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 diScOhdeR
A guide to CITR tm 102
& CABLE 100 A guide to CITR fm 102
^ CABLE 100
Isn't nature wonderful?!
How things just seem to
evolve, regardless of any extraneous adversity? Nature,
the word itself, free of dogmas
and any restricting sense of
rigidity. 54-40 is a natural
band, and with the release of
their second record Set the
Fire, there is a promise to
continue on in that tradition.
They've certainly come a long
way since their debut at the
Smilin' Buddha in December
of 1980, and with their excellent first release Selection
selling out of its initial pressing, things are definitely
looking good. 54-40 are also
an integral part of MO DA
MU records, home of Junco
Run, the Animal Slaves, the
Moral Lepers, and Emily
Faryna (someone we'll definitely be hearing from) MO
DA MU is a close knit group of
people dedicated to getting
new and original local music
to the public's ear. Both
Selection, Set the Fire, and
Things are Still Coming
Ashore, the compilation on
which 54-40 first appeared,
are MO DA MU projects. The
band has gained quite a
reputation on the West Coast
of being a very compelling live
act. They've played with Wall
of Woodoo, Savage Republic,
Public Image, and Gang of
Four, not to mention the fact
that they are a superb headline attraction in their own
right. Many a packed hall,
club, what have you, has been
left calling for more, in the
wake of an intense performance by the band whose
name consists of two seemingly compatable numbers joined
by a hyphen. 54-40 are: Neil
Osborne on guitar and lead
vocals; Brad Merritt on bass;
Phil Comparelli on trumpet,
keyboards and guitar; and
Darryl Neudorf on drums and
percussion. Recently, I had
the pleasure of talking to them
about the new album, new.
directions ... and nature ...
among other things.
The most obvious question
seems to concern the band's
name.   Why   54-40?
54-40 or Fight
Local band probes the border
The name comes from an
episode in American history.
James Polk was a presidential
candidate, I believe in the
1840s, and he had a campaign
slogan that went "54-40 OR
FIGHT!" That meant that he
wanted to establish the border
between British North America and the U.S. at the 54th
parallel on the 40th minute ...
or fight! That would have put
the border up somewhere
around Edmonton. Of course
that never materialized but we
though that it was a catchy
name so we chnse it.
Set the Fire was recorded at
the ever so legendary Mushroom studios, once host to
such inimitable artistic giants
as B.T.O. Heart, Loverboy,
and many a floundering formula cock-rock band. Surely
such a venture must have
involved a hundred dollar
sacrifice of studio time just to
take a pee. How did they do it
you ask? Well, having been
approached by the band some
time ago about purchasing a
54-40 investment bond, I
thought an investigation was
in order.
Brad: Well, we, like every
other band, have very limited
resources. We're not signed
to a major label and we tend to
do things on our own, just by
nature, as well as the fact that
it's our circumstance. We
wanted to do a recording
project and we had no means
of making the money or
spending it in the studio so we
though of the idea of soliciting
contributions from some of
our better friends. It worked
out quite well. We had a lot of
support from some very good
people.
Veil: It was just something
we had to do. It was either
that or don't record. You get
to the point in a band, well we
were a year old, and we'd just
gotten Phil and Darryl into the
thing, and we wanted to make
* a new record. We didn 7 have
any money so we said get
some, and we did.
•
'  M   ""^1
" '     ■■  i
'%^
Many a reviewer still clings
to references to Gang of Four,
Echo and the Bunnymen, and
Joy Division when speaking of
54-40's sound. As their press
kit includes such reviews I ask
them how they feel about it
and whether its wise to perpetuate the matter by including
those references in something
as crucial as a promotional
package. Phil interjected to
remind me that somebody had
also used a comparison to The
Who and one reviewer went so
far as to say that they had "...
taken the post-Joy Division
music style further into jazz-
fusion than even Gang of
Four." Mutual groans and
laughs abound!
Darryl: We all did listen to
those bands so there probably
is a certain element of truth
there in that there were
certain things we appreciated
about that music we played.
It's not like we were copying
them or anything like that.
Brad: Some of those reviews are circa Selection and
even pre-Selection and I think
that at the beginning of this
band's history, we were very
much influenced by those
bands and it showed in our
music. Through Selection and
now through our latest album
it shows up less and less.
We've reached the point,
now, where we're more of an
influence on each other than
any outside musical entity. I
think our sound is very true to
itself and that we have our
own sound.
A North American sound
perhaps?
Brad: Good. We come
from North America!
Neil: We're proud of it!
You can even zone it. I was
talking to someone from
Seattle and they were saying
that we fit in with a Pacific
Northwest sound that's
coming out.
Brad:   Regional sound.
Neil: This sort of ties in
with the first question about
54-40. We're at the border
now, right.
Brad: We're kind of natural. We haven't forced anything on ourselves. We're,
more or less, a product of our
environment and that specifically relates to where we are.
We are in North America and
we 're in Canada and we 're on
the west coast and we're in
the Pacific Northwest and
we 're on the border.
Before this turns into a
geography lesson it might be
advisable to digress a bit and
talk about the band's live
performances. Neil's attitude
towards the audience has
always been somewhat of a
puzzle. He is certainly compelling, as the groups front
man,   but   is   he   beina   con-
vm
descending, treating the
audience like babies waiting
for their pablum?
Neil: Hmmmmm ... Well
... Urn ... (long pause) That's
a good question! (laughs) Stop
the tape! No, that's easy. It's
true, I do feel that way. I feel
like saying "WAKE UP!!"
It's a totally personal thing
with the audience. I've been
told that a lot of people just
don 7 gref // and I can see that.
A lot of people out there just
don't get what's going on.
That's part of the reason for
treating people like babies,
because sometimes they are
and they forget why they're
there. We try to express
what's the real situation in the
environment at the time. It's
combined with many other
things, with us up there, the
way we feel, the way the place
is, and just reading the
general atmosphere. We feed
that back to them and that's
what puts people off. They're
seeing what's really around
them up on stage and they
don 7 want to see that. A lot of
people go to a gig to escape,
for pure entertainment, for
positive inspiration. I'm not
saying we're a negative band,
but we definitely like to promote the way we see things.
None of what we do is ever
contrived, it's never predetermined. We did have a
very dramatic gig in Seattle
where I threw down my guitar
and things just went totally
haywire, so we decided not to
get too carried away, to be
more patient with the audience, and that helped.
Brad: It makes us a bit
more understandable.
Phil: The people that talk
about that are probably from
Vancouver and I notice a big
difference between audiences
in the different cities we play.
There's a big difference
across the border. A lot of
people seem to just enjoy
being at a gig watching a band
play.
Brad: They're very open. I
don 7 know if it has so much to
do with Seattle or San Francisco  being   different  places
than Vancouver as much as it
is that we are coming from a
different place. They seem to
be very open to what we're
about and there's not so much
pretention either on our part
or that of the audience. They
don't seem to be there for any
other reason than to see a new
band. I think that's extremely
healthy and quite often you
lack that in Vancouver, and
that, once again, reflects on
how we play and how we act
onstage.
Are Vancouver audiences
pretentious? Heavens! Say it
isn't so!
