puff 613 NATIVE VOICE: 1981 AND ALL THAT

NATIVE VOICE: 1981 AND ALL THAT
(in Illusions 26)


















PETER CLEAVE
VICTORIA UNIVERSITY OF WELLINGTON
APPLIED SOCIAL SCIENCES AND
PETER CLEAVE CAMPUS LTD


1981 AND ALL THAT

The production of John Broughton's play 1981 at Taki Rua Theatre towards the end of the 1996 Wellington Arts Festival left me with a number of thoughts, most of them to do with comparative historical perspectives. First of all, what changes have occurred in the context of Maori theatre in Wellington since the production of Broughton's Michael James Manaia in 1991? Secondly, what development has there been in Broughton the playwright as evidenced by 1981?

In 1991, Hone Kouka, for example, was a novice playwright. But since then his work has developed considerably with a succession of increasingly confident plays: Five Angels, Nga Tangata Toa, and Waiora. Much has happened over the last few years and yet 1981 at Taki Rua had a flatness, even a sense of retrogression.

The play takes its basic idea from the fact that the tour divided families and otherwise close-knit groups. Three members of a family are involved. The older brother, Rusty is a police officer in the Red Squad. His brother is a drug-using (and dealing), happy-go-lucky, rugby supporter, a spectator; and the younger sister is a university student opposed to the tour. The plot generated by this division of political interest and labour is fairly predictable with a couple of variations, one involving child abuse and another showing the drift into criminality by the drug dealer, yet another being the discovery that the sister is pregnant.

The most curious thing for this reviewer was the dialogue which was the lowest common denominator throughout. Where Michael James Manaia, as the son of a schoolteacher, was able to be articulate, the characters in 1981 are inarticulate by comparison and much given to cursing, using the word fuck at every occasion. Having said these things, however, the production did throw up a lot of questions about the history of dialogue in Maori theatre and film over the last ten years. Riwia Brown with the direct, clear dialogue of Once Were Warriors which manages to use a restricted code very coherently and Broughton himself with the monologue in Michael James Manaia are probably the finest examples here. But they both reveal how problematic the capture or the projection of a Maori voice is off the marae and in another language. The book Once Were Warriors by Alan Duff makes the most of an interior monologue conducted in a restricted code, the speech code of the pub, and of the street gang.

Whatever the fight between Riwia Brown and Alan Duff, she managed as he did in the book to coherently use a restricted code. It may be the case that the novel form allows for more reflection so that Duff's characters, particularly Jake Heke, are not as cliched as Brown's. Of particular interest is the rejection by Jake of Maori culture. This seems set to happen in Brown's script but it doesn't eventuate. Jake is left alone with his rage at the end. He has not degenerated into a homeless wretch as he does in Duff's book. The great artistic value in Duff's work is that he positions Jake between the native world and the outlaw world. Jake opts for the latter. Beth opts for the former. Jake is left a wretch, homeless. But there is a sense in the novel that Jake lives by his own lights until the very end: this is a voice of resistance to all forms of recognisable authority. He rejects the mix of nativism and social work which is served up to him in his own home by his own wife and children. He keeps a shred of outlaw dignity/identity even as his humiliation is complete.

There is rather more to this than the dignity or otherwise of the outlaw although Jake is not sophisticated enough to articulate the positions involved which form a kind of weight that is in the end too hard for him to carry. He is caught in something of an identity trap, what I have elsewhere referred to as a sovereignty game.

Lawrence McDonald in Illusions 25 suggests that Alan Duff, the author of Once Were Warriors is caught between a crude 'cultural deprivation' position from the 1960s and a cultural nationalist or at least a cultural revivalist position.

Position One involves the idea that Maori parents do not provide suitable home conditions for their children to be successful in the acquisition of 'legitimate' school knowledge and 'legitimate' school culture in general (McDonald 1996:22 - his inverted commas).

