Discorder CITR-FM (Radio station : Vancouver, B.C.) 1989-10-01

Item Metadata


JSON: discorder-1.0049917.json
JSON-LD: discorder-1.0049917-ld.json
RDF/XML (Pretty): discorder-1.0049917-rdf.xml
RDF/JSON: discorder-1.0049917-rdf.json
Turtle: discorder-1.0049917-turtle.txt
N-Triples: discorder-1.0049917-rdf-ntriples.txt
Original Record: discorder-1.0049917-source.json
Full Text

Full Text

: • * ffi^ tttffi *^ **^ti     . CO    NTENTS
OCTOBEFM989 Issue #81
Our own Rob Boperon atirade against tyranny    6
It's mostly just her talking, eh? - by Lloyd Uliana    8
The '89 film fest as seen through a bunch of famous eyes - by Marek  10
What would it be like in vour world without music?  12
Earl drives Bobby, Sean, Dick, Johnny, and Ken around - by The Man Sherbet  16
"What a summer, I tell ya, BRUTAL!" - by G. Paula Raffe  22
Rip it out, fill it in, drop it off, go back home  23
On a steel horse he rides / And he's wanted...dead or alive    5
E1D, Swagmen, Tin God, Bad Brains and more - here's what you missed  13
George Clinton, Ice-T, and a bunch of records - by DJ Micky Hard  14
Gettin' poked by 9 needles at once - by Betty Cooper  18
Camper Van Beethoven, Hoodoo Gurus, Curious George: we listen to records  20
Viola chows down around town  25
HEY! Let's get Janis...she listens to everything!  26
It's like TV Guide, but it's for the radio  28
What's on, what's hot, what's hip and what isnt  30
EDITOR Kevin "Heh-heh" Smith EDITORIAL ASSISTANTS Viola Funk, Michael Leduc, Lisa Marr WRITERS Janis
McKenzie, Michael Klassen, Lloyd Uliana, Lane Dunlop, Betty Cooper, Viola Funk, Mike Harding, Leigh Wolf, Marek
Cleszewskl, G. Paula Raffe ART DIRECTOR Scott Chernoff PRODUCTION MANAGER Bill Baker PRODUCTION
ASSISTANTS Den Lebel, Lydia Schymansky PHOTOGRAPHERS Scott Chernoff, Paul Clarke, Michael Klassen, Lydia
Schymansky WORD PROCESSING Jennifer Bredl, Lydia Schymansky COVER PHOTO Michael Klassen PROGRAM
Discorder is That Magazine from CiTR 101.9 fM and is published monthly by the Student Radio Society of the
University of British Columbia. Discorder prints what it wants, including the CiTR On the Dial program guide
and the CiTR Spinlist record chart. Circulation is 17,500 copies distributed free to over 200 spots. Twelve-month
subscriptions are $15 in Canada, $15 (US) to the US, and $24 elsewhere. Please make cheques or money orders
payable to Discorder Magazine. "Of all the literary scenes / Saddest this sight to me:/ The graves of little
magazines / Who died to make verse free." -Preston. Discorder wants your stuff: send in stories, drawings,
lies, photos or what have you. If we like 'em, well use 'em. If we don't, we'll lose 'em.
CiTR 101.9 fM is 1800 watts of stereophonic bliss on cable fM from UBC to Langley, Squamish to Point Roberts,
USA, but not on Shaw Cable in White Rock (bug them about it- write letters). CiTR is no w available on most clock
radios and in cars too. Office hours for CiTR, Discorder, and CiTR Mobile Sound Rental are Mon-Fri, 10am -
4pm (please avoid Friday afternoons) Call the CiTR/Discorder Office at 228-3017, CiTR News+Sports at 224-
4320, or the CiTR DJ line at 228-CiTR. Send stuff c/o Discorder Magazine or CiTR Radio to Room 233, 6138
SUB Boulevard, Vancouver, BC, V6T 2A5. Fax (604) 228-6093.
ON THer '
FRIDAY OCT 6    withgues,s,romAustin'Texas
TOWN PUMPEvanJohnsant,,heWombs
TICKETS:at all j—®--» locations as well as TRACK, ZULU, BLACK SWAN and HIGHLIFE Records.
Dear Airhead,
While I was listening to
"Power Chord" just now, I heard the
word "Polygram".
What the hell? Doesn't this
guy know there's a boycott going
on? If he doesn't care, get someone
who does. Boycotting is a very effective practice and what are the big
boys at Polygreed going to think of
good ol' CiTR if they learn that
you've only boycotted stuff other
than heavy metal? (I work for capitalistic/imperialists. I should know!)
This makes me sick.
Respectfully yours,
P.S. I don't even like heavy metal.
Dear Airhead,
In their discussion of the
nature of chaos, Grigg and Hauck
insist that we poor earthlings must
open our minds, must focus on harmonious arrangements, must reevaluate our analyses, must rework
our inherent misconceptions. Such
obligatory pressure!
My question is simply, in
this non-linear, chaotic, and disorderly world, why must we do any-
Richard Kurial
Good question. The point is that
there is order within the apparent
disorder, meaning within the confusion. Make a friend of chaos and
you've got a friend for life. And
y'know, like the song says, ya gotta
have friends.
Dear Airhead,
First of all, let me state that
I love CiTR. It serves a highly valuable and valued purpose for the
people of the Lower Mainland. Programs such as the Jazz Show, the
Rockers Show and Are You Serious
Music fill an all-too-large gap that is
to be found in local commercial radio.
My only gripe against your
station is in the style of your public
service announcements. What I find
discouraging is the way in which
you take serious matters such as
cancer, drug abuse, sexual assualt,
and heart disease and turn potentially valuable information into a
joke through the inclusion of silly
and innapropriate music and one-
liners. The key words to take note of
here are "public service." These messages do not serve the public, only
the people that create them and seem
to view the messages as a chance to
show how really hilarious they are.
They aren't. Tell me the truth: Is
there anything wrong with making
your public service announcements
simple and to the point?
Uptight Arnold
Arnold, as you may or may not have
noticed, (judging from, your
mindbending ability torealize youre
in Vancouver) CtTR is quite an
unique radio station. Most of the
PSA's that we receive are designed
to be played on commercial radio,
and that just isn't good enough for
us, so we try to make them entertaining while still getting the message
across in a 70 second or less time
slot. (We consider this short and to
the point.) If this doesn't jive with
you, please join the station and
produce the quality (yawn) and seriousness (yawn, stretch) you would
like to hear....now if you could only
find your sense of.... leaves hard to
(Seriously though, you or anyone is
welcome lo join CiTR and have the
opportunity to make CiTR sound a
little more like you want.)
Uncle Mifty
Production Manager
Dear Airhead,
I recently procured a copy
of the Discorder as I have done
incessantly since discovering it
nearly three years ago, and after
perusing its new "tabloid" format I
deduced that "that magazine from
citr" is decaying.
um... it looks real dumb
now, y'know. Like, the other one
was neat and everything but now
it's real sloppy and stuff. And the
letters are to small too. Y'know how
the other one was done so Uke it was
careful? I don't know. Maybe it's
just me but it's just not the same,
Indeed, the incentive for
adopting the new format may have
been to economize space and money,
but I wonder if avarice has a part in
your decision. I suspect that the
space made available will be used to
generate more advertising income -
income that has previosly proved
itself sufficient. Have you at citr
encountered unexpected penury? If
this is the present situation, I propound that you print an article expounding your financial woes; perhaps your loyal readers could help.
If money is not a problem, and the
advertising income is being frittered
on drugs, sex and/or alcohol, I request that you fund these luxuries
using some method less injurious tc
"that magazine from ci
Uke, i
loid", um... you got ads from systems (come hear the high energy
oldies from the 70's), which is real
pukey, and from the Roxy, which is
even more pukier. I mean God, how
gross!! Next you'll have Bon Jovi
ads and interviews with Phil Collins
and Debbie Gibson posters!
Unfortunately, I was not a
resident of Vancouver during the
epoch in which the Georgia Strait
was slightly more avant-garde than
the pandering rag it is presently, but
I certainly perceive the inanition of
intellect it now demonstrates. I (and
another reader and friend of mine)
am looking askance at some of the
designs that are coming about the
Discorder and hope that this format
change does not advance in the direction of the aforementioned Geor-
So, like, if you guys do like
the Georgia Straight and Yuppyizc
the Discorder, will there be, like columns on hollywood and movie stars?
How about Rambo? He's real cool.
WiU you guys have like stories about
food on real big plates and things on
how to be a maU rat? That'd be neat!
This turgid reproof may
present me as somewhat of an alarm -
ist and prig and consequently I feel it
would be prudent to lavish praise on
aU involved with "that magazine
from citr" in order to propitiate
anyone offended. I do have the
utmost conviction that the talents
employed at citr are well meaning
and beneficient. I wiU certainly
continue to read the Discorder and
intend to involve myself... soon.
Um... yeah, it's real cool
and stuff. And it's free. Oh yeah, the
interview with Laurie Partridge was
super groovy. Like it had sex and
drugs and stuff. It was neat. And like
I'm in a band to so I think you guys
do a good job of interviews and
talking with bands and stuff. Viola
Funk is cool. Is that her real name?
Mark Sladcn
Drummer - Idiot Savant
Decaying... real dumb... sloppy and
stuff. OUCH, that hurts. We work
our fingers to the bone just to bring
you the best damn magazine possible and this is the thanks we get.
Yes, Discorder has changed. But
decaying? How so? Sloppy andstuff?
For example? Real dumb? Is that
dumber than usual? It is difficult lo
respond lo accusations devoid of
specifics. However, you do make
The type size of the September Discorder was as large or larger
than issues of the recent past. This is
a minor error on your part. More
disturbing is your inference of possible avarice on the part of those
who put Discorder together. Discorder's budget is baseduponaself-
sufficiency, break even goal (which
has never actually been attained;
the deficits of past years being underwritten by CiTR itself). Discorder's ability to print depends upon
advertising revenue. Ads finance the
magazine; the amount of ads sold
each month determines the number
of pages in the magazine. The suspicion that "the space made available
will be used lo generate more advertising" reveals a lack of understanding of the process of the production
of Discorder. We don't have space
available which we sell lo advertisers; the ads sold create the non-ad
(editorial) space.
The advertising revenue for
September 1989 was approximately
the same as for September 1988.
Both issues were 48 pages in length.
Furthermore, September 1988 contained about 21 pages of ads, September 1989 only 17. Therefore,
since the new format contains pages
about twice the size of the old format, the amount of editorial space
for September 1989 was more than
double that of September 1988. Less
ads, more magazine -just for you the
beloved reader.
Yes, we have ads from Systems and The Roxy. If they, or others, wish lo advertise, that's great.
We're sorry if some of our advertisers aren't "cool" enough for you.
Really, we're sorry. Believe it or
not, Systems has advertised with us
in the past.
We presume our advertisers will pay their bills. In the past,
Discorder has been stiffed by "cool"
places (sorry, no names - although
we would really, really like lo be
specific). We don't think it's "cool"
to be ripped off. The point is: a store,
theater, club, et cetera, advertises in
Discorder because it thinks it is a financially worthwhile endeavour.
If Bon Jovi was silly enough
to advertise in Discorder, we'd take
the money and run, laughing all the
way to the proverbial bank. Just like
the Pistols did with EMI. What could
be more punk rock, eh?
Ah, the dreaded comparison to the Georgia Straight. It was to
be expected. Despite the many differences between Discorder and the
Straight, the essential one is philosophical: Discorder makes money
(i.e., sells ads) so that it can exist, the
Straight exists so that it can make
You asked whether we
would now have columns on Hollywood and movie stars. Well, checkout "The Nightout" in this month's
issue. I thinkyou ll enjoy it. Andyes,
Viola Funk is her real name. And she
really is from Surrey.
Mr. Ed.
PHONE:   228-3017
R. E. M.
OCTOBER 14, 7:30 PM
PolyGram, PolyGram, PolyGram. Oh yeah, Inc., Inc. Inc.
Where to begin? Let's look back in time together, you and I and
whoever else cares to come along. Bring the kids, but make sure they
fasten their seatbelts. It's a bumpy ride.
(Somewhere in an office
complex in Montreal)
(It's a phone ringing, just in case
your imagination is a bit rusty at
this point).
"Alio? Pollegramme
Ink." ,;
(It should be noted at
this point that this is only one of Jfc
an infinate number of ways this
whole thing could have started.
Writer embellishment, and in
most cases, outright fabrication
of events has taken place. Justin
caseyouhadn'tnoticed already.)
"Hello. I'm calling from
CiTR Radio, a campus radio
station in Vancouver. My name
is Rob Boper and I was wondering if I could speak to Tom AsnaiL
your VP in charge of marketing?"
"Une momenta s'il vous
plate." (pause) "Hey, Tom, it's
some creep from college radio,
shall I tell him you're eating right
(A voice rolls out of the
spacious three bedroom office
next door, complete with suana,
Jacuzzi, tennis courts, aninehole
golf course. Earl Weaver Baseball, and a cauldren of boiling
"Ya, I'm frying a bigger
fish right now. Tell that freak
that someday I might call him
back. Ya, that's the ticket, I've
got bigger fish to fry and I might
call him back - someday! Ha ha
ha ha ha ha! Wait a minute, on
second thought, let me talk to the
'Another World' just
ended and '5, 4, 3, 2, Run' isn't
on this afternoon."
"Monsewer Asnail will
be pleased to parlez avec vous.
Une momento and je will con-
(Pause, and then to someone else in the room) "Ya, okay,
but don't let him off the ground
until he's licked off every last
drop...(then into the phone)
Asnail here."
"Mr. Asnail, nvy name is
Rob Boper, from CiTR Radio in
Vancouver. I just wanted to talk
to you about some ideas that I
have which could help both Pollegramme and campus radio
work together in a harmonious
and cooperative manner."
"Did you say campus
radio? So what's your market
share, kid? What's your Average Mean Drive Time Target
Listener's Mean Income in Odd
Years Ending with the Letter
"What's your advertising rate per minute during the
morning swing on days that have
an V in them?"
"We don't have any
advertising, sir, but we have
public serv..."
"What? No advertising?
Ron, listen to me good, 'cause
I'm only going to say this
once...Are you listening, kid, I
hope so, 'cause I'm only going to
say this once...You gotta play
ball kid. Money's the name of
the game and the name of the
"Supporting new artists
who need exposure!"
"What's the deal, Bob,
are you on drugs or something?
You're not one of those liber-
alpinkofaggots, are you kid?
Hell, I beat up someone like you
once. Mom told me never to hit
my brother like that again. But I
remember it like it were
yesterday...Nothingquite like the
feeling of flesh pressing up
against flesh in combat. Sweating, grunting, touching. You
know what I mean, boy? Do you
remember'Nam, Norm? I do. I
could tell you stories...Hell kid,
who's paying for this call?"
"Um,   you   are   Mr.
"Let me get to my point
kid, 'cause I got fish frying that
are a lot bigger than your penis,
kid. How big is it, by the way?"
(Silence as I look for a
ruler with inches, I'm not any
good with centimetres.)
"Money, kid, that's what
it's all about. Money and orgasms. And you can't have one
without the other, that's what
I've always said, and let me tell
you something, Rick, I have the
biggest orgasm around. Don't
let anyone tell you otherwise.
Who is this, by the way? You're
not recording this are you?"
"No sir, I'm not. And
it's Rob Boper, from CiTR. I
wanted to talk to you about..."
"Money, kid, money.
Nothing else to talk about except
orgasms. And I'm only going to
say this once, Mark, you can't
have one without the other. Just
to prove my point, and believe
me, kid, it's a big point, I think I
want more money. More-
Moremoremoremoremore! So,
what I'm going to do, and I'm
doing this for your own good,
Fred, and I tell ya, someday
you're going to thank me for
this, I'm going to charge you a
nominal fee, now when I say
nominal, or else my name isn't..."
"Tom Asnail, that's it,
Tom Asnail. A nominal fee for
receiving Pollegramme product.
Now, don't thank me yet. Bill,
'cause, and now this is the best
part, I won't charge just you, but
all non-profit stations, 'cause, hell
boy, if you're not in it for profit,
then why the hell are you in it?"
"Does this mean we'll
get better service, sir?"
"Well, Jeff, better is a
relative term. And who's to
compare? 1 flfean do you compare apples ,t*«Jranges? Do you
compare Rocky to Rambo? It's
like which is better, him ham-
merin' the bejesus out of the
pinko commie bastard with his
fists or him blowing them up
with good ole fashioned Yankee
ingenuity and artillery? I mean,
can you honestly tell me whether
or not Flashdance was better than
Dirty Dancing? And that's not
even counting Saturday Night
Fever. The bottom line, Norman
is money and costs. You scratch
my back and I'll scratch yours if
I have the time. And if it doesn't
costmeanything. Priorities,man,
priorities. I tell ya, if Mandela
had his priorities in order he
wouldn't be in jail right now.
He'd be out supporting his family, like a good black man ought
to. Like my father, not that he's
black or anything, don't get me
wrong here kid, I'm pure, more
pure than Ivory Soap, if you get
my drift. And it's a white drift,
none of that yellow stuff in it,
"Then why will we be
charged for getting your material, sir. I mean, no other record
company expects us to pay for
their records. We provide an
outlet for your lesser known artists, some of whom eventually
go on to become bigger. Don't
you think we can work together?"
"Ya right, comrade,
work together. Don't try to pull
none of that communist shit over
on me, Nikita. Just send me a
bill for the air time that we use.
I'll get my accountants right on
it. Ya, that's it. I'll make it a top
priority, Right after trying to sign
Christopher Ward to a five album deal. Wake up and smell
the hickory flavoured bacon, you
stupid collegepinkofaggothip-
pie-flunkie - college radio means
nothing to me. Hell, you guys
don't even play any Zeppelin.
How do you expect me to take
you seriously? Change formats,
Dirk. Get a hair cut. Get some
sun. Lose the ripped t-shirt. Send
me some money each month.
Learn to play ball with the big
boys. Eat your Wheaties. Then
we'll talk. We'll do lunch. I
know this great place..."
Okay, so maybe itdidn't
happen quite like that, but you
get the general idea. PolyGram
Inc., (the Inc. is very important -
it makes them feel important),
feels it have just cause for charging a yearly fee from campus/
community radio stations for
their product. After all, their
service is so good and we get so
many extra bonuses that it's
worth the money. This is where
we scream "Bullshit!" and the
disagreements begin, with no end
in sight.
