:-^^5«^-'V.:::-':::V:"' : • * ffi^ tttffi *^ **^ti . CO NTENTS OCTOBEFM989 Issue #81 TOUGH ASNAILS Our own Rob Boperon atirade against tyranny 6 COSEY FANNI TUTTI It's mostly just her talking, eh? - by Lloyd Uliana 8 NEVER MIND THE SEX PISTOLS - HERE'S KINO The '89 film fest as seen through a bunch of famous eyes - by Marek 10 IN A WORLD OF MUSIC What would it be like in vour world without music? 12 THE NIGHT OUT Earl drives Bobby, Sean, Dick, Johnny, and Ken around - by The Man Sherbet 16 CURRIER BROAD "What a summer, I tell ya, BRUTAL!" - by G. Paula Raffe 22 THE CiTR SURVEY Rip it out, fill it in, drop it off, go back home 23 AIRHEAD On a steel horse he rides / And he's wanted...dead or alive 5 REAL LIVE ACTION E1D, Swagmen, Tin God, Bad Brains and more - here's what you missed 13 BEAT MIX George Clinton, Ice-T, and a bunch of records - by DJ Micky Hard 14 RAG BAG Gettin' poked by 9 needles at once - by Betty Cooper 18 UNDER REVIEW Camper Van Beethoven, Hoodoo Gurus, Curious George: we listen to records 20 HELL'S KITCHEN Viola chows down around town 25 LOCAL MOTION HEY! Let's get Janis...she listens to everything! 26 ON THE DIAL It's like TV Guide, but it's for the radio 28 DISCORDER DATEBOOK What's on, what's hot, what's hip and what isnt 30 FOR OFF CE USE ONLY 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 GUIDE Randy Iwata ADVERTISING MANAGER Mike Harding ADVERTISING PRODUCTION Bill Baker SUBSCRIPTIONS / MAIL DISTRIBUTION Robynn Iwata PROGRAM GUIDE/DATEBOOK DUDE Randy Iwata ACCOUNTS BULLY Barb Wilson 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 $24 elsewhere. Please make cheques or money orders payable to Discorder Magazine. "Of all the literary scenes / Saddest this sight to me:/ The graves of little magazines / Who died to make verse free." -Preston. Discorder wants your stuff: send in stories, drawings, lies, photos or what have you. If we like 'em, well use 'em. If we don't, we'll lose 'em. CiTR 101.9 fM is 1800 watts of stereophonic bliss on cable fM from UBC to Langley, Squamish to Point Roberts, USA, but not on Shaw Cable in White Rock (bug them about it- write letters). CiTR is no w available on most clock radios and in cars too. Office hours for CiTR, Discorder, and CiTR Mobile Sound Rental are Mon-Fri, 10am - 4pm (please avoid Friday afternoons) Call the CiTR/Discorder Office at 228-3017, CiTR News+Sports at 224- 4320, or the CiTR DJ line at 228-CiTR. Send stuff c/o Discorder Magazine or CiTR Radio to Room 233, 6138 SUB Boulevard, Vancouver, BC, V6T 2A5. Fax (604) 228-6093. (J(yi$KeoMs *m 3I7A CAMBIE5F VMCOUVER, SLC S-IM3 F0K TH& M0HW- OF OCTOBER ,. ON THer ' SUP-FOP LA3BU OCTOBER 3 TIMBRE presents CiTK MOJO A SKID NIXON * ROPER FRIDAY OCT 6 withgues,s,romAustin'Texas TOWN PUMPEvanJohnsant,,heWombs NOVEMBER 5 PRESENTS 86 STREET MUSIC HALL TICKETS:at all j—®--» locations as well as TRACK, ZULU, BLACK SWAN and HIGHLIFE Records. CHARGE BY PHONE 280-4444 HEAVY METAL GURU 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. YA! WHY BOTHER? 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- Faithfully, 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. SERIOUS PUBLIC SERVICE? 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 Vancouver 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 ...UM, LIKE, STRAIGHT ARROW DISCORDER! 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, right? 