The Palm Beach Post from West Palm Beach, Florida • Page 75

r1 4D PALM BEACH POST TUESDAY, JULY 18, 1995 Facing the alternative: Advertisers no longer shy away revolution like in the '60s, only that was a British revolution," says WZZR assistant program director Christie Banks. "This is an American revolution that started in Seattle with Nirvana, Alice In Chains and Soundgarden." In the process, however, radio has rendered the term alternative nearly meaningless or at least redefined it. Suddenly everybody is playing Pearl Jam, Hootie the Blowfish, Live, U2, R.E.M. and dusting off Talking Heads music. Even adult contemporary station WRMF (97.9 KM) is playing Hootie.

(It appears Pearl Jam's Better Man and Ilootie's Hold My Hand are shaping up as the Stairway to Heaven and Free Bird of the '90s.) One current radio industry joke is that these stations' new motto should be, "All Pearl Jam, All The Time." Unfortunately, station bumper-sticker slogans, not to mention similar playlists, have only muddled the picture: WZZR claims to be "The Cutting Edge of Rock" (though it refuses to forsake Pink Floyd and Led Zeppelin); WZTA (ZETA) stands by the banner "Real Rock on The Cutting Edge." WSIIE, an album-oriented rock (AOR) station for 25 years, boasts "South Florida's Rock Alternative," which is as close to the new Buzz slogan "Florida's New Rock Alternative" as the two stations are on the FM dial (103.1 and 103.5). Those changes leave Treasure Coast and Palm Beach County classic rock station WKGR (The Gator, 98.7 FM) and Fort Lauderdale classic hits station RADIO From ID Palm Beach County and the Treasure -Coast. It also added to the confusion as stations scrambled to define themselves, stake out their musical territory, and lure more 18- to 35-year-old listeners the demographic that snares advertising dollars. i-: South Florida radio has finally been taught in the curl of the new sonic wave engulfing radio across the country for the past few years. Stalwart classic and main-, stream rock stations such as WBCN in Boston and WNEW in New York are also among those switching from Journey to the Gin Blossoms.

1 A year ago, about 40 rock stations 2 were considered alternative stations. Today, the number has increased to 90, according to Robert Unmacht, editor of the Nashville-based radio trade publica-; tion Street Journal. "The number is probably higher than that because so many mainstream rock could go either way," Unmacht says. Recent Billboard Arbitvon research in-. dicates that during the past five years stations Billboard calls modern rock stations have in- tteased from 0.7 percent of all rock stations to 3.2 percent, placing them among the Top 10 pop music radio formats for the first time.

"What you see now is another rock i No longer Just an alternative band, Hootie the Blowfish are big fish in mainstream music is becoming important to radio listeners again. For so many years, it was play-it-safe, give-em-what-they'-w'ere- comtortable-with because the research showed that's what people wanted; But now there curiosity and interest in new music and that healthy. This alternative trend has to run out of fuel soon simply because aren't many more markets that can handle another "alternative" station. A greater con cern is whether these new, modern, progressive, alternative bands will be around long enough to keep providing radio, with the kind of music fans want to hear. And if all these bands are now really mainstream, is there any real alternative? "Oh," chuckles Street's Unmacht, 1 he real alternative is polka.

WBGG (BIG 106, 105.9 FM) standing alone, but running to fine tune their playlists and reinforce their images. It may bill itself as "The Classic Rock Station," but as late as last week, the Gator was still playing R.E.M., Talking Heads and Tom Petty, also staples of the new alternative stations. BIG 106, which had switched from an oldies format (remember WAXY?) to classic '70s rock hits only 11 months ago, rallied around "The Hits You Grew Up With," and began expanding its playlist into the '80s with music from acts such as John Mellencamp and Tom Petty. So what exactly is alternative rock? "That's the $64,000 question," says Billboard's radio columnist Phyllis Stark. "The terms rock and alternative are as ambiguous as you can get," says WSHE general manager Gary Lewis.

"It's a license not to be pigeonholed. So we can play Bob Marley, the Wailing Souls and UB40." In other words, "alternative" can mean whatever the stations want it to mean. In fact, some are already backing off the term. "We're first and foremost a rock station and reflective of popular music," says Zeta program director Gregg Steele. "And Stone Temple Pilots, Nirvana, Pearl Jam, Hole, Sonic Youth are all rock music, period.

Not alternative." Street Journal's Unmacht cuts through the radiospeak. "It's mainstream music of a 20-year-old today, he says. "It isn't alternative to anything. No one wants to admit it. There's too much money invested in the changes." (Real alternative rock, industry folks say, can still be heard where it is always heard first on college or high school radio.) Alternative, or not, there has been a dramatic changing of the guard coursing through the nation's rock radio playlists for several reasons: Rock radio became stagnant.

Listeners began belching on a repeated diet of More Than A Feeling, Dark Side of the Moon and Maggie May. The expensive, high tech research revealed "that Bob Seger, Journey and Foreigner sounded dull and irrelevant next to the Gin Blossoms, Spin Doctors and Counting Crowes," says WSHE's Gary Lewis. Record sales don't lie. When a band like Green Day sells six million copies of an album, rock stations can't ignore it. Many new bands featured women, drawing more female listeners to "alternative" music.

