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Discorder CITR-FM (Radio station : Vancouver, B.C.) Jun 1, 1987

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 y • - - - w   • ■ ■-'-■.■
That MagazineVfrom  CITR Rat
JUNE 1987
V     / llduMAURIER
llirallLl
COMMODORE BALLROOM
ETTA JANES BAND & KATIE WEBSTER
June 26
PETER APPLEYARD & The Alumni, Tribute to Benny
Goodman with Roy Reynolds Quartet
June 27
JOHN SCOFIELD BAND with Skywalk June 28
MICHAEL BRECKER BAND with Mitchel Forman
June 29
Each Show $18      9 pm
ORPHEUM THEATRE
ABDULLAH IBRAHIM (Dollar Brand) & EKAYA/
BILL BRUFORD'S EARTHWORKS July 3
CARMEN MCRAE, ROB MCCONNELl &
ED BICKERT QUARTET July 4
Each Show $18      9 pm
VANCOUVER EAST CULTURAL CENTRE
RAN BLAKE & HOUSTON PERSON June 28
VINNY GOLIA SEPTET June 29
QUEST with DAVE LIEBMAN June 30
ROVA SAXOPHONE QUARTET Jw/y 7
BASSDRUNBONE Mark Helias, Gerry
Hemingway, Ray Anderson July 2
JOHN ZOWTS XU FENG (for 6 Nusicians) July 3
NUHAL RICHARD ABRANS with DAVE HOLLAND
July 4
CABRO FRIO plus CELSO NACHADO July 5
Each Show $12      8 pm
CENTRE CULTUREL COLOMBIEN
NEWNUSICatlECAFn^
JAZZ at the PLAZA July 3-5
72 Performances on 3 FREE Stages
by International Artists at Expo 86 Site
Plaza of Nations PLUS NIGHTCLUBS
& more...
Tickets @ VTC/CBO and all usual outlets. Charge
by Phone 280-4444 & Black Swan Records.
EARLY BIRD DISCOUNT
Buy Tickets for any 3 or more
different concerts above and save $2
on each concert.
EXPIRES JUNE 15
Information: 6820706    Produced by DffcORPER
That Magazine from CITR Radio 102
JUNE 1987    Vol V No 5    Issue #53
EDITOR
Michael Shea
WRITERS
Iain Bowman, Robin Fross, Mike
Harding, Janis McKenzie, Mark Mushet,
Judy Radul, Robert Shea, Kevin S.
ILLUSTRATORS
Rod Filbrandt, William Thompson
COVER
Bill Mullan
ART DIRECTOR
Karen Shea
DESIGN
Harry Hertscheg
LAYOUT
Pat Carroll, Lucy Crowther, Sandra
Dametto, Shedo Ollek, Marina
PROGRAM GUIDE
Louis Jantzen
TYPESETTING
Ammo Fuzztone, Maja Grip,
Don Schuetze
BUSINESS MANAGER
Randy Iwata
ADVERTISING
Lucy Crowther
DISTRIBUTION
Bill Mullan
SUBSCRIPTIONS
Randy Iwata
PUBLISHER
Harry Hertscheg
Discorder Magazine, c/o CITR - UBC Radio
6138 SUB Blvd., Vancouver, B.C. Canada
V6T 2A4 S (604) 228-3017
Discorder is That Magazine from CITR
-Radio 102 and is published monthly by the
Student Radio Society of the University-of British
Columbia, although it winds up being printed
deep from within Surrey, Canada.
Discorder Magazine prints what it wants to,
but pledges to put the CITR On The Dial program schedule and SpinList record chart in every
issue. Discorder also vows to circulate 17,500
copies by the first of each month. Subscriptions are encouraged. Twelve issues: $12 in
Canada, $12(US) in the States, $18 elsewhere. Make money orders or certified cheques payable to 'CITR Publications'.
CITR - Radio 102 broadcasts a 49-watt stereo
signal throughout the Vancouver area at 101.9
FM. But for best reception, hook up to the FM
cable network. CITR is at 101.9 cable FM on
Rogers (Lower Mainland) and Shaw (North
Shore) cable systems, but is still at 100.1 on
Rogers (Fraser Valley).
Inquiries about CITR, Discorder or the Mobile
Sound System-can be directed to station manager Harry Hertscheg at 228-3017, between
10 am - 4 pm, Monday to Friday. If you want
to talk to the deejay, call 228-2487 or 228-
CITR.
IN THIS ISSUE
• MAFFIA BIRTHDAY HELL
any excuse for a party 9
• ROCK THE BODY
feel the beat and release the heat 10
IN EVERY ISSUE
• UP FRONT
between the lines and behind the dial 4
• AIRHEAD
readers who write 6
• VINYL VERDICT
Mark Stewart & The Maffia, Bamff, Oversoul Seven 14
• STREAMING VITRIOL
Mark Mushet spews forth 16
• ON THE DIAL
The CITR Program Guide 18
• SPIN LIST
platters that matter 20
• LOCAL MOTION
Janis McKenzie gets around 22
JUNE 1987 3 ■pji
Hilarious Improv Comedy
<#*^THI THEATRE SPORTS GANgI,
UP FRONT
ONCE AGAIN IT'S THAT TIME OF
YEAR when cool urbanites feel the
beat from the heat - it's summer
in the city. And this city is off to a sizzling
start. If you haven't clicked into mode yet,
this June issue of Discorder is a hot intro
to helping you let off some of that physical
steam. Read it, then use it to wipe the
sweat off your brow.
THE BIG NEWS is that the BIG SOUND
is coming ON-U! Mark Stewart & The
Maffia, Tackhead, Gary Clail Keith
LeBlanc, Doug Wimbish, Skip McDonald, and Adrian Sherwood are
coming to town Tuesday, June 9th to help
CITR celebrate its BIG BIRTHDAY BENEFIT
BASH, and you are all invited too! This
organization, the first time they've toured
in North America as such, specializes in
"sci-fi dance hall classics", and to accommodate the magnitude of this five-hour
mutant funk extravaganza, the event has
been moved to everyone's favourite time
warp cabaret, the 86 Street Music Hall.
This is a hot ticket, get yours before they
melt. And if you still don't know what the
hell all the hullaballoo is about, turn to
page 9 for a preview of this upcoming
special event.
Well, what do YOU expect from putting
out good money to see others strutting
their stuff on stage. A little performer-
audience repartee? A piece of the
action? Blind eyes and deaf ears? Judy
Radul examines some aspects and symptoms of the effect technology has had on
music, and how it has changed the way
in which we related to our own physical
being and to others. It's called Rock the
Body, and it is as emphatic and visceral
as the title suggests. Judy Radul is a
well-known poet-performer about town,
and she writes as good as she raps.
This month's issue is stuffed with all the
tasty regulars that Discorder readers love
to eat. We've even got Mark Mushet back
dishing up a swell swill of streaming vitriol,
so chew on.
BEHIND THE DIAL
For those of you who listen to CITR on
cable FM, you might have noticed that our
signal has been moved jrom 100.1 to 101.9
on the radio dial. This was as much of a
surprise to the station as it was to one
listener who called in to ask why CFUN-
AM was now broadcasting on CITR's FM
signal.
Effective May 1st, the CRTC directed
the cable companies to carry all the AM
stations on FM cable, so you can hear
that wonderful muzak in stereo. Of course',
CITR is always the last to be made aware
of any CRTC changes - but, we know now
and we are telling you!
CITR is at 101.9 cable FM on Shaw
Cable in West Vancouver and North Vancouver, and is on Rogers Cable in Vancouver, Richmond, and Burnaby. CITR
is still at 100.1 on Rogers Cable in Port
Moody, Coquitlam, Port Coquitlam, Pitt
Meadows, Maple Ridge, and Mission. They
are hoping to make the switch by July.
CITR is not yet available on Delta Cable,
which covers both Delta and Point Roberts, Washington. They may add CITR
'to their service along with the local AM
stations. If you live in their area, call Delta
Cable at ©946-7676 and request that CITR
be added to their service. Writing a short
letter would be even more effective. If you
do, please send us a copy for our files.
If you live in New Westminster, Surrey,
or Langley, the future does not look so
bright. Western Cable has no plans to add
CITR to their network. If you live in these
areas and are starved for new sounds,
call them at S588-9331, or again, write
a short letter asking that they consider
adding CITR to the service. This is a business like any other, and the cable companies will act if enticed with the possibility
of a new customer. If you live in White
Rock, call Shaw Cable at S531-2322.
CITR is now, quite simply, FM 102 Radio
no matter how you do it.
The Editor
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4    DISCORDER CITR RADIO PM102
presents
A 50th Birthday Benefit
hA XKK ^ THWART
TjAuCKHEjAlD with Adrian Sherwood
GARY CLAIL
8 PM TUESDAY JUNE 9, 1987
86 STREET MUSIC HALL
PACIFIC BOULEVARD, VANCOUVER
TICKETS FROM  VTC /  CBO  AND ALL USUAL OUTLETS
JUNE 1987 5
^^^^^■HH AN MAIL
Dear Discorder,
Just wanted to write and say Tape-A-
Mania was great! I've only just discovered
CITR and the alternative scene and taping
the bands was a nice addition to my library. Hope that there will be many more
Tape-A-Mania sessions!
Yours sincerely,
a recent convert
Hello Discordant Ones!
I need to subscribe to your fab mag. I'm
a masochist and just love to read about
how great Vancouver is and how dull (by
comparison) the city of cowboys is. So,
to quote the king of rock'n'roll hisself ...
