Discorder CITR-FM (Radio station : Vancouver, B.C.) 1985-03-01

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 A guide to CITR
■IIJ 1l'.l 'IfeJI
FM 102
cable 100
MARCH  1985 POW wow
for All Your Badland Needs
'     w<
< 111/
682-3270 March 1985 Vol. 2 No. 3
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i i i i i i i i i i I, i i i i i i i i i i i i i i i i I I i I i  I I i i i I i i i I I i i l i
H6a^ 5
SMNd'ig 6
I TlilUII of <he Night
Program Guide   16 i
I SAVEducation
Jason Grant of SAVE looks at
high school unrest
I Pirate Radio
Kandace Kerr peels the bits of
23 f)   black tape off underground radio
Demo Derby     28
House of Commons   Q
the House rebuilt, by Chuck Reeve I */
.  4
Violent Femmes
Sukhvinder Johal curries favour
from Milwaukee.
_■ ■ ■ ■ ■ i ■ ■ ■_
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_i_i_i_i_i...i..i. ■_.■_!_■ :
i i  i i i i t
Editor: Chris Dafoe Production: Dave Ball
Contributors: Ann Marie Fleming, Ammo Layout: Randy Iwata, Rob MacDonald, Ken Dean,
Fuzztone, Jason Grant, Garnett Harry, Sukhvinder Robert Van Acker, Pat Carrol Harry Hertscheg
Johal, Kandace Kerr, Charles Reeve, Steve Robertson Program Guide: Val Goodfellow
Rob Simms, Julia Steele, Larry Thiessen Typesetting: Dena Corby
Photo Editor: Jim Main Cartoons: Susan Catherine, R. Filbrant
Photos: Ross Cameron, Bev Davies Cover: R. Fiibrandt	
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Harry Hertscheg
i i i i i i i i i i t__i_i__i__r_i_i_i_i DISCORDER     a guide to CITR fm 102 cable 100
Available at Zulu, Odyssey, AMS
Box Office, and the above locations
"I quit working at that bar or\
account of the customers would
murder each other euery night'9
''You thought about sinning with
me? After all fee years?''
r -^r\
* Football is a testicle sport/'
3307 Dunbar
Vancouver   V6S 2B9
DATE    _
March 31,1935
One Guest Shopper
ten dollars or 10% (whichever
Hours: Tuesday to Thursday 11-7, Friday 11-8,
Saturday 10-5:45, Sunday 12-4, closed Mondays
Community run, community owned store-front co-op. DISCORDER     a guide to CITR 1m 102 cable 100
Dear Airhead,
Apparently CITR is in danger of
tarnishing its reputation by allowing bands to play in Shindig which
appeal to more than their immediate group of friends.
In order to assure that Shindig
remain 100% non-commercially
viable, I suggest that CITR make
the following simple change in
judging procedure: instead of adding points for audience response,
just subtract points. This, I'm sure,
will virtually guarantee that any
band who wins will be one with no
commercial potential. Not only
that, you'll get rid of those line-ups!
Dear CITR Persons (or do I have
to say Airhead?)
I have three (3) complaints.
1. Re: Issue 1, Vol. 3, p. 26.
—It's Bela Lugosi not Bella.
2. Re the same issue, p. 19.
—You claim "CITR is the only
campus radio station in Canada
that does not have any on-air commercial revenues."
—You are wrong.
—Neither does CKCU-FM, the
radio station of Carleton University in Ottawa.
—However, CKCU does have an
annual funding drive during which
they whine for money on the air for
about a month.
—So why don't you try that first,
because commercials are degrading, gross and tacky.
3. I still can't get CITR on my radio!
Thanks and Love,
the ELF
No, I'm sorry, it is you who are
mistaken. CKCU do indeed raise
funds through on-air sponsorships in addition to their annual
funding drive. At this stage, CITR
is exploring viable options for
raising additional funds and we
don't expect to make any decisions for some time. We are,
however, eager to hear listeners'
views on the subject. So drop us
a line.
Dear Airhead:
Firstly, glad to see that you reviewed the Negro Jazz Funeral
single in your last issue. Even
though it got a good review, the
reviewer couldn't help but take a
dig at the Toronto music scene. It
seems the norm here in Vancouver to dismiss music from Toronto
as pretentious and unworthy of
I don't know what makes the
people and bands here in Vancouver have this unfounded belief that
they are the only ones to have a
good underground scene. Toronto,
for one, has a lot more clubs offering a far more diverse range of
music than here, and many fine
bands over the past few years have
emerged from TO., some of the
more notable ones being: Rent
Boys, Ugly Models, Y.Y.Y., Young
Lions, Sturm Group, Demies, Body
Bag, Chronic Submission, and
And yes, surprised as you may
be, distortion is used by many
bands and is not a "dirty word".
Toronto also has one of the most
active and well-organized hardcore
scenes, so people of Vancouver,
open your ears to the many fine
sounds emerging from the East,
underground music does not start
and finish in Vancouver, and remember it was Vancouver not
Toronto that spawned those metal
mega-stars D.O.A.
Bier & Seka,
Andrew Bag
Yes, you're absolutely right. The
reviewer was guilty of regional
snobbery and is now on assignment in Yellowknife interviewing
politically correct polar bears.
He'll also follow D.O.A. on their
Great White North tour where
they'll be trying to crack the
lucrative Inuit market. Watch for
Dear Airhead,
The idea of joking about the
serious problem of sexism (Maria
Trail's letter, Feb. '85) at CITR is
beyond me and many other women
in your listening audience.
I enjoy the music played on CITR
in general, but find myself becoming increasingly discontent with
your sloppy way of dealing with this
serious problem. I'm glad Co-Op's
Petty Juba
Yes, we're often sloppy, the letter was silly and it really served
no constructive purpose, other
than to detonate the myth that
myopic sexist thinking is within
the exclusive domain of men.
c/o CITR Radio
6138 S.U.B. Blvd.
Vancouver, B.C.
Dear Airhead,
Hey! Your mag is so good, why
do you fuck it up by having people
like Brian Maitlarf review records?
The guy is incompetent in this
area, and having him review hardcore records is like having a manicurist doing brain surgery! He licks
the balls of Bill of Rights 'cos
they're local (and probably gave
him the record) and turns around
and gives less favorable reviews to
Toxic Reasons (who are god.) He
fucks up on The Stretchmarks
review, whose LP What 'D'Ya See
(not Bad Moon as stated) on Headbutt records. And saying Youth
Brigade have changed? What a
maenard!! I wish he would listen to
a record more than once before
judging it. None of the H.C. records
were any less than fantastic (I
should know) except for the Bill of
Rights' record which is good in its
own right, but is so locally overrated. . .Also, I wish he'd explain
the difference between hardcore
and thrash, or hardcore and heavy
metal, or punk or H.C^-it's so
dumb, his confusing everyone with
petty labels makes me sick!!
NG3's "Demo Derby" review
was also an atrocity—who cares if
NG3 may sound heavy metal, don't
put your reaction in a negative way.
NG3 blow away most of the older
H.C. units in Van, and what they
lack in experience they make up
for in dedication and enthusiasm.
I wish people would look farther
down the road than D.O.A., who
seem to be the general comparison to any H.C. record reviews in
zines like yours. As long as you
persist in your biasness, people will
always be in the rut of D.O.A., Circle Jerks, Exploited, etc., which is
so funny I cry. For the real lowdown
on today's music, pick up an issue
of Maximum Rock & Roll or any
other fanzine—that's where you
see integrity, honesty and dedication, not lame comparisons, petty
labels and blind ignorance. If you
don't know what you're talking
about, STAY AWAY or be prepared
to learn...
Wrestle Tough,
Hughe G. Rection
lidnight Shows F_MARCH
LB    !ll«
One of the all-time
great love stories DISCORDER     a guide to CITR 1m 102 cable 100
Eric of The Reptiles
Monday nights at the Savoy are quickly
becoming something of an institution. Shindig
turnouts have been so good of late that one must
usually arrive at the club before 9 p.m. to beat
the inevitable lineup. This is really starting to
sound like a press release, eh Tom? I guess I'm
big on Shindig because I always seem to have
a good time when I'm there; due, in no small part
I think, to the active role that the audience has
played, particularly in the last couple of Monday
A cynic might be tempted to complain that the
winning bands lay claim to an audience's affection only insofar as they have been successful
in packing it with their friends. I disagree. I think
it's just another example of that rock 'n roll cliche
about a band and an audience feeding off each
other's energy. It makes sense then that the more
pedestrian acts didn't fare well.
Week I, Monday, Feb. 11
Dangerous Farm Animals began the evening's onslaught on a decidedly harmless note.
Their name is somewhat of a misnomer since
there is really nothing about the band that might
be construed as dangerous. They play hippy floppy calypso-flavoured pop with plenty of rhythm
and a quirky sense of humour. I have to give them
credit because they're a fairly competent bunch
of musicians and they work very hard. Certainly
there was no lack of energy in their performance,
but alas, it fell primarily on deaf ears. Why? The
answer, I think is simple: Dangerous Farm
Animals are a bar circuit band and, unfortunately,
more often than not they sound like one. The root
of the their problem lies in the fact that they
haven't developed a musical persona that is in
any way their own. Like many (no, most) bar
bands, they play it safe. On this occasion, it came
across as pure tedium. Dangerous Farm Animals
finished third.
The evening's second act, The Reptiles,
wasted no time in electrifying the Savoy with
loud, sloppy, raucous rock 'n roll. Boy, are they
sloppy! Guitarist Eric's playing style can be
described as nothing short of cruel. Somehow,
by beating the shit out of his guitar he managed
to regurgitate some wonderfully raw, yet melodic
noises. And all the while singing. Dave Hart
(bass) and Roy Fitzsimmons (drums) take a back
seat to Eric but they managed to maintain some
semblance of order while he wreaked havoc. The
Reptiles, in all their disorganized glory, were a
big hit with the crowd, who also made a lot of
noise. Ironically, it was not the best I had seen
of the band. But then, it strikes me that the most
consistent thing about The Reptiles is their inconsistency. They display an apparent disdain
for rehearsing; instead they seem to depend
upon their own ability to create a loose, spontaneous atmosphere based on the assumption
that the audience will get caught up in it along
with them. It seems to work. They won.
The Reptiles didn't win the evening in a walk,
though. I didn't know what to expect from the
third band, Slow, and as they swayed and tottered toward the stage to begin their set, I had
this sinking feeling that we were all in for forty
solid minutes of unmitigated atonal thrash.
Nothing could have been further from the truth.
Yes, Slow are loud, raw and somewhat obnoxious but they certainly aren't boring. Their set
was characterized by sheer frenetic energy
throughout as Tom (vocals) and Christian (guitar)
made a mockery of the concept of "stage" and
ran around the club as far as their cords would
stretch. It all made for a delightful spectacle.
Drummer Terry and the stocky yet agile bass
player, Hamm, did an excellent job maintaining
some tenuous sense of order, although they too
were often given to fits of writhing contortion. The
whole effect was that of a malevolent, speed-
crazed Atlanta Rhythm Section —whatever that
The Dilletantes
would be (oh well, it sounded good). The crowd
ate it up and then, in the case of one fellow, spit
it all back up. Slow were easily good enough to
win, and as it turned out, finished tied in points
with The Reptiles. They lost the decision in a coin
toss by the Savoy's Janet Forsyth. I guess
somebody has to lose, but sometimes it's awfully
hard to take.
Week II, Monday, Feb. 18
Foreign Legion kicked off week II with polish.