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? Sincerely, 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. Mobile 5°und ^ Rental PHONE: 228-3017 tttl R. E. M. iGliVflLN.R.B.Q. SATURDAY OCTOBER 14, 7:30 PM RN.E. COLISEUM TICKETS AVAILABLE AT THE COLISEUM BOX OFFICE, ALL TICKETMASTER OUTLETS OR CHARGE BY PHONE 280-4444 FALL OCTOBER 5 ASNAILS 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) Brrrrrrrringggggggggggggg. (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 oil.) "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." (Pause) "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 'n'?" "Um..." "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." "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- legepinkofaggothip- 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 guidelines: 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 in). 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 purpose. 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 Ink." "Ya, uh, hi. It's Rob Boper from CiTR Radio calling for Tom Asnail. Could I please speak with him?" "Just une momento, monsewer." (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 Click. &* vO> xenfrKA AFTER HOURS ban FRI/SAT IS-5 ajfe a.V<ul*l>le for privtttt, pasiLu, AtsrJmffVS, 6X4-3322 1108 kamUlait duti GETTIN' NOSEY WITH OOSEY 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. COSEY: 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. 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 categories: 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. 5. THE VANCOUVER SUN, THE PROVINCE, and THE GEORGIA STRAIGHT'S CHOICE (or 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. UBC Student Union Building Main & Lower Concourse All Ages Welcome VANCOUVER INTERNATIONAL FILM FESTIVAL THE CINEMATHEQUE HOLLYWOOD THEATRE PARADISE CINEMA RIDGE THEATRE VANCOUVER EAST CINEMA Sept. 29-Oct 15 INFO: 685-8433 150 films from 40 countries CULT - IVATED MOVIES (U.S.A.) DS (U.S.A.) Sep. 30 @ Midnight, Van East 0ct.7 @ Midnight, Cinemathequi Oct. 14 @ Midnight, Cinematheqi ROAD KILL (Canadi 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 integration. 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 know. 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 load 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 Center 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 this." 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 V* ACTION W%r^ 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, "InnerCities",composedofElD 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 T-SHIRTS • 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. DO IT TO YOUR CROWD: 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 COLDCUT, MARRS, S-Ex- 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 hit. 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! 14 DISCORDER ^ ODVttEV .hipoto VANCOUVER'S ALTERNATIVE RECORD STORE - RECORDS • COMPACT DISCS • TAPES • T-SHIRTS • POSTERS -SPECIALIZING IN: UK+U.S. IMPORTS, NEW RELEASE DANCE SINGLES, ALTERNATIVE C.D.'S AND TAPES - OUR SELECTION INCLUDES: ROCK, BLUES, JAZZ, SOUL, REGGAE, WORLD, RAP, HOUSE AND NEW BEAT OPEN 7 DAYS A WEEK 534 SEYMOUR STREET BETWEEN DUNSMUIR & WEST PENDER 669-6644 WANT TO RAISE MONEY FOR YOUR TECH OR FRATERNITY? HAVE A PARTY! at CyfT# 350 Richards Street 687-5007 For More Information, Call Dale. Hollywood Types Meet One of Vancouv( THE NIG 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". rexai dodjjpftce 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 eleven.) 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 honour. 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 then? 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, huh? 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 next? 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 FOREVER. 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. 