Thankoovermuch!
Greg Kishmer
Calgary, Alberta
GROWING UP AND OUT
Dear Airhead,
Fifty issues of Discorder. Fifty years of
UBC radio. Five years on FM. I feel I must
write. I remember way back when, sitting
in my parents' car in a parking lot at UBC,
I would be listening to their FM car radio,
set on CITR. The Teardrop Explodes were
being played on the Saturday afternoon
playlist show. Even though I was only hundreds of feet away from where the transmitter is supposed to be on top of Walter
Gage Tower, the signal was oh-so-weak,
like a flute in a symphony, but smelling
and heaving and belching and spewing
forth so everyone would take notice. That
was in 1983, if I remember correctly. You
were brash and precocious and obstinate.
I turned on the radio today (Tuesday),
and thanks to the wonders of cable, I can
get you quite well. The fellow dj guy on
was fluent and articulate and even a bit
humorous in a bland sort of way. But -and
I mean a BIG "but" - aside from his
mature pseudo-charisma charm, he was
also boring. He was just another voice on
the radio of any city.
This is a shame. Scary, too. I loved
CITR when its dj's were inexperienced (or
at least not that experienced), imperfect,
HUMAN insofar as their voices, etc. are
concerned. One almost expects them to
do a wonderful segue into a beer commercial or something. And the music they
play...
Yes, the music. An actual complaint
against it. As the Spinlist reveals every so
often, all of the "major" labels are there:
A&M,   Island,   Columbia,   Warner,   Elec-
6   DISCORDER
a
'-i •
-. \
tra, Arista, etc., etc., etc. It has been
said that Vancouver's music "scene"
(god how I hate that word) is one of the
most thrilling in North America. Then why
do you insist on not playing more of its
bands. I know of your Demo Derby in the
Discorder magazine; surely there are more
demos from aspiring artists than the piddly
few who are mentioned. Granted, your
stance on new music is admirable, but
why put an upper limit on it? Also, any
other city must have a similar "underground" (I hate that word too), which I
find there is woefully little representation
of. Maybe they don't sound professionally
made because that is their intent.
I fear the future of CITR. What will happen
if you get high power? Assuming it will
be extraordinarily costly to implement, I
guess you WILL have to recover your costs
to at least some extent, or else sink. You
will have become, and I hesitate to say it,
an alternative commercial non-commercial music radio station. Greed.
Discorder, too. Way back when, it was
8 pages of interesting stuff that, though it
hurt the eyes as one tried to read and
follow along, it had character. Now you
have 20 to 30 pages of professional typesetting, banners (if that's what those headlines up top are called), by-lines, etc.,
etc., etc. The only thing that has stayed
the same is the name, it seems.
I guess you can say it is a lot like those
Depeche Mode /Cure letters that protested
against all of the trendy teeny-boppyoids
attaching themselves to the bands after
they reach prominence, I am sure others
will agree with me. It was always nice to
have a little bit of exclusivity with something, a little bit of intimacy. CITR was
that. It was something that I had and maybe
the next person did not have.
CITR and Discorder are growing up. I
just regret your sacrificing the faithful few,
in favour of mass appeal.
Yours truly,
Alexander Stonefield
Rest assured, Alexander, CITR and Discorder are not sacrificing the faithful few in
favour of mass appeal. And if you want
exclusivity for its own sake, then go bury
your head in the sand. And as far as Discorder is concerned, yes it is growing up. It
is inevitable. What you see now is the
on-going result^ of many people working
many months learning, honing their skills,
realizing their mistakes, and taking pride
in their efforts. If this wasn't the case,
Discorder would look and read much as it
did fifty issues ago. The trick is, of course,
to maintain the ideals that motivate one to
engage in such an activity in the first place.
And it certainly isn't for the money, because there is none! Those ideals are constantly put to the test through experience;
sometimes they fail, sometimes they rise
to the occasion. Still, experience is something you'll never gain if you keep your
head in the sand. Times do change, but
the truth always remains.
AL BIG, ART THOU A COVER?
so discorderr is once again up to its old
antics of propagandizing the youth of this
area into thinking that its covers contain
art, or something like it, with constantly
and pathetically undertaken representations of vague and in fact meaningless
concepts, such as urban landscapes,
bones and televisions with distorted pictures on them!! Black and red really are
expressive colours, oh my! If you have
no other work to display on your cover all
over town, then how about a picture of AI
Big?!?
regional rhonda
To immortalize AI Big on a Discorder cover
would dash the dreams of countless young
girls who listen to The Big Show and who
have convinced themselves that Mr. Big
is a tall, dark, handsome hunk of deejay.
No, we'll just stick to propagandizing the
youth of this area into thinking other things,
thank you. Besides, Discorder only prints
all the news that fits, and AI Big will just
not fit! ^WUJrf
«D
<*EEK
"Lamb on a Spit our Specialty"
DAILY SPECIALS FOR
LUNCH AND DINNER
Try our unique menu, including
•Tzanziki, Melitzano, Houmos
•Spanakotiropita, Saganaki, Lukaniko
•Souvlakia, Mousaka, Kalamaria
•And much, much more!
•Plus... pizza
• Pasta also a specialty
Mon. - Sat. 11 a.m. to 1 a.m.
Sunday to Midnight
TAKE OUT • CATERING • WEDDINGS
ANNIVERSARIES • BIRTHDAYS
FREE DELIVERY
Phone for Reservations:
736-2118 / 736-9442
2272 West 4th Ave., Kitsilano
Tues. Wed. June 2-3   VTC/CBO
CFMI presents WEA recording artists
LOS LOBOS
with guests THE PALADANS
Friday June 5
WIPE OUT
featuring THE SURF KINGS & THE DAWN PATROL
and special guests
THE CFOX ELECTRIC LUNCH ORCHESTRA
Wed. - Sat. June 10-13
Seattle's best rocker STEVE CARLSON
Tues. June 16   VTC/CBO»2 Shows»7 pm & 10:30 pm
JAMES BROWN
Thurs. - Sat. June 18-20
R&B ALLSTARS with special guests
Tuesday June 23
KOREAN OLYMPIC WRESTLING PARTY
Wednesday June 24   VTC/CBO
Comedian SAM KINNESON
Fri. Sat. June 25-26
TROOPER with special guests
Mon. Tues. June 29-30
T.B.A.
6838687
UNDERGROUND OR
JUNE 1987 7 Monday June 8
ROUGH TOUCH
Tues. Wed. June 9*10 Tickets $8.00 |
HUNTERS and
COLLECTORS
Thurs. - Sat. June 11*12*13
TRIBUTE TO TINA
Sunday June 14
GARY FLOYD & NINE &
THE REAL WORLD
Mon. Tues. June 15*16
HUNTING PARTY
Wednesday June 17
L. KABONG
Thurs. - Sat. June 18*19*20
MX VESSELS
Sun. Mon. June 21*22
INCOGNITO
Tues. Wed. June 23*24
BOB'S YOUR UNCLE
Thurs. - Sat. June 25*26*27
KIDS WANNA ROCK
Sunday June 28
CHINA BLUE
Mon. Tues. June 29*30
BRAIN DAMAGE
CLUB SODA
1055 Homer
8    DISCORDER
681-8202
>sas*
Sfttf
JUNE
5/6   LIFE IS A LITTERBOX
THE DEAD CATS
KILL PUSSYCAT KILL
FRIGHTWIG
7   DAN JOY-ART OPENING
12/13    from Seattle
THE DEHUMANIZERS
with FORBIDDEN BEAT
19/20   CHRIS HOUSTON &
THE KINGPINS
21   TWELVE MIDNIGHT—ART
OPENING
26/27   THE SCRAMBLERS
from San Francisco
WHIPPING BOY
Cover Charge $3.00 except for special events.
| LIVE MUSIC IN THE LOUNGE I
|   FRIDAYS FROM 10:30-SATURDAYS FROM 11:30 P.M.
ARTS CLUB THEATRE 1181 SEYMOUR 683-0151 BIRTHDAY HELL
Place: 86 Street
MARK THIS DAY ON YOUR AGENDA - JUNE 9, 1987. CITR is celebrating
50 years of radio at UBC, with MARK STEWART & THE MAFFIA,
TACKHEAD, and GARY CLAIL. This historic event also features rhythm
masters   KEITH   LEBLANC,   DOUG   WIMBISH,   SKIP   MCDONALD,   and
a destructive live mix by the one and only ADRIAN SHERWOOD. This amazing
five-hour performance is one of only 8 shows on their first North American tour, so don't
miss this or you'll be history too.
This eclectic collection of cohorts have been responsible for the hottest, brashest,
freshest, and funkiest modern music in the past few years, but mainly from behind the
scenes and unknown to many. A complete discography would approach encyclopedic
proportions, to say the least. Keith LeBlanc (drums), Doug Wimbish (bass), and Skip
McDonald (guitars, keys) were for many years the core-root members of SugarHill
Records, creators and participants in such classics as The Message, Funk You Up,
Unity{w\\h James Brown), and Malcolm X. They were also instrumental in the Sun City
rhythm section, they worked with ABC on Zillionaire, and they have produced and/or
backed innumerable artists, from Grandmaster Flash to Jeff Beck. Combined with Adrian
Sherwood, they have given way to wild experimentation in TACKHEAD, THE OCCULT
TECHNOLOGY OF POWER (with GARY CLAIL), FATS COMET, and, of course,
THE MAFFIA. Keith LeBlanc released a long-player last year, Major Malfunction, which
was one of the most played albums on CITR in 1986.