They sounded like they'd played together for a
good long time. Mae Moore (vocals, rhythm
guitar), Maarten George (guitar), Marcel "Animal" Belley (drums), Chris Blades (bass), and
Brian McGibney (keyboards) seemed relaxed
and confident on stage and their delivery was
tight. Maybe they were too tight. Most of the audience remained immobile and I heard some
people muttering "They're trying to be like the
Pretenders." Admittedly, the stylistic resemblance was rather striking: lots of stops and starts
offsetting an intricate and melodic but decided-
ly R & B derived brand of pop music. But it was
the style and quality of Mae Moore's vocal
delivery that give the Pretenders' comparison
added relevance. Her voice is gruff and throaty
and her phrasing brings Chrissy Hynde to mind.
There's nothing wrong with sounding like the
Pretenders as long as you remember where you
are and, frankly, I think that Foreign Legion
overplayed the club. By "overplayed" I mean
simply that their sound was too textured and
dense, which resulted in a discouraging similarity
between songs that might have been avoided
had they taken a more simple and direct approach. Foreign Legion finished second on the
The second band of the evening was The
Dekka Dolls. Chris Taylor (vocals), Alan Etcetera
(guitar), Keith Williams (drums), Scott Borgios
(bass) and Karen Anderson (keyboards) have
been together since last September and Shindig was their second gig. Clearly, they were out
of their element (which is probably the Luv-A-Fair,
since they played a song about it) and succeeded only in creating a rush at the bar. I feel slightly
sorry for the Dekka Dolls because the apparent
attitude of their music is one of aloofness and
icy metallic cool. The influences are pretty obvious; Bowie, Ferry, Sylvain are the ones that
most immediately spring to mind, judging by
some of the inane posturings of singer Chris
Taylor. That he had some trouble carrying a tune
did little to further the cause. If you're going to
play the role of suave, sophisticated pop icon,
you'd better be able to sing at the very least. The
effect was by turns laughable and mercifully forgettable. The audience appeared utterly unmoved and many hurled taunts at the band. Dekka
Dolls finished third.
Finally, The Dilettantes came on to mop
things up, and mop up they did. Easily the least
professional of the evening's three bands, they
nonetheless exuded an infectious energy. Suddenly people were moving, perhaps because a
link between the audience and the band had
finally been established. Laura Remple (lead
vocals), Sheilagh Badanic (vocals), Erica Leiren
(bass and vocals), Laurie McGuiness (guitar) and
Ryan Volberg (drums) apparently didn't expect
to win and were out to enjoy themselves. With
the help of saxophonist extraordinare Paul
Pete Nipplehead of Death Sentence McKenzie (of the Enigmas), the Dilettantes
presented themselves as a party powerhouse.
Granted, they made a lot of noise and often sang
off-key, but they had basic pop sense and a big
beat. When guitar strings broke, McKenzie told
jokes to fill in frequent gaps in the set while
repairs were effected. And then they'd be off
again, fracturing a few more '60's pop classics.
The only truly memorable thing about their set
was the fact that everyone appeared to be having a good time. It must have been the decisive
factor because the Dilettantes were the winners.
Week III, Monday, Feb. 25
It's 9 p.m. and there is a lineup stretching down
the stairs. The bighairs are out in full force to
watch Death Sentence make mincemeat out of
the Shindig Slaughterhouse (as they call it). Pete
Nipplehead (vocals, guitar), Tim Challenger
(bass) and Donut (drums) didn't disappoint as
they put the best boot forward and proceeded
to bust a few eardrums. The last time I saw Death
Sentence they were brutal. Loud, boring, heavy
metal white noise. Monday night's set began
much along the same lines and reminded me
of early awkward Subhumans without the
humour, but it quickly got better as the band hit
a few hooks. "In Flames" was a particularly
memorable tune, featuring Donut on vocals. He
also provided the evening's highlight as he crawled around the club playing a drum roll on the
floor to the appreciative cheers of the rather partisan crowd. Many of them left after the band's
set, confident that Death Sentence would win the
evening. And they did.
Sadly they didn't get much competition from
the second band, Dumb Blandz who were appearing in public for the first time. Todd Watson,
Mike Coady and Tom Flavell really didn't have
much of a chance trying to follow the aural onslaught of Death Sentence. The fact that they exhibited very little power or punch and that half
of the crowd had gone deaf contributed to the
thin, wispy quality of their nondescript set. More
than a few people left, no doubt to avoid burnout.
I know I found my own eyelids fluttering as Dumb
Blandz went throught the motions of playing their
bland (it was inevitable, wasn't it?) brand of
lounge pop pudding for a group of people who
clearly weren't interested. If I had to prescribe
a quick fix for this uptight and woefully inhibited
outfit I would advise some rougher edges and
less attention to technical detail. The band seldom made mistakes but, alas, rarely appeared
to be more than half alive. Dumb Blandz finished third.
The surprise band of the evening had to be
the Trouble Boys. Just before their set, an over-
zealous Death Sentence fan bounded up on
stage, grabbed the mike and announced that
Death Sentence were the winners. It didn't seem
to faze them although I'm sure they were aware
that they were not the crowd's favourite. Troy
Brooks (guitar), Gary Seronik (bass), Brent Truitt
(guitar) and Todd McGarvey (drums) are unabashed popsters with uncanny songwriting
ability and a bouncy fluid style. Guitarists Brooks
and Truitt play off each other extremely well, and
combined with the band's often uncertain, but
nonetheless infectious vocal harmonies, their
meshing guitar melodies gave the Trouble Boys
a distince flair and appeal. They reminded me
a great deal of bands like The Records and The
Shoes, in part because (if I may be cynical for
a moment) both were doomed to the status of
perennial also ran. The Trouble Boys gave it a
good shot and finished a close second. I hope
they keep plugging because I'd really like to see
this band again.
—Steve Robertson
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Box Office, and the above locations DISCORDER     a guide to CITR 1m 102 cable 100
jr% a 9allerv fu" of Pe°P|e trying t0 find
■ ■■111 meaning in all the hearts and chocolates
that symbolize Love, it is a shock to see someone
with a scowl that could freeze you in your tracks.
No, Mad Dog has got a burr in his tail and is fixing
to bite the arse out of the postman's pants who
brought the hundreds of cards, paintings and boxes
of all sizes to the Pitt International Gallery for the
Mail Art show hosted by Museo Internacionale de
Neu Art. . .to be sure, M.D. wasn't the only person
there who could have worn a "Disappointed in
Love" button on his lapel, but most put on at least
a supercilious leer to appease St. Valentine, who's
been known to show up at parties like this. The
evening began well enough, with a wedding ceremony at 6 p.m. which I stumbled into. Congratulations to Grace & Brian, and may the knot never
slip.. .lots of Mail Art showed up from afar, esp.
Germany, Italy, and one from China. The rest was
local stuff, ranging from the seductive (Suzanne
the iron!
oken he.
beef heart i
long the displays). B
iown, so no limitations
ih some people obvic
istory of I Hne's
calia, when men in goatskin breeches would romp
thru the town with whips and maidens wo|tld lip;
the roadsides to get a taste of the lash... in them
days fertility was desirable! Nowadays it's a nuisance. . The real nuisance at trKrffiG. jwa§Jhe
appearance of Hedy Metal andffha Bar!
sock-hop in the Grey Gallery. Paiif*Ewart, one of
NG3 (No God No Guns No Government) punches out
its hardcore sound as bodies slam together on the
floor of the Savoy. John (gtr, voc) is tree-planting this
j month while Nev (gtr, voc), Jamie (ba) and Odd (dr)
play on under a different name. They'll be back for
the ShiNdig finals in April. (Ammophoto)
e chorus f$, fell off the stairs right on top of
me his microphone while he corn-
so i got to caterwaul along with some
>ngs for awhile. For more info on the
bunch, read their own organ ISSUE
. been subjecting myself to the SHIN-
on Mondays lately. The stiff
have obviously been studying
) hard; seem to be judging the entertainment—
a sad state of awares. The only winners are the
.bancMljat break thru this stalemate, and they are
hereby labelled Hard Core Rock (after DOA). I mean
NG3 and SLO, two fine post-punk outfits that can
handle a little action stagefront. NG3 has been
ipl^king 'em in at the Lone Star, of all places...
Theatre Sports is a ball! It's so preppy I could
forgive them anything. Another competitive event,
the 4-person teams vie in improvised scenes for
laughs and points, judged by a panel of "experts"
with big numbered cards like in figure-skating contests. For behaviorist thnckers, unparalleled interest.
In the round I attended, USED KARMA squeaked
by TIDE'S IN, DIRT'S OUT by a score of 65 to 62,
as if it mattered—I mean, City Stage is not offering recording time or even rehearsal space and
other great prizes to the Wieners, though the box
office is rolling in it. But there's lineups around the
block every Friday at 10 p.m., so this is real hot action for Vancouver. . "If you got something to say
to people, you got to beat Madison Ave. at their own
game," Dave Gregg of DOA told me last week, as
after seven years of self-promotion these rockers are getting the Big Sniff—i.e., major label interest
—though you won't see the boys wearing big suits
and whiteface nor compromising their stance to the
whims of market analysts; "we know who we are
and we know what we wanna say," quoth Dave.
From extensive shoestring touring DOA's built up
an international following, making their new product
a ripe juicy plum in the eyes of distributors. I'm looking forward to hearing their new album, produced
by Brian McLeod, who's been responsible for a lot
of loud guitar on the other side of the management
fence. . . Rachel and Roscoe of Animal Slaves
have been taking French lessons, anticipating a
move to Montreal. They've got fourteen songs in
the can, awaiting vinylization.. . I've been listening
to UNDERGROWTH, the 2-tape compilation from
Collectors RPM. At first I was quite confused as to
who was playing in what order on which side, and
the misleading graphics didn't help. But I finally got
it figured out, and I'm getting used to the music too!
Local cassette releases have a real bad name for
sound quality, but I for one am a real demo buff,
and am often reprimanded for copying them and
sending the music to far-off friends. The Undergrowth collection is split into the hardcore sides
(messy and unintelligible at worst) and the new wave
(sometimes wimpy) sides. . .1 also listen to POISONED—Art Bergmann's recent cassette—and as
a journalist the song Yellow Pages really strikes a
chord in me. Fear of News has rightly struck every
kickass rock musician since Jerry Lee Lewis. What
can I say—the rock industry thrives on scandal; if
you can't stand the heat, get out of the kitchen...
odd little things happen at Emily Carr College, often
at lunchtime. That was Orah Costello, right, in the
freezer bag, lying on a bed of ice with fans blowing and pink noise out the loudspeakers? What
chutzpah—as he cleaned his nails I wondered
when he would be done on one side and have to
be flipped over like a kipper. And on Friday the 15th
Josie Kane was to perform "I Must Face Reality"
in doublespeak at noon, but I couldn't face getting
up and seeing all the faded Valentines in the shop
windows. . Dilitantes won this week's Shindig,
while the well-dressed Dekkadolls trailed Foreign
Legion in third place. I do hope the suits didn't prejudice the judges; there's nothing wrong with rock
musicians dressing formal, just so long as they can
handle the dry cleaning bill. The Dilitantes really
sweated and deserved their win despite the two
broken guitar strings and resultant tuning problems
which actually added to the sound complex.
Enigma Paul Mackenzie drove their drummer intense with some hot sax bursts, but the tight harmonies of the, what can I say, front girls, were just
as appealing as their 'animal presence.' But I'm
getting used to local performers, among whom I
count friends and strangers, beginning to break thru
the Concept Barrier and become demigods in my
modern mythology .. .they reveal themselves at an
alarming rate—and now I've heard Annie Moss of
WORK PARTY sing her share of a set, and she had
That Edge in her voice. Her folk roots are showing,
and yes, it WORKS! The band is real solid behind
her an Alvin, who sings less and plays more guitar.
It struck me as I sat there in the Sa-VOY that you
don't hear much plain, un-effected guitar anymore,
and the Work Party's got it in spades! I am quite
pleased with this rebirth; it's got Junco Run beat
by a countrified mile!. . .singer Ewan McNeil of the
Beverley Sisters recently appeared in a dance piece
at the Firehall Theatre, as—what else? a carpenter!
