lasted from 1984 to 1987. As the rise of grunge began to phase punk and hardcore out of the Northwest underground by the late 1980s, Perry set out to start a band that stood in defiant contrast to the shoegazing attitude of alternative rock, showcasing high energy dance music and Zappa-esque theatricality in an attempt to create something that an audience would react to viscerally instead of passively. Recruiting a horn section led by alto saxophonist Brooks Brown, Perry and Schmid formed their latest band Mr. Wiggles – named so after a Parliament song – in November 1988, playing their first show in Springfield as part of a benefit concert for workers of the Nicolai door manufacturing plant, who were then engaged in a union strike. "My conception of punk", Perry told The Rocket, "was doing whatever the hell you wanted as long as it had vitality and wasn't overly stupid ... something exploratory and experimental", citing influence from genre-bending bands such as The Clash and the Meat Puppets. In their earliest incarnation, Mr. Wiggles played punk-inflected funk and soul music, though Perry's songwriting soon grew to draw heavily from a newfound interest in jazz, swing and rhythm and blues, combining punk rock and jazz arrangements in what Perry described was a desire to contemporize American roots music by infusing it with punk energy and using modernist, socially aware lyricism. Early years (1989–1993) In 1989, the title of Mr. Wiggles was retired when the band switched to a new name, "Cherry Poppin' Daddies", derived from jive slang the members had overheard on a vintage race record. The band played their first show as the Cherry Poppin' Daddies at the W.O.W. Hall in Eugene on March 31. The Daddies sought to differentiate themselves from other Northwest rock bands of the era by having a horn section, featuring outlandish stage theatrics, and encouraging their audiences to dance. As Perry spoke of the Daddies' ideology, "It was our way of saying 'screw you' [to alternative rock 'phoniness'] ... we wanted to have fun, outrageously have a good blast without even thinking about it". Nonetheless, by the end of 1989, the Daddies had built a strong and loyal following within Eugene's counterculture, frequently selling out show and gathering critical acclaim." The Daddies recorded their first demo cassette 4 From On High in July 1989, which included four tracks of funk rock and punk-influenced swing.