Problem One - When
PolyGram Inc. first instituted
their yearly fee of S350 for the
"alternative package" in 1988, it
was done because PolyGram
Inc. claimed that they were joining in an "industry wide prac-
Sorry, do not pass go, do
not collect $200 - or $350 as the
case may be - go directly to jail.
When the fee was instituted WEA
Records was also charging for
servicing. Partly due to pressure
from campus radio, WEA
dropped their fee and now service for free, just like everyone
else. Except for the PolyGram
Inc. people.
Problem Two - PolyGram Inc. further justify their
greed and lust for more money
by claiming their servicing is
better, their information packages are more complete, and also
by simply saying that it is expensive to service radio, especially
insignificant whiffs of stations,
like those that take up valuable
club space on university campuses across this great land of
ours. Well, we may be small
compared to something like
CFOX or CFMI, but we serve a
market that they do not. It's a
smaller market, to be sure, we
make no allusions about trying
to compete with bigger, commercial stations. In the words of
our esteemed colleagues at PolyGram Inc., "it's like comparing
apples and oranges." PolyGram
Inc. bands like Love and Rockets, The Pixies^ujftJIfcji' Order have only reached the popularity *
and notoriety that they now command through exposure on campus radio. And it is not through
the servicing by PolyGram Inc.
that these bands got played on
campus/community radio. CiTR
had very good relations with
PolyGram Inc. 's local office and
received, for free, most PolyGram Inc. new releases. But it is
stations in places like Regina,
Winnipeg, and even some South-
em Ontario stations that get little
attention from the boys and girls
at the big P. The P'sters have
decided that Canada is made up
of three primary markets -
Toronto, Toronto, and Toronto,
with Montreal and Vancouver
being secondary markets. Edmonton, Calgary, andsomeother
Ontario stations rate some notice, while the rest of Canada
might as well be in Indochina.
They'd probably get better serv-
ice if they were.
Let's look at the bottom
line here, for I know that's what
PolyGram Inc. would have us
do. In simple dollars and cents it
goes something like this: There
are 30 campus/community radio
stations in Canada. If we were
each to pay $325 to PolyGram
Inc. for their hallowed product,
that would mean an additional
$9750 in beloved revenue for
our favourite record company.
Now, even assuming that the
servicing plan costs nothing to
operate, which itdoesn't, is PolyGram Inc. trying to tell me, you,
my mom, and my cat which is
dead, that campus/community
radio in Canada is not worth
$9750 a year in record sales and
publicity? Go figure. If you
come up with an answer to this
one, I'll give you Bob Ansell's
(PolyGram VP in charge of
Marketing and the man respon-
'sTble for the serv icing plan) phone
number and you can phone him
and tell him he's a genius for
deciding to be the only company
with enough foresight to charge
nonprofit radio for the records
that they play on air.
So the question that begs
to be answered, and it's a good
"...you stupid col-
pie-flunkie - college
radio means nothing
one - I'm glad you thought of it -
is why don't stations just pay the
$350? After all, we must surely
all have$350 kicking around that
we could spare. Well, the answer goes something like
this. ..CiTR and 95% of the other
stations could easily afford the
money. That's not the issue. If
we were to pay the fee then other
record companies, who must
surely be monitoring this situation with some interest, would
see that campus/community
radio was easy prey and shove
even more fees down our throats.
Eventually, we would have Severn
record companoes demanding
money to get records from them,
and then we couldn't afford any
of them. Which all suits me just
fine, as there are many vibrant
and exciting independent labels
around, (PopLlama, SubPop,
Caroline, Og, WaxTrax, et cetera), that make what we do at the
broadcast end of things seem
worthwhile. Screw PolyGram
Inc. and the rest of the majors, if
need be -1 hope it never comes to
that stage - but our mandate is
not to play established artists.
Our mandate, and feel free to
argue with me at any point, is to
find the new, explore unfound
sounds, to boldly go where. ..you
get my drift - which strangely
enough is not a drift dominated
by white male rock ensembles or
record company executives, for
that matter.
A nationwide boycott
has been established and will
remain in effect until such time
as PolyGram Inc. drops all servicing fees to campus/community
radio stations in Canada. In my
discussion with people at the P-
word and throughout Canadian
campus stations, I don't think
that this will be resolved soon.
Until, it is CiTR and other stations have agreed to the followed
1. No station will present or otherwise promote any
concerts that have PolyGramlnc.
bands on the bill. (Discorder is
also not accepting advertising
from PolyGram Inc. or shows in
which their bands are playing
2. No station will make
available any new PolyGram Inc.
releases. For CiTR, this means
that no PolyGram Inc. distributed artists will be included in
our PlayList.
3. No interviews will be
granted to PolyGram Inc. artists
unless the servicing fee issue is
addressed. CiTR and Discorder
carjry this one step further and
will not do any interviews with
PolyGram Inc. artists for any
4. AU stations will make
efforts to bring the issue of servicing fees to the attention of the
media and the public.
These are but the main
points ratified at the National
Campus/Community Radio
Conference that was held in
Victoria, (hosted by our friends
atCFUV), in August 1989. None
of them are fun, but this is war.
PolyGram Inc. fired the first sho ts
and it took campus radio quite
sometime to respond. We are
trying to make up for lost time
and show the head cheddars at
6000 Cote de Liesse, St. Laurent, Quebec, H4T 1E3, (Bob
Ansell is the nice man there to
send your letters of support to.
Tell him he'srightandthatmaybe
the only problem with the fee is
that it isn't high enough. And
that maybe there should be apro-
vision for back fees, for all records that we received since 1970
that weren't covered in the plan
at that time), that we've had
enough of their crap, that we're
going to take a stand and fight for
something that we believe in,
(something most students at
UBC don't have a clue about, or
didwe all want that 10% tuition
"Alio? PolleGramme
"Ya, uh, hi. It's Rob
Boper from CiTR Radio calling
for Tom Asnail. Could I please
speak with him?"
"Just une momento,
(Boring, monotonous
elevator music comes on while
I'm on hold' - no wait, it's the
latest New Order album. So hard
to tell the two apart.)
"Alio? Monsewer
Moper, Monsewer Asnail is busy
clubbing baby seals at the moment, but he did parlez avec moi
that vous payment for the servicing plan, was 'ow you say, overdue, and that he would, and I
quote, 'Rip that commie-
pinkofaggothippie's hair out if it
wasn't in by next Tuesday.'"
"Oh, I see. Well, first of
all, my name is Boper, Rob
Boper. Secondly, if you could
just make sure that Mr. Asnail
gets this message, I promise not
to ever bother him again. It is
very important that he hears what
I have to say. Please tell him that
even though he thinks we don't
know what we are doing, we are
doing it anyway. Please tell him
we are quite happy without his
product and we are sorry that his
precious bottom line is bruised,
but we see much more to life
than a bottom line dictated by
corporate executives who fake
compassion and understanding
when they understand dick. Tell
him that we are tired of being
patronized by him and his appointed flunkies, and also make
sure that he knows that it will be
a cold day in hell before we ever
play another PolleGramme record on our station. Let him know
that it's nothing personal, and
we don't hate him, just his narrow minded attitude and his
glorification of the dollar as the
ultimate goal. I'm sure that
bands he represents will be
pleased to know that some of
them will be getting no airplay in
Canada. And tell him he's right,
it may look like the boycott is
having no effect now, but wait
six months or a year when the
next 'hot new' band, like Love
and Rockets or the Pixies once
were, release an album that goes
completely ignored by the only
stations that would have supported it. And finally, tell him to
have a happy day. Did you get
all that?"
"Um, what came after
'My name is Tex Boper, and I
have no idea what I a
ajfe   a.V<ul*l>le  for
privtttt, pasiLu, AtsrJmffVS,
1108 kamUlait duti GETTIN' NOSEY WITH
by Lloyd Uliana
Soup Stock From The   Bones
Of The Elephant Man
Friday Evenings 12:30-4:00AM
"A woman on stage -
whether she's wearing
a side-split dress with a
low-cut neck, or a casual street outfit - can
expect to be assessed on
the basis of her looks
first, regardless of what
she's doing."
- Sue Steward from
What Shall I Wear in
Radical America, 1984.
mage and sexuality in popular music, particularly that of
women, has always been an area laden with accusations
from or glorification by media, general acceptance from
audiences, tolerance and compromise from the viewpoint
of the performer, and outright exploitation by agents and
record companies. The Slits took the art direction for
their Cut release into their own hands. The jacket shows
the three women half-naked and covered in mud. The
Slits' Viv Albertine, quoted in the Steward article, recalls:
"Nobody could see the strength, the joke, the little twist that we were
all a bit fat. They were thinking we were trying a come on and sell
our image. What would they prefer - us all dolled up in something
fashionable? We wanted to write songs that wouldn't go out of
fashion and we felt that about the cover, too. We didn't have to
explain it! But in the end, everything we did solidified our image;
you get a lot of shit for not fitting into a box. And gradually we had
to shake off the Slits' 'Wild Women of Wongo' image. No A & R
men were interested in us for a long time, and even when we signed
to CBS, we still couldn't get the radio DJs to relent on their opinion
of us."
The potential for artist control - while backfiring
for Albertine and cohorts Ari
Upp and Tessa, in the sense
that their anti-image stance
was interpreted differently
than intended - has been of
great interest to me during
my five year involvement
with college radio where artists like Jarboeof Swans/Skin,
Lydia Lunch, Sinead O'Connor, Exene Cervenka (X),
Karen Finley, Cosey, and
Debbie Jaffe (Master/Slave
Relationship), offer alterna
tives to the sterotypical 'expected' behaviour and participation of women in mainstream media.
In the CTI bulletin #5
that accompanied the Chris
and Cosey "Sweet Surprise"
12" which I obtained by mailorder, Cosey Fanni Tutti laid
out some of her feelings on
her involvementin modelling,
striptease, and other performances with a high sexual-orientation. I was oblivious to
this non-musical side to
Cosey, having only discov
ered the band through some
of their most recent releases -
Allotropy, Techno-Primitiv,
and the Nettwerk-released
Take Five ep, Exotika, the
Core collaboration, and now,
the new lp, Trust. Keeping
Viv Albertine's experiences
in mind, I wrote Cosey asking her if as a performer,
musically or other, there ever
was a time when she felt the
control of her image, her
sexual, emotional and intellectual capacities were no
longer hers.   The following
1 DISCORDER are responses aired over several editions of Soup Stock
From the Bones of the Elephant Man.
I have controlled my
exploration of sex and its
many guises for my own
sanity and retain my love for
sex and the enjoyment of the
feeling of love and closeness,
which is often denied and lost
to those who wildly and
blindly enter the sex market.
By this I mean a lot of people
I have met up with in my time
as model and striptease
worker have lost their ability
to link affection with sex. It
had always been on a business level. That's soul destroying as we are all basically dependent on affection
as a means to cope with life.
We need mates, be they male
to male, female to male, or
female to female. I think it is
sad when someone is 'forced'
into a homosexual relationship as their only alternative
to their 'natural' state because
of their experiences with sex.
Let me clarify that I don't
maintain there is a 'natural'
state of male to female no
more than there is a natural
form of male to male or female to female. It is whatever feels the most natural to
each human being. All I say
is that when this most natural
urge is damaged by a bad
experience or series of degrading/debasing/devalueing
experiences and the person
turns to the sex that never
'hurt' in any way, then it's
sad because their self deep
down inside is damaged. I
saw a lot of girls turn off
men., .seek relationships with
men and fail, then in desperation for affection that would
be loyal turn to another
woman. '
Sex is such a sensitive
area of our lives; it scars us
mentally as well as physically because it is as mentally
orientated as it is physical. I
guess someone who after so
long suppressing their sexual
desires finally allows them to
come to reality feels so good.
I'm talking here of gays because it's them who have been
punished for so long for feelings which are as natural to
them as breathing. My God,
sex and all its implications is
such a vast and far reaching
subject. Look how religions
use it as a means of control,
let alone media and society.
It disgusts me to see blatant
manipulation of sexual feelings, because a bad sexual
experience or guilt associated
with sex has far reaching consequences. I suppose that's
why I felt a need to get to
know my sexual needs, desires, limitations...get to know
my body and my mental capacity for experience. I was
lucky I had an avenue open to
me which was controllable to
some extent. I could refuse
jobs for magazines and films
and even striptease work.
Then again, if I refused jobs
too eagerly I would be in
danger of controlling my experiences too much.
So, there were moments when
I felt my control slipping and
being forced into a situation I
really didn't want to be in. In
these instances I would psych
myself and reason things
out...maybe change the for
mat a little so that the balance
of control was more equal. I
can't say I ever lost complete
control. Mostly, when that
question arose it was over
something I had never done
before and I was hesitating.
"I think the thing that
annoys me most about
pornography is the
spouting off about it by
so many people who
know nothing about it.
It's like a person telling
you about the effect of
heroin when they've
never taken it."
Then, I had to ask why and if
it was because I actually found
it to be repulsive, I would
refuse maybe until another
time when I was more prepared to face it. Oddly
enough, I found lesbian
scenes more easy because we
had a rapport. There was no
role play involved. I think all
people are bisexual to certain
degrees. It's when the scales
are thrown off balance that
we swing either side. Affection with any sex is a wonderful feeling. Some extend it to
sex, some don'L Why should
we attach so much guilt?
I think the thing that annoys
me most about pornography
is the spouting off about it by
so many people who know
nothing about it. It's like a
person telling you about the
effect of heroin when they've
never taken it. I mean by this
the moral majority...more like
minority...as well as many
feminists. There is exploitation in everything you could
name, religion being the
worst. I see both sides of the
argument. As I've been out
of striptease and modelling
now a good four years, I see it
allmoreobjectively. Thetruth
is, both parties are exploiting
each other. The bad news is
when one is getting a worse
deal than the other. Either the
girl suffers from continuous
feelings of degradation at the
hands and eyes of men or the
man feels conned by the
woman. So this vicious circle
builds up where there's a very
hardened woman dealing with
the situation out of necessity
and the hardened, bitter male.
I guess it's bad judgement of
the situation, really. Being
able to judge the character of
the man in question is a skill
and inevitably it goes wrong
sometimes. The law of averages decrees that. No one's
to blame, male or female. I
guess in my situation, I was
happy for the money...the
experience...the company I
acquired from the job of exploiting men's desires to see
women in the flesh as much
as they were happy for me to
strip off for them. I never
gave a false impression of
what was on offer though.
Many men misinterpret
women's body languagc.or
they're just blind to it completely and lust takes over all
else. There are so many stereotypes you could give examples of why things go
wrong or why pornography
exists at all. The thing is,
each person has their version
of it and that's why it's never
going to be possible to come
up with a definitive answer
to why does pornography do
this or why does it do that.
There are so many permutations of human nature that go
together to form a person's
sexual desires that it will
remain an impossible question to answer.
I think the question of
exploitation arises when you
do something and you are then
manipulated to do something
else which is against your own
judgement. I never did that. I
knew what I was doing and
why. At times I would feel
like kicking some guys in the
face because they were such
morons but then there's a lot
of moronic women too. It's
not exclusive to one sex or
another, this moronic attitude
to sex. A lot of women view
it as a duty and wonder why
guys have such a weird view
of it in return.
My reasons for anything I do is that I have a
genuine interest and curiosity towards it. I need to find
out from the experience rather
than the book. The book
comes last for me. Like with
magick (a variation of self-
affirmation theory-ed.). My
experience came first and the
reading of the books afterwards to affirm my feelings,
my judgements, and actiohs.
Anyone can read a formula
and copy. Few have the heart
to procure naturally from deep
inside. I say this because you
say that I take many avenues
of expression...not just music. That's because not everything can be said or expressed with sound. A great
deal can, and it leaves the
listener's imagination and self
to place pictures and emotions with that sound which
then creates a joint effort,
which is great. However, I
have always channelled my
energies into whatever awakens that spark in my inner
self. Hence, the art performance work, music, film, etc.
Chris and Cosey as
such exists mainly as a music
title because that is the medium that we are best known
through because of the availability of records around the
world. I think most people
are fascinated by the other activities we take part in and
others are happy to deal just
with the music. That's fine
with us. We don't demand
anything of anyone. Just
ourselves. I do, however, find
it encouraging when someone not yet aware of the various levels we humans can
exist on gets in touch and discovers little by little that life
holds more that they originally thought. I've seen this
happen time and time again
and it hasn' t been through me
preaching, but through their
questions of themselves. I
don't believe in doctrines of
any kind...they smack of
control which has to lead to
someone who has a need to
control people. They have a
problem, no one else.
On your knees, Vancouver. In the November
issure, catch another candid
interview, similar in theme,
with Debbie Jaffe.of Indianapolis' Master / Slave Relationship. S&M... pornography... pierced nipples... artist
control... and maybe we'll
throw in some discussion on
her music. Whaddya say?
It's all in next month's DISCORDER.
OCTOBER 9 10 DISCORDER efore Elvis there was nothing.
Then came Leonard Schein (sorry, Leonard, but the King is number 1), the Phantom of the Ridge
at the time. Driven by kinolove and a love for kinodollars, he dreamt of a "pure blood". The result:
Vancouver's own film festival. It was the Year of the King 47 (1982 for all you pagans).
This year the eighth Vancouver International Film Festival is a massive kinohemorrhage with
some 140 titles pumped into 14 days from September 29 to October 15.
The VIFF is non-competitive, as opposed to - let's take the most notorious example - Cannes
where kinobizmen and kinohustlers from around the world dine on free lobster and champagne
and try to hustle as many kinowinners as they can afford so they can then flog them in their own
countries and make mucho kinopesos. Personal taste having nothing to do with bizness, no one
really knows - or cares - what's good and what's not. Everyone relies on word of mouth. Kinohype
is reality, modesty is kinofiction. It is therefore possible to declare a genuine piece of kinoshit,
such as UN ZOO LA NUITtwo years ago, and get away with it.
Thank Leonard, our VIFF is of the no-deal kind. Even though our VIFF is non-competitive we will
still be able to collect autographs from various guest f ilmers, producers, stars, and assorted freeloaders from the local rags and radio stations. But that's what makes every kinofest fun.