That's his real job, you know, singing is only a
sideline. . . and I continue to write, even as they
are strapping me into The Chair. .. I am waiting for
a last-minute reprieve... I'm sorry, I'm sorry... have
I time for three last words? Good! continued next
issue... no regrets,
—Ammo Fuzztone
Renovation Sale!
—stock up on friathalon supplies
—save on many new bikes and accessories
—have your bike expertly tuned for summer
. but don't mind the dust at 620 E. BROADWAY DISCORDER     a guide to CITR 1m 102 cable 100
Oitting at home, when the whole thing started. ..
A student in Kitimat on my screen, talking about
a walkout. Walkout? In a high school? In 1985? He
spoke about teachers working-to-rule, about cutbacks, about anger, about frustration, and about
students walking out of classes to protest the whole
affair. The public was now starting to realize the
magnitude of the education issue, but it would take
more to convince them of the student's convictions.
. . . Point Grey high school boils over. Students
walk out shouting 'No More Cuts!' and people are
aware. With little prompting, the walkouts spread—
Windermere, John Oliver, Gladstone, etc. —until 4/5
of Vancouver high schools have voiced their displeasure over the massive cutbacks proposed in
the Vancouver School District. Organization is poor
to non-existent at most schools, and the media plays
up the troublemakers; those students who have
something to say must struggle to make their voices
heard over the din of teenagers gone wild. I am
moved by the actions, but unimpressed with the end
A mushrooming of student organizatons occurs—
SAVE, SAC, SOS, etc. —students desperately seeking a forum to have their views heard, and a
machine to orchestrate further actions. There is no
suitable one there. Student Councils are found to
be ineffective and uncooperative, so students must
build another group. The acronym SAVE (Student
Alliance for Vancouver's Education) is chosen, and
members of the other groups join in. The amalga-
"A Cutba
mating meeting is my first contact with the group,
and I am overjoyed with the commitment and cooperation found in that room; we have started to
First action is Black Wednesday, combined with
school sit-ins. Armbands, T-shirts, pantyhose—anything black finds its way onto most students^bodies.
Black for death, black for mourning, black for the
grim reality of impending cutbacks. About 1,000
students sit-in across the city. The media calls it
a flop, but SAVE is thrilled; students showing concern on their own time! Opposition to the group is
minor, but very vocal. "Commies!" they scream in
the corridors; SAVE posters are torn down, and
administration hold us back. Letters to the editor
paint students as 'loudmouthed, arrogant brats,' and
even fellow students dumped on the protestors
before the cameras. But these are minor incidents,
and SAVE has become strong enough to push
through them; so we pushed hard.
After attending a pair of school board-sponsored
public forums, we realize that we have the support
of parents, some teachers, and a growing number
of the general public; a rally would bring students
to the attention of even more people. Enlisting help
from existing student organizations, SAVE prints a
press release and a handbill for this rally, set for
noon Saturday, February 9th, at Robson Square.
Organization is difficult, since most, if not all, members have no prior experience in this area. Tim
Amenhauser of Kitimat is invited down, and
numerous speakers were contacted.
Saturday morning I awake to a panorama of
winter, and pray that the snow will stop falling. It
. . . Robson Square at 11:30 a.m., deserted, except for the organizers; the sound system is balking, and the media are asking us to cancel the
rally due to the snow. We start calling radio stations
at 11:40, asking them to announce a postponement,
but mentioning that we would still be there to accommodate anyone who did show up. Returning
and few people squawk. You can
confuse a province into believing
|hp NPW RPSIIlV y°ur New Reali{y ir>to believing
■*J that Exploit 86 will create jobs
(albeit short term and part time)
and won't lose too much money (a
mere $311 million). But you can't
fuck with education.
The Socred education attack is
a two-headed nasty. It first wants
to erase local school board autonomy, making all boards figurehead committees dependent on
the feelings of their locai communities—ergo the referendum,
which asks already harrassed taxpayers to fork out even more to
cover what should be a right and
should be paid for by the provincial
government. While millions are
spent on doomed-from-the-start
- a lesson in
trade fantasy
The Socreds just may have
blown it. You can take on welfare mothers, cut back the amount
of money single people are expected to live on to $325 per month
coal projects and doomed pleasure
palaces, education needs are
slaughtered. Teachers are portrayed as evil money-grubbing layabouts, school boards are threatened and fined, and our futures
are held ransom to a high tech
Mephisto wearing nothing but
modems and mini-chips—and a
Which is the second of the two
heads. The government wants to
tell us what we can and can't study
at school. As arts programmes disappear, high tech and technical
programmes flourish, all fitting into the Socred dream of British Columbia becoming Bataan East—a
province of free trade zones, with
no unions, no human rights legislation (sounding familiar?), lots of
cheap labour and low paying 12-
hour-a-day jobs for ail, just like the
Philippines. It's that high tech free
trade dream the Socreds have for
this province that is shaping their
education policy. Already at UBC
various arts and humanities departments have been ordered to
justify their existence. The head of
the University of Victoria has also
been told he must accept orders
from the province as to what to cut
and what to keep. Centralized
authority wants to tell us—you, me
the school boards, parents, university administrations—what to do
and how to think.
Teachers have been at the top of
the Socred hit fist since their actions during the Solidarity walkouts
of 1983. First on the picket lines,
	 DISCORDER     a guide to CITR 1m 102 cable 100
ck Diary"
to the scene, we find over 100 people milling about,
and decide to proceed as best se can. Mark Reder,
sans amplifier, delivers a stirring address on behalf
of UBC, setting the tone for the rally. Nedjo and
Trueba lead the chants, Gary Onstad of the school
board keeps us cheering, and Catherine and I announce future plans.
It's over. . .we've pulled it off. Students organizing a successful rally to defend themselves. The
energy was all positive, the people had fun, and
the issues were presented forcefully; what more
could we ask? Buoyed by the success, we worked
towards a letter-writing and petition campaign, the
Victoria rally on February 14, and the UBC Great
Trek. Petitions circulated, letters were written and
Tim decides to bring his 'coffin for education' down
from Kitimat for the rally in Victoria. We are to fill
the coffin with the letters and petitions from the
Vancouver area at the ferry terminal, then deliver
it to Mr. Heinrich's office. Unfortunately, Tim is snow
ed in, and the coffin trip is postponed. The UVic
rally went ahead, with participation from SAVE, and
is ruled a massive success. Adele and I speak on
behalf of SAVE, and latch onto some part of the TV
news; many other speakers outline the feelings of
students from across B.C.: "We are sick of seeing
education treated as a low priority in B.C. and we
want these cuts to stop!" CITR broadcasts live from
Victoria, keeping their finger on the pulse of the
movement. But we are still angry, and there is much
more to be done.
When the people of B.C. see students (at all
levels) fighting back against government cutbacks,
they will inform themselves on the issue. When
they inform themselves, they will realize the extent of these cutbacks, their effect in the high
schools on the English as a Second Language program, mentally and physically handicapped students, and all extra-curricular activities; in the
elementary schools on kids with learning disabilities, library and gym facilities; in the universities
on all programs deemed irrelevant by Mr. McGeer,
including music, anthropology, and social
sciences. WE ARE PISSED OFF! We realize that
spending curbs are necessary in this time of recession, but these cuts go too far. If B.C. is to grow
in the future, education standards must be raised,,
or at least maintained. The Social Credit government has stopped cutting fat, and is now leaving
gaping wounds in the education system; we must
speak out!
Our hope for the future of education in B.C. lies
in our conviction that the people of the province
are intelligent enough to see that education has
a major role to play in our province's future, and
that it should receive the same kind of financial
assistance as Expo, B.C. Rail, and Northeast Coal.
Only through public support in this fight will we
make the government realize the importance of
education, and the utter insanity of their strangulating cutbacks. SAVE is just one organization lobbying for public support, and we have numerous actions planned for the coming weeks, incorporating
students at all levels. These include sit-ins, further
rallies, marches, and petition drives, and a benefit
concert on March 14th, as expenses will have to
be incurred in the near future.
Please help the students save their education.
standing up to the Social Credit
New Reality, teachers have continually been pressing the government on their education policies.
Which is why the Socreds have
been hot to get back at them in the
first phases of "restraint."
One would think that instead of
spending all this energy on destroying the education system the
Socreds would put some thought
into developing long term employment strategies that would allow for
some real jobs out there when people finally emerge, scarred and
bruised, from the B.C. education
system. High tech is not going to
be the employment answer of the
future according the the federal
employment ministry. They forecast the -jobs of the future to be
truck drivers and secretaries. But
to feed the high tech industry the
B.C. government is dreaming of,
one needs people who are used to
systems and used to following orders. As assembly line workers in
the Philippine free-trade zone of
Bataan will tell you you, don't need
a university degree to put car doors
or computer components together.
The other question in all of this
cafuffte is one of accessibility.
There are all kinds of people in this
province who want to go to university but can't: it costs too much
money, and the current provincial
government loan system only
means a lifetime mortgaged to the
to the Socreds through student
loan payments. Post-secondary
education may become a hobby for
the leisured class—nobody else
will be able to afford to go.
Their education cuts may backfire on them, though. Rather than
accepting the cuts in the same way
that they have accepted cuts in
welfare benefits and social programmes, the residents of Kerns-
dale, Point Grey and other unusually docile neighbourhoods nave
stood up and said "Hold it right
there, bub." It took the activism of
high school students in Kitimat and
Vancouver to get things going—a
little student direct action aimed at
making the government realize
that it can not kick the province's
education system around without
a bit of a fight.
During the 16'th century and on
throughout European history the
crowds were able to call on something historians call the 'moral
economy of the crowd.' That is,
whenever a service considered to
be an essential was denied or
altered (such food, protection or
legal services), it was considered
within the legal and moral right of
the people of that town or state to
riot, and to demand that the service be restored. The Socreds may
find themselves the deserving victims of this kind of 'rough justice'
—hopefully until ail rights in this
province—the right to a decent
standard of living, to food and
shelter and education—are restored. The education cuts do not
stand alone—they are part of a
New Reality that threatens to harm
us all.
	 DISCORDER     a guide to CITR 1m 102 cable 100
All the radio you listen to is licensed. The airwaves are applied for,
regulated, bought and paid for
through several federal licensing
agencies; meaning that there are
limitations on what you can and
can't hear, say and play. The myth
of the airwaves being open to anyone is just that—a myth. As one
radio station owner told me as I
pounded out news copy for him,
"Baby, an FM radio license in this'
country is a license to print money."
But there is a kind of broadcasting
that differs from this rigidly regulated
kind. Pirate radio stations are doing
to heavily-financed radio what home
taping is hopefully doing to the
mainstream music industry—killing
it. All over the world hundreds of il
legal radio transmitters pound out
programming and information important to people, programming that
has something very different to say
than the heavily regulated mainstream programming found squeaking out of most radios and receivers.
Vancouver papers were agog last
month with stories of a pirate radio
operation in Burnaby. Two days into
the new year the Department of
Communications raided a small
transmitter site in an apartment
building in Burnaby. Inside they
found and subsequently carted away
a transmitter, antenna and radio
equipment worth about $5,000. The
station had been broadcasting since
1979 from various locations, playing
the kind of music that "nobody
plays," with a music policy ranging
from The Doors to Culture Club and
Hank Williams and everything in between. The station broadcast on 90
FM on the weekends with a 50-watt
transmitter and a $600 transmitter
antenna set up on the balcony of the
17th floor of an apartment building
at Nelson and Kingsway in Burnaby.
(CITR has 49 watts.) And it pounded out its programming on weekends to listeners as far away as
Chilliwack, Victoria and Ferndale,
Washington, until the Federal De-
Hi guys...what took you so long?"
