I\lE 11I I ILlDBLI1_' ,Jim Ladd: Tonight we welcome back to Innerview a Canadian trio that hasblended virtuoso musicianship, technical excellence and visionarylyrics into one-of-a-kind musical statement. The man responsible forwriting these visionary lyrics is our guest tonight.On Rush's most recent LP 'Grace Under Pressure', drummer and lyricistNeil Peart explores a wide range of subjects. The lead off track'Distant Early Warning' looks in part at our very tense world situationwhere the individual can be swallowed up by the masses.Neil Peart: The main theme of the song is a series of things, but that'scertainly one of the ideas, living in the modern world basically, inall its manifestations: In terms of the distance from us of the threatof super powers and nuclear missiles pointed at each other across theocean. There's all of that, but that tends to add a little bit ofdistance from people's lives, but at the same time I think it is inthe present, the threat looms somewhere in everyones subconscious. Andthen it deals with closer things in terms of relationships and how tokeep a relationship in such a swift moving world. It has something todo with our particular lives - dealing with revolving doors, going inand out; I think that's generally true with people in the modern worldwhere things for a lot of people are very difficult, so consequentlywork and the mundane concerns of life tend to take precedence over theimportant values of relationships, of the larger world and the world ofthe abstract as opposed to the concrete; dealing with all those thingswith grace ..... . And when I see a little bit of grace in someone's life I feel Icould drive past a horrible tenement building and see these wonderfulpink flamingoes up there on the balcony; something, some little aspectof humanity strikes you as a beautiful resistance, if you like. Somekind of graceful adaptation I think, because you can't help to overcomewhat life is made up of today, you can't run away to hide from it, andyou can't really beat it; so you have to learn to adapt, which has beena key word in my thinking over the past few years. Where change can'treally be affected by the individual person; so what you have to do isincrease your powers of adaptation in dealing with these pressures.I think in a major case, a group of individual people can.certa~nlystill make something happen, but it seems so futile somet~mes w~th ,matters concerning authority of all kinds, when it comes to governmentswhen it comes to churches, when it comes to moral majorities and allthese ridiculously ignorant societies that are, permeating our society,telling people what to do. You can't really fight those ~sindividual person, but you can fight them through educat~on w~th a lot7' can.
of individuals. I think that has happened in American history thoughseveral times when public opinion has changed things - that gotprohibition repealed; I think it got the Vietnam war stopped. I thinkthe power of public opinion sometimes can be overwhelmingly strongenough to change virtually anything. But with such a big problem asnuclear arms for instance, the American-Russia thing, it's impossiblebecause public opinion can never exist in Russia. If you could gettremendous anti-bomb activity going in America that would be wonderfulbut it's still only half of the problem. You cannot get that kind ofactivity going in Russia, and consequently that weight of publicopinion cannot be brought to bear . .NP: 'The Enemy Within'. It's part of a trilogy, but it's the last one toappear; on the last three albums each one contained a part of thattrilogy. I started thinking about them all at the same time, but theyappear in the order in which they were easiest to grasp. In other words'Witch Hunt' was the first one, with that mentality of mob rule andwhat happens to a bunch of people when they come together and areafraid and they go out and do something really stupid and reallyhorrible, that was easy to grasp and you see plenty of examples of thatin real life as well as in fiction and films too. The second was 'TheWeapon' and it was dealing with how people use your fears against youas a weapon, and that took a little longer to get to grips with, buteventually I got my thinking straight, and the images I wanted to use,and that came out. And finally 'The Enemy Within' was more difficultbecause I wanted to look at how it affects me, but it was more thanabout me. I think I'm going to put that down as my first rule, never beintrospective. But at the same time I wanted to write about myself in auniversal kind of a way - I wanted to find things within myself withwhich I could comply.JL: Your writing has always impressed me as being very, very hum~n. Yet,and it deals with very human things sometimes, but yet it i~ not veryintrospective.NP: No. I don't like to write in the first person unless I'm adapting acharacter in a fictional sense, like 'Red Barchetta' or 'Red Sector A'where it's a person to whom things are happening. They're cer~ainly notabout me! I'm speaking of the kinds of 'person' you can choose to writeit - the first person, the second person and the third person - the .only time I would use the first person would be when it is in fact athird person but you use the first person so that Geddy can sing itwith more conviction and playa part in a dramatic kind of way, a goodSinger can become an actor almost in an operatic kind of a way I guess.On 'Signals' in fact I used the third person singular a lot, it wasalways 'he' to whom it was happening, this was just some nameless,formless character I created as a kind of underlying theme, for somereason it appealed to me that there should be an underlying person wholived in 'Subdivisions', and who went through the pains of adolescencein 'The Analog Kid', and who was the 'Digital Man' and who was theperson in 'The Weapon' against whom his fears were being used. On thisalbum there's a lot of second person; it's all about 'you' and in factI'm always writing from the same point of view, it's always what Iwould call the 'Camera Eye' point of View, which I dramatised in thesong of that name. It's a device I use a lot, particularly on thisalbum - it's based on a lot of observation and I like to see myselfjust as th~ lense and try to assimilate what I see. Not looking withinand not using a microscope, but just looking straight out at things andseeing what they are, and also equally important, what they could be,not losing track of the ideal for the sake of the realistic.JL: Privately, without giving an example, are you a very introspectiveperson?
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- Page 5 and 6: MARATHONMARATHON (6:32)MARATHONOJ M
- Page 7 and 8: in and tell you what thejI" other f
- Page 9 and 10: Dear Ed,Well at last, the album and
- Page 11: So, overall it is very worthwhile b
- Page 15 and 16: and all the way through it your hea
- Page 17 and 18: etween the east and west, that no a
- Page 19 and 20: Geddy: Well, I'd say a little bit o
- Page 21 and 22: Geddy: I'm inspired by a crowd that
- Page 23 and 24: MAZE ANSWERSG~asses (couldn't draw
- Page 25 and 26: " ,Q[CE55RDSHPR '-' -- "I=! _ C _
- Page 27 and 28: BILL.B: The thing I find fascinatin
- Page 29 and 30: BILL.B: Yeah right. .• (Alex's la
- Page 31 and 32: GEDDY.L(cont): I think Detroits goi
- Page 33 and 34: BILL.B: Neil, Rush as a band, have
- Page 35 and 36: effects go in the show. That's my s
- Page 37 and 38: Rush and thanks for talking to us t
- Page 39 and 40: complete.After my initial reservati
- Page 41 and 42: Whatever qualms I had over Alex's g
- Page 43 and 44: Dear Ed,This video will, in time be
- Page 45 and 46: SUBSCRIBERS can place 1 advert, up
- Page 47: THEY STAND alone.Unique in their qu