Neil: No. I think you 'II find
it's the case, in talking to
people in other bands, that a
local band gets discriminatory
treatment because they're
local bands.
Some time ago now, when
everybody and their dog was
doing a benefit for the Vancouver Five defense fund
(surely a worthy cause seeing
as they haven't a hope of
getting a fair trial due to the
slanted media blitz and the
discrepancies in the case
against them), 54-40 received
some bad press for seemingly
backing out of just such a
benefit gig. How do they feel
about it now?
Brad: Neil and I had
agreed to do the gig before
we'd consulted either Phil or
Darryl and, as it turned out,
that was the wrong thing to
do. Darryl had quite a few
strong feelings about what
was going on and he wanted to
find out a little more about it.
He did that and found that it
wasn't really to his moral
satisfaction.
Darryl: It wasn't that it
wasn't to my moral satisfaction. I find that when a band
plays a benefit, it's different
that just playing a gig and you
should find out just what
you're playing for. I decided
to find out what this whole
"Free the Five" thing was
about so I talked to the
spokesperson, talked to her
for about an hour, and even- YOU CAN THANK:
C  ris Dafoe
Mark Mus.el
S.eve Robertson
DISCORDER is a monthly paper
jublished by the Student Radio Society
)( the University of British Columbia.
Discorder provides a guide to CITR
Radio, which broadcasts throughout
h.e Vancouver area at FM 101.9.
CITR transmits its 49 watt signal
Irom Gage Towers on the UBC
Campus. For best reception be sure
and have an antennae attached to your
persistent reception problems, CITR is
o available on FM cable at 100.1 in
Vancouver, West Vancouver, North
/ancouver, Burnaby, Richmond, Coquitlam, Port Coquitlam, Maple Ridge
ind Mission.
DISCORDER is distributed through-
)ul   the   Vancouver   area.   Enquiries
about advertising in   DISCORDER  or
stributing free copies of DISCORD-
1 at a new location can be made by
Ming 228-3017.  General CITR busies  enquiries  or   information   about
nting   the   CITR   Mobile   Sounds
System is also available at 228-3017.
request   line   is   228-2487   or
228-CITR.
DISCORDER   is   distributed   at   the
iwing business locations:
POINT GREY
Charles Bogle Phonograph  Dispen-
Duthie Books
Frank's Records
University Pharmacy
Video Stop
The Video Store
•KITSILANO
Black Swan Records
Broadway Video & Sound
Check-It-Out Clothing
Deluxe Junk
Hollywood Theatre
Lifestream Natural Food Store
Octopus Books
Ridge Theatre
Scorpio Records
Soft Rock Cafe
Zulu Records
WEST END
Tr.e Bay Theatre
Benjamin's Funky Cafe
Benjamin's II
Camfari's
Denman Market
Downtown Disc Distributors
English Bay Books
Manhattan Books
Melissa's Records
Rentertainment Rent-A-Record
DOWNTOWN
A&A Records
Arts Club on Seymour
Black Market
Collectors RPM Records
Concert Box Offices
Duthie Books
Faces
Kelly's Records
Luv-A-Fair
Odyssey Import Records
Railway Club
Towne Cinema
Vancouver Ticket Centre
GASTOWN
Be-Bop Beatwear
Cabbages.& Kinx
Deluxe Junk
Golden Era Clothing
Lux Theatre
NORTH SHORE
A&A Records (Park Royal)
Kelly's Records (Park Royal)
Rave Records (Londsdale)
Sam the Record Man (Cap Mall)
EAST SIDE
A & B Sound - Car Stereo
Collectors RPM Records
Highlife Records
Joe's Continental Cafe
Kelly's Records (Oakridge)
Memory Lane Records
Roxy Theatre
Savoy Cinema
Treacher's Records
Vancouver East Cinema
Vancouver East Cultural Centre
Tue Waterfront
DISCORDER is also distributed
throughout the UBC campus and some
of tr.e other Lower Mainland cam-
puss.*, as well as various community
[res and  Vancouver  Public  Libra-
Gladys'
'Sitting here in Gladys' pad contemplating the latest fad
The warm, country kitchen appeal of the seventeen seat
snack bar at 2137 West fourth avenue, has been a favorite of the
Kitsilano crowd for ten years. According to owner Gladys
Clough, many of her customers have been coming nearly every
day since she opened the doors on Feb. 1, 1974.
Until I had lunch, I wondered why they went at all. The decor
is very basic, Chairs that don't match each other or the tables.
Plaster crumbling off the walls - nothing about the appearance
of this place should attract the city folk, but the food sure does.
All the meals are homemade. Big, juicy burgers, fully loaded
with home fries for $4.25. Breakfasts come in two sizes, large
and small, both under three bucks. And of course there the
B.E.L.T.CH., a Dagwood style sandwich of bacon, egg, lettuce,
tomato and cheese for $3.25. All the plates I saw go back to the
dishwasher were pretty well cleaned up by the patrons. Good
food.
The sign on wall lists fairly limited operating hours, from
breakfast until just after suppertime. Here's the secret. They
don't advertise it, but they open up again from 10:30 until 3, six
nights a week.
If you like low budget, high quality food, drop in on Gladys'.
It's casual, (serve yourself, order from the cook) the food is
tasty and filling, and the price is right.
Les Davis
h'r*
Q
GREETINGS     FELLOW
BALLOONS
As Discorder enters its second year of publication, this
space continues to exist, much
to the chagrin and delight of
you the reader - the agony and
the exstasy of Airhead. Personally, I'm ecstatic that I
won't have to agonize over
how to fill this column with
words, cuz we've got lots to
talk about.
THE AGONY ...
Messrs. Robertson and Badanic contorted themselves
when informed via post that
they'd neglected to mention
the appearance of James*
White and the Blacks at Luv a
Fair March 24 in their 1983
Retrospective in the January
Discorder. But that's not the
worst of it. All hell bound
boogie boy broke loose when
Gassed brought to our horrified attention that the aforementioned headcheese(s) had
also forgotten all about the
"3 Hot Air (head) Show.
Who could possibly forget the
confrontation between Neal
Hall and Brad Kent of Ground
Zero. A lot of innocent beers
and mixed drinks lost their
lives. A moment of silence for
wasted booze ...
... IS THE ECSTASY
What's loud and obnoxious
and sounds like Lawrence
Welk on speed? CITR!' I can't
take credit for these bon mots,
however. This apt description
ofCITR was dreamed up by
the Science Undergraduate
Society of UBC and appeared
in their "pat-on-the-back"
award winning publication
"The Black Plague." I like it.
But I was just wondering how
they could pay such a compliment to "a radio station that
nobody listens to ..."? I smell
faulty logic. I guess creativity
and logic were never meant to
sleep in the same bed - at least
not at UBC. Too bad. You
scientific shakers of tomorrow
should get out of the lab a bit
more. It must be getting kinda
stuffy in there. What do you
think? Write in and let me
know. The address is:
CITR
6138 SUB Blvd.
Vancouver
V6T 2A5
I know what you're thinking: "This is just another
thinly veiled scheme by that
oxy skull to try to get people to
write letters." You're damned
right it is, cuz if you don't ...
well, I'll think of something.
