of the history of Joy Division was portrayed in the 2002 MGM/United Artists released film 24 Hour Party People which presented a somewhat fictionalized account of the rise and fall of the Factory Records, with whom both Joy Division and New Order were signed.

濁水溪公社
專輯列表


天涯棄逃人

臭死了

台客復仇


濁水溪公社 --- 台客復仇 專輯歌詞

1.農村出事情
2.沾到黑油的肉鯽仔
3.詛咒
4.老人失蹤
5.劍仙傳奇
6.男性尊嚴攻防戰
7.探功德
8.藍色的海邊
9.愛情青紅燈
10.加味人參姑嫂丸
11.缺乏交際能力
12.甜蜜的倫巴
13.紅龜粿
14.壞鐵仔賣
15.後記


1.農村出事情


有什麼理由　有什麼訴求　起毛不爽　放屎放不出　說出心裡的煩惱事
別再龜龜毛毛　假假仙仙　怕會出事情
為什麼怨嘆　為什麼賭爛　喝到巴拉松　哭都哭不出　親像海浪在浸海埔
就是雞雞巴巴　挈挈還環　海賊假抓魚
阿爸流鼻血　阿媽不害臊　領錢大家來相擠　果子在生蟲　濁水米嘛來幫忙
台票堆的滿山青紅　吃飽一頓　運命有光
沃落鄉土三點半　田園浸水肥　西瓜討賺不輕鬆　乎咱主人吃不空


2.沾到黑油的肉鯽仔


白色身影從我身邊游過　讓我想起你說的話　閃爍的光線
為何找不到來時的路途　憂悶天興乎心情一直振動

過去和未來都沒希望　站惦鐵軌旁邊轉頭分不清西東
關惦監獄內　判刑來受罪　想起當初的糊塗　踏錯誰人無
滿腹的辛酸　寄出最後一封信　不願耽誤你的青春　這是分手的時候

有錢人講話大聲　萬事佔贏　假情假愛　受人尊重是一條龍
沒錢人誰會瞭解他的目屎　他的無奈　每日為錢賭性命

坐車到土城的我　像沾到黑油的肉鯽仔　肉鯽仔　沾到黑油的肉鯽仔


3.詛咒


為什麼不行拿我的懶叫來輸贏　不識字兼沒衛生
為什麼不行拿我的懶叫來詛咒　沒水準兼沒讀書

黑又臭的屍體丟在你家溪溝裡　沒穿衫兼沒穿褲
垃圾車裝著你我早熟的青春　骯髒吃你就骯髒大

臭腳　癢啊癢啊

爛痘仔　癢啊癢啊
轉載來自 ※Mojim.com　魔鏡歌詞網
富貴手　癢啊癢啊

過敏　癢啊癢啊
沒洗頭　癢啊癢啊(為啥這麼癢、實在有夠癢)
大肚子　癢啊癢啊(一輩子在癢、跨下也在癢)
流鼻水　癢啊癢啊(菜捲有夠癢、豆皮擱卡癢)
香港腳　癢啊癢啊(奶頭嘛在癢、馬眼跟人癢)


4.老人失蹤


社會局不承認老人已經失蹤　廁所的屎沒沖市長在抓狂　大馬路破洞
養鬼害死人　豬母生病　醬油潑在三角褲　媳婦討客兄被兒子抓去揍
銀行總經理飆車跟人相撞　倒人會仔錢　準備欲跑路　保險費沒繳
破病沒人倘照顧　這是一個黑暗的所在　讓人分不出好壞　暗暝矇
不小心會來失蹤　若走失蹤
富貴盡人命落　找不到老人又一冬　政府改善的腳步真沉重
樓下垃圾堆這麼多天　得到皮膚病　屁股生蛔蟲


5.劍仙傳奇


是刀劍　還是慧眼　翻雲覆雨在名利之間那快樂和悲傷頓時化神龍空天
好深的內功　小弟甘拜下風　令人眼花撩亂　赤膽天罡劍
身形掠過天權　劍化繁星萬點　掌氣一吞再吐　騰身疾如閃電
你閉目等候　我卻無路可退　身手名不虛傳　達到借物傳力純青境界