18 DISCORDF.R 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 one? 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 take? 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 that"? 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 you? D: A tattoo artist in San Francisco, my mentor... Ed Hardy... (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 chest. 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 tattooed? 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 bummer. 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 clean. 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 hours. B: How long have you been tattooing? D: I've tattooed now since 1978. 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 away. 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, right? 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 black. 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 show. D: No, I wouldn't wanna have a dog with white spots (laughs). 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 tattooing. 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 (laughs). 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 there... 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! (laughs) 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, right? 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 blood.) 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. VANCOUVER'S HOTTEST BLUES NIGHTCLUB THE BEST IN LIVE R&B EACH NIGHT 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 (RCA) 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 years. 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 (Virgin) 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 well. 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 Men. 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 packaging. 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 (SST) 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 (CBS) 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 (Columbia) 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 SomeCanadian Industrialism...and other- stuff... 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 Sampler". 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 like. 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: ZOI 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. Canada V7S2P3 Haemorrhage Cassettes P.O. Box 1504 Guelph, Ont. N1H6N9 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. JOHNtalHi &o<*y parts ma* />rops *igs HAPPY HALLOWEEN / 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 22 DISCORDER 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 maturity. 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" THE LONG-OVERDUE-BUT-BETTER-REALLY-LATE-THAN-NEVER GREAT CiTR LISTENERS' SURVEY!! NOW DUE LATER THAN EVER!!! --§-<- ~~l 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 Why? 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 I since CUR boosted its power? □ Yes QNo Please explaii -g*e-- ERCD NNDVATIVE HAIR SERVICES THE PROFESSIONALS SPECIALIZING IN: • 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. -**n Demo Tapes/Cassettes Major label artists Experimental Classical Public Service Announcements Sports Roots Drama Free-form Interviews □ 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 Blues 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 Why? L_ 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. NAME AND PHONE NUMBER: TAPE-A-MANIA 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 228-3017. 