MARK STEWART has been a prolific underground music-maker since his school
days in England. He invented The Pop Group in 1977, a sly amalgam of Beefheart-
influenced jazz-rock and powerful politics. The Pop Group released three extraordinary
albums Why?, For How Much Longer Do We Tolerate Mass Murder?, and the semiofficial bootleg We Are Time, before breaking up due to musical and political differences
(they wanted to play jazz, really, says Stewart).
ADRIAN SHERWOOD has produced music continuously since he was 18 years
old. His output includes a steady stream of crafty and weird reggae, dub, hip-hop,
and unclassified musical experiments for the past ten years - thirty-seven albums,
numerous singles, and 10-inch dub plates. In addition to Mark Stewart, Sherwood
produces records for his own ON-U SOUND label by such musicians as the late and
great Prince Far I, Singers and Players, Creation Rebel, African Head Charge, and
Dub Syndicate. He also handled the production of Keith LeBlanc's Major Malfunction
album, and produces all the FATS COMET, GARY CLAIL and TACKHEAD singles.
He has also remixed singles and albums for Depeche Mode, Ministry, Einsturzende
Neubaten, Shriekback, Woodentops, and the Voice of Authority. "The Thompson Twins
asked me to remix some things for them, but my wife said not to," Sherwood recalls
fondly. He then met up with Mark Stewart in a record store where Sherwood was
distributing some Jamaican dub records. This led to some recording sessions: Learning
to Cope with Cowardice, As the Veneer of Democracy Starts to Fade, Pay It All Back, and
other equally cavernous non-sequiturs. These projects started to involve the aforementioned SugarHill musicians, and soon a number of live shows were presented.
So, listen up, musical adventurer, this is what it all means: June 9, 1987, CITR
brings the entire cacophonously euphoric melee to Vancouver for five hours of "science
fiction dance hall entertainment", all for the purpose of celebrating CITR's 50th
birthday!! Says Judge I Rankin (in Spin, April '87) of the show: "Sinister bass
underpinnings threaten to usurp the repeater drum bursts every time the politically
loaded vocals of Stewart's songs try to make themselves heard. For all its apparent
impenetrability, Stewart's ironmongering funk (aided considerably by Adrian Sherwood)
has a spellbinding effect on one's consciousness. Highly recommended for those
looking to twitch to the beat of a different drum." All pretension aside, this show is the
highlight of the year, an opportunity to forego conventional ideas about extremes, funk,
effects and dancing.
Some advice for the unwary: listen to CITR on Friday, June 5th, from 9 pm until
midnight, for THE BIG FAT MAFIOSO SHOW, highlighting the musical output and
collaborations of Mark Stewart, Tackhead, Fats Comet, Gary Clail, Keith LeBlanc,
Doug Wimbish, Skip McDonald and Adrian Sherwood. This show is designed to be a
self-explanatory musical preview to the big birthday benefit bash, and guaranteed to
put the beat in your feet.-A- by Judy Radul
I want to jump out of my skin and be
Free, I want to kill the little thing that
is me, I want to laugh and giggle, I want
To scream, I want to wake up from this
Life crushing dream, I want to wash my
body bare in the stream, I want to
Liberate this human machine, I want to
spit
And grovel, I want to shit, I want to
Make you wonder what is it? What is it?
- from Metronome by Nomeansno
THE BODY
Today, the body is everywhere represented and no where existent. Technology
has changed the function of the body.
Technology EXTERNALIZES the body functions. PHYSICAL ACTS are EXTENSIONS
of the body.
computers as the externalization of
memory; in vitro fertilization asjhe alienation of the womb; Sony Walkmans as
ablated ears; computer generated imagery as virtual perspective of the hyper-
modern kind; body scanners as the intensive care unit of the exteriorization
of the central nervous system.1
ROCK MUSIC is one result of technology
synthesizing body movement. Before AMPLIFICATION it was clear that music was a
product of some physical activity. Instruments did not play themselves. Technology
10    DISCORDER
has confused the relationship that exists
between the body of the performer and the
sounds produced. As the body becomes
less directly important to the making of
music it takes on a more SYMBOLIC role.
Traditionally, music is made by bodies,
bodys that are vibrating on their own, singing or clapping, or a body causing some
object, like a drum, to vibrate. Music
helped to excite people to a state in which
spirits could enter their body, causing them
to shake and contort uncontrollably. Much
later came ELVIS' HIPS. The DEMON of
rock music has been making kids move
their bodies sexually and violently for some
years now.
THE EXHALANT
Rock relies on amplification, the sound
has become bigger and the audience to
performer ratio smaller. HOW will that one
little body on stage satisfy us all? Talk
about PERFORMANCE ANXIETY. The technology of music acts as body extenders,
PHALLIC and not. The speakers extend
lung capacity; amplification and effects
simulate strength and dexterity.
One little JERK, one small CONVULSION,
one gesture per song is all we really need.
The body leaves town, gets wiped down
and waits at the HOLIDAY INN.
THE DISAPPEARED
In a large concert, and to a lesser degree
in smaller shows, the performer is fractured into many pieces. S/he pans across
the room through a number of speakers,
each divided into BASS, MID, and HIGH
ranges; disassembled into digital information and reassembled as sound; translated into electrical impulses on a video
screen. ... this is the LIVE experience.
How is all this held together? Why is this
performer more likely to be seen as an
example of SUPER-INDIVIDUALITY, rather
than a figure dissolved between a number
of apparatus or PROSTHESES. A media-
fueled PERSONA is constructed to fill the
gap left by the body, the body which is
no longer really banging the drum. It appears as if all the effects, musicai and
visual, are a direct result of the super-
being, super-talent of the performer rather
than vice versa. Furthermore such IMPRESSIVE technology acts as proof of the
performer's STATUS. Not just anyone could
command such as imposing system.
VIDEOPLASM
Videos have replaced concerts as a way
to prove the existence and abilities of performers. The first and absolute rule of rock
video is SHOW THE BAND. It doesn't
matter if they are on a mountain or underwater; no matter how ridiculous they look,
the band must be seen. The BAND is
easier to promote than the MUSIC. If the
video is made as a series of images not
involving the physical image of the band,
it does nothing to help package them.
Video bands are bodiless. They are better
once removed.
The old urge was to rush the stage and try to touch, your sweaty hero/ine. Now
we are more likely to reach out and touch
the screen than SOME BODY. Today there
are many Gods but only one ALTAR, be it
Sony, Toshiba or Quasar. Isn't the screen
better than the skin anyway, so smooth
and luminescent? The screen doesn't
SWEAT and the speakers don't have BAD
BREATH.
SELF-INDUCED INJURY
With every technological advance comes
some kind of loss. With electronic amplification and effects it was a loss of RELATIVITY. A widening of the GAP between performer and audience. Punk was a reaction
toward this gap: sophisticated equipment
and musical technique were rejected; stars
were obsolete - the audience and performer disdained each other equally; the
BOUNDARY of the stage was broken by
people jumping on and off of it. People
were searching for a REAL feeling, something that could confirm life even if it threatened it.
Isn't life also a matter of intensity?...
Is the problem to live to be eighty, or is
it to live until forty - but live intensely ...
Life has been linked to its duration, its
slow development ... generation, children, wealth ... (BUT) Being alive means
... being-speed ... liveliness ... There is
a struggle ... between the speed of the
living,   and  technological  speed,   the
speed of death which already exists in
cars, telephones, the media, missiles2
Iggy Pop always attempted to prowl this
edge; trying to GET DOWN with the audience but not be swallowed by it. I remember
reading somewhere that IGGY had said that
the night he first pulled out his COCK on
stage was one of the most depressing. At
that point he had gone as far as he could,
taken his flesh to the limit, proving he was
MORTAL, a MEAT MAN, by slashing, sweating, gyrating, finally exposing the MYTHIC
SOURCE of power,  denouncing  his cock
by demystifying it. Still (this is speculation)
he felt no closer to the audience. Night after
night they wanted to see his cock, his degradation. Iggy just couldn't EXPLODE his ego,
FALL permanently and literally into the audience.  It just doesn't work that way. The
performer is always returned to the stage.
THE HALLUCINATION
Rock is a DRUG and it is concerned with
drugs. Drugs extend/obliterate the body
in ways similar to technology. The YUPPIE
BODY needs COKE to compete with the
speeding machine of the workplace. The
SLUM BODY needs drugs to GET OUT of
that place, at least temporarily. The ROCK
BODY wants to loose its head, get INTO
the music. Drugs are used to bypass the
censorship of the brain and SHAKE,
SHAKE, SHAKE IT
THE MEAT
The situation has become CONVOLUTED: on stage the band tries to sound as good as they did in the studio; to emulate their mechanized selves. In the studio
the band tries to recapture the RAW
ENERGY of live performance. Neither
method questions the way technology affects the musical experience. Technology
is changing the way we perceive ourselves. We are not OUTSIDE of technology,
able to use it this way or that.
The ideology of science as progress
is fatal ...that doesn't mean I'm hoping
for an ecological regression, spending
our days growing peas, sheep and ro-
quefort - no, it means that the other
horizon is technical ... It's what is to be
conquered. It's the moon. We must land
on the technological continent, and stop
believing it's a tool, an instrument for
our use, which we can do with as we
like ... It's not neutral3
Punk tried to speed up the impending
DEATH of our society. After years of attempted overdose, and many INDIVIDUAL
deaths, it became apparent that even where
death is concerned we aren't in control. The
machines keep us alive as sure as they hold
us on the brink of death. ANNIHILATION is
still a real threat but the psychological/
economic stress of continuously preparing
for our destruction has turned ours into a
civilization of death. Life has no meaning
except in relation to death. You are alive
because you're NOT DEAD. This situation
erodes the quality of our life.