Position Two is put by Riwia Brown in an attributed quote, 'Heke family was a family in crisis because of a lack of Maori identity. I wanted to show that but also give hope with Beth and her children finding their identity as Maori'. (Te Puni Kokiri Newsletter 1994:5).

These are the positions as set out by Lawrence McDonald who, citing Roy Nash, qualifies Position Two by saying that it remains a deficit theory in that 'If Maoritanga is identified with Maori culture then those who do not possess it (and who may not wish to acquire it) are culturally deprived' (Nash 1983:56). And here, I have argued above, we find Jake Heke.

Before returning to Jake and the cast of 1981, Rusty and the others, let us stay with a consideration of these two perspectives of identity. These may be gendered spaces if not in the book then possibly in the film. McDonald draws on mateship, Jake’s world and kinship, Beth's world using a distinction employed by Bev James and Kay Saville Smith (1989). Given Riwia Brown's screenplay and Lee Tamahori's direction the film 'Once Were Warriors' puts the world of kinship directly into the universe of cultural revival. This fits with a number of slogans such as whanaungatanga kinship, relatedness first seriously employed by John Rangihau (1975). And there of course is the rub - Rangihau, as a male, orchestrated the whanau based approach while Whina Cooper and other women were as strident as Alan Duff is now in his editorials on the need for Maori to be better parents for the needs of today's world.

There is a mix of feminist ideology with state policy here, the kinship world, the 'female' world, the whanau is endorsed by the Children and Young Person's Service with its emphasis on Puaoteatatu the policy statement by John Rangihau and others of 1986 and family group conferencing. There is also the policy on adoption which encourages the rights of the whanau. Duff as an ex ward of the state is struggling with this. There has also been the corporatization of kinship as in the Tainui and Ngai Tahu Trust Boards. You need kin to make money out of fish, trees, the elements as well as from the social contacts, the Treaty and all the other promises remembered by the tribe. Sir Robert Mahuta and Sir Tipene O'Regan have lead this side of the whanau-hapu iwi revival and to suggest that this area is female dominated or even not wide open to manipulation by Maori males as agents or co-opted actors for the state would raise the ire of Annette Sykes as well as that of Alan Duff. As McDonald implies Duff's editorial columns and 'Maori, the Crisis and the Challenge' 1993 are clearly positioned against the imagined pitfalls of cultural revival while the novels, 'Once Were Warriors' and 'One night out stealing' are ambivalent or open to double or even multiple meanings (McDonald ibid 19).

There is an addition to the mix in form of Maori feminism. Cheryll Te Waerea Smith (in Murphy 1994) argues that Maori society is being split at least two ways. Males are being sucked into the interface between government and the tribe which compromises their position and females are leading in the politics of the village, on the home front. The latter includes kohanga reo, kura kaupapa and wananga, the local educational project as well as the domestic economy. A second split is between those caught in the 'cultural cage' of Kapa haka and cultural performance and those who are engaged in political protest. These splits fragment the Maori voice just as they give it texture.

Despite McDonald's uncritical acceptance of the easy divide offered by James and Saville Smith between male 'mateship' and female 'kinship' we can return to the consideration of voice and dialogue in Maori theatre and film enriched by the idea of gender. Given the influence of Robin Scholes and Riwia Brown in Once Were Warriors there is a strongly gendered voice which calls out in a hundred ways for kinship support.

But from the point of view of Jake or even Rusty in 1981 these calls for support are appeals to a seriously flawed sense of authority, the higher, moral ground of the whanau. In Jakes case he looks distinctly pale around the gills as Beth waxes lyrical about her own whanau when they go for a drive to ostensibly visit their son Boogie. As McDonald (ibid) points out this scene is a break in the intense socioscapes of the Heke home and the pub. Jake remembers only that they shut him out, treating him as a descendant of a slave. He then reacts by going on a binge with his mates first at the pub and then bringing them home where his daughter Grace is raped, in her bed by his mate, his 'brother', Bully. This is turn leads to Grace, his daughter's, suicide which leads to Jake attacking Bully with ferocity. The film ends after this 'fight' with Jake sitting outside the pub, his family going home without him clustered around Beth his (former?) wife and Bully, broken and beaten or dead lying on the floor inside. One imagines the police are on their way.