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 NICK'S SPAGHETTI HOUSE 631 Commercial Drive (beside the New York Theatre) "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. TRUE CONFECTIONS 866 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 N zine from CiTR V--r hand-delivered to your front door, u place of business or liposuction B clinic. Don't ask us why, just do it. Twelve month S subscriptions are $15 in Canada, c $15 (US) to the United States, and $24 else R where Make cheques or I money orders payable to Dis corder Magazine. B The address is: SUB Rm 233, E 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 Seattle. 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 us? AMurderofCrows-'TheDead 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 effort. 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. 26 DISCORDER IF YOU WANT TO HAVE A GOOD TIME AND YOU LIKE TO PARTY, THE ROXY IS WHERE IT'S AT!! WEDNESDAY NIGHT IS STUDENT NIGHT LY to 932 GRANVILLE 684-7699 HoFv* AT THE Railway Club OCTOBER 1989 September 29 / 30 from Hollywood, California THE MOVIE STARS and from T.O. UIC October 6/7 SARCASTIC MANNEQUINS October 13/14 TRAGIC MULATTO October 20/21 From San Francisco THE MISTER T EXPERIENCE with CHRIS HOUSTON October 27/28 TT RACER L CLUB LOUNGE 1181 SEYI 683-0151 ORS OPEN 9:30 FRI., 10:3' SORRY NO MINORS ,3AU THE MORNING SHOW 7:30-8:1 SAM From the famous siren to th< mous B8C World Service, wc the CiTR Morning Show. It's weather, entertainment reports, and Alberta hog prices. THE AFTERNOON REPORT 1:00-1:15PM tunch goes down better with The Afternoon Report. Tune in for no frills news. SOUND OF REAtlTY 3:0O-S:00PM 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- THE CiTR NEWS MAGAZINE 5:00-5:30PM 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. TOP OF THE BOPS 6:O0-7:0OPM 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 AFRICAN SHOW 8:00-9:30PM The latest in dance music from the African sub-continent plus/minusafew oldie GARNET TIMOTHY HARRY 8:10-10:00AM Garnet doesn't give a shit and neither should you. ITS Att tIES/PEST CONTROt 10:00AM- THE CiTR NEWS MAGAZINE 5:00-5:30PM See Monday for details. CONVER-RAOIO 5:30-6:00PM 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- THE BETTY & VERONICA SHOW 6:00- 7:00PM 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. ( niLOCTCLES -^^ESSEa^l 1 H '; ~ i . - * l&M i IIRhI PBBB 1 • HOOTENANNY SATURDAY NIGHT! 8:00- 10:00PM Hootenanny Saturday Night on Thursday night. Get it? If not. we wouldn'a want ye THE JAZZ IS THE PITS! 9:30PM-12:30AM Broadcast live from the Pit Pub in the basement of SUB. it's 1 THE RETURN OF NECRO-NEOFItE 1:15- 3:00PM 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. THIRTY THREE AND A THIRD 3:00-5:00PM The latest info on local bands and strictly Canadian tunes, along with the hottest ITSJUSTTALK WTTH R.J. MOORHOUSE 5:30- 6.00PM The big mouth is back, bigger and mouth- B.C.FOLK6:00-7:00PM Usten to the thoughts and music of B.C. folk artists with Barb Waldern. ezprogrc Blakey ) Short " Wynton Kelly and others. This outstanding soul and r&b player could stand with the best of them in a Jazz setting. irSJUSTTAtKWITHR.J.MOORHOUSE7:00- 7:30AM Rebroadcast of Wednesday's 5:30 pro- See Monday for details. HANFORD NUCtEAR PIZZA PIE 10:00- i. Still dedicated to tlVE FROM 10.00PM-MIDNIGHT Join Ed, Peter, and John for a real live band in your livingroom. automobile or WalkPerson. EATING VOMIT MIDNIGHT-5AM 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. THE ROCKERS SHOW 12:15-3:0OPM Reggae. Rock Steody and Ska with George Barrett. Dance Hall Music! BLUES AND SOUL SHOW 3:0O-5:0OPM 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- NARDWUAR THE HUMAN SERVIETTE PRESENTS... 