一生狂傲卻來不及出招　因為你的眼睛已經
看穿這陷阱　當心中產生一種說不出的恐懼
才知道 "人外有人　天外有天" 的道理

意轉氣隨之際　妖孽真火相遇　舞起的勁風　狂殺路上行人絕跡
落在二丈之外　血影無所遁形　全身力道失盡　露出可乘之機
最後請求你　想丟根毛在水溝裡　讓這浪得虛名　隨流水潺潺裊不停


6.男性尊嚴攻防戰


心捻躁　想拿石頭敲老二　把這組沒擋頭的爛趴敲乎破　為怎樣?
你母仔要放棄你爸　穿拖鞋到西藥房四處逛　惦我面前　笑我是一隻軟腳蝦
回去眠床上　又嫌我爛鳥未起叛　拜託師傅阿　別在那裡剁磚頭　快救我一命阿
我實在見笑做一個男人
錢不嫌多　傢伙沒人嫌大　腰酸背痛　工作拼輸少年家　精門鎖不密　精水卻一直漏
人說工具勇健　是家庭幸福的溫泉
人生是黑白　每天被美妻瞪白眼　腦神經衰弱　卡輸來判無期徒刑
別人過五關斬六將　還有能力放火搶銀行　我剩一隻傻爛垂垂
在廁所門口賣衛生紙　盼望天公可憐我　給我一次自新的機會
我忍受不了這種黑暗沒自尊的日子　這隻傻爛你給我爬起來
九九神功　千年絕招武功　不怕艱苦　重振男性威風　衝破難關　發憤圖強
萬里路途府前豪氣壯
有反應了　師父　我的眼淚滴在碗公里面　入刀山　踏遍滿地的神通
證明阮猶原是正港的大英雄


7.探功德


初戀愛人根人走
一隻爛鳥硬邦邦
無論是颱風天下雨天日時暗暝
心裡想要幹
沒有一次吃到妹妹的碗粿
百善孝為先
三杯清茶敬神明
祝福一路順風
口袋一支起子
去老師他家搶補習費
鬧家庭
結流行
四界選愛情
無守本分跑酒家喊拳


8.藍色的海邊


藍色的海邊　想像著對你的依戀
模糊了世俗認同的界限
留下一片一片靈魂在身邊
點點的思念
編織成粗糙的畫面
保留著人獸交戰的空間
還有一聲一聲的淫蕩在耳邊

讓我倆看著夕陽
奔向大海
轉載來自 ※Mojim.com　魔鏡歌詞網
淪落在天涯
就好像拋開心中罪惡的枷鎖
我已不寂寞

讓神秘世界變得更加清晰
徜徉在這熱情的海浬
卻不管生命還有多少憂傷
盡情享受閃耀的太陽


9.愛情青紅燈


腳步剛才趕過一盞青燈
美的醜的短短一點交會
時機來是一盞一盞青燈
時機壞去是一盞一盞紅燈
愛情現在挈惦一盞紅燈
我的等待是潑落的硫酸雨
請你安奈我黑淥淥的鼻孔毛
十字路口　親像親像對我講
偷摸柳丁　射出牛奶
目睛放亮　勿失良機
愛情愛情青紅燈

