Discorder

Discorder CITR-FM (Radio station : Vancouver, B.C.) Aug 1, 1989

Item Metadata

Download

Media
discorder-1.0049878.pdf
Metadata
JSON: discorder-1.0049878.json
JSON-LD: discorder-1.0049878-ld.json
RDF/XML (Pretty): discorder-1.0049878-rdf.xml
RDF/JSON: discorder-1.0049878-rdf.json
Turtle: discorder-1.0049878-turtle.txt
N-Triples: discorder-1.0049878-rdf-ntriples.txt
Original Record: discorder-1.0049878-source.json
Full Text
discorder-1.0049878-fulltext.txt
Citation
discorder-1.0049878.ris

Full Text

 Nutcracker Sweet Goes Sour-Cops Nab 'Knob' Gobbling Cannibal!
DiScORDER
August 1989        FREE / 0« CANADA        LARGEST CIRCULATION OF ANY MAGAZINE FROM CITR 102 FM
"I Want To Punch
GOD In The Nose!'
•crazed psycho Zoogz Rift
"MY DREAM DATE
WITH JOEY RAM0NE
TURNS TO
NIGHTMARE!!"
- Exclusive Interview Tells All!!
iSfe^..
Are YOU A
Qi f%Q#% Explosive New
uLUD 5 Clinical Report
by Experts Reveals: How You
I 5 Actat Dinner Table   , .„,„,,„ 29
Shocking Untold Story!    [) Key to Your Table
'''' ' ■    ^ "^Ps^ Manners
^^t
The Partridge Family': The
Early Years-Part lot The
710A95H,4 SPIRIT
THE WEST
with lots of guests
W
Commodore
Ballroom
Thursday Aug31
I
Tickets $12Advance $15Door  ri
available at all
Ticketmaster Outlets,
BLACK SWAN, HIGHLIFE,
TRACK & ZULU RECORDS
^ CiTR
101.9 fM     -   .,,
 "v,v »•• .»>..■,///,„ /m> y di^cOrdeH
Thai
from CITR FM 102
AUGUST 1989* Issue #79
EDITOR Kevin Smith
EDITORIAL ASSISTANT Viola Funk
WRITERS Bill Baker, Lloyd Uliana, Sheila West,
Michael Klassen, Janis McKenzie, Warren Whyte,
Viola Funk
ART DIRECTOR Scott ChernofT
ARTIST Den Lebel
PHOTOGRAPHERS John Crawford
COVER Scott Chernoff, Bill Baker
PRODUCTION MANAGER Harley McCauley
PROGRAM GUIDE Randy Iwata
ADVERTISING REP Bill Baker
ACCOUNTS GUY Randy Iwata
SUBSCRIPTIONS Robynn Iwata
Discorder is That Magazine from CiTR 101.9fM/pub-
lished monthly by the Student Radio Society of the University of British Columbia/printed in Surrey, Canada.
Discorder prints what it wants/the CiTR On the Dial
program guide/ the CiTR Spinlist record chart/17,500
copies to over 200 spots. Twelve-month subscriptions are $12 in Canada/$12 (US) to the US/$20 elsewhere/payable by cheque to Discorder Magazine. We
want your stu/T: send in stories, drawings, photos/ and
we don't give it back.
CiTR 101.9fM is 1800 watts of stereophonic bliss/on
cable fM from UBC to Langley, Squamish to Point
Roberts, USA, but not on Shaw Cablein White Rock (bug
them about it)/now available on most clock radios and in
cars too.
Office hours for CiTR, Discorder, CiTR Mobile Sound
Rental are Mon-Fri, 10am - 4pm (please avoid Fri-afts.)
Call office 228-3017/News Sporte 224-4320 /DJ 228-
CiTR. Send stuff to Discorder Magazine or CiTR Radio/
SUB Rm 233/UBC, Vancouver, BC/V6T 2A5/Fax (604)
228-6093.
t>   YOO-HOO.JOEY!
An intimate chat wiith the lead
Ramone
12   OO ASK LAURIE
Th© truth behind th© Partridges
5   AIRHEAD
readers who write
9   CYBERTOONS
a comic to read
lO   UNDER REVIEW
bill frisell and more
16   AAAAZING SHITHEAD:
ZOOGZ RIFT
The guy who wants to
punch god in the nose
11 REAL LIVE ACTION
fun for the whole family
11    LOCAL AAOTION
in a city near you
15 ART AND ABOUT
It's time to participate
20 ON THE DIAL
everyperson's guide to citr
21 SPINLIST
the hipper sounds
HELL'S KITCHEN
Is It hot in here, or what?
Commercial Neighbourhood Arts Festival
August 5 - August 11
Eastside Performance Week
A week of cabaret-style performance
at the WISE Hall (1882 Adanac St.)
Sat. Aug. 5 - Night of the Living Drum
Sun. Aug. 6 - East Side Garage Bands
Mon. Aug. 7 -Folk Night
Tue. Aug. 8 - Words and Music
Wed. Aug. 9 -East Van Women Performers
Thu. Aug. 10 -Sound Textures
Fri. Aug. 11 - Grand Finale
Tix $5 employed $3 unemployed at the door
August 5 - September 9
Artworks on the Drive
Exhibition of
over 300 works (
by 70 artists
in 50 businesses
along Commercial Drive.
Opening August 5th with a
neighbourhood Art Walk.
Saturday, August 12
Commercial Street Art Fest
An afternoon of innovative fun on
Commercial St. (between 18th&20th)
Live art and creative activities
the whole family can join in.
An evening of neighbourhood
celebration at Trout Lake Arena—
a community dance featuring
The Dots with special guests.
For  detailed  event   information   call  873-3129 100% COTTOI
T-SHIRTS
• Textile Paints and
Dyes
• 1 Day "Learn to
Print" Workshops
• Fabric Paints
clothworks 669 0127
textile dyers and printers 688-1752
132 Powell St. Vancouver
AUGUST IJ  WW
YOU1H ART WOflKS PRESENTS.
NOMEANI*
MEAMINO
KOMEANINQ
DOORS OI'EN •>..«>
1156 WIST 3RD NORTH   VAN
:■'■
MtfEAft
NEAN1NO
St     AUCr l2rtK
YeuTH Artwmks 5ri/#/«
7/54 (V^T 7frtf * $T*££T
NVRTH VAMC#wv£/t
nc«T3 at; *W*, *******"",
PIRATES, WHAT PIRATES?
Dear Alter Natives,
I'm writing a movie about a pirate
television station. In some back issue of the Discorder,
you ran an article on pirate radio and offered
information on the subject. If the offer is still open,
please send the information to the above address
(You'll get a credit in the film for it).
By the way, great mag, the Discorder. I
only listened to your station for a day (I was visiting
relatives in Vancouver) but I was quite impressed.
The University of Regina Alternative "station" is
merely a glorified stereo system. Feel free to mock it
when you can. Perhaps this will result in it becoming
a real radio station (CKUR has been applying to the
CRTC for a licence for the last twenty years or so).
Thanks for your time. I should mention
Jeanna South, the girl who did your June' 89 Discorder
cover, is pissed that you guys coloured it. She's my
second cousin and I feel obligated to stick up for
fellow artists too. Sorry, had to be said. Uh, thanks
again for your time.
Sincerely,
Jeff Hanni
Regina, SK
We don't knownuthin' about pirates of any kind. Yes,
we know Miss South is pissed at us but we still love her
anyway. Oh, and by the way, your welcome.
RANDOM ANIMAL PARTS
Dear Airhead,
When reading your magazine I was
reminded that there once was a man called Zigerat
Monserat Patsnakfat. Now Ziggy had a major problem
with his amino acid swallowing contest at the little
fair. It seems the only people he could get to enter the
said contest were the local prositinker, hat merchant,
philanthropist, sesquapedilian, raving heterosexual,
thespian firefighters. They were unfortunately always
at battle with the shrink-toed, shoe-eating, picnic-
stomping treetop, apple pie lick-nosed, blood-bat
pumping, pillow-biter religious sect. The anabolic
screeching mandolin priest's fired their best shots
which were quickly gargled and gobbled then spat-up
into a large bucket. They proceeded to pull their pants
down and relieve themselves in any way they saw fit.
This included shitting, pissing, spudding, bleeding,
barfing, and random animal parts. Then the master of
ceremonies, Zigerat Monserat Patsnakfat, mixed the
concoction., .combined with all particles from brushing
his teeth and gums with an electric razor (after which
everyone feasted on the contents of the bucket).
AND THAT'S THE HOLY SPIRIT!
Yours if you like me,
Dooley Toolhead
Lord Jim's Hotel & Facilities
Squaticum, B.C.
STILL A MISTRESS TO ME
Dear Airhead,
Just thought that I should point out that
Mary Ellen of Danger Co. fame is known as
"Mischievous Mary Ellen" not "Mistress Mary Ellen",
this rather insignificant typo has made it somewhat
difficult to get hold of the girl as she is still hiding
under her bed crestfallen and shamed to show her face
to the public. But thanks for an interesting Discorder
notwithstanding.
love ya babe,
Dan Danger
P.S. Were we grouped with the Best or the Worst or
possibly and Special Guests?
A BETTER ANTENNA
Dear Airhead,
Despite the increase in transmission power
I still cannot pick-up CiTR on my radio. Do you have
an explanation for this? How can I solve this most
perplexing problem?
Regarding the live entertainment in
Alberta, I had a most discouraging experience last
night at the Sidetrack Cafe in Edmonton. Atilla the
Stockbroker (performance poet, musician) from the
UK performed here with a local band (a garage U2
clone) opening for him. This really terrible band was
loudly cheered BUT the superior, original performance
of Atilla received a lukewarm reception and I even
heard some people booing. People here say it rains too
much in Vancouver, my advice is stay in Vancouver
and buy an umbrella.
Hoping not to be buried on the lone
prairie,
Richard A. McFarlane
CLEAN UP THIS MESS
Head of Air
June 28th, 1990's
The Power of Sedation
"I wanna see the Ramones!" I yelled.
Hustling funds, I bought tickets. I was told weeks later
the Ramones weren't playing the Commodore. The
concert was at the lost Expo memory: 86 STREET.
"It'll be an oversold venue! The dance
floor is too small! Could they be prepared for the
mania of the Ramones?" I whined aloud to no one in
particular.
As soon as the concert began, I began
witnessing tragedies brought on by the staff at the
club. People were being thrown out for getting up on
4 DISCORDER stage & in one particular case, one person was violently
expelled in a case of mistaken identity.
I ran to seek management to stop this
unnecessary abuse. Ms. Elaine Chick told me she
believed no one but her "boys" on these matters.
Later, she witnessed staff drag a fan outside, be
shoved into the pavement & the girl's stage-diving
friend was rendered immobile, lying face first in
cement.
"Place bouncers at the stage to deter these
'divers' & let us reduce the amount of visible violence
outside our doors, then...." Management paused
momentarily to calm her flustered speech, "...call the
police to clean up this mess."
The coat check girls asked the police to
bring along some cleaning solutions.
I watched the dancing from up top. All the
dancers had the courtesy to make sure no one's head
really GETS stepped on. The bouncers protecting the
stage enjoyed punching people when they got too
close.
86 Street bouncers who can' t acknowledge
the more (can I say) "exciting" shows will NOT draw
the usual compliant 86 Street crowd, should be
replaced. Perhaps with thugs who feel violence isn't
an end to a situation and/or those who are bored of old
high school discrepancies.
Consolation for me was minor due to a lot
of broken 86 Street glasses, the Ramones were good
& loud & old toxic waste wasn't seeping up through
the floor.
Marie
EXCITED OR CATATONIC?
Dear Airhead,
Why all the negative print about one of
Vancouver's newest and most interesting bands?
Silent Gathering still have some wrinkles to iron out,
but they a sound unlike any other band in town. That's
EXCITING, and should be encouraged by a magazine
like DISCORDER, not shot down without explanation
("Hell's Kitchen", July 89).
Of course, what should I expect from
someone who would rather write about her disgusting
junk food obsession? Talk about catatonic—that was
the kind of article that belongs in a kitty litter box, not
the pages of a usually innovative mag. If you're
feeling catatonic, Viola dear, why don't you quit
blaming it on local music and take a look at your diet?
Paula Rempel
Duhhhhhhhhh. "Not that we didn't have ample reason
to be catatonic. The night before had been Silent
Gathering at the Town Pump. That should say it all."
(Hell's Kitchen, July 1989) Read it again. What does
it mean? Is it really that subtle or misleading? The
catatonic state was the result of having had just a
little too much fun at the Silent Gathering gig and
later at the Luvafair. And, yes, alcoholic beverages
played a part in this state of affairs. GET IT? Believe
itornot, ViolaUKES SilentGathering, which explains
why she has seen them on more than one occasion.
Why, she even enjoyed their exciting brand of rock 'n'
roll again on July 3rd after having recoveredfrom the
effects of the previous outing.
It must be said that Paula is a dj here at
CiTR, and was a cast member of the at times
innovative but more often trite and pandering CBC
series, Pilot 1. Speaking of kitty litter...
FOLLOW THE LEADER
Dear Airhead,
You're probably getting lots of after-
the-fact information. Here's more:
1. Progressive as applied to music is a
meaningless term. It suggests music is heading
somewhere, being led by someone, which is utter
nonsense. Some of us just aren't interested in playing
thump-crash, C-G-D-A minor all night. It's BORING
to play and to hear.
2. The King Crimson of the 70's and the
King Crimson of the 80's are two entirely different
bands. (Fripp didn't even want to call the second one
King Crimson; that was the label's idea.)
3. None of us even like Genesis.
Thank you for your time,
Paul Funk
Excited First Daughter
P.S. Thank you, Eric Nielson. So there are others who
believe nihilism is a waste of time.
Nihilism a waste of time. Hahahaha, I get it. But
seriously Paul, isn't this letter a shameless attempt to
get your band's name into the wonderful pages of this
mag once again ? Nontheless, you do raise some valid
points. The whole idea of labels in music is problematic
which is why the term progressive was used in
quotation marks; it was hoped that this would indicate
to the reader to consider the label to be applied
loosely and should therefore be taken with the
proverbial grain of salt. Yes, the King Crimsons of the
70's and the 80's were two entirely different bands
but they were both "progressive" rock groups.
Furthermore, we did not intend to imply that any
member of your band actually likes Genesis, nor, for
that matter, either of the King Crimsons. The
description of Excited First Daughter was as follows:
"Progressive" rock group that owes a large debt to
groups such as King Crimson and Genesis. The
phrase 'owes a large debt'was used inorder to convey
to the reader the very general area of rock within
which E1D might be categorised without implying the
group is a clone, or highly derivative, of another. The
intent was merely to indicate the band's heritage, if
you will.
CANCEL YOUR SUBSCRIPTIONS,
THERE'S A NEW TAB IN TOWN
This month's cover foreshadows a
change to DISCORDER that will occur next
month. That magazine from CiTR will no
longer be in its present 8 by 10 format Instead,
we will be coming to you in the larger 11 by
14 tabloid style. Why? Two main reasons.
First, the extra space that the new format will
afford. Second, it's cheaper since we wiE not
have to bear the added cost of stapling and
trimming the magazine. Same beautiful mag,
but more of it. More bang for your buck.
Don't screw up your opportunity to
finally fill that aching void in your pitiful,
worthless life. Artists, writers, photographers,
and word processors - join DISCORDER in
its relentless quest for power and a good time.
Dial 228-3017.
     	