The whole latter sequence of the film is sparked then by a reflection on the nature of the whanau. Rusty in 1981 has his own similar negative memories - in his case it is sexual molestation as a child by his Uncle Tip. It is hard, in May 1996, given the media attention, to disassociate this with the recent sentencing of the South Auckland serial rapistÕs father for sexual molestation of his own son and daughter, the idea of a web of dark shapes rather than a shining light at the heart of the whanau seems widespread. It is even difficult to get rid of the image of Bully leaning over and coming down upon Grace this being the most potent representation we have of this sort of thing. To get an idea of the silence around sexual abuse/(forced) incest one has to look hard for references to it in the researched area of Maori society. In his book on Whina Cooper Michael King mentions the problem with respect to housing policies and thats about it. The policy emphasis has been the other way - Puaoteatatu called for the return of control to the whanau and in many respects the Children and Young Persons Act have gone along with it. '1981', the play gives a negative view from the point of view of Rusty a Maori policeman to sit alongside that of Jake Heke.

There is, I suppose, the tribe and the state, the local culture and the system that is meant to transcend the local, the tino rangatiratanga and the kawanatanga. Beyond these two are lawlessness which Jake Heke finds most acceptable.

The narrative of the play '1981' proceeds within the wider sequence of events. The springboks arrive, they play rugby, there are protests, the rugby continues, the protest escalates, the rugby wavers at Hamilton where the game is called off and then carries on with much police protection and even more daring acts of protest until the end of the rugby, the fourth test at Eden park. To abstract this we could say that the authority of rugby is asserted (with the arrival of the Springboks) that authority is challenged by the protesters, the authority of the state is called into question, of law and order, that authority wavers at Hamilton and is then reasserted for the duration of the rugby. What kind of story is this? The Springbok Tour story is a story about the cause of the native. The native is, directly, South African, the South African Black. Indirectly the native is the Maori of Aotearoa. These blur, overlap and, toward the end of the tour get downright messy. But the concepts native, as in African or Maori and outlaw as in the African National Congress then outlawed/banned in South Africa and a gaggle of local organisations such as H.A.R.T, M.O.S.T, the Mongrel Mob and the Black Power who are virtually outlawed in Aotearoa, these concepts are pivotal in any narrative of the tour.

Bringing this back to the play the policeman has a restricted 'I'm just following orders' voice. He falls into a 'dumb cop' or 'dumb soldier' routine or, manner or code. The spectator falls into a 'dumb worker' or 'dumb crook' role. This leaves the female student to be the loose verbal canon, the 'lippy' one, the free range critic. It is interesting that the word 'lippy' has survived Alan Duff's book 'Once Were Warriors', Riwia Brown's film treatment and several critiques of the film. In this culture it ranks alongside 'stirrer' as a pejorative. It means to engage ones tongue before thinking before 'getting it right', before getting the authority situation worked out.

The monologue is an interesting way of telling a story employed in 'Michael James Manaia', 'Mauri Tu' by Hone Kouka, 'Once Were Warriors', 'The Piano', 'An Angel at my Table' and, as a fantasy diary kept by two teenagers in 'Heavenly Creatures'.

Grace Heke keeps a diary which 'tells on' Bully within Jake's monologue. This is talking it out inside yourself. It relates to but is not the same thing as getting 'lippy'. It is all very internal and self referential.

Looking out, at American films of the 1970s influential in the decade before the tour we have 'Tell them Willy Boy was Here' which challenges the equation of the native and outlaw in the tradition of the American 'Wild West'. We also have 'Chato's land' which goes further and suggests that the native is not only not an outlaw but given local knowledge likely to win in any conflict. The parallel here is with the 'natives' of Vietnam. Note that the natives in these American films do not talk a lot. They do not philosophise or reflect on greivances. Charles Bronson as Chato acts, he does not engage with voice.