對她唱著一條一條情歌
等會收到一張一張紅單
我的所愛是你的排骨便當
兩片交通　想要想要對我講

轉載來自 ※Mojim.com　魔鏡歌詞網
懶的吃煙　偷闖紅燈
把無七仔　問你阿嬤
愛情愛情青紅燈

世間冷暖親像一段一段不確定的愛情
男男女女喝著一杯一杯無糖的咖啡
夢中叫著愛人的名字
手中拿著淋血的傢私

阿標大哥
阿標大哥
事情不好了
寂寞風中傳來昨夜暝床的不幸
夢中叫著愛人的名字
手中拿著淋血的傢私


10.加味人參姑嫂丸


想不出來啥米所在給我心裡這麼大悲哀
放在冰箱那罐蘆筍汁是你爸送我的所愛

茫茫街燈照落三更時　血路不順體質是空虛　淒冷風　肝氣鬱結在丹田之內

偎在窗邊　火車傳來你的消息　不情不願的
來　沒說一聲惦惦離開
聽到笑聲　神經過敏走到床邊　慕情的歌詞
轉頭看你在吃麵

來　來　來　來一粒姑嫂丸　給我青春　給我快樂

面色黃酸　失眠厚夢　整日頭暈目暗　配合醫
生診斷　對症下藥　卻引起副作用
含露牡丹形影放未離　小便臭味會癢還會
轉載來自 ※Mojim.com　魔鏡歌詞網
熱　恨世間　誰人會知自古薄命女人心

偎在窗邊　火車傳來你的消息
不情不願的來　沒說一聲惦惦離開
聽到笑聲　神經過敏走到床邊
慕情的歌詞　轉頭看你在吃麵
來　來　來　來一粒姑嫂丸　給我青春　給我快樂
可愛的　閃亮的　大方的女孩你在哪裡
我樂切地呼喚著太陽下你的背影
好想聽聽你的聲音
彷彿是一場甜蜜的夢
來　來　來　來一粒姑嫂丸　給我青春　給我快樂


11.缺乏交際能力


告訴你我置身的境遇　世紀末主題有人類的
冷漠和迷惑　信心已擺脫　是混亂的邏輯
不必找尋眼前事件的意義　沒有象徵只是大
眾喧嘩的榮譽　界線並不清晰　漫無人影

齷齪與血淚中貪婪矇蔽　被遺忘的契機　意識
型態的先知滿足空虛心靈　卻消失了方向

氾濫語言淹沒了我的聲音　生存之道是妥協
非奇蹟　我獨自眺望著遠處的街道　喪失溝通
的存在　苦悶而美麗　在這冷冷夜裡(規範年代)

恍惚經驗中是否能回憶過去的夢　支離破碎
狀態中　無能的文化只能給我一些數據　強迫
回應的方式


轉載來自 ※Mojim.com　魔鏡歌詞網


12.甜蜜的倫巴


若是可以乎我走入你的夢　請你聽我講話　親
愛的媽媽　別再相信股市專家　多頭市場若是
可以煮來吃　放屎都是香
若是可以乎我進來你的盤　讓電子琴聲來稱
讚你的靈魂　震動的小腳步　滲著階級鬥爭麻
痺的力量　甜蜜跳倫巴

你早應該帶我豬腳來跳舞　你咁知影我的心
內在等待　你的老爸怎對待我不甘　你咁知影
我的心內在感慨　這款老爸　這麼無效

我相信我的豬腳不會放過你　你唔通對我跳倫巴
從今以後你就別吃豬肝　是不是只有夢一攤


13.紅龜粿


日頭已經將要落西　姑娘和我還沒認識戀夢小馬車　親像偉士牌
我做你的排氣管　你做我的土豆油　我要跟你認識認識
外面下雨要做颱風　孤鳥雲頂誰攏不知　紅燈
閃爍　黑雲白蒼蒼　老大抓去籠仔內　老二躲在
屁股內　誰人出去搖擺搖擺

檳榔好年東　長壽氣味永遠相同　經過這麼多人　紅龜粿已經送給別人

邊笑邊偷內衣　為了氣氛放火燒機車　寶貴的
青春　龜頭去撞壁　十五六歲就轉大人　十七八
歲殺死別人
比你老爸擱卡厲害　拖拉庫的司機真歹　要看
姑娘要摸雞巴　三年五年　撐著雨傘　不要我的
流血痔瘡　不要我的紅豆甜粿　我要和他
GOODBYE GOODBYE


14.壞鐵仔賣


壞鐵仔賣　報紙賣　報紙簿仔紙拿來賣　權狀拿來賣

課本拿來賣　三民主義五權憲法拿來賣
壞鐵仔賣　報紙賣　你家的錄影帶拿來賣　老二割來賣
蛤仔肉挖來賣　三更半夜小姐你要跑去叼位賣?