54-4    CONT'D    FROM   PAGE 1
tually it ended up with her
getting quite mouthy. I didn 7
agree with it but I didn't
disagree with it so I couldn't
make a definite decision. It
was kind of unfortunate because there was a paper that
said I'd refused because my
father is a right-wing politician, which had nothing to do
with it.
Phil: Especially seeing as
his father is a schoolteacher!
Brad: You should feel
quite strongly for the cause
because not only is it the
money you're sacrificing,
which usually doesn't amount
to much anyway, but its the
band's name and the band's
integrity.
Neil: It's your signature
on the thing.
Brad: Right. Because we
couldn 7 be consistent about it
we had to withdraw. It was a
very unfortunate thing.
Neil: The standpoint of the
band, which is far more
important as a band, is that if
any individual, from a moral
standpoint, can't agree to do
something like that, then we'll
stand behind that person before we will make that person
support a cause that he can't
bring himself to agree with.
°hil: Because of the lack
of communication we sort of
ended up halfway, and our
signature got put on it however you want to look at it.
Brad: We've suffered the
consequences, there's no
question about that. It's a
mistake we won 7 make again
and I think we 're better for it.
We continued on the topic
and concluded that it was a
classic example of "You're
damned if you do and you're
damned if you don't!" They
came under a lot of fire from
some people that just couldn't
handle a band's coming to
terms with the politics of the
individual, a theme that continued ...
Neil: It's important that
we get onto the topic of
politics. You 've got to keep an
open mind, you've got to
respect peoples opinions,
whatever they may be. I
respect the right as much as
the left and vice versa. It
comes down to one person. On
either side you're going to
find a jerk and you 're going to
find a nice guy. Our politics lie
above that. Our politics are
more to do with the individual
and how he is really a screw-
ed-up person, yet he doesn't
walk into walls that much. He
knows where the door is and
he knows how to get through
it.
But surely a song like Yank
is directed towards our friends
to the south?
Brad: We talked about
that when we wrote the song
and when Neil wrote the
lyrics. There are three very
simple lines to the song and
the title is spelled with a small
"y" so it's not like a proper
noun. Therefore yank means
pull, or something to that
effect, and that's where the
meaning lies.
Neil: Definitely. The intention was, with the small
"y", meaning to yank or pull,
but part of the philosophy is,
yes, the implication of America and let them think ot it
what they will. That is what a
lot of our lyrics are about, to
take and think of them what
you will.
As it turns out, Yank is
indeed spelled with a capital
"Y".    Perhaps   they   should
take this matter up with their
typesetter! Record covers
never lie!
The cover of the new disc
shows the band members
lounging about in the burnt
out wreckage of some unidentifiable structure, perhaps a
house. Rather a strong image,
this, and one that may be
misconstruced, or stir up the
wrong feelings in people.
Neil: It's sort of a statement. A lot of things are
implied, and I like that. I
structure the words so that,
depending on my state of
mind, I can assume a certain
meaning, certain moods to the
words. "Set the Fire" can be
a spark, and let's get it going.
I can mean what is seen by the
light of the fire, therefore it is
important to first set the fire,
say stop, think, look at yourself. Then you can start the
fire and see what's there after
it's burned, what the ashes
leave.
Brad: Fire is a nice symbol. The lyrics are on the
personal side and I think that
it pertains more to people
setting the spark, setting the
fire within themselves.
What does the band think
about the new status quo of
pop music that seems to be
strangling those who would
dare to do something out of
step with the trendy, so called
"alternative" music scene?
Brad: The status quo does
exist,, the "new" British new
wave beat type of stuff.
You're always going to get
that. As music goes on there
will always be a certain type of
music that is the status quo.
Sometimes a format becomes
very polarized and each radio
station only plays a certain
type of music. CITR fits into
that. They play like an alternative top 40 almost, it's so
stylized. To a certain extent
we fit into that and to a
greater extent we have nothing to do with it. It's not an
overt influence on us and
we 're certainly not a part of it.
Phil: What's it got to say
for an ' 'original'' band if its all
got that same beat?
Brad: What's at work with
a lot of these bands is that the
desire to "make it" burns so
intensely within them that
they get caught up in what is
popular, what is commercial,
and what is acceptable to
American ears. It becomes a
big disco hit and it gets played
on all the radio stations.
We're not a part of that, we
are in our own little groove
and we can flow in it and
around it.
Well what about the existence of the "54-40" sound?
3rad: That gets back to it
being a natural thing, its
evolved naturally. We don't
force ourselves to sound like
ourselves. I think it's right for
an audience to expect something that's original and true
to itself.
Phil: It's not a formula. If
it is it's a natural formula.
Jrad: We were talking
about that a while ago. For all
we know, the next record may
be of just violins and glockenspiel. We're a rock band but
you just never know.
And that's the final word on
54-40. It's natural, and you
just never know.
Mark Mushet Moses from Hell
The Gun Club preaches; S. Johal listens
In the Cramp-ed dressing
room at the Commodore Ballroom sits Kid Congo Powers.
Dressed in trademark black
with red lipstick, he's lean but
not mean - it turns out he's
quite a nice guy. To his left is
original Gun Club drummer
Terry Graham. Opposite them
sits a blob-like figure, complete with red sweaty face,
watery eyes and lank hair.
He's the Gun Club's founding
member and sole (soul?) inspiration, Jeffrey Lee Pierce,
and he has a fever. He's
taking drugs for it though.
Qualuudes and run, I think.
His passion for chemicals
and firewater, along with his
volatile temperatment are well
known and often suggested as
reasons for the on-off existence of the band. Since 'Fire
of Love', the great debut
album of 1981, Jeffrey Lee
Pierce has thrown out and
been abandoned by a host of
band members, including
Ward Dotson (guitar), Jim
Duckworth (ex-Panther
Burns, guitar) and Dee Pop
(ex-Bush Tetras, drums). He
didn't like current bassist
Patricia Morrison enough to
include her on their last finyl
release, the 'Death Party' e.p.
With the return of Powers and
Graham, however, only Rob
Ritter is missing from the
original line-up. Is the band
more of an on-going concern?
"What's an on-going concern?" slurs Jeffrey Lee
Pierce.
"It was always these members, we just played in disguises," says Graham helpfully.
"We just got lost in the
shuffle," mumbles Kid Congo.
"It'saCLUB!" declares the
Blob, "Y'know, some people
come, some people go, Everyone's got a card and they can
come and go as they wish!"
It's going to be one of
THOSE interviews. Inevitably, Pierce decides he wants
to talk about drugs: "Y'know,
they've found all those qualuudes when they busted the
Starwood owner - they found
them under a stack of tickets
to see us and Top Jimmy."
They laugh knowingly. "We
were going to give them out at
every show. We play real
slow, so we wanted to audi
ence to be 'luuded out," he
says, barely able to get the
words out in his mirth. The
Starwood is a dive in LA
where the band was once
asked to play with the Circle
Jerks and the Subhumans.
"They should lump us in
more with bands like the
Bangles."
Kid Congo laughs goofily.
"Or True West," suggests
Graham.