Long before Elvis, words like "riveting", "delightful", "stunning", "masterpiece", et cetera, were
commonly used by poets only. Now, Year of the King 54 (1989, you big dummy), our entire vocabulary implodes into a sleazy blackhole under the combined pressure of a new language of
advertizing, consumption, entertainment, cynical banking, and a new reality of cultural exhaustion. Kinoporn has solved the problem of valuation long time ago; they have a method. They call
it kinoerection. But how can we, dear shoppers, tell food from garbage by reading the label alone?
Not to worry. This is why I divided the 140 riveting masterpieces of the eighth VIFF into 5 easy
1. MY CHOICE: Michelangelo: Self-Portrait; Where the Sun Beats (warning: little action); Jesus
of Montreal (enough poetry to inspire a Teamster); Monkey Folk; Maicol; Sons; The Power
ofSolovki; 100 Children waiting for a Train; War Requiem; Circus Boys; Six by Four; Romero;
Malpractice (warning: don't take your pregnant friend to it!); Days of Eclipse; Strapless; Man
Who Came to Dinner; Reunion; Roger and Me; My Favourite Story; A Foreign Affair; Akira;
Chattahoochee; Surname Viet; Little Man in a Big War; Lightning Over Braddock; Little Thief;
Coma; How to Get Ahead in Advertising; True Love; Four Adventures.
2. ELVIS' CHOICE (or the Best of the Tacky and Hokey): Songlines; Heavy Petting; Toxic
Avenger II; Lady Eve; So What; Midnight; Love in the Afternoon; Arsenic and Old Lace;
Cannibals; Meet the Hollowheads; Zazie; Bad Taste.
3. ENVER HOXA'S CHOICE(or Paint-By-Numbers Politics Films): Mapantsula; The Citadel;
Evening Bells; A Very British Coup; Servant; Island; Mary Mary; Summerof Aviya; Midday Sun;
Vacant Lot; American Stories; Fight for Us; Peddler; World is Watching.
4. MICHAEL JACKSON and JULIO IGLESIA'S CHOICE (or the Slick and Boring): Drugstore
Cowboy; Lady From Shanghai Cinema; Zilch; Look Who's Talking; Roadkill; Georgia;
Speaking Parts; Too Beautiful for You; Apartment Zero; Needle; Johanna d'Arc of Mongolia;
Neon Man; Enchantment; Tall Guy; Secret Wedding.
You're-On-Your-Own Choice): All the rest.
NOTE: Duty Squad - a 50 minute political drama made in a Vancouver kinoco-op Cineworks by
Michael Kirby for little more than pocket money was mistakingly omitted from the first Festival
Guide. Aimed at the stomach but destined for reflection, this humble film features some fine police
brutality and surprisingly good acting himself. Plays Van East on Thanksgiving together with The
World Is Watching.
The world is an ocean of fun - this is certain. Everyone that is swimming in it is very happy and
so they should be. That this one and that one choked, and another one drowned is irrelevant because somewhere between the oil spills of Alaska, the holes in the ozone, and the new line of
rags from Kalvin Klein lies the importance of the Vancouver International Kinofest. Enjoy.
For current kinoinfo call 685-VIFF.
Why do mothers
... make you feel guilty,
when they do something wrong?
... nag you to leave home,
then nag you to come back
the moment you do?
Lies your mother told you:
#11 ...   if you keep on making
funny faces, one of these
days your face will
stay that way.
Student Union Building
Main & Lower Concourse
All Ages Welcome
Sept. 29-Oct 15
INFO: 685-8433
150 films from 40 countries
DS (U.S.A.)
Sep. 30 @ Midnight, Van East
0ct.7 @ Midnight, Cinemathequi
Oct. 14 @ Midnight, Cinematheqi
Oct. 2 @ 9:30, Cinematheque
Oct. 3 @ 2:00, Cinematheque
ZAZIE (Japan)
Oct. 12 @ 4:30, Paradise
Oct. 14 @ 7:0Q, Hollywood in a world of music
by leigh r wolf
What would it be like in your world without music? The beautiful and the
doomed, the haunting and the unforgettable; these feelings are the heart of our
experience without which our lives would be static. Existence without passion
equals death.
Tunes become us,
train us, reflect us, release us,
pursue us, lift us up to the
heights of godhood, slam us
down into the pity puddle,
and allow us to dream of that
which is not. The trick is to
use one's own awareness of
music and musicians to the
highest degree. Everyone has
experienced the feeling of
turning on the radio and hearing the perfect song at the
right moment. How conscious
are we of creating those moments for ourselves?
Any good rap
attack(Public Enemy, Kool
Moe Dee, Compton, r best)
has powerful juju. On the
other end, etheareal string
theory along the lines of
Throwing Muses, Philip
Glass, or Nurse w/ Wound
offers the right brain some
much needed organic food in
the struggle for hemispheric
On a more spiritual
note, the full-piston exorcisms
of Swans, Ministry, or
Laibach suggest a mutant
mentation revving full blast
into the small town of your
mind. Imagine the sound-
scrape of ten thousand digital
jackhammers penetrating the
frontal lobes, initiating the
most sheltered puppies into
the joys of reality as an equal
partner in life. (That yesterday's teens never knew the
gratuitous thrills of Throbbing Gristle or the venerable
clarity of Cabaret Voltaire
makes us pause to consider
the current ill-age.)
When the dreaded
100,000 word essay looms
like a vulture on vended wing
the only alternative to caffeine pills and double espressos are the twisted lyrics of
Robyn Hitchcock mixed liberally with Motorhead and/or
Beatnigs at 78 rpm/188 bpm.
Conversely, when melodious
love sonnets are appropriate
for creating the mood of a
silken soft evening, the proactive partner programs with
care and attention. Sarah
McLachlan, Bill Nelson's
latest, or Cocteau Twins can
help to alleviate the carcrash
mindset of the urban reality
map and set the stage for Eros
to enter.
How about when you
come home after a heavy evening of audience participation performance art? You're
tired, your feet smell and you
really want to sit down in
front of the graphix environment with a cold beer or a fat
joint. You turn to the tape box
and pull out the first one you
touch....oops...you put back
your copy of Kiss Alive and
root around till you come up
with The Captain's Trout
Mask, meet the residents,
Metal Machine Music?
How about that long
car ride into the hearUand of
the province. The need for
wilderness must be satisfied
or the urbane guerrilla mind
starts addressing trees formally as sir and madam. The
sign up ahead reads Boston
Bar and you realize you are
one quarter to there. The next
tape into the machine might
be Woodentops, might be
Violent Femmes, but most
likely will be Uncle Lou's
Greatest Hits (travelogue
music for the hard of know).
The beat leads the line in a
race toward some conclusion
and the harder you run the
faster time slips away until
the final surrender.
What about those
strained moments when your
partner accuses you of bathroom treachery or unkind
thoughts about indigenous
plant life. The local peace
initiative must be successful
or your textbooks might end
up covered in raspberry jam.
The only solution, short of
self-immolation,  would be
playing some music designed
to take the edge of an otherwise horrible moment. Beat
Farmers....too cynical, Public Image....too malevolent,
Bad Brains too angry. The
solution would appear to be
getting back to the roots of all
true love and sadness the
blues. Sonny Terry &
Brownie Mcghee, Howlin'
Wolf, Muddy, Mississippi
John Hurt, Lightning
Hopkins, Billie Holiday,
Aretha, Ray - the essence of
true love on a hot August night
or a cold rainy day in mid-
February. The poets say that
love is blue and they must
If the smell of patchouli incense and the feel of
tye-dye are part of an evening
of nostalgia devoted to coming to terms with the era of
eternal youth, what is left but
Hawkwind, Fairport Con ven -
tion, or Pentangle; good hippy
all. Or if one seeks solace
amidst brilliance, the sounds
of John Cage, Steve Reich,
and Ryuchi Sakamoto have
the power to level tall buildings while Laving them standing.
In these post-Dylan
days who can serve up truth
to inspire the jaded? Hitchcock? Certainly. Billy Bragg?
Emotionally. Atilla? Ironically. John Cooper-Clarke?
Absolutely. So when the inspiration of one who knows
would serve to lighten the
Music alters the atmosphere. It can change destinies and upset the average
apple cart while simultaneously bringing into balance
the subtle energies of integration and understanding.
Music grounds us while sending our awareness to a higher
level. In the lower frequencies are the properties of discovery while the top end
contains the knowledge we
desire. Music can drive us
towards those kinds of experiences our mothers hoped we
would never know. Inside the
beat of the tribal drum lays
beauty so horrifying that only
the strangest people even
consider its existence. Music, the highest language...the
lowest common denominator.... and the noblest artform
in all creation.
12 DISCORDER Excited First Daughter
Vancouver   East   Cultural
Saturday September 16th
I saw Excited First
Daughter for the first time at the
Commodore. I was eighteen and
looked it, but somehow managed to scam my way past the
scary-looking doorguy and secure a table near the stage. I
spent the next hour and a half
fending off a pushy waitresses
and trying to devise a way to
short-circuit the obnoxious mix
tape on the sound system. When
the band finally hit the stage,
they were met with a reception
best summed up in the words of
the drunk at the next table: "Hey,
you can't fuckin' DANCE to
Saturday night at the
VECC there were no doormen,
no drunks, and, best of all, no
pushy waitresses. In their place
was a stage resembling a
stripped-do wn version of the one
Laurie Anderson devised for
Home Of The Brave: floodlights,
blacklight, a screen suspended
from the stage, strange-looking
packages wrapped in canvas, and
a grand piano. An accompanying leaflet outlined the evening:
three sets of thematically connected songs, plus a short film by
Mina Shrum. Then the lights
went out and, dressed in what
could have been surplus Devo
jumpsuits, the band emerged
from clouds of chemical smoke
and launched into the first—and
weakest—song cycle, "Inner
Seas". The opening piece,
"Oasis", sounded like a minimalist version of Tangerine
Dream, and meandered on far
too long. "CF-WBO", on the
other hand, sounded great, yet
was spoiled briefly by the intrusion of a performance poet whose
insipid lyrics did nothing to
enhance the music. The set
concluded with an impressive
instrumental, 'The Wet City",
and an unannounced version of
"Algebraic Gardens". Things
were definitely looking up.
The Mina Shrum film—
about a guy who pastes photos of
his girlfriends' heads over nude
Penthouse centerfolds—was fun,
as were its "silent film" style
captions. If the film is typical of
Shrum's work, I'd like to see
The second song cycle,
"Inner Suns", was easily the most
impressive, kicking off with an
energetic version of "Let's
Mate". Highlights included a
stunning "Under The Heat", in
which the backlit silhouettes of
two dancers moved to and fro on
screens placed on either side of
the stage, a quickie duet between
keyboardist Mark Bell and guest
i   ReAi live
saxophonist Karen Graves, and
the concluding "The Hammer
Song", a fast-moving, rhythmic
piece that showed the band at its
best: fast and loud, while at the
same time musically competent
and clearly audible.
After an intermission, the
band returned with a third cycle,
standards. Included were "I'm
A Building", the clever "What's
Wrong   With  This   Picture?"
(which provided the best line of
the evening: 'Tiny islands of
sanity where no one's ever
been"), and "One World" and
"Irresponsible", two standout
envioronmentally aware songs;
Irresponsible thanks to a three-
part harmonized chorus composed of guitarist Paul Funk, sdck
player Dave Horsley, and keyboardist Bell, and One World
thanks to Bell's strong vocals
("I'm living with acid rain, I'm
living in a greenhouse/We've
only got one world"). Also included was a quirky, lyrical
prose-poem about Robson Street,
"Meanwhile In Cafes".
Guitarist Funk broke a
string halfway through What's
Wrong With This Picture?, but,
to both his and the band's credit,
the song emerged sounding just
fine. The broken string also
provided the first encore of the
evening, as drummer Q, Horsley
and Bell jammed while Funk
installed a new one.
I left the VECC at 10:30
with a program in one hand and
apieceof carrotcake in theother,
humming Let's Mate under njy
breath. Despite the pretentiousness of the opening moments of
Inner Seas, the concert will
remain with mc as the most inno-
vativel'veeverseenlocalty. This
says a great deal for Exicited
First Daughter's unique presentation and musical ability. I urge
you to watch for their live appearances in the future. All in
all, a great evening.
Chris Brayshaw
Bad Brains
86 St. Music Hall
Monday September 4th
A jam packed 86 Street
witnessed abrilliant show by Bad
Brains on Labour Day Night.
One of the most unique bands to
come out of the original Washington, D.C. hardcore scene.
Now based in New York, they
have been around for many years
without substantially changing
their sound.
Alternating every few
songs between crunching, rhythmic hardcore and straight-ahead
reggae, the Bad Brains maintained vibrancy throughout the
night'sperformance. Nicedread-
locks.too. One of the most thrilling bands I've seen in a while.
Rob Moore
Swagmen/Tin God
Arts Club
Saturday September 16th
The Swagmen is an instrumental surfer theme band of
sorts. These guys stayed in me
background, doing so by choice.
It was really nice not to have to
shout for the first half of the
evening but as far as the band
having an impact, I hardly knew
they were there.
Tin God, on the other
hand, is an aggressive band with
a full, loud sound. They also
seem to actually take the time to
write good lyrics. It's too bad the
lead singer has the unfortunate
tendency to swallow the last
syllable of every line.
Stacey Hooper 100% COTTON
• Wholesale Retail Outlet for:
-100% Plain Cotton Fabrics
(36-88" widths)
- Broadcloth, Canvas, etc...
• Textile Paints and Dyes
• Tanks, Shorts and Sweats
• 1 Day Workshops:
"Learn to Print Textiles"
"Fabric Printing Techniques"
• Wearable Art
Mon-Fri 9:30 - 5:00 Sat 11:00 - 3:00
clothworks ^f
textile dyes and printers
132 Powell Street, Vancouver
George Clinton and His
P-Funk All-Stars, September
3rd at 86 Street - Absolutely
Funkin' Amazing ! Those who
attended this show were able to
take part in the liveliest, funkiest, grooviest live dance party
this city has seen in years. I, for
one, had the best, most fun time
I have had at a concert in a long,
long time. Not knowing exactly
what to expect, but having a
notion the show would be conceptual, with costumes and the
like (what I imagined the Parliament Mothership shows of the
'70's to have been), I and many
others were completely blown
away by the unbridled exuberance and party atmosphere these
guys put out from the first note
The seventeen piece
band kicked into a heavy groove,
told everybody in the house to
dance and party their asses off
and didn't let up for 3 and 1/2
solid hours. Constantly exhorting the audience to sing along on
the choruses or simply to shout
'Go Ahead', 'We Funkin' Over
Here, Over There Ain't Shit' and
various other suitably funky
things, these guys tore the roof
off the joint like never before. It
proved that the man who was
THE prime mover of funk music
in thelate-60's and '70's and has
influenced everybody from
Prince to Public Enemy, is at 48
years still second to none when it
comes to puttin' out the funk.
His music is as relevant as ever.
Those who weren't converts to
'The Funk' beforehand certainly
were when they left.
Five nights earlier Ice-T
and his Posse ripped up the
Commodore Ballroom. Two
completely jammed, sold-out
shows for the first big rap artist
to play Vancouver (excluding
BDP last month) in years. Believe me, the crowd was pumped.
The show began with various
rappers and members of Ice-T's
crew (Spinmasters, Everlast)
getting up to do their own stuff
and generally hyping the people
for the man himself.
Ice-T's own appearance
was preceded by an excerpt from
Jello Biafra from his No More
Cocoons LP, in which he attacks
the loss of freedom of speech
and the general trend toward
conformity in American society.
This set the tone for the evening
as Ice-T performed, along with
all the old favorites, every song
from his new album entitled
Iceberg: Freedom of Speech
which contains many more political raps and displays a much
tougher (lots of hard rock guitar
samples) sound than his previous material.
When this gig got going
it really kicked. If Clinton was a
good time party this was absolute mania. The wild, frenzied
atmosphere that Ice-T, with as
many as eight others, built up on
stage was eaten up and given
right back by the hyped mass.
The kids knew the words to all
the raps and made like MC's
themselves rapping along and
taking the mic from Ice-T for
parts of songs.
It was extremely encouraging to see these two acts here
and big' Yo' to the promoters for
bringing them in (and for the all-
ages show). Hopefully other
promoters in town will pick up
on the success of this and realize
that good hip-hop/funk acts can
be a force in this market. Any
number of other groups could
generate similar interest here. A
sign of things to come?
Not surprisingly though,
in true Vancouver fashion, commercial radio remains ensconced
in the dark ages, refusing to take
a chance on this music unless, of
course, if it has safely gone
number one in the US (see Tone
Loc). No real matter though - let
them rot in their corporate factory pop sewage if they so choose
- CiTR remains THE station to
hear the best and newest of this
most vital form of music being
made today; at least somebody
knows whats going on. Check
your On The Dial Listings for
the times of your favorite shows.
Every so often a record comes
along that takes familiar ideas, in
this case rap and house, and uses
them to create an indescribable
sound that has to be heard to be
believed. The current Twin Hype
single "Do It To The Crowd" is
such a record. A low chugging
bass, very creative judicious use
of samples, killer scratching and
breaks, and lots of space make
this the coolest jam I've heard in
months. Get on this one - Beat
Mix Single of the Month.
Remember KRUSH's
House Arrest? Well, the woman
who sang 'We got this house
under arrest', Ruth Joy, has a
new single called, "Don't Push
It", produced by none other than
Mantronik himself. Musically
substantially different than HA
but similar in the way her pretty,
sexy but not too soulful voice
acts as another, complimenting
the slow funky, sampled wah-
wah guitar groove and great
transformer style breaks by the
King of the Beats.
English mix-master
Simon Harris has now released
an LP, predictably including all
his 12" releases plus a few other
things. "Run for Cover" and
"Monster Jam" are both decent
raps with groovy soulful horns in
a chorus set against SH's familiar, well-crafted sample overlays.
The funnest part of this LP is the
seven 20-30 second cut-up pieces
found between many of the
songs. No new mind-blowing
stuff(like 'B ASS-How Low Can
You Go?') but a good record and
a good buy for those who don't
own the 12"s. For those who
don't feel like dishing out for
masses of import 12"s there is
the import only Silver On Black
double LP compilation. This
contains full-length mixes of
many club hits from the pastyear
or so, featuring two from D-Mob,
Elektra, Tyree, Marshall Jefferson, Cookie Crew, Rocker's
Revenge and many more.