Advertisers were finally convinced that the millions of young, counter-culture music fans who turned Nirvana's Smells Like Teen Spirit into an anthem had lots of money to spend. "Advertisers had a (false) perception that that audience was blue-haired, nose-ring-wearing freaks," says Billboard's Stark. The result is an avalanche of refreshing new music. "I like what's happening," says Neal Mirsky, the program director who changed ZETA's format, then left for a classic rock station in Cincinnati. "New I A 7 ill R.E.M.

was once considered on the cutting edge, now their music is played more often on classic rock stations such as The Gator (WKGR-FM 98.7). The powerful ballads of the Irish: banc U2 have always crossed the lines de fining rock. Theaters Today Nota: ALO Indicates assisted listening devices CORAL SQUARE CINEMA 8. 770 Riverside Drive; Coral Springs. (305) 344-8888.

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noon, 2:15. 4:45, 7:15. 9:45 Braveheart (R), 9 'Immigrant' arrives bit contrived HAP ERSTEIN Beach Post Theater Writer The subtitle of The Immigrant, Mark Ilarelik's sepia-toned, rose-colored homage to his Russian 'Jewish grandparents, is A Hamilton County Album. And like the BOYNTON 8 CINEMAS. 2290 N.

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1 1 a.m. Under Siege 2: The Dark Terntory (R), 12:10, 2:35, 5, 7:45, 10:10 Species (R), 12:20, 2:45, 5:15, 7:5. 10:20 The Indian in the Cupboard (PG). noon. 2:20.

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7:45. 9:55 Fluke (PG), 1:15, 5:25, 9:15 The Immigrant Pope Theatre Through Aug. 20 $21 585-3433 authentic family snapshots that are projected on the Pope Theatre Company's rustic -set, the play seeks to trigger wet waves of nostalgia and senti in 1989. Director J. Barry Lewis is back helming the production, along with half of that original cast.

While the company cannot overcome the script's blatant heartstring-tug-ging, nor do they emphasize it. Here is a quartet of honest portrayals, even when the play does not fully earn the emotional response they elicit. It begins in 1909, as a young Haskell arrives in tiny Hamilton, Texas a stranger in a strange, and not particularly welcoming, land. After some initial fear and hesitancy, town banker Milton Perry and his big-hearted wife Ima befriend Haskell and accept him in their home. With their help, his banana cart mushrooms into a fruit and vegetable stand, then a dry goods emporium and eventually into a prosperous department store.

Of course, there was the time the Peterson brothers used the fruit stand for target practice, but this encounter with the town's overt bigotry is merely mentioned, then dropped. Similarly, when Haskell's wife Leah arrives in Hamilton and expresses frustration about fitting in and accepting the alien ways of America, that theme is soon brushed aside with a sugary scene between Leah and Ima. Most manipulave of all is a Sabbath dinner argument between Haskell and Milton over politics and immigration policy that rips apart their friendship. This rebellion of the now self-sufficient underling against his benefactor would be worth exploring, but you get the impression that it was contrived mainly for a moist-eyed reunion between these two stubborn men. Thank goodness the cast members are as good as they are.

Early on, Jon Krupp's face (Haskell) is a comic question mark, as he wrestles with the language and customs of his new land. Later, in the midst of his feud with Milton, he sets his jaw and conveys a stubbornness he learned all too well from his Texas mentor. As Milton, Jim Cordes projects a Walter Matthau-like bluster, but there is never any doubt of the character's soft center. Joy Johnson returns to the role of Ima and captures its gentleness and humor. Judith Townsend (Leah), also a veteran of that earlier Pope production, gets the sketchiest assignment but she manages to make her character's wary journey of assimilation quite touching as well.

Analyze The Immigrant and you can find numerous unearned, sentimental assaults on the emotions. If, however, you just let the play wash over you, you are likely to leave the Pope Theatre with a satisfying lump in throat. HOBE SOUND CINEMAS. U.S. 1 and Brfrjge Road.

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Federal Highway. Jensen Beach. 692-1608. ALD The Indian in the Cupboard (PG), noon, 2:25, 4:30, 7:20, 935 Apollo 13 (PG). 12:30 3:45, 7, 10 First Knight (PG-1 3).

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9:30 Pocahontas IG). 12 30. 2:30, 4:30. 7:05. 9 Batman Forever (PG-13), 12:45.4,7:10,9 50 Movies and times subject to change without notice.

ment for bygone days and genera- tions past. It succeeds by peddling a warm, fuzzy fable about friendship conquering bigotry as insistently as industrious immigrant Haskell Harelik peddles bananas from a pushcart. Much of the play is emotional button-pushing and playwright Harelik has an annoying habit of contriving conflicts and then sweeping them away. Still, there is every reason to think that audiences will ignore the play's shortcomings and embrace its Hallmark greeting card qualities, as they did when the Theatre Club of the Palm Beaches the Pope's earlTer incarnation presented it.