Reported comment of Busted Burnaby
radio pirateer on being busted by
Department of Communications DISCORDER     a guide to CITR 1m 102 cable 100
partment of Communications, one of
two licensing agencies, shut it down.
The Burnaby operation was just a
small link in an international net of
pirate radio stations. In many European countries the only radio available is state radio, much like the
CBC, which broadcasts only state-
sanctioned music and information
programming. Some countries also
have monopoly radio, a corporate
entity controlling radio & TV broadcasting, which means that information from community and political
groups and those opposed to whatever the state has to say does not get
on the air. One only has to think of
the strict controls the BBC puts on
the music they choose to play to see
an example of state control in rock
and roll (i.e. Split Enz, Sex Pistols).
The term "pirate" comes from the
first well-known pirate station, Radio
Caroline, which broadcast from a
boat off the English coast.
At issue is the question of who
should control and regulate the
airwaves, if anyone should at all.
Should the airwaves not be open to
anyone who wants to broadcast?
Most pirate radio stations are community based, bringing an instant
accountability and accessibility to
their programming. Their communi
ty base means the programmers are
in constant contact with their audience. Most pirate stations are also
politically and socially active, not only providing air access and training
for groups normally shut out of the
mainstream media, but also taking
b direct and active role in organizing and actions. Often pirate stations
come on out of the blue: some have
regular broadcast times, others just
come on, their broadcast times having been passed through the community by word of mouth. The irregular broadcast times are a precaution against police tracking and
subsequent arrest: pirate radio,
especially in Europe and Central
America, is not just a fun hobbie.
So, what do you do if you live in,
say, Frankfurt, West Germany, and
you're sick of the radio the state has
to offer. Say you're involved with an
anarchist organization or a punk
band and can't get your information
or your music on the air. What do
you do? You can, as a friend of mine
did, set up your own radio station.
The station was called Radio Is No
Good, and was based in a downtown
Frankfurt neighbourhood. The transmitter was built from parts purchased locally, following instructions
published in an international underground magazine. The transmitter
was not located in one stable, unchanging location but was driven
Needless to say, Radio Is No
Good was not on the local authority's top ten faves list. The police had
tried for some time to shut the station down, but had never been able
to find the source of the broadcasts.
Radio Is No Good decided one day
that they had enough fun and that
it was time to get caught.
The police tracked their signal
down to the outskirts of Frankfurt.
They found themselves stopping at
the front door of an abanonded
sausage factory. In the door they
phonal BaHeries
Hi h
between groups of people squatting
in abondoned housing, or squats.
The communication links are used
to warn people of the approach of
the authorities or possible busts by
the police. . .
• In Switzerland pirate broadcasting
first began in 1975. Police often jam
station signals but the popularity of
the stations and their numbers has
forced the Swiss government to finally set up an experimental system
of community radio stations patterned along the pirate models.
• In Scotland there is a myriad of
non-state owned broadcasting.
There are two university stations,
plus a number of pirate operations
that mainly broadcast music.
around in the back of a van. In Germany the penalty for broadcasting
pirate signals is up to 5 years in
prison, as radio is tightly controlled
and financed by the state. Radio Is
No Good broadcast very sporadically, cutting in on local FM signals to
broadcast either news of upcoming
demonstrations or rallies, or interviews with local political activists and
community people. The station also
aired local independent punk and
alternative music, and tried to bring
listeners music from across Europe
and around the world. Each week it
broadcast at a different day but
usually at the same time, trying to
get as much information out as possible before haying to shut down.
Radio Is No Goocfsaw radio and
audio communication as the most
important organizing tool. Radio is
an immediate medium, meaning you
hit your audience immediately with
the information. The station saw
radio as a cheap and fairly easy way
to reach the people they wanted to
reach, to give them information to
act with and to give them strategies
for action. They used their transmitter to get people out to demonstrations, to give out directions to rallies,
to warn people of police harassment. The station was also used by
underground political organizations
to broadcast messages that the
state-controlled media refused to air,
explaining their rationales behind
various actions and events.
"Pirates on the airwaves.. .we're
just pirates on the airwaves..."
Pauline Black
smashed, guns and riot gear at the
ready, expecting nothing less than
a full scale crazed anarchist mob.
Nothing. Up the stairs they roared,
helmets and night sticks clanking as
they raced up the long flight. Another door was easy work for their
batons and hammering and pounding fists. They kicked their way into the room, only to find a long buffet table, laid with a white linen cloth
and full of all kinds of food. Members
of the alternative straight media were
there, taking copious notes. At the
sideof the table a small reel-to-reel
machine played a taped message
cautioning listeners that this may be
the last time that Radio Is No Good
would be heard. And across the wall
directly behind the table a long white
banner stretched, bearing the greeting "Welcome Police."
As far as I know, Radio Is No
Good still broadcasts every so often
in Frankfurt. They have never been
caught by the police.
Radio Is No Good is not an isolated experience. In West Germany
alone there are a number of pirate
operations, including stations like
Radio Paranoia in Berlin. Other
pirate operations include:
• in Holland, pirate transmitters and
CB radios are used to communicate
• In Ireland pirate radio operations
have been running for the past three
years, broadcasting music and
• In England the most famous of the
pirate stations are Radio Caroline
and Radio Jackie, two stations that
seek open access channels. Both
stations progamme music that the
Beeb won't air. Rumour had it that
Radio Caroline, which broadcasts
from a boat off the English coast,
had sunk during a storm, but reliable
British sources say it has resur-
RICK SCOTT and his hot new band take
the stage for a week of vim, vigor and
vaudeville! This super talented
Vancouver musician /songwriter/
actor/comedian has been called the
'Jimi Hendrix of dulcimer and
"One of those rare performers who
truly could act a page from the
phone book and make it
m    nw      March 12-16, 8:30 pm
Special Kids' Show,March 16, 2 pm
Completely original and cap
tivating, this Toronto-based
modern dance troupe has
made a major impact on the
international dance scene.
For gutsy, remarkable, exuberant choreography, this is
a dance show to catch! "A
mind-stretching surprise."
(Buffalo Evening News)
"Too good to miss!" (The
Vancouver Sun)
March 19-23 8:30 pm
The VECC & VFMF present:
Canada's all-round bitch goddess of the
great White north. NANCY WHITE is a
singer/songwriter of great power and
charm, a must-see for all who dare!
".. without a doubt a national treasure:
funny, smart, sexy and childlike all at
once." (Globe & Mail)
March 26-30, 8:30 pm
La La La Human Steps
Haru Ichiban
Karen Jamieson Dance Company
Just playing the music no one
else will touch is not the only
rationale behind the pirate radio. In
many countries, radio is used in liberation struggles to educate, inform
and to mobilize often largely illiterate populations about the events
and issues of war. In El Salvador
Radio Venceremos is a communication link used to educate and mobilize the Salvadoreans. It started in
1981 in order to serve as a communication service between the war
front and the population, to mobilize
Acrylic paintings
Oil Pastels and Mixed Media
APRIL 15-21 -
Acrylics and Mixed Media
Each month, the
features the work of
local and visiting
visual artists. Open
from 10-6 Monday
through Saturday and
noon-6 Sunday —
or, stroll through
when attending a
pressive measures taken against
community radio. In Guatemala
community radio personnel—hosts,
producers, and technicians—were
executed by the police, and all station equipment confiscated. Nevertheless, over the past year, a pirate
transmission has surfaced which
jams all presidential addresses and
broadcasts. A group in North America and Europe is working to raise
funds to set up free radios in
i i^^j^j^   .	
_^T-*——*   —        -**
jtufuii! wtL/J !li¥LJ n.
'''This is Radio Clash/
On pirate satellite...
Clash - Radio Clash
the people and to protect them in the
event of the frequent army attacks.
The pirate station broadcasts on 3
frequencies 3 times a day, and is
both educational and military. The
broadcasts are done by a five-
person team, Radio Venceremos is
under constant military attack and
there have been several bombings
aimed at shutting the transmitter
In one of the liberated zones,
Morazan province, and in two others,
Radio Venceremos provides broadcasts as part of the development of
a new society. In 1983 Radio Venceremos launched a fundraising
campaign to raise $35,000 to buy a
new transmitter that will not be as
easy for police and state authorities
to jam.
In other countries pirate broadcasts have begun to counteract re
in Bolivia pirate radio stations
have been operating at the country's
tin mines since 1940. The stations
broadcast messages, information
and music between the mining
camps. They are union owned and
are often the victims of owner and
state violence. In Argentina a group
of exiled journalists set up a pirate
transmitting station in Costa Rica,
where the government allowed them
to broadcast into Argentina. Called
Radio Noticias del Continentas, the
station lasted from 1979 to 1981
when it was destroyed by state
forces. The group of journalists had
been exiled because of writing and
broadcasting opposed the the repressive practices of a government
much like that of General Pinochet
in Chile. Over the past five years
over 30,000 people have 'disappeared' in Argentina, people opposed or perceived to have been opposed to
the dictatorship.
In Poland, a pirate radio station
known to the West as Radio Solidar-
nosc, recently began rebroadcasting
after being shut down by the Polish
government. The station surfaces to
urge Poles to take to the streets, or
to prepare for general strikes, in the
name of trade union freedom.
Often pirate radio will pave the
way for government-sanctioned
community broadcasting. The Swiss
example has already been mentioned. In France pirate radio flourished during the student strikes of May
1968. When the socialist government of Francois Mitterand was
elected in France in 1981 all 'pirate
radio stations' were legalized. The
government is currently authorizing
close to 50 of those stations, with an
attempt to provide for inclusion of
various special interest and constituency groups—but others not officially sanctioned will be forced
underground. Mitterand himself had
been involved in underground radio
during the May 1968 events—perhaps he felt he had a debt to pay his
pals in pirate radio?
In Italy pirate radio began in earnest in 1968 through the student
movement. In 1976 the Italian Sup-
DISCORDER     a guide to CITR fm 102 cable 100
reme Court ruled that the government monopoly on the airwaves was
illegal and that the government had
no right to control, regulate or sell
the airwaves. Now in Italy anyone
can broadcast—all one needs is a
transmitter and some stereo equipment.
So the Burnaby operation was just
one of a global network of airwave
anarchists—people taking control of
the air and using it to their own advantages. Whether it be for musical
or political freedom pirate radio continues to keep the airwaves free from
legislative and commercial grasp.
Setting up your own transmitter
isn't all that difficult. Far be it from
us here at CITR, who are under the
whims of the almighty CRTC, to advise you to break the law and begin
illegal transmission. But the airwaves are there for the using and if
you are interested in finding out
more about setting up "alternative
transmission systems," drop us a
line at CITR and we'll send you an
article about underground and pirate
"This is Radio Clash/
On pirate satellite...
Using aural/audio ammunition...
Can we get the world to listen?"
You bet.
Kandace Kerr
SB I Ml I, SIR H 1 G A S I 0 W N 6 8 3 6 B 9 5
^Grapes of Wrath
the big music ...
4-54/40 &
with gues
R« 3 Spotlight bands
TV. taping
bb Gabor
7-9 Rubber
1416 DANNY
twenty-one til 23
with Lori Paul
REl/Hkl I ITI/^lMUI^\ For the success of Spotlight 85 THANKS TO
EVf§LUTI®NC • cTO-The Province-lfiP •
^records   &   tapes Vr aND all the bands and those who saw them-
THURSDAY program
Guide     1
A guide to CITR
MON    TUE    WED    THU     FRI
African Show
(Saturday 4:00 pm-6 pm)
A program featuring African music and culture.
Every week, with news, current events and local
African music events. Feature at 11 p.m.: specific
artists, the music of specific African countries.
African music events. Feature at 5:00: specific
March 2 - Airhead analysis; Story time—How Turl
Built a Femfataltron...by Stanislaw Lem.