YOUR
F A V O RITE
SONGS
TIME
CHOSEN
LABOUR DAY
ALL DAY
ONCITRFM101.9
AUGUST 1989 5 fdo-ftoo..Joe*f
3f Bar&tra Bafrr
Joey Ramone. I've idolized the guy since high school. Always seemed like the kind of guy you
could really talk to. Plus, he always makes me feel as though I'm going to faint-just like those
girls in the old films of Elvis concerts. Given the chance to spend an hour alone with him in
room 2510 of the Century Plaza hotel, I didn't know where to begin. I read every article I
could find on the Ramones just to get my facts straight. I tried to find things we had in
common. The most personal was an affinity for a non-dairy chocolate beverage called
YooHoo®(I thought I'd save this in case things got a little...you know...personal). Interview
ready, I took my photographer down to the hotel and we waited. Finally, they showed. Dee
Dee, Johnny, and Marky. Then...JOEY. I swallowed the 8-ball in my throat and entered the
elevator. The 25 floors to Joey's room took an eternity. When we finally arrived, I looked
around. No fruit basket, no' WELCOME TO VANCOUVER' banner-j ust a lime-smelling air
freshener. The interview begins as he drops his Adidas® bag and uncoils the cord on his big
yellow hair dryer:
BARBrDo you want to get established or—
JOEY:I'm established. Let's do the interview.
B:So how's your Brain Drain tour been going,
anyway?
J:Really great. We played Tijuana last week...it
was really great, and we did San Diego, and two
nights in LA...we're doing two nights at the
Fillmore West in San Francisco...From there we
do a tour of Australia, and you know, England...
B:You guys went to Japan not to long ago...
J:Yeah, in January I think.
B:It seems like they're really into American
50's youth culture in Japan. How did you find
the audiences there?
J:Great. It was great over there. We're really big
and thaty 'know. Like the band just keepsget'ting
bigger and bigger. It was pretty wild
crowd was kindof young, y'know/like, y']
um fifteen or sixteen year old kids. They
and they were all singin' along and aah \\
it felt like we were in the Beatles or soi
y'know, the crowd reaction, p^nd^p&n
to like Osaka or the other arejas^|^fig y<
to take the bullet train and the
chasm' the train and it was gk<
B:I remember a while back the
making a big deal about   how "you
putting "Ramones" for song credits^a
your individual names and everybody was saying
the band's getting angry with each other. Is
everything going ok now?
J:Well I mean y'know, the Ramones...the songs
were  always  written by  individuals...'been
written by the Ramones, y'know, like I mean in
the early days it was, y'know, like we wanted to
6 DISCORDER
show people-which is true of now and it's always
been true-that we're a unity and y'know that
there's...it's a bonded kind of a thing y'know
what I mean? And that still stands y'know and
probably it's stronger now than it's ever been
because, y'know, there were...I guess around
that period there was a lot of you know shit going
on y'know, a lot of turmoil on the inside and
stuff you know, and that's probably why that
was doney'knowlmean... it was justtime anyway
because aah y'know the songs have always been
written by like Dee Dee or myself, or y'know or
me and him, or y'know...there there were
periods... there were songs that were joint efforts
y'know We're A Happy Family, Teenage
Lobotomy and stuff like that y'know what I
mean? But for the most part the songs were
written.individually, or like, or maybe... or like
diffepsnfcj^iVnot like every song was always
[h\Ramones", I mean that's like a
)what I mean? And aah sure it
I mdan like I remember like
\ like that too all songs were
rs or whatever y'know, but
ia|t way and aahy 'know
lere'ss anything y'know.. .at
^[around jthe time of] Pleasant
there was a lot of shit going on
)w...bui I mean things were
bouple of years we really sort
_£ur differences and aah things
s bettefy'know what I mean? I mean
e're really close, y'know, there's a real
admiration and respect for...it's like it makes it
real enjoyable now where you can, y 'know, you
feel a real emotional bond y'know?
B:I understand you weren't happy with the way
Dee Dee went about his solo album [DEE DEE
KING}. What specific problems did you have?
J:Well, he just went about it...the better of him
took over, y'know what I mean? Its like a lot of
well...I don't know...he sort of did it a bit on the
outside and it's like kind of an ego thing and all
that. "The King" took over or something y'know
what I mean?
B:So are you going to do like Kiss and have each
member put out a solo album?
J:No, that's not that's what we're talking about.
I mean it's just, fuckin' be civilized that's all,
y' know, don' t think who the fuck you are because
you're putting out a solo record, y'know, I mean
y'know I think it's great that he did it...I think
it's really good to have um y'know like doing
outside projects...to me it's sort of extracurricular and it's good to have an oudet for your '
expressions. Of course everything you write
isn't going to fit the Ramones y'know, just...I
think, "you're doing a solo project fine y'know
what I mean? Don't start pulling attitudes and
shit like that", y'know?
B:I remember when End of the Century came
out and again with "Howling at the Moon", it
was suggested you were trying to make a top 40
hit-
J:No no y'know that's notour thing-it never has
been. Aah, I mean the Ramones are more than
y 'kno w.. .y 'know when it comes to the substance
and y'know...like we've fuckin' done a lot to
change rock'n'roll history and we do this 'cause
we like to do it. This is what excites us. We like
to play for our fans and aah we like to...we like
to play y'know what I mean? And y'know that's
why we've been doing this for fifteen years and
aah I mean if we were only interested in a hit, I'm
sure we wouldn't be around right now. We got
no intentions of wanting to be like Poison or
something like that or like Bon Jovi, y'know?
B:What kind of things do you like to listen to
these days?
J:I love Motorhead. I mean they're one of my
favorite bands, and aah um I like listening to the
old stuff...the old 50's and 60's stuff y'know
what I mean? A lot of the time lately we'll turn
on those oldies stations, y'know? It's really
exciting, y'know, because that was when songs
were really good songs and stuff...I mean um,
like, like when we were driving out to Tijuana
they played a half an hour of Jimi Hendrix
which was really exciting y'know, like exciting
to hear stuff like that that's really fuckin' amazing
that um you don't hear when you hear bands like
Skid Row and all that shit, that's when it's time
to turn the station off...most bands don't have
the slightest idea what it's all about-most people
think putting your hair up and using the right
hair spray is what it's all about. And um bands
like Motorhead, AC-DC, The Dickies, DOA,
and...uh...in New York, Dick Manitoba's Wild
Kingdom, The Tribe, Cycle Sluts From Hell, Raging Slab, um I don't know I mean they're
bands...I mean every once in a while you hit
upon something new and exciting y'know...
B:People used to say "I wont live past thirty".
You guys have been a band for over fifteen
years; what do you see in the future?
J: Well it makes me tired minking about it (laughs)
I don't know, I mean I doubt it, but you never
know, y'know? But I know I know I'll be doing
something y'know and Dee Dee will be
continuing y'know and Mark, I don't know
about John.
B:What was it like when you first started out-
what kind of lives did you lead?
JWell, I guess probably a lot wilder, I mean
you're young and naive and aah...but I mean but
we always had some aah...y'know you sort of
aah...we always had some structure. We just
y'know, we knew what we liked and we knew
what we wanted. But um as far as um chemistry
between the four of us that's really what created
us, our sound and our style. It was just getting
together and this is what came out. What welrer„
doing is our thing y'know, I can't say westumbled
upon it because we didn't stumble upon it but
aah our sound is totally unique and totally
innovative and it's what makes us um totally
individual of anybody else who aah sort of came
upon later on, who was out sort of emulating us
y 'know whatl mean? I mean like aah everybody
at some point wanted to sound like Ramones
y'know what I mean? Sex Pistols to The Clash
to the Dead Boys to whoever it was to the
Dickies to...y'know, I mean a lot of people did
it well, cause they kind of projected themselves
into it to made it somewhat of their own thing
y'know what I mean? And aah then a lot of
people just don't have that and the way it is
now...y'know to me it's not something
that...y'know you either have it
have it at all. ^B   m
much personality and nowadays everything is
so mass marketed...y'know? I like things with
character and aah...personality y'know? I don't
know, I guess in the 50's everything was made
a lot smaller (laughs).
B:Do any of you guys have kids?
J:Naw, I can't imagine having kids in this life.
Maybe in the next life (laughs).
B:What kinds of other stuff do you guys get
backstage?
J: Well I mean pretty much our rider is. ..like aah
we like to have a pizza in the dressing room.
B:What kind?
J:Aahjustacheesepizzay'knowandaahy'know
we have like a rider that they take care of and
which is aah nothing that um...y'know that
um...that way out, y'know what I mean?. . .
nothing that outlandish you know? As opposed
to some people in Europe. But y'know I mean
we're not like that y'know what I mean?
B:What TV shows do you watch?
JrWell I like Letterman, he's funny, he's asick
guy and aah he's really that way y'know. He
does a clever show y'know. I like the Regis
Filbin ShoM
ovv.
nd KatJ
B:I  heard  there's  go]
Rock'n'Roll High Scho<
J:Well there is a seqi
have anything to do wii
B: Ok. I see Marky's back [
come you've been through s
J:A11 that banging...! think it rots awa>
B: Regis and Kathy Lee?
J:Yeah I like 'em both.
B:Do you ever get the urge to cut all your hair
off?   ^^r
J: Yeah I cut it off and I'm miserable and I want
it to grow^ack. Rash behavior.
write The
ire, y'know? I
lalyze myself,
know myself,
s). It's enough
write it down,
tow certain
■son, I guess,
*a||PJnow,when
meboi 1 y you know has
id that... sort of on a
1 emotional roller col
hat's how I feel
brains. I think all drummer!!
(laughs).
This is beginning to sound lu
"rock interview"...I begin at thi
with Joey and ask him the things ]
know:
l nuts...o
pp^MeW
jCft
;y?ex|app^&en'-ecl you about a
t stereot): don't want people following me anywhere!
Pfighs) I don't fuckin' want that., .y 'know some
people just wanna walk around and film ya.
B:Do you have a car, Joey?