Pacifists today oppose the tendency
toward war, in other words the war for
preparation for war ... war as scientific
and techonological preparation ... they
oppose peace as war, as infinite preparation which exhausts and will eventually
eliminate societies. In any case, the apocalypse is here ... the apocalypse is
hidden in ... the development of arms
- that is, the non-development of society4
Of course, the technology of rock is not
the technology of war. Yet, a relationship
exists in how technology manipulates the
body, how it supersedes the body's functions, turns these functions inside out, bringing processes which once took place inside
*the body to the outside. For instance, storing information on computer disks rather
than in the memory, voices digitally reproduced rather than by the larynx. Another
commonality between all technology is that
although it appears neutral, it carries within
it the bias of its inventors be they scientists
or audio technicians.
Industrial or technological musics draw a
lot of their underlying impact from their relationship to the body. There is great variety
within this genre of music but it is safe to
say that the body is often AGGRESSIVELY
present (pounding unyielding steel with a
heavy mallet) or CONSPICUOUSLY absent
(the technician, need only manipulate prerecorded  sounds made by synthesizers),
and sometimes both these phenomena are
present in one performance. Yet, no matter
how complex the sound is, people find it
difficult to deal with an absence of action
on the stage.
The audience confirms their own body
image or existence by watching other bodies
perform. When bodies are absent from the
performance a CRISIS results. Subconsciously the viewers' confidence in the tangible existence of the rockstar is undermined. The question arises: where has my
body gone?... the terrifying, inevitable
answer?... TO GRANDMA'S HOUSE. This
body question is being addressed consciously and unconsciously in many types
of music. When I saw the BUTTHOLE SURFERS I became convinced that the obscure
meanings I had been reading into rock music
did exist - at least at some level.
The Buttholes weren't trying to reproduce
SONGS from their ALBUMS on stage, they
were more interested in creating an all-
encompassing aural/visual environment. An
INTENSE EXPERIENCE. The voice was lost
in distortion, used as a way to generate
sounds rather than a sound in itself. But the
body was there, the body which the voice
WOULD spring from if it wasn't CHOKED.
Remember? The body was everywhere:
the healthy, strong, pleasure-seeking body
of a nude dancer, the dumb meat of a
mechanically crushed body being extracted
from a car; the continuous strobe to distort
CHANNEL
860 DENMAN
9 PM - 2 AM 669-3448
-L     9 PM-2 AM669-3448■   M
^L, THE ALTERNATIVE     ^BJ
12    DISCORDER the perception of movement. The band was
having their own experience, relinquishing
some control and letting the situation play
itself. Ironically, the show was halted due
to a FLESH WOUND which made it necessary for one of the band to go to the BODY
SHOP for repairs.
YOUR BUTT HOLE OR MINE
Where POWER is concerned, the body
has always been out of favour, the POOR
and their DIRTY BODIES. The poor have
more problems with their' bodies, how to
feed them, house them, keep them
healthy, stop them from reproducing. To
be bodiless is to be OMNIPRESENT, everywhere at once. Like the voice of God or
a male voice-over in a documentary film.
Women have long been portrayed as being
more tied to their bodies than men - another reason to be denied power. Women
are to be looked at but the advantage is
in SURVEILLANCE, to see without being
seen. In the EAST it is possible to go
beyond the body through meditation. Now
in the WEST we are at the point of surpassing our bodies - through technology. We
will astral travel by immersing ourselves in
a reality of self-generating video images.
At this point, when we are about to go
beyond the PRISON OF OUR FLESH we
realize the body has become imprisoned
by the SOUL. At least a FICTION of the
soul, a media-fueled sense of PERSONALITY which POSSESSES us. Michael J.
Fox is the Devil. We have begun to think
of our body as a car in which we drive
around.
This article is based on the premise that
confusion is more fruitful than CONCLUSION but with respect for those readers
who would like something concrete to put
beside the juice box in their lunch basket
... The body is an underlying subject/
object/theme/blab, in "rock" musics; the
musics that I find most interesting engage
this meaning in some way, through presentation, lyrics, etc. The bands that seek to
naturalize the relation of music technology
to themselves and their musical products
help to keep technology on an unconscious, manipulative and uninteresting
level. Musics on the fringe play with body
concepts. Playing with body symbolisms
is radical because through this play OUR
STATUS AS GHOSTS IS CONFIRMED.^
FOOTNOTES
1. The Canadian Journal of Political and
Social Theory. Body Digest, vol XI,
Number 1-2, 1987, Concordia University, Montreal, p.ii
2. Pure War, Paul Virilio/Sylvere Lotringer,
Semiotext(e) Inc. Columbia University,
New York, N.Y. 1983. p.140
3. Ibid., p. 138
4. Ibid., p. 139
SUMMER
SOLSTICE
JUNE 19*20*21
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-M    I  * • THEATRE * *  I    Wk=
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AN EXQUISITE NEW COMEDY...BRAVO! -ny Times
ROHMER'S ULTIMATE MASTERWORK...
IDEAL ENTERTAINMENT -Village Voice
• • • • V2 AN UTTERLY CAPTIVATING COMEDY
—NY Daily News
ONE OF THE GLORIES OF THE YEAR -Vogue
 STARTS MAY 22 Showtimes 7:30 & 9:30
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U%    ^h& ^ t       Starts ^
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INTRIGUING! -LATimes
AUDACIOUS! -LA Weekly
STUNNING!    ~LA Daily News
Showtimes 7:30 & 9:1S
BIG IN SCOPE and emotionally
stimulating.. .satisfying
entertainment...a prestige item"
VARIETY
Starts Friday Following
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Showtimes 7:00 & 9:30
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Burke & Wills
"RIVETING."
-N.Y. TIMES
<* TRIUMPH."
—NY. DAILY NEWS
"EXHILARATING."
—LA. TIMES
"IRRESTIBLE."
—SF. HERALD EXAMINER
"WONDERFUL."
—SISKEL & EBERT THE MOVIES
"AN INSPIRATION."
-MINNEAPOLIS STAR TRIBUNE
JUNE 1987 13 agpaws
VERDICT
Mark Stewart & The
Maffia
Upside Records
There are places where you could be incarcerated for listening to this music. It is
subversive. It hums, it scratches, it pumps.
It is difficult. It is not easy listening. Think
of it as the aural equivalent of analytic
cubism. There is an obsession with form,
structure, collage and how they may be
manipulated, yet the essential foundation
of the beat never departs.
The record is not particularly new: it is
an American 1986 release. Side one is
taken from the 1985 On-U LP Learning
To Cope With Cowardice; side two is taken
from the 1985 Mute LP As The Veneer of
Democracy Starts To Fade and features
current Maffiosi Keith LeBlanc, Doug Wimbish, and Skip McDonald. Both sides are
produced by Adrian Sherwood and Mark
Stewart.
The music is dub-based, heavily electronic and vocals fade in and out as on a
poorly-tuned radio. It is funk-influenced
in a way, but it is not dance music in a
traditional sense. It would be a superb
soundtrack for an all-singing, all-dancing
version of 1984. The aural collage effects
can be heard on other Sherwood-connected efforts such as Fats Comet, Tackhead and African Head Charge. The sound
has been called formulaic. It is a good
formula. At the bottom, bass and beat box
lay down the essentials. Various technological squeals, blips and noises jump
in and out, elbowed by tape pieces while
Stewart shouts, croaks and whispers an
assortment of words and slogans above
14    DISCORDER
the churning cauldron of sound. Mark Stewart was at one time vocalist for The Pop
Group. (Being a recent convert to this
sound, I cannot give an erudite and acerbi-
cally clever chronology of his career.)
Technology works. Or, rather, technology is put to work. The music is inherently dependent on technology. Unlike
so much modern music which merely uses
electronic wizardry as a substitute for traditional musicianship, this record would
not exist without technology. As with Keith
LeBlanc's Major Malfunction, the record
is also about technology and how it may
affect music's structure, in this case post-
Clash political dub. The main challenge
of such an approach is to reproduce it in
a concert setting. Challenging but not impossible.
Iain Bowman
Bamff
Come Outside
.
Well the BAMFF album is finally here, and
for a band that has been around this long
and always had aspirations of recording,
it certainly has taken them a while. But no
matter, it has been worth the wait.
BAMFF was formed in 1982 by Danice
McLeod (principal songwriter, violin and
vocals) with two other ex-members of that
semi-legendary Vancouver art-wave band
U-J3RK5, Colin Griffiths and Rodney
Graham. They released a musically adventurous and roughly produced 7" single
and weren't heard from again until their
first live gigs in late 1984 at which time
Scott Harding (guitar, also of Rhythm Mission) joined and since then he and Danice
have been the only stable core members
through occasional performances and fluctuating line-ups. They are joined on this
record by a mini who's who of local music;
producer Ron Obvious, Andy Graffiti, Barry
Taylor, Nancy Nash, ex-Crimpolene Karen
Anderson, Payolas' Chris Taylor and A-
Train Boynton, Alex Varty and others.
BAMFF's music is highly original, incorporating many different styles and facets
- funk, pop, avant garde, folk, classical;
melody, texture, groove, polyphony ...
the references here are specific, though
each song's character is fully developed
so that none sound alike yet the album
succeeds as a cohesive whole.