Hard on the heels of the Springbok Tour we have the story of the land wars told in 'Utu' of 1983. The film takes a lot of time early on to slow the crossing of the native from the side of the state to the outlaw condition. The film is an elaborate criss-crossing (and even, perhaps an obscuring of this line) with the conclusion showing Te Wheke's cousin who had chosen the side of the state claiming the right to execute, to finally punish Te Wheke.

Between Utu and Once Were Warriors in the local history of film and theatre there is a play by Stephen Sinclair 'Caramel Cream' (c.f. Cleave 1991) which has several interesting features - a nativist Maori criminal, an anti nativist Pakeha criminal both male 'mates' and a female Pakeha social worker who falls in love with the Maori criminal. These two use the nativism of Maoritanga as a shell or a mask behind which to hide a mess of problems. She, like the Maori female student in 1981 or Beth in 'Once Were Warriros' is articulate but powerless, the free range antic, the lippy one who talks without authority. The elliptic moral code of the criminal makes for a restricted speech code between the two males which does not allow the womanÕs voice to penetrate. This happens in Once Were Warriors, when Beth comes into the pub all inside brace themselves for a discordant voice. In his own twisted way Bully is punishing Grace for talking back to her father. The Pakeha is voiceless in this situation as per Trambert the neighbour of the HekeÕs in 'Once Were Warriors'. As McDonald (ibid 18) points out this is a matter of social space but the neighbours simply don't talk, they donÕt have a shared code. The white male, Trambert, is not only not 'lippy' he simply does not engage with voice.

In 'Once Were Warriors' the book and film the role of the native is challenged I think, through a conversation, an argument, a tiff between Beth and Jake. In the film the challenge takes place with the drive in the countryside where Beth tells her children of the idyllic home place, the wa kainga and Jake rejects this. In the book it is more explicit and is a deepening undercurrent growing until the end. It is not only the whanau that is challenged, it is the so called higher moral ground of nativism.

The idyll of the heartland, the homeland, the wa kainga is a countrywide matter as the popularity of Gary McCormick's 'Heartlands' documentary shows. In BroughtonÕs play the idyll is threatened. The revelations that marijuana is being grown in or near the urupa, the burial ground and that sexual molestation of young people has been done by a 'kindly' uncle threaten the idea of innocence in the home garden.

There is a convention that the people at home, the locals, the true, salt of the earth natives can accurately process information, they sort things out. There are proverbs that ask people to go back to their mountains to be cleansed by the wind. This convention is followed in the anthropology of Anne Salmond, the history of Judith Binney and the writing of Riwia Brown or Witi Ihimaera for whom the native seems to have a kind of transcendence but not, or not necessarily in the writings of Alan Duff, Lita Barrie (who eschews the idea of women as natives, as earth mothers) the history of Francis Pound or the anthropology of, say, Steve Webster.

Dialogue is interesting in this history and context. Riwia Brown in Once Were Warriors and Broughton himself with the monologue in Michael James Manama probably get the prizes here. But they both reveal how problematic the capture or the projection of a Maori voice is. The book Once Were Warriors by Alan Duff makes the most of an interior monologue conducted in a restricted code, the speech code of the pub, of the street gang.

As Lawrence McDonald has pointed out, the film is highly internal. McDonald argues that the film is 'broken' by a road sequence. The irony in this is that Maori as a communal, highly social culture seems to be best represented by high degrees of internalisation’s. Interestingly this 'model' would seem to fit with the recent set of acclaimed local films - The Piano, An Angel at my Table and Heavenly Creatures.