J:A car? I'm getting a car. I've looked at a '55
Thunderbird and aah it's great- it's really cool-
I like the old cars because they they have so
B.One thing about you that's really weird is that
I really want to scream when I see you; I can
hardly contain myself in this interview, it's
something about you and the Ramones, why do
you think you have this total "screamability?"
J:I don't know, I mean, I guess if it's anything I
guess it's just that we're a unique band, y'know,
I mean, we're a major influential band—
B:You just radiate some basic happiness, like
your first boyfriend.
J:(Laughs) That's pretty wild, I'll have to think
about that one. I guess you know that we're not
gonna let you down. I guess a lot of people feel
that way; they can count on us and aah we're not
gonna let them down, if anything we're just
gonna give them something more and that's how
it's gonna be tonight.
OK-Now for the big guns, pal...let's get as
personal (almost) as two people in our
circumstances can:
B:I read in an article a few years ago that you
enjoy getting YooHoo back stage. Is this true?
J:Yeah.
B:How do you get it here in Canada? I went
down to the States and got some but you can't
get it here.
J:I mean y 'know we get it wherever we can and
sometimes a promoter will know that, y'know,
we like it and they'll like kind of surprise us with
it. It's exciting y'know? It's like y'know, um,
• we found it in some of the wildest places like
Germany and stuff like that. Yeah, but they'lido
it because they know it's sort of like, sort of like
a little bit of home, you know what I mean, and
they'll do it to make it just kind of that much
nicer for you y'know?
B:Do you get a lot of presents; do people send
you stuff all the time?
AUGUST 1989 7 J: Yeah I get some stuff.
B:I was going to bring you my YooHoo pen; the
ink's brown and it smells like chocolate.
J:Oh yeah? That's cool all right. Did you like it?
B:YooHoo? Yeah, it's great. It's the drink of
champions. [/ notice the phone blinking out of
the corner of my eye\Does that mean your phone's
ringing when that light goes on like that?
J:I think it's a message or something. You don't
have to hear it...it's subliminal. I hear it ringing
but only I can hear it (laughs). It's that fascist
dog in that Dr. Seuss book. They're all over the
place you just can't see them (laughs).
B:Well, I guess we'd better go...thanks for the
interview, it was fun...
J:Why don't you guys come back up after the
show?
B:Really?
J:Sure.
B:Oh wow. We could drive down to the States
and get some YooHoo.
J: Yeah. I'll wear my Michael Jackson disguise.
B:OK!Seeya!
So...I can barely walk away my knees are
knocking so bad. Anyhow, off to the show,
and what seemed like hours of
anticipation.Then, amid clouds of smoke, to
the tune of Durango 95, THE RAMONES!!!
I tried to like the show...I really tried, but it
seemed like...well...I've always thought the
Ramones sounded like the musical equivalent
of an engine. Just start them up, sit back, and
watch them motor. Well, that night the engine
needed oil. Badly. But I was overwhelmed by
the notion that I would be going back to his
room after the show...what would we do? I
could take him for a drive around town -
Naw...too nerdy. We could go get drunk at
the Marine Club - naw...he'd be mobbed and
we wouldn't have a chance to talk. WHO
CARES? JUST GO!
Standing in the lobby of the hotel, I call up to
his room. Busy. I soon realize I'm standing
next to their road manager-he's on the phone
with Joey. I wait until he's done, call again,
and a GIRL answers...
B:Hello, Joey?
G:Hello? Who is this? Do you know it's 2 AM?
B:Uhhh...Joey said I could come up...I've got
something for him.
G:Who did you say this is? Hold on. [mumbles]
Okay, Joey says okay.
There's that 8- ball again. I get into the elevator
just as the door's closing, and who should be
there but the guy who was on the phone in the
lobby. He's already pressed the 25 button, so
I stand, uncomfortably, and do the elevator
thing as he eyeballs my ripped jeans. I suppose
it would have been funny to watch as we
walked together to Joey's room, especially
when, as my hand was an inch from the door,
he barked "What is this???! ""Uhhh..Joey
said I could come up... I've got something for
him." He knocks. The girl yells "Who is it?"
"It's me and GUEST" he replies. She opens
up, looks at me, smirks, and says "What?" I
am beginning to feel like Riff Randall
backstage when she got kicked out of the
dressing room. I meekly hand the chocolate
smelling YooHoo pen to the manager, and
remind JR to smell it. The manager grabs the
pen, smells it, and starts to close the door.
Just as the latch begins to click, I hear:
J:Thanksalot!!
That's it. No drive, no drunk, no Joey. Y'know
what I mean?
EXCITED  FIRST DAUGHTER
PRESENTS:
A CONCERT
MUSIC
ART
DANCE
Saturday September 16
8:00 PM
AT THE VANCOUVER EAST CULTURAL
CENTRE 1895 VENABLES STREET
MINORS WELCOME
TICKETS AVAILABLE AT ALL FINE INDEPENDENT RECORD
STORES, THE CULTCH, AND FROM THOSE INVOLVED
8 DISCORDER CYBERVILLE GLOSSARY. CLIP AND SAVE.
CYBERGIRLSi neurologically interfaced
cybernetic data-processing cyborgs.
Exclusively female due to the inhibited
development of the left brain hemisphere
caused by male hormone. (Male cyborg see
file/Energy broadcast cyborgs, military.
Popular usage/Robo-dogs.)
Due to expense of cyborg implant
surgery and the demands of the data-
processing corps, Cybergirls are purged of
all sexual function, which inhibits the
effectiveness of the professional duties.
Thus, the areas of the brain governing sexual
response are systematically removed from
all cyborgs, so they might serve their
corporate sponsors more efficiently. Sexual
experience is replaced by an electronic
recreational health system called
electrobliss.
FIRESPIRITS When a glass construction
defensive body field is compromised by a
sequence of glass deconstruction programs
within cyberville, the human consciousness
that is protected by the construction is
liberated from its physical reference point
and released into the system as pure energy.
This then removes all attributes of
consciousness from the subject interfacing
with the cybernetic psycho-media network.
This data cannot be retrieved, thereby
leaving the subject clinically brain-dead.
Once pronounced legally dead, the subject's
body is vivisected for organ rehabilitation.
Periodically, fire spirits manifest themselves
within cyberville, often exhibiting the
appearance of awareness and conscious
identity, occasionally even entering into
conversation with the living data handlers
entered into cyberville.
HOTBLOODS2 Humanoid self-replicating
bio-mechanical data-processing systems.
Ethanol-based body chemistry, engineered
from human genetic model, though farmore
advanced and efficient..
SALAMANDER   CREATED &Y
LEAH   H0WATL.A6E   10
®t>eSJ/8<)
Although illegal, many survived
the enforcement of the android
extermination act of the turn of the century.
Hotblood colonies thrive in the toxic
wastelands uninhabitable by biological
organisms, defying all attempts at capture
or execution by the declining human
population.
Hotbloods are easily distinguished
from human beings in three ways:
1) All Hotbloods have three eyes.
2) A mottled patterning of the skin, which
develops into cysts and pustules which
function as electronic sensory apparatus
and advanced microprocessors.
3) Hotbloods have a conscious control of
their growth and structural development;
thus they are generally very large by human
standards and usually adorned by various
boney protrusions.
Hotbloods are very sensitive to
human spinal fluid, which acts as a powerful
stimulant on their systems. Theeffectcannot
by sythesised; thus must be obtained directly
from a human host. While extracting fluids
from a human spinal column, a hotblood
may establish a direct neurological link to
the human host. This process is highly
addictive for hotbloods, while very
dangerous, even fatal, to the human host.
HOTBLOODS ARE
PROHIBITED ACCESS TO ALL
CYBERNETIC COMMUNICATIONS
SYSTEMS. ANYPERSONS KNOWNTO
COLLABORATE WITH ANY ATTEMPT
TO ALLOW HOTBLOODS ENTRY
INTO ANY CYBERNETIC SYSTEM-
PUBLIC OR PRIVATE—WILL BE
SENTENCED TO DEATH AND
EXECUTED. By-Law Six Sixty-
six.
1/ Popular usage see file/Psi-borgs
2/  Popular  usage     see  file/Androids
(Classified) ■«fe<riw
THE STONE ROSES
The Stone Roses
(Silvertone/BMG)
The Stone Roses have finally released
their debut lp after a 12" single and a few other
vinyl knick-knacks.
These guys are like The Jesus and Mary
Chain without the dark grunge and overdose
feedback saturation. They do, however, delve into
psychedelia like backwards tapes, and seem more
cheerful than the Chain Gang.
The strong singing by Ian Brown is the
focal point offset by John Squire's magnificent
guitar playing which sears on tracks like I Wanna
Be Adored and Made of Stone.
Simply stated, this band from
Manchester, England have come up with one of the
best debut lps of this year.
Greg Garlick
BILL FRISELL
Before We Were Born
(Electra/Musician)
Seeing Bill Frisell play Uve is Uke
seeing that quiet boy in your class, the one who
never says anything, suddenly get up and hack the
teacher to death with a meat cleaver. When FriseU
spoke to the audience during his band's
performance at the Vancouver East Cultural Centre
as part of the Jazz Festival in June, it was with the
painful hesitance of someone uncomfortable with
pubUc speaking - the antithesis of a rock star. But
as soon as he picked up his guitar to play, it was
clear we were experiencing the fluid, precise and
devastating sound of a man with a mission. It is
hard to classify the music of the BiU FriseU band,
and I don't know that he would want anyone to try.
The sound is a demonic mix of styles ranging from
country and western, through blues and jazz
workouts, to avante-garde exploration and sheer
noise terrorism that often makes Live SkuU sound
Uke The Cocteau Twins.
Before We Were Born is the most
complete and self-assured piece of work from
FriseU to date, developing ideas heard earUer on his
Lookout For Hope album, and the Power Tools
project. Power Tools was a spectactular assault on
jazz preconceptions - a "power trio" of FriseU,
Ronald Shannon Jackson (of Decoding Society
fame) and Melvin Gibbs, who recorded the album
"Uve" in Lhe studio with no remixing or overdubs.
Over half the album is extrememly violent and
discordant, but it is the BiU FriseU trademark that
the cacophony often gels into the most beautiful,
subtle melodies. For example, the track
10 DISCORDER
Wadmalaw Island, where FriseU sets up a live
echo loop that twists the theme around, changes its
pitch and hurls it back into the song to create a
bewUdering harmony.