Beyond originality, sophisticated arrangements and production, the band's most
striking aspect is its ability to convey a
genuine atmosphere through music so that
one doesn't need words to instinctively
know what the song's about. Little Bush
begins as a kind of heavy, pounding Scottish funeral march, the violins imitating
droney bagpipes, alternating with a chorus
of funky, playful rhythms and melodies
that paint a picture of the playfulness of a
kitten in life and the lament over its death.
It's not hard to imagine yourself galloping through the open fields to the loping
chords of Pony Hips. Breathy vocals, a
tinkly-synth riff in a minor key, and a kind
of circular melody starkly re-create the
feeling of a cold, dark, snowy night on-
•Corne Outside with Danice imploring her
mate to come where the "ice is right". The
kinky and clumsy, yet intricate rhythms
and slinky guitar and keyboard beginnings
of Crevice Tool sound like the theme to a
corny spy movie whose subject is the search
for the all-important vacuum accessory without which one couldn't really reach between stove and sink.
On Crevice Tool, Danice's vocal delivery really makes the song - perfectly walking the line between heavy sarcasm and
complete seriousness. Danice's offbeat
sense of humour is the reason for the overall lyrical freshness on songs such as Feeders, wherein she relates the story of how
her aunt Alice used to scare her with stories
of power-hungry neighbours who will someday run out of food and come and eat
poor Danice. Definitely not your typical
rock fare.
All in all, BAMFF have come up with an
exceptionally strong and original pop/rock
album. The inventive songwriting and arranging, excellent musicianship, zest for exploration of style and modern production savvy definitely put them in a class of their own,
internationally and needless to say locally.
Here's looking forward to them coming up
with a live show that will be just as good.
Mike Harding
Oversoul Seven
Fool Revelation
Edge Records
These four young locals have released an
album of original material that is surprisingly strong on musicianship and high-
quality production, for a first effort put
together so quickly. Out of the garage and
into the studio by way of a few club dates,
they mean business and fast!
Although occasionally burdened by obscure lyrics or mired in dreary emotions and
conflicts, the six songs and two instrumental pieces are otherwise well-crafted,
laced with riffs that click and rhythms that
drive. The vinyl doesn't quite carry across
their live-on-stage energy, but an inkling
of that comes through in the punch of Over
Mountain, whose chorus takes big steps
up the hill as the guitar and bass climb
together. A grinding Roy Orbison bass line
greets you in St. Lee Lights, with lead
singer Adam Gejdo's voice scratching out
an echoing whisper and building to an
exasperated edge (although I could do
without the background "oooooo's"). And
the concluding instrumental Catfight at Cre-
puscule is great fun, with a ticking watch
lead-in, a teasing of jazzy trumpet, and
a resounding slam-bang metal-door beat.
I hope that the boys fall in love or get
high on chocolate or have great sex before
they write their next songs; this album
must have been written through some rotten
relationships. Lighten up, guys! Gag ...
Corey Hart, of all people, came to mind
with Somebody Said; he would love it.
Gejdo even evokes a Hart-esque, darkly
building plaintive cry, accompanied by a
"House of the Rising Sun" foreboding
guitar rhythm. Great listening for those
dark rainy days in the middle of June!
Some lighter, wise-ass lyrics combined
with the guitar playfulness hinted at in,
say, Catfight and All the Say would be the
ear-fun that I know these guys can make.
Robin Fross
JUNE 1987 15 A STREAMING VITRIOL
by Mark Mushet
SOMETHING WAS DEFINITELY AS-
kew last month. However, with deadlines being as they are, we'll not
dwell on past oversights. After all, what
good is a semi-annual monthly column?
Well, seeing as it's been TWO MONTHS
since the latest permutation of Streaming
Vitriol hit the news stands (did somebody
mention "dwelling"?) there seems to
be a need to catch up on some news. First
off, listeners of Fast Forward were treated
to only two editions of the show as hosted
by Peter Marter. The "Amazing" Pete
was to act as co-host of the program on
alternating weeks. As it turns out, work
schedules came into conflict and Mr. Marter
is not able to continue on a regular basis.
So, until a suitable replacement is discovered, Fast Forward remains the same.
In the way of truly outstanding but shamefully neglected concerts, April 23rd saw
Semantics play an excellent set at the
Western Front. Semantics are Ned Ro-
thenberg (sax, bass clarinet, tunesmith-
ing) Elliot Sharp (twin neck guitar, bass,
bass clarinet)  and  Samm  Bennett  (per
cussion). Though a bit on the noisy improv
side of things (Elliott's amp hum notwithstanding), the trio's leader, Ned Rothen-
berg, must surely rank as one of the world's
finest exponents of extended techniques
for reed playing. The evening's highlight
was a bass clarinet duet between Ned and
Elliott, both using the somewhat awe inspiring technique of circular breathing. Multi-
phonics galore! Be well aware that the
Front often plays host to some of the best
new music concerts this city ever sees,
even though they're not well promoted.
For monthly concert information regarding
the Western Front, phone 876-9343 or
pick up a schedule at any number of arts-
oriented  places around  town.
By now you are probably aware that the
reformed Wire will be playing at the Commodore on June 24th. While this may be
significant for fans of the old Wire sound,
it is perhaps more important for the fact
that half of the group, namely Bruce Gilbert and Graham Lewis, have been responsible for the most prolific, adventurous,
and successful solo work since the group
disbanded some seven years ago. Dome,
Duet Emmo, Bruce Gilbert, and He
Said (Graham Lewis) are all permutations
of this duo. That they are in town could
SUMMER SCHOOL OF SOUND 1987
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o Week Long intensive Workshops
o Trade School Certified
o Hands-On Instruction
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Classes Begin:
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June 15«.
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BULLFROG
RECORDING STUDIOS
2475 DUNBAR STREET
VANCOUVER, B.C.
(604) 734-4617
prove to be interesting as to tneir artistic
maturity being re-introduced to the "rock-
band" mode. Also, with considerable luck,
we will have the chance to talk with them,
about their solo work, Dome, and their
views on the new Wire. And, while the
new Wire LP awaits release, it should be
noted that Bruce Gilbert has just put out
his second solo record on Mute. While his
last album, This Way, was a score to a
dance piece by Michael Clark, The Shivering Man strikes me as being a more eclectic selection of pieces that reflect his different projects and collaborations. There
is the minimalism of Dome, the harsh
cutting rhythm of This Way, and rhyth-.
mic and entrancing quasi-pop of Duet
Emmo or He Said
Closer to home, and directly related to
Fast Forward...{he shooting of the 16mm
black and white film Watching the Burning
Bride will have been completed by the time
you read this. A Fast Forward/Suture production, in association with Jet Productions, this film features an outstanding
soundtrack b,y Asmus Tietchens and
Terry Burrows
' Next month we will be featuring a column
in this space rather than a curious absence, -fr
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a //e//> /oca//'////...
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///or?...
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(x>///e &c see as.. .a>e seroe />rea£/ast', a//uA,
(///wer a/a//a/e ///<?/// s/auAs.
CHATEAU CAFE
3525 WEST 4th AVE.
734-9616
16    DISCORDER CITR presents
JONATHA
(PRODUCTIONS
RICHMAN
&THE
MODERN
Sunday
une 12th
Vancouver
Cultural
Centre
CITR Presents
WIRE
Wednesday
June 24th
ommodore Ballroom
CBO/VTC outlets.
Charge
by phone 280-4444
as well
as Eaton's, The Bay,,
Woodward's
& Odyssey,  Black
Swan, Highlife and
Track Records. ON
THE
DIAL
CITR FM102
WEEKDAY HIGHLIGHTS
MONDAYS
RANDOM DESIGNS
7:3010:00 am
Who invented Monday mornings anyways?
No answer to this or any other question as
host Melissa stumbles through early morning
caffeine withdrawal, with no general direction
whatsoever. Sleep doodling optional.
DOG'S BREAKFAST
1:00-3:00 pm
Each time you open the box something different comes out. Could be Jazz, hardcore,
country, metal, rare oldies or even schlock.
Your guess is as good as mine! Frank Sivertz
hosts.
MORE DINOSAURS
8:00-9:00 pm
That nice young man whose picture appeared here last month, is Moulty, the soul and
inspiration of the whole 'Nuggets' thing. The
man who didn't 'turn away,' the one-handed
drummer who started a band; and what a
band: The Barbarians! They are just one of
the many determined groups from the Sixties
that can be heard on More Dinosaurs.
THE JAZZ SHOW
9:00-12:30 am
Vancouver's longest-running prime time Jazz
program, featuring all the classic players, the
occasional interview, and local music news.
Hosted by the ever-suave Gavin Walker.
01 June  Phineas Newborn Jr. is possibly the
least known of all the great virtuoso
Jazz pianists (eg. Tatum, Peterson,
Evans, etc.). That's who we hear tonight...with Sam Jones and Louis
Hayes.
08 June Billie Holiday...unquestionably Jazz'
greatest vocalist returned to small
groups and informal settings during
the last stages of her musical odys-
sey. Tonight's feature is Miss Holiday with friends: Ben Webster, .
'Sweets' Edison, Ray Brown, etc.
75 June  "If you can't play a ballad man,
y'all can't play Jazz." Whoever said
that is right. More ballads by some
18    DISCORDER
of the greats: Rollins, Pepper, Cecil
Taylor, Davis, and many more.
22 June 'Mingus, Roach, Ellington...not just
a trio but a triumvirate of kings.