March 9 - Interview—Canadian Hostelling Assoc,
(low-budget travelling in Canada & the World)
March 16 - 8 pm - Revenge of the Words—live
recorded poetry from the Pitt International Pt. I
March 23 - 8 pm - Revenge of the Words—live
recorded poetry from the Pitt International Pt. II
Plus the usual eclectic mix of Today in History,
interviews, reviews, music, humour, spoken word.
Broadway In Exile
(Tuesday 12:30 am-4 am/late night Monday)
Radio for people living on the outside of society. Hosted by Jerome Broadway.
Fast Forward
(Sunday 9:00 pm-1 am)
The latest in the exciting and vibrant world of experimental, independent, minimalist, electronic,
avant garde stuff. Actually, this program is yet
another alternative to CITR's general "alternative" sound. Keep abreast of independent
cassette releases around the world, as well as
listening for rare live recordings or more well
known non-mainstream artists. Hosted by Mark
Folk International
(Sunday 6:30 p.mr8 pm)
Traditional folk music from Canada and around
the world Hosted by Lawrence Kootnikoff.
Generic Review
(Weekdays at 8:35 am and 5:35 pm.
Also on Saturday and Sunday Magazine)
A critique of local entertainment, theatrical
events, movies, and exhibits.
High Profile
(Monday through Saturday 8 pm)
Spotlighting one artist's music and career. Refer
to High Profile listing for artists.
(Weekdays 9:43 am and 6:13 pm)
An editorial comment on current issues open to
i. > community. If you have something to say, call
228-3017, ask for Doug Richards.
Jazz Show
(Monday 9:00 pm-12:30 am)
An evening of varied traditional and avant garde
jazz on one of Vancouver's longest running all-
jazz programs. Now that C-JAZ has become
"FM97" this is one of the only places you can
hear jazz on the radio before midnight. Hosted
each week by Gavin Walker. Feature albums, artists, interviews at 11 p.m.
Life After Bed
(Monday 1 am-4 am/late night Sunday)
All kinds of awakening sounds for night crawlers
and insomniacs. Hosted by Garnett Harry.
Mel Brewer Presents
(Thursday 11 pm)
A program featuring exclusively the newest and
best in local talent with new demo tapes, live interviews with groups and local music figures,
debuts of new released and lotsa hot juicy gossip.
The Mid-show
(Wednesday Midnight-1 am)
The Mid-Show presents a diverse and sound fluid
mesh, from candy to explicit, engineering a
release ghetto. Directed by the magnetic loneliness of audio art, video art, poetry, prose and
indigenous music, the movie soundtracks, young
and old pop and rock, foreign lingo hits and
country jostle about looking for conversation.
Listen in and get a piece of the action. Hosted
by John Anderson.
Music Of Our Time
(Sunday 8 am-12 pm)
Music of the 20th century in the classical tradition. Hosted by Ken Jackson, Jay Leslie and Sandra Thacker.
The New Extended Playlist Show
(Saturday 12:15 pm-4 pm)
Okay, everyone wants to be new, to be hip and
to be just a little ahead of their time. Cut the jive
and swath through the spectrum of popular
music and put yourself in touch with what is really
happening Now. Listen to the latest local demo
tapes and the newest singles, EPs and LPs from
Canada, the USA and from around the world that
are on the CITR playlists, and even those that
aren't. Join Michael Shea every Saturday afternoon for four hours of the latest, the greatest, the
unforgettable and the never heard from again.
News and Sports   (Weekdays)
Local, national, and international news and
sports. News and sports reports at 8 am, 10 am,
1 pm, and 6 pm. Newsbreak and Sportsbreak
at 3:30 pm and 4:30 pm. On Saturday and Sunday, regular newscasts air at 12:00 noon
(Saturday 6:30 pm-9:30 pm)
Listeners: this is your show—if you want to do
or hear something on Propaganda! write to Propaganda!, c/o CITR, 6138 SUB Boulevard, UBC,
Vancouver, B.C., V6T 2A5. Also, we want listener
feedback on our documentary, German Mail, so
that we can forward it to the producer. Please
write in to the address above, or phone us at
228-CITR while we're on the air.
This month:
German Mail, a six-hour documentary in twelve
1/2-hour parts on the German underground, noncommercial music scene. Strong political content. Parts 5-9.
March 2 - Airhead analysis; Story time—How
Trurl Built a Femfataltron...by Stanishlaw Lem.
March 9 - Interview—Canadian Hostelling Assoc,
(low-budget travelling in Canada & the World)
March 16 - 8 pm - Revenge of the Words—live
recorded poetry from the Pitt International Pt. I
March 16 - 8 pm - Revenge of the Words—live
recorded poetry from the Pitt International Pt. II
Plus the usual eclectic mix of Today in History,
interviews, reviews, music, humour, spoken word.
Party With Me, Punker!
(Wednesday 4:30-5:30 pm)
For punk music aficionados: a solid hour of exclusive punk tunes, live cuts and info from the
earliest punk to the latest hardcore; everything
from The Stooges to G.B.H. Hosted by Mike
March 6 - Arizona Punk Bands
March 13 - Deadcats Interview (live)
March 20 - Anti-Reagan Songs
March 27 - Black Flag Rarities
Play Loud
(Wednesdays 1 am-4 am/Late night Tuesday)
...dedicated to the creation of most of the world's
problems. The final word in musical pleasure
through pain. Music especially designed for
headphone listening or (alternatively) for killing
your houseplants. Of particular interest to deranged vivisectionists, industrial/ experimental addicts and those who like to dance on the thin line
between art and noise. Aural surgery performed by Larry Thiessen.
Public Affairs
(Weekdays 9 am-9:30 am)
Current events, issues of local interest and DISCORDER     a guide to CITR tm 102 cable 100
sports. Monday, Wednesday and Friday shows
will feature either live interviews or in-depth
coverage of a wide range of topics including
social problems and programs, political events
and community access programs. Time is
available for groups to prepare their own shows.
(For more info, call Diane at 228-3017.)
Tuesdays and Thursdays are sports shows. Tuesday's program, "Pulse on Intramurals," will on
a weekly basis explore the world of UBC's intramurals program which, incidently, is the
largest such program in Canada. While Thursday's show, "Sports Unlimited," will feature heavy
to lighter and more general sports topics. (For
more info, call Mike Perley at 228-3017.)
Random Cacophony
(Tuesday 11 pm-1 am)
The second radio show in the history of civilization dedicated to solving all of the world's
(Sunday 1 pm-3 pm)
The latest and best in toasting, rockers, dub and
straight forward  reggae.  Hosted by George
Saturday and Sunday Magazine
(Saturday & Sunday at 6 pm)
Weekend magazine shows presenting special
news, sports and entertainment features.
Sunday Night Live
(Sunday 8 pm)
From the archives of CITR, vinyl heroes captured
on tape in their truest element—the live performance. This 45-minute special is hosted by
Jason Grant and Vijay Sondhi.
Uncontrollable Deviance
(Thursday 1 am-4 am/late night Wednesday)
A show devoted to music that might be considered "non-traditional." Everything from the
Angelic Upstarts to the Zero Boys is played, with
plenty of thrash, skate, hardcore, metal, post-
punk, oi and great bands in-between. Local
bands are welcome to send in any material they
wany played. Requests and any other input is encouraged. Hosted by Andrea Gamier.
The Visiting Penguins Show
(Sunday 1 am-4 pm/late night Saturday)
Your hosts the Funkmaster and the Screaming
Vegetable present three hours of disorganization,
lunacy, Penguin trivia and, oh yeah, some music
Where The Action Is
(Wednesday 9 pm-11 pm)
A fun-filled two hours, featuring local record
dealers and collectors, along with some of their
more obscure vinyl. Hosted by Janis Mckenzie
and Brent Argo. If you have music to share or
want more information on the show, write to:-
ACTION, c/o CITR radio.
Because CITR is a low power FM radio
station, many of our listeners have difficulty
properly picking up our signal. One of the
easiest ways to get better radio reception is
by hooking your stereo up to your TV cable
wire. CITR is available on cable FM at 100,
in addition to the regular radio FM at 102. To
hook up cable, you need to "jump" wire from
the antennae/cable terminals on the back of
the TV, across to the "300 ohm balanced FM"
terminals on the back of your stereo.
Doing this yourself will piss off the cable
company, because it's illegal, so maybe you
should pay them 10 dollars a month for that
bit of wire. Remember: home taping is also
Bad and Better covers
Wah (neglected cuts)
3-hr. Non-Caucasian Music
The Shirelles
Ramones vs. Jacksons
Rational Youth
Songs You Would Rather
Tones on Tail
The Contractions
More Guilty Pleasures
Au Pairs
Shut up and Play your guitar
The Lolita Record Label
Blind Lightning Washington
Arts Underground-European
Political Theatre
Now you see it, Now you
Special program
Rare Icicle Works
Ry Cooder
Arts Undergound-European
Political Theatre
Bon Bull's California
Little Richard
Membership Application
For your membership, send $20
(students) $25 (non-students) or
$15 (unemployed) in cheque or
money order to:
6138 SUB Boulevard
Vancouver, B.C.
V6T2A5 W!
House of
,hen  hardcore  music  first
VV^ gained a foothold in Vancou-
tended to change so much that an
hat really remained constant rom
show to show was the name of the
band, with members commg and
was a sudden surge of new faces
mo the local hardcore scene, and
a'second generation of Vancouver
arold the first generation  of
9rAUhe front of this second gen-
„«> umi<;e of Commons,
™«ri at the time that the new
S of energy stemmed from
:Sa.lwhic9hynew bands exper-
ienced when they found it difficult
Tbreak into the established hardcore scene. House of Commons
11firot band to stand on its
Tn awe Irom kefirs, genera-
Snn's sphere of influence. But
ChaninoV is reluctant to acknow-
thPir own qigs,  he says. ^       -
he re are people around Vancouver
selves as being way out ,n front o^
anyone else, because we know
fhTthere is talent out there
succumb to ideological differen
one Derson was living on Vancou
JerlsTandandtherestofthe  and
lived in Vancouver,so. just*dn
work out," explains Challinor Tak
ing the ferry back and forth gets
pretty expensive.'
A second major re-organiza- «
tioA„,ookp.ace late .asryea-*£ ~
,he band as it was giving ts tart
performance in December at tne ^
YOA'nhTohUegahrchaHinorc.aims,ha.       J
lont " It is clear that the band
9enTTere are stMlpeopte trying
to get messages acwM, ***»
lemselves too much
with issues because its not
i   TasWonable for them   They ?
more concerned wrthj
I'm SU
And although he feels Canada
has the same type of problem,
^alllnor notes, "Americaseemsto
make it more evident because
Sey're always in the focus of the
media." .   .
Challinor acknowledges that
punk might lack the impact of outrage it once had. "It's not quite the
rage it used to be. There arent pictures of bands around town except
for D.O.A. Punk has sort of become
an accepted thing, part of teenagers and music. Bands just have
to%o ahead and get the, musu:
out put their ideas across. But
people are now there who are going to listen to it."