Kid Congo informs us that
Tom Verlaine is producing
True West, and Jeffrey Lee
takes his cue: "Tom Ver-
laine's got some pretty odd
tastes. He likes some pretty
terrible bands too. I mean, I
like Tom Verlaine, I rip all my
licks off of him, but y'know,
he's got some pretty bad
tastes too - he like the
dB's," he concludes contemptuously.
The members of the Club
are also not anamored of
comparisons with the Birthday
Party ("I hate them."). But
Pierce's other vice does lend a
small degree of credence to
those comparisons - religion.
Or rather, the darker side of
religion - listen to the first
album and you'll be forgiven
for thinking that his favorite
word is 'hell.' And who can
forget last year's Gun Club
bash at the Commodore,
where his skull-and-cross
bones trinkets and crucifixes
lent more Weight to an already Weighty matter! And,
of course, that Haitian voodoo
imagery on the cover of that
first album indicates an interest which is heartfelt (do
self-proclaimed Lucifers of
Rock and Roll have hearts?
Answers on a postcard to Jim
Morrison, C/O Hell). More
genuine, at least, than the
cheap '60's Hammer horror
movie clones that lurk in the
Batcave. In England, recently,
the Gun Club had the dubious
honor of sharing a gig with te
ghouls of Alien Sex Fiend.
"Yeah, well I took care of
that." Pierce gloats. Their
obviously gleeful memories
produce much chortling. "We
changed 'Ivy' to 'Batcave
Assholes.' That was the title
of the song, Batcave Assholes.
We went on and one and on
about how we wished all their
would burn off. It's glitter."
"It's just another fad pass
ing through," declares Kid
Congo, stating the obvious.
I ask if the Gun Club is more
lasting than that, but my
question is ignored - Pierce is
on a roll as he mimics an
election campaign orator:
"When Bryan Gregory invented this there was more substance to it!" He laughs
loudly at this huge witticism.
Kid Congo takes up the
baton, "Everybody out of the
Cramps was doing that years
ago, they're not doing anything new. Even the Cramps
don't do it anymore."
"Bryan Gregory was wearing bones when they first
came down to LA," Pierce
continues. "They were opening for the Runaways in 1977;
He had bones all over him and
stuff, an' corsses an' stuff.
But he doesn't even have a
band now, he can't even get in
a band, nobody'll let him in."
Kid Congo reminds us that
Gregory had formed Beast,
but on the other side of the
room the Volcano continues to
spout: "They kicked him out.
And they went on tour and
became very hip with the
Batcave Assholes as  well   -
without Bryan Gregory - who
invented their whole thing!
But, on the other hand, Marc
Bolan invented glitter and
David Bowie made all the
money so ... the innovators
are not always the people who
get it. I mean there's no room
for Debbie Harry in the charts
anymore, but the Go-Go's
definitely took over her
audience quickly, didn't
they?"
Does she still deserve that
chart presence?
"She's a lot better than the
Go-Go's! I mean, the Go-Go's
have absconded with her
audience! I mean, she wrote
lines like "What's your pleasure, a movie or a measure.'
That's a lot more intelligent
than anything the Go-Go's
ever wrote!"
Jeffrey Lee Pierce likes
Debbie Harry.
As the conversation devlops
it becomes evident that the
Blob isn't impressed with a
hell of a lot in music today,
Bananarama and Siouxie
Creature coming in for extended mockery. He has some
hysterically funny perceptions
of the English as a whole:
CONT'D PG. 6
|W
7p\&
.-^—JlltOIH)-S
Domestics Imports: New & used
1869 W. 4th 738-3232 JONATHAN
RICHMAN
Jonathan Sings
A friend of mine once saw Jonathan Richman singing l'm\
Nature's Mosquito to ten or fifteen kids in a Pizza Hut
Gloucester Mass. Another friend saw him singing I'm a Little
Dinosaur while on all fours on a stage in England. A third friend
considers listening to J.R. the same as swallowing three quick
glasses of mustard and water. Who is this guy who sings like he
has a bad head cold?
A few facts: J.R. formed the first Modern Lovers (with Jerry
Harrison, later of Talking Heads, David Robinson, later of The
Cars, and Ernie Brooks, who went on to The Necessarys)
Boston in 1972. That year, Kim Fowley produced their first LP
but no company would release it. In 1974, Warner Brothers]
(with John Cale at the controls) let them make a second record,
but refused to release it. Also that year, Kim Fowley produced a|
third record, and again it went unreleased. In late 1974,
Beserkely finally released the John Cale sessions as a proper
LP, and J.R. was on his way.
In 1976, The Sex Pistols recorded a cover of Roadrunner witf
that J.R. doing his best to sound like he had a sinus problem.
Roadrunner remains Jonathan's best known tune although he
rarely performs it live. By 1981, after four more Beserkely
albums (best described as "different") and numerous Modern
Lover lineups, his music had become less electaic and quite
folky. Embarking on a solo career, he cut five albums worth of)
material with the Paley Brothers (all un-released) and toured
extensively. The original Kim Fowley sessions were eventually
released on Mohawk Records, and by 1982 J.R. was talking of
playing with a band again. By late 1982, he was back with the
fourth version of the Modern Lovers, although their touring and
recording was sporadic. One show however (from the Lone Star
Cafe in NYC), was broadcast in its entirety on CITR (thanks to|
N.N-H. and R.O. for that one!)
in the fall of 1983, Sire released Jonathan Sings! featuring
the band from the Lone Star show. Like all previous Modern
Lovers, this band can rock, but they always give Jonathan the
spotlight.
Whether on upbeat songs like Give Paris One More Chance
and Stop This Car, or on sloer ones such as Not Yet Three (sung
from the viewpoint of a three year old), the band always lets
J.R. get his message across. Every album of his has at least one
song that really shows another side of the man's character. On
Jonathan Sings that song is The Neighbours. Would J.R. ever
cheat on his true love? No way, besides, he doesn't let the
neighbours run his life. If you are looking for modern post-punk
industrial depressing sentiments, then songs about about
convertibles in the summer and conga drum parties may seem
horribly un-1980's. J.R. doesn't wear black, in fact, he rarely
wears a shirt! I really doubt there will be another album this
year that has Charles Aznavour, front lawns, leatherette car
seats, and the funny pages all used as topics within songs.
Lyrically, this LP is like his other six: optimism wrapped
around the most ridiculous rhymes put to vinyl. There is no
need to describe this music in depth. It is sufficient to note that
J.R. remains completely committed to three basic principles:
The importance of our youthful years (and where they were
spent); Fideltiy; and American Rock & Roll. In a world full of
Loverboys and Meatloafs, such committments are truly
valuable.
Jesse Hubbard
* *****************************
KATE BUSH
ger/songwriier compiled by
*
*
For t.,e first issue please
*
id $1.50 io:
+
+
+
*
Break-Through
*
Box 160
M
Hartney, Manitoba
*
ROM 0X0
* **"*•••*** *****•*•*****•***•**
page 4
TOM WAITS
Swordfishtrombones
I am personally acquainted
with four people who own Tom
Waits albums. This figure is
worldwide. Ther term "relative obscurity" hardly suffices
when describing Tom Waits'
ten year recording career.