(口白:用小黃的綠豆屎治療受傷的龜頭)

壞鐵仔賣　報紙賣　報紙簿仔紙拿來賣　電話拿
來賣　冰箱拿來賣　乾脆咱來跳樓自殺死死去
鉛筆拿來賣　手錶拿來賣　你家的破銅爛鐵拿
來賣　壞鐵仔賣　報紙賣　報紙簿仔紙拿來賣


轉載來自 ※Mojim.com　魔鏡歌詞網


15.後記


一爐香火萬家香
渡男渡女渡子孫
獻紙獻錢買路過
草埔路上亦好走
空空瘋瘋落仙界
奈何橋上笑咳咳
畜生也懂修行路
奉勸大家在升時常唸彌陀佛
黃泉路上仙童護
轉載來自 ※Mojim.com　魔鏡歌詞網
寸寸報分明
金童玉女入宮來
保庇眾生永無災
想要捧一碗黑輪湯來喝
想要含先生娘的棒棒糖
一夜的夫妻
等百代的苦楚

濁水溪公社：一場顛覆苦悶的台客革命

在這個苦悶與無聊的時代，還好我們有濁水溪。
 時代進入九零年代，之前風起雲湧的學運在90年野百合和次年的抗議獨台會案、反閱兵廢惡法達到高潮後，開始精疲力衰。
 於是，在校園的一角，想像力略嫌貧乏的我們這些學運份子繼續苦讀馬克斯和苦思學運革命策略。在校園的另一角落，另一群青年卻用他們的上半身和下半身用力以想像力解放一切的無聊與苦悶：他們在地下秘密製作暴力噪音叛客的手工音樂、發行台灣學生刊物史上最骯髒齷齪但又最純真誠實—「誠實」是因為揭露大學生高尚外表底下的種種騷亂慾望---的刊物「苦悶報」、他們在深夜匍匐前進到墳場挖出死人骨頭。然後被台大退學。
 但他們並沒有遭到打擊---如果連時代的龐大苦悶與無聊都不能打敗他們，離開台大又算什麼？
 接下來的十年，他們創造出一支台灣音樂史上在表演形式和歌詞音樂都最具原創意、也是最具有政治意識的樂隊：濁水溪公社。而這不過是繼續發揚光大濁水溪在台大時期的精神與美學罷了。