In the wake of House of Commons'   regrouping   Challinor is
nuietly optimistic about HOC and
te future. The band has been
eformed, with Tom Bruce (who
played with HOC at the Dead Kennedys'concert) playing bass, and
a drummer from Denver named
Brad The band will play as a three-
piece until a new guitarist can be
found, but Challinor is a ready talk-
1 ing of going into the studio of a
Dossible tour, and he speaks en-
^Phusiastically about playing away
, from Vancouver, and the pos-t.ve
' response the band received when
| it played in California about one
! year ago
agree v....
ing run, but they <w
right out and say it
still not an accepta
Challinor has strong teelings
songs like "American Patriot     ^
In* ''Way Down South." And aland   way-v themselves
though th* Jong8 * t in
U S boundaries. I
'hat^heas has They ^m
beaprel,yCho  knots  "here
L     pie  and  wh°k"?e everyone
They're going to take evy
e,se who's along *'
mTo^W^'gene, -
■The kids really get into the
music," he says, "and are quite
responsive to the bands. The turnouts are larger than up here, especially in places like L.A. and San
pTancisco. There is a lot of awareness of what the songs are about
Cut there are airheads too, people
going out to gigs just to jump
around without really giving any
thought to what the whole thing is
Although Challinor expresses an
optimism about his own band he
Shan't limit his enthusiasm to
House of Commons. He cites no
Death Sentence, which show
■Whether the scene grows depends on how serious bands a e
at what they're doing. The future
^ there for them if they wan. to
work at it-At one point it becomes
not just a hobby, it's what you e
oolng all the time. It becomes your
future, and you have to make a iiv
ng off it. And if you're going to do
Ihlt, you have to work at it. DISCORDER     a guide to CITR 1m 102 cable 100
The Violent Femmes story has all the ingredients of a Boy's Own comic book: three root-
sy fellas with a love of music havin' a good ol'
time buskin' on the streets of Milwaukee, not
botherin' no one, jus' makin' enough dough t'pay
the rent—if that. Then along comes this chick
that plays with this new wave band, The
Pretenders, pokes her nose in, decides she likes
'em and whooosh, before you can say 'rags to
riches,' she's convinced our erstwhile unsuspecting yokels to try an' make a typically dishonest
living in the established music biz.
Going on the Violent Femmes subsequent
success it can be safely said that this is just
about the best thing that Chrissie Hynde ever
did for music.. .
The band's first self-titled album was inflicted
upon the world in the middle of '83. It was a time
when their label, Slash, seemed to be conspiring with the likes of Rank and File, The Gun Club
and The Blasters to revive the traditions of
American music: country, blues and rockabilly.
The Violent Femmes, too, were revivalists of a
sort, although what exactly they were reviving I
wasn't too sure about at the time. I guess it was
the above three genres, as well as folk, jazz,
bluegrass and (anti-)gospel.
As well as reviving they were inventing.
Mischief Rock. Post-Adulthood Puberty-Pop.
Quirk-Punk. Was Gordon Gano Jonathan Rich-
man's older, lascivious brother? They amused,
teased, offended— and confused. Where were
they at? Were they serious or tongue-in-cheek?
Were they singing their masturbatory fantasies
in a mid-adolescent time-warp? Were they sexist, racist? With the Violent Femmes, as with
many aspects of a 'democratic' society in the
'free' West, All is not what it seems...
'AH' includes their second album, Hallowed
Ground, and some singles, "Ugly," "Gimme the
Car," "It's Gonna Rain," "Tears Gone By," "Gone
Daddy Gone," "Add It Up" to name the biggies.
All told, it would seem that The Violent Femmes
are not evangelists of frustrated teenage
Americana; rather, they are it's antagonists. They
gleefully poke fun at the habits and attitudes of
the world's favorite species of pig: the common
or garden White American Male.
In the week that they played at the Luv-A-Fair,
the land of the free (enterprise) and the home
of the slave inaugurated a senile member of this
species as president for a second term, an individual who Blackout magazine so aptly describes as a 'pathological liar.. .a man whose
mental lapses have been displayed before
millions, who can't stay awake to run the government he's nominally in charge of.' America loves
a media event. It loves to show off its lunacy.
"The inauguration of a president as lunacy
depends on how much of a lunatic the president
is," says bassist Brian Ritchie. "In this cse I'd say
there's a fairly high level of lunacy involved. We
were out of the country at the time (of the election) so we couldn't vote. Last time most of the
band voted for Gus Holland and Angela Davis—
the Communist party."
He adds that four of the six musicians touring now would have voted Communist. Despite
this, lyricist and singer Gordon Gano tends to
avoid direct politics in the band's material, choosing instead to comment on specific aspects ol
American life. In a way this approach is more ef
fective: Joe and Josephine Public usually need
something simple and immediate to clue in to.
Unfortunately, this approach could also be too
subtle. It's quite possible that there are many
Violent Femmes fans who miss the point, fans
to whom this is 'just a weirdo band singing funny songs.' Given the mischievous nature of the
'weirdo' band, I would suspect that they're having a quiet snigger at these people too.
The Violent Femmes are not the engineers.
They are the protesters.
"The band isn't too happy about the American
political system," Ritchie declares. "It's obvious
what's wrong with it and we recognize that —
unlike most Americans."
Despite his convictions, Ritchie shows a
detached weariness towards American politics.
Especially now. He's hungry. "Know of any good
Indian restaurants around here?" he asks. I stare
at him blankly for a moment and then reply to
the negative.
"The whole band really likes Indian food, really
hot," comments Sigmund Snopek III, the
keyboardist who provided one of the many
moments of comic relief during the concert by
coming on wearing a chef's paper bag on his
head and singing the first few bars of "A Whiter
Shade of Pale" before the band abruptly interrupted it to launch into another song. He is one
of the ones who would have voted Communist.
He is also one of the three Horns of Dilemma
who have joined Ritchie, Gano and drummer Victor de Lorenzo to form the current touring sextet. The others are saxaphonists Peter Balestrieri
who played on the second album and Steve
McKay, ex of Iggy Pop and the Stooges, Snake- finger and Commander Cody.
"They're just our friends who happen to be
travelling around with us," informs Ritchie.
. . The Horns of Dilemma made a tiny stage
look even smaller and closer to the audience,
providing for a highly charged, packed, sweaty
and raucous atmosphere— the best type for
most concerts but especially for bands like the
Violent Femmes.
"It's hard to take it too seriously," declares the
tall, blond-haired bassist. "There's a lot of musicians who take themselves seriously. We take the
music seriously but you gotta have fun with it.
I mean, our job is to have fun." Thanks Brian,
nice work if you can get it. He continues,
"Basically, we're paid to go on stage and have
fun and make fools of ourselves in front of a thousand, two thousand people every night; so if we
took it too seriously it might hurt the show and
it would hurt the music itself."
It's an interesting way of looking at it, and it
made me wonder whether I would be willing to
make a fool of myself for money. I decided it
would depend on how much it paid. How much
does it pay, Brian?
"Well..." He pauses. "We make a living." He
laughs, pleased with himself at having evaded
the question. "None of us have a lot of money
in the bank but none of us are starving either."
Actually, Ritchie isn't altogether correct. They
are starving. The decision is made that I am to
lead them to a restaurant that serves good Indian food. Somehow, I avoid telling them that
there is no such restaurant in the world, and
shortly thereafter we find ourselves esconced in
an establishment at Granville and Helmcken.
"Y'have to like Indian food or you can't be in
the band," De Lorenzo confides. There's hope
for their souls yet.
.. . Perhaps it was the fire in the food that ignited them on stage. They played all the biggies.
The crowd-pleasers. The crowd was pleased. At
various times various members of the band
grinned oafishly as they played. They had a ball
being oafish. They made oafishness an endearing quality. So did the audience. Too many audiences are content with the fickle desire to 'be
there and be seen.' "Entertain me, why don't
you." But entertainment, like all communication,
is a two-way process; too many audiences
underestimate the role they can play in making
an event successful.
Fortunately, The Violent Femmes, like several
other bands including The Cramps and ace
crowd-movers The Specials, draw a better class
of crowd. DISCORDER     a guide to CITR 1m 102 cable 100
Student Union Building
University of British Columbia
Vancouver British Columbia
604 224-2344
At one stage Ritchie rolled his
eyeballs, grimaced, foamed at the
mouth and brandished his bass as
a phallus in an outlandish caricature of heavy metal rock guitarists.
After the second encore the audience refused to move off the
dancefloor even as the music
came pumping through the house
speakers, and the band was
screamed on for a third encore. As
the disco music played again, Ritchie briefly air-guitared and lip-
synced to it before flashing another
grin and sauntering off. He had
Ritchie informs me that a musician's lot isn't always a happy one.
"For example, in the Mid-West, if
you go into the unemployment office, they have no designation for
'unemployed musician.' 'Musician'
isn't a profession according to the
unemployment office. I think it's
some sort of a plot.. .the music industry is a part of it too because
they're not allowing. . ." He trails
off to reassess what he wants to
say. "About the only popular musician that's got any potential of
causing a disruption In society today is probably Prince, but he's
probably signed some sort of contract saying he won't do that. I think
they're effectively squashing people to the point of.. .killing John
Lennon,  who  was  killed  by a
member of a conservative religious
Christian sect.
"I don't frown on Christianity, I
frown on the way Christianity is
now being seriously abused by
such people as Ronald Reagan. In
his inauguration he had a minister
there waving his arms around in
the air and saying 'May Mr. Reagan's and God's minds be as one
for the next four years. May Mr.
Reagan realize his divine appointment.' This was at the inauguration! I think that this sort of violates
the idea of the separation of church
and state which America supposedly has but obviously doesn't.
Christianity itself is much different
today thanwhat Christians, or self-
appointed Christians, are all about
The prophet is a fool, the spiritual
man is mad,
For the multitude of thine iniquities
and the great hatred.
Everyone's tryiri to decide where to
go when there's no place to hide,
I thought of the bombs as they're
comin' down
This must have been Hallowed
People have their doubts about
The Violent Femmes. The Violent
Femmes have their doubts about
—Sukhvinder Johal
'Atmosphere, food, service &
prices are all excellent/
—The Budget Gourmet
The Eatery is a fine little homestyle
family restaurant serving
great home cookin'
seven days a week,
11:30 am'til late.
Try it out!
3431 W. BROADWAY • 738-5298 DISCORDER     a guide to CITR 1m 102 cable 100
The Dial-A-Poem
Better An Old Demon
Than An New God
Giorno Poetry Systems (US)
Does anybody read anymore? Is the printed
word headed for the boneyard of media? Gee,
I hope not. You are, after all, reading this. You
are reading this aren't you? Just checking.
On the other hand, if one were to observe the
success of New York poet John Giorno one might
be lead to conclude that the use of the printed
word is some primeval tic sitting in the out-tray
of evolution, waiting to be shredded. Giorno has
prospered as a poet for the last decade and half
by directing his attention away from the printed
word and towards the pop-glamour of vinyl and
the telelphone system. Giorno founded Dial-A-
Poem, a service offering recorded readings of
poetry and prose to anyone with a telephone or
a dime (or, more recently, a quarter) in 1968.
Shortly thereafter, he made the offerings of Dial-
A-Poem available on vinyl, through the Giorno
Poetry Systems Institute.
In retrospect, it makes perfect sense. With
MacLuhan just catching his breath after rambling on about the medium and the message, and
folks everywhere rambling on about Dylan (and
for God's sake, The Beatles) being the voice of
a generation, it was inevitable that it would occur to some poor schuck, hunched over a typewriter, hoping to be the voice of a generation, that
giving readings in literary hangouts was not exactly the best way to qo about it.
So much for the history lesson. Just let it be
said that over the past fifteen years GPS has forged an interesting blend of music, poetry and
prose, featuring the works of people like Laurie
Anderson, Jim Carroll, Allen Ginsberg, William
S. Burroughs, Glenn Branca, and Anne Walde-
man, and made it available to the public.
That tradition continues with Better An Old
Demon Than a New God. Within these grooves
we have people known as musicians reading
poetry, people known as poets singing (well, sort
of singing) along with music, as well as others
operating within their familiar territories.
Sometimes the crossover works. Lydia Lunch
and Clint Ruin deliver a macabre bit of domestic
drama that sounds like The Hoheymooners in
hell; Anne Waldeman sings "Uh Oh Plutonium,"
a post-accident chuckle; and Jim Carroll reads
•a junk-tinged grotesque burlesque entitled "A
Peculiar Looking Girl."
And sometimes the crossover doesn't work:
Richard Hell's "The Reverend Hell Gets Confused" is just sophomoric, while Giorno's own contribution is lost amid the thwack of drum
machines and the aimless burblings of synthesizers.