This past year however, has
produced for Waits two film
roles The Outsiders and Rum-
blefish, an academy award
nomination (Soi ndtrack: One
From the Heart,, a television
appearance David Letter man.
and Swordfish Trombones; a
album receiving considerab,
critical acclaim.
Initial playings of Swordti*
Trombones can leave you w
the impression that the albu
is a little bare. Further lister,
ings reveal more depth than is
initially apparent.
Waits' power has always
been in his lyrics, and here
he has stripped away all
unnessary dressing to get at
their essencel The instrumentation is predominantly acoustic and percussive, lending
support rather than overwhelming.
The players are comprised
mostly of veteran sessionmen.
The only carry-overs from
previous albums are Larry
Taylor on bass and outstanding jazz percussionist Victor
Feldman playing various instruments (no Swordfish
Trombone!)
Although there is considerably less humor on the
album than on previous ones
(notably Nighthawks at the
Diner, the songs run basically
true to form. Waits is generally more playful on uptempo
numbers and reveals more of
his heart on the slower ones.
Tracks of particular note
include the three brief instrumental; Dave the Butcher,
Just Another Sucker on the
Vine, and Rain birds. Each of
these pieces effectively set a
particular mood within a minimal framework.
The standout track is
Frank's Wild Years on which
Waits gives, over a meandering bass line and cheezy
loungeact organ riff, a low key
dissertation on his version of
the American Dream: "Well
Frank settled down in the
valley/He sold used office
furniture/His wife was a spent
piece of used jet trash/Made
good Bloody Mary's/Kept her
mouth shut most of the time/
Had a little Chihuahua named
Carlos/That had some kind of
skin disease/And was totally
blind."
Soldiers Things is a poignant song about a wife selling
her dead husband's articles,
and Sixteen Shells From a
Thirty Ought Six is effective
for its incessant, driving beat
and tahe singsong delivery of
the lyrics.
Asylum records, Waits'
label of ten years refused to
release Swordfish Trombones.
Given today's musical climate
and Waits' previous recordings, how Asylum coulb view
the album as unmarketable is
inconceivable.
Waits took the album to
Island Records", a label more
sympathetic to unconventional
artists and they promptly released it.
they say (who are they?)
sucess generally breeds
apathy. I for one (and probably the other four) feel that Tom
Waits may be the one person
with enough integrity to avoid
the trappings that come with
fame. If not, there's always
Jack Daniels.
Jim Main
beat to it, with country ahd
western influences: Full of
emotion and fluid lyrical
grace. This song also an
anomaly in itself; one of the
very few Minutement songs'
over 3 minutes ever recorded.
Tired of all the robot music
coming over from Britain?
Then you'll probably want this
product of the underground
Los Angeles scene. Get it and
Buzz [or howl).
Mike Dennis
MINUTEMEN
Buzz, or   Howl   Under
the Influence of Heat
Think about this record title
for a minute. What does it all
mean? Yes, a bizarre title for
sure, But, very appropriate,
for the music contained on this
piece of vinyl is every bit as
bizarre.
Let your mind wander and
try to imagine, if you can, a
cross between the Talking
Heads, the early Gang of
Four, and Captain Beefheart,
all amalgamated, speeded up
and compressed into blinding
bursts of amyl-nitrate, you
will find yourself, not in the
Twilight Zone, but with the
sound of the Minutemen..!
Buzz or Howl Under the
Influence of Heat is the Mi-
nutemen's 3rd EP or LP
depending on how you want to
llok"at it (case in point: their
1st LP contained 18 songs,
but clocked in at only a14
minutes, 51 seconds). It's also
their most diverse to date, as
well as being electrifying and
moving as well.
George Hurley on drums
plays flashing, inverted jazz-
punk signatures. Bass player
and main song-writer Mike
Watt counterpoints with
simple but driving basslines.
Darting and weaving comes
D. Boon's utterly distinctive
guitar with its impetuous patterns. And reflecting his guitar's high-pitched angst, he
howls with the voice of a man
trying to warn a crowd of
drunken disbelievers.
Some of the tracks on this
disc which really leaped out
and smacked me in the face
included Cut which features a
mysterious, impelling emlody,
mysterious, impelling melody,
The Product cleverly utilizes
the structures, rhythmns and
melodic forms of jazz and
funk, making it very possibly;
danceable. But my personal
fave would have to be The
Little Man With A Gun In His
Hand. It has a catchy, happy
54-40
Set The Fire
From the smashing chords
beginning Set the Fire, to the
melancholay saxaphone trailing off on Broken Pieces - this
is a whole album.
A whole is equal to the sum
of its parts, and in the case of
54/40's 1st full-length, the
parts are crisp, finely-tuned
pieces of earthy music. The
band, too, is a whole, with
four mature musicians contributing equally to the success
of this album. Brad Merritt's
basslines are more unassuming than those on Selection,
(their previous EP) yet they
allow Neil Osborne's electric
(and, more significantly,
acoustic) guitar to frame the
songs more gently than on
Selection. Darryl Neudorf's
drumming and percussion are
steady, especially on the
brooding Around the Bend,
when he contributes a rolling
'heart'-beat to compliment
Phil Comparelli's airy, paino-
like keyboards.
Another primary part of this
album is Comparelli's poignant use of the trumpet. On
the four tracks this instrument
is used, the 54/40 "sound"
reaches the same level as the
Bunnymen, Teardrop Explodes, and TV21; spinning,
trembling, and flying high -
the trumpet should be used
more often, especially when in
the hands of someone like Phil
Comparelli. The production
aids the clea bell-like sound of
the trumpet, as Allen Moy and
band did a fine job of mixing
and mastering on an album
whose very nature demanded
clarity and precision.
The album is flawed (nothing is perfect), but these
flaws are minor. On ' A Big
Ideal ' and '" What to Do
Now the production is below
par; the drums sound hollow
and tinny, there is a general
feeling of confinement on the
tracks. The lyrics too, while
sung with emotion and insight, are somewhat confining
in their opacity, while the
sound is free and spacious.
Perhaps I'm being picky.
The parts of this album are
excellent, and the whole is
just as good. Buy it; now. MIDNIGHT OIL
10,9,8,7,6,5,4,3,2,1
Let's get the obligatory
hype out of the way first.
Midnight Oil are the latest
"big new thing" to come from
Australia. This album 109876-
54321 was the top seller there
in 1984, outdistancing such
noteables as Thriller and Syn-
chronicity. The single Power
and the Passion was number
one for a couple of months.
Peter Garret, the bald six-foot
six singer and gang leader is
the kind of guy who might've
frightened Boris Karloff. He
has a law degree and he's an
expert at tai-kwan-do (a martial art).
The band played a couple of
major beach concerts in the
past Australia springtime to
crowds in excess of 50,000. Et
cetera, et cetera. It's inargu-
able. These guys are hot down
under.
All this means nothing of
course. The purpose here is to
review the album, not the
hype. Fortunately the news is
good. 10987654321, like the
single suggests, is a passionate powerhouse. Socio-political rock'n roll with a generous
proportion of perception and
anger. Imagine a hybrid of the
Clash circa London Calling
and XTX circa English Settlement.