Possibly one of the most unique
recordings in Jazz history, once-in-
a-lifetime get-together. The complete session with previously un-
released tracks. Duke, Mingus,
Roach: 'Money Jungle.'
29 June Abdullah Ibriham (Dollar Brand)
and Ekaya...a band that will be
appearing at the Vancouver Jazz
Festival (July 3). The great South
African pianist/composer leads his
group to 'Water From An Ancient
Well.'
TUESDAYS
ELECTRONIC SMOKE SIGNALS
10:00-11:00 am
Electronic Smoke signals will provide reviews,
updates, commentaries, news and information, public educational programing produced
to bridge the gap between native, non-native,
and natural people and to create awareness
and forbearance in our attitude toward nature
and the creation that we share perspective
with.
BLOOD ON THE SADDLE
1:00-3:00 pm
Every second Tuesday, music to scrape the
cowshit off your boots to.
co
LU
CO
LU
CO
9
LU
<
CO
GET SERIOUS!
3:00-5:00 pm
Stravinski to Schoolly-D, Gregorian Go-Go
Chant, and t-t-t-talk. DJ interference by Don
Chow.
RECTAL RECTITUDE
5:30-8:00 pm
Are you suffering from burning rectal itch?
Well then—tune in and expose yourself to a
long-playing laxative and an aural enema.
16 June  The Fuck Show—One fucking song
after another—guaranteed to fuck
you up.
23 June Religion Attack—We need to raise
$8 million before we have fun and
burn in Hell. (Was Christ really so
evil?)
SOUL GALORE
8:00-9:30 pm
Steve and Anne spin soul platters conveying
an extraordinarily intense sensitivity and
emotional fervour. Wipe away those lonely
teardrops and twist the night away, you red-
blooded boys and girls.
BUNKUM OBSCURA
9:30-1:00 am
You have to be careful
Especially at night
You never know what
You might be stepping into. JY/N
PLAYLOUD
1:00-4:00 am
Miserere, miserere
| Q    wmnir of
A<ADfHY AWARDS!
tK»IEWITH%
"THEwninr
DAVID 0.
SELZNICKS
PRODUCTION OF
MARGARET
MITCHELLS
J   CLARK GABLE  VIVIEN LEIGH
1 LESLIE HOWARD
|\       OLIVIA deHAVILLAND
Ik     JUNE
JMlgATHsyNU
BARGAIN MATINEES $3.50
BEFORE 6 DAILY
■I'jyi'^YW^H'I'I'UM^WHW^Vfc— Et in hora mortis
Nekrophilius uninterruptus
Miserere, miserere.
Auralsurgery with no anaesthetic by Larry
Thiessen.
WEDNESDAYS
ANOTHER KIND OF WEDNESDAY
7:30-10:30 am
Start your Wednesday mornings with Sidney
Killpigge, as he plays whatever the fuck he
wants.
WE BE BOTANISTS
10:30-1:00 pm
Morally disgraced plant evangelists Dave and
Grant serve up a potpourri of music to make
your cat use the litter box. We did not,
repeat, did NOT sleep with that conifer.
LOUIS LOUIS
3:00-5:00 pm
Nuevos discos de Danza, Golpes, Radio
Futura y los demas estan de camino...A ver
si Megan este mes, joder!
NERVOUS NORBERT
1:00-3:00 pm
D'ya see all those "THIS COULD BE YOU"
thingees all over the chart??? Well, right
here is where it all starts. 228-3017 is the
number to BROADCASTING STARDOM!
Don't delay—call today! Ask for Phil.
THE LION'S DEN
5:15-5:30 pm
Neil Davis will interview players, coaches and
special guests on The Lion's Den. There will
also be a trivia contest, the prizes being gift
certificates for the Fogg 'n Suds Restaurant.
THE UNDERWORLD
5:30-8:00 pm
Charles Manson's favorite radio show.
Anything twisted, psychotic, and loud, we
play. No stupid requests. Just the cutting
edge in new guitar music, be it rock, blues,
pop, noise, art-damage, Bohemian—Ragtime—Funk—Metal, or what have you. With
your hosts: Mikey, Carbuncle Kaputnik, and
that woman with the seductive voice.
THE AFRICAN SHOW
8:00-9:30 pm
ARE YOU TALKING TO ME?
Midnight-4:00 am
Sick and tired of all this punk, new wave,
underground bullshit? Elevator music is
where it's at... Travis B. lights up your life
and plays the best Montovani and Muzak.
24 June Phone Art   2.
THURSDAYS
EXCITED FIRST Dj
7:30-10:00 am
Yes.
FINE LINES
10:00-11:00 am
THE VINYL FRONTIER
5:30-8:00 pm
TOP OF THE BOPS
8:00-9:00 pm
Would you believe rock'n'roll (and even rockabilly...) from these guys? Johnny Rivers, the
king of the Whiskey-a-gogo, Gene Pitney,
Ronnie Dove, Trini Lopez—Trini Lopez???
Listen in this month and you will! We'll also
have a special show, including an interview,
with the man from Happy, Texas, Buddy Knox.
TEENAGE TORPOR
9:00-11:00 pm
School's out for summer
School's out forever
School's blown to pieces...
A. Cooper
MEL BREWER PRESENTS
11:00-Midnight
EXHIBITIONISM
Midnight-3:30 am
"Take off your panties and listen to the
window." (Langley Strood). Diamonds and
vinyl—Matt Richards.
FRIDAYS
FRIDAY MORNING MAGAZINE
7:30-10:30 am
05 June New Music from Montreaux. Also:
Strategy sessions on re-interpreting B.C.'s political climate, featuring personalities such as Lillian
DoctOfZhivago(1965)
Omar Sharif. Julie Christie. Geraldine Chaplin,
Guinness. Rod Steiger. Epic screen adaptation
Boris Pasternak novel about turmoil of Russian"'
turn of century. 197 min.
bmSSAGE^lNDIA
A Passage To India (1984)     &ww)
David Lean's visually stunning drama of predjudice |&s
and tension in British-ruled India. Friendship between   '"'"
an Indian doctor and English visitors is shattered
when he is accused of a shocking crime Judy Davis,
Peggy Ashcroft, Vistor Banerjee and James Fox star.
* A PASSAGE TO INDIA Thu
civilized, atfecting. humorous, surprising, iromc. m
gent Mm Big in scope and location, it is at the same 1
an intense six-character drama In this stunningly fine
production, director David Lean has served novelist EM
Forster beautifully The casting is as nearly perfect as you
could hope for Alec Guinness as Prof Godbole. Victor
Banneriee as Dr Aziz. Judy Davis as Adela Quested.
: Peggy Ashcroft as Mrs Moore. Nigel Havers as Ronny,
'and James Fox as Fielding (Benson)
NASTASSIA KINSKI
PETER FIRTH
• TESS
Beautiful, chilling adaptation of the
Thomas Hardy classic—of rape and
redemption, of Tess and Angel Clare
and the strictures and tragedy of Victorian England—by Roman Polanski
(who seemed to some to be doing penance with it). Natassja Kinski and Peter
Firth are the doomed lovers.
| Cleopatra (1963)
Possibly the most expensive film ever made, the story
| of the beautiful Queen of the Nile is vividly captured.
1 Elizabeth Taylor Is breathtaking In the title role.
■ Richard Burton and Rex Harrison are her suitors. A
I truly grand epic of war and romance. 243 mln.
^juNx[i9][2o|m!.iAj;>^
L^NLf2ill22lgio^^"
OlftOFAFRIC
OUTOTAfMCA-
. teak Dtnesen wrote about her life
2,mi i coffee farm in "Out of
^ Africa." her exquisite memoir wa5 I
lgpwy most circumspect about details of
■aL .* ft* difficult life with her husband
w^ and with her British lover. The
personal drama of that formidable Damsn
woman has been recreated by director Sydney Pollack and writer Kurt Luedtke. Meryl
Streep is spiendtd. showing t^t strengths
and weaknesses, while Robert Bedford complements her well as the paramour — a
hunter, pilot and music lover who was
determined to maintain his own independence The haunting quality of the landscape,
wild animals and native peoples has been
eautifully captured in this movine tribute to
n extraordinary woman— J. Stone.
ROBERT ,
REDFORD    JUNE/
MERYL     [JUggf
SI REEP—-TlMOHllTOa   :
BUTCH CASSIDY AND
THE SUNDANCE KID'
ItlE STING
Butch Casskty And The Sundance Kid (1969)
Paul Newman, Robert Redford. Katharine Rosa.
Classic Western comedy about  the exploits of
the most likeable outlaws the West has ever known.
110 min.
The SUng (1973)
Paul Newman and Robert Redford star as two small
time con-men who put "the sting" on a big time con-
man. One of the most popular films of the 70s. 129
™ v^Ljune[23][24lffl)M
?tcJu> &
lo LlLnemo.
THE ORIGINAL STUDIO CINEMA
DOWNTOWN ON THE MALL • 919 GRANVILLE
INFORMATION (24 HOURS) CALL 681-1732
VANCOUVER'S  INDEPENDENT DOWNTOWN THEATRE
JUNE 1987 19 BOTTOM UP
by Kevin S.
MONDAYS. THEY CAN BE BLUE,
they can be stormy. However,
can mondays be happy? The
natural, easy sounds of Happy Mondays
indicates such a possibility. John Cale
produced their Squirrel and G-man/
Twenty Four Hour/Party People Plastic Face/
Carnt Smile (White Out) for Factory Records. Mondays. Get happy. If not, get
Def. As in Def Jam, Rick Rubin's record
label which possesses a decided propensity for metal and rap, often in conjunction.