Those who tread more familiar paths tend to
fair better. Bill Burroughs wheezes his way
through a fable about dinosaurs and the wonder
of evolution, while David Johansen drops literary
references in the upbeat "Imiaginatin' Cocktail."
Also noteworthy are Meredith Monk's ethereal,
wordless singing and Arto Lindsay's jagged
guitar work.
Better An Old Demon Than A New God makes
for varied listening, sometimes amusing, sometimes beautiful, sometimes funny and yes, occasionally stupid and pointless. On the whole,
though, it's worth looking in to. Even if, as a friend
remarked, it looks like it was put together at a
junkie's reunion.
While you're at it, you might check out other
GPS releases by writing to Giorno Poetry Systems Inc., 222 Bowery, New York, NY, 10012.
David Lee Roth
Crazy From The Heat
Mark Mushet first introduced me to Van Halen
back in 1979 right after a Ted Nugent concert
at the Pacific Coliseum. This was indeed a genuine turning point in my life. Not a day went by
without me playing "Running with the Devil",
or air-guitaring every note along with "Eruption".
Then came Van Halen II, "Women and Children
First", "Fair Warning", "Diver Down", and then
the ever-popular "1984".
Of course, during all this time Van Halen were
rocketed from the smoke-filled clubs of Los
Angeles to the coke-filled dressing rooms of coliseums across North America and the world.
I remember the first time I ever saw David Lee
Roth in person. (Actually, it really wasn't me, but
a close personal friend of mine who told me all
about it.) He was walking through the Vancouver
International Airport sporting the ugliest, green
leather pants I'd ever seen, walking balls first,
with Eddie by his side. I walked up to Mr. Roth
and asked him for his autograph. However, I was
so overwhelmed by the whole experience that
I threw up all over his green leather pants. (Well,
actually I didn't throw up on his pants, maybe DISCORDER     a guide to CITR 1m 102 cable 100
it was Eddie's—or maybe it was Barry Mani-
low's. Oh, never mind.) Anyway, it was a moving experience. And after all that I forgot to collect my autograph so I guess that I really am
quite a loser. This did not, however, blur my
thoughts of David Lee and the rest of Van Halen
because I guess anyone can have bad taste in
So anyway, after all that I've been through I
still think that David Lee is the epitome of cool.
So, what about the album? Well, I can't actually say that I've heard it. I didn't get a copy before
press time, but I'm sure it's great. If the Honey-
drippers can put out an album of sentimental golden oldies, i guess David Lee can too. (And besides, have voj seen the video?)
— Garnett Harry
Leave Your Mind at Home
Midnight International (US)
Drums pound out strange sensual rythms (sic)
recalling the pulsation of hearts that
once beat in primordial Africa. Clothes
are discarded, naked bodies jerk and
writhe spasmodically in the throes of
ancient passion.
So say the Fuzztones on the cover of their new
live mini-album. Oh pooh! This is misleading,
because these comments should not apply to the
Fuzztones (to the Cramps, yes). The Fuzztones
(Rudi Protrudi, vocals and guitar; Deb O'Nair,
in; Elan Portnoy, guitar; Michael Jay, bass;
Jlliot, drums) are a New York band some five
years old, whose main claim to fame is that the
band exclusively uses exceedingly cool Vox
equipment. They have made a number of appearances on U.S. psychedelic underground
compilations (including the excellent "Ward 81"
on The Rebel Kind). Unfortunately this record
does not live up to the previous promise.
As it is a live disc in a musical style that does
not favour well-recorded live discs, the recording
quality is predictably miserable. This would be
okay if the performance were good, but it is not.
It sounds contrived. The basic criteria for a
garage psychedelic band is to be (or sound like)
jackoff greaseballs on acid, but these guys don't
appear to be suffering genuine brain damage.
Some of the seven tracks are good, especially "No Friend of Mind," and "The Bag I'm In,"
but it's not a very good batting average or good
value for money, especially because it could have
been a lot better. For example, the Fuzztones'
version of "Voices Green and Purple" has nothing on the original, by the Bees (on Pebbles,
Volume 3).
I would suggest that potential new fans of this
type of music check out the Cramps, the Flesh-
tones, or the Enigmas; or old stuff like the Sonics
or the Thirteenth Floor Elevators before delving
into this (preferably a friend's copy). Not only will
you get material performed with more conviction,
but also less fake hyperbole about the quality
of the product in the liner notes to boot.
—Rob Simms
Various Artists
Life At The Top
(Third Mind Records - UK)
After many years of buying records on a prayer
and a song (i.e. not hearing them first), I have
concluded that compilation albums represent the
least amount of risk in terms of entertainment
value and probably the highest amount of risk
in terms of technical quality.
It's pretty hard to feel totally stung by an investment that gives you as many as a dozen or
more different bands. The law of averages says
that something on the disc is bound to appeal.
1869 W. 4th Ave.
Vancouver, B.C.
738-3232 DISCORDER     a guide to CITR 1m 102 cable 100
Until recently it has also ordained that some cuts
will be studio quality while others will sound exactly like what they are—pressings of some poor
soul's only cassette which has been recorded
over ten times on a ghettoblaster under less than
ideal conditions. Still, they remain for me a worthwhile purchase. Some real treasures are to be
found hidden in the grooves of such notable compilations as the Elephant Table Album or 24
Three-Minute Symphonies.
I mention these discs because a comparison
between them and the new Third Mind Records
release Life At The Top is unavoidable. All the
regulars that normally appear on semi-esoteric
records of this nature are there: Legendary Pink
Dots, Bushido, Muslimgauze, Coil, etc. etc. With
a few exceptions, all these groups have a unique
style and the wide variety represented make for
a very entertaining 48 minutes. None of the cuts
could be described as "too difficult." My only
reservation pertains to a feeling that while all the
bands are interesting in the juxtaposition of a
compilation, few of them would be capable of
providing sufficient variety of style or sound to
make a full-length album worthy of purchase.
Life At The Top shines, however, in the aforementioned technical end. Where some of the
more remarkable tracks on both Elephant Table
and 24 Three-Minute Symphonies end up sounding decidedly less than remarkable due to the
recording quality, everyone on Life At The Top
comes out sounding comparatively brilliant. It is
this consistency which is the single most important reason for buying the record. Others might
include the super packaging job—a special
edition of Abstract Magazine, who collaborated
with Third Mind Records to produce the disc, is
included. Another reason might be that Third
Mind seems to be producing full-length albums
by a lot of these groups and this disc might be
a good preview of what we can expect from them
in the coming months.
Here we return to the question of potential. Life
At The Top is a good album by almost anyone's
yardstick; but unless you happen to be a fanatic
for one or more of these artists a careful listen
might be advisable before making a purchase
of any future efforts in this direction.
—Larry Thiessen
The Patea Maori Club
Who has performed on the same stage with
Ike & Tina Turner, Petula Clark, Eartha Kitt, the
Pointer Sisters, and the Commodores? Who is
the 300+ Ib.-er who leads over 40 Maori singers
and dancers around the world—London, New
York, Paris?
Why, it's none other than Dalvinius Maui
Prime, big daddy of contemporary Maori culture,
performing at the Commonwealth Institute in
London with his Patea Maori Club this February.
Their current album is no. 21 with a bullet in
New Zealand, and the hit single "Poi E," a song
about an object that looks like a giant garlic but
is used in dances to represent flight, falling
leaves and other sundry things, was no. 1 on the
charts in Britain. Electro-Polynesian—Tiki-break-
dancing extravaganza.
But seriously folks. . the sound is very ethnic,
strong, energetic, with a driving beat. But don't
confuse Polynesian with Reggae. Maori is a body
language as much as a spoken one, so although
you lose the impressive visuals of a stage performance on the record, the tunes are certainly
ones you can move to. The Patea Maori Club has
a greater purpose than just getting hits on the
charts, though. Originally started as a "make-
work" project (we've all heard of those...) for
unemployed Maoris by Rev. Napi Waaka 13 years
ago, it is now a confirmation, continuation, and
contribution to the Maori culture.
"Maori is a living language. . .a living culture,"
Dalvinius says. The themes of the songs and the
performances themselves are reiterations of the
immediacy of this culture, that must not be left
to history.
The mixture of old Maori language with new
Maori electronic music has already helped to
break down the limitations set up by previous
ethnic stereotypes. Of course, what the Patea
Maori Club is doing has ramifications to all ethnic
minority cultures, holding their own in the world
music scene.
"Traditional Maori music for me is a way of life,"
said Dalvinius Maui Prime to Guardian's Stuart
Wavell, "contemporary Maori music a necessity.
In order for us to preserve our language and
culture we must present that way of life as we
are living it today. .. it is not who speaks or sings
the Maori language, or how it is spoken or sung,
it is that it is sung and spoken and that someone
is listening."
As sung and spoken by the Patea Maori Club,
it should be listened*to.
—Ann Marie Fleming
DAVIE at DENMAN.    A NEAT  PLACE !  £§£j DISCORDER     a guide to CITR 1m 102 cable 100
SIMPLE MINDS - Don't You (Forget About Me)
A curious title, I think you'll agree, for a song
by a band slipping so fast into the abyss of bland
that you can smell fingernails burning as they
scrape across the precipice. "Don't You" is taken
from the soundtrack of The Breakfast Club, and
with an eye to the big buck racked up by movie
soundtracks lately, some genius saw fit to team
the Simps with Keith Forsey, the producer responsible for the success of Billy Idol. The result,
appropriately perhaps, has all the appeal of
runny egg whites.
Jim Kerr sings with all the conviction of a man
worried about being left off the guest list, and
the rest of the band seems content to add aimless ornamentation to Forsey's trademark thud-
dathudda drum tracks.
Forget it.
How did I know, even before I heard it, that the
"lies" of the title was going to be rhymed with
"thin disguise?" Same reason that I knew the
song was true to its title and dealt with those old
C&W favorites, lyin' cheatin' and wimmin carryin'
on wit' other men. As much as I like country
music for its honesty and soul, it can be a tad
predictable at times. Which is to say that this
single could have ended up in that category of
C&W cliche.
And then along comes Jason Ringenberg, his
amp turned up too loud, and gives the old C&W
standard a new face. Perhaps because of his pig
farming roots, Ringenberg seems to have little
use for the niceties of the Nashville sound as he
backs the twang with a wall of distortion and
replaces the melancholy of the lyric with a whoop
of exuberance.
Cliched, but fun.
FLESHTONES - American Beat '84 (IRS/UK)
It's hard to listen to the title track of this record
without being reminded of the ugly taste I got
in my mouth when I heard the Reagan machine's
"It's morning in America" fairytale. It's sad, but
true: Ronnie's given American patriotism a bad
name, and people like the Fleshtones and Bruce
Springsteen (whose "Born in the U.S.A." was
lumped, by those who never listened beyond the
chorus, into the blinders-on/Jerry Fallwell/Rocket
Ronnie/chauvinist class of American patriotism)
are going to suffer for it. "American Beat '84"
boasts unashamedly about American popular
music with a blast of Stax-like horns, a great
shout-a-long chorus, and, best of all, an honor-
roll of the greats that reaches a crescendo as
Peter Zaremba shouts "Richard Berry, Berry Gor-
dy, whew, Chuck Berry" and breaks into "Louie
Louie" sounding like he just realized how fortunate he is to have the musical heritage he just
The other 3 songs aren't too bad either: a call-
and-response workout called "Hall of Fame," and
a cover of Otis Hick's "Mean Old Lonesome
Train," and a rather unnecessary remix of last
year's "Hexbreaker." But the heart of the record
is the last 45 seconds of "American Beat '84."