3:30-4:00PM 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 HOME TAPING I.N.T.E.R.N.A.T.I.ON.A.I 6:30-9:00PM Radio to record over. Tapein.turnon.n. SOUP STOCK FROM THE BONES OF THE ELEPHANT MAN 12:30-3:30AM Independent music from around the THE SATURDAY EDGE 8:00AM-NOON 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 MOVING IMAGES 10:30-1 JoinhostKenMacintyrea onatourthroughthesitvei ABSOLUTE VALUE OF NOISE - PART ONE 2:30-3:30PM AND 4:00-5:OOPM Found sounds, tape loops, compositions of organized and unorganized auralrfy. JUST LIKE WOMEN 6:00-8:00PM Feminist news and analysis and music made by women for everybody. Alternates Sundays with... ELECTRONIC SMOKE SIGNALS 6:00- 8:00PM u%. interviews, political global cultures of resis- >y Horacio de la Cueva. Alternates Sundays with Just Like Women. ONESTEPBEYOND/RADIO FREE AMERICA 10:00PM-MIDNIGHT 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- memm 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. iMmmwan 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: MENS FOOTBALL OCTOBER 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 POWERCHORD 12:15-3:00PM 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. EVERYTHING YOU KNOW IS WRONG 6:00- 8:00PM Brought to you by your friends from Eating Vomit. MEGABLAST! MIDNIGHT-3:00 AM Improvisation in many forms. Mixes that don't work but had to be tried. Requests that neverget played. Welcome to late ■ ">. With Adam f ARE YOU SERIOUS? MUSIC 8:00AM-NOON 21st 1:00 Saturday AT University of Alberta 28th 1:00 Saturday versus University of MENS ICE HOCKEY OCTOBER 27th 7:30 Friday versus University of Alberta MENS BASKETBALL NOVEMBER 4th 7:30 Buchanan Classic at Simon 17th 8:00 AT University of Victoria 18th 8:00 AT University of Victoria WOMEN'S BASKETBALL OCTOBER 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 28 DISCORDER mm <JM P® igtw,' *323§ \Jffk Wm'l ^WS 30NT FORGET THAT CiTR WELCOMES MUSICAL AND NON-MUSICAL ENDEAVOURS WITH OPEN EARS. PLEASE ADDRESS ANY SUBMIS SIONS TO THE ATTENTION OF EITHER THE MUSIC DEPARTMENT OR THE DEMO CASSETTE DIRECTOR, AND MAIL TO: CiTR 101.9fM. 6138 SUB BOULEVARD, VANCOUVER, BC CANADA V6T2A5. THANKYOU VERY MUCH ARTIST TITLE LABEL # MALCOLM MCLAREN WALTZ DARLING COLUMBIA 54-40 FIGHT FOR LOVE REPRISE # MEAT BEAT MANIFESTO STORM THE STUDIO SWEATBOX STOMPIN TOM CONNORS FIDDLE AND SONG CAPITOL # CAPTAIN SENSIBLE REVOLUTION NOW DELTIC * WEST INDIA COMPANY NEW DEMONS EG # POP WILL EAT ITSELF THIS IS THE DAY, THIS IS THE... RCA # THE THE MIND BOMB EPIC CURIOUS GEORGE CHILDREN OF A COMMON MOTHER NEMESIS * BOOGIE DOWN PRODUCTIONS GHETTO MUSIC RCA #BEAT FARMERS POOR AND FAMOUS • CURB VARIOUS ARTISTS THE BRIDGE CAROLINE 1 MATERIAL SEVEN SOUL VIRGIN # PETER GABRIEL MUSIC FROM THE LAST TEMPTATION... GEFFEN # NURSE WITH WOUND AUTOMATING VOL. 2 UNfTED DAIRIES *SIRMIX-A-LOT SWASS NASTYMIX #EPMD UNFINISHED BUSINESS FRESH #POGUES PEACE AND LOVE ISLAND ASEXUALS DISH CARGO * VARIOUS ARTISTS NEW BEAT-TAKE 3 A.B. SOUNDS # LES NEGRESSES VERTES LES NEGRESSES VERTES RHYTHM KING #KOOtMOEDEE KNOWLEDGE IS KING JIVE * SEVERED HEADS ALL SAINTS DAY 12" NETTWERK # KEITH LEBLANC STRANGER THAN FICTION NETTWERK CONDITION SWAMP WALK AMOK # JELLO BIAFRA HIGH PRIEST OF HARMFUL MATTER ALTERNATIVE TENTACLES . #MC 900FT JESUS TOO BAD 12" NETTWERK * SCHOOLY D AM I BLACK ENOUGH FOR YOU JIVE # LL COOL J WALKING WITH A PANTHER DEFJAM # HOODOO GURUS MAGNUM CUM LOUDER RCA * FETCHIN BONES MONSTER CAPITOL 1 KAREN FINLEY THE TRUTH IS HARD TO SWALLOW POWWOW ART # VARIOUS ARTISTS IN HOUSE VOL. 1 JIVE # COFFIN BREAK PSYCHOSIS C/Z # ADRIAN BELEW MR. MUSIC HEAD ATLANTIC #24-7SPYZ HARDER THAN YOU IN EFFECT # VARIOUS ARTISTS GREAT MARCH ON WASHINGTON GORDY # DARLING BUDS