The suburbs love is the law - Millennials Now Love Big SUVs and the Suburbs, Study Says

Throwback Thursday to 1984 with "Love Is The Law"! What is your all-time favorite Burbs track? We know it's hard to pick just one!

Justin says:  “I love the difference we can make to the lives of our drama students through giving them a voice, enabling them to express themselves and empowering them through language. Our drama program is certainly something that I feel passionate about and I am thrilled to be able to bring it to so many children across the Western suburbs”.

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1 - Minneapolis new wavers the Suburbs began recording for local label Twin/Tone in 1978. Their first full-length album, In Combo, was released in 1980, featuring tense, energetic playing and offbeat lyrics. The 1981 double album Credit in Heaven consolidated the band's approach, incorporating elements of disco and blue-eyed soul. The 12" single "Waiting" got the band substantial play in dance clubs and attracted the attention of Mercury, which signed them in 1983… read more

"Modern large houses are fantastically designed compared to both the lefty luvvies favourite Federation style houses which lack light and are poorly laid out and Australia's 1940-1980's houses which were nothing to look at due to post war austerity and utilitarian facades."

While overshadowed by their Minneapolis contemporaries the Replacements and Prince , the Suburbs still managed to leave their distinct mark on the musical landscape of the early '80s, as evidenced by their masterful 1983 effort Love Is the Law . The band must have been paying attention when 1981's double-length Credit in Heaven was heralded as a slightly overlong classic, because Love Is the Law concentrates their alternative dance-rock into a single-length showcase of their strengths. Drummer Hugo Klaers and bassist Michael Halliday force the frenetic tempos favored by the group, and Chan Poling keeps pace with his versatility on piano and synthesizer. Bruce C. Allen's jittery guitar complements the nervous, cynical desperation of vocalist Blaine John "Beej" Chaney, who also contributes "beejtar." The opening rumble of the title track is immediately hooked with bright, lively horns, which reappear throughout the album to help release tension. Along with Poling 's opportune keyboard effects and Chaney 's exaggerated vocals, the guest horns accentuate a fun-loving spirit generally belied by titles such as "Hell A" and "Perfect Communist." Fun and fury merge on the infectious disco rockabilly of "Rattle My Bones," in which a horny, homeward-bound motorist shifts from impatient restraint to rowdy celebration. Some of Chaney 's potentially disturbing episodes are offset by his mannerisms, like the Stan Ridgway approximation that makes "Crazy Job" seem more satirical than psychotic. In general, Love Is the Law is harder and tighter than previous releases, and even the most intense tracks produce lingering melodies in the wake of relentless rock & roll. The Suburbs may not have equaled the success or longevity of other Minneapolis musicians from the 1980s, but Love Is the Law holds its own against the more celebrated albums of its time.

First settled by Pottawatomi Indians in the early 1800s, Antioch still bears Native American influences such as arrowheads and Indian trails along its highways. The Gage brothers permanently settled Antioch along Sequoit Creek and the village thrived around a sawmill built in 1839. During the late...

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