Midnight Oil aren't a copycat band though. They take
their influences and bend
them into a unique sound;
arguably more potent than
the influences. From the first
cut on side one, Outside
World, a slow, brooding declaration of intent, it's apparent that this band means
business. Big business. Midnight Oil should make it big.
Like the Clash U2, X and a
handful of others, they're the
kind of band that the world
needs. No love songs or
vacuous odes to positivism
that not even the band understands; 10987654321 reflects
the real world. Nuclear nightmares and injustice for all who
aren't rich. This is music that
matters. Definitely one of the
top five albums released in
1983.
Gerald Bostock
THE FALL
Perverted By Language
Over this past year, when a
band's popularity has been
largely determined by how
photogenic its members are,
how many management representatives it sends to the
U.S., or which band its lead
singer has fronted before, it's
comforting to know that The
Fall is still together and
recording. When so many of
the bands who formed in the
late '70's have since changed
their musical styles to fit into
the British or American charts
The Fall is still the band it
used to be. Mark Smith has
never been featured on an
NME color cover, the band
has never recorded on a major
lable and has been in the Top
20 only in New Zealand. Yet
The Fall remains unphased by
lack of recognition over their
eight-year career, and are
releasing some of their best
music ever.
Perverted by Language represents the best of The Fall's
1980's output. More accessible than Live at the Witch
Trials ot A Part of America
Therein, the "primal scream"
sound has been pared down to
the spare guitar, bass, drums
core of songs like The Classical from Hex Enduction Hour.
The tunes are by no means
melodic, but no longer are
they bogged down in a morass
of noise. The sparseness allows us to hear Mark Smith's
beat-poetry lyrics - a good
thing, because what he has to
say is pretty interesting if you
take the time to listen. For
instance, on Garden he sings
about seeing God as a country
and-western singer on a
motorbike. A bizarre outlook
perhapsm but few have the
audacity to put it on record.
Brixe Smith contributes vocals
on "Hotel Bloedel"; she's the
only new addition to the band
since 1981.
Introduce yourself to The
Fall if you long for the days of
Wire, the old Gang of Four
and Cure, and the bands of
Wanna Buy a Bridge? - this
record is a perfect starting
point. If you already know The
Fall's music, Perverted by
Language is encouraging reassurance that Mark E. Smith
& Co. are still ruffling feathers in this age of peacock
pop.
Fifi
here in 1984?
Believe it or not, these
"hippies" are the only remnants of the once thriving
"Psychedelic Experience" era
that took place in Vancouver
during 1966-72. "Afterthoughts"), the third volume
of Vancouver's History of
Rock and Roll offers some
insight into the diverse tal
ents in Vancouver at the
time.
The first side opens with a
raunchy song called "My
Home Town" by the Seeds
of Time. The Seeds were
known as the bad boys of
Vancouver, and there are
endless numbers of stories
told of their antics. At one
time, they were wanted by the
Vancouver police, were kicked
out of the musician's union for
"bad behavior", and were
banned from the entire city of
Calgary altogether. ("My
Home Town") has a basic,
garage guitar sort of sound.
"Crying the Blues" is slowed
down a bit but uses a lively
piano in the background.
By far the rawest and
liveliest band on the compilation however is "The Painted
Ship. Included in the "60's
punk" compilation album
PEBBLES as well, they live up
to this generic description.
The third song "Little White
Lies" practically jumps off the
turntable. Singer Bill Hay
spits the words out, using a
style best described as snarling rather than singing. The
B-side "Frustration" with its
dominant bass line has overtones of the Velvet Underground's early material in it.
After the band released this
..AND THEN
THERE'S THE
ONE ABOUT THE ,; ^
HAIDER; BEING \7 ^
LAUNCHED
ACCIDEMTLY!\\
tWf &s-
Quotes of the Month
Coach Flores, I've just got a call from Moscow. They think
Marcus Allen (La Raiders running back) is a new secret weapon
land they insist that we dismantle him immediately ... Y'know
the Russians have given me an idea. You give me your team and
we'll put them in silos. Then we won't have to build the MX
missle. (Ronald Reagan, aspiring stand-up comic and American
president, attempting to congratulate La Raiders coach Tom
Flores on his team's Super Bowl victory without making a
complete ass of himself. You be the Judge.)
I can only use a little hairspray tonight, cos I've got to use
the whole can for Nina Hagen on Monday night" — (Overheard
n the ladies room of the Railway Club during Green on Red
show Jan. 20)
There is no way I'll vote for a punk rocker" --   inidentified
UBC student commenting on the candidacy of      Ian Weininger
the student society executive elections. Mr. Weininger sports
Mohawk.	
'TRIBUTE TO WEST
COAST MUSIC9
mwror
g
VARIOUS ARTISTS
Afterthought
Ever walked down Fourth
Avenue on a Saturday afternoon, and maybe stopped by
the Soft Rock or one of the
health food spots for an ex-
presso? If so, then maybe
you've noticed a few people in
corners, perhaps sporting
psychedelic scarves, and loing
hair, discussing Marxism or
granola. Then maybe you've
wondered where they come
from and what they're doing
Group of the Year
□ D.O.A.
D Doug & The Slugs
□ Headpins
□ Images In Vogue
□ PayolaS
□
Album/EP of the Year
□ Enigmas EP (Enigmas)
D Hammer On A Drum (PayolaS)
D Images In Vogue (Images In Vogue)
□ Line of Fire (Headpins)
D The Phil Smith Album (Phil Smith/Various Artists)
Song of the Year
□ Hash Assassin (Acfjonouts)
D Just One More Time (Headpins)
□ Lust For Love (Images In Vogue)
D Never Said I Loved You (PayolaS)
['. Where Is This Love (PayolaS)
Signature
Mall Ballots to:   CARAS-BC BALLOTS
1984 TRIBUTE TO WEST COAST MUSIC
c/o Doane Raymond Chartered Accountants
1009-736 Granville Street,
Vancouver, B.C.
V8Z1H7
Independent Release of the Year
□ Bloodied But Unbowed (D.O.A.)
□ C'est La Vie (Maurice & The Cliches)
□ Enigmas EP (Enigmas)
□ Hash Assassin /Vagabond (Actionauts)
□ The Phil Smith Album (Phil Smith! Various Artists)
□
Club Act of the Year
□ b-Sides
D Beverly Sisters
D Jim Byrnes
□ Enigmas
□ David Raven
t the
Ticket info: VTC/CBO.
page 5 Gun Club continued from page 3
"They're very, very repressed people. They have
hardly any customs and thfiv
can hardly get any drugs into
the country at all, and so these
people have to go terribly
straight their whole lives.
They've got very terrible
sexual mores - I think if
someone had to have an
abortion it would be a fate
worse than death in England,
or at least you would definitely
be looked down and scorned
upon all through the country.
So they can't have sex and
they can't take drugs so they
just go crazy, they just hate
everything, that's why they're
anarchists. I mean, what other
emotion is left? It's stuck up,
man. I tell you, you go live
there for a while,  you'd  be
happy to be back."
Oh veah?
"I think it's a lot more fun
over here - you can do
whatever you want. They do a
lot of drinking over there
though, that's one thing they
do, they sure do drink a lot.
