Word: punks
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...first view, Lonnie Wayne Burke (Griffin Dunne) is a criminal street urchin who almost seems afraid of his $2 handgun. A scruffy pressagent, Manny Alter, played with drooling opportunism by Larry Block, sees the chance to turn Lonnie into a lethal hot property. Decking the punk in a skeleton suit and dubbing him "the Halloween Killer," Manny starts Lonnie on the garish glory road to 27 murders. The tabloids swiftly pick up the scent (THE HALLOWEEN KILLER STALKS JACKIE O.). Smarmy talk-show hosts fawn on him, paperback offers and film rights proliferate, and Lonnie makes big bad bawdy whoopee...
FINALLY, THE DADAIST search for a new language, a more effective means of communication, has preoccupied many twentieth-century artists. In post-modern dance, this took the form of introducing ordinary movements and gestures into performance. Some punk music assaults the listener with a directness and intensity, stripped of contrived "artistic" mediation, that echoes "bruitism," the Dada noise-music that aimed at a forced penetration of our minds and senses...
...mixing typefaces and altering size and scale. Ernst's poster "Dada Zeigt!" (Dada Wins!) uses assorted lettering with unrelated symbols--a rope, a bed, a cow, a housewife. The asymmetric anarchic quality of such compositions also characterizes contemporary New Wave graphics. This aesthetic, which has sprung up alongside of punk music and fashion, is characterized by the juxtaposition of disparate forms, symbols and lettering in designs that often are consciously crooked, random and askew...
...reggae tune and sarcastic lyrics combine to assault both the new punk wave he couldn't tackle and the power pop which threatened to box him in. Between the two, Jackson has staked out new musical territory to accompany his apocalyptic vision of English society. Even when his lyrics border on the ridiculous, he can still harness them in a deeper and more soulful voice. "Someone Up There" does not like him, belying the suggestive title. Jackson finds he cannot alter fate, nor find a rational explanation for his girl's departure. But instead of letting the cliched idea...
Hutton's camera catches all the nuances and real-life minutiae of his characters and settings, from Delaney's pursing of lips and slight cocking of head to the "Wet Paint" sign in the precinct house, to the pink-jacked, clothespin-nosed punk rocker being busted for solicitation. Similarly, the dialogue lends a certain sardonic grittiness to The First Deadly...