Before We Were Bom contains its share
of violence but is more precise that Power Tools.
The diversity of FriseU's talent is displayed
throughout this record - dazzling compositions and
technicaUy superb yet emotionally charged playing.
His band has become a very tight unit - drummer
Joey Baron manages to shift from all out
ferociousness to complete control effortlessly. Arto
Lindsay is featured on guitar on several tracks, and
one of the highUghts of the album is the John Zorn
arranged Hard Plains Drifter (subtitled: As I
take my last breath and the noose grows tight,
the incredible events of the last three days flash
before my eyes). It's a kaleidoscopic journey into
a frantic three days of an outlaws Ufe, utilising a
wide range of musical styles, with all the scenes
right there to be picked out - the bar rooms, hoe-
downs, the train robbery, the murders, the women,
the lonely evenings riding into the sunset, the
chase, the capture and finally, the gallows. This is
an album that in various places is as hard as hell,
depressing, funny, exciting and nightmarish. It's an
album that may suprise you, and when played
loudly will send shivers up your spine.
Pete L.
TRAGIC MULATTO
Hot Man Pussy
(Alternative Tentacles)
AU putting-off potential of the name
aside, this disc still offends - and I don't mean that
as a compliment. The guitars grate (and this is from
someone who likes her music obnoxious), and the
vocals remind me of Nina Hagen at age three. And
who allowed that instrumental from hell on side
one? AU in aU, probably the perfect band to
slamdance the night away to - no need to
concentrate Ustening to the lyrics (and I use that
term loosely), and you can go outside for
whatever, happy in the knowledge you've not
missing anything.
Annette
LAST EXIT
Iron Path
(Venture)
Whether you see yourseU as a punker,
heavy metal dude, jazzhead, serious music Ustener,
noisemonger, art rocker or whatever, one thing is
for certain—you need this record! Why? Because
Last Exit explodes with power and passion
distinctly absent from today's music scene.
I^ast Exit's output thus far has consisted
of four Uve albums documenting their concept of
"no discussion, no buUshit, jsut hit the stage and
bum". And bum it down they do. The liner notes to
Iron Path state, "Last Exit's line of fire sweeps so
much ground so fast, they can take you from the
Mississippi Delta to Planet X and back in less time
than it takes to write it."
Iron Path sees Last Exit finaUy enter the
studio for a result that is no less intense, but more
focussed and detailed. Bassist Bill Laswell's
production brings out some incredible subtleties in
this often intense musical encounter—at times
exploring dark subterranean domains through the
bassist's gamelan-like textures and drones; the next
moment resembUng a buUdozer crawling straight
up the highest mountain, yielding at nothing,
cUmaxing in a shower of multiphonic sax from
Peter Brotzman. Ronald Shannon Jackson's
percussion is relentlessly explosive, balancing
control and freedom with amazing mastery. Joy
and beauty fall from the hands of frighteningly out-
there guitarist Sonny Sharrock. WhUe
independently brilliant, Last Exit create moments
which rise far above the sum of their creative
talents.
The group's appeal reaches beyond the
smallish group of Usteners of improvised music as
noted by the presence of hardcore and speedmetal
fans at their live appearances. Last Exit makes
contemporary music for the '90s without ignoring
history's vital lessons and references. Iron Path is
an appropriate title for the music these musicians
are committed to playing. Intense, passionate,
uncompromising, and intelUgent are key words to
describe Iron Path and Last Exit. Those sick to
their souls of the banaUty of the current music
situation (and even those who are not) should buy,
borrow or steal this album.
Paul Clarke
24-7 Spyz
Harder Than You
(In-Effect)
For this review I went to my favorite
record store and asked for the most recent album
available. I was handed a record and told the band
which I would soon Usten to is a mix of The Red
Hot ChiU Peppers, Fishbone and maybe something
else...I forget. Anyway, I predicted a mediocre
album, but one with some redeeming features.
However, far from being a mediocre disc, this one
is quite simply, TOTAL CRAP. All of the like-
sounding songs consist of worn out, sped up blues
riffs with the occasional interjection of slap bass, a
double time beat, or something remotely reggae-
ish.
The lyrical content of Harder Than
You impUes that the only reason these guys are
playing music is to earn some money and get out of
the ghetto. I wish someone would just GIVE them
some cash so they wouldn't have to do this. Or
maybe they just need a synthesisier to play with...I
don't know. Another annoying feature of this
album is the credits which consist of thank yous by
each of the band members to god and everyone
they have ever known. I just don't understand this
stuff. Maybe it's a joke that's gone over my head.
Patrick Sampler ^EM. lw^
hcno^
By Warren Whyte,
Gavin Brown,
and Rob Moore
"One good thing about music, when it hits
you feel no pain."
.—R.N. Marley
And nobody was feelin' any pain on
Sunday, July 9th in Nanaimo's Caledonia Park.
Close to 400 people gathered for an
afternoon of sunnin', swiUin', smokin', skankin', V
sweatin'—aU to the sweet sounds of six reggae-
oriented bands: Azad,TropicalBreeze,The Looters,
One Rid dim, Messenjah and Skaboom.
Tropical Breeze played its usual lengthy
but dancable set combining keyboards, guitar and
bongos into a calypso, Caribbean style beat. The
Looters is an almost tacky Latino/fusion group from
southern CaUfomia. It uses lots of percussion to very
cymbaUc (no, not symboUc) effect, especially on the
slower songs which seem to dominate its sets.
A reggae band of the traditional Jamaican
styUngs appeared next. One Riddim covers many
classic Bob Marley tunes as weU as performing its
own Marley-influenced originals. Messenjah, from
Toronto.is often called Canada's premiere reggae act.
Its powerful.original material is performed Uve in a
professional manner without losing the relaxed reggae
feel.
A touch of ska came at the end of the
festival from the popular local party band Skaboom!,     tune.
who, afterseveral years of constantlocalperformances,
has finally put together an album of its own.
Thus, the end of the 1st Annual Island
Reggae Splash. Next year the organizers hope to get
Ziggy Marley and the Melody Makers.
On July 7th and 8th the Commodore was
the locale for the appearance of two of Vancouver's
biggest local draws. Friday's show was the first
Vancouver gig in three months for the Scramblers.
The band showed signs of having progressed and
displayed an attitude of cocky confidence, yet the
show retained the intimacy the Scramblers are so
adept at creating.
The second shot of the double dose was
one of the ongoing Enigmas revivals. Surprisingly
tight and Uvely, the oldtimers showed no signs of
slowing down, playing classics like Flying Dutchman
and Windshield Wiper well into the wee hours. The
Enigmas' stamina is especiaUy shocking when one
considers that the bassist and guitarist helped open up
the night playing in their other band, Earthling. This
is an improving band that plays straight ahead '70s
influenced hard rock.
Silent Gathering played between bands,
alternating between quicker, harder rockin' songs
accentuated by powerful vocals, and slower, melodic
ones where the band loosens their grip on the audience
only to clamp down tightly again with the foUowing
v ocal
MCKICK^
By Janis
After the Ramones show at 86 Street June
28, a person has to wonder (more than usual, I mean)
about the club's management. Quite a long time ago,
when the Hoodoo Gurus played there, I saw burly
security types stand around whUe large surfer-wannabes elbowed small females in their bizarre
interpretations of slam-dancing (I'd always been under
the impression, 'til then, that nobody was supposed to
get hurt); yet at the Ramones, where the crowd hardly
seemed threatening, fans were apparendy being
dragged out for any kind of excuse a bouncer could
think of. And not just being dragged out—how can a
club possibly justify throwing anybody face-first out
a door onto cement and then simply closing the door
behind the victim' s unconscious body? Unfortunately
I'm sure most of the audience didn't notice what was
going on—my date had to point out the drama that
took place right in front of me when a woman was
removed for some reason or other and not aUowed to
Uke her purse. Of course, when she was permitted to
come in to look for it much later (with an escort of two
policemen), the purse was nowhere to be seen.
I'm happy to say that since this whole ugly
episode, at least two bands that I know of have refused
to play at 86 Street. Now we can only hope that the
management does something to get their overzealous
"security" staff under control.
It's hardly better news that Ron Hay ward,
the bass player for the Nervous Fellas (famous for
climbing all over his battered instrument without
missing a note—even when he broke strings) is leaving
to join Austin's Tailgators. Vancouver's loss is
Texas's gain....
Unfortunately, most people don't know
quite what to make of all-female bands, and aU too
often it's assumed that any group with a "girl" singer
is going to sound Uke the Bangles or Go-Go's, on the
one hand, or Heart or Stevie Nicks on the other. So
She, who are looking for a new vocaUst, keep getting
caUs from the wrong types. ActuaUy, this particular
band resists most of the standard comparisons, at least
to the standard "girl groups." WhUe they're not
completely unlike the very early (read pre-sex-toys)
Pandoras, or the Screamin' Sirens, She is reaUy more
reminiscent of psychedelic-tinged '60s garage-pop
performed by males. They've got a powerful and
distinctive sound and, not unlike the Screamin' Sirens
once again, have quite an effect on the boys in their
audiences (and not just because these are women that
know how to play their instruments).
Anyway, She has a two-song demo, "Gotta
Lot Of and "Show Me," recorded at Profile, at CiTR
these days. Give it a Usten, and aspiring (and like-
minded) singers can caU 876-2945 or 879-4359 if
Club Soda gave us one big thrill last month
in the form of a Canada Day American invasion.
SymboUc perhaps? (No, not cymbaUc). NOFX, Coffin
Break, DC3 and All came up from the U.S. to put on
a four band bash.
NOFX, a generic thrash band from
CaUfomia, opened. They were followed by the
hardcore pride of Washington state, Coffin Break.
Both DC3 and AU have ex-Black Flag members in
them, AU's being drummer Bill Stevenson and DC3's