 濁水溪的音樂質素和音樂美學似乎是典型的西方punk音樂，但他們的靈魂是「顛覆無聊」與「台客態度」。就前者來說，仔細想想，如果你的吉他和歌喉都無法超越那些偉大搖滾英雄，那麼又何必只是成為次級的翻版，或者，何苦在這個苦悶的時代多出一個五月天？還不如去解構傳統對搖滾樂團的想像。
 而所謂「台客」，簡單來說可以理解為「台灣的龐客」，但這更是因為「台客」就是他們的音樂與表演形式的靈感來源，以及他們的生活方式本身。他們深愛高凌風、文夏；餐廳秀的唱歌加脫口秀加喜劇的表演方式也構成他們現場表演的原型；而更多的本土文化中，他們發掘到一種任意混種與自由實驗的精神，譬如電子花車放上鐵達尼號主題曲。正如他們所說：這些台灣本土文化「根本不怕，什麼東西拿來就用，就可以變成自已的東西，然後才有活力。」（參閱Jeph與濁水溪的訪問）
 這在某種程度上是反映九零年代前半期本土化風潮的崛起，在各個藝術領域都開始重視原來被主流體制所制度化歧視為低俗的本土民間文化，並向這些素民文化取經，例如劇場界的台灣沃克等。
 這樣的精神所製作出的三張創作專輯，張張足以入選台灣音樂史十大專輯。我們聽見樂曲編排的繁複性、歌曲的動聽旋律性，但是一切又這麼粗糙生猛，完全不像一般台灣樂團的蒼白貧血。在粗俗低級的文字底下，是對於台灣社會邊緣的宣洩，是苦悶青年的幹譙和潛藏的意淫；95年的第一張專輯〈肛門樂慾期作品〉更有許多歌反應他們九零年代初期的社運經驗。
 他們的現場表演更是一刀劃破台灣音樂史。與其說濁水溪是搖滾樂的表演，毋寧說他們是一場前衛行動藝術；無論是粗糙的行動劇，賣藥的台語口白、或是用酒瓶用力敲打戴上安全帽的頭部，都是濁水溪用他們「挑戰無聊」的精神不斷去顛覆表演的界線。
而這一切都在他們的紀錄片〈爛頭殼〉中具體地呈現出來。2001年，兩個政大學生陳德政和毛致新拍攝了濁水溪公社紀錄片作為畢業製作，並由水晶發行。這可能是台灣出現過最好的樂團紀錄片---也可能是唯一一部認真而誠懇的樂團紀錄片？。〈爛頭殼〉不是平鋪直敘樂團成長的溫馨故事，更不是暢銷作品大集合，而是帶我們揭開一個傳奇樂團背後的焦慮與哀傷，以及激動表演背後的理性與感性。後者是因為在影片呈現出濁水溪在狂爆與無厘頭的表演背後，往往是精心策劃----雖然實際演出還是常常擦槍走火，不論是總統府的意外傷人事件、二二八公園表演使其染上惡名的語言暴力，或是「春天的吶喊」的舞台暴動。
焦慮與感傷則是拍片者進入時間恰好是濁水溪精神人物之一「左派」的離團前的幾個月，而使得〈爛頭殼〉深刻地呈現了樂團內部的緊張關係，和團員彼此間的矛盾與無力感。左派沒有在影片中清楚說明離團的理由。但或許從左派表示對又一次去春天吶喊的不情願，我們或許可以理解，即使是濁水溪這樣一個革命性樂隊，樂團生命的延續還是會面臨不斷重複的工作（錄音、演出等），以及無可避免的日常化、形式化與無趣化。
當濁水溪用台客搖滾為我們推翻這個時代的苦悶與無聊時，他們也終將面臨音樂這個武器被無聊這個玩意的內在顛覆。

(本文刪節版刊登於本週出刊的新新聞週刊947聽音樂專欄。
此處所刊登為一刀未剪完整版)

（註：關於濁水溪公社反抗無聊的宣戰書，請見發表在苦悶報上之「致全國青年公開信：花蕊望早春」。關於這篇文章和其他濁水溪資料，都在爛頭殼中有豐富收集。）

我，白領族 我迷「張小盒」

【聯合報╱記者汪莉絹／專題報導】 2007.08.12 02:49 am


大陸白領族現在流行些什麼？看四格的「張小盒」漫畫！

「大家好，我是張小盒，我擅長加班，不擅長追女孩，也不擅長討好老闆。」張小盒的官方網站這樣介紹張小盒的「個性」。大大的方型盒子頭，兩道八字眉，臉上貼著OK繃，天天辛勤加班，為生活打拚—這就是大陸當紅上班族漫畫的主角「張小盒」，也是當前三千萬白領族的「符號形象」。

共鳴…白領族看到自己

去年底，四個在廣州工作的年輕人，在網上推出四格卡通動漫「張小盒」，定位為「上班族漫畫」，透過輕鬆、幽默和自我嘲諷方式，描繪大陸都會白領的職場生活及故事。許多上班族看的張小盒漫畫故事，好像看到自己的影子，會心一笑間，產生一種遇到知音的共鳴。經過網路快速宣傳，大陸白領族間已掀起一股「張小盒旋風」。

故事的主角除張小盒外，還有一些大陸職場裡常見的人物，諸如女同事「莉莉盒」、老闆「VC高」，以及男同事「黃阿狗」。

VC高是白手起家的商人，有時免不了奸詐和刻薄員工，但有時也會心軟，有著大陸中年企業家的各種煩惱。莉莉盒則是愛漂亮、打扮，整天夢想嫁入豪門當貴婦的粉領族。黃阿狗則代表每個職場都會出現的「壞人」，愛貪小便宜，對人講話冷嘲熱諷，很現實和功利，不過，有時還會良心發現，壞中帶點可愛。