UNITED STATE - Automotan (Victory Records)
I've always been astounded how little it takes
to make a song. This single is a perfect lesson:
simple two-chord riff, mumbled female vocals,
male grunts to provide counterpoint, and a
chorus in which the title of the song is repeated
over and over. It doesn't sound like much on
paper, but it's ear catching. Problem is, I still don't
know what they're on about.
File under: Style Over Content; Less Is More.
The latest new releases by 3 of Vancouver's greatest local bands
Strangely Wild
12" EP Zulep 1
Go Four 3
12" EP Zulep 2
I Broke the Circle
7" ULUZ 2
These unBEATable sounds available all over town DAVID BOWIE/PAT METHENY - This is Not
America (EMI/US)
Getting lost on tour sure is a bitch.
Listening to this record sure is dull.
David Bowie should sure steer clear of duets.
Of interest only to those who bought the duet
with Bing Crosby and liked it.
TIME ZONE (Afrika Bambaata/John Lydon) -
World Destruction (Virgin/UK)
Speaking of duets, Bambaata seems to be turning into Julio Iglesias with street credibility, first
cozying up to the mike with James Brown and
now with this scrawny little white kid. To be perfectly honest, I was prepared for the worst when
I heard about this single.
Actually it's not too bad. Like the James Brown
collaboration it doesn't live up to the rather large
expectation projects like these create, but the
contrast between Bambaata's bark and Lydon's
whine, and between the hip hop and the drone
make for amusing listening, at least in the short
I don't know, maybe I'm just being soft on this
because it deals with apocalyptic subjects and
I've just seen Threads ("a startling documentary
about nuclear war in the garment district").
and Sand (Polydor/UK)
The much-hyped Cole voice is in fine form for
this single, but where's the band? Understandably, the Commotions are often asked to be a
bit grey, in order that Cole's voice stand out all
the more, but in this case they sink just a little
too deep into the woodwork. As a result the song
seems to wander aimlessly at times, no matter
how hard Lloyd tries to hold it together with that
wonderful aching voice.
RICHARD BONE - Living in Party Town
Up (Survival Records)
Only a fit of perversity prevented me from sending both these discs to the vinyl crusher moments
after the stylus found the groove. Both sound like
assembly line disco funk: THWACKKATHWACK-
chickachickareedeedeedeeTHUNKATHUNKA, you
get the picture?
Richard Bone was saved from the ignomious fate
by having put out a record with the most incongruous blend of sense and sound that I have heard
in some time. If you can imagine David Sylvain singing "Boogie Fever," you can imagine this record.
Mr. Bone sings about "everybody shaking in party
town" and "dance all day and night" like a gout
sufferer at a disco. Pity. Everyone's having fun and
Richard would rather go home and file his corns.
Thirteen at Midnight check in with "Skin Deep"
which is, as near as I could gather, an ode to superficiality (their own, I presume). But this record would
be vinyl chips by now if it weren't for the B-side,
a cover of A Certain Ratio's "Shack Up." TAM turn
ACR's warning against early marriage and endorsement of cohabitation into a sleezy metronomic commercial for orgasm ("have one today") complete
with what we are to presume are female moans of
Cheap Exploitation Cover Of The Month.
——t- —CD
MAX VALUE $2 SSSS DISCORDER     a guide to CITR tm 102 cable 100
Mediocre and rather disappointing describes this song. I was expecting the winners of Shindig to
have come up with something
more exciting.
I should mention that I saw
Animal Slaves in front of 80's OD
about three or four years ago and
I wasn't impressed. However, this
song isn't bad; in fact it is quite catchy in a dirge-like, repetitive, artsy-
fartsy way. In four years the Animal
Slaves have progressed from bad
to tolerable and who knows, given
another four years...
- Defeat
Typical. It's all there: the cheezy
synths, steady drum beat, jangling
guitars and profound lyrics.
"Why does one grow older
and why does one grow colder
I'm too old much too old
to take this all in stride"
I've got this mental picture of a
bunch of handsome young men
with wavo haircuts and clothes
looking really concerned about
why someone grows older. File this
band away with French Letters and
Images In Vogue under trendy-
WHITEZONE - Sitting on the
This band suffers the same fate
as Procedures For Approval—forgettable and slick. Oh, and insipid
• •••••••••••••■A-
In Secret
This man sounds a,lot like David
Bowie. Although likeness is commendable, Richie, it's been done
before and now it's boring. However, I will grant you that "Burning
In Secret" is at least more interesting than anything off Bowie's
Tonight LP.
XTC of Ignorance
"Oh baby Jesus
he looks like Elvis
he shaves his pelvis"
Judging by the lyrics, this is obviously Demo Of The Month material. Completed with a warped
blues sound Chris Houston has
sold me. "XTC of Ignorance," while
not as great as "Baby Jesus," is
• •••••••••■A-****
b-SIDES - Two Song Demo
I remember simpler times when
the b-sides appeared to be more
interested in making good music
than they were a lot of cash. (Does
anyone remember "Invasion of the
Money Snatchers"?) The b-sides'
latest "Girl Like You" and "Walk
Like We Do" are pretty slick to say
the least. These two songs would
probably do really well in a Las
Vegas nightclub act. How could the
b-sides miss with lyrics like:
"I want what's best for you
isn't that clear..."
Or how about:
"You've got those one in a
million eyes
I bet they say that to all the girls
like you..."
Tom Jones would even like to
sing these songs. I guess it's "Viva
Las Vegas" for the b-sides.
CONDITION - Syncopated
Rather self-indulgent jazzy-electronic stuff; but catchy. The lead
singer (a woman) has a great voice.
I really liked "Stranded In The
Jungle" in that it's sort of a nou-
veau Monster Mash but the lead
singer can sing better than Bobby
Boris Picket ever could. "Play Me
That Rhythm" and "Lonesome
Trails" aren't too bad; but, the rest
of the songs on the six-song demo
are repetitive and annoying. I think
that Condition should be careful
that in their next release they don't
sink into a pit of pretention.
^^   * Death
Seconal. cor,
• ••••••••
$ 7:30-9:00 pm t
CITR TOP 20 ALBUMS              I
I Show No/Face of the
Zen Arcade
Glass Knight/Automaton
World Destruction
Every Day Is Saturday
Big City
United States Live
Ode To A Dreamer
Meltdown 85
7 VOICE OF AUTHORITY Very Big In America Right
Hollow Eyes
Take My Hand
Top Ten
Indians In Paris
Unter Falscher Flagge
Sheltered World
5 Minutes
Grapes Of Wrath EP
Christian Says/Twist
Pay It All Back
Stranded In the Jungle/
Play Me That...
Broadcasting From Home
Save Me From Ruin
A Bride Abbatue
Too Tough To Die
Cold Turkey
What D'Ya See
Respect Yourself
Be What You Want
Life's A Scream
Eternal Hotfire
There's A Burning God
Inside Me
Be My Guru
A numbering/playlist is not applicable here. All of this material can be heard on Fast Forward over the next month
or two. It is all available locally. For more information, or if you'd like to request some of these releases on a Sunday night, call in at 228-CITR.
RICHARD TRUHLAR Growling in the Roof-
beams & Kaki's Alphabet UNDERWHICH (TOR.)
METAMORPHOSIS Great Babel Gives Birth     THIRD MIND (UK)
Not all of the above releases are new. This list is compiled on the
basis of featured airplay. The order in which they appear is indicative
of absolutely nothing. All but the Dolden and Truhlar is available
commercially. For details on obtaining some of the "rare" recordings,
phone in on Sunday nights. Where there's a will there's a way.
Raw and Cooked
Full House
Formen Letzter
Panoptikon/Songs from
the Blood of Those
L.A. Mantra II
Chiaroscuro I & II
Custom Black & White
Printing & Processing
Mounting & Framing
72 West Cordova Street,
Vancouver, B.C.
1912 Lonsdale Ave
North Vancouver, B.C. V7M 2K1
NEW & USED DISCORDER     a guide to CITR fm 102 cable 100
this month from N.Y.C.
Don Cherry, Charlie Haden,
Dewey Redman & Ed Blackwell
at Sweet Basil's, Sunday, Jan. 20,
Ten-thirty Sunday night found us jammed into
a cedar corner at Sweet Basil's, with a $10 cover
and a $6 minimum, but well worth it to sit in New
York's most "important" "progressive" "expensive" nightclub. Also, with wind-chill factor it was
30° below outside.
Inside was Old & New Dreams, a quartet
featuring: Don Cherry on modified baby-bugle
trumpet, piano, melodica; Ed Blackwell on
drums; Charley Haden on bass; Dewey Redman
on sax, together creating a serendipitous
freeform structure of sound.
These guys were on Wornett Coleman's breakthrough album Free Jazz together, in the early
60s. They're still carrying on that sense of music.
It can't date because it's very essence is spontaneity and change.
Atonal? Dissonant? Maybe. Charley even played a song for whales, sounding amazingly elec-
trophic on his own leviathan of an accoustic
And the loose-lipped Don Cherry, when not
throwing paper airplanes at mini-fans in the audi-
■:"   -.&,  ,
■ \     ip,.-
* ■
ence, coerced the air through his horn enough
to produce some tonal variations I'm sure we'll
never hear again.
Loose as the quartet was, out of nowhere they
would come together for some incredibly tight
passages, then dissipate off on their own directions again, musically and sometimes to the table
for a drink or the back for a leak—always somehow aware of what the other three were doing
in their minds at any given moment.
Ed Blackwell, though, has more funk in his
little finger than Michael Jackson in his entire
glove, managing to turn a basic trap set into
something out of the "Arabian Nights." (Yeah, but
who sings better?)
Though the group had no leader as such, I
noticed in ensemble playing eyes were on
Cherry, whose eyes were always closed.
This rare reunion performance of Old & New
Dreams (whose members are engaged in a wide
variety of separate projects) at Sweet Basil's
underscores the feeling of the major clubs that
there is a market again for the real pioneers of
black music: last month's double-bill of Jack De-
johnette's Special Edition and Cecil Taylor Unit,
and the upcoming appearance of Lester Bowie's
Brass Fantasy, in major Village clubs attests to
this. In large part, this possibility has been opened up by the overwhelming commercial success
of Wynton Marsalis who is honest enough to
always nod both musically and verbally to the real
pioneers, to the old and new dreams. Terence
Blanchard, the young successor to Marsalis in
the Jazz Messengers, and now, breaking with
his own band, was at Sunday's gig, listening
intently—absorbing the work of the masters as
Marsalis did before him.
So, the question is, do these guys (Cherry, et.
al.) know that they're institutions? Do they know
that today's up-and-coming jazz imprasarios look
to them for inspiration? You bet. But they play
like they don't give a damn. Even in Sweet
Basil's, where the breath of your neighbour at
the next table is always on your face, these four
guys play as if there wasn't a soul in the room
save them—and the kid Cherry threw the paper
plane at. This is still jazz at its "purest" form.
Four guys jamming away together, and great
enough to get paid for it. As if money had something to do with it.
Well, the set's over, Steve's finished his G&T.
Walter's broken my water glass with his butter
knife. Time to leave this hot club and meet once
again the cold cold street.
—Ann Marie Fleming
foV. an You
(  WA<> 31SST + star denotes
cover at
club opening
featuring ?Billy Cowsill 9
HI JINGO      &    Banff
Seattle's —_ ^_ i
with guests
INO COVER 7=30-900
HE SAVOY NIGHTCLUB  6 Powell St., Gastown, Vancouver, 687-0418 Collectors RPM announces the
Sensational Grand Opening of a New Location!
2528 Broadway at Main    ^
ov>et    8    7   6
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and many, many more
Prices also in effect at our downtown location:
Collectors RPM 456 Seymour St. 685-8411
^fek 4Pr
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(new album from German electronics wizard)
(more weirdness from this legendary cult band)
(soothing electronics from well known Japanese artist)
(includes Fred Frith, Arto Lindsay, Bill Laswell)
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OD?ttE? ;mpo=r^
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