being guitarist Dez Cadena.
Cadena's guitar work was at the forefront
of DC3's intense hardcore barrage and its roUing,
melody-fiUed songs. The guitar solos did not, however,
break up the flow or intensity.
AU is presendy in its Allroy's Revenge II
tour to promote its new album by the same name. A
mixture of old Descendents tunes and songs from the
new album more than satisfied the crowd as the guys
were cheered on for two encores. The patrons received
an extra-special treat when Cadena came out with All
to sing a song caUed Sick and Crazy that Cadena said
they had been working on together for some time.
The concert of the summer (I don't care
what CHRX says) was supposed to take place on June
14th at the perfect venue of the Commodore, but had
to be postponed untU June 28th.
TypicaUy, the Commodore had previously
rented its space to the grad class of Argyle Secondary
School, my brother's by the way, so the site was
switched to 86st.
After an absence of almost five years, "Da
Bruddas Ramone" graced a Vancouver stage once
again. No, it wasn't an outstanding Ramones gig, but
nevertheless about two or three times as enjoyable as
any other band. Sure, Joey's voice was sounding a bit
thrashed and Johnny missed a few chords here and
there, but the performance was knife-edge intense and
the frenzied crowd added to the band's energy.
they think they have what it takes.
Earthling also has a brand new demo,
recorded at Profile, at the station. Opening for the
Enigmas at the Commodore July 8, they must have
surprised a good part of the audience, who only knew
that Mike Davies and Brian Olinek (the Enigmas'
guitarist and bass player, respectively) were in the
band. But beyond the shared lineup, there aren't too
many similarities between the two groups—
considering Earthling's name, I expected them to be
kind of late-sixties acid-psychedeUc, but actually
their inspiration seems to come from a sUghtly later
musical era. "Pure Hell," whUe not as fast-sounding
as the live Commodore songs, is stiU more a tune to
bang your head to than for dancing something Uke the
Windshield Wiper, and, in my opinion, doesn't give
Mike much of a chance to show off his guitar-playing
abiUties. I also found the clean (even spare) sound of
the production at odds with this heavy kind of song,
almost as if some sort of noise should somehow be
added.
Nyetz's "Decompress Me", on the other
hand, is one of the cleanest recordings I've ever heard
(it probably wasn't cheap, either, since it was done at
Bullfrog), and rightly so. There's just so much
happening here—a five-and-a-haU minute eclectic
mixture of accordian, guitars, bass, violin, kora
(whatever that is!), and aU kinds of simultaneous
voices, most noticeably that of Karen Anderson, a
former Crimpoline. But this isn't too esoteric to have
wit; the chorus (I guess it's the chorus) goes: "There's
a new girl in town giving me the bends/ Decompress
me." I don't know quite what to make of this, except
that I Uke it.
AUGUST 1989 11 At a glance the Partridge Family's
saga seems like that of any other pop star's.
Emerging from obscurity, a "singing family"
climbs the charts, and grabs hold of the Top
Five. After months of bewildering popularity,
the demons of drugs, egos, and incongruous
love affairs threaten the singers' pop fortunes.
Subsequent years are spent trying to prop up the
members' dying enthusiasm and lagging
creativity. Eventually there are rumours of solo
projects, the drummer o.d.'s, and then the group
announces it's folding.
But when the Partridges became a
smash in 1970 the music industry and the rock
press vainly searched for a reason for the success
of "Family Rock". Many imitators followed suit
- The Brady Kids, The Osmonds, Family but
no other "Family" act was able to kick it out like
T.P.F. Finally it was felt, "What the hay", rock
'n'roll had come to Elm Street, and a three-times
divorced mother showed she could jam with the
12 DISCORDER
best.
The following excerpts from Laurie's
diary describe the trials of a family that dared to
rock....
September 27,1969
Piano lessons weren't so bad today because the
teacher had a tooth-ache, so I guess he wasn i.xn
the mood to run his paws all o. cr me like usual.
December 3,1969
1   spent  mosjg of today   in shopping  n
Christmas shopping is such a drag whei
come from a huge family like mine. Gawd, I'm
glad I wasn't born in China or something
knows how many Partidges thei e < i he 1
Danny aiubber mask so maybe he'll,
I can't sjahd'nil face.
January 28, 1970
Last night I had trouble getting to sleep. ItSLWJF
know Keith was out until about 3:00 a.m. I heard
him come in the front door and drop his guitar
case. Mom heard it too and went down to check.
Mom freaked out that Keith was out so late on a
school night, then she cought a whiff that he'd
been smoking pot. Mom went crazy. She woke
up the whole house when she started swatting
,jvho tried to block her shots with his
|It got real noisy.
1970
luight the whole family jammed until 1:00
j xcept for Tracy who's not into the spirit of
oup really. She was always skipping her
ophone lessons, which is kind of too bad
scause we really need a horn player to fill out
^..Partridge sound. Mom sort of forced her to
Le tamborine really. Tracy I think is real
d in drawing and in painting. Mom ignores
lough. Danny says Mom's obsessed with
us being one big happy musical family, that it has something to do with divorcing three
husbands. For once he may be right. Poor Tracy
though.
May 15,1970
Gawd, I just about died today! O gorgeous one,
Jeremy Gelbwalker asked me to the sophomore
dance! Rumour has it he's had this big, huge
crush on me all year. This makes up for grade
ten, believe me.
May 17,1970
I wish I had cancer. The group is booked to play
our school dance. Thanks to my carrot-brained
brother Danny we're the band booked for the
dance. Mom is even going to chaperon. How can
I ever explain to Jeremy?!
May 28,1970
I can't beleive it, Jeremy loved the group! We
snuck out after the show to get something to eat.
It's me I think he intended to gobble up. He was
feeling me up and down like some blind man
from Mars. Up close I could see he had tons of
blackheads which is disgusting. Iprobably won't
go out with him again if he begs me.
June 15,1970
Since the school dance everyone feels the band
is ready to play professionally. The songs Keith
and Danny are writing together aren't sounding
too bad either. Keith, Danny and Chris spent a
few nights playing Hendrix and Cream songs to
get their playing up. Mom keeps interrupting
them by bringing in sandwiches and juice. I
think she's hinting that she wants to join the
group.
July 6,1970
Danny without asking anyone or anything got
the band a manager, a man named Reuban
Kincaid. Reuban used to be a sales rep for a
hospital supplies company and it shows. Keith
thinks he's going to use the group to sell some
new type of gauze or something.
July 12,1970
My brothers and I had a long meeting to decide
whether to letMom into the group. It's Reuban's
idea that Mom'll attract more interest in the
group. We decided that Mom needs something
to get her mind off the alimony battles, so she
was welcomed in.
August 12,1970
The band's demo received great reviews from
everbody who's heard it, except Sonny Bono,
buthe's ajerk. We start recording in ten days and
Billy Preston is producing the album. Billy is a
real hot keyboardist and is known lately as the
black Beade. Keith and Danny have written my
favorite song of their's to date, "Doesn't
Somebody Want to be Wanted Like Me". There's
a little speech Keith makes in the song that I
helped him rc-write because I told him his
version sounded like some guy playing with
himself.
September 9,1970
We just finished recording 14 songs in 10 days.
Billy said the Partridges are hot. It's more like
Billy was hot. He was always trying to get me to
sit in his lap. Show me how to playlet Back",
he says. More like you get back; mister
September 30,1970
Idon'tknowhow
got us the booldj
Palace. Mind you,
other band did c;
a good gig. Darih]
Shot, was puking
he was so nervous,
>ajesmann
played
lc nij
noti<
gener;
w stuff bei
hesl
Bishop was coming t<
it was a prank.
October 16,1970
Our first album is out. Personally I like its scarlet
cover, but Keith and Danny tried for days to get
Andy Warhol on the phone to talk record si
"I Think I Love You" is #27 with a bulle
week and we're all very excited by the response.
We painted this big, smelly school bus to tour in,
so now we probably look like singing retards
when we pull into towns.
November 1,1970
"I Think I Love You" goes to #1!! Reuban says
he cannot beljSve the phone calls that ar^coming
in for the group now. One magazine wanted a
photo of the entire family
course just laughed it off*
there when Reuban lot"
Decembejr
WelWitl
ho s quite
bn. None of
jptfound the Chrij^p^tree of course,
feel D^p^is the last person
ton Id own a gun*-Tie's been acting real
**5iamous. He spends a lot
i his room, and he does a lot
f shojQiSMBp'ecording sessions. My freckled-
s probably going a bit psycho.
rary 13,1971
A young singer named Bobby Sherman dropped
by back stage at our Salt Lake City show and
immediately the family liked his songs and his
friendly good looks. Me, well I'm crazy about
the boy. It's been impossible though to get him
alone for a second. Keith, who's been chumming
with him most of the time, says Bobby gave him
his first hit of acid. The two of them, he says,
hallucinated they could fly to the moon. Bobby
was the rocket and Keith was the astronaut.
Next Month - Part Two
AUGUST 1989 13 [Sunday AW**
I cct Recording Arrets
\CEUEBBITVSWN
' Sunday August 2^ > I
iGWAftplus9"esls
I Sunday August 27
EMPLOYMENT OPPORTUNITY!!!
CiTR NEEDS A DEVELOPMENT
COORDINATOR
DUTIES:
Assist the Executive in exploring new ways of fundraising and promotion.
Organise and/or supervise special events and projects, as assigned by the Executive.
Assist the Board in preparing an annual budget, and assist the Exec in planning and
managing budgets.
Assist the Exec in conducting the day to day operations of CiTR.
Attend weekly Exec meetings, monthly membership meetings, Board meetings, and
give a report at such meetings, as requested by the Exec.
QUALIFICATIONS:
Previous experience working with and researching various government programs
and grants.
Bookkeeping experience, with experience preparing financial statements and
budgets an asset.
Excellent written and verbal skills, with typing and computer skills an asset.
Previous experience working with students and volunteers.
Knowledge of and experience working in non-commercial and/or campus radio.
Good organisational skills.
TERMS:
This position is on a one-year contract, to be renewed at the discretion of the Exec
and the Board. It runs 35 hours per week, with three weeks a year for vacation.
SUBMIT APPLICATIONS BY 12:00NOON WEDNESDAY 9 AUGUST 1989 TO:
CiTR Selections Committee
6138 SUB Boulevard
Vancouver, BC Canada V6T 2A5
FOR MORE INFORMATION, CALL CITR AT 604/228-3017
14 DISCORDER Henry Tsang is a young, Vancouver-
basecj artist who has chosen to work outside of
the more traditional norms of artistic expression.
Unlured by the glamour of a fashionably paint-
splashed lifestyle or the more potentially lucrative
aspects of creating more saleable/desirable art
items, he works in what is best described as a
conceptual manner and deals with difficult and
personal subject matter. Using found and made
objects (clothing, photographs, frames, furniture)
he composes his visual message. Thematically,
he has gone from an earlier stage of formal,
modernist experiments to his present semi-
autobiographically inspired explorations. He is,
self-admittedly, still developing as an artist, and
talks here about that process and his experience
of being an artist in this city.
The process of art involves numerous
factors, a major one for Henry being that of
finding his subject matter. This involved a move
away from a university-inspired academic
dialogue with the past and historical art and into
a more personal dialogue. He went from a point
of "not really knowing what you are doing
because you are so young" towards a more
comfortable control over the art. This transition
began for him when he was accepted at the
Banff Centre after completing four years of
Fine Arts, academic style, at UBC. Isolated in
the mountains, he found that he "did not have an
idea for eight months and considered quitting art
forever" (probably not the intent of the Banff
program!). Initially, hecontinuedon in the formal
vein; making art that commented on the idea of
art, trying to break down the meanings into new
ones. Unsatisfied doing things that were "towards
intellectually safe or academically hot areas", he
discovered within himself a more personal and
in some ways more challenging process of art
making. "Writing my Chinese name over and
over...I found itreally ironic thatl had this name
I didn't use. I decided to take that as an initial
jumping point...that star ted the 'Chinese thing'."
Here began his current exploration of himself,
of what he is, "...of Chinese origin yet having
had a white education and a certain amount of
Chinese education that I resisted.. .a lot of irony."
Returning from Banff, he was faced
with thenextstep in theprocess, dealing with the
real world. Banff was a chance to jump into a
mini, pre-fabricated art scene; a sort of Shangri-
La for artists. "It wasn't real, it was totally
artificial. The whole support structure is set up
in Banff, but here you are really on your own. I
$     by Sheila West
didn't know who were THE people, never mind
the RIGHT people." Cynical about the workings
and ways of the private and the museum-gallery
systems, he found Vancouver's gallery scene to
be "really cliquey...Everyone has to find a
niche—the right kind of people." Different
galleries are associated with different styles,
different personalities. "You usually get stuck
in one of the communities and it connects to the
kind of work you do...reflects you, supports
you...and you support it." Personally, Henry is
involved with the Or Gallery on Hastings Street,
a gallery that represents a number of conceptual
artists such as himself. He also chooses to support
smaller community shows that deal with the
topics he is interested in, the idea of race and the
way it affects how we see others and ourselves.
These shows may not be as good exposure as
shows in 'serious' galleries, but he is willing to
put the time into them for personal, non-career
oriented reasons. It is "a statement, taking a
stand...it's really important," you have to put in
the effort and make the sacrifices that go along
with it.
This transition away from the more
career concerned, academically conformist art
has cost him, but he accepts that. "I guess if I was
dealing with stuff that I wasn't so involved with
personally it would involve a larger audience, or
more specifically, (be) tailor made (for a)
strategic audience. You can be an international
artist by doing certain things in certain ways...I
know I won't go anywhere from all this...all that
career stuff doesn't come into play. It's really
marginal." Other aspects of what he is doing are
more positive. Having worked in a pre-
researched, highly structured mode he is
discovering now the beauty of the less controlled
visual/textual situations he sets up in his pieces.
"Everything that comes out is a kind of
surprise...they are what they are and they have to
live without me." He now finds that he has
problems with, "people who say their work is
about one thing or have to define the work
themselves for other people.. .you bring into (my
art works) what you can bring into them." One
of his recent works comments on society and
family expectations on the oldest son to be
prosperous and successful. He frames a grey
business suit in a Chinese style red wood frame,
flattened behind glass like an artifact of another
era. It is dispalyed in front of the Chinese
character for prosperity, rendered on graph paper,
in grid technique. The traditional display raises
questions on family tradition, expectation, and
the meaning behind this cross cultural
phenomena as seen from his viewpoint. Despite
its definite Asian overtones due to the use of
culturally specific elements, the concept is still
able to transmit on a universal level as well. The
ways of seeing are also broughtoutby this piece;
what is seen varies from person to person.
His latest piece, a two panel series of
snapshots, also comments on the ways of seeing
by races in amore definite manner. On one panel
an oriental man watches the progression of a
Scottish pipe band parading down a somewhat
deserted street. Dialogue text at the bottom
explains how the man finds the Scottish dress
exotic. Another voice answers that some people
find it quite normal. The image is comical on one
level - we see the pipers as the man does, they
look abit absurd which is something people who
have lived in Canada all their lives might not
have ever considered. It makes one think how
the Scottish types see the Asian man and how
valid the opinions may be. The other panel raises
the question of how men see women and how the
aspect of race enters into the desirability of the
women despite the race of the man. It also
functions to explore levels of seeing, how we
see—on tv, through photographs, through art.
Henry Tsang's work can next be seen
at a show on racism, tentatively scheduled for
the Roundhouse at the old Expo site later this
summer. He will also be participating in a show
at the Chinese Cultural Centre on Pender
Street in Chinatown.
ALMOST A j|ANNIBAL IN
VANCJfLVER
On July  ill Rick Gibson was
supposed to chomp <f|||n on a chicken pate
gwever,
;cQuver  city|
and human testicle sandwich at die comer of
However, DejyRoss
saveljp gon||jlgn questiflft
than death. The 'perfi
Ithcr l§|f|J|( the
preparation stage at the Pitt Gallery at which
totife icfhisl
~ (rj
Should be a good show, ^a
forget to pack a lunch.
AUGUST 1989 15 Amazing Sbithead:
RIFT
By Lloyd Uliana
In anticipation of the release of Murding Hell's Happy
Cretins, album number ten for SST's in-house satirist-
philospher-sexmeister Zoogz Rift, a pre-recorded interview
was recently aired on Soup Stock From the Bones of the
Elephant Man. It's the first in a list of interviews-by-mail
that are scheduled to make their way on to the show in the
next few months with accompanying transcript segments
appearing in Discorder.
John Trubee, Zappa, Beefheart,
Copernicus, GG Allin, and Carlos Santana -
with his genitalia firmly lodged in a vice grip -
are commonplace references in most articles
dealing with the music of avant-guitarist/
composer Rift and his band The Amazing
Shitheads. We no w join our interview currently
in progress.
Zoogz Rift: Primarily you ask me about my
feelings on popular culture. I really don't care
one way or the other. I like a lot of things that are
popular. I like pizza. I like listening to the radio
sometimes. Most of the time, the stuff that artists
quote-unquote produce for our ears and for our
eyes is usually a bunch of crap that they throw
together because they know that people like
easy-listening, easy-watching, easy-thinking,
easy-everything becausepeople are intellectually
lazy. The problem is that people are not taught to
think. They don't want to think and when they
do, it gives them a headache, so they do everthing
they can to avoid thinking and that includes
watching those crappy shows on television which
aren't worth shit; listening to crappy music by
people who don't care about the listener or die
record buyer...all they care about is the money
that they're making from that profession so that
they can continue to make crappy music instead
of having to go work in a factory somewhere on
an assembly line. In effect, what they're doing is
an assembly line of old crap that you've heard all
your life. Nothing new. You know, you turn on
the radio and it's stuff that you've heard a
16 DISCORDER
million times except it's slightly camouflaged.
My goal as an artist and in making
music is to attempt to break out of that which is
not easy for me to do. To be an artist you have to
think and to think you have to be inspired and to
be inspired you have to be around things that are
inspiring, and there just isn't that much around
to be inspired by. That makes art very difficult
but we must do it anyway, if we want anything
any good. All of the best music in the world was
done under very difficult circumstances and
during hard times. So, if you want something
unusual you have to go out and search for it
because it's not gonna come up and shake your
hand.
You ask me about advising radio
programmers of die lyrical content in my
compositions. Basically, my attitude towards
that is that when radio stations receive records,
one of the first things somebody does...it's
somebody's job to play die record...take the
record home, play it and make a decision...they
rate the songs. They have to make a decision on
what's playable and what isn't; which songs
contain profanity and words that may be
undesirable to the listening public or to the
advertisers or the station or the board of directors
or what have you. In other words, which songs
are safe to play and which songs are gonna get
you suspended or thrown out of the radio station.
So what I've decided to do was beat all these