In a cross-cultural vein,
"MaFoomBey/Syntanjey" by
Cultural Vibe on East Street
Records is a minimal house
groove in the Todd Terry vein
with some very 'ethnic' sounding chanting/singing overtop.
This one won't tear up your dance
floor butitis adifferent, interesting, moody kind of song.
It's probably not a coincidence that at the same time as
George Clinton has anew album
and tour that an old Funkadelic
classic is being rereleased. Get
Off Your Ass And Jam on
Funkadelic Invasion Force is
being billed as a special limited
edition DJ pressing so snap yours
up before it's gone because the
original is very hard to come by.
Finally, for something that WILL
tear up your dance floor, check
out "Numero Uno" by Starlight
on Citybeat(UK) - anltalian disco
thing similar to Capella's "He-
lyom Halib", though not quite as
cut-up. Fast, frenetic, and jumpy
with lots of neat samples, piano,
East-Indian type melodies and
breaks; it's easy to see why this
has gone Top 5 club in the UK.
Sure to be big in finer clubs here
as well.
Have you ever wanted to
have your own Top 5 club hit?
Ever wanted to be the next
press or Bomb the Bass? It's
not out of the question.
COLDCUT's groundbreaking
"Hey Kids What Time Is It?"
was recorded with two turntables
live to cassette. Bomb the Bass'
"Beat Dis" began as a home
project for a recording course
and ended up a number one club
The late '80's is the era
of the DJ as writer, artist, producer and scores of great dance
music is being made in people's
own basements with minimal
amounts of equipment. Next
month Beat Mix investigates the
cut-up record and how you can
create your very own dance-floor
monster in your basement. Who
knows, you might even get it
played on the radio....
Bye for now!
ODVttEV .hipoto
HAVE   A   PARTY! at        CyfT#
350 Richards Street
For More Information,
Call Dale. Hollywood Types Meet One of Vancouv(
Earl Interviewed by the Man Sherbet
The measure of a "small town" is how quickly gossip travels ti
of its people. Vancouver is a rapidly growing city, yet jj^
a "smalltown-ness" in the way news and gossip
everybody's ears. Take my recent encounter with E;
Earl is a friend of a guy I used to work with on a lo;
in a while I drop by my old comrade's place to p|
caught up on each other's lives, and old Earl is al'
there with a butt in his hand, clearly with not mud
a matter of fact, I think old Earl hates my guts, so I defer to the boy
lest he puts me on his quietly referred to "assassination list".
and get
there, sitting
n his mind. As
Earl is a model of what
our mothers feared we all might
become: the guy who smokes a
lot of pot, watches a lot of "Ger-
aldo", and won't take a job
"unless it pays over 10 bucks an
hour. Fuck no." At 32 years old,
with no marketable job experience, a career as a self-serve gas
station  attendant might be  a
promising turnof events for Earl.
It was with some dismay
then that I learned of Earl's night
of nights last March. Earl must
have got this gig on the rebound
from the Canada Manpower job
board; otherwise why would
anyone hire this man to operate
heavy equipment such as a passenger van? Earl worked all of
two nights for a company that
rents out vans and drivers for
exclusive night club tours of the
city. His firstnightsounded pretty
typical, a group of squealing
secretaries out on some office
party night. ("I was hopin' one of
them would give a hummer as a
tip,"says Earl).The secondnight
is of special interest to those who
some remote
Angeles, so-called
wood North". Earl drove
iund Robert DeNiro, Sean
Perm, Johnny Depp, Ken Wahl,
and Richard Dean Anderson, all
high-profile actors working at
greater Vancouver,
on a boys' nightout. Earl didn't
"give a shit" about his remarkable evening ("It was just a job,
'), but I saw a story there,
and begged his patience for an
interview. He consented once I
promised to supply a case of beer
for the occasion. (Note: That
afternoon I drank one, Earl drank
MAN SHERBET: Yougonnabe
alright there? You 're really sucking those things back. Earl.
EARL: I'm feelin' no pain, man.
That's what it's all about, isn't
it? Anyway, you want lo know
about MacGyver and them, right?
Well, I picked up Ricky Dean
first, he seemed to be organizing
the whole night, he had a pocket
full of loonies to tip the bouncers,
. Gold "dab-loons" he
called them, as if to give those
dollar tips some worth. Better
shoved up his nostrils, doncha
think? So Rick says we'repickin'
up Johnny at his place, then Wahl
at a hotel, and Penn and DeNiro
at some restaurant. Ken Wahl,
the "WiseGuy" guy? - he just
reeked of Old Spice or something when he got in the van; he
smelled like a magazine. Before
we picked up DeNiro and Penn it
was tense in the van. These guys
didn't really know each other
from before. Rick and Ken talked
a bit about baseball but that's it.
MS: Did anybody mention why
these five got together? Someone's birthday? Somebody died?
e got the same manager?
EARL: The only thing that really
held them together was that they
all thought they were King Shit
himself, eh.
MS: So you've got the three TV
stars, and you drive to the restau-
EARL: That's right, yeah. I
parked in front and left the motor
running and Depp fuckin' around
with the tape deck, and went in to
tell Bobby and Sean we were
waiting. So I told the host to let
them know. He says wait a minute. A few seconds later he comes
back out and says "follow me".
So there's DeNiro and Penn sitting at the best table in the house,
great view, and the host is pulling out a chair for me to sit in.
MS: (Excitedly) You're kidding.
16 DISCORDER EARL: No shit And I'm thinking, jesus, I left the motor running. Waste of gas, eh.
MS: But you're sitting with
Robert DeNiro! And Sean Penn!
It must have felt like a bit of an
EARL: Well, it was a free drink
anyway. Bobby was real nice,
introduced himself and Sean, and
filled me in on a conversation
they were having, ordered me a
Heineken. Sean was talking about
Bangkok, and how nice the Thai
women are 'cause he'd just been
there filmin' withMichael J. Fox.
I told him I knew a coupla goofs
who went to Burnaby Central
with Fox, and Sean said they
sounded just like Mike. We all
hadalaugh.I was just gettin' set
to order another Heinie when
Ricky Dean the dancin' machine
came in to say they'd burned a
quarter tank outside waitin' for
us. (Reflective-looking pause
from Earl here). D'you wanna
smoke a joint?
MS: No thanks. Go ahead.
EARL: I really think Bobby was
trying to pull MacGyver's cord.
I don't think he liked him very
much, but who am I to say? So
they told me they wanted to go
places where they weren't going
to be bothered, but they wanted
to see and meet plenty of women.
I suggested they might want to
start out at "the Bait", get some
beer in 'em, and see some good
peelers too.
MS: So the six of you actually
wound up at the Cobalt Hotel?
EARL: To begin with. Eventually we ended up at the Number
5, it was blonde duos night so
nobody noticed us come in. Depp
and Penn actually caught one act
up at gyno row. When Penn says
he liked the "view" in Vancouver you know what he means,
eh? (Chuckles)
MS: So you caught some strip
shows. Sounds like a pretty typical boys night out, Earl.
EARL: Hold yer handle there,
Sherbie, I'm not done yet. It gets
more interesting. So we all decide to grab a pee before we
leave the Orange, right? Penn
says he's alright and asks to have
the keys so he can wait in the van.
MacGyver says he's alright too,
which doesn't suprise 'cause he
was nursing these Perriers of his.
In a bit, the rest of us step out to
where I was sure I parked the van
and it's not there, eh. Just that
second, boom! over the curb on
Main there comes the van doin'
about sixty mile an hour. It comes
to a screeching four-point stop,
and lays a wicked donut right in
the middle of Powell street! It's
fuckin' Penn, and ol' MacGyver's in the back just about
shitting himself! I told them,
Shush! 'cause the cop-shop was
just around the comer. Sean
apologized but says he always
knew those vans had a lot of guts,
which they do, but shitty mileage, eh.
MS: So where'd you get off to
EARL: Well, we had a tough
time deciding. Depp was pushing for Graceland, DeNiro for
the The Warehouse, Ricky Dean
for Dick's on Dicks.
MS: So what did you decide?
EARL: Well, ol' Vinnie - Wahl?
the "WiseGuy" guy? - he's getting real impatienty'know. "Fuck
this, fuck that." Bobby turns
around and says to him, "Look,
get the fuck out." And we
dropped him out just over by
Stanley Park. How about that,
MS: No professional respect
there, I guess.
EARL: Well, he was the only
married one in the group, I don't
think he was looking to get
humped like the rest of them. So
anyways, Bobby suggests that /
should decide, seeing that I'm
the only guy really from Van in
the van. Get it? Depp wasn't too
happy with the idea, but I said the
Metro was the only way to go if
they wanted to meet girls. Ricky
Dean, I think, was just plain
scared. But Sean baby was right
MS: In the mood for some "big
hair", huh.
EARL: Or a scrap or something.
So I parked the van over on
Alberni Street, and scraped the
shit out of the right side of the
van trying parallel. Took the
mirror off. We couldn't get both
side doors open after that, so it
was bail out the back door over
the seat or sit in the van and
sweat. "Earl the Pearl" they
started to call me after I proved I
couldn'tdrive worth squat. (Earl
seems to-lose his place here, gets
up and visits the washroom.)
MS: (Continuing) So you're
going to the Metro...
EARL: Yeah you should try it
some time with stars on either
side of you. We walked right in,
no cover, and we were told drinks
were on the house. Depp says
tequila shooters." All the women
in the place, I mean all, were
drifting our way. It was like, help,
I'mbeing surrounded by all these
tight asses. Can't complain, eh?
(Laughs) I had to cut myself off
after a couple of shots, 'cause I
was driving, and it's a good thing
I did. Somebody, I think Bobby,
"So they told me they
wanted to go places
where they weren't
going to be bothered, but
they wanted to see and
meet plenty of women. I
suggested they might
want to start out at "the
Bait", get some beer in
'em, and see some good
peelers too."
was talking to somebody's Old
Lady, 'cause a drunk guy in
spandex was starting a scene. I
just walked over casually, put
him in a headlock and uppercut
him a few times. Only a few
drinks got spilled in the process,
but everybody felt it was time to
MS: Kindof a trail of destruction
so far. Earl.
EARL: Well, we was havin' fun,
'cept MacGyver, I guess. He
drank too much tequila 'cause he
was sittin' back of the van all
pouty. Depp and the rest were
talkin' about all these big movies
they were goin' to be workin' on.
01' Rick was real quiet on that
score. Havin' real trouble fittin'
in, believe it.
MS: So where'd you head to
EARL: Well, it was late, ever-
body was hungry, so we stopped
at a restaurant for a few drinks
and something to eat.
MS: What happened when you
arrived there?
EARL: Well, Rick passed out in
the back of the van so we left him
there to sleep it off. It was funny
watching Penn, Depp and DeNiro
trying to climb over MacGyver.
When we come back out later,
Rick was gone; just a few loonies that fell out of his pocket, and
a spot where he drooled. Maybe
he made it to Dick's on Dicks
after all. (Pause)There's one beer
left, do you want it?
MS: No, I'm alright.
EARL: Suit yerself. (Takes it.)
MS: Did you wind down the rest
EARL: Well, wemight've 'cause
we weren't going back to any
nightclubs, basically 'cause
people just wouldn't leave us
alone. Then we met in the restaurant these three girls from Seattle. What happened was we
asked them to sit with us over at
our table. Two of them sat beside
Bobby and Sean just like that -
boom, boom. I knew thenldidn't
have a chance with either of those
two. But one of them come sits
between me an' Depp, so I
snapped into a conversation with
her about what she thought about
Vancouver. I figured if I distracted her she might not notice
the guy from Jump Street.
MS: Sounds like agoodstratagy
to me. Earl. What happened?
EARL: Well, the girls said they
knew about a party back at their
hotel. I of course drove all of us
back there. On the way one of the
girls mentioned what room the
party was at. I thought, great, mis
could be fun. Party a bit, then
check out their suite, eh. (Winks
at me) But when I pulled up to
front, Depp says, "Well, thanks a
lot, Earl. We won't be needin'
you anymore tonight." That
fuckin' guy, eh. He's just takin'
off with the girl Ihad my eyes on.
I wasn't goin' to let him make a
jerk outta me. So I waited about
10 minutes or so, then phoned
security from the lobby, saying I
was staying next door to theparty
and couldn't sleep from the noise.
MS: You showed 'em.
EARL: I was just pullin' out the
driveway when I heard Bobby
and Sean banging on the side of
the van. They said, "Great, yer
still here...the party got broke
up." I told 'em, get in, they knew
how. I drove 'em to their hotel
and that was it for me - period. I
got fired when they saw the van,
eh. (Chuckles)
MS: Dare I ask, what happened
to Johnny Depp that night?
EARL: Well, it was in The Province the next morning. He kneed
some security guard in the nuts,
didn't he. And called us Canadians "Moosehead-drinkers and
hockey players." It's like, go
home, John-Boy.
MS: How do you suppose he got
that impression?
EARL: Dunno.
MS: Earl, what would you say to
other big stars who wanted to
work in Vancouver?
EARL: Gimme a call. I know
without  even  pausing,   "Five      of the evening in the restaurant?      how toparty "Vancouver-style" Hey gang, welcome to the
Rag Bag, a column devoted
to the wacky world of fashion. This month I visited The
Dutchman Tattoos, way out
in New Westminster, to get -
you guessed it - a tattoo.
Obviously I wanted this job
done right and The Dutchman, tattooist to rock gods
and peons alike, has the best
reputation around. I entered
the small, noisy shop with
firm resolve and a quaking
heart, pushing my way past
big bikers, big mothers and a
gaggle of children. The
Dutchman led me to the back,
past the prints of naked tattooed Japanese women and
the sign that says "No one
allowed in the back unless
you arc being tattooed". Ulp.
I sat in a barber-like chair and
waited while the Master prepared his tools. In the other
chair, a youth gazed impassively into space, his left arm
being worked on by the impressively and colourfully tattooed Vince. BUZZ BUZZ
BUZZ went the needle as it
pierced the skin. BUZZ
BUZZ BUZZ. Please God,
don't make me cry in front of
these men.
Betty: So, uh, is this going to
hurt quite a lot?
Dutchman: Naw.
B: My grandpa has tons of
tattoos and my dad has a tattoo, so I feel like it's sort of in
the family.
D: Then you should, definitely have one. So where do
you want it, first of all? (I
point to my leg, near the ankle
and he presses a carbon copy
outline of the tattoo onto my
skin.) You really like lizards,
eh? There you go... Go have
a look in the mirror. Do the
strut; gotta do that. What's
on is on.
B: I guess that's true. Of
course you think about that
but you just can' t think about
D: Well it is forever, there's
no doubt about it.
B: Do you ever have people
come back going, "I really
made this big mistake!"
D: Yeah, that's Vince's job.
He gets the Black & Decker
sander and sands them down.
B: How many needles do you
have, tons?
D: Oh yeah.
B: And how big is the biggest
D: It's a cluster. It's like
done in groupings; you got
small ones, big ones. Like
when you do a big paint job,
you have a big paint brush.
B: What's the biggest tattoo
you've ever done?
D: The biggest tattoo was on
a bus driver who was married
to a Japanese lady and I did a
back piece on him: quarter
panels, ribs, and from the
knees up.
B: Wow! How long did that
D: Oh, I think it got in at
around 120 hours.
B: Do you like doing big
things better?
D: I like doing all kinds of
tattos, as long as they 're tasteful and interesting to do...
Vince: Except for lizards!
(laughs) Justkiddin'ya.
D: Have you heard of a lady
called Christine the Colourful? She's the most tattooed
woman in the world. She
lives here in Vancouver. You
missed her by—
V: One week.
D: By one week. She works
here on Saturdays. Unfortunately, she was feeling sick
today, but you should come
by and maybe check her out.
She's really nice to talk to and
she's really into lizards.
V: Really. She's got a lot of
always try to strive for individuality, so you have something nobody else has.
B: Has there ever been someone who'scome in and you've
said, "No, I don't want to do
D: Her body is solid tattooed
from the neck down, even
some on her head. Really
nice woman, down to her toes.
And on her upper half, she's
getting black tribal tattoos
done on TOP of her old tattoos now, like a second coat.
So I just did a big lizard... I
D: I don't do it.
B: What would that be?
D: We don't do no satanic
kind of tattooing or anything
that we feel that person
doesn't understand or might
really regret when he's older.
I like putting tattoos on that
have a positive feel to them.
B: Do you have any tattoos?
D: Oh, I've got a few... see...
they start here...
B: Oh yeah! They're just all
hidden under your shirt!
D: ...and onto the chest.
B: Who did those ones for
D: A tattoo artist in San Francisco, my mentor... Ed
(The conversation switches
to Motley Crue.)
V: Yeah, I seen them in their
video, they were showin' their
tattoos a lot; Tommy Lee especially, eh, he's loaded
man...ButNikki Sixx has got
one totally cleaved on his
D: They're by far not my f;
vorite band.
V: Naw, mine neither....
Vince Neil, the first day they
walked in here—I'm not a
Motley Crue fan right—
walked in and said "I'm from
Motley Crue." "Hey, you're
the drummer aren'tya," I said
to Vince, eh. "No man, I'm
the singer!" I felt stupid but I
don't listen to them that much
eh... It's even got a tattoo
design on the cover of the
album...batwings with a dagger and snake or something.
D: I didn't do that one. I did
his wife sliding down the slippery pole on the inside of his
arm (laughs). Yeah. So now
I'll interview you: how does
it feel?
B: Good.
D: Good?!
B: Well, it hurts a bit, but not
too terrible. It's so weird:
you always get these conflicting reports on how much tattoos hurt, it's supposed to be
really painful.. Do people
ever cry when they 're getting
D: Very seldom. When they
do cry, it's mainly their emotions.
B: Do you often get people
that are kind of drunk coming
in here?
anybody here that is loaded.
I'm being accused of being
too anti-druggish. I preach to
a lot of people about it because I hate drugs... It'sareal
drag. I've known friends that
have died and it's just such a
B: Do you get a lot of questions like, "Am I gonna get
AIDS from getting a tattoo?"
D: Yeah, and I think it's
great. I think everybody
should ask and look around
and make sure things are
B: How many times do you
use each needle?
D: We might use it 3 or 4
times. There's a sterilization
process in between though,
needless to say...
B: How many people do you
tattoo in an average day?