Def Jam artists the Beasties get the notoriety and a chance to hang with Joan
Rivers but Public Enemy bum rush the
show. As with any, music style, rap's subject matter can vary from the innocuous to
the gritty. If the Beasties occupy a position
at the first end of the scale, Public Enemy
resolutely carve out a slice of their gritty
reality. Thankfully Rubin is not involved
as producer of the album Yo! Bum Rush
the Show.
Words. A different kind of rap from the
likes of Jean Cocteau, Jacques Der-
rida and William S. Burroughs surfaces on the compilation Minutes. Not just
words but music also inhabits this LTM
release. Continuing in a similar mood if
not vein is blood, women, roses by Michael Gira and Jarboe of the Swans.
In this manifestation of their musical lives
apart form their feathered friends Gira and
Jarboe deal in a much less abrasive substance than the Swans. What we have is
a kind of foreboding, gloomy chamber
music. You get what you deserve.
Words from Africa. Well, we all know
what happened when Paul 'You can call
me AI' Simon mosie.d on down to South
Africa. Fame, fortune and record label
interest in the commercial possibilities of
African music. The vocal group Ladys-
mith Black Mambazo appeared on
Simon's Graceland album and bingo they
now have their own album, Shaka Zulu on
Warner Brothers. A more difficult but worthy
disc from Zimbabwe is Shabini by the
Bhundu Boys on Discafrique. A more
militant expression of Africa can be found
on Remember Soweto 76-'86 which contains cuts encompassing styles varying from
hardcore to reggae. Remember is an anti-
apartheid record whose proceeds go to
Umkhonto We Sizwe, the military wing of
the African National Congress. So remember music, Africa and words, -fr
TOP AIRPLAY ALBUMS
ARTIST
TITLE
LABEL
•Kalahari Surfers
Sleep Armed
Recommended
•Prince
Sign O' the Times
WEA
•Various Artists
Animal Liberation
Nettwerk
•Butthole Surfers
Locust Abortion Technique
Touch and Go
•Husker Du
Warehouse: Songs and Stories
WEA
•D.O.A.
True North Strong and Free
Profile
•Mark Stewart & Mania
Mark Stewart & Maffta
Upside
•Bhundu Boys
Shabini
Discafrique
•K.D. Lang
Angel With a Lariat
WEA
•Go Four 3
Six Friends
Zulu
•Siouxsie & the Banshees
Through the
Looking Glass
Polygram
•Nomeansno
Sex Mad
Alternative Tentacles
•Various Artists
Nettwerk Sound Sampler
Nettwerk
•Coil
Horse Rotorvator
K.422
•The Washington Squares
The Washington Square
Gold Castle
•Anne Clark
Hopeless Cases
A&M
•Problem Children
The Future of the World
Irate Faction
•Mantronix
Music Madness
10
•Mekons
Honky Tonkin'
Twin Tone
•Steve Tibbetts
Exploded View
ECM
■                                        TOP AIRPLAY SINGLES
ARTIST
TITLE
LABEL
•Saqqara Dogs
World Crunch
Pathfinder
•Steinski                     We'll Be Right Back/The Motorcade 4th & Broadway
•Amor Fati
Econ 100
Flesh Yuck
•The Residents
Kaw-Liga (Dance Mix)
Ralph
•Fats Comet
Rockchester
World
•Psychic TV
Magick Defends Itself Temple
•Young Fresh Fellows
Fillet of Sol Popllama
•Wire
Ahead
Mute
•Hula
Poison
Red Rhino
•The Naturals
Funky Rasta Cooltempo
Allen, and various organization
members. Exclusive to CITR!
More updates, music and events.
We'll see what happens.
Dolly DeLuxe photo session. Asia
Pacific Ideas; an overview.
Entering the world of CATS, and
discovering new Jazz. (The Far
Side.)
TRIBES AND SHADOWS
10:30-11:30 am
05 June    Balinese music and Arabic voices.
The eccentric side of guitar, with
Alex Varty.
Music of the Asia Pacific.
Sounds and structures of the
GAMELAN.
CRAPSHOOT
5:30-6:00 pm
12 June
19 June
26 June
12 June
19 June
26 June
NEOFILE
6:00-9:00 pm
More new records than you can shake a stick
at, while Kevin Smith suffers extreme
humiliation.
THE BIG SHOW
9:00-midnight
THE VISITING PENGUIN SHOW
Midnight-4:00 am
WEEKEND HIGHLIGHTS
SATURDAYS
BRITS GO HOME
8:00-10:00 am
20    DISCORDER . /^=l,
m
CI
7:30       -
8:00       -
S FM102
MONDAY        TUESDAY       WEDNESD
W      THURSDAY
FRIDAY
SATURDAY        SUNDAY
BREAKFAST REPORT: NFWS   SPORTS   WEATHER  GENERIC   KE V IEW, INSIGHT
RANDOM
ANOTHER
EXCITED
FRIDAY
9:00
DESIGNS
Jennifer Chan
KIND OF
FIRST D|
MORNING
MUSIC
OF
OUR
WEDNESDAY
MAGAZINE
THE
10:00      -
'
SATURDAY
EDGE
ELECTRONIC
TNT COMEDi SHOW
SMOKE SIGNALS
FINE LINES
TRIBES AND
TIME
11:00
Trffi
COtiD
THS
WE
THS
SHADOWS
12:00       -
YOU
COU.D
BE
YOU
BE
BOTANISTS
COt4D
W
YOU
(oanna Graystone
SUNDAY FOCUS
1:00
LL'NtH REPORT: CITR NEWS   SPORTS. WEATHER
POWER
CHORD
THE
ROCKERS
SHOW
2:00       -
3:00
DOG'S
BREAKFAST
NERVOUS
NORBERT
Stacey Fruin
THE
ED.D.j.
SHOW
4:00
EVERYTHING
CONNECTS
GET
SERIOUS!
LOUIS
LOUIS
PARTY
WITH ME.
PUNKERJ
Peter
Coartemanche
CLOCK
THE
MICHAEL
WILLMORE'S
ROCK
5:00       -
6:00
BEAT
TALK
DINNER REPORT: NEWS. SPORTS. WEATHER GENERIC REVIEW INSIGHT. C
AilY FEATURE
CRAPSHOOT
RECTAL
THE
THE
SAT. MAGAZINE
SUNDAY MAG.
Bruce Turpin
UNDER
SUNDAY FOCUS
7:00       -
RECTITUDE
VINYL FRONTIER
WORLD
propaganda:
NEOFILE
JUST
8:00
LIKE
MORE
THE
TOP OF
WOMEN
DINOSAURS
AFRICAN
THE BOPS
9:00
GALORE
SHOW
TEENAGE
Paul
Clarke
10:00
THE
TORPOR
THE
BIG
SHOW
FAST
11:00
JAZZ
SHOW
BUNKUM
OBSCURA
Stan jargon
MEL BREWER
FORWARD
12:00       -
PRESENTS
ACROSS THE
MERIDIAN
LIFE
1:00       -
AFTER
ARE YOU
EXHIBITIONISM
THE
VISITING
BED
2:00
JUST
THERE
PLAYLOUD
TALKING
TOME?
PENGUIN
SHOW
TUNES
■R
FLOYD'S
CORNER
3:00       -
4:00       ■*
US
WEEKDAY REPORTS                                                  SATURDAY REPORTS
SUNDAY REPORTS
8
00           BREAKFAST REPORT                               Noon         BRUNCH REPORT
10:00
VAN. NEW MUSIC CALENDAR
0:00         MORNING NEWSBRIEF                          f>:<)<)           SATURDAY EVENING
Soon
BRUNCH REPORT SUNDAY FOCUS
00           IUNCH REPORT                                                          MAGAZINE
SUNDAY MAGAZINE
00           AFTERNOON NEWSBRIEF
(,:W
SUNDAY FOC " ~iUE SOCKS
00           DINNER REPORT
An eclectic early breakfast mix reflecting host
Steve Edge's rather jaundiced view of the
music scene, exploring various types of roots
music and allowing Brits to go 'home' for a
little while every week. Canadians can tune
in and see why Brits should have been sent
home years ago!
THE EDGE ON FOLK
10:00-11:30 am
The latest and best in folk music for
unashamed folkies, and also for those tortured souls who think this sort of stuff is
dead. (Try telling Billy Bragg, Shane
MacGowan or Spirit Of The West that their
music is dead and see where it gets you!)
Tune in for further evidence that this is the
most versatile and relevant music of the 80s,
and a whole bunch of other decades as well.
Features during the month include:
06 June Some highlights from two years of
The Edge On Folk.
13 June Christine Collister, a fine singer
from the Isle of Man, singing with
Richard Thompson, Clive Gregson,
Loudon Wainwright, etc.
20 June Under The Moss, an excellent
Celtic band from Vancouver.
27 June The Romaniacs. They are at The
Savoy this weekend...perhaps they
can be persuaded to come to the
station too.
THE EDGE ON SOCCER
11:30-noon
Including exclusive reports on the Vancouver
86ers in the new Canadian Soccer League.
The Compleat Monty Python, adapted for
radio by nailing a pederast to the TV screen
PLUS more music.
POWER CHORD
Noon-3:00 pm
CLOCK THE BEAT
3:00-6:00 pm
Hip hop to pop, funk to junk, rock to schlock:
no categories, just tunes to shake your cocktails. Hosted by lain Bowman.