people to the punch and just say "Look, alright,
here we go, I'm gonna tell you what the songs
are." And I do it primarily as a sarcastic jab at
theses people because my attitude is: radio
stations should be permitted to play any damn
thing they want...anything that the public wants
to hear and anything that the dj's or the people
who own or run die station want to play.
There should not be organizations like
me FCC (Federal Communications Commission
which is the US equivalent of our CRTC)
dictating a bunch of Nazi terms to radio stations
saying you can do this and you cannot broadcast
that. There's no such thing as bad words, there's
only bad thoughts and bad ideas, butnevertheless
we live in a county that says you have a right to
think anything you want to think and you have
a right to say anything you want to say. If they
don't like it, that's their prerogative too, but no
one has a right to deny you the right to say what
you want to say and that includes people who
own radio stations, and people who work at
radio stations. If there's a record that they want
to play and they feel that a certain message in a
certain song represents their own personal
feelings and they want to get that out to the
public and they say that's what I'm alive for,
then by all means they should have the right to
play it without some kind of government
organization butting their goddamned noses in
where it doesn't belong. I'm gonna continue to
make the kind of music that I like to make
whether anybody damn well likes it or not.
Fortunately for me, some people do like it. So as
a result of that I'm able to continue and I've been
able to do this for quite a long time, so far
without getting thrown in jail.
In terms of me being a dadaist,
basically I've bailed out. I don't believe in it
anymore. I've considered myself a dadaist for
many, many years and the reason why I've
decided that that's no longer the case is because
by doing a lot of research and re-reading a lot of
my books on dada and surrealism, I'be come to
the conclusion that these guys weren't kiding. I
thought they were. I thought it was satire. Well,
what I do is satire. What I do is comedic in
nature, somewhat, but the dadaists were not
being satirical. They were really anti-reason,
anti-anything. Well, I'm not. I am pro-thought,
pro-logic, and pro-reason. What I am against is
constant intoxication, constant intellectual
irresponsibility and intellectual laziness. I'm
sick of it when everybody just wants to party,
party, party all the time and go out and get drunk
and get high and who cares and like "Zoogz,
why do you have to take everything so seriously
all the time. Why are you trying to be perfect all
die time?" That's a bunch of shit!
I'm sick of living in a world where
people aren't trying to be perfect all the time.
They should be. You should be. Every one of
you people listening (reading) right now, you
should be trying to become perfect all the time.
That should be your goal. Not wondering who
you're going out with Saturday night and what
movie you 're gonna go see and all that nonsense.
I don't give two shits about what movie is playing or who's going with whom or what's
doing what or what my astrological sign is or
whatGodsaysorwhattheBible says or anything.
That's another thing, now thatl'm on aroll here.
I just wanna state for the record: God sucks. I
don't believe in God, but if God ever did exist
nothing would please me more than when I died,
me being able to at least get a glimpse of heaven
so I could punch the sucker right in the nose for
all the crap that he's done to us here on planet
Earth. I don't believe in God, I don't believe in
religion. I don't believe in superstition. I don't
believe in astrology. I don't. I don't believe in
lies. All of this stuff is a falsehood that people
just throw together so that they don't have to
face reality...so that they don't have to think...so
that they don't have to do things through logic.
If you act on whim all the time, then
you can do any goddamned thing you want and
be totally intellectually innocent in your own
head. The problem with being logical and doing
things by examining the facts and the truth is that
you have to then take responsibility for your
decision-making. You have to say, "Hey, I've
come to this decision and I 'm going with it." But
when you do things by whim you can just make
up any kind of reality you want. You can say,
"Well, there's no proof that God exists and I've
got absolutely no good logical reason to believe
that he does, but I don't know for sure so maybe
he does." Well, that's a bunch of shit. You don't
know for sure if Santa Claus really exists either.
Do you reserve that same kind of agnosticism
for believing in S anta Claus or the Easter Bunny?
No, you don't, because it's ridiculous. Belief in
astrology is absurd. Belief in any kind of
superstition...walking under a ladder...breaking
a mirror or any other stupid, stupid things like
that you want to believe in...it's just people
being brainless. It's people who refuse to think
and refuse to acknowledge the fact that there is
one reality: what is, is.
My attitude towards music is pretty
open. Music can be interpreted any number of
ways. Essentially, what matters to me is that I as
a creator of music put a lot of thought behind it.
I create something that makes sense and
something that the listener can listen to over and
over again and keep finding new things. That's
the kind of music I enjoy Ustening to on my own
and mat's what I try to do for other people. I try
to stimulate idiots into thinking. That's my
primary goal. So when you think of the Happy
Cretins here on Earth who make it hell for all the
thinkers out there, or especially for me, the goal
is to try to kill that stupid spirit and get people to
think more and party less and that's what I'm
trying to do.
Several listeners called in during
the initial airing of this interview, expressing
concern over apparent "weaknesses" in
Zoogz's arguments. As promised, here's his
address, you can write him:
Zoogz Rift
do Thalidomide Productions
8526 International Avenue #79
Canoga Park, CA
91304-2618
AUGUST 1989 17 AUGUST
1989
Ai
August 2
4    MECCA NORMAL
Ml
August 4 / 5
TANKHOG
August 9
ZSA ZSA AND THE BAND
August 11 /12
Drunks On Acoustics
August 16
THE GROOVAHOLICS
August 18/19
From Montreal RAY CONDO AND HIS
HARD ROCK GONERS with guests from
Manitoba PROGRESSIVE MINSTRELS
August 23
NO FUN
August 25 / 26
THE DOTS
September 1 / 2
From San Francisco HARM FARM
ARTS CLUB LOUNGE 1181 SEYMOUR
683-0151
DOORS OPEN 9:30 FRI., 10:30 SAT.
SORRY NO MINORS
phone
687-0488
*"?«*f ?5/
off all
product
Vk lR^giinaild Lissel
ftmcow/pr, B.C.
U&ED fcOOK&lOe/zes&t's£&o£ 7/^i&^z^&rJDa^f~fz'cj&7jLJ
™'""""\
VANCOUVER EAST CINEMA
7th Ave. & COMMERCIAL DRIVE 253-5455
WANTED:
LOCAL INDEPENDENT BANDS
AND ARTISTS!
ONCE AGAIN, THE FOLKS AT
CiTR fM 101.9 ARE SENDING
DELEGATES TO THE ANNUAL
NATIONAL CAMPUS/
COMMUNITY RADIO
ASSOCIATION CONFERENCE
HELD THIS YEAR IN VICTORIA
OVER A HUNDRED PEOPLE
WILL BE ATTENDING FROM
ACROSS CANADA.
CiTR WILL HAPPILY TRANSPORT YOUR MATERIAL TO THE
CONFERENCE FOR DISTRIBUTION TO THE DELEGATES IN
PERSON FOR FREE !!!
ANYTHING GOES ! BE IT
CASSETTES, ALBUMS,
STICKERS, PRESS KITS,
BUTTONS, ETC.!!!!
JUST DROP OFF YOUR STUFF
AT CiTR: ROOM #233 ON THE
EAST SIDE OF THE SECOND
FLOOR OF THE STUDENT
UNION BUILDING, 6138 SUB
BOULEVARD, UBC,
VANCOUVER.
DEADLINE: FRIDAY AUGUST 11
FOR MORE INFORMATION,
CALL 228-3017 AND ASK FOR
RANDY.
PLUS! AUGUST 20
A SPECIAL POST-NCRC
GIGATHON AT THE RAILWAY
PRESENTED BY CiTR AND CO
OP WITH 3 DIFFERENT
VANCOUVER BANDS (CURIOUS|
GEORGE, THE PICASSO SET,
AND ROOTS ROUNDUP)
ESPECIALLY FOR THE WEARY
DELEGATES, BUT ALSO FOR
YOU! TICKETS: 3 BUCKS AT
THE DOOR. MONDAYS
SOUND OF REALITY 3:00-S:00PM
Experimental Radio, with Vision! Featuring environmental
sounds, found noises, information/propoaanda and the
world's primitive and experimental musics from the
auditory fringe. Live, too. Contributions welcome.
SPORTS DIGEST 5:30-6.00PM
Join the CiTR Sports Department for all the latest in
campus sports and sports everywhere else for that matte r.
THE AFRICAN SHOW 8:00-9:30PM
The latest in dance music from the African sub-continent
plus/minus a few oldie but greats and extras. Your host:
Umerah Onukwulu.
THE JAZZ SHOW 9:30PM- 12:30AM
Vancouver's longest running prime time jazz program.
Featuresat 11:00. Hosted bythe ever-suave Gavin Walker.
7th   "For Musicians Only":   a classic album with Dizzy
Gillespie, Stan Getz and Sonny Stiff sounding hot and
hard as they would in an after-hours jam.
14th SarahVaughnpossessesoneof the most outstanding
voices of the twentieth century.   Tonight one of her
greatest recordings done in 1955 in the company of
some great musicians like Clifford Brown and others.
21st  "Shades of Redd", an extraordinary recording by
pianist   Freddie   Redd,   featuring   his   playing   and
compositions with hornmen Jackie McLean on alto and
the legendary Tina Brooks on tenor.
28th Guitarist Jim Hall recorded in Toronto with Canadian
jazz superstars Terry Clark on drums and Don Thompson
on bass. Elegant and sophisticated.
TUESDAYS
BLOOD ON THE SADDLE 1:15-3:30PM
Country music to scrape the cowshit off your boots to.
With yer host-poke. Jeff Gray.
IN CONTEXT/TRIBES 3:30-5:00pm
Simplicity in Design, New Music, new views, new Beliefs,
Old gods. Reinforcement and Negation. In words and
pictures. Hosted by Kiiby Scott Hill.
NEON MEATE DREAM 7:00-9:00PM
Like your worst nightmare and most erotic dream
combined. God what a mess.
WEDNESDAYS
VENUS FLYTRAP SHOW 8:10-10:00AM
What used to be Way Too Earty". I'm Greg Elsie, and I'll
play anything. Just call too-too-ate too-for-ate-seben.
HANFORD NUCLEAR PIZZA PIE  11:00AM-1:00PM
From Alaska to Oregon and all points in between. And at
12 noon: Singalong with Rowena I
B.C. FOLK 5:30-6:30PM
Listen to the thoughts and music of B.C. folk artists with
Barb Waldern.
VINYL FRONTIER 6:0O-8:0OPM
TheSpinListwillneverbethesameagain! Tune in. Turnon.
Dropout. With Mike and Robin.
TOP OF THE BOPS 8:00-9:00PM
Trini Lopez. Ronnie Self, andThePhantomallloveyou. Ya
guy, all have been known to complain about this show..
ya guy. DestinedtomovetoanewtimeslotinSeptember.
CANCON JOB 9:00-11:00PM
The latest info on local bands and strictly Canadian
tunes, along with the hottest playlist stuff and interviews!
Disappearing from view in September.
UVE FROM THUNDERBIRD RADIO HELL 11:00PM-MIDN IGHT
Join Ed, Peter, and John for a real live band in your
livingroom, automobile or WalkPerson.
3rd Mary
10th ThePicauoSet
17th From Toronto, The Wammee
24th Curiout George and Emily (starts at 10:30pm)
31st Group 49
THURSDAYS