D: Well I work Saturday and
Tuesday in this shop; the rest
of the time I'm at another
studio. There I do more bigger work, more elaborate type
of work, and portraits and all
that sort of stuff. People come
in, book the whole day; 4 or 5
B: How long have you been
D: I've tattooed now since
B: And how did you know it
was your calling?
D: Well, I didn't know that. I
actually anticipated on becoming an art teacher and
teach children art. But they
didn't wanna give me any
credit for my time already
spent in art school as a graphic
artist. And I've more or less
always been interested in tattooing as an art form, knowing that it could be pushed
further a lot more than what's
happening now... Up to today, there's been a real big
move in tattooing, like for the
better; a lot of good artists are
getting into tattooing. A lot
of nice pieces are coming out.
B: But you still do a lot of
skulls and stuff like that?
We don't tattoo    D: No, it's amazing: a lot of
people come in and have some
very original ideas about tattooing. Really original stuff.
I think a lot too is the bands
that are exposing tattoos.
People are a lot more freer;
they feel freer to express
themselves. They are not
really worried about what
other people are going to say;
it's nice.
B: Do you think there's still
that major stigma that if you
have a tattoo you're kind of
cheap or weird or something?
D: Naw, it's losing it. Tattooing has been around for
such a long time, I'm glad
that it's becoming more ac-
ceptible, although the AIDS
is really scaring a lot of people
B: How do you get trained to
be a tattooist?
D: Well, first of all, I'd say
you should have a good grasp
of art in general, right, and
then it would be very important to study under a good
tattoo artist to really learn the
technique. And a lot of motivation. I've worked for a
couple of tattoo artists and
picked up different things,
plus I've travelled quite a bit
and learned a lot from that...
I've been to Thailand and
New Zealand and I'm gonna
be going to the Phillipines in
December and I'm gonna go
up in the hills and meet some
of the people of the tribes that
are solidly tattooed.
B: You don't do animals,
D: No, I don't do animals.
Tattooing is common with
veterinarians; they put numbers on the ears or on the
stomach... Some people have
their dogs' noses tattooed
B: That's kind of weird.
D: Well, yeah, but a dog
that's really a big dog champion, you want to make sure
that his nose is black. If he
has a little white spot on it—
V: Loses points, that's right.
D: Loses points. So they put
the dog out and just tattoo the
spot black. V: Yeah, white spots on the
nose are no good eh in a dog
D: No, I wouldn't wanna
have a dog with white spots
V: Put it out eh... except
maybe if it's a Rotweiller or
something (laughs).
B: Do you see a lot of repeat
customers in here?
D: Yeah, I've got people...
Actually I've been tattooing
people from all walks of life,
different styles, everything
from black and gray to realistic portraits to doing really
big black work. I really enjoy
doing this kind of tattooing
right now, what I'm doing on
you. I really like doing tribal
B: Do you think it's true that
it gets addictive?
D: Well, people get tattoos
for different reasons. Some
people have little things happening with other friends that
have more so they get more
or...I don't know, a lot of different reasons. For some
people, it enchances then-
sexuality... they feel like
they're, you know, it makes
them more masculine or feminine. Or it might give the old
boy a thrill; everything else
has been tried, eh Vince
V: Yeah!
D: And to some people it has
a deep spiritual meaning.
Some people, it is because
they had old tattoos and always been very much
ashamed of it so they have it
covered up with a nice design. And some people are
like collectors, they're really
into it; they like to get a little
piece from everybody.
B: What do you think about
that skin museum in Japan?
D: I was over there; that was
me. I'm the assistant there,
Dr. Fukushi's assistant, don't
forget that (laughs, referring
to a photo in RE/Search, mistakenly identifying him as an
assistant at the Anatomy
Museum at the University of
Tokyo where over 100 pre
served skins are on display).
Slappin' the skins around
B: So is that a cool thing, to
know that this was once some-
one's body?
D: Well, the thing is, OK,
first of all, you got to understand, Dr. Fukushi, he was
like a pathologist and also a
professor on the pigmentation of the skin, and Dr.
Fukushi did like many, many
different studies about moles,
all kinds of stuff like that, and
also collected skins of people
that had donated their body,
you know, to science for research and when he died, his
son followed in his footsteps
and carriedon the same work.
The museum itself, it's a real
trippy museum; it's wild. It
looks like an old English kind
of building that's been transplanted in Japan and it is just
unbelievable. All the stuff
they have in there, people's
heads in bottles... If there
weren't Japanese in there,
you'd have thought you were
in a Peter Cushing movie. I
was there for an afternoon by
myself. And it's actually neat
that some of these pieces have
been preserved for future
people to look at.
B: Do girls you tattoo fall in
love with you like girls fall in
love with their doctors?
D: Yeah, we've had that problem.
V: A couple of times... More
like we fall in love with them!
D: No, we try and keep it as
business-like as possible. No,
there's nothin' like that.
V:  We're married, both of
some tattoo work on her but
that'll take a little while for
me to take a look and see
what we can do.
B: Is it weirder when you're
doing someone that you actually know?
D: Yeah, it is. I can speak for
myself, I don't know about
Vince or somebody else—
V: Uh, yeah, it's different.
D: I feel more comfortable if
somebody else would do it...
I always see improvement in
my work, unless it is a piece
that's very straight-forward.
B: What's the weirdest tattoo
you ever did?
D: The weirdest tattoo...
Well, I don' t do any tattooing
on the genitals... I've tattooed
women along the side there,
but I don't tattoo men's...
V: We had a guy phone and
ask for it the other day again.
"I wanna get tattooed in a
Very Personal Place." I said,
"Where do you want it,
buddy?" "On the side of my
shaft." (laughs) I said, "Not
this shop, buddy."
D: No, we don't do that.
Weird tattoos... it's hard to
say. What is weird? What is
weird to somebody might not
be weird to another person,
B: I guess you just have to decide on a personal level.
D: Yeah, I would say that's
pretty personal. Let's see
what we have here... (He
cleans off all the ink and
B: Has anyone ever said "O,
that looks terrible!", after
you've just finished it?
B: And do your wives have     D: Well, no, not really. I've
tattoos? heard of stories that said so
from some other people...
D: Yeah, Vince's wife has Have a look in the mirror, tell
one. me what you think.
(I look in the mirror.   It
looks great.)
V: My wife has one.
D: My ex has.
B: Butyourpresentdoesn't?     B: I think it looks great.
D: No, she wants me to do     D: I think so too.
FROM 9:30 pm-1:30 am
OPEN   WEEKDAYS    FROM   11:30am
inrxnflMVii i FunnaKF     fiRI-Vfll P
1300 GRANVILLE & DRAKE    68I"YALE Hoodoo Gurus
Magnum Cum Louder
On their new album
"Magnum Cum Louder", the
Hoodoos stick with the formula
thatproduced"Blow YourCool".
As a result, we are presented
with another collection of good
tunes, if not a great album. The
album has it's write-offs but, for
the most part, the songs arecatchy
enough to make you forget the
few that aren't. Magnum's first
two cuts, the leadoff single
"Come Anytime" and "Another
World", have all the spunk and
melody of 1983's "I Want You
Back". Another strong track,
"Shadow Me", is reminiscent of
the soul-baring honesty thatmade
a standout of 1987's "I Was The
One". A nice surprise is "Baby
Can Dance", probably the most
refreshingly original tune to be
written by the Hoodoos in many
The album's strength,
however, is in its abundance of
pure rough-edged energy. Tunes
like "All the Way", "I Don't
Know Anything", and, particularly, "Axe Grinder", can rock
your block off as well as "Like
Wow-Wipeout" ever did. And
while "Glamourpuss", "Where's
That Hit" and a few others lack
the originality and the catchy riffs
of the rest of the album, the
Hoodoos somehow manage to
play them in such a way that you
have to make a conscious effort
not to tap your feet.
The Hoodoo Gurus are
not deep. They're not socially or
politically conscious. And
they're certainly not remarkable
lyricists. What they are is a good,
honest band who consistently
prove they know how to have a
cool time. So who cares if
Magnum Cum Louder isn't a
masterpiece; it'll sure do till one
comes along.
Dru Pavlov
Camper Van Beethoven
Key Lime Pie
Unfortunately all of the good
pastry allusions are used up
(wasted I would say) on Mary's
Danish. This is okay though, I
don't need them, because it suffices to say that this Key Lime
Pie is a mighty fine album even
for those that don't enjoy fruity,
flaky, half - baked goods. From
the off kilter liner notes to the
stark arty cover to the myriad of
musical influences and styles
hidden within, this collection of
tunes certainly would be this
judge's choice at the county fair.
"I know they're cool, but who
do they sound like ?" What can
you really tell someone that
you're trying to convert? Okay,
you know your Dad's collection
of worldmusic from the Arabian
and Eastern European countries,
take that and mix it with your
sister's ska collection from the
early 80's. Now then, imagine
that with a little bit of psychedelic Pink Floyd and a few
chunky Zeppelin riffs coupled
with a lot o' fiddle playing. Finally front all that with a singer
that can't, and you have the
mystical, magical Camper Van
sound. It actually works quite
It is a rare band that can
poke fun at their own underground subculture (if CVB can
still be classified as such, this
being their second major label
release). They batter the typical
love ballad with their own brand
of psychedelic absurdity on All
Her Favorite Fruit. On When I
Win the Lottery, they prove they
are much better than the Dead
Milkmen at describing Middle -
American pathos. Camper Van
also show they can get downright Beatlesque (circa Sgt. Pepper), on Pictures of Matchstick
Far be it for these guys to rip
you off with a nine or ten track
album, there arc fourteen nuggets o' fun on this album. So if
you're of the home taping nature, don't count on getting it all
on one45 minute side. Also count
yourself out of getting the fun
So what am I saying ?
Grab this pic while it's fresh !
Michael Leduc
Crime and the City Solution
The Brideship
(Mute Records)
She cancelled again... and to
make matters worse, you let the
Ichiban noodles simmer too long.
The pale , cold light from the
flourescent fixture overhead
somehow intensifies the stark-
ness and bleak consistency of
another evening alone. You begin
to feel a serious bout of self pity
coming on. You lie on your bed,
listen to the rain splatter against
the window and stare wistfully
into the blankness of the ceiling
above. Sensing the lack of a fully
self indulgent environment, you
decide what is needed is music
that will sustain your misery,
music so devoid of contentment
or happiness that you will have
no chance of recovery tonight.
You remember the album you
bought, "The Brideship" by
Crime and the City Solution, and
memories of their performance
in Wenders' "Wings of Desire"
are dredged from the darkness.
You recall images of Crime's
lead singer, Simon Bonney, pulling back his sweat soaked hair
and throwing himself despairingly at the feetof young women
in the audience during "Six Bell
Chime". His person exudes truck-
loads of angst, bucketfulls of
depravity. You were so impressed that you bought the album the next week.
When you drop the needle on
the record, you instantly notice
similarities between Crime and
fellow Mute (the label for heroin
ad diets by heroin addicts) label-
mates, Nick Cave And the Bad-
seeds. Both bands share guitarists from Einsturzene Neubauten and sparse, staccatto drumming by Nick Harvey. Both
groups excel at creating brooding, rambling minimalist sound
seemingly concieved in one of
those endless, murky, cold-sweat
dreams that mirror your unresolved anxieties. The thumping
chords of "Dangling Man",
Bronwyn Adam's mournful violin on "Keepsake", and haunting
refrains like "...in paradise the
family is king.." on "New
World", all mix together to fabricate a tapestry of bleakness and
unresolved desire.
This is just what you need,
you think, and subconciously you
smile to yourself. However,
despite your attempts to fight
your pathetically short attention
span, you soon become restless.
The album is good., but., well,
"The Brideship" just isn't quite
up to the standard set by "Six
Bell Chime". You try to imagine
yourself in some barren, black
peformance hall thick with cigarette smoke and nodding, drug-
numbed European artiste types,
but the feeling is just not...
well..desperate enough. You lift
the needle and shuffle through
your tapes. You realize "The
Brideship" is a wonderfully
angsty album, but when you want
someone to "tell you about a
girl" - the one who walks barefoot across the floor in the room
above you - Nick Cave is just the
guy to tell you a little story.
James Boldt
Curious George
Children of a Common Mother
(Nemesis Records)
In the true punk rock
tradition, these eleven songs are
hard and fast, with very short
spaces between them. Also in
the true punk rock tradition,
Curious George use lyrics to
grind some axes. Under attack
here are: Pit-Bull-mania, people
who use rock and roll as a scapegoat (especially those who like
to play records backwards), guys
who'll do anything to get laid,
Nazi-skinheads, the reappearance of disco, Socreds, car-
fiends, and more. Butneverfear,
the words don't get in the way of
the music—hard-biting guitars
and good clean noise from the
band who plays the most memorable cover version of "Walk Like
An Egyptian."
Curious George stay
mainly on local ground, mentioning the Luv-A-Fair in two
songs and getting pretty specific
about who's in whose bed in BC
politics. And they do have a
devoted following here in their
hometown—deservedly even if
it were only for the fact that they
are (or maybe this is only my
imagination) the only punk rock
band in Vancouver that's mostly
under-thirty. And they've got
devoted friends, too—close pal
Dave Gregg plays lead guitar on
"Punks Go Camping," just in
case the band needs any more of
that famous punk credibility.
(Singer Ian Verchere also races
mountain bikes, and frequently
appears onstage waving appendages in various kinds of casts.)
My favourite song is
"(It's  the)   Seventies   Again,"
which has more melody than the
rest, but you can still slam to, if
you want. And besides, the sentiments are hard to argue with -
Ian V. singing "Bring back the
'60s OK/ But the '70s had nothing to say." (I'm assuming here
we're talking about the BeeGees
and not Stiff Little Fingers....)
A tastily disgusting
cover, an insert with lyrics and
loads of photos, and a label that
tells you "music is killing home
taping" round out this appealing
punk package.
Janis McKenzie
Tar Babies
Honey Bubble
Check it out, homeboy.
It's Friday night and the bros are
coming over to party. You're
tired of the stale vinyl sitting in
your record collection and you
need something guaranteed to
down your miserable next door
neighbors. You need something
on the turntable that's going to
relax those kaboom box speakers and create some serious
stomping. You need some get-
do wn-honky-whiteboy-funk.
What'cha gonna do about it?
The solution is to acquire
the new Tar Babies'album,
Honey Bubble. Like the Chili
Peppers, the Tar Babies have
managed to capture the black
roots of their music, throw it into
a blender and produce frantic,
funky dance music. The best
feature is Steve Lewis' furious
thumb-slapping bass which propels the band through songs like
"Rockhead", "Bimbos & Idiots"
and "Joyride". And despite the
fact that they sometimes meander off onto tangents of obscure
sonic jazz, a liberal sprinkling of
sax and trumpet keep it moving.
One word of warning: if you buy
this record, don't stand up in a
Terry Orr
The The
Mind Bomb
Matt Johnson's lyrical
and vocal ferocity has alienated
much of the audience which was
drawn to him by 1983 's pop oriented "Soul Mining" lp. The
1986 release "Infected" saw
Johnson begin to expose the bare
bones of his troubled and angry
mind. The result was a highly
original and powerful album
wherein Johnson painted a violent portrait of himself as "just
another western guy with desires
that couldn't be satisfied". The
raw power of the music, lyrics
and vocal style was not for the
faint of heart and subsequently
The The attracted a large yet
isolated cult following. This
year's MindBombc
themes of Infected, but,
lyrically.Johnson deals more
with society as a whole than
personal catharsis.
On this album, The The
has been extended into a complete band. Formerly, he played
almost all the instruments himself. A tight rhythm section
pushed by James Eller's bass lets
former Smiths' guitarist Johnny
Marr have great melodic freedom which he uses to highlight
Johnson's powerful, raspy voice.
Johnson's truthful social philosophies abound on the first side. In
"Violence of Truth" he talks of
the world's religions as "the
forces of darkness which have
suppressed the spirit of man".
Although Johnson attacks the
hypocrisy of modern society, he
is not a self-righteous idealist.
On side two, he relates how his
own pride and greed have destroyed the very things he has
loved and worked for. The album ends with the beautiful
"Beyond Love", a cry of hope
for perfect love which appears to
be far beyond the capabilities of
humans. The review in the pathetically yuppie Rolling Stone
said the album contains too much
philosophical intensity, which is
exactly why anyone interested in
powerful, meaningful music
should buy this album.
Gene Derreth
The Darling Buds
Pop Said
The Smiths have been
the single most influential British band since the Sex Pistols.
When they split, they left in their
wake dozens of jangly guitar
bands who struggled to recreate
the humour, anguish and delectable pop the Smiths came up
with effortlessly. Of course, most
of them failed miserably, filling
the independent music charts
with stagnant, uninteresting
'Smiths tributes' and other gui-
tarpop. Many British music fans
then turned to the exciting new
sounds of rap, hip-hop and
techno-dance music coming out
of the States to counter this boring state of affairs. This created
quite a split amongst British listeners. Romantic, sensitive ex-
Smiths fans, apalled by rap's
brutality, simlply closed their ears
and wallowed in the likes of
James, The Wonder Stuff and
the Primitives, while desperately
waiting for Morrissey's new
single. On the other side, a new
movement sprang up, heavily
infuenced by American hip-hop
but still inherently British—the
grebo rock of Pop Will Eat Itself,
the noise dance of Meat Beat
Manifesto, clever cut-ups of
Coldcut and the white funk
sample hybrids of Age of Chance
20 DISCORDER and Nasty Rox Inc. As this
movement became more innovative, challenging American
dominance, thepopbands lapsed
further into the realms of safe,
unit-shifting material, trendy
images, appearances on childrens
T.V., and finding major labels
who had lots of cash for bands
plying the tried and tested college trade.
Basically, it is the latter
approach that The Darling Buds
have taken. The result is an
entirely inoffensive band which
fails to make any impression
throughout the twelve songs on
this album. The image is right: a
blond female singer happily
chirps throwaway lyrics over
absolutely bland pop riffs in
songs with titles like "She's Not
Crying", "When It Feels Good"
and "Things We Do For Love".