06 June D-Day. Tune-in for the longest day
mix.
SATURDAY EVENING MAGAZINE
6:00-6:30 pm
Featuring news, sports, weather, Insight,
Generic Review, Today in History, Across the
Atlantic.
PROPAGANDA!
6:30-8:00 pm
ACROSS THE MERIDIAN
11:00-1:00 am
—Rapid little pulses beat twelve; and stopped. T'would be in vain to plead that the
weather and the hour were not adapted to
pedestrian purposes. "I am a mortal,"
Scrooge remonstrated, "and liable to fall."
"Bear but a touch of my hand there, and you
shall be upheld in more than this!"
SUNDAYS
MUSIC OF OUR TIME
8:00-Noon
Modern 20th Century classical music ranging
from the tonal to the avant-garde. Instrumentation in all spheres with commentary on the
newest techniques and fashions. With your
host Wolfgang Ehebald.
SUNDAY FOCUS
Noon-12:30 pm
6:30-7:00 pm
Sunday Focus is a half-hour "mixed bag"
News/Magazine show aired twice each Sunday at noon and 6:30 p.m. Join hosts Libbi
Davis and Brad Newcombe as they explore
current affairs issues through indepth interviews followed by jovial commentary and
special features.
THE ROCKERS SHOW
12:30-3:00 pm
Reggae, Rock Steady and Ska. At 1:30,
Reggae Beat Internationa! Hour: news and
interviews about Reggae music worldwide.
Host: George Barrett.
SUNDAY MAGAZINE
6:00-6:30 pm
Join hosts Colin Lloyd and Stefan Ellis for
this half-hour news magazine which includes
commentary, reviews and a weekend wrap-up
of sports events and scores.
SUNDAY FOCUS
6:30-7:00 pm
JUST LIKE WOMEN
7:00-9:00 pm
FAST FORWARD
9:00Midnight
LIFE AFTER BED
Midnight-Until Barry needs stiches...
07 June    The Bakker-Hart show. Love
songs, drug songs and good lovin'
gone bad.
14 June    Hey who did that? Covers of
covers of covers.
21 June    True Facts Nite—if you've got one,
phone in—whether it's true or not.
28 June    Blood-Fest: 1 Hour of James
Blood Ulmer.
FLOYD'S CORNER
2:00 am-UntilJeff fades..
JUNE 1987 21 V&&&/ 7fPfr£p&nty
by Janis McKenzie
JUST WHEN IT LOOKED LIKE EVERY
musician I knew was leaving town
for a "real" job this summer, at
least two local bands are regrouping in
time for the warmer weather. Red Herring {Shindig champions of not 'so very
long ago) are back with their original lineup,
an expanded sound, and a concept that'll
include visuals by local artists such as Ken
Gerberick. they'll be playing June 11 to
13 at the Savoy.
Forbidden Beat, who took a break
over the fall and winter to let various members work and take classes, will return to
the Arts Club June 12 and 13. Made up
of former members of eight or more hardcore bands, the five veterans are going
for a sound they describe as somewhere
between the Sonics and Howlin' Wolf, and
even have a harmonica player, described
in terms of his "rumoured" relation to
Charles Manson.
The BAMFF album is out, as should be
Family Plot's, by now. While most bands
are crushed to have to play their record
release parties without vinyl available at a
table by the door, Madeleine's philosophy
at theirs was that she didn't want to use
the band's gigs to sell, except of course
the performers themselves.
So I finally got to see the fabulous
Cowboy Junkies at the Railway, and if
I have one complaint, it's that audiences
tend to talk as loudly during a quiet band's
set as if it were, say, Husker Du pounding
it out on the stage. There just doesn't
seem to be any way to ask people to quiet
down without sounding like totally uncool.
Oh well, I wouldn't like to have to see the
Junkies from the back row of the balcony
in a concert hall anyway, so I guess it's
the price you pay for "intimacy."
Flammable Animal has a new demo
at the station, called / Must Feed. Like
their earlier offerings, what this song lacks
in the songwriting department (in my opinion anyway — I'd personally prefer more
hooks) it makes up for in impassioned
vocals. I haven't managed to see them
play yet so it's too soon to say how their
sound translates into a live performance.
Quite a few months ago, Bruno
Gerussi's Medallion sent us a multi-
song demo, called In Search of the Fourth
Chord. A promising enough title, / thought,
but the songs (all originals) disappointed
me, even though I'd seen the band a
couple of times, playing pretty bad covers
of pretty good '60s songs. They didn't
enclose any info about what the band was
doing, or phone number, just the first
initials and last names of the members (of
course we all know who "T." Harrison is,
anyway) and who played on which song
and in what studio! Well, the Medallion are
persistent — they sent in another copy of
the tape last month (thinking we'd lost the
first one, I suppose) and so I chose the
only song, Tell Me What You Found, where
anyone was singing, or I could relate to
the melody at all, to put on the air. The
thing is, when I've seen the band play
live, at least they've sounded like they're
trying to have fun. This demo, unfortunately, tries to sound professional without
having much going for it in the way of
song-writing or enthusiasm. (Sorry, Tom.)
Guano Blitz — I'm a Duck. My first
impression was that this was one of the
dumbest songs I'd ever heard. (It kind of
reminds me of a date I went on once —
my dinner companion made a joke like,
"It's great weather — if you're a duck!"
and thought he was being original and
witty.) And I have to admit, my second
impression was also that it's pretty dumb.
But Guano Blitz are young (just finishing
up Grade 11) and have already been jamming together for two years, and have only
played two gigs — one in the most recent
round of Shindig and the other a benefit.
So my third impression is, sure it's silly,
but it's a step in the right direction.
Rixen and Borycki — Apocalypso
Now. The collaboration of two long-time
songwriters and studio types, this song
will sound more than familiar to anyone
who's listened to CITR for a couple of
years, being strikingly similar to singles
The Apocalypso and (the one with the
tape loop that plays on Reagan's "joke")
Five Minutes. But of course this just proves
what we've known all along (and I keep
trying to explain to my. family), that fans
of college radio really are years ahead of
the rest of the world. Right? ^r
HEAVY Wom^T
I im1.         \
Mm£s ^
l:*Wl
22    DISCORDER HAPPY HOUR 7:30-9:00 P.M.
0°
o d
WFONCSOAY
FROM 1 NOVA 2 SCOTIA 3
JARVIS BENOIT QUARTET
THE     8
FINS
KEV    ,5
CHANGE!
22
D^HtV
FROM S.F.      9
jfPNlG
10
ASEXUALS   16
BOILER MAKERS
T.B.A.
29 30
KATIE WEBSTER
TERMINAL CITY
with guests
FRIDAY
M^OG***
11 12 13
RED HERRING   *l*'°**1*
17 18
STUBBORN BLOOD
i^L  24
s»*    AXE U«°*
19 20
HERALD NIX
-to«°'
*«° 25
26
ROMANIACS
27
SPECIAL EVENTS
JUNE
2,
W
xl
SUNDAYS
June  7   RIO BUMBA
June 14   SHOWCASE CABARET '\
June 21    ROGUE FOLK CLUB (Stephen Fearing)
June 28    T M SQUAD (Jazz)
The DuMaurier International Jazz Festival
O JUNE 25    -   JULYS
SUNDAY
OPEN   7-12 P.M.
CALL FOR INFORMATION
FOR SUNDAY SPECIAL EVENTS
QUALITY CONTROL
I
]
THE SAVOY NIGHTCLUB    6 POWELL ST.       687-0418 THE   10th   ANNUAL
The Performers
Lillian Allen and the Revolutionary Tea Party Band • Amauta • Frankie Armstrong • Mr. B. • Roy
Bailey • Banco del Ruido • Berline, Crary and Hickman • Bim (AKA Roy Forbes) • Tony Bird and
Morris Goldberg • Sandy Bradley & the Small Wonder String Band • Billy Bragg • Billy Brittain
• Capercaillie • Eugene Chadbourne • Oscar Chavez and Los Morales • Clann Na Gael •
Kate Clinton •Peppino d'Agostino • The Dance Brigade • Hazel Dickens • Ramblin' Jack Elliott
• Ferron • Cathy Fink • Four the Moment • Susan Freundlich • Gaelic Cape Breton Show •
Sheila Gostick • The Horseflies • Arthur Johnston • Clifton Joseph • Si Kahn • Connie Kaldor
• Ian Kennedy • Kin Lalat • Dagmar Krause • Alison Krauss and Union Station • Eddy Lawrence
• Laurie Lewis and the Grant Street String Band • Celso Machado • Mike Marshall's Modern
Mandolin Quartet • John McCutcheon • Patsy Montana • Holly Near with John Bucchino •
Nightnoise • The Original Balkan Jam • The Oyster Band • Rare Air • Ritmia • Leon Rosselson
• Tom Russell • Michelle Shocked • Spirit of the West • Themba Tana and African Heritage •
The Topp Twins • Shari Ulrich • Under the Moss • Winston Wuttunee and Rainbow Bridge •
Takeo Yamashiro and Teresa Kobayashi C%)
m
July 17,18,19. Jericho Beach Park
Tickets: All VTC/CBO Outlets.
Charge-by-Phone: 280-4444
Save Money! Earlybird tickets available until June 20th!
and at:
Black Swan Records
2936 W. 4th Ave.
734-2828,
Highlife Records
1317 Commercial Drive
251-6964
Zulu Records
1869 W 4th. Ave.
738-3232
and
The Vancouver Folk Music Festival
3271 Main St. \
879-2931

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