FINE LINES 10:00-11:00AM
Literary criticism and review in a Canadian vein from the
studios of CFUV, University of Victoria Radio. The end of
the tunnel is near....
IN EFFECT   1:15-3:00PM
Niel Scobie brings you the hip hop beat.
ARTS CAFE 5:30-6:00PM
In-depth arts analysis and general miscellany of
commentary on the local arts scene with a concentration on theatre.
7:30
8:00
9:00
10:00
11:00
12:00
1:00
2:00
3:00
4:00
5:00
6:00
7:00
8:00
9:00
10:00
11:00
12:00
1:00
2:00
3:00
4:00
MONDAY     TUESDAY      WEDNESDAY   THURSDAY       FRIDAY        SATURDAY     SUNDAY
THE CiTR MORNING SHOW AT 7:30 - BBC WORLD SERVICE AT 8:00
BREAKFAST
WITH THE
BROWNS
GARNET
TIMOTHY
HARRY
PEST
CONTROL/
IT'S ALL
LIES
VENUS
FLYTRAP
SHOW
 ^r
HANFORD
NUCLEAR
PIZZA PIE
MOVING IMAGES
THE AFTERNOON NEWS REPORT
BLOOD
ON THE
SADDLE
IN CONTEXT/
TRIBES &
SHADOWS
FLEX
YOUR
HEAD
DON WEBBER
NARDWUAR
THE
ABSOLUTE
VALUE OF
NOISE
THE FIVE O'CLOCK NEWS MAGAZINE
SPORTS DIGEST
NEON
MEATE
DREAM
THE NEW
JENNIFER
CHAN SHOW
PERMANENT
CULTURE
SHOCK
THE CANCON
LIVE FROM
THUNDERBIRD
RADIO HELL
TIED DOWN
AND MADE
TO TALK
HOME TAPING
I.N.T.E.R.-
N.A.T.I.O.N.AL.
STOMP ON
THAT
BOPPA-
TRON
SOUP
STOCK
FROM THE
BONES OF
THE
SATURDAY
EDGE
ARE YOU
SERIOUS?
MUSIC
THE 12 O'CLOCK NEWS
60 MIN MINS
THE
ROCKERS
SHOW
BLUES
AND
SOUL
SHOW
WEEKEND MAGAZINE
HOOTENANNY
SATURDAY
NIGHT
REPETITION,
SILENCE,
AND THE
END OF
SCAR IF ICE
JUST LIKE
WOMEN/
aECTRONIC
SMOKE
SIGNALS
PLAYLOUD
(THIS IS
NOT A TEST)
IN THE CRIP
Of
INCOHERENCY
FRIDAYS
MOVING IMAGES 10:30-11:00AM
Join host Ken Macintyre as he takes you on atourthrough
the silver screen's back lot of life with film news, reviews,
interviews and soundtracks.
ABSOLUTE VALUE OF NOISE 3:00-S:00PM
Found sounds, tape loops, compositions of organized
and unorganized aurality, power electriciahs and sound
collage. Live experimental music. 100% Canadian Industrialism.
TIED DOWN AND MADE TO TALK 5:30-6:30PM
The lowest in band interviews, profiles and tortured confessions from local, national and international artists.
HOME TAPING I.N.T.E.R.N.A.T.I.O.N.A.L. 6:30-9:00PM
400 proof live mixes.
STOMP ON THAT BOPPA-TRON 9:00-MIDNIGHT
The latest &. greatest in dance floor grooves.
SOUP STOCK FROM THE BONES OF THE ELEPHANT MAN
12:30-3:30AM
Independent music from around the world ranging from
spoken word to the latest in club tunes.
SATURDAYS
THE SATURDAY EDGE 8:00AM-NOON
Vancouver's biggest and best acoustic/roots/rogue folk
music radio show.   Now on the air for more than four
years!
POWERCHORD 12:15-3:00PM
Vancouver's only true metal show with the underground
alternative speed to mainstream metal; local demo
tapes, imports and other rarities.
60 MIN MINS 5:00-6:00PM
60 Minimalist Minutes. Music for thin ears.
HOOTENANNY SATURDAY NIGHT 6:30-9:00PM
Warning: moving to a new time slot in September!
DOUBLEVISION 12:00MIDNIGHT-3:00AM
Variegated music for miscellaneous minds. Host: Isabel
Hall.
SUNDAYS
ARE YOU SERIOUS? MUSIC 8:00AM-NOON
Schoenberg, Varese, Berio,Carter, Scebi. Xenakis, Schafer,
Cage. Webern - Artistic Evel Knievels.   Nouveau postmodern instrumental compositions in a classical vein.
THE ROCKERS SHOW 12:1S-3:00PM
Reggae, Rock Steady and Ska with George Barrett.
BLUES AND SOUL SHOW 3:00-6:00PM
Every Sunday, join Lochlan Murray and Kevin Rea for the
best of blues, rhythm and blues, and soul.
JUST LIKE WOMEN 6:30-9:00PM
Feminist news and analysis with Li! and Elaine, and music
made by women for everybody. Alternates Sundays with
Electronic Smoke Signals.
ELECTRONIC SMOKE SIGNALS 6:30-9:00PM
Information, news, interviews, political analyis from the
global cultures of resistance. Alternates Sundays with Just
Like Women.
20 DISCORDER SPINLIST
THE THE
PUBLIC ENEMY
MEAT BEAT MANIFESTO
CURE
KEITH LEBLANC
N.WA
ALIEN SEX FIEND
tt.000 MANIACS
COLPCUT
THE MEN THEY COULPNT HANG
WHATfNOISE
.THRILL KILL CULT
FACTION
RAMONES
CONDITION (CC)
BOB MOULD
TOO POETIC
KINS TEE
GODFATHERS
KMFDM
PUBLIC IMAGE LIMITED
WIRE
BEATMASTERS AND MERUN
WEDDINGS PARTIES.
O ENGINES (CC)
VARIOUS ARTISTS
SWANS
MUTE DRIVERS
GREATER THAN ONE
BIG DADDY KANE
WORLD DOMINATION -
MANAPSARA
ALL
MC9O0FT JESUS
WEDDING PRESENT
VARIOUS ARTISTS
MAUREEN TUCKER
FRESHCO
SOUL ASYLUM
POP WILL EAT ITSELF
DC 5
CASSANDRA COMPLEX
BEAUSOLEIL
VARIOUS ARTISTS
MIND BOMB
DO THE RIGHT THING tt"
STORM THE STUDIO
DISINTEGRATION
EINSTEIN 12-
EXPRESS YOURSELF ir
HAUNTED HOUSE
BLIND MAN'S ZOO
WHAT'S THAT NOISE
SILVERTOWN
VEIN ir
SOME HAVE TO DANCE.
BAG
BRAIN DRAIN
SWAMP WALK
WORKBOOK
POETICAL TERROR $ GOD-
ACT A FOOL
MORE SONGS ABOUT LOVE.
MORE AND FASTER
NINE
EARDRUM BUZZ
WHO'S IN THE HOUSE
NO SHOW WITHOUT.
BYRAM LAKE BLUES
PASSION-SOURCES
THE BURNING WORLD
WAITING FOR WW3
LONDON
LEAN ON ME 12*
COMPANYNEWS
QUEER
ALLROYS REVENGE
TOO BAD tt'
UKRAINSKIVISTUPI.
DEEP HEAT
LIFE IN EXILE AFTER-
4 AT A TIME tt'
CLAM DIP $ OTEHR DELIGHTS
CANUDIGITtr
V1DA
SATAN.BUGS BUNNY-
BAYOU CADILLAC
SUB POP too
DEMOLIST
HiAUY
EARTHLING
TIN GOD
THE PICASSO SET
AGAINST THE GRAIN
FYF
ENIGMAS
BRUCE A e THE SECULAR.
19 CRASH
THENYETZ
FREEWATER KNOCKOUT
THE ROYAL CANADIAN MAPLE SAPS
WAGES OF SIN
ULTRAMARINE
SARCASTIC MANNEQUINS
HARD ROCK MINERS
ICEMEN
BITTER HARVEST
RAINWALKERS
AUNT ACID
SYNDROME
IDIOT SAVANT
DAMAGE CEST DAMAGE
THE BLINDS
Pure Hell
SoColp
Second Hand Story
Crawl Space
Whack Me
Charlie
Girls m the Shower
Fun on the Edge
DECOMPRESS ME
Grand Designs
Sing You Sinner
Stop the World
Secret
When I Bought the Car
JimGuroo
Hot City
Panic was the Third Stage
Another Black Day
Death of an Angel
One Eye Open, One Eye Closed*
Governor Brian
Big Black Boots
Russian Submarine
* DENOTES THAT THIS WAS RECORDED LIVE ON TAPE-A-MANIA ON
CfTtiWfM.
a ten day extravaganza of Alternative Theatre and
Performance Art
THE FIFTH ANNUAL
VANCOUVER
-FfefcVaF".
FESTIVAL
Entertainment from across Canada,
the United States, Australia,
Great Britain, Switzerland.
SEPTEMBER
8-17 • 1989
call today for more information (604)873-3646
or write TheatreSpace, #18-2414 Main St., Vancouver
*£** Aug. 2
^r      86 St. Music Hall
j£ Live on CITR (11 pm) J^
^ Aug. 9 ^
jj[ Commodore Ballroom ^
G*t Boy's Head  % th* Railway Cl«b (from Roy)!
AUGUST 1989 21 Tour Guide: Viola Funk
Got a special kind of tea you drink
only when terminally depressed? Feel repulsed
by the prospect of eating from melamine
kitchenware? If not, the rest of this article won't
mean sweet dick to you.
Right. Are you the sort who stuffs
everything down, shoves the chair away from
the table and has done with it, or do you eat
22 DISCORDER
breakfast? Basic rule of thumb: only the
compulsive eat breakfast. Only the truly
compulsive engage in deliberation as to which
mug and bowl they will use. Know how
sometimes, to drink from any mug other than the
white one would upset some divine order of the
cosmos? Well, it's hard to convey these
convictions to the emotionally stable.
These things have deep roots. In
childhood I made a point of never finishing the
last litle pool left in the bottom of a glass of milk
(theory being, it would taste warm and offensive).
I still find few tasks more disgusting than scraping
the dregs out of a Cheez Whiz jar that's sat in the
fridge for months.
But hey, I'm not the only one with
hang-ups. Look out below:
—People who repetitively stick a spoonful of
ice cream into their mouths, taking only a minute
portion thereof with each insertion. I suspect
these are the same people who jab the "walk"
button at intersections seven thousand times in
a row, and who continually dart a hand under
running water to see if it's hot yet. Not Zen, not
Zen at all.
—Common garden-variety relative who builds
dams and aqueducts with mashed potatoes,
sausages and gravy. Frustrated civil engineer.
—Teenage brother familiaris. Fave snack: Aunt
Jemima waffles with a heap of icing sugar and a
gallon or two of syrup. Or, the other way round.
Hyperactive child, take four.
—People who cannoteat with their hands. (Well,
I know, I usually have to resort to my mouth, too,
but...) French fries, pizza, Kentucky Fried,
anything is fair game for the sacrificial knife.
Hey, didn't Pink Floyd do a concept album
about this?...
However, the final, definitive division
of eating methods must surely hinge on the
compartmentalised vs. the non-. Yaknow, when
you're having a genuine, honest-to-goodness
home-cooked meal and the peas can not touch
the potatoes and under no circumstances can the
stuffing encroach on either of the above, though
a bit of commune with the chicken is allowed. "It
all ends up in the same compartment anyway"
never held any water with me. Victims of this
compulsion are the flip side of the dam-builders
coin.
So, how to tie all these totally disparate
things together? What, in short, am I trying to
prove? Nothing, for a change.
AAAAAAARGH! A demented
lament for the late Cafe Zen. Hangoutof hippies,
poseurs, and the occasional dispassionate
businessperson. Or, in Bryce's words, "the
druggies & junkies & woebegone artists". The
location (820 Howe) has been taken over by a
mirror-walled monstrosity whose waiters wear
uniforms. A lot of people have lost their handiest
connection joint (no pun intended) and still
more are out of a convivial atmosphere in which
to drink sensibly-priced tea/coffee and read
Vonnegut. As to the "art" installations?...Oh
well, life goes on...
P.S. to whoever had the nerve to remind me of
the Zen on Yew: FASCIST CAPITALIST
YUPPIE-HEAVEN SCOURGE OF THE
UNIVERSE and not within walking distance of
anywhere that matters. NA. DM*,	
ZAZ^
SWasapJ
uo.
gjgj^BSSB
686 Powell St. "I^SS,
(5 blocks from Gastown) b   t     669-94
ALTERNATIVE • HARD ROCK • INDEPENDENT
OPEN 7 DAYS
( ut 253-6753
b   i      669-9474 

Cite

Citation Scheme:

        

Citations by CSL (citeproc-js)

Usage Statistics

Share

Embed

Customize your widget with the following options, then copy and paste the code below into the HTML of your page to embed this item in your website.
                        
                            <div id="ubcOpenCollectionsWidgetDisplay">
                            <script id="ubcOpenCollectionsWidget"
                            src="{[{embed.src}]}"
                            data-item="{[{embed.item}]}"
                            data-collection="{[{embed.collection}]}"
                            data-metadata="{[{embed.showMetadata}]}"
                            data-width="{[{embed.width}]}"
                            async >
                            </script>
                            </div>
                        
                    
IIIF logo Our image viewer uses the IIIF 2.0 standard. To load this item in other compatible viewers, use this url:
http://iiif.library.ubc.ca/presentation/cdm.discorder.1-0049878/manifest

Comment

Related Items