But it's too gloomy. Everybody's frowning, everybody's
sad all the time. Everybody's
crabby, you get in fights with
the telephone operators."
"T.V.'s only on 'til eleven,"
Kid Congo laments. "Yeah,
that's a shame," says Graham
with genuine pity.
"And the last thing they do
at a quarter to eleven (in the
pubs) is yell at you (for last
call).
Jeffrey Lee Pierce doesn't
like England.
We didn't, however, get to
hear 'Batcave Assholes' at the
Commodore that evening. We
got 'For the Love of Jesus'
instead, a high point in a
loose, patchy, trashy, yet on
the whole highly enjoyable
gig. Pierce, the Moses from
Hell, made up words, forgot
some words and generally
showed us why you shouldn't
sing when you have a fever.
But I enjoy a band that upsets
people's finer sensibilities by
disregarding the etiquette of
live concerts. From the unexpected opening of 'Lost
Highway' through searing
versions of 'Preaching the
Blues' and 'Death Party' to
the ten minute extended/dub/
disco encore of John Col-
trane's  'Love  Supreme,'   the
band had FUN! Kid Congo
oozing more cool sensuality
than Patricia Morrison could
ever muster in a bride-of-
Dracula bikini (sorry Gord).
showed what a creative guitarist he is by extracting some
gratingly exquisite sound
from his instrument; for the
saying 'Fuck Art, Let's
Dance!' he reads 'Fuck Virtuosity, Let's Make a Noise!'
My feelings exactly.
(For the whole interview,
listen to Hi-Profile, February
11th.)
MORE VINYL
CONTINUED
single, Hay remembers with
amusement that they were
urged to produce something
"more commercial" by the
record companies.
Other bands on the album
include "The Self Portrait"
(who sound more like the
Beatles than anything else),
"The Collectors" (encore plus
de psychedelia), and a humor-
our group called "Orville
Dorp" who seem to be too
stoned to take anything
seriouslu. All in all, the album
is an interesting cross section
of some of Vancouver's musical roots. If listened to repeatedly however, one starts
to feel like hanging around on
Fourth Avenue and trying to
find one's karma.
Rob Handfield
V
w
;   |
LwJ
IHHf
THE   THREE   FACES   OF NINA as   interchangeable  as   her character
The Charles Bogle
Phonograph Dispensary
4430 W. 10th Ave. 224-0232
*°
Pl°
o^
•sP
&
&
tP
&
Imports
New Wave
Punk-Rock
Blues-Folk
Classical
Childrens
wh
\ANMVERSARY
SALE
FEB 1  FEB 11
CLOSE OUT
SALE
FEB 13   FEB 29
\
Japanese
Fashions
Japan's youth have accepted western styles of music and
clothing with fervor. Mickey
Mouse T-shirts were really big
and when Rockabilly arrived
so did 1950 America. Japan
has been lapping up anything
from America or Europe and
begging for more - until
recently.
The tide has turned; the
fashion scene in Japan has
begun to quiver with new,
young designers. Europe is
beginning to pick up on Issey
Miyake, Ykiko Hanai, Hiroko
Koshino, and Kensai Yama-
moto. These designers are
turning out clothing that is a
mix of dance fashion, London
punk and traditional Japan.
The trend is toward loosek
draped but structured forms.
Huge, boxy tops with loose,
wide skirts or pants are typical
of the new fashions. Cloth
wrapped around the waist or
in the hair add texture to the
smooth, firm fabrics. Colors
are sombre; black, mustard
yellow, grey, white and some
earth tones. Very little patterning is used; the preference seems to.be for expanses of single colors in
harsh, bleak tones. They are
clothes fit for a technological
age, romantic in a dark,
perverse way.
If you've ever seen pictures
of the Japanese Noh drama,
you'll have some idea of the
face to go with the clothes.
Bright slices of color; red,
yellow and pink on and around
the eyes, purple stripe along
one or both cheeks, and gold,
black, or blue lips over the
regulation pale face, the rule
is, any neon color, anywhere.
Where does one get the
latest? Vogue has some Issey
Miyake patterns out, if you
can sew. Holt Renfrew is
beginning to dabble, but to
afford the prices, you have to
win the Lottery. Eaton's had a
few middle-of-the-road items
in stock when I checked - but
the only place I've foumd to
get straight-from-Japan
clothes is a little store on
Robson street, across from
Eaton's, called Front First.
The really new, innovative
stuff goes as soon as it comes
in, but the buyer goes to
Japan every two to three
months and I was told to check
in at the end of February for
the next shipment.
TaTa Darlings H.P.R. Jackson's Thriller not terribly.
This is to be a review of
sorts, of the Michael Jackson
video Thriller. Although, by
now it is not exactly new, it
probably still worth looking at.
Before I actually deal with
Thriller I intend to digress
somewhat, to give context to
the aspect of the video I would
like to deal with. There is a
trend in rock music/video to
treat women not only as
chattels but as objects of
violence. The war of the sexes
is the scene today and its
message is violence and domination, possession and territory. It sort of smacks of the
cold war except that the cold
war of the moment is less
violent. There is no great
knowledge of music needed to
find this message, from the
Police's Every Breath You
Take to Bryan Adans' Cuts
Like A Knife the battle lines
are clearly drawn.
Bryan Adans is a good
springboard into the video
world, he is the protege of
Bruce Allen a good-ole-boy
with a propensity toward violent acts and screaming
matches, and at the moment is
probably Vancouver's hottest
musical export. I have seen
two of his videos and, apart
from the banality of the lyrics
and the pedestrian filming,
found them quite disturbing.
In Cuts Like a Knife Adams
plays with a knife while a
young woman changes into
her swimsuit behind a screen.
There are one or two close-ups
of the knife interposed between shots of her changing
and, as the band plays on in
an empty pool, she slimbs the
high board and dives, presumably to her death. The
threat implied by the knife is
readily apparent as Adams
uses it to punctuate his lyrics
by stabbing it into a board.
The other Video is, if anything worse. Spouting lyrics
like This time I'm going to
make it alright, This time
she'll never get away it portrays Adams stalking a young
womant through a deserted
barn. He is joined at one point
by the other band members
who, with the threatening
swagger of 'real men', fall in
behind him on his pursuit. A
real clever twist at the end
shows that it was just a
dream; Bryan gets off the bed
he was lying on, grabs his
helmet, mounts his charger,
and roars off into the sunset to
meet his loved one. Lucky girl,
this time he's going to make it
alright.
It is a quantum leap from
Bryan Adams to Braineater
Jim Cummins but women do
not fair much better at the
hands of this 'alternate' artist
and musician. His portrayals
of women are usually as
vamps or in macabre, horror-
show positions of subjugation.
Jim Cummins is considered by
many to be the artiste of the
Vancouver punk scene and
while, as an artist, he is
perhaps merely reflecting the
oppression of women in society, it is equally possible it is
a reflexive exploitation of a
trend that, unfortunatelty,
seems to traverse the rock and
roll apwxreum. I'd like to tive
him the benefit of the doubt,
but find it difficult.