Everything about this record is
so stupefyingly dull and cliche
ridden that it's virtually a parody. So, what's it doing in the
CiTR playlist? I often think that,
over here, too much time is given
to too many mediocre (and just
plain bad) groups simply because
they are supposed to be "the next
big thing from England." Record company marketing men
were quick to pick up on the fact
that, for many sections of the
music buying public, fashion is
it, and a trendy new "alternative"
band from England has a ready-
made audience in colleges and
universities throughout North
America. Knowing this, they
continually assault us with substandard corporate product like
The Darling Buds. Such bands
will never achieve any lasting
fame because they are dead;
killed by insisting on gazing
backward instead of looking to
the future.
Peter Lutwyche
Mary's Danish
there goes the wondertruck...
(Chameleon Records)
From the land of jaded movie
stars and shattered dreams of big
screen fame comes yet another
band hoping to break into the big
time. This seven piece outfit features not one, but two talented
female vocalists. Despite the
uncanny resemblance to another
great California band, X (vocally
at least), the addition of a funky
rhythm section and to tally rockin'
bluegrass-style guitars make this
danish much more appetizing
than your usual breakfast fare.
When I saw this band opening
up for the Red Hot Chili Peppers
on Sept 8fh, I was mightily impressed. They were loud, engaging and danceable. No matter
how I feel about a record, more
often than not it is the live performance that can convince me
of the merits of a band. Mary's
Danish had the early birds at the
Commodore on their feet and
dancing. For the most part, the
band translated well to record.
However, the record does reveal
a minor lack of substance that
should be remedied once the
band's line up becomes solidified. (This recording is essentially a collection of demos
quickly^ compiled when it was
realized the band would soon be
a hot property. The five guest
musicians were actually former
members of the band that somehow disappeared along the way.)
After being forced to ingest the
usual greasy bacon and eggs style
music, so often served up as
exciting or new, it is nice to have
a little bit of something light and
flaky for a change of pace. Of
course, Mary's Danish isn't really doing any thing new, just
mixing familiar ingredients and
baking them up into a tasty little
concoction that surprises the
world weary palate. However,
sadly, this record, like the taste
of all fine pastries, soondissolves
and leaves one hungry for something more substantial.
Michael Leduc
Industrialism...and other-
Welcome to the realm of
music, let's call it Experimental -
Industrial-ism, which is almost
totally undocumented and ignored. This review examines
four cassettes: ZOI's "Rivals of
Medusa", Bitter Harvest's "Bitter Harvest (1-3)", Group 49's
"Electrical Storm", and Haemorrhage Cassettes' "Spring 1989
Most of the eleven songs
on the Rivals of Medusa compilation have an industrial, minimalist, dirgy feel to them.
However, this cassette is not
targeted at one audience. With a
rough hip-hop piece, some almost normal guitar songs and
lots of experimentation, most
people will findsomething they'll
To my ears, "Lust" by
The Whaleburgers is the only
song onside one thatreally stands
out. Beginning with a stupid
portion of a T.V. show and a
stupid conversation, it then cuts
into a drum machine combined
with an ultra-catchy synth riff.
The minor v ariations in the synth
line and the minimalism of the
song make the track work. There
isn't much to listen to so you can
enjoy it. On side two, Lungfish
also make use of a drum machine
on "John Wayne Gacy", alternating between slow and fast
rhythms with fuzz guitar following along. Metallic happenings
injected into the mix fill the void
created by the lack of vocals.
Techniques Berlin have a good
sound as demonstrated in their
contribution to the cassette,
Machine Language.
Hailing from Dartmouth
Nova Scotia, Bitter Harvest
(Scott Righteous and Jody
Cairns), usually fuse bits from
television and radio shows, with
electronic and real drums,
samples, synths, guitars, or
whatever the song calls for. They
have a great sense of how to
make a song, as proven by side
two of their cassette "Bitter
Harvest (1-3)", a compilation of
their best work. Side one is a bit
of contrast. The whole 45 minutes goes under one name, "A
Little Night", split into three
parts. It is frightening when
played loudly in the dark. Back
to side two, their Charles Man-
son-induced cover of "Blackbird" is an obvious instant hit
and indeed their first "hit" back
east. It is followed by hitnumber
two, "Catcher in the Rye", the
story of Mark Chapman as told
by Mark Chapman (John Lennon's killer), backed by music of
course. Quite gripping. The best
composition is "Never Blame the
Music", which features an interview with Charles Manson.
Yes, and now for a review of the cassette, "An Electrical Storm", by the notorious local
combo of metal mashers, reverb
abusers, tape manipulators, industrialists extrordinaire. This
Group 49 work opens with the
band's "one big attempt at apop
song", "Yuppy Mindfuck".
"Hey Now" has quite a groove
and could be a dance hit in the
hands of the wrong producer.
Another outstanding bit goes by
the name "Coughing Birds!". It
features piercing screams and
very just-like-you're-there metallic collisions. There are a lot
o f good rumbl ings and bass play-
ing and synth melding and effects. The songs run into each
other so it's hard to tell which is
which difficult, but if you're listening just to hear the music then
it's great.
The Haemorrhage Cassettes sampler is a compilation
of noisy bands from southern
Ontario ranging from the melodic, to the very harsh with lots
of white noise, to the rude and
disgusting. The bands: Castration Without Anaesthesia, A
Very Persistent Dwarf, Restless
Natives, The Hand Men, and
Richard Feren, fit together very
well and all seem to be 4-track
abusers. Chaos reigns over most
of this cassette. Most lyrics are
deliberately obscured and
mangled, either because they
aren't any good or because
they're merely keeping with the
theme of chaos. For people who
like hard-on-thc-ears sonic
abuse, this will please.
And for those who want
further information, here are
some addresses:
34 Parker Street
St. Catherincs.Ont.
L2S 1C5
Bilter Harvesl
104 Amaranth Cres.
Dartmouth, Nova Scotia
B2W 4B9
Group 49
1440 Sandhurst Place
West Vancouver, B.C.
Haemorrhage Cassettes
P.O. Box 1504
Guelph, Ont.
A. Pi S.
We accept the following
methods of payment:
1 / Your hard-earned money
2/ Your mate's hard-earned money
3/ Your Mother's money
4/ Your Grandparents' money
5/ All the money in your savings account
6/ And of course just plain money.
&o<*y parts
Currier Broad
by G. Paula Raffe
What a summer, I tell ya, brutal. I need a month with my hams in the air and everybody outta my case.
Stress city, but I guess I coulda imagined what I was gettin' into.
It seemed a stroka brilliance at the time. Yeah, the flamin' high point of a dull April night. I picked
up a hot frypan. Like YEOW! ain't you heard of fuckin' pot-holders (I only been cooking with the thing
about six years), bong the pan off Ida's knee and it's curry and eggs all over the lino, which ain't quite clean
enough to eat offa. My hand smashes the window on the follow-through so a pint of AIDs-free blood (clinic
certified) sauces the stuff on the floor. The whole mess makes me wanna just spit but suddenlike Zen in-
spiriation arrows up my cranium: "Curry...currier... that's it! My fiscal woes is beat!" Ka-pow we kick the
mess under the table, wrap my spoutin' knucks in a handy jog-bra and head for supper at wholesomesville,
stud ranch o' the monster ratatouille. Ida, doll, it's on me. I guess it was kozmic, 'cause the knucks got me
the job.
I was downtown next morning, fulla pep and Listcrene. Vancouver got more courier companies than Imelda' s bunions, sol hadda
collar these guys as they rode by and grill 'em. Turns out six
companies don't need riders, two pay lessen stuffing bigmac into the
ozone, two are going pricks-up, one musta had its office under a
dumpster somewhere, but by four o'clock I'm in the door of the one
place that needs a rider. The pimply jackass behind a desk tosses an
application out at me.
"What, fer spud sake, I need PhDs to trot some envelope
crosstown? You need someone or don'tcha?"
"Got your own bike?"
"Oh, you need a bike, to be a bicycle courier, do you?" But
sarcasm is wasted on this Tubeworm.
He sighs, breakin' my heart. "Ever been arrested?"
"Not under my present name."
"Driver's license?"
I show 'im my gorilla shot. He looks at my legs.
"I see you're thirty-five years old. Are you up to the demands
of this job?"
"Yeah, so you never seen cellulite before, or what? I do twice
the work of a seventeen-and-a-half-year-old. Besides, see these
knucks? Them's the teeth-prints of the last joker that tested
constitutional equality outside the courts o' the land. Now GIMME
that shoulder bag. I'll see ya tomorrow."
Then it's a simple matter of pryin' off the knobbies for a
coupla new fatboy slicks, chip off a few kilos of petrified VEL mud,
dash some Exxon yuck on the chain, step outta the phonebooth and,
ta-dah, up in the sky, it's Currier Broad!
Well, it wasn't all that smooth. Next morning I sat around for
an hour on Granville, thinkin', muss be a slow day, before I realize I
haven't got the walkie-talkie turn up loud enough to hear.
Downfall two, forgot in the flush of initial spin, is that I know
this city like I know Mulroney's scrotum: I can find my way around,
but it takes a lot o' groping. When a call come in - "twenty-third floor
of Centennial building "-by the time I cross-reference the cityguide,
find the page, figure out how to get there from here (lessee, the
; is general north...) and has arriven, the package coulda got
to M ongoli a by dog-post. Kinda hard on the ego to ask a thirteen-year-
old is the Beat-all Centre round here, and he points out the thirty-story
building behind you and says "Bentall Centre, you mean, lady?"
But hell, Ida bucks me up. "Just lookit yer legs," she says,
when I get home. "Juz lookit that dirt!"
I rake in about S42 my first week - Ida, doan quit the Safeway
jus yet. But eventuallike, I worm my way into it, learn the ropes, get
lucky on my timing. Meantime I bone up on saddle style: bein raised
a good li'l citizen (ie. blue-ribbon suck) I got in the habit of stopping
at red lights, ridin' with the traffic, and showin' deference to little old
men on street corners. Uh-uh. Noway. It's fast on them irrascible
streets. Ma, you gotta keep yer bars in yer paws an yer wits in yer tits.
With the helpa creative visualization, an some bio-fedback beta-
blocking (Ida's nuts on all this crap) I was soon swervin' with the
finest of disregard fer life or limb - mine or anyone else's.
Course this led to the odd protest from over-reactin' folks who
don't realize an ATB is more manoeuverable than Michael Jackson
from the waist down. One fella - after I ride off the sidewalk tween two
parked cars, jet across three lanes o' heavy traffic, jump the other curb,
an sucessfully slalom a convention o' blind pregnant octogenarians -
leans outta the window of his primo expensive penis-mobile to make
sure I no scratch his paint. "Wassamatta, asshole?!" he yell,
"Learn how ta ride! You ON THE RAG or something?" and drive
away. He obvious mever saw no ATB on high-pressure slicks wit
sixty kilo mad-ass dame hit the afterburner, cause I was off the curb
and on his case before the echo cleared. At the next light I had his tie
in my fist before he got his window half rolled up. He sure looked
funny with his face mashed up against the glass like that, and had
many amusing comments to share, once he stopped gaggin'. It was
worth the bruises.
Truly satisfyingly rudeness like that don't pass your way
often, so you got to kind of savour it when you can. Comes with
Yeah, them was the salad days, but it was bound to fizz. City
hall tip-toed through like Godzilla, so we all had to take a test an get
our licence plates an pretend to be good citizens til everbody calmed
down. It took the psycho edge off the job, but that was jus as well. Ida
was beginning to wonder about the cuts and bruises. "Just lookit yer
legs," she'd yell, hysterical. "Wazzit the dogpack again?"
Then hiyosilver was ripped off: holy apoplexy, batman! I had
her painted Rustoleum brown, sorta the shade of tomato diarrhea, to
forestall just such eventuality, but some lo wlife slug-sucking limpdick
weinerbender stole 'er from right out front the dispatch office.
The boys leftme choke for twenty minutes before they 'fessed
up and hauled my bike outta the dumpster haw yuk. To show no hard
feeling Ida mixed em up Ex-lax Nanaimo bars the next week.
The boys was mostly ok, help each other out, except for one
macho type. "Hey Riff," he say, reachin for his crotch, "scare easy?
Tubeworm's outa the office and we're all alone."
"Lissen, stud monkey, ya doan impress me. I seen you slip the
Bavarian inta yer shorts."
Ida gimme a spray cana mace when I told her.
By July I was main pence, close to $500 a week. Legs was
holdin out good, attitude dented but unraped. But there's only so much
trottin' round million-dollar cashier's cheques in the drillin' sun with
the sewage from six dozen cars up yer nose, before you start thinkin
weak-ass philosophical stuff about yer purpose on earth. I needed, in
other words, a break.
'Bout then, Ida talked me into a Sunday bike in the Endowment Lands. She's a timid rider (I like er for that) so I stayed with
slicks stead of puttin the knobbies backon. Major tactical error - slicks
have about as much pull on mud as ethics on Socreds. I ended up
chasin' a bunch o' testosterone junkies, and flyin' through the air on
a hairpin drop down to Spanish Banks. When the smoke cleared, I was
wrapped round a tree with a dislocated shoulder. The bike was ok, but
Ida puked.
Doc said no biking for a month but after a week I was so
fuckdub I arm-wrestled her, with my bad arm, for the ok to get back
on the streets. It was a standoff, so whe wrote the note to Ida, an I
worked another month.
By then it was just a nine-to-five, no glamour left, aside from
hi-speed death sprints and the occasional face-plant when some
cheese opened a car door on me. So I kissed the job an the boys
goodbye, copping a squeeze down machoballs' shorts. He actually
had a pretty sizeable knob.
Ida was almost sorry to see me quit. "Just lookit yer legs," she
says, with a glint in her eye. "Juz lookit them muscles!" But it's time
for somethin' different - cerebral, maybe. Wadda ya think? Ballet? -cX"
Okay, so it's been too long since we last asked you for your valued opinion on things CiTR-y and why you believe it should or should not exist But
really you should not be complaining that you have not had the opportunity to respond to what we do 'cause we do have an address and we do have
a phone number you know. Nonetheless, please use the next several minutes of your valuable time to fill this thing out and tell us how we're doing
and all that stuff. You might even be in store for some prizes. Okay? Note new deadline: Friday November 10!!!
Gender:    □ Male    □ Female       Age:	
Are you a student?    □ DBC   □ Other Post-Secondary   □ Secondary   □ Elementary   □Other _
Have you listened to CiTR?   □ Yes   □ No   Then why are you filling this thing out?   	
w do you listen h
When and how did you first find out about CtTR?
How do you usually listen to CtTRl   OEM    □ Cable  □ Other  	
How often do you listen to CUR?   □ never □ once a year □ a few times a year □ once a month □ once a
week □ a few times a week □ daily □ I never turn it off
When do you usually listen to CiTR? (circle more than one if you like) □ 7-8am □ 7-9am □ 9am-noon
noon-3pm □ 3-6pm □ 6-9pm □ 9pm-midnight □ midnight-4am □ 4am-sign-off □ I never turn the
bloody thing off
Where do you usually listen to CtTR?   □ in the car □ at work □ on the bus □ in my bedroom □ in my
living room   □ at parties □ on my WalkHuman
Do you have problems picking up CiTR?   □ Yes   □ No    Please explain. 	
What other radio st
Do you ever record anything from CtTR? □ Yes □ No □ Ain't tellin'
Please list the programs you listen to the most and indicate why you listen.
Please list the programs you avoid like the plague and indicate why you don't listen to them.
To the best of your ability, please define "obscenity ".
Has reception
since CUR boosted its power?   □ Yes   QNo Please explaii
• Tasty Haircuts
• Hair Extensions
• Superior Perms
• Colours of Your Choice
"If You Don't Want A Proper Chop (haircut), Don't Come"
Support - Education - Advocacy
Helpline: 687-2437
Business Line: 687-5220
Fax: 687-4857
1272 Richards Street, Vancouver, B.C. V6B 3G2
NlCifl^ g*e	
Please indicate below whether you would like more, the same, or less of the following types of programming.
Demo Tapes/Cassettes
Major label artists
Public Service Announcements
□ the same
Q the same
□ the same
□ the same
□ the same
□ the same
□ the same
□ the same
□ the same
□ the same
□ the same
□ the same
□ the same
□ the same
□ less
□ less
□ less
□ less
□ less
□ less
□ less
□ less
□ less
□ less
□ less
□ less
□ less
□ less
Current Affairs
Visual and Performing Arts
Three chord rock
CiTR Concert Presentations
Individual Program Promos
Cityscape Listings
Concentration on CanCon
The literary arts
No Commercial Messages
The Weather
Spoken Word
UBC Digest
What do you like the most about CiTR?
What do you hate the most about CiTR?
Do you enjoy listening to CiTR more or less that you did
6 months ago? □ more    □ less    □ same
1 year ago? □more    CJless    asaine
2 years ago? □more    □less    □same
What changes would you make to CiTR's programming?
□ the same
□ less
□ the same
□ less
□ the same
□ less
□ the same
□ less
□ the same
□ less
□ the same
□ less
□ the same
□ less
□ the same
□ less
□ the same
□ less
□ the same
□ less
□ the same
□ less
□ the same
□ less
□ the same
□ less
□ the same
□ less
3 years ago?
□ more
□ less
□ same
4 years ago?
□ more
□ less
□ same
5 years ago?
□ more
□ less
□ same
Now, if you're a smart one, you'd be fillin'
out the spaces below not so a disgruntled
CiTR member can track your evil self down
because of the nasty words you wrote down
above, but because there just might be a
prize draw at the end of October for one of
CiTR's new t-shirts or some buttons or even
a mess o'new records and stuff! So, chop
out this little ballot thingie and then do one
of the following: (1) send it in to CiTR (6138
SUB Boulevard, Vancouver, BC V6T 2A5),
(2) come by the station and drop it off in person, or (3) drop it off in one of the survey
boxes at Zulu Records (1869 W 4th), Odyssey Imports (534 Seymour) or Scratch Records (317A Cambie). Deadline: Friday
November 10th. Thank you very much.
Tape-A-Mania, 11:00 PM October 17,1989. We at Discorder
are pleased to present this month's selection for Tape-A-Mania,
the kings of cave crap, The Smugglers. This simple conglomeration of homeboys have, since early 1987, seen fit to play 3-
chord sixties garage grunge for those Vancouverites who
appreciate it. Ugh! Now, wake up, follow these simple
instructions and you too can become one of the thousands of
happy and satisfied Tape-A-Maniacs.
Instruction:   1. Grab a 60 minute cassette.
2. Cut out this here tape cover.
3. Record the Smugglers.
4. Groove.
Next month: Video BBQ. December: The Method.