A large number of questions arise out of this. If there is a culture and genre of internalised experience, is it appropriate to divide it up along ethnic lines simply because the actors have different ethnic backgrounds? This might be a beginning of a set of questions about 'national personalities' and appropriation. Within or alongside these questions is the matter of ethnography and representation. On the one hand we have Ihimaera's early work, say in Pounamu, Pounamu, where the individual is subsumed by the small group, the whanau. This fits directly with Barry Barclay's Ngati. Communitas rules. Barclay could not handle the highly tailored individuals in Te Rua but Tamahori, three years later, gets it right in Once Were Warriors, using an outlaw mode - the film fits with Romper Stomper and Metalskin. The subtext is not community but random violence. KubrickÕs A Clockwork Orange is not far away. Jake's boots look like Alex's boots. The culture of the alienate rules not the culture of the citizen. Jake rejects Maoritanga, he rejects communitas. He accepts and embraces the rush: 'Ya having a good time bro?' The parlance of getting everyone up where they belong is very much his.

This gives a twist to the eurovision found elsewhere. The existential alienate has gone elemental - Ada in The Piano, Jake in Once Were Warriors, the teen killers from Cashmere in Heavenly Creatures, Baines in The Piano, the road warriors in Kingpin and Mark II, the Mike Walker films which Lawrence McDonald rightly points out are highly influential in all this - all these protagonists are going back to basics or baseness. This has meant that the voice in this set of representation is as to oneself - it is often in a monotone, it does not 'paragraph' easily, it is a stream of talk if not consciousness - it has an unmediated feel, it is not crowded, it is at the frontier of the self and this, I think is a large part of its appeal locally and overseas.

There is a range of options in Aotearoa within what might be called a native-revel complex. Some actors, Bruno Lawrence for example, portray a rebel type. This type draws on the 'man alone' idea set down in John Mulgan's book of the same name. As Sam Neil says in 'A cinema of Unease' (1995) his generation didn't read it. Thats a pity really because Mulgan sees a group of Maori at the end - they are like gypsies, like Christopher Perkins' painting 'Maori Meeting' (1932-4). They can't talk to Mulgan nor he to them. Michael James Manaia is alone. So is Rusty in 1981. So, in his way, is Jake Heke. Like Sam Neill or John Mulgan Jake and Rusty can't talk to the ethnic cast, the whanau. Michael James Manaia, Jake Heke and Rusty are cries of rage. But the alienation frames, the cultural traps of the pub, the fight, the party, the brawl, the baton charger themselves form a kind of cultural safety - at least a man knows where he stands even if he is alone.

But in 1981 Broughton has gone for the group. It is probably fair to say that the individual angst of Michael James Manaia, apart from being a very hard act to follow, is a more suitable project for Broughton than the type of period piece that 1981 aims to be with its attempted representation of a fairly wide sample, or widely separated sample, of people. While the three characters all seem to scream a lot and all seem to yell all the time the play does break away from the monologue, it doesn't take true native option, in fact it opens up a critique of the wa kainga the home place through a set of explorations and conversations between characters, a critique that Jake Heke, too far gone with blind rage could not effect. At the same time Broughton does not fall into the endless whakapohane of Dunn Mihaka (someone who was engaging in criticism of his own ethnic group and the idea of the native long before Alan Duff). The characters and the play are voicing their way, very, very slowly through their own din towards the light.
BIBLIOGRAPHY

Cleave, Peter (1991) 'Revising the Warrior' in Illusions 17?
Duff, Alan 'Once Were Warriors', Tandem press, Auckland 1990.
James, Beverly and Saville-Smith Kay. 'Gender, Culture and Power', Oxford University Press, Auckland 1989.
Kouka, Hone 'Mauri Tu'. New Zealand Playwrights Series (ed J Thompson).
McDonald, Laurence. 'Film as a Battleground: Social space, gender conflict and other issues in Once Were Warriors'. In Illusions 24 Spring 1995:15-23.
Murphy, T. 'Mano Pumaomao', Taranaki Polytechnic 1994.
Nash, Roy 'The Evolution of Contemporary Policies in Maori Education', in 'Schools can't make jobs', Dunmore Press 1983:56.
Rangihau, John. 'Being Maori' in Te Ao Hurihuri (edit. King) Hodder and Stoughton 1975.Catalogue
Last Gasp Cafe 29
Two songs in C. Long Black Jar and Colin both composed and performed by Peter Cleave

Last Gasp Cafe 28
Two songs composed and performed by Peter Cleave.Red Bus and Long Black Jar. Chords on Red Bus have a structure! Recorded on the Wetlands.