So now to Michael Jackson,
from Braineater to the flesh-
eating antics of Thriller. Fore
For
those who have not seen the
video I'd like to give a short
synopsis. It's a thirteen minute semi-story centered
around the sond Thriller and
directed by John Landis of
American Werewolf in London
The video opens with Jackson
and a young women nurse
stopping in the woods for a
romantic, moonlight stroll. As
they walk he proposes to her
but, he warns her, I'm not like
other guys. She laughs until
the full moon shines on him
and his transformation into
werewolf begins. At this point
I would like to mention hat the
woman is an accomplished
acress, at least as far as
portrayalas of terror go. Anyhow, after a short chase, the
werewolf catches up to her
and just as the mutilation is
about to begin we cut to a
movie theatre where Michael
and another, or perhaps the
same,   woman   are  watching
VV^IA^V^S***^^***^**^
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%0VA# CANADA   V5Z IJ8
>M 9  ANIMAL SLAVES
Contains: Wasting Time,Man From Glad,
Contrary to Rumour,Chinese Restaurant,a
Scratching My Hives.
the above mentioned scene.
She is horrified by what is
taking placeon the screen but
Michael is enthralled and
merrily eating popcorn. Finally she can take it no longer
and she leaves, he amusedly
gets up and follows her out of
the theatre. Outside he soon
has her smiling again and the
two cheerfully dance off down
the street. But, as they pass
the graveyard the corpses
begin to stir and before they
get much farther they are
confronted by the rotting
throng of undead. They are
both frightened and slowly
being backed into a corner
when the woman turns her
head for a moment, when she
looks back Michael has joined
the corpses. After some dance
routines she is persued into a
haunted house. Once again
the woman's terror is very
realistically portrayed and the
fiolence of the pursuit, while
obviously surreal (fists smashing up through the floorboards
and etc.), is effective. Michael
bursts his way into the room
she is in and, as she cowers on
the couch, reaches down and
touches her. She looks up into
the smiling face of a normal,
cute, Michael Jackson.
"Hey," he says. "It's
alright." She smiles back,
albeit a little shakily, and they
start to leave. Jackson looks to
the camera which zooms in on
the freeze-frame to show his
cat-eyes. The beast still lurks
within.
So what? It's just a typical
horror movie plot with a slight
rock video twist.
But I don't think so. While
I'm sure, almost, that Michael
Jackson doesn't intend to
imply that any man is capable
of turning into a violent,
destructive animal whose sole
aim is to mutilate/rape
women, that is the message I
receive. I think one of the
reasons I tend to interpret this
in such a paranoid way is due
to the context of the piece,
namely the rock video scene.
The rape fantasies of Bryan
Adams, or whoever is responsible for the content of his
videos,   are   not   subtle   and
fairly obvious. However, with
Michael Jackson there is a
degree of sophistication that
tends to obscure the content of
this particular piece of entertainment. Again, I do not this
this is a deliberate attempt to
exploit rape fantasies, but
simply an expression of M
chael Jackson's perceptive
creative response to the present pop scene. He knows,
obviously better than most,
what sells musically and visually and artistically, and he
responds to this demand. A lot
more people watch, listen,
and learn, from him than do
from Bryan Adans, and unfortunately, with Michael
Jackson's wholesome form of
androgynous sexuality, it is
hard to see past the innocence
But the message Is being
delivered; love is war, sex is
violence, and you've got to be
;ruel to be cool.
Gordon Inglis
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CITR  FM 102 CABLE 100
• -y»«A. HO-iT '  '--J<WNANt>e*.i*'tv-~-  - - .
Top 50
1. DOA
2. The The
3. Iggy Pop [& the Stooges]
4. Nina Hagen
5. X
6. Jonathan Richman & the
Modern Lovers
7. The Cramps
8. Brian Eno
9. Talking Heads
10. The Cure
11. Echo & the Bunnymen
12. David Bowie
13. The Fall
14. Dead Kennedys
15. 54/40
16. Gun Club
17. Lou Reed
18. Bill Nelson
19. Fleshtones
20. Simple Minds
21. Gang of Four
22. Stranglers
23. Trevor Jones
24. Yello
25. The Clash
26. Bauhaus
27. I, Braineater
28. Elvis Costello
29. Siouxsie & the Banshees
30. Adrian Belew
31. Magazine
32. New Order
33. Grandmaster  Flash   &
MELLE Mel
34. R.   Greenfield   &   J.J.
Burnel
35. Peter Gabriel
36. Wall of Voodoo
37. The Smiths
38. Herbie Hancock
39. PIL
40. Cabaret Voltaire
41. Joy Division
42. XTC
43. John Cale
44. Bill Laswell
45. Red Guitars
47. The Alarm
48. Death Cult
49. Shriekback
50 Tom Waits
For the second month in a
row DOA have managed to
grab top spot in this music
chart.
Joey Shithead must be
papering his walls with this
rag, or at least dropping off
bundles at the homes of
record company executives.
Seriously though, this chart
clearly shows how any bands
appeal can vary from one
month to another; PIL dropped 37 spots; XTC fell be 23,
and House of Commons
plummetted 38. Meanwhile,
Gun Club rose 35 4anks, Bill
Nelson came up 37, 54/40
improved by 36 spots, and
Jonathan Richman rose an
amazinq 48!
Reasons for some of these
improvements include: local
gigs (or rumors of such) which
brought up the stock of Nina
Hagen, X, Gun Club, and The
Cramps; New Albums, Bill
Nelson, The Fall, Jonathan
Richman, 54-40, Greenfield
and Burnel to name a few.
Notice the abundant local
talent here: DOA, 54/40, Trevor Jones, I, Braineater, and
House of Commons. Lotus-
land has spawned many bands
that we can be proud of, so
support them. In other words,
buy their records and go to
their shows so that they don't
shrivel up and die of neglect
like so many great local bands
of the past. If any of these
names seem unfamiliar, try
tuning in to FM 102 more
often, or call us at 228-CITR'
...we'll see what we can do.
Jason Grant Pu^um %*W
SUN
MON
TUES
WED
THURS
FRI
SAT
7
'P REPORT
8
MUSIC
OF OUR
TIME
-NEWS—
-SUNDA Y-
-B PUNCH-
THE
ROCKERS
SHO W
WAkE-l
HAM                           \
AFFAIRS
9
■ PUBLIC
t AM                                 1
■AST REPORT   10 AM
10
BREAK i
I
N
FOLK
11
NTER
ATIONAL
12
..NEWS
REPORT   I
1
LUNCH
PM    '
2
3
RABBLE
WITHOUT
A
PA USE
REAK 3:31)
THE
PLA YLlS'i
SHOW
NEW SB
PM
4
SPORTS BREAK  4:30 PM
5
6
SUN I) A Y
DINNER REPORT 6 PM                            k Anion a v
MAGAZINi
M
'AGAZINE
7
3
SUNDAY
SIGHT
LIVE
HIGH PROFILE      8 PM
9
FAST
FORWARD
JAZZ
SHOW
10
11
FAST
FORWARD
JAZZ
SHOW
FINAL VINYL        11 PM                               \pLAYLIST
12
1
LIFE
AFTER
BED
LATE
NTTE
PLACEBO
RADIO
AFTER
HOUR'S
RANDOM
NSOMNJA
2
3

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