Interested bands, contact Ed Lasko at 462-9281 or Nardwuar at
24 DISCORDER "Damn her," you're
thinking, "for being lost in the
past. Why can' t she wake up and
realise it's 1989, and stop vicariously re-living her childhood?"
Okay. This month we
take a gander at three very up-to-
the-minute, hip and happenin'
places to eat, none of which have
any childhood a
HOUSE 631 Commercial
Drive (beside the New York
"Our meals aren't fattening," advises the menu, "...as
long as you skip the next three!"
And "Please be patient...our
waitresses only have two hands.
Maybe someday they'll use both
of them." How can you go
wrong? Very basic, very good
Italian food. The spinach fettuc-
ine rules the Earth. Nifty little
balls of gourmet ice cream,
coated in nuts and chocolate
among other things, are available for dessert, though this may
not be feasible as you are plied
with delightful loaves of French
bread during the course of your
meal. Come prepared to wait in
line for a seat; spend a fair bit
($9-$l 1 average for entrees); and
walk away fully satitiated. Easily identifiable by the cheery
yellow fluorescent sign affixed
to the unprepossessing building
it occupies.
DOLL & PENNY'S 1167 Davie
St (between Thurlow & Bute)
Yes, it has been completely revamped, overhauled
and Smitty-fied in the past year
due to heightened mainstream
exposure from the car-on-the-
roof controversy. But the most
important thing hasn't changed:
the food. Yer basic North American cuisine. Burgs, pasta, salad,
ribs & stuff like that. All consummately prepared and presented by personable men of
alternate sexual orientation. The
decor here used to be something
to write home about—a visual
cacophony of secondhand kitsch,
antiques, tacky ribbons and flags
of all colours, and just plain
junk—but hey, if you go late
enough at night (it's open round
the clock on weekends), you
don'tnotice the new sterility that
much. (And plus, as Kevin
pointed out, the drag queens are
something else..."Especially the
Tina Turner ones...".) Like I said,
the food still grooves. Prices start
around four-something for a
burger, and the appetisers are
expensive as sin but for the most
part, worth it. With any luck you
can get a table at the front where
sliding glass doors open right
onto the sidewalk, affording you
a slice of the Davie St action
which should compensate for the
cleaned-up interior.
Denman St.
If after a repast at Doll &
Penny's, you can still stomach
the thought of food (I mean, um-
ah—), this is the place to go. Just
far away enough to allow you to
work up a semblance of an appetite, if you walk it. Actually, it's
a good idea to come here with
rather more than just a semblance
of an appetite. One look at the
looming glass display counter
along the front will tell you why:
Desserts galore. Diet is definitely
a four-letter word here. Cakes,
pies, tortes, flans, all kinds of
gooey shit, all a mile high and
four dollars or more'per slice.
But what slices. Towering,
magnificent triumphs of indulgence. The kind of place that
inspires people who correlate
eating habits to morality to use
the word "decadent". And that
inspires the rest of us simply to
eat. Twinings Earl Grey tea and
alcoholic beverages are also
available, lest drink be forgotten. The chocolate orange cake
at $4.75 a piece is one thing I
would not mind paying twice the
price for (God, I hope the proprietors don't read this...). And a
really kooky thing about the place
is the way the ladies' can is ensconced behind a round cement-
block wall that looks like a massive pillar. Architects on drugs,
Part Ten! Check it out, it rules. c
Have that maga
zine from CiTR
hand-delivered to
your front door,
place of business
or liposuction
clinic. Don't ask
us why, just do it.
Twelve month
subscriptions are
$15 in Canada,
$15 (US) to the
United States,
and $24 else
Make cheques or
money orders
payable to Dis
corder Magazine.
The address is:
SUB Rm 233,
UBC, Vancouver
B.C., V6T 2A5.
Shindig, CITR's annual
battle-of-the-bands, will be starting up again Monday, 2 October,
at the Railway Club, and yes, we
are looking for more bands. Just
send your demo (two or more
songs), with a contact name and
phone number, and bio if you'd
like, to CiTR, attention "Shindig." If you have any questions,
call the station (228-3017) and
ask for Lane or Linda. Preference will be given to bands which
haven't entered before, but beyond that, there aren't any restrictions that I know of.
Speaking of demos,
when sending them in for airplay
and/or review, please make sure
that cassettes are clearly marked
with the band's name and aphone
number. Any background info is
always helpful, and please make
sure you don't send us a master
copy, since wecan'treturn tapes.
In the world of local band
lineup changes, She still hasn't
settled on a new singer, and the
Fab Mavericks, besides considering a new name to go with their
new sound, are looking for a bass
player and drummer. And who
could be a better addition to Dave
Gregg's Groovaholics than
Stephen Hamm (on bass, of
course)? I think Ron Allen (of
the Scramblers) used to play
bass for them, although with that
wig it was hard to tell.
And now for October's
demo crop:
Ulterior Motive-"The Devil
Likes Me." An appropriately
grungy recording from a Montreal band who, from 1978-81,
provided inspiration for future
members of Deja Voodoo and
Terminal Sunglasses. The bassist and drummer went on to play
with Three O'Clock Train, but
now Ulterior Motive is making a
comeback with this two-song
demo, touted by Gerard Van Herk
of Deja Voodoo himself as "The
Cramps with David Byrne singing and better songs." Well, I
wouldn't go that far.... Don't be
surprised if this three-piece
shows up somewhere in Og
Records' catalogue soon.
Umbra-"Jism Queen." Well,
what can I say about such a
charmingly titled ditty with vocals by Scott (son of Bob) Crane?
Not much. The vocals and various doom sounds that make you
think your ghetto blaster's batteries are running down are sort
of haphazardly linked to some
noodle-y guitar. And the band, I
think, is from somewhere near
Route 666-"King Shit." This is
the first I've heard of this local
band (not including seeing their
sucker on Paul McKenzie's
Ariel, which has got to mean
something). This is hard rocking, angry stuff, with the main
lyric being, "I wanna know who
diedandmadeyouKingSh.it." If
someone told me this was all in
fun I'd say they're something
like Ogre (tighter, of course), but
I guess I'll have to see them play
somewhere first. The singer's
delivery is sometimes quite a bit
like Paul McK's (of the Enigmas, and TT Racer), coinciden-
tally enough.
Love in the Asylum-"Another
Minor Affair." All the way
from Ireland, this demo is really
clearly recorded, quiet, gentle
pop in the tradition of bands like
Aztec Camera. Now the question is, how did it find its way to
Horizon." A young band from
White Rock, together for only a
few months, sent us this. I think
the songs here are supposed to
have the ambience of the Smiths
or early Cure but the 4-track
hasn't really risen to the challenge. A well-intentioned first
Back Beat-"20 Years Ago."
(And anote says to file this under
"Protest Hip Hop.") Yes, this is
an example of home taping trying
to kill the music business, or at
least that part of it that's feeding
us nothing but "Classic Rock."
As if the first line of "Sergeant
Pepper" over and over (and over!)
with bits of the Guess Who and
Tom Jones don't make things
clear enough, there's a squeaky
voice saying "I'm so sick of the
sixties." Well sure, but for God's
sake, let's not get into seventies
worship here! Nicely recorded
and a bit of fun.
Fab Mavericks-"Snake
Charmer." At first I thought I
had the wrong tape here - after
all, the Fab Mavericks used to
have quite adifferent sound. This
is a sophisticated recording (done
at Rad Studios, with producer
Bill Chapman), with violins and
backwards-sounding stuff and a
female vocalist all contributing
to this venture into psychedelia.
With their new format (male and
female singers), and looking for
a new rhythm section, the Fab
Mavericks are probably going to
get themselves a new name too.
A good start for what is, basically, a new band.
LY to
September 29 / 30
from Hollywood, California
October 6/7
October 13/14
October 20/21
From San Francisco
October 27/28
ORS OPEN 9:30 FRI., 10:3'
From the famous siren to th<
mous B8C World Service, wc
the CiTR Morning Show. It's
weather, entertainment reports, and
Alberta hog prices.
tunch goes down better with The Afternoon Report.   Tune in for no frills news.
Experimental Radio, with Vision! Featuring environmental sounds, found noises,
information/propoganda and the worlds
primitive and experimental musics from
the auditory fringe. live. too. Contribu-
CiTR's in-depth current affairs/news
magazine show. Coverage and analysis of the days news and sports, a complete weather report, movie reviews, and
reports on events here at UBC. And we
promise, no traffic reports.
Trini topez. Ronnie Self, and The Phantom all love you. Marc Coulevin brings
Rock 'rf Roll to its roots. Note the really
new time slot. Just for you. Claude.
The latest in dance music from the African sub-continent plus/minusafew oldie
Garnet doesn't give a shit and neither
should you.
See Monday for details.
it? A series of pilot episodes for you to
evaluate. Topics for September include
underground comics. Carmanah Valley, and a took at those currently poison-
Brayshaw. Audience participation wel-
Join the Riverdale Gang each week for
fun and frivolity! Pep up! Tune in! Turn to
Betty's own column on page 18!!
With Pete Lutwych.
'; ~
. - *
PBBB 1 •
Hootenanny Saturday Night on Thursday
night. Get it? If not. we wouldn'a want ye
Broadcast live from the Pit Pub in the
basement of SUB. it's 1
The newest additions to the CiTR playlist
as well as the tortured ramblings of any
musicians that fall into the tar pit. Facilitated by MD Chris Buchanan.
The latest info on local bands and strictly
Canadian tunes, along with the hottest
The big mouth is back, bigger and mouth-
Usten to the thoughts and music of B.C.
folk artists with Barb Waldern.
)   Short
Wynton Kelly and others. This outstanding soul and r&b player could stand with
the best of them in a Jazz setting.
Rebroadcast of Wednesday's 5:30 pro-
See Monday for details.
i. Still dedicated to
Join Ed, Peter, and John for a real live
band in your livingroom. automobile or
Hours of regurgitated rock n' roll snipped
and glued by your favourite artists. You
must team. DJs: Darren Rerter. Pat Mul-
Wake up to Schoenberg. Varese, Berio.
Carter. Scebi, Xenakis. Schafer, Cage,
Webern - Artistic Evel Knievels all. Nou-
veau post-modern instrumental compositions in a classical vein.
Reggae. Rock Steody and Ska with
George Barrett. Dance Hall Music!
Every Sunday, join Lochlan Murray and
Kevin Rea for the best of blues, rhythm
ft Fea-
Gavin Walker.
4th   'Miles Smiles" (1966).    Miles Davis
leading WayneShorter.Herbie Hancock.
Ron Carter and Tony Williams. One of his
best recording dates.
11th "Free for All". Just when everyone
Hubbard, Curtis I
18th "Trio Music/Live in Europe is on tap
tonight. Requests for repeat of one of
ChickCoreasgreat albums with Miroslav
Vitous and Roy Haynes. The CD version.
25th 'Jackie's Bag". One of alto saxophonist Jackie McLean's highlights. Three
rangements and compositions by
McLean and legendary tenorist Tina
Brooks plus Blue Mitchell on trumpet...
100% Cana-
Manhattan flavoured Clam Chowder-
and Cleo Von Fluffetetein!
IN REVIEW 5:30-6:00PM
A look at what's happened over the la;
week. A grab bag of sorts
Radio to record over. Tapein.turnon.n.
Independent music from around the
Steve Edge hosts Vancouver's biggest
and best acoustic/roots/rogue folk mu-
CiTR! UK Soccer Report at 11:30.
7th What the Hell is Rogue Folk, Part One
14th England's House Band
28th W
ie Hell is Rogue Folk. Part Two
2:30-3:30PM AND 4:00-5:OOPM
Found sounds, tape loops, compositions
of organized and unorganized auralrfy.
Feminist news and analysis and music
made by women for everybody. Alternates Sundays with...
u%. interviews, political
global cultures of resis-
>y Horacio de la Cueva.
Alternates Sundays with Just Like Women.
Join host Dave Emory for some extraordinary political research guaranteed to
make you think twice. Bring your tape
deck and two C-90's. Originally broad-
Fourtimes each day. hear the rundown
on the latest events, lectures, gigs, and
funthingsoccuring here or
cer site. All in an entertaining package
Several times a day. listings are read out
for all the hip happenings here in the city
of rain. Concerts and c lubs. theatre, film
CiTR provides free airtime for Community Access by community groups and
individuals. If you or your group would
like to say something to someone somewhere, please give the Program Director
a phone call at 228-3017. Thank you.
Join the crack CiTR Sports Unit for play-
by-play coverage of a mess o varsity
sportsbothonthecampusandoff. Over
forty to be exact, from soccerto football
to ice hockey to basketball. Find out the
reason why the-TR-is in CiTR. Upcoming
games carried by CiTR whteh will preempt regular CiTR programming:
8th  11:00 Sunday        AT University of
ARTS CAFE 5:30-6:00 PM
In-depth arts analysis and general miscellany of commentary on the local arts
Vancouver's only true
the underground spe<
metal:  local demo tapes, imports ai
other rarities.   Gerald Rattlehead ai
Metal Ron do the damage
IN EFFECT 3:00-5:00PM
The Hip Hop Beat brought to you by N
■straight from the Island.
Brought to you by your friends from Eating Vomit.
Improvisation in many forms. Mixes that
don't work but had to be tried. Requests
that neverget played. Welcome to late
■     ">. With Adam f
21st   1:00 Saturday    AT University of
28th 1:00 Saturday versus University of
27th  7:30 Friday     versus University of
4th  7:30 Buchanan Classic at Simon
17th 8:00 AT University of Victoria
18th 8:00 AT University of Victoria
it 7:30 Tuesday    AT Simon Fraser
wjmm ®mmmm
CiTRwantsyouto become involved with
your friendly UBC Radio Station which
broadcaststo the campus and beyond.
Opportunities abound! Wheeeel Programming, producing, editing, writing,
engineering, operating, announcing,
hosting, etc etc etc. Come by the studios during normal office hours. They're
located in Room #233 on the second
floor of the Student Union Building.  Or
igtw,'    *323§
\Jffk   Wm'l      ^WS
featuring: Dave Allen (Gang of Four), Steve Halliwell (Shriekback), and
Dominique Miller (World Party)
with guests
Turtle Theatre Company presents Confessions of a MaleStripper from the Fringe
Festival at R.J. Christie's Cabaret (9pm.
$10).. .Tom Cone's Love at Last Sight at the
Waterfront (2pm)...Metropolitan Gas Theatre Company presents Laughing Wild at
the Station Street Arts Centre (2pm)...Adelphi
Screamers presents Lady Audley's Secret
Easl Cultural Centre...Six Palm Trees and
Showing Size from Ihe Fringe Festival al
the Firehall Arls Centre (8pm)...
2 MON The dinosaur is backl Shindig
'89 opens at the Railway Club with three
day nighl...Jazz broadcast live from the Pit
Pub on CiTR (9pm)...Sunset Boulevard in
the SUB Theatre (7pm 8 9:30pm)...Lady
Audley's Secret al Ihe Vancouver East Cultural Centre...Six Palm Trees and Showing
Sire at the Firehall Arts Centre...
3 TUE The Blinds and The Fault at the
Railway Club.Willie & the Walkers at the
Yale...Pride & Prejudice in the SUB Theatre (749:30)...Thornton Wilder'sOur Town
at Studio 58 (8pm)...Uughing Wild at Station Street Arts Centre (8:30pm)...Six Palm
Trees and Showing Size at the Firehall Arts
Centre (8pm)...
4 WED Cheating & Hurting from Ed-
Walkers al Ihe Yale...Dance music in Ihe Pit
Pub by CiTR...Our Town continues at Studio 58 (8pm)...Laughing Wild at Station
Street ArtsCentre (830pm)...Six Palm Trees
and Showing Size at the Firehall Arts Centre
(8pm)...David Cronenberg series with Stereo (7pm) & Crimes of the Future (9:30pm)
at Cinema 16...
5 THU SaturdayAlternoonJazzwiththe
Paul Fisher Quartet at the Railway Club (3-
7pm)...Cheating & Hurting at the Railway
C!'jb...Willie& the Walkersatthe Yale. That
CiTR sound mixed in the Pit Pub by your
friends at CiTR...Our Town continues at
Studio 58 (8pm)...Laughing Wild at Station
Street ArtsCentre (830pm)...Six PalmTrees
and Showing Size atthe Firehall Arts Centre
(8pm)...A reading by Mavis Gallant at Simon Fraser University Harbour Centre (7pm,
6 FRI CiTR presents Enigma recording
artists Mojo Nixon ft Skid Roper at the
Town Pump...Sarcastic Mannequins at the
Arts Club...Vancouver New Music presents
The Man Who Mistook his Wife for a Hat.
brand new chamber music opera by British
Composer Michael Nyman, at the Vancouver East Cultural Centre (8pm. $18 general.
$12 students)...Cheating & Hurting at the
Railway Club...WiMe & the Walkers at the
Yale.. Allen Ginsberg and Gregory Corso
at the Italian Cultural Centre..Tropical Fever Irom Trinidad and Phase 3 Steel Band
at the Commodore Ballroom...Our Town
continues at Studio 58 (8pm)...Laughing
Wild at Station Street Arts Centre
(8:30pm)...Six Palm Trees and Showing
Size at the Firehall Arts Centre (8pm)...
7 SAT   Sarcastic Mannequins at the
way Club. .Our Town c
(8pm)...The Man Who
a Hat continues at the Vancouver East Cultural Centre...Laughing Wild closes at Station Street Arts Centre (8:30pm)...Six Palm
Trees and Showing Size at the Firehall Arts
Centre (2pm & 8pm)...
8 SUN No Fun at the Railway Club ...UK
Subs, Curious George & Lost Generation
at Club Soda...Our Town continues at Studio 58 (3 S Spm)...Six Palm Trees and
Showing Size closes at the Firehall Arts
Centre (2pmS 8pm)...Musicspunby CiTR in
9 MON Shindig'89 at the Railway Club
...Legendary   reggae  superstars   Eek-a-
10 TUE Allen Dobb & Dumela at the
Railway Club...Picnic at Hanging Rock in
the SUB Theatre (7 & 930)...Our Town continues at Studio 58 (8pm)...The Man Who
11 WED MCA recording artsts The
Swans at the Town Pump...Garbo'a Hat at
th ; Grunt Gallery (8-11pm, $3)...Something
Savage at the Railway Club...Tunes in the
Pit Pub as spun by CiTR...Our Town continues al Studio 58 (8pm)...8ergman on Relate: •: -'lps. serieswithWildStrawberries(7pm
& 930pm) at Cinema 16...