POP SAID COLUMBIA #N.W.A. EXPRESS YOURSELF 12" RUTHLESS # BIG MOUSE & KAREN FINLEY DROP THAT GHETTO BLASTER NETTWERK COURAGE OF LASSIE SING OR DIE AMOK # PUBLIC ENEMY FIGHT THE POWER 12" MOTOWN # NUSRAT FATEH ALI KHAN SHAHEN-SHAH VIRGIN * BEVIS FROND THE AUNTIE WINNIE ALBUM RECKLESS # FUZZBOX SELF WEA # EXENE CERVENKA OLD WIVES'TALES RHINO # ZIGGY MARLEY & THE MELODY MAKERS BRIGHT DAY VIRGIN 1 NIRVANA BLEACH SUBPOP t SKID ROPER & THE WHIRLING... TRAILS PLOWED UNDER TRIPLE X * SALIF KIETA KO-YAN MANGO * SICK OF IT ALL BLOOD, SWEAT, AND NO TEARS IN EFFECT VARIOUS ARTISTS IT CAME FROM CANADA VOL 5 OG tt SUGARCUBES REGINA ONE LITTLE INDIAN # INDICATES NON-CANADIAN ARTIST KING SWAMP featuring: Dave Allen (Gang of Four), Steve Halliwell (Shriekback), and Dominique Miller (World Party) with guests 86 ST. MUSIC HALL FRIDAY OCTOBER 27 ON SALE OCTOBER 7 R101.9fM...BIue 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, $5)... 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 9.30). 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 Const >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 SITES/VENUES/PLACES ARLINGTON CABARET 1236WestBroad- ARTSCLUB 1181 Seymour Street 683- 0151 ARTS CLUB GRANVILLE ISLAND 682- 0708 ASIANCENTREAUDITORIUM 1871 West Mall. UBC 228-2746 CINEMA 16 SUB Theatre CLASSICAL JOINT 231 Carrall Street, Gastown 6894667 CLUB SODA 1055 Homer Street 6814202 COMMODORE BALLROOM 870 Granville Mall 681-7838 86 STREET MUSIC HALL in the god forsaken Socred Centre, Expo Site 683-8687 FAIRVIEW PUB 898 West Broadway 872- 1262 FREDDY WOOD THEATRE 6454 Crescent 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 ' ITALIAN CULTURAL CENTRE 3075 Slo can Street (12th and Nanaimo) KITSILANO COMMUNITY CENTRE 2690 LA QUENA COFFEE HOUSE 1111 Commercial Drive 251-6626 MARITIME LABOUR CENTRE 111 Victoria PACIFIC CINEMATHEQUE 1131 Howe 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 ARTS CENTRE 930 Station Street 688-3312 SUB THEATRE Main Floor of SUB 228- TOWN PUMP 66 Water Street. Gastown 683-6695 VANCOUVER EAST CINEMA 2290 Commercial at 7th 253-5455 VANCOUVER EASTCU LTURAL CENTRE 1895 Venables Street 254-9578 W.I.S.E. CLUB HALL 1882 Adanac 736- 3022 THE YALE 1300 Granville at Drake 681- 9253 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/ &E&lNrJiNJ<p OCT.Z^n<-DEC4 AT THE RAILWAY CL<A& 18 UPt COMWf^WDSVIcf^... CiTE ion f M FORTUNE- PRIZES r faoscseoora CiTR 101. PARTY CENTRAL SCHEDULE 350 RICHARDS STREET, VANCOUVER, B.C. PHONE 687-5007
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Discorder CITR-FM (Radio station : Vancouver, B.C.) 1989-10-01
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Item Metadata
Title | Discorder |
Creator |
CITR-FM (Radio station : Vancouver, B.C.) |
Publisher | Vancouver : Student Radio Society of the University of British Columbia |
Date Issued | 1989-10-01 |
Extent | 32 pages |
Subject |
Rock music--Periodicals |
Genre |
Periodicals |
Type |
Text |
FileFormat | application/pdf |
Language | English |
Identifier | ML3533.8 D472 ML3533_8_D472_1989_10 |
Collection |
Discorder |
Source | Original Format: Student Radio Society of University of British Columbia |
Date Available | 2015-03-11 |
Provider | Vancouver : University of British Columbia Library |
Rights | Images provided for research and reference use only. Permission to publish, copy, or otherwise use these recordings must be obtained from CiTR-FM: http://www.citr.ca |
CatalogueRecord | http://resolve.library.ubc.ca/cgi-bin/catsearch?bid=1190017 |
AIPUUID | 271d3557-0503-4e07-afc9-405add3c98fe |
DOI | 10.14288/1.0049917 |
AggregatedSourceRepository | CONTENTdm |
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