Last Gasp Cafe 27
Two songs performed and composed by Peter Cleave.You're Free, Red Bus. Recorded

on the Wetlands.
Last Gasp Cafe 26
Two songs composed by Peter Cleave. We got lucky, Idol. Recorded on the Wetlands.

Last Gasp Cafe 25
Two songs composed by Peter Cleave. Red Bus, Lady so Far. Recorded on the Wetlands.

Last Gasp Cafe 24
Two songs composed and performed by Peter Cleave. Idol and You're Free. Recorded at the Stomach, Palmerston North

Last Gasp Cafe 23
Two songs composed and performed by Peter Cleave. Long Black Jar, You're Free. Recorded at the Stomach, Palmerston North




Composed by Peter Cleave. Bass by Leo Cleave. Guitar and vocal by Peter Cleave. For Paula Miranda for her role as Mia Hill in Perfect Stranger

Sweet Killer Love

Sweet Killer Love

Come from the stars above

You smile

The devil is in your detail

The devil is in your detail
\
You walk into the market

Hand up on your hip

You look

The price is way too high

The price is way too high

Sweet Killer Love

Sweet Killer Love

Come from the stars above

You smile

The devil is in your detail

The devil is in your detail

You touch the base of your neck

You set your shades down on your nose

You look again

Who are you waiting for?
Who are you waiting for?

Sweet Killer Love

Sweet Killer Love

Come from the stars above

You smile

The devil is in your detail
The devil is in your detail

Moving right along now
Looking down the line

Who will take you home?

Who will take you home?

Sweet Killer Love

Come from the stars above

You smile

The devil is in your detail

The devil is in your detail


puff 532 Last Gasp Cafe 22

Concert for gold diggers, claim jumpers, future super stars, foxes and trout. 女子高生 Two songs composed and performed by Peter Cleave Concert for gold diggers, claim jumpers, future super stars, foxes and trout. 女子高生 Two songs composed and performed by Peter Cleave: Johnny Rockaway and Red Bus

Johnny Rockaway
For Johnny Rockaway
The gangsters came to play
To throw a rose
into the grave
of Johnny Rockaway
Brando on the screen
so high on his machine
waves a hand to all the fans
along the way

Wear your hair up high
Turn your collar to the sky
No surrender
No sweet goodbye

(guitar break)

For Johnny Rockaway
The gypsies came to pray
to light a bonfire
at midnight
for Johnny Rockaway
Bardot on a motorbike
The chrome so bright
so lost, so lost
in her shades

Wear your hair up high
Turn your collar to the sky
No surrender
No sweet goodbye

Johnny Rockaway
loved Jimmy Dean
the Dodge, the De Soto and the Galaxy
Go Johnny Go ,
Go, Go said Chuck,
the American King,
Johnny Rockaway





Red Bus
On the Red Bus
nothing seems to matter much
say what you like or what you don't
the bus runs on

she was a claim jumping, gold digging future super star
I sold cars on Saturdays

we met on the Red Bus
where nothing seems to matter much
say what you like or what you don't
the bus runs on
and on

she was a city girl and a foxy trout who left nothing out
I was a valley boy

we talked on the Red Bus
about anything that came to us
about life after life after life
and the bus ran on



trout 女子高生 red bus marlon brando bridgette bardot chuck berry gypsies cars gangsters

puff 531 Last Gasp Cafe 21 女子高生

Concert for the Batcave 女子高生Two songs composed and performed by Peter Cleave: Broken Road and We got lucky