12 THU Flamenco Heresy at the Rail
way Club...CiTR's friendly dj's spin tunes
just for you in the Pit Pub...Our Town continues at Studio 58 (8pm)...
13 FRI Tragic Mulatto at the Arts
Club.Flamemco Heresy at the Railway
Club...Fend Players' production ol Manual
Pukj's Kiss of the Spider Woman opens al
Station Street Arts Centre...Our Town continues at Studio 58 (Spm)...The Man Who
14 SAT   Pro-Choice National Day
Action: assemble at 1 lam at Queen Eliz
beth Theatre, rally at 1pm at Suns
Beach...Tragic Mulatto at the Arts
Club...Saturday Afternoon Jazz with Colleen Savage at the  Railway Club  (3-
T.T. Racer at the Railway Club...From New
York City, Henry Butler gives a solo performance at the Vancouver Community
College (8pm)...Megaforce recording artists
Testament at the Paramount...The House
Band from England and Split Shift at The
WISE Hall (8:30pm, $9).. Kissof the Spider
Woman continues at Station Street Arts
Centre...Our Town continues at Studio 58
(8pm)...The Man Who Mistook his Wife tor
a Hat ends at the Vancouver East Cultural
Centre (8pm, $18 general, $12 students)...
15 SUN
s Gruesomes In
lo at Club Soda. The
Jim Hall Quartet at the Arts Club Theatre
Granville Island (8pm)...CiTR plays music in
the Pit Pub Irom 8:30...Masterpiece, chamber music from the VSO, at the Vancouver
East Cultural Centre (2:30 & 8pm. $11 gen
eral, $9 students)...Kiss of the Spider
Woman continues at Station Street Arts
Itch in the SUB Tt
17 TUE Feathered Pensatthe Railway
Club...Preview ol Bruce Myer's two person
play Oubbuk at the Vancouver East Cultural
Centre (8:30pm. $8)... A Passage to India in
the SUB Theatre (12:40 & 7:30)...Our Town
continues at Studio 58 (8pm)...
18 WED CiTR presents Oliver de Co-
que and his 18 piece band from Nigeria at
theCommodore Ballroom ($12.50)...Eugene
Ripper's Fast Folk Underground at the
Arts Club.Bruce A. & the Secular At-
avists at the Railway Club...Hot Wednesdays in the Pit Pub...George Brenton's play
Bloody Poetry opens at the Freddy Wood
Theatre (8pm)...Dubbuk opens at the Vancouver East Cultural Centre (8:30pm.
$8)...Our Town continues at Studio 58
(8pm)...The Jean Cocteau Centenary: The
Eagle with Two Heads (7:30pm) & Judex
(9:20pm) at Pacific Cinematheque...Kurosawa Epics series with Kagamusha (Spm)
19 THU BruceA.&theSecularAtavists
at the Railway Club.Orville Johnson and
Stacy Phillips perform the Dobro, a hybrid
The WISE Hall (8:30pm, $7)...Cool Thursdays in the Pit Pub...Tenor Ben Heppner
and pianist Rena Sharon at the UBC Recital
Hall (8pm, $10)...Bloody Poetry continues
at the Freddy Wood Theatre (8pm)...Dubbuk
continues at the Vancouver East Cultural
Centre (8:30pm, $12)...Our Town continues
at Studio 58 (8pm)...The Eagle with Two
Heads (730pm) & Judex (9:20pm) at Pacific Cinematheque...
20 FRI Mr. T Experience & Chris
Houston at the Arts Club.Mike Jacobs
Band at the Railway Club...Bloody Poetry
continues at the Freddy Wood Theatre
(8pm)...Dubbuk continues at the Vancouver
East Cultural Centre (8:30pm, $14)...Our
Town continues at Studio 58 (8 pm)...Milan
Kundera double bill with The Joke (7:30pm)
& The Unbearable Lightness of Being
(9:00pm) at Pacific Cinematheque..
21   SAT   Mr. T I
Houston at the Ans Club...Saturday Afternoon Jazz with A Touch of Blue at the
Railway Club (3-7pm)...Mike Jacobs Band
at the Railway Club..Marilyn Crispell at the
Glass Slipper (Spm, $12).. Bloody Poetry
continues at the Freddy Wood Theatre
(8pm)...Dubbuk continues at the Vancouver
East Cultural Centre (8:30pm. $14)...Our
Town continues at Studio 58 (8pm)...The
Joke (7:3Cpm) & The Unbearable Lightness of Being (9:00pm) at Pacific Cine-
Money Writing" with Donna Li
Anne Garber, Scott Mowbray &
Brissenden (Arts Club. 9am); "Family Program" with Pierre Berton & Monica Hughes
(Waterfront, 10am), Ellen Bryan Obed S
Paul Yee (11am); Sarah Ellis «. Rikki Ducor-
net (2pm); "Forum: Are Canadians Racist?"
with Lee Maracle, Neil Bissoondath. Paul
Frances Wasserlein (Arts Club, 1:30pm);
"The Antipodes come to Canada" with Thomas Keneally, Wrti IhimaeraS Spider Robinson (Waterfront. 3:30); "Literary Cabaret"
with Sal Ferreras et al (Festival Centre,
8:30pm)...T.T.Raceratthe Arts Club... Saturday Afternoon Jazz with New Happy Jazz
Band at the Railway Club (3-7pm)...The
Cranium Miners with Sandy Scofield at the
Railway Club...Bloody Poetry closes at the
Freddy Wood Theatre (8pm)...Dubbuk
closes at the Vancouver East Cultural Centre
(8:30pm. $14)...
29 SUN  Vancouver Writers Festival
concludes on Granville Island: "In Honour of
Robert Harlow" with Robert Harlow (Festival
Centre. 11:30am); "Six in the Spotlight" with
Neil Bissoondath. Barry Callaghan. Rikki
Ducornet, Eric McCormack, AndreasSchroe-
der & Leslie Hall Pinder (Arts Club, 1:30pm);
"Borrowed Black in Performance" repeat
(Festival Tent, 1:30pm); "Dual Solituds" with
Shimon Levy & Norman Browning (Arts Club,
3:30pm); "The Duthie Lecture" with Morde-
cai Richler (Arts Club. 7:30pm)...7 Seconds
« Nice Strong Arm at Club Soda... Croon-
toons at the Railway Club...Music in the Pit
Pub...Gabriel Yacoub from France and
Brenda Baker at the WISE Hall (8:30pm,
$8)...Masterpiece, BaroqueBrilliance, atthe
Vancouver E astCultural Centre (230& Spm,
I: "Howlo Make        $9)...Cool Thursdays in the Pit Pub...
- ' -a Hawley.
22 SUN CiTR pr
artists Timbuk 3 at the Town Pump...Mr. T
Experience & Route 666 at Club
Soda...English guitarist Bert Jansch at the
Vancouver East Cultural Centre (Spm,
at the Railway Club...The
._ Trio featuring Maggie
Nichols at the Glass Slipper (8pm, $12).. .CiTR
spins records and stufl in the Pit Pub...Bert
Jansch al the Vancouver East Cultural
Centre (Spm, $12) Bloody Poetry continues at the Freddy Wood Theatre
(8pm)...Quebec Cinema in the 80's series
with Sonatine (7:30pm) 4 Marie Sen Va
Ten   Ville   (9:15pm)   at   Pacific   Cine-
a. Eva
men Rodriguez (Waterfron,
10am); Bharati Mukherjee at the Freddy
Lunchtime" with Eric McCormack & David
McFadden (Arts Club, noon); "Borrowed
Black in Performance" repeat (Festival Tent.
d Work
>n Other V
23 MON Shindig '89 at the Railway
Club.The Irene Schweizer Trio at the Glass
Slipper (8pm,$12)... Thu nderballatlheSUB
Theatre.Bloody Poetry continues at the
Freddy Wood Theatre (8pm). ..TheCiTR Jazz
Show broadcast live Iromthe Pit Pub ...Dub-
buk continues at the Vancouver East Cultural Centre (8:30pm. $12)...
24 TUE F.Y.F. at the Railway Club...The
Kinsey Report at the Town Pump (8pm,
$10)...Marilyn Crispell at the Glass Slipper
(8pm)...Bloody Poetry continues at the
Freddy Wood Theatre (8pm)...Dubbuk continues at the Vancouver East Cultural Centre
(8:30pm. $12)...Comedian Steven Wright
at the Orpheum (8pm)...
25 WED Vancouver Writers Festival
opens on Granville Island: "Women with
Murderous Intent" with E.X. Giroux, Elizabeth George & Neil Boyd (Arts Club, 10am);
"Speaking Out in Troubled Times" with Clifton
Joseph, Jaan Kaplinski, Shimon Levy. Lee
Maracle, & Andreas Schroeder (Waterfront,
10am);"Roominations"with Sarah Ellis & Bill
Richardson (Arts Club, noon); "Borrowed
Black in Performance" with Elysian Theatre
Student Company (Festival Tent, noon);
Terry Pratchett (Waterfront, noon); "Science
Fiction: New Writing" with Spider & Jeanne
Robinson (Arts Club, 2pm); "Small People
and Secret Worlds" with Terry Pratchett &
Pierre Berton (Festival Tent, 2pm); "Murder
Mysteries: Fact or Fiction?' with Leslie Hall
Pinder, E.X.Giroux & Elizabeth George
(Festival Tent, 4:30pm); "We'll '■"
Brenda Berck (Arts Club, 2pm); "You Speak
My Language I" with Nicholas Woo, Clifton
Joseph & Nelson & Carmen Rodriguez
(Festival Tent, 2pm); "Women Speak Out"
withSusan Crean, Leslie Hall Pinder, Paulette
Jiles& Sharon Riis (Waterfront, 2pm);"Radio
Drama, Live" repeat (Festival Tent. 4:30pm);
"Today's Readers, Tomorrow's Writers" with
Monica Hughes, Sarah Ellis, Ellen Bryan
Obed, Brenda Berck (Waterfront, 4:30pm);
"Back to Back" with Andreas Schroeder,
Callaghan (Festival Tent. 8pm)...LeaGoodman After Dark at the RailwayClub.Bloody
Poetry continues at the Freddy Wood Theatre (8pm)...CiTR spins the tunes in the Pit
Pub...Dubbuk continues at the Vancouver
East Cultural Centre (8:30pm, $12)...Les
Parents TerriWes (7390pm) & Erendira
(9:30pm) at Pacific Cinematheque...
27  FRI    Vancouver Writers Festival
d, 10am)
Innes, Gary Ross & ConsU
(Waterfront, 4:30pm); "Deux Pierres" with
Pierre Berton & Peter Ustinov (Festival Tent,
Spm)...F.Y.F. at the Railway Club...Marilyn
Crispell at the Glass Slipper (8pm)...Bloody
Poetry continues at the Freddy Wood Theatre (8pm)...Dubbuk continues at the Vancouver East Cultural Centre (5:30 matinee &
8:30pm, $8)...CiTR spins the tunes in the Pit
Pub..The Jean Cocteau Centenary with Les
Parents Terribles (730pm) & Erendira
(9:30pm) at PacificCinema-theque...Stanley
Kubrick series with A Clockwork Orange
(7pm & 930pm) at Cinema 16...
26 THU   Vancouver Writers Festival
continues on Granville Island:   "Surviving
Th rough Wri1ing"wi1h Victor Malarek& Evelyn
Malarek (Festival Tent, 9:30am); "It Doesn't
Have to Rhyme" with Sam Hamill, Marilyn
Bowering, Paulette Jiles & Joe Rosenblatt
(Waterfront, 10am);"lt'sNevertoo Late" with
Ernst Havemann, Marion McNaught & Bruce
Lowther (Arts Club, noon); "Borrowed Black
in Performance" repeat (Festival Tent, noon);
■Beneath the Surface ol Reality: Two Views"
with Rikki Ducornet & Eric McCormack (Waterfront, noon); "Creative Documentary with
Neil Boyd, Susan Crean, Gary Ross & Victor
Malarek (Arts Club, 2pm); "You Speak My
Language II" with Lindsay Beyerstein, Paul
Yee& Carmen & Nelson Rodriguez (Festival
Tent. 2pm); "The Same Sea in Us All" with
in Kaplinski,
Marilyn Bowering, Rikki Ducornet, David
McFadden, Barry Callaghan, Andreas
Schroeder, Evelyn Lau, Joe Rosenblatt &
W.D. Valgardson (Festival Centre,
8:30pm)...T.T. Racer at the Arts Club...The
Cranium Miners with Sandy Scofield at the
Railway Club.Richard Seguin Band at the
Commodore Ballroom.. Bloody Poetry
continues at the Freddy Wood Theatre
(8pm)...Dubbuk continues at the Vancouver
East Cultural Centre (8:30pm, $14)...Roman
in the Gloamin' with Repulsion (7:30pm) &
Cul-de-Sac   (9:30pm)   at   Pacific  Cine-
le SUB Theatre...The Ja
31 TUE Chrysalis recording artists The
Waterboya at the Commodore
Ballroom...Special Halloween Bash at the
Railway Club. The Rocky Horror Picture
Show atthe SUBTheatre... Slaughterhouse
Five & Glenn Gould-Off the Record
(7:30pm) at Pacific Cinematheque...
NOVEMBER 1 WED Garnet Rogers at the WISE Hall (8:30pm. ($12)...David
Cronenberg series with Rabid (7pm &
930pm) at Cinema 16...Hot Wednesdays in
the Pit Pub...
3 THU Headlines Theatre presents the
return of Sanctuary, forum theatre bringing
empowerment to the popular theatre experience, at the Vancouver East Cultural Centre
(Spm, $8general,$6students)...Cool Thursdays in the Pit Pub...
4 SAT Pro-Choice benefit for the Ev-
erywoman'a Health Centre featuring po-
(for info, call 732-5087)...Sanctuary closes
at the Vancouver East Cultural Centre (Spm.
$8 general, $6 students)...PolyGram dis-
ing artist Bob Mould at the Town Pump
(Don't forget CiTR is boycotting all PolyGram artists so don't go unless you can get
in free, and don't buy their records unless
you can be sure that your money is not going
into lining PolyGram's pockets...check out
page 6 for more details)...Orford String
Quartet in the UBC Recital Hall (Spm, $10)...
You Serious Music hosl
Melissa Hui & Matthew Rogalsky with guest
pianist Orierta Bovenschen (8pm, $12 general, $8.50 students)...Music in the Pit
Pub...Glenn Gould on Film series with The
Terminal Man 4 Glenn Gould-Off the Record (730pm) at Pacific Cinematheque...
6 MON The Terminal Man & Glenn
Gould-Off the Record (7:30pm) at Pacific
Cinematheque...Lavendar Hill Mob at SUB
Theatre (7pm & 9:30pm)..The Jazz Show
broadcast Irom the Pit Pub...
7 TUE   The M
state's one and only klezmer band, at the
Vancouver East Cultural Centre (8pm. $12)...
8 WED Bergman on Relationships series with From the Life of the Marionettes
(7pm& 9:30pm) atCinema 16.. .Hot Wednesdays in the Pit Pub...
12 SUN GlennGouldon Film Series with
The Wars & Spheres (7:30pm) at Pacific
Cinematheque...Music in the Pit Pub...
13 MON The Wars* Spheres(730pm)at
PacificCinematheque...The African Queen
at SUB Theatre (7pm& 9:30pm)...Kurosawa
Epics series with San jur o (7pm & 930pm) at
Cinema 16...The Jazz Show broadcast live
from the Pit Pub...
16 THU Sun Rhythm Section with The
Dots at the Commodore Ballroom...Cool
Thursdays in the Pit Pub...   .
17 FRI   Sun Rhythm Section with The
Commodore Ballroc
ARTSCLUB 1181 Seymour Street 683-
Mall. UBC 228-2746
CINEMA 16 SUB Theatre
CLASSICAL JOINT    231  Carrall Street,
Gastown 6894667
CLUB SODA 1055 Homer Street 6814202
Mall   681-7838
86 STREET MUSIC HALL in the god forsaken Socred Centre, Expo Site 683-8687
FAIRVIEW PUB 898 West Broadway 872-
Road, U.B.C. 228-2678
GALLERY LOUNGE Main Floor, Student
Union Building, 6138 SUB Boulevard, UBC
GLASS SUPPER 185 East 11th Avenue
GRACELAND back alley 1250 Richards
Street 688-2648
GRUNTGALLERY 209East6th 875-9516
HERITAGE HALL 3102 Main Street 879-
4816 '
can Street (12th and Nanaimo)
LA QUENA COFFEE HOUSE 1111 Commercial Drive 251-6626
Street 688-3456
PIT PUB Basement of the Student Union
Building. 6138 SUB Boulevard, UBC
RAILWAY CLUB 579 Dunsmuir Street at
Seymour 681-1625
RECITAL HALL   UBC School of Music.
6361 Memorial Road, UBC 228-3113
RIDGE THEATRE 3131 Arbutus Street at
16th 738-6311
RJ CHRISTIE'S 315 East Broadway 876-
Station Street 688-3312
SUB THEATRE Main Floor of SUB 228-
TOWN PUMP 66 Water Street. Gastown
VANCOUVER EAST CINEMA 2290 Commercial at 7th   253-5455
1895 Venables Street 254-9578
W.I.S.E. CLUB HALL 1882 Adanac  736-
THE YALE 1300 Granville at Drake 681-
The listings in Discorder Datebook do
not cost a single stinking dime. Listings will be printed based on available
space. If you would like your listings
included in this here page, just submit
any and all details to Discorder Date-
book, C/O Discorder Magazine, 6138
SUB Boulevard, UBC, Vancouver, BC
V6T2A5. Oh, by the way, if you would
like your announcement read out on
CiTR 101.9 fM, send your stuff to the
above address too. £Ve/5y   Monday/
18 UPt COMWf^WDSVIcf^...
ion f M
r faoscseoora


Citation Scheme:


Citations by CSL (citeproc-js)

Usage Statistics



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"
                            async >
IIIF logo Our image viewer uses the IIIF 2.0 standard. To load this item in other compatible viewers, use this url:


Related Items