盒粉…從北到南人氣旺

張小盒故事的取材，幾乎都是大陸上班族每天會上演的戲碼；對未來懷著一點點夢想的張小盒，現實生活裡總是面對永遠加不完的班，偶爾跟同事發發牢騷，還要絞盡腦汁想方法應付老闆，甚至動動壞心眼。

無論是自嘲打卡機永遠正常或者感嘆自己可能會過勞死，都如同一面鏡子，一針見血地反映大陸都會白領族每天的所見、所聞、所感。

有人形容張小盒是「中國版的呆伯特」（呆伯特，風靡全球的漫畫人物，道出上班族的心聲），而三千萬穿梭在各大辦公樓之間的白領族，人人都是「張小盒」。正因人人都是「張小盒」，激發出強大的共鳴，張小盒漫畫的人氣指數在大陸白領族間快速竄升，從北京到廣州，上海到成都，都有自稱「盒粉」的張小盒迷。

創作…受「呆伯特」啟發

大陸社會學家認為，由於張小盒身上散發出當前大陸「辦公樓生物」的各種特點，白領族很容易在他身上找到自己的影子，從而在四格逗趣、幽默的漫畫中，找到舒緩情緒的出口。

因為，上百萬的「盒粉」多數和張小盒一樣，生活在城市的一個個盒子裡，缺少溝通。

創造張小盒的主創人陳東、彭陽軍和陳格雷，都是廣告人出身。在創作過程中，他們受到美國「呆伯特」漫畫啟發，選擇「上班族生活故事」作為創作內容，因為大陸有一大群上班族，但缺乏一個深入人心的辦公室漫畫形象。

會想到以盒子作為上班族漫畫的人物形象，是因為「辦公樓像個盒子，辦公室是盒子，家也是盒子，車、電梯、文件等一切都是盒子。每個人都在一個個盒子裡生存，所以，人也是盒子」。於是，他們把「張小盒」定義為「一個生活在盒子裡的人，永遠充滿理想，永遠對現實無奈──有理想，沒野心；有個性，沒脾氣；敢想不敢做，敢怒不敢言」，就像在職場中的你和我。

【2007/08/12 聯合報】@ http://udn.com

Va Bene 點子很多的義麵和披薩

【聯合報／記者周立芸／報導．記者蘇健忠／攝影】
與多數平價義大利麵餐廳不同的是，「Va Bene」的menu選項超豐富，算算有23種麵、6種焗烤麵、還有12種披薩。老闆林志豪是個不喜墨守成規，設計菜單點子不斷的6年級生，義大利餐飲科班出身，在西華、遠東五星飯店的義大利廚房待過，還去義大利學廚藝。

他喜歡的麵，湯汁收乾滋味足。只是非常怕油的人還是會嫌油分多了點，不過滿香的。

紅咖哩奶油雞肉麵：這盤麵是東方遇到西方，紅咖哩的神祕與濃醇奶油醬，糾纏出粉紅色的慵懶風味，一盤夏日奇想。160 元

左圖：老闆林志豪不羈的外表，看得出做義大利麵也點子一堆。
右圖：香料小豬義大利麵，豬肉片用白酒和香料處理，蒜片、義大利香料煎香後加肉片燴拌麵條，是人氣麵點。160元

左圖：野菇培根pizza，人氣pizza，中間一顆將熟未熟的蛋像一輪明月，很有詩意。160元
右圖：花生小豬pizza，林志豪在歐洲時曾吃過花生醬+豬肉的三明治，好吃得讓他印象深刻。如法炮製，將pizza薄脆皮塗花生醬，再放以白酒香料醃漬過的豬肉。170元

■店家資訊
‧台北市南京東路5段123巷2弄9號
‧02-2746-8858
‧周日休
‧無刷卡

【2007/08/11 聯合報】