Robin catwoman 女子高生 broken road ring moon cat cream bubbles bath
We got Lucky

It was all over before it had begun
it was good night nurse on the midnight shift
it was red, red wine, blue bubbles in the bath

we got lucky
there was a ring around the moon
we got lucky
and we slept till noon
gave cream to the cat
and that my friends was that

It had just begun when she said she'd won
so it was lights for the tree and wood for the fire
candles, blue bubbles in the bath

we got lucky
there was a ring around the moon
we got lucky
and we slept till noon
gave cream to the cat
and that my friends was that



puff 530 Last Gasp Cafe 20 女子高生

Concert for the Black Hawk 女子高生Two songs composed and performed by Peter Cleave: Johnny Rockaway and We got Lucky.



black hawk 女子高生 cat cream bath bubble red wine marlon brando gypsies gangsters pray hair high collar sky

puff 529 Last Gasp Cafe 19

Concert for Spiderman 女子高生 Two songs composed and performed by Peter Cleave: Long Black Jar and Johnny Rockaway



Spiderman 女子高生 long black jar picture wall hall no surrender sweet goodbye

Long Black Jar

Saw your picture on the wall
thought I heard you in the hall
put flowers in a long black jar

Now I'm playing such a sad guitar
and I'm wondering where we are
o darling talk to me

talk to me about the way things used to be
don't talk about setting me free

Thought I heard you in the driveway
Thought I felt you behind me
but there's only one person here
puff 514 Last Gasp Cafe 18
Two songs in new keys. Another concert for Mary J Blige. Long Black Jar and Idol. Both songs written and composed by Peter Cleave




idol maryjblige peter cleave last gasp cafe long black jar ghosts
Idol
It was just a wish
From high on a wish list
but it had to be you
cos you are so fine

And the idol smiles
there is a door in the wall
the traffic stops
the rain begins to fall

Latrice and Labelle
are lost in LA
But they find a sign
meant for you and me

And the idol smiles
look out the window in the wall
The traffic stops
the rain begins to fall

Way on down the hall
Uncle Phil is asleep
You whisper to me
about Dragon Ball Zee

And the Idol smiles
it is written on the wall
the traffic stops
the rain begins to fall

puff 470 Last Gasp Cafe 17
On the deck...Idol and Broken Road for the Goo Goo Dolls...concert by Peter Cleave

puffshop
女子高生
Idol
It was just a wish
From high on a wish list
but it had to be you
cos you are so fine

And the idol smiles
there is a door in the wall
the traffic stops
the rain begins to fall

Latrice and Labelle
are lost in LA
But they find a sign
meant for you and me

And the idol smiles
look out the window in the wall
The traffic stops
the rain begins to fall

Way on down the hall
Uncle Phil is asleep
You whisper to me
about Dragon Ball Zee

And the Idol smiles
it is written on the wall
the traffic stops
the rain begins to fall

Last Gasp Cafe 16 Two songs for Green Day



Last Gasp Cafe 15 女子高生
Concert for Donnie Darko. Long Black Jar and You're Free composed and performed by Peter Cleave
long black jar you're free ana carolina reston green day

puff 291 Last Gasp Cafe 12 Will there be Fox in the Metaverse


Will there be Cher in the Metaverse? Roaches? Peter?

puff 290 Last Gasp Cafe 11 Two songs for the Astrochick



Puff 285 Last Gasp Cafe 10- Upstairs Studio Concert
Long Black Jar
Colin


Last Gasp Cafe 9
A concert for the Metaverse



puff 281 Last Gasp Cafe 8 A two song concert for Tyra Banks


puff 265 Last Gasp Cafe 5
A concert for Mary J Blige by Peter Cleave featuring songs dedicated to Ana Carolina Reston and Daniela Cicarelli


puff 261 Last Gasp Cafe No 3 For Peter Wheeler
Featuring Colin, To see you is to love you, Nadine...